‘Musaner’ Combines Avant-Garde Jazz with Folk Melody

It’s hard not to find “ethnic jazz” being played in clubs and on the radio these days. But what is difficult is being able to hear something that actually gels the improvisational music form with traditional folk melodies of a particular culture without sounding awkward or superficial. The approach needs tact, it needs finesse to convince the listener that the music is substantial and worth continued listening. Ara Sarkissian is able to do just that with his band Musaner—remarkably well, in fact. Sarkissian brings to Musaner his background in improvisational music. He has performed extensively around the Greater Boston area where he studied at Harvard University, the New England Conservatory of Music, the Longy School of Music, and the Boston Conservatory. He is also the mastermind behind “The Komitas Project,” released in 2007. Additionally, he has performed several times with Armenian rock musician Artur Meschian, implementing his atmospheric improvisational motifs into the sound. Musaner has been playing live for a few years now with bootlegs acquired upon request, but this recording marks the band’s first studio effort. The first track, “Celebrate,” features excellent drum work by Gary Fieldman, as holds true throughout the disc. The arrangements combine the boom of a standard jazz drum kit with a large bass drum known as the kopal dhol, which is struck with a mallet. The combination of the classic Armenian duduk with other woodwind instruments—sax and clarinet—is particularly interesting. It is not associated as being part of a large ensemble (with the exception of Armenian folk ensembles), usually as a solo instrument. As far as I know, the only other jazz big band that uses the duduk as an ensemble instrument is the Armenian Navy Band. On “Return to Yerevan” (based on an Armenian folk melody), you have a beat provided mainly by maracas accompanying the shvi (an Armenian flute-like wood instrument) playing the melody with the band harmonizing on top of it. The accordion adds nice accents here and there, but not as a solo instrument. The drums support the clarinet and saxophones soloing simultaneously yet independently of one another, following the bridge melody. Sarkissian plays light, gentle chords mainly, leaving it up to the woodwinds. His arpeggios are complementary, almost hidden in the background. The piano is not really used as a lead instrument anywhere on this recording, so at times you hardly notice it at all. The somber duduk hauntingly played by Arthur Yeghiazaryan takes the initial lead on “Chinar Es,” before Haroutunian picks things up with the shvi towards the end with the strong support of the drums behind him. “It is Spring, It is Snowing” is one of the stronger tracks on this disc. Sarkissian’s playing is more vibrant, with the horns harmonizing over the melody. Brunel’s highlights on clarinet are nice as are the accordion, always an instrument that manages to make someone smile. The tune ends very strongly with cross harmonies played by the woodwinds, contrasting with Sarkissian’s light-handed piano. Ditto for “Festival” which showcases the Balkan influence. The tune “It’s Only Rain” starts with improvisational piano complimented by various soft percussion instruments emitting sounds that resemble both sprinkling and hard showers. The horns come in and then the accordion which prove to get along quite well. The solo clarinet is lovely. “Festive Occasions” opens with the familiar, always jovial “Tamzara” Armenian folk melody with Haroutunian’s shvi. Then a Balkan-like theme kicks in dominated by the saxophones. “Deconstructed Memories” begins with Brunel’s elegant clarinet in graceful ballad form. This is simply one of the most striking tracks on the recording. The last track, “Remembering Musa Ler,” is harmonically exuberant, and is perhaps the strongest track. The flute and horns are all featured, allocated four bars each for solos. Haroutunian closes the tune out with the eye-popping zurna, the only instrument in the universe that can replicate the effects of a caffeine boost produced by an extra strong double espresso. All the tracks have something in common in that the music is revved up in the middle parts. The performance is always kicked up a notch no matter how hard and fast the band is already playing. Then, after a certain climax is reached, the tune gradually reverts to the mood it started out with, mellow or with much fanfare. If you love jazz, Musaner is indeed a band to pay attention to. When the opportunity arises, I highly recommend that you catch them in action at one of their shows. You won’t be disappointed. Musaner plays at the Beehive in South Boston regularly. The CD reviewed above can be purchased online at cdbaby.com or lucentmusic.com/musaner.

‘Musaner’ Combines Avant-Garde Jazz with Folk Melody

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Christian Garbis

This story is FREE for you...

Christian Garbis

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