Souren Baronian Brings His Agelessly Soulful Fun and Middle Eastern Jazz Gravitas Back to Barbes
Is Souren Baronian a NEA Jazz Master yet? If not, there are guys younger and a lot less accomplished who’ve received that honor. No time like the present, people…while there still is such thing as the NEA.
Now in his eighties, the Armenian-American multi-reedman, percussionist and bandleader is absolutely undiminished as a soloist, one of the greatest pioneers and most soulful players in the history of jazz, let alone the Middle Eastern jazz he’s made a career in. He’s bringing the latest edition of his long-running Taksim ensemble to an intimate show at Barbes on August 10 at 10 PM; you should get there early.
A listen to Baronian’s 2002 album Ocean Algae – streaming at Spotify – offers a good idea of what he does in concert, and he still plays a lot of stuff from it live: it’s one of his best. Much as Baronian is known for unselfconscious depth and gravitas, he also has an often ridiculously surreal sense of humor, something that bubbles up when least expected. This album has three-quarters of Baronian’s original 1975 version of Taksim, including the rhythm section of bassist Steve Knight and drummer Mal Stein.
A funky clickety-clack groove underscores Out of Exasperation, which Baronian opens with a moody, spacious soprano sax solo before the oud and rhythm section kick in. The late, great Haig Magnoukian’s oud solo goes ratcheting over growly bass and drums while Baornian’s son Lee provides extra boom on the low end with his dumbek.
The seven-minute title track is a taste of the some of the liveliest stuff to come out of the ocean, the bandleader alternately jubilant and uneasy as the rhythms shift on a dime. Magnoukian switches out the slashing tremolo-picked clusters of the first song for rapidfire hammer-ons and a surgically slashing attack on the strings.
Gooney Bird, a big concert favorite, could also be called It Ain’t Got a Thing If It Ain’t Got That Oud – after Baronian’s done choosing his spots, veering between the blues scale and Middle Eastern modes, Magnoukian takes the song closer to Turkey with his jaunty pastoral picking. The wry, surfy drum turnarounds are a favorite trope.
Toxic Tonic, an almost thirteen-minute epic, contains everything from echoes of medieval English folk, to jaunty Lebanese pastorale passages, surrealistically altered blues riffage on the oud, a psychedelic drum interlude that would have made the Grateful Dead jealous, along with all kinds of delicious microtonal sax flutters and dives. There’s also a subtle joke early on that will have you pulling on your earbuds.
Five For Chick – a Chick Corea homage, it would seem – is a lot jauntier, at least until the senior Baronian takes it further into the shadows, veering between modes as Magnoukian grounds it with his spiky, machinegunnig riffage. Then he takes a poignantly searching, rapidfire oud taksim into the aptly titled Conversation, the bandleader switching to kaval (wood flute), Magnoukian eventually edging everybody out.
Jubilee is the album’s catchiest and most upbeat track, a shuffling mashup of New Orleans second line and dusky levantine influences with a tastily bustling oud/percussion interlude. Baronian’s moody duduk (wooden oboe) improvisation leads into Desert Wind, another concert favorite with its catchy, circling clarinet riffs, subtle echo rhythms and one of his most poignant solos here.
11th Hour is a lot more carefree than its title implies, although Magnoukian brings in some unease, at least until a completely unexpected south-of-the-border detour. Jungle Jive is the most joyously warped number here, the band taking it methodically further east out of a dixieland-flavored jazz waltz. The band follows a similar tangent on the final cut, Time & Time Again. from Knight’s uneasily bending bass intro through Magnoukian’s tensely suspenseful solo to an intertwining oud/sax conversation. This album is as rich as it is long, and it’s very long. Onstage, Baronian hasn’t lost any stamina either.
August 8, 2017 Posted by delarue | jazz, middle eastern music, Music, music, concert, review, Reviews | album review, armenian music, haig magnoukian, jazz, lee baronian, mal stein drums, middle eastern jazz, middle eastern music, music review, souren baronian, souren baronian barbes, souren baronian ocean algae, souren baronian ocean algae review, souren baronian review, souren baronian taksim, souren baronian taksim review, steve knight bass | Leave a comment
Timeless Middle Eastern Jazz Icon Souren Baronian at the Top of His Game in Montreal
One of the most rapturously gorgeous, unselfconsciously soulful albums released over the past year is Live at the Montreal Jazz Festival, by ageless multi-reed sage Souren Baronian’s Taksim. It’s a high-quality archival release that goes back a few years. Now in his eighties but absolutely undiminished – his performance at Golden Fest this past winter was mind-blowing – he’s the reigning patriarch of Middle Eastern jazz. Here he plays soprano sax, clarinet, kaval flute and also percussion.
Baronian opens the set with a brooding but kinetic soprano sax melody, adds a few swirls as his son Lee Baronian’s dumbek flickers, then the late, great Haig Magnoukian’s oud goes sprinting over Paul Brown’s terse bass and Mal Stein’s similarly emphatic drums. The song is Gooney Bird – Baronian’s titles tend to be on the colorful side.
The bandleader’s rapidfire chromatic runs alternate with incisive blues riffage and flashes of bop as Magnoukian digs in with a bassline of his own; then the senior Baronian goes in a jauntier direction echoed by the band as the oud drives them to a lickety-split crescendo out.
These songs are long; there’s a lot going on here. The second track is Ocean Algae – look out, this stuff is ALIIIIVE, and possibly psychotropic! Strolling, then marching, then scampering, the sax’s airy precision sometimes brings to mind an Armenian Paul Desmond until Baronian brings his achingly intense microtones into the picture as Magnoukian and the rhythm section scramble for shore.
Magnoukian opens the next number, Floating Goat, with a solo taksim, switching out the fast and furious tremolo-picking for an expansive, spacious but no less edgy attack. Then the band launches into a phantasmagorical, Monkish strut until Baronian’s sax pulls them into slightly sunnier, more straightforward territtory over a pouncing 7/8 groove. Magnoukian’s spiky, pointillistic waves fuel an upward drive until the drums and percussion provide a hilariously rude interruption.
Baronian’s pensive clarinet gives a moody, subtle latin tinge to the slinky, midtempo Rayhana, a feast of low-midrange melismatics. His poignant, windswept solo is arguably the album’s high point, echoed with similar expansiveness and gravitas by Magnoukian.
Switching from clarinet to kaval, Baronian and Magnoukian take 8th Sky further south toward Egyptian snakecharming terrain as the rhythm section percolates, peaking out with a fervent Rahsaan Roland Kirk-ish solo. The album winds up with the bustlingly chromatic Time and Time Again, Magnoukian’s bristling solo handing off to Baronian’s sax, which dips and dances to a joyous conclusion. Is Souren Baronian a NEA Jazz Master yet? If not, we should start a petition – while the NEA still exists.
If you’re looking for the album online, good luck – however, it is available at s shows, and when he’s not on the road, Baronian typically makes Barbes his home base. And there’s a more recent, similarly magical Manhattan show from last year up at youtube as well.
July 5, 2017 Posted by delarue | jazz, middle eastern music, Music, music, concert, review, Reviews | album review, armenian music, haig magnoukian, jazz, lee baronian, mal stein drums, middle eastern jazz, middle eastern music, Music, music review, paul brown bass, souren baronian, souren baronian live at the montreal jazz festival, souren baronian live at the montreal jazz festival review, souren baronian live montreal, souren baronian live montreal review, souren baronian review, souren baronian taksim, souren baronian taksim review, souren baronian’s taksim | Leave a comment
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Welcome to Lucid Culture, a New York-based music blog active since 2007. You can scroll down for a brief history and explanation of what we do here. To help you get around this site, here are some links which will take you quickly to our most popular features:
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ABOUT LUCID CULTURE
April, 2007 – Lucid Culture debuts as the online version of a somewhat notorious New York music and politics e-zine. After a brief flirtation with blogging about global politics, we begin covering the dark fringes of the New York rock scene that the indie rock blogosphere and the corporate media find too frightening, too smart or too unfashionable. “Great music that’s not trendy” becomes our mantra.
2008-2009 – jazz, classical and world music become an integral part of coverage here. Our 666 Best Songs of All Time list becomes a hit, as do our year-end lists for best songs, best albums and best New York area concerts.
2010 – Lucid Culture steps up coverage of jazz and classical while rock lingers behind.
2011 – one of Lucid Culture’s founding members creates New York Music Daily, a blog dedicated primarily to rock music coverage from a transgressive, oldschool New York point of view, with Lucid Culture continuing to cover music that’s typically more lucid and cultured.
2012-13 – Lucid Culture eases into its current role as New York Music Daily’s jazz and classical annex.
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