HYE Times

The Armenian Youth Federation (AYF) hosted their 81st annual Olympic games in Detroit this past Labor Day weekend. Close to 1,000 people of all ages came to cheer on their favorite athlete as they participated in tennis, golf, swimming and/ track & field. This is a tradition that friend and families of the AYF look forward to each year. Memories and relationships are paramount at this weekend.

For the past 4 or 5 Olympics held in Detroit, I have been part of the steering committee in some fashion. This is a span of over twenty years. Sometimes I think I am getting too old for this, but in the end – the weekend was well organized and all seem to have a great time.

For me, I had the opportunity to see and hear some old friends and living legends of Armenian music. I watched as I did in the old days of standing near the stage watching the musicians enjoy their craft. When I was younger it was all about the “rides” (musicians taking a solo within a song) and hearing my favorite songs. This was kef (party) at its finest. The goose bumps still happen during their rides…but this time, I watched as some of the finest musicians continue to dazzle audiences with what they know best. I watched their fingering — clarinet, oud, sax, dumbeg…how they continue to show us how effortless it is. (I think we all know it isn’t that easy)

Hachig Kazarian performing in Detroit. (August, 2014)

The first night consisted of Hachig Kazarian, Richard Hagopian, Mal Barsamian and Jason Noroian. When we planned the music for the weekend, we knew the power and attraction of both Hachig and Richard. Icons of Armenian music with a combined performance power of over 100 years and thousands of gigs across the country. I hadn’t seen Hachig (clarinet) in this setting in many years and his tone is as rich today as it was decades ago. I truly am looking forward to interviewing him for the documentary!

Richard still has a major command on the oud (lute) with a voice that resonates the sounds of old country villagers belting out their folk songs. His style has not been duplicated and I would be surprised if we ever heard another Richard in the future.

Sunday night consisted of a large group that included John Berberian and Onnik Dinkjian. Two icons in Armenian music with a vast history of both recordings, live performances and continued following by many generations. Onnik, who is in his 80s still has a velvet sound that is unparalleled. John who clearly still loves the music has a fast and almost flawless approach to his oud playing.

Richard Hagopian on oud (August, 2014)

Yes, these are the masters, but it was equally enjoyable to listen to Mal Barsamian who I performed with at one of the events during that weekend. A multi-instrumentalist, Mal came to Detroit to play sax, clarinet and guitar. Sometimes it is hard to say which instrument is better in his hand! A true musician.

Steve Vosbikian is a young clarinet player that I was able to see live for the first time since he was a young boy. Exceptional and when you hear his style – you smile. You know he is doing his father (son of Steve Sr of the Vosbikian Band) and his ancestors proud in his love for the music.

Simply put…it was a weekend of good music.

Here is the best part – they danced. The crowd loved listening and watching both the legends and contemporary musicians perform which I think is the most important part of this posting. Tradition continues….

For the last several weeks I have been conducting several interviews of the “old time” (said with the utmost respect) Armenian musicians that had a presence in Detroit back from the early fifties and it really continues to be an eye opener.

The average time I have spent with these interviewees has been around two hours and I really enjoy the conversations.  I find it fascinating to watch them recall the past and dig into their memory banks about the times when they played music.  This isn’t an easy task for some of them but you can tell they are recalling better times and what gets me the most is that they still miss playing music and most of all the audiences that danced and enjoyed their music. It is almost like time moved on and forgot about them as they talk about their playing habits, the kind of gigs they had and so forth.

What I have discovered throughout the process is that there is a unique bond between all of them. These are not musicians that see each other than much so its not like they all got together and decided what they would tell me during the interviews. There is without a doubt a common threat of how these musicians thought and played with many musicians performing today. Time moves on, but the feelings are the same. Many times I felt that I could identify with how they felt.

Ara with Armenian clarinetist Art Melkonian (July, 2014)

I had the opportunity to talk to Art Melkonian. This was a wonderful interview for me as I was unaware he was still alive. Not only is he alive, but he doesnt live far from me and he still very active. He loves being Armenian and spoke fondly of the “hey day” of Armenian music. I wont give it all away as you will need to see the finished film, but the one thing that stuck with me is the commonality we have when it comes to music. Art played clarinet with the Arax Band and they recorded the Harem Dance (aka Shish Kebab) which because famous around the country on Billboard charts for several weeks (#67 out of 100 in 1957). His work ethic for playing music was simple – play for the people. “They paid good money to hear us play and we were going to give them their moneys worth”. No such things as long breaks for Art and his band, the same holds true today. If you have an audience – they want to dance, so you have to play music. He also talked about how they go gigs, how they rehearsed, etc.

I guess hearing these stories shouldn’t amaze me, but they do. As I conduct each interview, I know the work I am doing to preserve their stories and music is so important to both the Detroit Armenian community and our heritage.

In the beginning part of the year, I have concentrated most of my efforts in regards to my upcoming film documentary on fundraising. Certainly not the most enjoyable part of this project, but it ended up becoming a humbling experience.

Over two months ago, I met with my videographer about the next phase of this project. We sat together for a few hours sharing information and in the midst of our discussion I told him that I was not happy with the title I am currently using – Detroit Hye Times. Now, it was the name I came up with and used when I applied for the Knight Foundation grant and it is the name I continue to use throughout the promotion and discussion of this project.

Detroit Hye Times represented both identification of the location of this film, an Armenian word and a timeline for this story. As an Armenian, we have played off the word Hye (which is Armenian for…Armenian) for many years. In my opinion, it has been overused. So you can imagine that I wasn’t very happy to use it again because I didn’t think, and still don’t think it captures the story I am going to tell with this film.

I have been researching and reading many Armenian books looking for a phrase that captures the essence of this film. So far, no luck. Perhaps you can help me. I want to find a short phrase or few words that describes the story I will soon tell in this film. If you come up with an idea – fill this form out and I will see it!

Well, it happened again today and I immediately thought the subject would make for a great blog discussion. You can be the judge.

I was asked to play an event for free. This is certainly something every musician I know has been asked at least once. (In reality, its much more than that!) Artists of all kinds have similar stories about being asked to give their art away at no cost to the would-be buyer. I can recite numerous anecdotes and witty comebacks on how many artists respond to such requests. See the below Craigslist ad, it is pretty funny…but it gets you to think, right?

In regards to this particular event, I refused the offer. Mainly because I was aware of the event and its draw and know that other artists were compensated for their work and I felt it wasn’t fair to ask me to play for free. Most musicians would agree with my decision. I have no remorse over it nor would I vilify the event because they didn’t wish to pay me. In the end, I think most people want to be able to pay an artist but may not have the financial means to do so. This example was not the case and I moved on. No harm, no foul.

However, it did get me to think about when might a musician play for free. I am always interested in the philosophy of an artist when it comes to being compensated. Usually it can be a lively discussion among artists.

My philosophy is fairly simple and certainly it is my opinion.  I think as human beings we should all try to give back to the community we take from – in one shape or another – and either at one point in our lifetime. Some do so with actual money, some do with time, some also do with their art.

To give with money is nice, certainly this is the most popular way to give and most that receive funding are very thankful. I do not have those kinds of funds to donate to worthy causes, but I do have my music and it can do some good, I have seen that.

This is something I can contribute and whereas I enjoy music and I do not do this for financial means, it allows me the flexibility to give back to the community. My community is vast and can encompass my church, my city, etc. It can even be for another musician in need of help.

I will donate my services more often than not when I know it is appreciated and truly needed. That doesn’t mean I must do so each time, but money isn’t the driving force to why I play and enjoy music.

I am a firm believer that much comes from giving your time and art to others. You may not realize it, but it has an impact and some cases – can pay dividends. I am not talking about “paying it forward” and almost overused phrase. I am talking about how giving of yourself void of greed can be a positive turn for your art, something that no amount of money could create.

A simple example I have is that many years ago a film producer contacted me because he found a CD of mine in his local record store. (Remember those!?) He was producing a documentary and wanted to use a few tracks of mine but didn’t have the money to pay me for the use. Other record producers/musicians turned him down and I said yes. In turn, I have been involved in three of his productions, received orders on other CDs and even got introduced on the Public Broadcasting System. Not bad for donating a couple of tracks.

In the end, you have to do what you feel is right. I think all everyone needs to give back at one point in their life. It’s too short, share what you have when it is right – it will be appreciated.

There was an ad on Craigslist from a restaurant looking for bands to gain experience by, basically, playing there for free. A musician saw this and thought how it might feel if he turned it around on the restaurant. If this is true..it is pretty funny!

I could be opening a Pandora box in bringing this subject up, but I am hoping to tackle an issue in this posting to give some clarity and potentially open some constructive dialogue on the subject – the origin of Armenian folk music.

A few months ago I got an email from an Armenian located in Australia who listened to the music in my Kickstarter video and in a polite way (I say this because it isn’t always polite) referred to the music as pure Turkish and its origin not being Armenian at all. Too be honest, I was a bit annoyed as whenever you venture out to do a project like this, of course not everyone is going to be in agreement with you and usually (for me) it surrounds the subject of what is “true” Armenian folk music. I was annoyed as I wasn’t interested in engaging in this debate with this person. I have had them before and at best, you agree to disagree. So, my initial reaction was to ignore and move on. After a day of thinking about it, I thought I would try to tackle the issue. With that said, I am a realist in knowing that I still may not get everyone to agree with me, but hopefully you can respect or understand my vantage point.

The subject of what is “true” Armenian folk music is broad and can encompass a doctoral dissertation if all of the areas, regions, styles, and composers are pursued. You can analyze and re-analyze forever. The bottom line for me is that I grew up hearing this music – be it live or on recordings. I enjoy it, like many other styles of Armenian, Middle Eastern and American music.

I know for many of the readers, I am oversimplifying the debate, but to me – sometimes music is just music.  Armenians lived in Turkey for several hundreds years prior to the Genocide. Today, it is estimated that the Armenians in Turkey are around 40-70,000, roughly 10-20,000 more than in Michigan. Those Armenians in Turkey spoke Armenian and Turkish. We inhabited the lands. Those Armenians were successful in business, trade and certainly music. It was natural for Armenians to play music with Turkish lyrics.

I have to respect the musicians and composers that created this music. I didn’t live in those times. Many were under the Ottoman Empire rule, many composers created music that is still performed and respected today in modern Turkey – Armenians composed these works. It doesn’t make me less of an Armenian or hate the fact that almost 100 years ago the Turkish government ordered the killing of 1.5 million Armenians.

In the end, I hope you can understand where I am coming from as a blog on this subject could go on and on and still many would disagree with me. It is not my intention to change ones thoughts on the music I enjoy, play and respect. It is my intent to (in my small way) honor those that created and carried the music on from generation to generation.

Turkish kanun maker Ejder Güleç passed away a few days ago. He was an expert kanun maker that I never had the good fortune of meeting, but I am happy to say I own one of his instruments.

Ejder kanuns as we would refer to them (also cifte mizrab was another name) has been making exceptional kanuns for decades. For the longest time if you wanted the best – it was an Ejder kanun. He was a master craftsman.

I got my Ejder kanun through friend and fellow musician Ara Dinkjian who was selling it for another friend. As Ara told me, “this is an instrument you will always care for and pass on to your children”.

Rest in peace Ejder and know that your craftsmanship lives on throughout the world.

Photo by: Corine Vermuelen

Congratulations to the latest round of Kresge Artist Fellows announced this past week!

I still get excited whenever I see the new Fellows emerge and I start to think about the experience I had in 2012 and how it was an absolute game changer for me.

I remember when the Kresge folks took our group picture and I can remember wondering how this aware will affect what I do musically. I had no idea of the impact it would have on my life. Initially, like most, I saw the cash prize and probably had difficulty thinking past it. It is so much more than that and I quickly realized the impact it truly had on me. It still does to this day.

So I love looking at the group photos and wonder what is on each of their minds. I am sure many are excited about the money, but I hope they go into “their” year with open minds and learn from the talented folks at Creative Capital, Artserve and so many more professionals.

Good luck Fellows – take it all in. See you soon and welcome to the family!

When I was growing up, I had the opportunity to play a musical instrument starting in 5th grade. Little did I know then (or probably care) that music would be such an important part of my life.

The instrument chosen for me was the coronet (trumpet family). I said “chosen” because what I wanted to play was either clarinet or violin and that was not available to me. Those instruments were (believe it or not) typically reserved for the girls or advanced orchestra. Interesting how this type of stereotype existed. Sadly, I still wish I had the opportunity to learn either clarinet or violin as in Armenian and Middle Eastern music, these are popular and leading instruments.

There is something to be said for having the ability to choose your musical instrument.  If I had the opportunity to have chosen which instrument I wanted to play, I wonder what my interest level would have been throughout my public school years. It was mandatory for school children to pick up an instrument and it is interesting to look back at who took what as I think they were also indicative to stereotypes. Drums were usually played by the leather jacket crowd, flute was almost a girl, saxophone was the rocker, and trumpet and other brass was the “rest of the gang”.

As I mentioned earlier, the coronet was not a major interest for me and so I don’t think I ever took it seriously. God knows my parents tried…my mother had me take private lessons to get me to improve and stay interested, but alas it was a task to get me to practice and enjoy the instrument. I never studied to learn my lessons and eventually I think my parents gave up that their son might be the next Harry James!

Recently my wife took the kids to her workplace event and as part of the fun, there was a booth for children to try different instruments. I wish I saw this, but my wife was able to have my kids try out some instruments. They tried both the cello and trumpet. From what my wife said, my daughter (on the left) held the instrument very well. This – I never had as a child her age. It’s exciting to see such a thing and I applaud WRCJ for setting up this booth.

I know we don’t want to force our children into certain things and that many will say they need to learn on their own, but a little prodding can’t hurt – especially when it comes to the arts!

Starbucks in Walla Walla, WA

The second and most important day for us was on Friday. For me, the day started at 3:30am local time and after taking in some of the local atmosphere and of course…Starbucks coffee, Mark, Leon, Mike and myself headed to Whitman College. We rehearsed, checked our sound and got prepared for our workshop that we would offer the college students.

During my early morning walk I stumbled on Whitman College and the hall we were to perform at…only a few miles away from the hotel.

The group clicked immediately and I got the clear sense the music was going to be very nice. The workshop was great with an engaging crowd that wanted to know about the instruments, history and our experiences playing the music. We had a number of adults there as well. (I guess not everyone does wine tasting all the time in Walla Walla!)

That night was certainly an experience for all of us. The auditorium was filled and it was standing room only. I am not bragging, its just a tad uncommon for us to constantly have such an audience for this type of event. We performed Armenian folk material mainly with music from per-Genocide in Turkey. After the first song, the crowd was very appreciative and we knew as a musical group we were in for a good time that night.

The night ended in an eruption of applause and standing ovation and as Mark put it “the energy they provided us was exhilarating!”

I am not writing this to talk about how well we were received as much as how energetic a group of musicians can be when the crowd is “into the music”. As Leon would call us “a community of musicians”, he is so right about that description. Where can you find an abundant amount of musicians that can come together virtually from around the world and with little rehearsal – play great music…without sheet? Perhaps this could be argued by musicians, but I think when it comes to ethnic music, you cant compare them to other genres.

Thank you Elyse and Whitman College and most of all Walla Walla for showing a small bundle of Armenian musicians a great time!

So many titles I could call this blog, but none seemed as fitting as just simply calling out where I traveled for a concert this past weekend — Walla Walla, Washington.

This is the furthest I have traveled west for a gig. What an interesting town. It seems as I get older, the more I am interested in the day to day culture of towns that I visit, especially as far west as Washington.

Musician and friend Mark Gavoor coordinated a concert at Whitman College and as with any type of concert so far from home, we had to travel a day earlier. This proved to be important especially as Mark got caught up in some airline troubles which got him to Walla Walla later in the evening instead of during the day like the rest of us. Sorry Marko!

My kanun arrives safe and sound in Walla Walla! Needless to say..it got a lot of stares. Not sure they see many kanuns!

It also seems that the older I become, the less interested I am in airline travel. I am not afraid of flying and have no trouble getting on or off planes – but the stress involved prior to and arriving at airports seems to intensify with age. I am not alone in this thinking as my fellow musician travelers also chimed in that the stress is sometimes over consuming.

Anyway, I arrived in Walla Walla and had the opportunity to walk the town a bit to get a little of the local atmosphere. Wine country. A fellow on the plane next to me said this city has over 176 wine vineyards, apparently gaining competition for Napa Valley, California.

Once we landed, I could certainly see what he meant. There were wine tasting stores not only on every corner, but in places – right next to each other. I was amazed. I was surprised I didn’t find them in the bathrooms! We tried one of them out – what a cool experience. The vast lands in Walla Walla are perfect orchards for growing the grapes that in turn make these…yea…expensive wines. $50 a bottle. I mentioned “two buck chuck” and got a nervous giggle out of the one wine tasting store we visited.

Ara with band mates Mike Shimmin and Leon Janikian trying out the local vino!

Later that evening, our gracious host took us to a great restaurant for dinner and we had the opportunity to meet two colleagues of hers that were in the jazz music world and one is even working on a Middle Eastern jazz album. Suffice it to say, we all got along great and had a wonderful evening. We talked about other local jazz legends and as it turns out, they knew several of the jazz legends I had the opportunity to perform with in Virginia a few years ago.

It was great to see musicians and professors embrace Armenian and Middle Eastern music. They understood the makams (scales) and did their homework for sure.

I continue to say that the world of ethnic music is a small one, but one that the jazz community has always embraced and understood. Maybe its because jazz artists understand that the music may not be the most popular genre, but one with the most soul.

Day #2 is just around the corner….