Perhaps Hamasyan suffered through having to play not long after the Palestinian oud-player Adnan Joubran, who had opened the late afternoon with another one of Jazzkaar's best sets, magisterial and spellbinding. Delivering such wonderment right at the beginning of the day's schedule was unavoidably going to prompt comparisons, as the rest of the evening's programme unwound. At first, Joubran was flanked by cello, tabla and mixed percussion, his opening piece invested with a spiritual aura, but this not precluding a swift tempo. The second number was centered around Amrit Hussain's tabla attack, and the third involved an oud/cello duet. In a strategic move, flautist Sylvain Barou was kept in reserve until the fourth selection, around 30 minutes in, making his dramatic entrance from the wings, beginning his blowing before being sighted. Next, it was cellist Valentin Mussou's turn to excite the particles, as he turned on the fuzz-distortion for an incongruously extreme cello solo. Joubran's colleagues hail from France, India and Iran, so this was another actively international line-up, and one of several such collectives appearing during this year's Jazzkaar.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.