Monday, April 05, 2004
Neither Ara Jaraljan nor Jaak Lutsoja has much to do with the music from the yards of Great Britain. They belong to the jazz-trio, led by guitarist Oleg Pissarenko who together with his friends offers peaceful airy music for meditation in jazz. Tonight, the contrabass and the accordion take over the rhythms played on accoustic guitar. Ara Jaraljan who has studied double bass in Boston starts with standard harmonic themes to warm-up the hands of Lutsoja. The accordion takes us out to the streets of Paris in spring. The next song is different from the first be-bop form. It is named Uus Puu (New Tree), written by the missing fellow Oleg Pissarenko. It has something of the northern characteristics. The tunes come out of the deep structure that has appeared in a spiral shape. We can recognise the fullness of sound. “The music represents opposition to the modern mentality of rushing”, songwriter Oleg Pissarenko has said. The great use of altered chords is melted together with the evegreen sounding melodies. Some of us want to clap their hands. The club is dizzy.
After twenty minutes of play the musicians take a break. Their music has left us the feeling of great freshness. An hour later the band returns to continue the meditative chanson, but this time Ara Jaraljan plays be-bop in a schizophrenic way. He is a real master of this woody sound. A man who has studied architecture in Armenia must know how to build the house on music. Jaak Lutsoja handles accordion as the breeze which goes through the floors of the music. Finally beauty and peace have been emerged. The music manages to keep distance with cool jazz through the beat of the vital strings and the hot jamming texture. On the other hand we find the music full of nostalgic elements. It should be heard on the streets of the Old Town of Tallinn, but be recognised under the title “sostenuto”.
Few people listen and wait for each flash of wit.Thus far the performers haven’t heard a single applaus. People claim that it is not common here. A huge club and nobody takes the time to listen to the Estonian top artists. Jaraljan has a face as if he would like to leave the stage. He has the self-confidence, but not the will to end the sound of Lutsoja’s accordion. Jaraljan is shy in front of his companion who eyes him with a piercing gaze “I don’t care, I just play my part”.
The sensitive style in jazz vanishes with the coldness of the audience. Hopefully the lonely mood will not last forever. Spring is waiting outside. Jaraljan and Lutsoja put on their coats, take a last look at the stage and leave Scotland Yard.