I 
Aravod
by Amina Delal*
First, an apology for being absent so long. I much regret that the demands of the physical world have been considerable these last months, leaving me little time for the cyber pursuits. Such things must be relegated to time found and until lately, there hasn't been much of any. Ah, but I'm here now and wish to tell you about these lovely recordings that came to me quite by accident although surely Destiny's hand was at work here.
This is a story of either dumb luck or kismet, depending on your perspective, where the Universe did me a favor by putting in my path (now yours) some really great music I wonder if I'd ever find otherwise. The first recording appeared when it surfaced from this copious pile of mixed stuff I inherited after Acme TV's passing (see A Page Turns in Our Story from the BDNE archive). I've slowly been going through all these old cassettes, CDs, a few videos, and some very dusty vinyl (my favorite).
I fished Until the Night by the Aravod Ensemble out of the pile allocated to "art" and folkloric music that's been living in the kitchen. The cover, with its serene image of a mountain, is labeled in Armenian (as is most of the copy) so how was I to know what it contained? And how cool was my "Chance is the fool's name for Fate" moment when I put it on and found pure delight therein? Really. From the very first note, this music just swept over me making for immediate kitchen-kefing to an inviting playlist of much-loved traditional Armenian dance music. And, as it happens, our bonus therein is the surprising number of cuts that step sprightly into our genre as well.
The band is merely terrific (and you know I rarely say any such thing). But they are, as is this album (and you don't hear that from me often either). Aravod means morning or dawn and since 1997 they've been on a mission to spread the contagious joy and energy of Armenian dance music wherever they appear. This is all presented with a devoted ear for traditionalism, as Aravod insists on authenticity for purposes of cultural preservation (bless them). For us though, this makes for great fun enjoying their truly Near- and Middle-Eastern repertoire.
Spanning several cultures is another tradition associated with this music. Think about it. Historically, Middle-Eastern entertainment in the U.S. began and remains a mix of songs from many countries. Aravod honors and perpetuates this practice, something that's gone hand-in-hand with belly dance as both entertainments found popularity from New York City's 8th Avenue to the four original East-meets-West venues that evolved here in Boston just after World War II. (Although for culturally authentic functions, the belly dancer generally appears only at club venues, weddings, and other parties. Don't ever expect one at church dances, picnics, or dances.)
Until the Night is especially rich in songs that cross over into our realm. There are six that will sound very familiar to you (I hope), as they are commonly played for dance programs. You'll find several cloaked in perhaps unfamiliar titles where the same melody becomes different song. There are two on the album we've discussed before in an article called Sharing is Good about just this topic. To us "Sweet Girl" is a sound-alike for "Miserlou" and this version couldn't be more charming. "Shaskin" (meaning befuddled) is a Turkish song using the same crowd delighting melody as "Ya Ein Ya Mouleytan" (my favorite 1½ balady). Well why not? A good tune is a good tune and there is nothing wrong with a little retrofitting. It is something that happens in many musical styles. (Think of "My Country ‘Tis of Thee" and how it's the same melody as "God Save the Queen".)
For our additional dancing and listening pleasure, Aravod offers fine lively renditions of other cross-cultural kef and classic club faves like "Karoun, Karoun", "Ninhevant Longa" (yes, you do know it, just not by name), and the Farid el Attrache song "Ghali ya Booy". I also really like this cute line dance they call "Oh My Sweet Girl", and "Two Hearts", a wonderful song although I don't know its Greek title. What's more they perform an excellent version of what they're calling "Sauda" but our local guys refer to it as "Rockin' Moroccan" (although Harry Bedrosian tells me its proper title is "Ibrahimi"). No matter what you call it, you'll enjoy how it really raqs along.
And even though I don't think Aravod really plays for belly dancers, you'd never know it. This album contains a first-rate classically Arabic 6:22 version of "Aziza" with the long-held note at the end. It's passionate, dynamic, and has a burning, hard-hitting, rather ass-kicking, drum solo in the middle and if that doesn't get you in a hizzy nothing will.
Feeling a bit "veil-y"? Well, "Sweet Girl" or (to us) "Miserlou" is beautiful with the kind of flowing and lyrical phrasing you're looking for to just float you along. It is just under 4:00, making it potentially handy for a recital or workshop showcase piece where one is generally limited to five minutes or less.
This recording ranks very high on the "must-have" list for anybody interested in this musical genre. Moreover, I'd suggest it for anyone with open ears who is stirred by virtuosity and enthusiasm. I played it for a jazz musician friend of mine and he really enjoyed it.
If you are a student learning about what we euphemistically refer to as "the 5-part" show, you'll get some major use out of something never even meant for us. How lovely to find our worlds colliding for Aravod has much to offer us whether, or not, they intended it that way. Let me say it again - I really love this one.
There are several other Aravod albums as well. Another one I'm enjoying is entitled Gamar. This album celebrates Aravod's 10-year anniversary with the same kind of pan-ethnic selections carefully and authentically prepared and performed. Per the beautiful jacket featuring a breath-taking view of the plains and mountains, they explain how Gamar, meaning arc, may be seen as a link to the group's past, into the present and future. Similarly it represents the group's mission, "to bring people together in mutual love of Armenian and Middle-Eastern music". Well there you go. If that isn't an invitation I don't know what is.
Again, Aravod brings us a party on a disk with more popular and traditional fare although their arrangements might fall a bit differently on your ears. Part of this is tempo. No one is in a hurry as the songs step gently into dance with nothing frenetic to push you around the floor. Beginners who find it hard to keep up with the pace set by many recordings won't feel stressed at all by this one.
A perfect example is the version of that very iconic Farid el Attrache composition "Layla". This is a song every dancer simply must know cold because it's about the most universally played opening song known by almost every band, ever. (Well, that and "Habina".) Here, however, it is performed at a much more leisurely pace than we're accustomed. But this is not a bad thing. For your purposes it could be used as a second song or somewhere in the middle of your show instead of an introduction. After all why not? In an era where dancers tend toward all manner of avant-garde selections (I'm being kind here), a little jaunt to Armenia is not a far journey. No, it's not ntended for belly dance but it isn't nearly so far-out and away as much of what I hear chosen for dance showcases these days. This version is more laid back than many. It is also arranged to sound more earthy and rustic, more like a village band than the accustomed orchestra.
Working with this and all these recordings makes for excellent ear training for any aspiring dancer because when you're prepared, more like forearmed, and familiar with this music, you won't be lost should a gig with a band come along. Want to be that dancer in the gorgeous costume in the nightclub? This can help ready you making for a shorter and smoother transition when the road, like the one to the Catskills, is rough and bumpy. And isn't that better than suddenly needing to know, not what you want, but what they play for the dance show? So here is a gentle and inviting way to work in that direction, especially, if thus far, the other authentic music you've heard seems harsh to you.
Aravod sets a perfect example of how it's supposed to be with the attention they lavish on their production. This brings me to the very high quality of sound that is fresh and immediate, like they are right in the room with you. Love that.
These albums are almost as exciting as seeing Aravod live as we did at the Kermese Festival sponsored by St. Stephen's Church of Watertown, last September. The festivities went on all weekend, although we planned to attend only the Sunday afternoon kef especially to see Aravod who traveled in from Philadelphia for the occasion. Appearing with special guest regional cats Mal Barsamian, Charles Dermenjian, and Chris Marashlian, the band was simply awesome. Frankly, I think they all had a better time than the audience (and we had a blast). The chemistry on stage was magical as it often is with so much talent in one place. Everyone in this band is so very, well, musical. It kind of just falls out of them, radiating in waves. In their regular world lives they all are educated professionals in many disciplines, but on stage they are music incarnate.
Our party was small yet merry. I attended with Alizah and dancer-artist Elisabeth Clark (who got some nice sketches). The only other member present from our community was Erzulie who, like us, was there to let down her golden locks and dance her ass off, smiling all the while. Who wouldn't be? It was an absolute romp. But, truth to tell, I always take particular pleasure being in a room full of frolicking Armenians. Everyone, young and old, was up dancing alone, in a line and in little groups under the big tent, filling the huge floor that was never empty.
If you've never attended one of these soirees I highly recommend it. No one stands on ceremony; it is all very informal and all about the fun. The St. Stephen's crowd certainly knows how to party and was extremely welcoming. There was none of this, "Hmmm? You're unfamiliar, so what are you doing here?" It was more like, "Come in! Are you hungry? Have something to eat and drink, then come dance with us."
You don't have to worry if you don't know the line dance they're doing. That's okay, just latch on. It's a great way to learn and experience the music in your body without having to be concerned with the steps. Plus I don't know how anyone could refrain from expressing this music physically especially when it is just so good.
Now I'm looking forward to attending next year (not just on Sunday), when, I hope Aravod will visit us again. You should come too, especially if they're appearing. They are all young, mannerly, very sweet, perfectly approachable and really key-oot. I can promise you a good time in happy company.
Until then, check them out online via their website, where you can read their bios, view their photos, and get a sense of them and what they're into (which is a lot). You'll also find some films of their gigs on Youtube, although they don't exactly convey the wonderful energy that emanates from the stage when they're playing. They are all modern, educated, and worldly with other diverse musical interests. Still their hearts are in their culture and it's conservation presented for us all to enjoy.
I'll say it again - finding these guys producing such fine music was a thrill for me. At a time when so much I run across is disheartening, finding such joie de vie and superb presentation celebrates life itself. And they are all young, ambitious, and exuberant and so we can look forward to many, many more years of great music performed, as it should be, with tenderness, love, respect, and completely infectious with fun. Let us revel in the happiness they bring our way and party on.