Dharma Down, Owl Dreams Review
by Jeff Becker
On their debut album, Owl Dreams, Dharma Down delves into a space where modern jazz and ancient Arabic traditions coexist in an exquisite dialogue. The ensemble—Mike Effenberger (piano), Duncan Hardy (alto saxophone, qanun), Scott Kiefner (upright bass), and John Mettam (drums)—comprises some of New England’s finest musicians, each bringing an impressive range of influences to the table. What emerges is a sound that defies easy categorization, blending jazz, classical Arabic maqam scales, and rhythmic motifs into a seamless and immersive journey.
Opening with “Jalla Man,” Dharma Down sets the tone for the album with an intricate conversation between jazz harmony and Arabic modality. Mettam and Kiefner establish a groove grounded in jazz, but as Hardy’s qanun takes the lead, the music shifts into a distinct maqam-inflected landscape. This instrumental interplay highlights one of the album’s core strengths: honoring jazz and Arabic traditions without compromising their authenticity. Hardy’s qanun solo, in particular, demonstrates the expressive power of the instrument in a modern jazz context, allowing it to weave through harmonic shifts with agility while maintaining its microtonal richness.
The exploration continues with “Bubu Jinn,” where the ensemble strikes a delicate balance between Hardy’s Middle Eastern modal approach and the rhythmic vitality of jazz. Hardy’s saxophone solo brings playful melodic chord superimpositions over a droning figure, a technique often found in Arabic music, where improvisation dances around a steady, anchored drone. The contrast between the saxophone’s fluidity and the rhythm section’s grounded pulse offers delightful tension, creating a fusion that sounds fresh and invites deeper listening.
“Baghdad” continues the ensemble engagement with Arabic influences. Kiefner’s woody bass sets a percussive groove that immediately transports the listener to a sonic landscape reminiscent of classical Arabic folk music. Hardy’s saxophone, underpinned by Mettam’s delicate brushwork, delivers a melody that feels as much a part of the maqam tradition as it does contemporary jazz. The counterpoint between Hardy and Effenberger in the middle of the track exemplifies the beauty of cross-cultural exchange—Hardy’s elongated, flowing lines playing off Effenberger’s quicksilver piano motifs evoke the natural tension and harmony between the two genres.
In “Tadafuq,” Dharma Down stretches the boundaries of jazz and classical Arabic fusion. The looping drum and bass figure lays the foundation for Hardy’s dual performance on saxophone and qanun. The juxtaposition of these two instruments—one firmly rooted in Western jazz, the other in Eastern classical traditions—creates a rich tapestry of sound that feels both exotic and familiar. Effenberger’s piano solo is a highlight here, his imaginative use of harmonic color and rhythmic displacement subtly nodding to Arabic influences while still operating within a jazz framework.
As the album progresses, tracks like “A Murder of Cheerleaders” and “Jurjina” further cement Dharma Down’s identity as boundary-pushers within the world jazz genre. The former opens with a dense counterpoint of sounds, Kiefner’s bowed bass adding a haunting pedal tone to some sections that anchor the ensemble’s explorations. The Arabic influences shine through in the melodic lines, especially during the improvisational moments, where the maqam’s microtonal inflections peek through the jazz harmonies. “Jurjina,” with its Latin jazz-inspired rhythms, showcases the ensemble’s versatility, with a majestic tutti section that leans into classical Arabic rhythmic structures, delivering a breathtaking blend of East and West.
The album concludes with “Thoughts and Prayers,” a reflective and atmospheric ballad. Each player contributes layers of texture, creating a delicate web of contrapuntal lines that drift in and out of focus, much like the improvisatory spirit of Arabic music. There’s a sense of completion here, as if the musical journey has come full circle, leaving the listener with a feeling of having traveled through a rich experience of cultures, melodies, and traditions.
Owl Dreams is a compelling debut, a cross-cultural fusion that immerses us fully in the worlds it draws from. Dharma Down manages to maintain the integrity of jazz and Arabic music, creating a sound that is as exploratory as it is reverent. The album is a meeting point of traditions that flow in a conversation—a give-and-take between East and West, ancient and modern, tradition and innovation. And in that conversation, Dharma Down finds its unique voice.
This is an ensemble to watch closely. Their ability to fluidly navigate between genres while maintaining a strong sense of identity suggests that their musical journey is just beginning. Owl Dreams is a must-listen for those who appreciate the endless possibilities of world jazz and the beauty of cross-cultural fusion.
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