Tigran Hamasyan - Shadow Theater (2013) [Hi-Res]

We have been hearing about the young prodigy for a long time... Tigran has grown up and is now an experienced and influential artiste on the international jazz scene. After captivating musicians like Chick Corea, Avishai Cohen and Jeff Ballard with his energy and originality, Tigran has managed to conquer a new audience, bringing jazz to a new generation. At the crossover of rock, Armenian folk, metal and jazz, the 26 year old pianist proves that he has everything it takes for greatness.
“He plays piano like a raga, the next Keith Jarrett”. --Trilok Gurtu “Tigran really grabbed me, because it’s got several things going on at once. It has a really wild odd-meter thing, and this distorted, aggressive piano treatment. And the harmony is kind of jazz-fusiony.' --Brad Mehldau “A..may..zing! Now, Tigran, you are my teacher!” --Herbie Hancock
Pianist Tigran Hamasyan's Shadow Theater is an innovative convergence of composition and folk music from his birthplace in Armenia. Having performed since the age of three, gained acclaimed in Europe and won first place at the 2006 Thelonious Monk International Jazz Piano Competition, there's never been a question of his abilities. He shines in a traditional jazz trio setting in 2007's New Era (Plus Loin Music) with brothers Francois Moutin (bass) and Louis Moutin (drums) or showcasing virtuoso exploits in his 2011 solo release Fable (Verve).
With musicians that include members of the jazz-rock band Kneebody (drummer Nate Wood and saxophonist Ben Wendel) and others, Hamasyan's distinctive musicality blends jazz, European classical music and an array of influences like progressive-rock and DJ mixing. Yet the common thread is the inventive way the music balances ethnicity with a modernist verve. This propels "Erishta" via traditional melodies interlaced with electronics and beautiful vocals by talented folklorist Areni Agbabian as well as the peculiar "Drip" which mixes Armenian folk music, sampling, and groovy jazz saxophone.
The program is sprinkled with an assortment of hymns, ballads, and moving pieces such as "Lament" which juxtaposes powerful strings and tender vocals and the transcendent "Pagan Lullaby" highlighting Hamasyan on keyboard, piano, and voice. "The Court Jester" and "Road Song" are unwavering examples of writing and improvisation with their vigorous changes and odd time signatures, but equally engaging through catching melodies and Hamasyan's intrepid sense of imagination in one of the year's more memorable recordings. --Mark F. Turner, All About Jazz