Nashaz

Near Eastern-flavored jazz projects have a long history and it can be tricky to give both parts of the equation their due. Too much jazz and it can become campy; not enough and, well, then it isn't jazz. The oud though is a bit more of a jazz latecomer and its first appearance as a central jazz instrument is thought to be Ahmed Abdul-Malik's seminal Jazz Sahara (Riverside, 1958). Brian Prunka was a jazz guitarist before he played oud and although his first instrument is nowhere to be found here, Prunka makes good use of both skills on this eponymous debut from his band Nashaz.

Prunka has put together a quintet well-versed in musical hybridization. Most notable is trumpet player Kenny Warren (Slavic Soul Party, Sway Machinery), whose beautiful tone and mastery of the Middle-Eastern minor-keyed feel and microtonalities inherent to this music blends impeccably with Prunka's oud runs. Warren is so good at flowing through and infusing his music with Balkan, Middle Eastern, Spanish and probably other influences that these tunes, whose rhythms are hypnotic, take on singular character. Likewise, Nathan Herrera, who at various times plays alto saxophone, alto flute and bass clarinet, adds welcomed diversity to the soundscape. His jazzy tongue-slapping bass clarinet solos are stellar.

In addition to Prunka's oud and the melodies, it is the rhythm section that gives this music its exciting exotica. Both bassist Apostolos Sideris and percussionist George Mel are veterans of the NYC world jazz scene and, along with riq player (Arabic tambourine) Vin Scialla, they are up in the mix for a trance-like surrounding. All these tunes were written by Prunka and the comfort the band shows with them is a testament to his grasp of both musics. His oud improvisations are front and center, true to the melodic structure but infused with bluesy jazz. The best world jazz sessions marry existing world music with jazz to create something new; Nashaz does that and more.
—by Elliot Simon - The New York City Jazz Record

Nashaz is Brian Prunka on oud & compositions, Kenny Warren on trumpet, Nathan Herrera on alto sax, alto flute & bass clarinet, Apotolos Sideris on bass, Vin Scialla on riq and George Mel on frame drum, cajon, udu and assorted percussion. The oud is a pear-shaped string instrument which found in Turkish, Greek, Hebrew, Northern African and other Arab cultures. We don't often find oud players in New York, but there are a few who are members of the Downtown network (Brandon Terzic, Shanir Blumenkranz & Basya Schecter).

I got this disc from Brian Prunka a couple of months ago when he played at DMG with Sohrab Saadat Ladjevardi. I've been playing this disc quite a bit since then and am really enjoying this superb sextet. This music is often raga-like, starting slowly and mellow and organically building from there. "Hijaz Nashaz" begins with the soprano sax, trumpet and oud playiing an exotic, drifting theme together over a sly, repeating groove (frame drum & bass). I get the feeling that we are on a journey through the desert. First the oud and then the trumpet take slow, eerie and inspired solos, one note at a time, making each note count, each note is a part of a story. The theme itself sounds very familiar like a soundtrack for an Arabian tale or film. These pieces often start with just the oud, bass and one or both hand percussionists, providing a hypnotic groove which repeats over and over and has a way taking us along for the ride. There is a compelling call and response structure which flows between the two horns and the oud, back and forth, answering each other in a seamless motion.

The oud, trumpet and reeds players are all gifted soloists and take consistently strong solos throughout. The muted trumpet solo on "Andalus" sounds quite a bit like Miles, smoky and dream-like. Even bassist, Apostolos Sideris, takes a couple of fine solos as well as providing strong interaction with both percussionists. Mr. Prunka keeps things interesting by switching the roles of the players and having the other musicians finish each others lines. Although the overall mood is often laid-back the tight interaction keeps the inner flame constantly simmering.

Nashaz will be playing here at DMG on Sunday, October 6th at 6pm. Don't miss it if you're in town. —Bruce Lee Gallanter - Downtown Music Gallery

Nashaz is Brian Prunka on oud & compositions, Kenny Warren on trumpet, Nathan Herrera on alto sax, alto flute & bass clarinet, Apotolos Sideris on bass, Vin Scialla on riq and George Mel on frame drum, cajon, udu and assorted percussion. The oud is a pear-shaped string instrument which found in Turkish, Greek, Hebrew, Northern African and other Arab cultures. We don't often find oud players in New York, but there are a few who are members of the Downtown network (Brandon Terzic, Shanir Blumenkranz & Basya Schecter).

I got this disc from Brian Prunka a couple of months ago when he played at DMG with Sohrab Saadat Ladjevardi. I've been playing this disc quite a bit since then and am really enjoying this superb sextet. This music is often raga-like, starting slowly and mellow and organically building from there. "Hijaz Nashaz" begins with the soprano sax, trumpet and oud playiing an exotic, drifting theme together over a sly, repeating groove (frame drum & bass). I get the feeling that we are on a journey through the desert. First the oud and then the trumpet take slow, eerie and inspired solos, one note at a time, making each note count, each note is a part of a story. The theme itself sounds very familiar like a soundtrack for an Arabian tale or film. These pieces often start with just the oud, bass and one or both hand percussionists, providing a hypnotic groove which repeats over and over and has a way taking us along for the ride. There is a compelling call and response structure which flows between the two horns and the oud, back and forth, answering each other in a seamless motion.

The oud, trumpet and reeds players are all gifted soloists and take consistently strong solos throughout. The muted trumpet solo on "Andalus" sounds quite a bit like Miles, smoky and dream-like. Even bassist, Apostolos Sideris, takes a couple of fine solos as well as providing strong interaction with both percussionists. Mr. Prunka keeps things interesting by switching the roles of the players and having the other musicians finish each others lines. Although the overall mood is often laid-back the tight interaction keeps the inner flame constantly simmering.

Nashaz will be playing here at DMG on Sunday, October 6th at 6pm. Don't miss it if you're in town. —Bruce Lee Gallanter - Downtown Music Gallery

Brian Prunka is normally a jazz guitarist, but a chance encounter with an Egyptian cab driver led him to begin obsessively learning about Arabic music and to learn how to play the oud (a fretless lute indigenous to the region). Eventually he put together a group of jazz and Arabic players and created this program of tunes that blend the two traditions together. The music is fascinating, though most listeners will probably strain to hear the jazz elements in the mix (despite the presence of alto saxophone and trumpet). The playing is excellent throughout.

—Rick Anderson - CD Hot List (music recommendation blog)

Brian Prunka is normally a jazz guitarist, but a chance encounter with an Egyptian cab driver led him to begin obsessively learning about Arabic music and to learn how to play the oud (a fretless lute indigenous to the region). Eventually he put together a group of jazz and Arabic players and created this program of tunes that blend the two traditions together. The music is fascinating, though most listeners will probably strain to hear the jazz elements in the mix (despite the presence of alto saxophone and trumpet). The playing is excellent throughout.

—Rick Anderson - CD Hot List (music recommendation blog)

Jazz and the Near East found each other as far back as Dizzy Gillespie and Duke Ellington, but American guitarist-turned-oud player Brian Prunka takes the convergence down exciting avenues with his band, Nashaz. Their debut album opens in the traditional vein of a hypnotically rhythmic Mid-East circle dance with Prunka’s oud venturing alongside and outside the melody. Ecstasy and melancholy are the rippling veils behind the soloing trumpet and sax, and when the rhythm turns to a ’60s avant-garde pulse, Nashaz ventures into music John Coltrane would have understood.

—David Luhrssen
- Shepherd Express

With the current reissues a foot of jazz meets Arab music in the 60s, how timely it is that a bunch of young bloods has discovered the same route now. Sounding like hash house belly dance music from the souks, this isn't as strange as the stuff from the 60s that no one what to do with except smoke hash to, this is some wild, engaging stuff that simply clicks. Certainly a must for ears looking to color outside the lines, set your magic carpets for take off. - Midwest Record — Entertainment reviews, news and views

With the current reissues a foot of jazz meets Arab music in the 60s, how timely it is that a bunch of young bloods has discovered the same route now. Sounding like hash house belly dance music from the souks, this isn't as strange as the stuff from the 60s that no one what to do with except smoke hash to, this is some wild, engaging stuff that simply clicks. Certainly a must for ears looking to color outside the lines, set your magic carpets for take off. - Midwest Record — Entertainment reviews, news and views

This is my new go-to disc when I want an hour of mellow instrumental music -- which is quite often. From the cover you'd think "Arabic," and it does have the Arabo-Andalusian sound, with lute and the little ceramic hand drums, even some Arabic-sounding flutes, but there are also what I would classify as jazz musicians on here playing sax and trumpet. And Arabic modes (the maqam) lend themselves well to freeform improvisation on brass. Nashaz is the brainchild of Brian Prunka, a guitarist who heard the oud and was hooked. (The story is an Egyptian taxi driver in New Orleans told him he ought to check it out!) I have to confess I really don't like jazz guitar. I don't mean Django or the early guys, but post-Charlie Christian jazz guitar turns me off. The oud on the other hand I can take in any quantity. Early on (before we even knew we were listening to "world music") I got Hamza El Din's brilliant album, Escalay: the Water Wheel (Nonesuch, 1971), and later on I discovered he lived in Berkeley (a lot easier on the constitution than Sudan) so I got to hear him perform in intimate small settings. Prunka studied with Simon Shaheen and moved to Brooklyn (from New Orleans) to pursue his music. The name of the group is an in-joke as "Nashaz" is Arabic for discordant or out-of-tune. Kenny Warren on trumpet has played with Slavic Soul Party and has studied Balkan and Turkish music before getting into the maqam mode. He does those little Milesian squeaks, then pops in the mute for a sustained out-breath. Nathan Herrera on alto sax, flute and bass clarinet has studied Indian as well as Macedonian music, he brings a great ear to the session -- I dig his warm bass clarinet sound a lot. Apostolis Sideris on the bass is the Greek contingent (No, it's not the Mothers of Invention: no Jimmy Carl Black!). George Mel on percussion is a jazz drummer from Tbilsi, and Vin Scialla, who is also listed as percussionist, is another jazz and world music guy with a track record. So they have a wide range of backgrounds and a focus on this mode that is exciting and really works as jazz or Arabic music, wherever you fancy filing it. It's got under my skin: I am eating cucumber salad and drinking mint tea!

—by Alastair Johnston - Muzikifan (music blog)

This is my new go-to disc when I want an hour of mellow instrumental music -- which is quite often. From the cover you'd think "Arabic," and it does have the Arabo-Andalusian sound, with lute and the little ceramic hand drums, even some Arabic-sounding flutes, but there are also what I would classify as jazz musicians on here playing sax and trumpet. And Arabic modes (the maqam) lend themselves well to freeform improvisation on brass. Nashaz is the brainchild of Brian Prunka, a guitarist who heard the oud and was hooked. (The story is an Egyptian taxi driver in New Orleans told him he ought to check it out!) I have to confess I really don't like jazz guitar. I don't mean Django or the early guys, but post-Charlie Christian jazz guitar turns me off. The oud on the other hand I can take in any quantity. Early on (before we even knew we were listening to "world music") I got Hamza El Din's brilliant album, Escalay: the Water Wheel (Nonesuch, 1971), and later on I discovered he lived in Berkeley (a lot easier on the constitution than Sudan) so I got to hear him perform in intimate small settings. Prunka studied with Simon Shaheen and moved to Brooklyn (from New Orleans) to pursue his music. The name of the group is an in-joke as "Nashaz" is Arabic for discordant or out-of-tune. Kenny Warren on trumpet has played with Slavic Soul Party and has studied Balkan and Turkish music before getting into the maqam mode. He does those little Milesian squeaks, then pops in the mute for a sustained out-breath. Nathan Herrera on alto sax, flute and bass clarinet has studied Indian as well as Macedonian music, he brings a great ear to the session -- I dig his warm bass clarinet sound a lot. Apostolis Sideris on the bass is the Greek contingent (No, it's not the Mothers of Invention: no Jimmy Carl Black!). George Mel on percussion is a jazz drummer from Tbilsi, and Vin Scialla, who is also listed as percussionist, is another jazz and world music guy with a track record. So they have a wide range of backgrounds and a focus on this mode that is exciting and really works as jazz or Arabic music, wherever you fancy filing it. It's got under my skin: I am eating cucumber salad and drinking mint tea!

—by Alastair Johnston - Muzikifan (music blog)

Many musicians in the Middle East—be it Lebanon, or Egypt or Jordan—play jazz and oud with a westernized sound, that is so they can blend in with the western instruments like the trumpet or Sax. In this album, Brian plays Arabic Oud, and the trumpet, flutes, and sax follow his lead and blend in with the Arabic sound; the bass, frame drum and Arabic tambourine (riqq) all round out this great band. I think this is one the best new Arabic Jazz CD's I have heard in 10 years—if you enjoyed Simon Shaheen's Blue Flame, or any of Rabih Abou-Khalil's CD's I know you will like this one too.

—Ray Rashid - Rashid Music — America's largest distributor of Arabic music since 1934

Many musicians in the Middle East—be it Lebanon, or Egypt or Jordan—play jazz and oud with a westernized sound, that is so they can blend in with the western instruments like the trumpet or Sax. In this album, Brian plays Arabic Oud, and the trumpet, flutes, and sax follow his lead and blend in with the Arabic sound; the bass, frame drum and Arabic tambourine (riqq) all round out this great band. I think this is one the best new Arabic Jazz CD's I have heard in 10 years—if you enjoyed Simon Shaheen's Blue Flame, or any of Rabih Abou-Khalil's CD's I know you will like this one too.

—Ray Rashid - Rashid Music — America's largest distributor of Arabic music since 1934

It’s not every day that a jazz album lists the oud as one of the primary instruments… even rarer when it’s the lead instrument. But on the self-titled debut of the sextet Nashaz, oudist Brian Prunka fuses together Jazz and Arabic music for a recording that sounds unlike anything else while retaining a tunefulness that makes this music as listenable as it is engaging.

By utilizing the music theory of maqam, an approach typical to traditional Arabic music, Nashaz is able to build songs around strong melodies that serve as a launching pad for improvisation. The result is a collection of complex songs that offer up melodies that are both memorable and easy to hum along to.

Your album personnel: Brian Prunka (oud), Kenny Warren (trumpet), Nathan Herrera (alto sax, bass clarinet, alto flute), Apostolos Sideris (bass), George Mel (frame drum, udu drum, cajon, pandeiro & misc. percussion), and Vin Scialla (riq).

This is music that rarely is at rest, and the fluidity of its motion is akin to a form of hypnosis. The casual propulsion of album opener “Hijaz Nashaz” is niftily counterbalanced by Prunka’s furtive oud solo, giving the sense of moving swiftly from the comfort of one’s own chair.

Some tracks, like “Qassabji’s Nightmare,” allow Prunka the opportunity to showcase the oud’s ability to establish a brisk pace and stay out front of the rhythm section. On the other hand, album track “Andalus” has a gentle swaying motion that serves as the perfect vehicle for trumpeter Warren to skim the surface with a solo that smoulders like moonlight.

An element that repeats to great effect throughout the album is the rhythmic bonding that occurs between Sideris’s bass, Scialla’s riq, and Mel’s percussion. The differentiation of their motions is evident, yet the synchronization between the three emits a sound in unison, even when separated by the distance of solos. It is not unlike different gears in different stopwatches acting in concert, and apart from their immediate spheres of influence… something communal.

Herrera has some nice moments on sax and flute, but it’s when he contributes bass clarinet darkness to contrast with oud’s bright shimmering lights that one of the more remarkable aspects of this album’s personality is revealed. And interplay aside, on “Al-Ghayb,” Herrera shows that bass clarinet works just as effectively here on a solo as it does in cohesion with the other moving parts.

The album ends with the buoyant “Ajam,” a song that skips happily along, spurred on by strong contributions from Prunka on oud and Herrera on alto sax. It’s one of those tunes that would be a great choice for closing out a live show, providing plenty of jumping off points for solos and group interplay. At just under six minutes, it’s too brief, and almost certainly will leave the listener wanting more.

And that, really, is about the best way one could bring the curtain down on a recording.

One of the more curious albums I’ve heard this year. Highly recommended.

—Dave Sumner - Bird Is the Worm - Searching for new jazz where no one looks (blog)

It’s not every day that a jazz album lists the oud as one of the primary instruments… even rarer when it’s the lead instrument. But on the self-titled debut of the sextet Nashaz, oudist Brian Prunka fuses together Jazz and Arabic music for a recording that sounds unlike anything else while retaining a tunefulness that makes this music as listenable as it is engaging.

By utilizing the music theory of maqam, an approach typical to traditional Arabic music, Nashaz is able to build songs around strong melodies that serve as a launching pad for improvisation. The result is a collection of complex songs that offer up melodies that are both memorable and easy to hum along to.

Your album personnel: Brian Prunka (oud), Kenny Warren (trumpet), Nathan Herrera (alto sax, bass clarinet, alto flute), Apostolos Sideris (bass), George Mel (frame drum, udu drum, cajon, pandeiro & misc. percussion), and Vin Scialla (riq).

This is music that rarely is at rest, and the fluidity of its motion is akin to a form of hypnosis. The casual propulsion of album opener “Hijaz Nashaz” is niftily counterbalanced by Prunka’s furtive oud solo, giving the sense of moving swiftly from the comfort of one’s own chair.

Some tracks, like “Qassabji’s Nightmare,” allow Prunka the opportunity to showcase the oud’s ability to establish a brisk pace and stay out front of the rhythm section. On the other hand, album track “Andalus” has a gentle swaying motion that serves as the perfect vehicle for trumpeter Warren to skim the surface with a solo that smoulders like moonlight.

An element that repeats to great effect throughout the album is the rhythmic bonding that occurs between Sideris’s bass, Scialla’s riq, and Mel’s percussion. The differentiation of their motions is evident, yet the synchronization between the three emits a sound in unison, even when separated by the distance of solos. It is not unlike different gears in different stopwatches acting in concert, and apart from their immediate spheres of influence… something communal.

Herrera has some nice moments on sax and flute, but it’s when he contributes bass clarinet darkness to contrast with oud’s bright shimmering lights that one of the more remarkable aspects of this album’s personality is revealed. And interplay aside, on “Al-Ghayb,” Herrera shows that bass clarinet works just as effectively here on a solo as it does in cohesion with the other moving parts.

The album ends with the buoyant “Ajam,” a song that skips happily along, spurred on by strong contributions from Prunka on oud and Herrera on alto sax. It’s one of those tunes that would be a great choice for closing out a live show, providing plenty of jumping off points for solos and group interplay. At just under six minutes, it’s too brief, and almost certainly will leave the listener wanting more.

And that, really, is about the best way one could bring the curtain down on a recording.

One of the more curious albums I’ve heard this year. Highly recommended.

—Dave Sumner - Bird Is the Worm - Searching for new jazz where no one looks (blog)

In the realm of Persian / Arabic maqam, people like Rabih Abou-Khalil and Simon Shaheen kicked open a door that once open, will never close. I speak, of course, of the introduction of elements of jazz into maqam. Nashaz has taken up the gauntlet on this and run with it.

Nashaz-group-medNashaz is Brian Punka (oud), Kenny Warren (trumpet), Nathan Herrera (alto saxophone, alto flute, bass clarinet), Apostolos Sideris (bass), Vin Scialla (riq), and George Mel (percussion).

The first track, “Hijaz Nashaz,” begins by jumping into a very eastern composition. The improvisations are interesting. The oud is lyrical and poetic as if one is listening to an elderly man humorously impart words of hard earned wisdom. The trumpet’s musical exploration of the piece can best be described as conversational.

They continue with “Khartoum” with a bass line that begins as a watery flow and solidifies into a quasi-Moroccan groove. The oud and horns weave around each other like whirling wind. Toward the end, the horns lead the music out of its maqam environment into a jazz realm, and they walk away into the distance.

This would not be the first time the horns gently lead the music into the world of jazz. Yet, while they went quite a ways “out” on occasion, the integrity and inner meaning of the music never suffered.

Other pieces of the collection possess very interesting qualities. “Andalus” which is sad and melancholy, but not without optimism and hope. The trumpet solo, however, seems an introspection in to the cause of the sadness, rather than merely experiencing it; as if to say “I want to know why.” It fades in an indistinct and unresolved manner. “Qassabji’s Nightmare” was interesting in that the horns, veering into “jazz-land” seems to attempt to recreate the nightmare itself. “Al-Ghayb,” which means “The Unseen” an Islamic reference to the world / realm of the spirits, was particularly well suited to the title’s meaning.

The CD is very well produced. The sound of the oud is particularly beautiful; earthy, yet not dull, crisp and colourfully defined. The way it is mixed invokes a sense of space and dimension not unlike being in the room with the musicians. Recorded music is always hard pressed to create this illusion (as many people exploit the possibility within recording technology to create acoustic environments that cannot exist in nature.

One of the most obvious (or perhaps not obvious unless you look for it) facts is that none of these musicians are of Arab, Persian, or Turkish ancestry (although I’m guessing Sideris is Greek,,,). Yet there is an authenticity of this music that can only come with an intimate experience of its tradition and culture. An impressive accomplishment.

—By Dawoud Kringle - DooBeeDooBeeDoo - Cross-Cultural Online Magazine

In the realm of Persian / Arabic maqam, people like Rabih Abou-Khalil and Simon Shaheen kicked open a door that once open, will never close. I speak, of course, of the introduction of elements of jazz into maqam. Nashaz has taken up the gauntlet on this and run with it.

Nashaz-group-medNashaz is Brian Punka (oud), Kenny Warren (trumpet), Nathan Herrera (alto saxophone, alto flute, bass clarinet), Apostolos Sideris (bass), Vin Scialla (riq), and George Mel (percussion).

The first track, “Hijaz Nashaz,” begins by jumping into a very eastern composition. The improvisations are interesting. The oud is lyrical and poetic as if one is listening to an elderly man humorously impart words of hard earned wisdom. The trumpet’s musical exploration of the piece can best be described as conversational.

They continue with “Khartoum” with a bass line that begins as a watery flow and solidifies into a quasi-Moroccan groove. The oud and horns weave around each other like whirling wind. Toward the end, the horns lead the music out of its maqam environment into a jazz realm, and they walk away into the distance.

This would not be the first time the horns gently lead the music into the world of jazz. Yet, while they went quite a ways “out” on occasion, the integrity and inner meaning of the music never suffered.

Other pieces of the collection possess very interesting qualities. “Andalus” which is sad and melancholy, but not without optimism and hope. The trumpet solo, however, seems an introspection in to the cause of the sadness, rather than merely experiencing it; as if to say “I want to know why.” It fades in an indistinct and unresolved manner. “Qassabji’s Nightmare” was interesting in that the horns, veering into “jazz-land” seems to attempt to recreate the nightmare itself. “Al-Ghayb,” which means “The Unseen” an Islamic reference to the world / realm of the spirits, was particularly well suited to the title’s meaning.

The CD is very well produced. The sound of the oud is particularly beautiful; earthy, yet not dull, crisp and colourfully defined. The way it is mixed invokes a sense of space and dimension not unlike being in the room with the musicians. Recorded music is always hard pressed to create this illusion (as many people exploit the possibility within recording technology to create acoustic environments that cannot exist in nature.

One of the most obvious (or perhaps not obvious unless you look for it) facts is that none of these musicians are of Arab, Persian, or Turkish ancestry (although I’m guessing Sideris is Greek,,,). Yet there is an authenticity of this music that can only come with an intimate experience of its tradition and culture. An impressive accomplishment.

—By Dawoud Kringle - DooBeeDooBeeDoo - Cross-Cultural Online Magazine