Pianist André Manoukian is set to release his latest album,”la Sultane,” on October 10,2025,a work that invigorates Jazz music through the incorporation of captivating oriental rhythms. The artist, known for his explorations of Armenian roots, will also grace the stage at the Salle Pleyel in Paris on March 28, 2026.
A Musical Journey Through Heritage
Table of Contents
- 1. A Musical Journey Through Heritage
- 2. Literary and Cinematic Inspirations
- 3. The Spark of Jazz
- 4. Embracing Armenian Identity
- 5. Orient and West: A Harmonious Blend
- 6. The Power of Language and Melody
- 7. influences and continuities
- 8. The Enduring Appeal of Jazz Fusion
- 9. Frequently Asked Questions about André Manoukian and “La Sultane”
- 10. How did 19th-century colonialism influence the appropriation of musical elements from the “Orient” in Western compositions?
- 11. De-Orientalizing Western Music: A Ancient Journey of Cultural Detachment
- 12. The early Allure: orientalism in 19th-Century Composition
- 13. The Impact of Colonialism and Ethnomusicology
- 14. 20th-Century Shifts: From Appropriation to Engagement
- 15. Case Study: Messiaen and Non-Western Scales
- 16. The Ongoing Process of De-Orientalization
- 17. Benefits of De-Orientalization
André Manoukian, a familiar face from the early 2000s television show nouvelle Star, has consistently demonstrated a profound passion for Jazz as a composer and pianist. Over five albums, he has delved into his Armenian heritage, seamlessly weaving oriental sounds into his compositions. His previous album, Anouch (2022), was a poignant dedication to his grandmother, a survivor of the Armenian genocide.
“La Sultane,” a term of endearment used by Armenian mothers for their daughters, continues this musical exploration, transporting listeners from the Caucasus to the Middle East, with stops in vienna and Spain. Manoukian recently shared insights into his artistic influences and preferences.
Literary and Cinematic Inspirations
When questioned about a formative book from his youth,manoukian cited Michel Tournier’s Friday or the Limbos of the pacific (1967). He recalled a passionate French teacher introducing him to the novel, an initiatory tale of Robinson Crusoe’s spiritual awakening. Manoukian described how the story illustrates a journey from being subjugated by nature to mastering it,ultimately leading to a desire for a life of sensory pleasure.
He also expressed a deep connection to Federico Fellini’s Eight and a Half (1963), a film he returns to often. Manoukian identified with the film’s portrayal of a creator’s chaotic inner world, noting the powerful impact of the music composed by Nino Rota and the captivating presence of Claudia Cardinale.
He reflected on the overwhelming choices available through streaming platforms, finding solace in revisiting specific scenes from films like Fellini’s masterpiece. He likened the vast sea of available sounds to an expansive palette, cautioning against creative paralysis and emphasizing the importance of focused selection, referencing Gilles Deleuze’s analogy of the tick and its selective sensory processing.
The Spark of Jazz
Manoukian recounted his first professional Jazz experience at age 19 in Lyon, describing an immediate visceral reaction to the music – a sensation he hasn’t fully replicated as. He also remembered his initial encounter with Jazz at the age of 13,when discovering Fats waller,whom he described as “Johann Sebastian Bach with rhythm,” a truly transformative experience.Before that,his home life was filled with the sounds of Beethoven and Sheila.
Embracing Armenian Identity
Manoukian explained that his intentional exploration of Armenian music stemmed from a shift in perspective. Initially distanced from his heritage, he was prompted to reconnect during his involvement in Marie-Claire Margossian’s 2007 documentary, Armenia, the other face of a diaspora. The experience led him to rediscover a lullaby sung by his grandmother, sparking a deeper exploration of his roots and an effort to restore the piano to a central place in Armenian musical expression. He views Jazz itself as a music born of exile, creating a natural synergy with his Armenian musical journey.
Orient and West: A Harmonious Blend
Manoukian’s artistic vision extends beyond the geographical boundaries of the Orient and the West. He highlighted how Vienna historically served as a gateway between cultures, influencing composers like Mozart. He also noted the presence of oriental influences in classical music, traceable back to Gregorian chants and the long-standing interaction between Eastern and Western musical traditions. He believes that incorporating “ethnic spices” enhances Jazz, citing artists like Ibrahim Maalouf and Avishai Cohen as examples.
The Power of Language and Melody
The song “Oror,” a lullaby in the Armenian language, holds a special significance for Manoukian. He learned the language from his grandmother and,even though he no longer speaks fluently,it remains deeply connected to his identity. He praised the striking voice of singer Arpi Alto, describing it as soothing and emotionally resonant. He pointed out that the emotional impact of the song transcended linguistic barriers, captivating audiences even without understanding the lyrics.
influences and continuities
Manoukian acknowledged the influence of Igor Stravinsky’s “The Rite of Spring” on “La Sultane”, while also drawing connections to the impressionistic works of Claude Debussy, but with a more vibrant and joyous tone. He describes the contribution of oriental impressionism as inspiring. He also emphasized the importance of embracing simplicity and avoiding over-intellectualization in the creative process.
“La Sultane” will be available on October 10, 2025.
The Enduring Appeal of Jazz Fusion
Jazz fusion, the blending of Jazz with other musical genres, has a rich history dating back to the late 1960s. Artists like Miles Davis, with his groundbreaking album “Bitches Brew” (1970), pioneered this sound, and it continues to evolve today.
| Artist | Album | Year |
|---|---|---|
| Miles davis | Bitches Brew | 1970 |
| Weather Report | Heavy Weather | 1977 |
| Mahavishnu Orchestra | The Inner Mounting Flame | 1971 |
Did You Know? According to a 2023 report by the National Endowment for the Arts, Jazz remains a significant part of the American musical landscape, with approximately 8.2% of US adults attending a Jazz performance or listening to Jazz recordings in the past year.
Frequently Asked Questions about André Manoukian and “La Sultane”
- What is the main theme of André Manoukian’s album “La Sultane”? It explores the fusion of Jazz with oriental rhythms and Manoukian’s Armenian heritage.
- Who is André manoukian? He is a pianist, composer, and former television personality known for his exploration of Jazz and Armenian musical traditions.
- What inspired Manoukian to explore his Armenian roots? His involvement in a documentary about the Armenian diaspora sparked a reconnection with his heritage and its musical traditions.
- Which artists does Manoukian cite as influences? He draws inspiration from Michel Tournier, Federico Fellini, Fats Waller, and composers like debussy and Ravel, among others.
- When and where will Manoukian perform live? He will be performing at the Salle pleyel in Paris on March 28, 2026.
- What is the significance of the title “La Sultane”? It’s an affectionate nickname armenian mothers use for their daughters, symbolizing a continuation of his musical research.
- How does Manoukian approach blending different musical styles? By selecting a small number of key sounds and focusing on creating an organic, emotionally resonant experience.
What are your thoughts on the blending of Jazz with world music traditions? Share your comments below and let us know your favorite Jazz fusion artists!
How did 19th-century colonialism influence the appropriation of musical elements from the “Orient” in Western compositions?
De-Orientalizing Western Music: A Ancient Journey of Cultural Detachment
The early Allure: orientalism in 19th-Century Composition
The 19th century witnessed a meaningful fascination with the “Orient” – a broadly defined region encompassing the Middle East, North Africa, and Asia – within Western artistic circles. This fascination, heavily influenced by colonialism and romanticized perceptions, manifested powerfully in Western music. Composers, driven by exoticism and a desire for novelty, began incorporating musical elements perceived as “Eastern.” This wasn’t genuine cultural exchange, but rather a selective appropriation, frequently enough based on superficial understanding and fueled by Orientalist tropes.
* Early Examples: Berlioz’s Hungarian March (from The Damnation of Faust) and early works by composers like Félicien David, who spent time in North Africa, exemplify this trend. These pieces often utilized scales and melodic contours believed to be characteristic of Eastern music, but were largely Western interpretations.
* Instrumentation & Harmony: The use of instruments like the cimbalom,Turkish percussion,and altered harmonies aimed to evoke a sense of the “exotic.” However,these elements were frequently integrated into fundamentally Western harmonic structures.
* The Rise of “Turkish Music”: A specific subgenre emerged, imitating what Europeans thought turkish music sounded like. Mozart’s Rondo alla turca is a famous example, showcasing a style more reflective of European imagination than authentic Ottoman musical traditions. Exoticism in music became a popular trend.
The Impact of Colonialism and Ethnomusicology
The height of European colonialism directly impacted the flow – or rather, the misrepresentation – of musical ideas. Colonial powers actively collected and documented music from colonized regions, but this documentation was often filtered through a colonial lens. Early ethnomusicology, while intending to study music in its cultural context, was often complicit in reinforcing Orientalist biases.
- Power Dynamics: The act of “collecting” music inherently established a power dynamic, positioning Western scholars as authorities and Eastern musicians as subjects.
- Selective Representation: Music deemed “primitive” or “captivating” by Western standards was prioritized, while more complex or nuanced traditions were overlooked.
- Transcription Challenges: Transcribing non-Western music into Western notation proved problematic, often resulting in distortions and simplifications. This led to inaccurate representations of customary music and its complexities.
20th-Century Shifts: From Appropriation to Engagement
The 20th century saw a gradual shift, though not a complete break, from outright appropriation to more nuanced engagement with non-Western musical traditions.Several factors contributed to this change:
* Increased Travel & Cultural Exchange: Greater accessibility to different parts of the world allowed composers to experience music firsthand, moving beyond secondhand accounts.
* The Influence of Non-Western Musicians: The emergence of prominent musicians from non-Western backgrounds, performing and recording their own music, challenged Western dominance in the musical landscape. Ravi Shankar’s collaborations with George Harrison, for example, brought Indian classical music to a global audience.
* Postcolonial Theory: The rise of postcolonial thought critiqued the power imbalances inherent in Orientalism, prompting a re-evaluation of Western representations of the “Other.” Postcolonial music studies became a growing field.
Case Study: Messiaen and Non-Western Scales
Olivier Messiaen, a prominent 20th-century composer, is a complex case study. He actively sought inspiration from non-Western musical systems,notably Indian and Greek modes. Though, his approach was frequently enough characterized by a selective borrowing of scales and rhythmic patterns, rather than a deep engagement with the cultural context.
* Modes of Limited Transposition: Messiaen’s use of “modes of limited transposition” – scales derived from Indian ragas and Arabic maqams – demonstrates his fascination with non-Western melodic structures.
* Critiques of Appropriation: While Messiaen acknowledged his sources, critics argue that his integration of these elements often lacked a genuine understanding of their cultural importance. He was accused of musical borrowing without sufficient contextualization.
* A Step towards Dialogue?: Despite the critiques, Messiaen’s work arguably opened a dialogue between Western and non-Western musical traditions, paving the way for more respectful and informed collaborations.
The Ongoing Process of De-Orientalization
De-Orientalizing Western music isn’t a completed task, but an ongoing process. it requires:
* Critical Self-reflection: Western musicians and scholars must critically examine their own biases and assumptions when engaging with non-Western music.
* Collaboration & Reciprocity: Genuine cultural exchange requires collaboration with musicians from the cultures being represented, ensuring reciprocity and mutual respect.
* Contextualization & Historical Awareness: Understanding the historical and political context of musical traditions is crucial to avoid perpetuating harmful stereotypes. Cultural sensitivity in music is paramount.
* Promoting Diverse Voices: Actively supporting and amplifying the voices of musicians from underrepresented backgrounds is essential to create a more inclusive and equitable musical landscape.
Benefits of De-Orientalization
* Enhanced creativity: Moving beyond stereotypical representations unlocks new creative possibilities.
* Greater Authenticity: Genuine engagement with diverse musical traditions leads to more authentic and meaningful compositions.
* Improved Cultural Understanding: De
