Baklava Express

SABABA

 Self-released

Baklava Express is all about fusion music, but not the kind you expect. Their music is a blend of ancient Mediterranean and Middle Eastern sounds, both ancient and modern. SABABA is the band’s second release, and now that the members have been playing together for three years, they are both a tighter ensemble and one that feels far freer to improvise. The instrumentation is rare. Group leader and composer Josh Kaye plays the oud. Daisy Castro, a gypsy jazz veteran and bandleader herself, plays violin and cello. Eren Erdogan plays ney and kaval, flutes from ancient and modern traditions stretching from Egypt to the Balkans. Lefteris Bournias is on clarinet, James Lambrosse on guitar, James Robbins on bass, and Jeremy Smith on percussion.

To be clear, Baklava Express is not a traditional music band but one that plays original music influenced by these traditions. Kaye is a Jewish New Yorker, formerly a guitarist who developed a fascination with the oud. He developed his music and sound by playing with kindred spirits in Brooklyn. He says, “…My exposure to traditional Jewish music is almost entirely within the context of synagogue and religious ceremony. Even at parties, the songs are themselves religious. The Arab, Turkish, and Armenian influences come from secular contemporary music and party music.”  Simply put, there is a neighborhood or community feel to the music.

The opener, “Nistar,” certainly qualifies as “party music” with its relentless beats and swirling instrumentation. Immediately, the band draws the listener into a vibrant sound. Castro’s violin soars with the melody, especially in the middle section, while the other instruments strike the infectious rhythm. The title track maintains the vigorous tempo with the oud and woodwinds becoming more prominent. The pivotal track may well be “White Sauce Hot Sauce,” dedicated to a street cart, a halal cart in the mostly Arab neighborhood where Kaye used to live. It’s dedicated to that community, to the diaspora of Arabic-speaking people in Brooklyn. The rhythmic motif, in another context, is the kind of riffing that Keith Richards made famous. Smith’s percussion, Kaye’s oud, Castro’s violin, and the woodwinds form the perfect soundtrack for a block party.

The influences stretch wide. Flamenco clapping imbues “Adieu Henry,” as Smith shows his skill as an in-demand flamenco percussionist.  While most of these tracks have a danceable, stomping vibe, Baklava Express tamps it down slightly in the gorgeous “Herding the Wind,” allowing their lyrical sensibilities to shine. They return to their lively demeanor in “A Very Narrow Bridge,” which draws on the Estern Euopean Ashkenza Jewish musical tradition. Kaye’s oud playing is on prime display in “Salt and Paprika,” yet his guitar background weighs heavily in the surprising closer “Begin Again.” The tune begins as a wistful Turkish-like ballad, but midway through it becomes a slow rock song, tracing to Kaye’s background in rock and metal bands.

Granted, this music is off the beaten path from most of the music our readers listen to. However, give it a try. It’s arguably as infectious and moving as any conventional music you typically gravitate to.

• Jim Hynes

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