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YESSAÏ is the sweeping debut album from Armenian-French pianist and composer Yessaï Karapetian. The bandleader arrives in full force, after strong showings on Guillaume Perret’s “A Certain Trip” (for which he won a Downbeat Student Music Award for Best Soloist) and ONEFOOT’s “Mektonized”. Over the course of nine original compositions, Karapetian is riveting, playing with astonishing virtuosity and spirit. He is matched by a stellar band, anchored by bassist Marc Karapetian (the bandleader’s brother, himself a force, recently recording and touring with Tigran Hamasyan), drummer Théo Moutou, guitarist Gabriel Gosse, and saxophonist Mounir Sefsouf. The group traces its roots back to the Paris Conservatory, and the camaraderie shows.
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The first single, “Doppelganger10” is a weaving composition, somewhere between Christian Scott, Radiohead, and Sébastien Tellier. Here, Karapetian demonstrates his vision for the sound of the album. Saxophonist Mounir Sefsouf and guitarist Gabriel Gosse carry the melody - flowing, wistful. But the real story is in between, in a series of fiery interludes led by Karapetian himself. Though he saves the technical fireworks for other songs, particularly “TI(M)ES” (which earned him a Downbeat Student Music Award for Best Original Composition), his trademark intensity is on full display. Gosse (known for his work with French artists Phillipe Katerine and Eddie de Pretto, as well as recent appearances with Christian Scott) solos, bringing the piece to its powerful climax.
First played with ONEFOOT, “Invisible Moon” is a powerful, shifting composition, at times dark, at others undoubtedly triumphant. As with much of Karapetian’s music, it leaves you feeling many things all at once. “The melody was me imagining what Thom York would sing on these chords,” which on repeated listens, comes as no surprise. The band, building gradually, takes off under a powerful solo by altoist Sefsouf – one of many high points on the record.
“Dernier Madrigal” is a fitting end to the album. Anthemic and lush, the piece was originally performed with a symphonic orchestra – although the arrangement here leaves nothing wanting. The melody, hopeful and honest, soars as it emerges from a beautiful solo by Karapetian. Here, the band is at its peak, almost astonishing in the purpose they bring to what is just a few notes. After a weaving album, often without absolutes, it is a remarkable display of clarity.
Kyudo Records
2022