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Michael Sarian – trumpet, flugelhorn
Santiago Leibson – piano, rhodes, minimoog
Marty Kenney – bass
Nathan Ellman-Bell – drums
Camila Meza – guitar, voice (track 5)

Living at the End of the World is trumpeter/composer Michael Sarian’s follow-up to his 2020 acclaimed album New Aurora. Inspired by trumpet greats such as Tomasz Stańko, Enrico Rava, and legendary Armenian-American drummer Paul Motian, it marks the trumpeter’s second foray into a style that explores the intersections between composed music and spontaneous creation, negotiating melodies and harmonies with free improvisation. Joining him on this journey are longtime collaborators, pianist Santiago Leibson, bassist Marty Kenney, drummer Nathan Ellman-Bell, and the acclaimed Chilean guitarist, vocalist, and composer, Camila Meza, who lends her artistry on “Cinta Marina.”

Developed during much of 2020 and into 2021, the initial inspiration for Living at the End of the World came (as it had for the initial track on New Aurora) from Japanese author Haruki Murakami. In this case in his book, Hard-Boiled Wonderland and the End of the World, wherein the main character spends half of the novel in a town called ‘The End of the World’. Sarian was deeply engrossed in this book during March and April of 2020 as the world was seemingly ending, giving the trumpeter a different perspective on what the end of the world could be. “Instead of the world as we know it coming to an end, we could approach it as simply a new, temporary space we are living in,” says Sarian. “Still a menacing, other-wordly space, but not without hope.” The title track itself conveys this polarity, a bluesy shuffle with contrasting sections, and an open solo section in which Leibson completely destroys any semblance of form on the Rhodes and Minimoog, only to bring us back to the surface again.

Yi Ku Ghimetn Chim Kidi (I Don’t Know Your True Value) is an arrangement of a piece by Sayat Nova, an 18th century Armenian poet and troubadour. There is a sense of longing and melancholy that is practically built into the melody, and just like the melodies of so many great Armenian composers, it shines on its own. The melody remains true to Sayat Nova’s, with Sarian’s arrangement providing harmonic support moving it forward, emphasizing the sorrow and longing in the composition which bleeds into Leibson’s and Sarian’s solos.

Sarian does not shy away in his admiration for pioneering trumpeters such as Enrico Rava, and makes note of it on The Pilgrim, dedicated to Rava and named after the trumpeter’s 1975 album ‘The Pilgrim and The Stars’. A nearly seven-minute track of tension building with little release, the seven sixteenth-note pickups to this melody is what gave the piece its start after Sarian heard Rava play it in his solo on the tune ‘Bella’.

In 2018, Michael was fortunate enough to perform with his septet at the BRIC JazzFest in Brooklyn, the same night as none other than Meshell Ndegeocello. He was immediately enthralled by her music and spent months listening to her album ‘Weather’, particularly the track Oysters. It would take a few years, but Sarian finally decided to add the tune to his repertoire, wrapping the beautiful melody around an open improvisation section featuring the rhythm section.

Since setting his septet, The Chabones, aside to focus on working with his quartet, Sarian moved away from incorporating South American rhythms in his music, which was fairly common in his earlier work. Composed during a stay at a friend’s house in Woodstock, NY, Maverick Road sees a return to that 6/8 feel after a soaring intro and broad A section.

In 2020, Argentine actress, singer, songwriter, and creative Belén Pasqualini approached Michael with the idea of collaborating on a piece of music, using her words as a jumping-off point for his music. A few months later, Sarian finished working on Cinta Marina. Inspired by William Parker’s work, Sarian chose to maintain a light and minimalist aesthetic, letting the words shine, and giving the vocalist freedom to pace and interpret the story of a young girl’s relationship with the ocean. No doubt an album highlight is special guest Camila Meza’s vocals and guitar playing on this track.

Written for his brother’s dog Pickle, Picklepuss Romp showcases drummer Nathan Ellman-Bell’s playing throughout. Starting out on a second-line groove in 7, the playful melody twists into an aggressive, off-beat hip hop rhythm before heading into the solo section, where group interplay really shines.

Before Covid-19 paralyzed the world, one of 2020’s first tragedies moved Sarian to compose what would be the first in this series of tunes. Kobe Bryant’s passing brought out mixed emotions for so many, and so, Regarding Kobe tries to convey an uneasy sadness, but ultimately a sense of calm and comfort, creating a welcoming space for group improvisation.

Finally, the album's last track is another dedication, in this case for Sarian’s close friend Max, who passed away in July of 2020. A halftime spiritual/Americana tune with a couple of twists and turns, Leibson introduces the melody, with Sarian, Kenney, and Ellman-Bell joining in one by one. Kenney delivers a truly beautiful bass solo, with Sarian’s flugelhorn bringing us home at the end.