Dharma Down, Owl Dreams Review

Echoes of Tradition: The Classical Arabic Influence in Dharma Down’s Owl Dreams

by Nolan DeBuke

Bringing music fans the musical fusion of jazz and Classical Arabic music to achieve the core of their sound is the ensemble known as Dharma Down. Their debut album, Owl Dreams, is eleven tracks that blend jazz and world music, emphasizing the rich traditions of classical Arabic music. Each selection is underscored by the musicians’ clear admiration and thoughtful integration of centuries-old modes, rhythms, and improvisational forms. Dharma Down’s quartet, led by multi-instrumentalist Duncan Hardy, is offering us a sonic experience that invites us to enjoy the fusion and feel the historical weight behind the sounds.

The album opens with “Jalla Man,” a piece that draws directly from the classical Arabic repertoire, arranged by Hardy with a balance of reverence and the perfect arrangement for the ensemble. The choice of the qanun, a plucked zither central to classical Arabic music, immediately signals that Dharma Down is delving into these traditions with intent. Hardy’s playing is imbued with the sensitivity and precision that this instrument demands, exploring the maqam system—a modal framework foundational to Arabic music. His improvisation within the confines of the maqam evokes a lineage of Arabic musicians who have long used these modal structures to convey deep emotional narratives. What’s particularly fascinating is how the ensemble around him responds to these musical cues, with Mettam’s percussion and Kiefner’s bass lines providing a rhythmic foundation that subtly incorporates the iqa’—the complex rhythmic cycles that are essential to Arabic classical music.

“Bubu Jinn” continues this exploration, but Hardy switches to saxophone here, and the conversation between jazz and Arabic music becomes more nuanced. While the maqam system remains at the core of the melody, Hardy’s ability to bridge the modal traditions of Arabic music with the harmonic structures of jazz stands out. The saxophone, an instrument not traditionally associated with Arabic music, naturally carries the maqam’s microtonal nuances. This is a testament to Hardy’s deep understanding of both musical worlds—his improvisation doesn’t merely place Arabic scales atop jazz rhythms; instead, it honors the underlying modal system while allowing the saxophone to bend and stretch within it, creating a fluid and organic fusion.

“Baghdad” is a creative composition that places the listener squarely at the crossroads of East and West. The folk-like melody Hardy plays on saxophone is rich with the tonalities of classical Arabic traditions, particularly in its use of quarter tones and ornamentation, which are hallmarks of the maqam system. This track’s structure mirrors that of a traditional Arabic taqsim—a freeform solo that explores a maqam, allowing the musician to showcase their technical skill and emotional expression. While this may not be a true taqsim in the strictest sense, Hardy’s approach captures its spirit. The counterpoint between saxophone and piano midway through the piece creates a dynamic interplay that feels like a conversation between two cultures, each bringing its own language and history to the table.

“Tadafuq” is another angle that shows the union of classical Arabic musical forms, specifically in its rhythmic structure with jazz structures. The iqa’, which governs the rhythms of Arabic music, is used here as an exotic flavor but as an essential element of the composition. Mettam’s percussion work carefully balances the jazz-inspired groove with the layered rhythms of the iqa’. The rhythm is cyclical, hypnotic even, reminiscent of the trance-inducing rhythms found in Sufi music, while Hardy’s qanun weaves intricate melodies that build on this rhythmic foundation. The dialogue between piano and qanun here is particularly striking—Effenberger’s jazz-based harmonic explorations contrast yet complement the modal purity of Hardy’s qanun lines.

In “Jurjina,” the ensemble’s understanding of classical Arabic and jazz traditions reaches a peak. The title itself refers to a well-known Arabic rhythm, often used in festive and celebratory contexts. Dharma Down taps into this cultural significance, turning the piece into a joyous exploration of rhythm and melody. Hardy’s saxophone dances around the rhythm section’s pulsating iqa’, which is executed with precision by Mettam. The ensemble’s ability to maintain the integrity of the Arabic rhythm while exploring jazz harmonies showcases their collective virtuosity and deep respect for the traditions they are drawing from.

Owl Dreams closes with “Thoughts and Prayers,” a contemplative piece that, while rooted in jazz balladry, echoes the emotional depth and expressiveness of Arabic classical music. Here, Hardy’s use of the maqam is subtle but effective, lending a sense of gravitas to the final moments of the album. The interplay between instruments is gentle, as if each musician is offering their own prayer, their own reflection, shaped by the cultural and musical journey that has unfolded throughout the album.

What makes Owl Dreams interesting is the depth of understanding and respect Dharma Down brings to the Arabic traditions they are working with. This is not fusion for the sake of novelty; it is a genuine exploration of how two musical worlds can meet and converse. The classical Arabic influences are not ornamental—they are integral to the compositions, shaping their structure, melodic content, and emotional resonance. Hardy’s extensive background in jazz and Arabic music is evident in every track, as is the ensemble’s ability to interpret and respond to these traditions with sensitivity and nuance.

In Owl Dreams, Dharma Down has created something to form a bridge between cultures, demonstrating that the beauty of music lies not just in its notes but in the history and traditions that give those notes meaning. This album rewards deep listening, where each track unfolds new layers of cultural and musical richness. Owl Dreams is an essential listen for anyone interested in the intersection of jazz and world music, particularly the profound traditions of classical Arabic music.