Words by Sara Cederberg
Raffi Garabedian’s latest project, The Crazy Dog, is a unique fusion of deeply personal and historical narratives. As an Oakland-based tenor saxophonist and composer, Garabedian weaves a musical tapestry that is both a testament to his talent and a tribute to his heritage. The album is a harmonious blend of chamber jazz, a genre not often associated with personal narratives, and themes inspired by his grandparents’ letters about their escape from the Armenian genocide and emigration to America.
More than just a musical composition, The Crazy Dog reflects on heritage and survival, translating the Garabedian family’s trials and triumphs into a transcendent auditory experience. Through this suite, Garabedian invites listeners to explore themes of displacement and hope, making his work both timeless and deeply relevant.
Off Shelf: The Crazy Dog is deeply inspired by your grandparents’ and father’s writing. It was also your first time writing for voice. Can you describe the process of transforming these personal narratives into lyrics? What challenges and discoveries did you encounter?
Raffi Garabedian: I spent a lot of time reading through my father’s writings, including his memoir and childhood stories, to fictionalized short stories and poems. I’d grab words and sentences that resonated with me and, so I think, represented his voice and who he was. Transforming these words into lyrics was challenging.
Danielle Wertz [vocalist on The Crazy Dog] was key during this process, as she would help me think about which syllables or words to put emphasis on in a phrase. This could result in having to edit or completely rewrite melodies in order to accommodate and exploit certain words I wanted to stand out. Also, the more I got to know her range, I was able to understand how her voice would interact with the horns and feel like it was a part of the section while at the same time having the lyrics stand out, making sure to have the other instruments orchestrated in a way that would be supportive and complement the voice rather than getting in the way of it.
OS: In tracks like “A Mother’s Letter” and “March 17, 1927,” you explore love, displacement, and survival as influenced by your family’s writing. Can you delve into how these themes resonate with your personal and musical journey?
RG: I’m very attuned to my emotions and am continuously developing an art practice based on openness and curiosity – both of which are inherent in improvisation. The more I understand my family and myself, the more honest and intimate I can be with my art and my world.
OS: How does improvisation play a role in the compositions on The Crazy Dog? Were there moments in the album where spontaneous creativity shaped the final pieces?
RG: I approached all the songs on The Crazy Dog with a much more through-composed vision. This was a change from how I usually compose and perform, which typically has plenty of room for improvisation and spontaneity. I find that my strongest compositional voice comes through most naturally on my saxophone. I record myself improvising, then listen back and transcribe any content that sounds like I can build from it.
OS: As an educator, how do you balance your teaching responsibilities with your creative projects? Has your role as a teacher influenced your approach to composing and performing music on this album?
RG: Though teaching can take energy away from the creative process of being an artist, I’ve recently been trying to shift this narrative intentionally. While working with my students, I emphasize that I’m just as much of a student with this art form as they are.
I can offer and share what I’ve been taught and experienced and how music impacts me. In doing so, the common realization is how much the “teacher” learns from the “student.” This challenges me to formulate my artistic aesthetics into words and helps me be more intentional about what I’m attempting to say with my words and my music.
OS: Growing up, what were some of the key musical influences in your life? Can you share any specific memories or experiences that significantly shaped your journey as a jazz musician and educator?
RG: When I was in high school, I started playing regularly with Johnny Talbot, legendary Oakland-based blues & funk musician, songwriter, and bandleader. He taught me the importance of melody, rhythm, sound, and playing with intention. Being around other Bay Area musicians such as saxophonists Dayna Stephens and Howard Wiley greatly impacted my playing and inspiration at a young age.
OS: I always enjoy wrapping up an interview by asking people what they’re reading or listening to. Is there anything inspiring you at the moment?
RG: I’ve been reading Henry Threadgill, “Easily Slip into Another World,” Alice Notley “Grave of Light” and listening to KPOO 89.5fm.