Video 1 | Legends of Armenian kef Music

Lectures on Armenian-American Music by Ara Dinkjian, 08/01/25 (Last modified 08/01/25)

Hi, I'm Ara Dinkjian, and I've been asked by Houshamadyan to give a series of lectures on a unique form of music that I call Armenian American music. And I say unique because it truly sounds nothing like the music from the Ottoman Empire or from Armenia.

But most of my knowledge of this music comes from what I've learned from the huge record collection that I've amassed. And what I know is that the reason there is Armenian American music is a result of the genocide. So when the witnesses and survivors made it to America and got settled, eventually they needed to, of course, get back to some sort of normal lifestyle. And music was, of course, a very important part. But they couldn't help by eventually being influenced by the American culture. And that's what we'll be talking about today.

For this first video, we'll be talking about most of the main instruments that the Armenian Americans chose to create this music, and the important players that influenced subsequent generations.

So we'll start with the oud, which is certainly not an Armenian instrument. The origins are in the ancient Persian empires, but, it was used by Arabs and Turks, Greeks and Armenians. And I think probably the most important event for oud in America, what I call the Big Bang, occurred in 1950 when Oudi Hrant, whose last name was Kenkulian, came to this country not to perform, actually, but he was brought by a wealthy Greek American who brought him to America to have his eyesight restored, which, unfortunately, did not work. But while he was here, he discovered that the Armenian community here knew of him from the recordings that he had made in Turkey that were imported. Oudi Hrant was born in 1901, in Adapazar. But like I said, he came here in 1950. And, as a result of those few concerts that he gave during his first trip, an entire generation of young, oud lovers, was born. And, I believe it's one of the reasons why we have so many oud players in this country.

The second guy I'd like to talk about is Marko Melkon. His last name was Alemsherian. He was born in 1894, in Smyrna or Izmir. And he arrived in America in 1920. He made many recordings, singing Armenian, Greek and Turkish. His oud playing was more of the cabaret style.

Next we have Charles, known as “Chick” Ganimian. He was born, in 1926, in Troy, New York, and he had a group that he started called the Nor-Ikes Նոր Այգ. And he was a very innovative, musician. He actually made an album on the Atco record label, and, there was some jazz influence, that “Chick” gave us.

Next we have George Mgrdichian, a very important oud player. He was born in 1935, in Philadelphia. He was, virtuosic, less of the Middle Eastern Turkish feeling in his playing, and very Armenian in his in his feeling, and he is credited for taking the oud from the nightclub to the concert stage. And indeed, he even appeared with the New York Philharmonic Orchestra.

Richard Hagopian, who was born in 1937, in Fowler, California, renowned for his group, the Kef Time Band. Baron Richard not only a great oud player, but also a singer and his family now, I believe, is on their third generation of musicians. But, he is, the founding, member of that family.

Finally, we have John Berberian, who was born in 1941, in New York. An extremely exciting, oud player with very fresh creativity. And he made two renowned records on the mainstream record label that, remained extremely influential to this day.

The next instrument that I'd like to talk about is the clarinet, which is a European instrument, of course. Clarinet is is not Armenian in any way. But I could just imagine, the immigrants coming to America, looking for a zurna in the local music store. And, of course, there's no zurna, but, they had clarinet.

So we start with Mesrob Takakjian, who was born in 1895, in Palu and arrived in America in 1912. He made several recordings for the Kevorkian, Columbia and Margosian labels.

Then we have Artie Barsamian, who was born in 1928, in Boston. He made 78 LPs, CDs and, had a very contemporary American style, that also was influenced by jazz and big band.

We have Steve Boghosian, who was born in 1926, and he's the only Armenian American musician that I know of that was truly proficient in classical, jazz and Middle Eastern music. And he was one of the clarinet players in “Chick” Ganimian’s  group called the Nor-Ikes.

Then we have Souren Baronian, who was born in 1930, in New York. He was the other clarinet player in the Nor-Ikes, but also played on John Berberians mainstream albums. And eventually Souren started his own group called Taksim, which is, sort of like a Middle Eastern jazz group, one of the earliest ones.

And finally, last but not least is Khachig Kazarian, who was born in 1941, in Detroit. He had groups called the Hye-Tone. He was a member of the Kef Time band, and Khachig, developed, an absolutely unique style that has been, influencing generations ever since.

The next instrument that I'd like to talk about is the kanon, which is a 76 string lap zither or harp. The origins of the kanon are kind of debated, so it's not very clear. And unfortunately, it is not used as much as it was, in the past, at least in this country.

So we'll start with Kanuni Garbis. Kanuni means master of the kanon. Garbis’ last name was Barkirjian. He was born in 1884, in Bursa. And he arrived in America in 1921. But before he came, he was a renowned musician. And he was, as a matter of fact, a court musician for the Sultan. He eventually taught Richard Hagopian the music, and he himself recorded, approximately 60 78 LPs.

Then we have Zaven Yapchaian, who was born in 1892 in Kherpert, he arrived in America in 1912.

We have Ara Sevanian, who was born in 1915, in Yerevan. He arrived in America in 1948. He was an amazing musician. But he eventually had a hot dog stand in California. But once a year, he would put on his, suit and tie and give, a concert. He made a couple of, LPs of amazing, amazing kanon playing accompanied by a piano.

And then finally, we have Jack Chalikian, who was born in 1940, in New York. He was a member of the Kef Time band. He was also on John Berberian’s mainstream records and has taught subsequent generations.

The next instrument I'd like to talk about is the violin, which is, of course, a European invention. And like the kanon, it is not used nearly as much as it used to be. But I would like to at least, acknowledge some of the great Armenian American violinists.

We start with Nishan Sedefjian. Born in 1885, in Trabzon, he arrived in America in 1926 and made recordings for Columbia, Victor, Pharos and Kaliphone.

Stepan Simonian was born in 1887, in Kharpert. He arrived in 1907 and made 12 inch Columbia 78, so those are usually reserved for very important artists and on the Pharos label with his son, Haigaz, playing the piano. So piano and violin, a very unique combination.

Vartan Margosian is a very, very important figure in this music. He was born in 1891, in Sheikh Haji, which is a small village in the mountains of Kharpert, actually where my maternal grandparents are from. He arrived in 1908 and made over 100 records on his own labels. And, he sang in a very, very high pitched voice. And his records are particularly precious, because although he was not a polished performer, we get a real sense of what the the people, what the folk music truly sounded like in the mountains of Kharpert.

Reuben Sarkisian was born in 1891, also in Kharpert, and arrived in 1911. He was, besides a violinist, a lyricist, and he had his own record company called Sarkisian Records, where he made 30 records with his wife, Vart, singing.

And finally we have Harry Hasekian, who was born in 1889, in Marash. He arrived in 1910. He had his own company called Harry’s Oriental, and he also recorded for the Parseghian Records. And Hasekian also played the oud.

Now, I'd like to talk about an instrument that we call the dumbek, but it has many, many other names, tmpoug, darbuka and derbeki. And, there's many names for it, but the origins date back maybe over a thousand BC, believe it or not. Basically just a hand drum, but the instrument that was used most often and accessible at the time in the 1920s, 30s and 40s, was a metal instrument from Syria. These were easily accessible. And that's the instrument that most of the Armenian Americans played.

And we start with Aram Davidian, who was born in 1912, in New York City. He was a member of the Nor-Ikes.

Then we have a very interesting man named Buddy Sarkissian, who was born in 1925, in Massachusetts. He had his own LPs, with his brother, Mike Sarkisian. He was a founding member of the Kef Time band. And he had an unusual setup, which included a couple of dumbeks, cocktail drum and bongos. And he played them all kind of at the same time, sort of like a drum set up.

Next we have Bobby Sohigian, who was born in 1942, in Worcester. He had a very powerful style, very crisp and deeply influenced many, many dumbek players.

And last but not least, we have Roger Krikorian, who was born in 1951, in Somerville, Massachusetts. Roger also, besides playing the dumbek, was a wonderful singer and truly a virtuosic dumbek player.

Finally, I would like to talk about vocalists. Of course, when most people think of music, they think of singers and, I'm going to start with Hovsep Shamlian, who was born in 1875, in Dikranagerd, and arrived in America in 1902. Mr. Shamlian had his own record label, he was a prolific composer and singer, and one of his most famous songs, we're still singing over 100 years later, Sheg Mazerov.

Next we have Karekin Proodian, who was born in 1884, also in Dikranagerd, and he arrived in 1903. He recorded almost 50 records for Columbia, Victor, Sohag, Parseghian and Oriental. Many of his songs we're still singing today.

Edward Bogosian was born in 1900, in Constantinople or Istanbul. And he was a very interesting character. He was an actor, a comedian, a composer and a singer. And his most famous song is Sood e, Sood e.

And finally, we have Onnik Dinkjian, my dad, who was born in 1929, in Paris, he arrived in America in 1946, wound up recording 78s, 45 LPs, cassettes, CDs and they truly have influenced every generation since.

While I'm done talking about the various instruments that were used by the Armenian Americans, I would like to say before closing that I need to make a special mention of the Vosbikians from Philadelphia, originally from Malatya. They are now, I believe, on their third or fourth generation of musicians. But the reason why I'd like to mention them is they truly established, this American Armenian sound that was influenced by the local culture, in particular big band, and, we're indebted to them for this creation.