Artsvi Bakhchinyan
YEREVAN – Arman Peshtmaljyan (born 1992) is an award-winning composer, arranger, keyboardist/pianist, songwriter, and music producer. He specializes in jazz, pop, folk and fusion while continuously exploring innovative approaches in genres such as Techno, D’n’B, Lo-Fi Hip Hop, Dream Pop, and Psychedelic Soul. He studied at the Alexander Hekimyan Music School in Yerevan, where he learned piano, percussion, guitar, drums, and harmonica. He then continued his education at the Komitas Yerevan State Conservatory, specializing in piano and composition. Later, he pursued a master’s degree in Jazz Composition at the Basel Academy of Music, Jazzcampus, in Switzerland. Currently, he is a member of the MVF Band, Goght Band, Yerevan Calling, Zestengusto, and the Armenian Navy Band, which won the BBC Radio 3 Award for World Music. He also performs periodically with the State Jazz Orchestra of Armenia. Most recently, he launched his own modern jazz project, the Arman Peshtmaljyan Group. His work has received international recognition, including being a finalist in the UK Songwriting Contest for five compositions, with Ays Gisher (“This Night”) earning a Jury Special Mention award. He was also nominated for the World Entertainment Awards for Best Folk Song with Zartir Nazelis (“Wake Up, My Graceful”). He has performed at numerous prestigious music festivals, including the Made in New York Jazz Competition (2014), the Smithsonian Folklife Festival (2018), the Caucasus Cultural Festival in Seoul (2016), and the Yerevan Jazz Festival (2015–2024), among others.
Arman, you have revived lesser-known Armenian songs, giving them new life while also composing innovative original pieces. For example, your interpretation of Ays Gisher (This Night) has been recognized as a pioneering dream pop piece in Armenian music. To what extent do you think such reinterpretations are justified?
These are different projects, but the reason behind them is the same. I see that we are missing important elements in today’s Armenian music sphere. The word “Armenian” is often absent in our music industry.
With the project of preserving old Armenian folk songs, my goal was to keep them alive. Reinterpreting old songs is not about replacing or altering their essence — it is about ensuring they remain relevant for new generations. Many Armenian folk songs have been passed down orally, naturally evolving with time and place. My aim is to preserve their soul while presenting them in a way that resonates with today’s listeners. This way, Armenian music today will still include pieces that are centuries old, and anyone listening can confidently say, “This is Armenian.”
At the same time, I create music in other genres, like dream pop, to fill gaps in the Armenian music industry. The melancholic mood, atmospheric soundscapes, and soft vocals—these elements are missing in the commercialized Armenian music scene. Ays Gisher was the first Armenian song in the dream pop genre. The lyrics are in Armenian, and I incorporated the kanon instrument, so that, again, anyone listening can confidently say, “This is Armenian.” Fans of dream pop can now enjoy their favorite genre in Armenian. So, whether it’s folk or pop, all these projects have the same purpose: to ensure that no matter the genre, we have an Armenian version — music that, when you hear it, you know it belongs to Armenian culture.
Besides Armenian folk music, what other musical influences have shaped your work?
Jazz has been a major influence on my music — it’s like a foundation that has shaped my musical thinking. But beyond that, I’ve been shaped by many different genres through the projects I’ve been part of. I’ve composed and performed in jazz, folk-fusion, folk-avant-garde, soul, hip-hop, and techno, and all these experiences have influenced my approach to music.
That’s why, it’s always difficult for me to define the exact genre of my pieces. I’m not thinking about naming the genre; my musical thinking is shaped by diversity.
My favorite singer, Cathy Berberian, once described jazz as one of the “roots of evil” in the 20th century. She was not someone who made casual statements without thought. As a jazz composer, how do you respond to this perspective?
Jazz has always been a genre that challenges traditions — it grew from struggle, rebellion, and blending different cultures. It changed music, just like modernist and avant-garde movements changed other art forms.
As a jazz composer, I see jazz as a form of artistic freedom. It can take influences from different cultures and turn them into something new, making it one of the most open and evolving styles. If we look at Berberian’s statement closely, maybe she saw jazz as something that shook up the music world in unexpected ways. But for me, that very change is what makes jazz so powerful. It’s a style full of creativity, risk, and deep emotion, and that’s exactly why it continues to inspire me.
Also, a lot has changed since the 20th century. Jazz is no longer just a disruptive force — it has become a deep, rich, and highly respected art form that has influenced almost every genre of music today. From film scores to electronic music, its impact is everywhere.
What sets the Arman Peshtmaljyan Group apart from other jazz ensembles?
I noticed that the jazz scene in Armenia is somewhat stuck, predominantly focused on 20th-century jazz standards and styles. What sets the Arman Peshtmaljyan Group apart from other jazz ensembles is the focus on pushing boundaries and modernizing the jazz scene in Armenia. Through this project, I aim to contribute to this shift, bringing new life and diversity to the Armenian jazz industry. We perform only my own compositions, which include elements from folk, pop, and more, blending Armenian folk song melodies with jazz. This fusion makes our music more diverse compared to other jazz bands, as it’s not the standard traditional jazz. It offers a unique blend, where you can hear Armenian folk melodies meeting jazz improvisation, which adds a distinctive and fresh sound to our performances.
You have performed in some unusual locations, such as Vladivostok. What was that experience like?
As a musician, I travel a lot and attend various festivals, which is one of the most exciting parts of my career. Playing in Vladivostok with Yerevan Calling band was a truly special experience. We performed there several times as part of an international jazz festival, which is a big event in the city. Every year, Vladivostok hosts a renowned jazz festival that brings together some of the best jazz artists from around the world. The people in Vladivostok live and breathe jazz, and it is always thrilling to perform in such a passionate environment.
What’s interesting is that after the Vladivostok Jazz Festival, we headed straight to Paris to perform at the “Un de Week La East.” And audience reactions were surprisingly similar. In Paris, where jazz is deeply rooted in the culture, we received the same level of excitement and appreciation. So, I guess location is not everything. It is fascinating to think that your music can connect with different audiences, no matter the cultural background or geographical distance.
Can you share also your experience of participating in the Armenian-Kurdish joint concert last year?
Participating in the Armenian-Kurdish joint concert last year was a deeply meaningful experience for me. It was a beautiful moment of cultural exchange and unity, as the concert brought together musicians from two communities. The music itself was a fusion of Armenian and Kurdish traditions, blending elements of both musical worlds.
The audience’s reactions were powerful, there was a sense of shared emotion and understanding that united everyone in the room, regardless of background.
The cultural mixture between Armenians and Kurds is quite deep and rich. Many of the same music pieces are shared between both cultures, and for years, both groups have considered them as their own folk music. We often play the same music and even the same songs, but with different lyrics and traditions. This overlap shows just how closely our musical heritages are intertwined.
Historically, Armenia was a leader in sharing culture and musical styles across the region, acting as a bridge between different peoples. So, participating in these kinds of cultural exchange programs is incredibly important. It reminds us of our responsibility to continue creating strong connections and to share our cultural and musical wealth with one another.
I wish you all the best in your future endeavors! What’s next for you?
Thank you so much! I am excited for what’s ahead. I am continuing to work on my folk music revival project, with some new pieces set to be released soon. I am planning to start concerts for Armenian communities abroad. I believe they need to hear Armenian music more than anyone else. Additionally, I have a jazz album on the way. There are always new ideas and collaborations on the horizon.
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