André Manoukian

On December 15, 2026, at Le Point d’Eau in Ostwald, André Manoukian places his piano at the center of an acoustic quartet. For several albums now, the composer has been exploring his Armenian roots and blending them with a subtly shaded modal jazz. His playing evokes ancient melodies, Eastern modes and supple harmonies, crafted like an intimate language. On stage he favors listening and dialogue, sculpting themes that unfold through improvisation.

Around him, the quartet establishes an organic pulse: Mosin Kawa on tablas contributes finely wrought rhythmic cycles, Gilles Coquard grounds the group on double bass, and Guillaume Latil unfurls singing cello lines that brush the color of the human voice. Between East and West, the group builds bridges rather than theatrical effects, allowing the sonic material to breathe. One hears echoes of lullabies, Levantine inflections, restrained counter-melodies, and a sense of motif that stretches without losing its thread. A set in which heritage becomes a playground, presented in a compact form that highlights melody, rhythm and the art of musical conversation.