ABOUT

Canberk Ulaş is a Turkish duduk player, composer, improviser, and educator based in Malmö, Sweden.

His relationship with the duduk began with a sound. After years of playing different instruments and studying traditional music, he encountered the voice of the duduk and found himself unable to let it go. What started as curiosity gradually became a lifelong dedication. He stopped playing his other instruments and chose to follow the duduk instead.

Born and raised in Türkiye, Ulaş first approached the instrument through the mey, a closely related reed instrument played across Türkiye and neighbouring regions. His musical path later led him deeper into the Armenian duduk tradition through studies with masters Özcan Gül and Suren Asaduryan. Rebuilding his technique from the ground up, he immersed himself in a lineage connected to some of the defining figures of Armenian duduk playing while gradually developing his own artistic voice.

Today, his work moves freely between tradition and experimentation. Rooted in Armenian duduk technique yet shaped by improvisation, contemporary music, and years of cross-cultural exploration, he is known for creating spacious and deeply atmospheric music where the ancient voice of the duduk meets silence, electronics, and modern sound worlds.

Alongside his solo work, Ulaş has collaborated with musicians from a wide range of genres and backgrounds, including Arve Henriksen, Jan Bang, Bugge Wesseltoft, Eivind Aarset, Hub Hildenbrand, Ensemble Ylajali, Sara Grabow, Jonas Colstrup, and many others. His second solo album, Echoes of Becoming (2024), released through Jazzland Recordings, brought together several leading voices from the Scandinavian improvisation scene and received positive attention from European music publications.

As an educator, he teaches students worldwide and is the founder of Global Duduk Academy, an international learning platform dedicated to making the duduk accessible through a structured, human, and community-oriented approach.

Whether performing, teaching, or creating new music, his work is guided by the same impulse that first drew him to the instrument: a continuing search for depth, presence, and the unique voice hidden within a single note.

  • “The soulful Armenian instrument, the duduk, transforms into new sounds and new emotions in the hands of Canberk Ulaş.”

    —Cazkolik – TR

  • “The strong, yearning sound of Ulaş’ duduk leads poignantly in this ethereal soundscape.”

    —Songlines - UK

  • “When the playing of Canberk Ulaş meets your ear, the duduk appears as one of the only things that manages to reach deep inside.”

    —Ballade Music Magazine – NO

  • “An artistic skill that both intellectually stimulates and emotionally engages us as listeners.”

    —Der Kultur Blog – DE

  • Melancholy of endless winters, a balance that this captivating record embodies to perfection."

    Indie Rock Mag - FR

  • "A beguiling musical mixture that is deeply touching simply through the haunting sounds of the woodwind instrument duduk."

    Virgin Jazz Face - DE