If a prog rock power trio had ever sprung up in the mountains of Albania, it would have sounded like Brooklyn’s Choban Elektrik (“Electric Shepherds”). Using the vintage grit and funk of Hammond organs and Fender Rhodes to open up new facets of Albanian, Macedonian, Greek, and Armenian tunes, the band makes this unlikely pairing feel organic and obvious, thanks to their intense focus and anything-goes approach.

“We never set out to do this,” explains masterful keyboard player and arranger Jordan Shapiro. “But I’d bring in songs I learned in Balkan singing class or at the Balkan music camps, and we’d play them, just like anything else we’d tackle as a trio, as if they were jazz, funk, or rock.”

The results burst with crackling distorted guitar lines ripping through odd Albanian meters (“Beratche from Prespa”), traditional Greek dance tunes gone deeply funky (“Koftos”), and mysteriously dreamy space-outs for Caucasus wedding parties (the wonderfully titled “Mom Bar”). Slow-burning melodies unwind as whammy bars and Leslie speakers take old songs in a radically new, highly catchy direction.

Choban Elektric celebrated the release of the new CD at the Rock Shop on May 16, joined by Which Way East (featuring violinist Jesse Kotansky and singer Eva Salina Primack from the Choban CD) and Raya Brass Band (featuring Don Godwin, engineer of Choban CD).

“I had no exposure to world music my entire upbringing,” says Shapiro, who trained intensively as a classical pianist and oboe player. “My parents loved classical music and Broadway shows. This was the last thing I’d ever have imagined doing.”

Conservatory trained in piano and guitar performance and jazz studies, Shapiro arrived in New York and soon found himself working hard; like many multi-instrumentalist pros, Shapiro spent a decade performing in a diverse array of bands, as core member and as sideman. He started a progressive bluegrass band, Astrograss. He joined a Frank Zappa tribute ensemble (which included original members of Zappa’s band), Project/Object, where he met Choban’s bassist, Dave Johnsen.

Like the rock maverick, Shapiro was always hungry for new musical challenges. He got wind of the Balkan scene, as many of his friends had gotten into playing music from Eastern Europe. After hearing some music at a party, he headed to the Golden Festival, New York’s annual gathering of Balkan fans and top performers. “It inspired me to get an accordion,” Shapiro recalls. “Lugging around vintage keyboards is not nearly as much fun.”

It was the unexpected beginning of a new, powerful passion. A year later, Shapiro found himself in a circle of twenty accordionists of all levels, staring amazed at the quicksilver technique and fluid ornamentation of Albanian accordionist Raif Hyseni (composer of “Steve’s Gajda”). He was hooked.

“Raif teaches by ear. He started playing a tune, this beautiful Albanian folk song,” remembers Shapiro. “That was a new thing for me, to be right in front of someone playing this complicated melody. I hadn’t done that kind of music by ear at that point.”

But beyond Hyseni’s stunning chops and easy grace, he opened Shapiro’s eyes to the East European approach to improvisation. Hyseni emphasized that soloists had room to express and expand on the theme. He pushed Shapiro to find his own, Balkan voice when playing. Over a year of subsequent lessons, Shapiro picked up not only Hyseni’s trove of melodies; he also explored the possibilities—both traditional and radical—suggested by the repertoire.

Though he first perfected tunes like “Valle e Shqipërisë së Mesme” on the accordion, Shapiro soon tried things out on his collection of vintage organs and keyboards. During frequent sessions, Shapiro worked closely with Johnsen (bass) and multifaceted percussionist Phil Kester (who plays everything from drums to riq to tuned bronze alloys). The trio discovered that songs meant for very different instruments and different contexts fit perfectly into their wide-ranging world of post-rock complexity and improvisatory pleasures.

With all the drive of a power trio, they dove into the odd meters and nimble melody lines. Johnsen brought his flexibility and ability to make sense out of complexity, while Kester drew on his chops and musicality, combining hand percussion and marimba to create a percussive soundscape reflecting his early childhood fascination with the Greek music in his community.

Bending and blending genres is a major part of recent developments in Balkan roots music back in Europe, as well, like the jazz-inflected traditional arrangements of Bulgarian accordion master Petar Ralchev that inspired Choban’s grooving “Kopanitsa.” They opened up jams that fully showcase the keys’ timbre and that segue gorgeously into stirring songs like “Çobankat” (where Kotansky’s sweeping violin and Primack’s rich vocals form the perfect counterpoint to Shapiro’s psychedelic solos).

“The album starts off with a thirty-second exploration, an improvisation,” muses Shapiro. “It shows off the Fender Rhodes. But then it shifts into a different key and the traditional melody Raif taught me. That transition really reflects our approach beautifully.”