Freedom to Music
Posts tagged Turkish
Telvin – Telvin (2006) (@256)
07 Dec 2009
Thanks to Man in Silence for the contribution.
(Review by Man in Silence)
Telvin was founded in 1995 and have been on-and-off for many years since then, members working on different projects. The name of this Turkish band means “everchanging color” in dictionary and “transition from a state to another” in Sufism. They have a improvisational ethnic fusion sound. The band became kind of a legend with their rare concert appearances over the years.
Telvin eventually released their long awaited selftitled debut album in 2006 with a footnote at the album cover, “one-shot”, hinting that this would be their only album, though the band is still touring actively.
Band members pay more respect to concert performances. Many improvisational pieces come out with a high percentage of uncertainty. The flavor of the group comes from Erkan Ogur’s ethnic music experiences blended with Ilkin Deniz’s and Turgut Alp Bekoglu’s jazz backgrounds.
To those who have interest in Anatolian culture and music, Telvin’s improvisations in their songs will sound very familiar.
Line-up:
- Erkan Ogur / guitars, kopuz
- Ilkin Deniz / bass
- Turgut Alp Bekoglu / drums
Track List:
CD1
01. Kervan – 4:27
02. Denizin Dalgalari – 7:06
03. Dogus – 6:13
04. Askin Kucagi – 6:49
05. Engeller Uyaniyor – 8:06
06. Guzelleme – 10:50
07. Is – 9:17
08. Sizi – 6:38
CD2
01. Arkadas – 10:37
02. Saka – 8:18
03. Esbabiye (Live in Malatya) – 6:31
04. Saksidaki Kedi – 9:14
05. Nefes (Live in Bodrum) – 7:03
06. Iki Anahtar – 9:19
07. Dilore Nenelerim – 6:40
Links in comments.
Asia Minor – Between Flesh And Divine (1981) (@256)
22 Oct 2009
(Review from progarchives.com)
Despite the rather moderate reception given to their first album, the group remained convinced of the originality and quality of their music and decided to record a new album. The idea was that a second album would help the group assert itself and increase their credibility with concert organizers.
The sound of this album is darker and more melancholic and a mellotron is added to the mix, although string-synths are more plentiful. Lead guitar and flute are still the major features in the instrumental passages, being in charge of the solos and the main melodic lines. Beltrami’s drumming is still as polished and energetic as on the band’s debut album, displaying his jazzy vein under the guise of a rock-oriented attitude. The Turkish roots from Setrak and Eril are are scarce compared to their debut, which is a pity, it’s part of the band’s charm.
The sound production is more refined, which makes every instrument show itself clearly amidst the band’s overall sound. The contrast between the strong passages and the soft ones is handled more naturally, which allows the band to go deeper into their Camel-esque explorations.
Highlights include the opener “Nightwind”, the band starting off sound deceptively like Ozric Tentacles, but that’s just for a few seconds, before you know what you’re listening to is symphonic progressive. Here you get some great guitar and flute work, and some atmospheric passages. ‘Northern Lights’ states a more pronunced atmosphere of introspection, generally speaking, while ‘Dedicace’ brings a solid dynamics that fuses the heritages of Pulsar, Focus and Pink Floyd in an “Asia Minor” sort of way.
Finally, ‘Dreadful Memories’ is nothing but a jam construed from a simple chord progression on guitar, with the bass and drums following, and an increasing number of keyboard layers subtly being summoned in: its abrupt ending makes it the perfect coda for the album.
It wouldn’t take long before the bloody blade of ‘musical differences’ beheaded Asia Minor’s career, while they were preparing material for a following album that was never to be.
Line-up:
- Eril Tekeli / guitars, flute
- Setrak Bakirel / voice, guitars, bass
- Lionel Beltrami / drums, percussion
- Robert Kempler / keyboards, bass
Track List:
01. Nightwind – 6:26
02. Northern Lights – 7:46
03. Boundless – 3:09
04. Dedicace – 6:12
05. Lost In A Dream Yell – 7:41
06. Dreadful Memories – 2:44
Link in comments.
Asia Minor – Crossing the Line (1979) (@256)
21 Oct 2009
(Review from progarchives.com)
Asia Minor is a solid symphonic ensemble formed by two Turkish musicians residing in France. They take a more unusual twist on the sound popularised by Camel, with a mostly instrumental rock, an eerie ambience with folk and ethnic influences, featuring much flute, guitar and keyboards.
Their debut was recorded in a time when the genre was starting to face a serious decline in terms of commercial attention and artistic relevance. All compositions are penned by the Turkish duo Bakirel/Tekeli.
The opening “Preface” is a patchwork of the rest of the album. Nice flute moments, strange vocals and complex tempo. The group shines best when the middle-eastern influences are most apparent, the best of these being “Landscape”, the oddly pronounced words only adding to the charm of this deliciously sinister tune. The shorter vocal tracks seems somewhat undeveloped, almost ideas that didn’t pan out, but the brief instrumental “Mystic Dance” lives up to its name, showcasing the woodwinds of Eril Tekeli.
Line-up:
- Eril Tekeli / flute, guitars, bass
- Setrak Bakirel / lead vocals, guitars, bass
- Lionel Beltrami / drums, percussion
- Nick Vicente / keyboards
Track List:
01. Preface – 4:23
02. Mahzun Gozler – 8:19
03. Mystic Dance – 1:45
04. Misfortune – 4:38
05. Landscape – 4:01
06. Visions – 5:43
07. Without Stir – 1:55
08. Hayal Dolu Gunler Icin – 4:46
09. Postface – 2:11
Link in comments.
Zen – Bakirkoy Akil Hastanesinde (Live 1999) (@160-128)
11 Jan 2009
Thanks to Man in Silence for the review contribution.
(Review from psychevanhetfolk.homestead.com, resetmagazine.net)
Being recorded live in the most famous rehabilitation hospital of Istanbul; Bakirkoy Akil Hastanesi’nde is the last album of Zen. Doctors, nurses, patients and a couple of friends of the band attended the concert in the “Mazhar Osman” Hall of the center.
The songs were based on the writings of the famous Turkish psychiatrist, Ord. Prof. Mazhar Osman Uzun, who also gave his name to the concert hall. The music resemble pure and fiery insanity, more than melodies. Though the album is not as weird or heavy as ‘Tanbul’. It’s more a bluesy psych live improvisation.
The band once described themselves as “collective improvization” music players and without no doubt, this record place hits the nail on the head in accord to their music.
Track List:
01. Bu Dunya Benim Dunyam
02. Mazhar Neyzen Ve Kopegi
03. Burda Bizden Baskasi Yok Ki
04. Arkadas Ates
05. Dut Ali
06. Bakirkoy Havasi
07. Birozdan
Link in comments.
Zen – Tanbul (1998) (@256)
10 Jan 2009
Thanks to Man in Silence for the review contribution.
(Review from dustedmagazine.com, homestead.com)
Zen’s third album, Tanbul is an outstanding psych-rock record that takes the best of what you know about Turkish psychedelia and updates it with taste and mastery.
The jams here were improvised and patchworked together dub-style with radical mixing techniques. Overdriven baglama, saz and electric guitars meet heavy percussion and electronics with alien voices ranting in all pitches. It just has to be heard to be believed.
Nice drums, perfectly placed sound textured additions, crafty and powerful electric guitar, electric bass, weird vocals with sense. Where former releases had a murkier feeling, the professional production on this release with some creative echoes and effects on the sounds makes the sound much more modern.
Track List:
01. Ariza Oyun Havasi – 2:12
02. Derdimi Anla – 4:53
03. Duz Gel – 6:26
04. Tanbul – 5:28
05. Asir Hasta – 2:01
06. Yalan – 2:39
07. Iki Teker – 1:49
08. Ben De Yalnizim – 7:10
09. Baaartma Beni – 3:00
10. Yavastan Gel – 1:26
11. Uzun Dus – 14:20
Link in comments.
Zen – Derya (1996) (@256)
05 Jan 2009
(Review from psychevanhetfolk.homestead.com)
Zen’s second studio album was released in 1996.
Their improvisations are still very dark, but there’s more added percussion, giving it an extra ritual music flair. Musically it’s even more experimental. They succeed to create a certain mood, very underground.
On one longer track, “Badi Badi” the improvising finally overcomes the mood of doodling and directs in its own energy. Also “Gaz” goes over the top, but in an experimental underground way.
Line-up:
- Merih Oztaylan / Vocals, sampler
- Levent Akman / Rhythm machines, hand cymbals, percussion
- Bill Macbeath / Double bass, bass guitar
- Murat Ertel / Saz, guitar, vocals
- Emre Onel / Darbuka, sampler, percussions
- Cevdet Erek / Drums
Track List:
01. Eveleme Develeme – 3:24
02. Bugun Senden Mektup Aldim (Gotta Letter From You Today) – 2:09
03. Bu Da Gecer (This Will Be Over Too) – 3:39
04. DuB – 1:17
05. Calmakla Calismanin Ne Farki Var (What’s The Difference Between Practicing and Playing) – 3:20
06. Jever (When You Hit Me) – 1:34
07. Uzun Yolun Hikayesi Bol Olur (A Long Road’s Story’s Long) – 3:55
08. Ispanyol Kerranesi (Spanish Whorehouse) – 2:43
09. Koyun Kizi Derya (Derya, The Girl of The Village) – 2:43
10. Badi Badi – 7:42
11. Hidayet Abi – 7:17
12. Gaz – 4:56
Link in comments.
Zen – Suda Balik (1994) (@256)
04 Jan 2009
(Review from kunstradio.at, psychevanhetfolk.homestead.com)
Formed in the second half of the 80s in Istanbul, the band took the name ZeN in 1988 (meaning “woman” in Persian, as well as standing for “the one who plays” -a musical instrument- when used as a suffix). The band played their own blues and punk based songs until 1989. In time they widened the improvised section and eventually giving up their compositions, turned to complete collective improvisations.
Zen’s first official album, recorded in 1994, shows the group playing in an experimental way. Various tracks reminds at krautrock like moods like Faust. It’s very dark, dense, deranged mostly acoustic music with cloudy woolly structures. Near the second half of the album, the music delves into too much an underground improvising, in a way Amon Düül or Can did as well in their early days. Yet it is much more acoustic and has a certain middle eastern touch in experimental improvising.
Line-up:
- Merih Oztaylan / Vocals, sampler
- Levent Akman / Rhythm machines, hand cymbals, percussion
- Bill Macbeath / Double bass, bass guitar
- Murat Ertel / Saz, guitar, vocals
- Emre Onel / Darbuka, sampler, percussions
- Cevdet Erek / Drums
Track List:
01. Cok Su Ictim – 1:18
02. Suda Balik – 3:55
03. Aman Dur Bekle – 3:31
04. Seslen Bana – 3:51
05. Ses Nefes – 2:59
06. Inkilap Vapuru – 6:15
07. Caktir – 8:22
08. Karsilama – 3:40
09. Acikli Ama Aldatici – 4:18
10. Plaj Havasi – 4:06
11. Dadidi – 3:57
12. Yali Ciftetellisi – 4:36
13. Bu Yol Hic Bitmeyecek – 7:06
14. Hidden Track – 3:25
Links in comments.
Gevende – Ev (2006) (@256)
29 Aug 2008
(Review from progressive.homestead.com, gevende.com)
The band was founded in 2000, in Eskisehir (of Turkey) and took the name “Gevende” in 2002. Since their formation, “Gevende” have focused on perfecting their unique ‘psychedelic folk’ sound. The band combines Balkan and Middle Eastern cultures in their songs. Improvisation plays a key role in each stage performance and this open attitude has meant they have played with many diverse musicians both in Turkey and internationally.
Gevende recorded a demo in 2004 but it wasn’t until 2006 they managed to release their debut album. “Ev” is overloaded with ideas, which are arranged with compactness perfectionism, and professionalism. It almost give a feeling of something of the richness of the world, and this in a relaxed form, but in reality it is nothing else but the open vision and preparation on their own personal journey that led to these tracks.
The opening track, “Celik Comak” has some foreign language in the first vocals, and seems like having a Turkish rock band playing mixed in with a Balkan brass ensemble, with a small part somewhere with Indian rhythm-vocals on Turkish percussion as if it’s tabla. This kind of Balkan/Turkish feeling can also be noticed in the next track, “Refik” as well, presenting a happy progressive world fusion rock form, with hints to jazz, Indian music, and those elements origins aren’t immediately recognized.
“Nem” is a strong well composed track from their demo. It is classically inspired and composed “progressive” rock with a subtle arrangement. It evolves into an improvisation with the Turkish ney flute that leads this improvisation, and then some violin does a splendid composition. This is followed by more tracks from their demo. “Okyanus Dugunu” from the next two, is similarly classically gifted in style, with an improvisation on a rather classical composition, performed by a small chamber orchestra, with trumpet and electric guitar and bass. “Nayu” is a beautiful and comprehensive, slightly melancholic song, with varied improvised arrangements.
“Anonim” is a Middle Eastern traditional, arranged by the band starting with very beautiful and thoughtful, well arranged vocal harmonies. Then the band improvises on it in an acidic fusing folkrock way, with a rock band fundament with additional trumpet and trombone.
“Gözagri” (again from the demo) once again showcases a gifted composition. Just like a classical composition, it has different sections and this with a spontaneously changing rhythm according to the theme being used, from a jazzy song improvisation, with a rhythmically calmer layer of chamber-jazz rock arrangement to it, over a Turkish way of complex chamber music rock, to a more bluesy jazz improvisation. With the same qualities, “Sermest” starts with RIO-like arrangements of complex rhythms, then changes into weird vocal lead arrangements, over a more odd rock structure, with further sections of jazzrock kind of organ improvisation, a didgeridoo part with trumpet and bass, and some complex Indian-like violin improvisation with tabla, over to a complex fusion rock repeating the mode of the earlier started complex rhythms.
Last track “Seker” is a more relaxed track, lead by a classical guitar improvisation (with second guitar and bass) accompanied with harmonica and tabla, while a child voice starts to tell a whole little story (with a bit of school children noise coming in on the background), and a bit flute, until the child laughs joyfully and the album, in a relaxed mode, just like the travels of Gevende might have brought, leaves you with nothing but good memories.
Line-up:
- Ahmet Kenan Bilgic / vocals, guitar, e-bow
- Omer Oztuyen / viola, back vocals
- Can Omer Uygan / trumpet, back vocals
- Okan Kaya / bass, cumbus, oud, melodica, acoustic guitar, back vocals
- Gokce Gurcay / drums, back vocals
with
- Arda Yigit Bulut / fairy tale boy (9)
- Cenk Erdogan / fretless guitar (4)
- Cetin Erlik / percussion (2)
- Gulsah Erol / cello (4, 5)
- Izzet Kizil / percussion (1, 8, 9)
- Murat Ferhat Yegul / trombone (1, 2, 6), ney (3)
- Pin Rada / didgeridoo (8)
- Serdar Pazarcioglu / fiddle (8)
- Sinan Sakizli / saxophone (1, 6), acoustic guitar (9)
Track List:
01. Celik Comak – 3:55
02. Refik – 4:03
03. Nem – 6:31
04. Nayu – 4:25
05. Okyanus Dugunu – 4:09
06. Anonim – 5:07
07. Gozagri – 4:06
08. Sermest – 3:44
09. Seker – 6:55
Link in comments.
Istanbul Oriental Ensemble – Sultan's Secret Door (1997) (@192)
30 Mar 2008
(Info from sleeve)
For the past two years, the Istanbul Oriental Ensemble has been touring the concert halls of Europe with resounding success. Wherever they appeared — at the Alte Oper in Frankfurt, the World Music Festival in Nantes, the Summer Festival in Hamburg or the Casino Festival in Basel — they met with rapturous applause, standing ovations and endless calls for encores. The music press has been equally enthusiastic. London’s Mojo magazine described them as breathtaking magicians of sound, while Le Monde claimed that the Istanbul Oriental Ensemble headed by one of the world´s most virtuoso percussionists opens up a whole new dimension in Turkish gypsy music. In Germany, the Hamburger Morgenpost reported on their music as highly erotic, great listening and incredibly conducive to trance, while the Stuttgarter Nachrichten wrote of a lesson in the joys of life and the Frankfurter Allgemeine Zeitung described their distinctive musical texture of unique virtuosity as a major cultural achievement.
Following their first album, Gypsy Rum, which won both the German Phonographic Critics´ Prize and the prestigious French critics’ Choc de la Musique accolade, the Istanbul Oriental Ensemble now invites listeners to a musical abduction into the seraglio. Passing through the Sultan’s Secret Door, they take up their instruments to accompany a sumptuous banquet, weaving a wondrous web of classical oriental melodies and intoxicating their audience beyond the midnight hour with the sheer artistry of their ballads and instrumental suites. As the revellers carouse, the musicians go along with the mood of abandon, striking up a wittily tongue-in-cheek song. The ladies of the harem are enchanted by the seductive sounds of yearning, and one of the women escapes under cover of secrecy as they play their irresistibly erotic belly dance. On the way home, the musicians meet up with the Greek group Prosech’s and take the opportunity of a joining them in a unique session.
Line-up:
* Burhan Ocal / Darbuka, Kos, Tanbur, Saz, Percussions
* Fethi Tekyaygil / Keman (Violin)
* Sahin Sert / Qanun
* Ekrem Basi / Darbukas
* Huseyin Bitmez / Oud, Vocals
* Ferdi Nadaz / Clarinet, Zurna
with
* Prosech (9)
Track List:
01. Mahur Oriental
02. Nihavent Oriental
03. Nihavent Oyun Havasi
04. Roman II
05. Fasulye
06. Sultaniyegah Sirto
07. Roxelana
08. Eve Donus
09. Ke Jati Den Ma To Les-Ta Lefta,Indim Havuz Basina
Link in comments.
Ezginin Gunlugu – Oludeniz (1990) (@256)
06 Mar 2008
(Review from wikipedia)
“Ezginin Gunlugu” is a Turkish band formed in 1982 in Istanbul by Nadir Gokturk, Emin Igus, Hakan Yilmaz, Sebnem Basar, Tugay Basar and Vedat Verter.
“Ezginin Gunlugu” is noted for their musical diversity and vocal harmonies. Their music is based on anatolian folk music composed with contemporary interpretation. They use a large variety of instruments. One of the strongest connections to their listeners is their use of the lyrics — using well known poems and singing songs with political allusions.
After this album, Emin Igus left the band, leaving Nadir Gokturk as the sole original member of “Ezginin Gunlugu”, marking the end of an era in the band’s musical journey.
Line-up:
* Emin Igus / vocals
* Nadir Gokturk / keyboards
* Tanju Duru / guitar, bass
* Cuneyt Duru / bass
* Serdar Gonenc / percussion
with
* Sumru Balikcioglu / vocals
* Ayse Tutuncu / piano
* Fatih Sacli / flute
* Mustafa Suder / fiddle, viola, saxophone
* Goksel Baktagir / qanun
* Levon Balikcioglu / accordion
* Halis Butunley / percussion
Track List:
01. Japon Balikcisi (Oludeniz) (Poem: Nazim Hikmet)
02. Bir Masalda Turku (Poem: Afsar Timucin)
03. Sasirti (Poem: Lorca)
04. Bilinmeyen Ulke (Poem: Alexander Pushkin)
05. Ve Cocuklar (Poem: A. Kadir)
06. Musahipzade (Instrumental)
07. Cocugun Kurgulari (Poem: Afsar Timucin)
08. Gelmiyorsun (Poem: M. Gunduz Gokturk)
09. Gece Icinde (Poem: A. Kadir)
Link in comments.
Fuat Saka – Lazutlar II (2000) (@256)
23 Nov 2007
(Info from sleeve)
After the huge success of Lazutlar, Lazutlar II was inevitable. It is a follow-up of the Lazutlar “documentary”.
Fuat Saka worked on this album for over a year in Hamburg, Istanbul, Trabzon and Selanik. He studied with veterans Taskin Ofluoglu, Osman Yazici and Ibrahim Can on Blacksea music and folklore.
Via Ofluglu, he met one of the most important kemenche players still alive, Kosta Siyamidis in Selanik and the first recordings of this album started. Doctor Antonyadis is a bard from Macka, living in Selanik. Translating his verses in “Hui Hui” could mean to lose its beauty, so Fuat Saka learned Romaic and sang it in its original form. He also met Archilias and Yannis Kurtidis, two important voices of authenticity. Singing along with Kosta’s kemenche, they are like a big world chorus.
Saka had played with Zurab Gagnidze and Zaza Miminoschvili for many years. When these Georgian musicians came to Istanbul for the recording sessions, they brought along two traditional songs of their country : “Batumlu Suleyman” and “Suliko”.
The whole recordings of this fabulous album were made with solely acoustic instruments and took six months.
Line-up:
* Fuat Saka / 12-string guitar, acoustic guitar, rhythm guitar, rhythms, tomtom, saz, vocals
with
* Kostas Siyamidis / kemenche
* Zurab Gagnidze / bass
* Zaza Miminoschvili / panduri
* Remzi Temelli / kemenche
* Zaza Miminoschvili / naylon gitar
* Herbi Alman / sax, flute, dipciridu
* Metin Meto / holla, percussion, vocals
* Friedrich Glorian / drums
* Mahmut Turan / tulum
* Zatinder Thakur / tabla
* Yannis Kurtidis / vocals
* Vasiliadis Archilias / vocals
* Osman Yazici / vocals
* Taskin Ofluoglu / vocals
* Zurab Gagnidze / vocals
* Hilmi Yarayici / chorus
* Nedret Sekban / chorus
* Can Halman / chorus
Track List:
01. Rapatma 2 (4:59)
02. Meryem Ana (2:18)
03. Esoni (3:41)
04. Leose (4:58)
05. Div Div (3:18)
06. Karayel ve Kaptan (5:24)
07. Feridem (4:25)
08. Eyiya (4:27)
09. Suliko (4:08)
10. Torul (3:12)
11. Alaca Katu Mota (3:05)
12. Tabancamin Sapini (3:25)
13. Batumlu Suleyman (3:35)
14. Hui Hui (3:45)
Links in comments.
Gokalp Baykal – Yagmuru Beklerken (2007) (@256)
22 Oct 2007
(Info from gokalpbaykal.com)
Influenced by Paul Simon, Michel Sardou, Crosby Stills Nash & Young, Cem Karaca, Leonard Cohen and Bob Dylan; Gokalp Baykal started playing guitar during his university education as an architect in 1980. He recorded his first demo in 1986, critically acclaimed in Istanbul underground scene. A second demo followed in 1992. He self-financed his debut album in 1996, later picked up and re-released by an independent label in 1997.
His sixth album, “Yagmuru Beklerken” is a double album of 27 songs, spanning across more than twenty years of his music career. Most of the songs, recorded during previous album sessions were unreleased to-date. The first CD consists of entirely acoustic, the other entirely electric songs.
“Yagmuru Beklerken” provides a comprehensive look at this modest Turkish folk musician.
Line-up:
* Gokalp Baykal – vocals, guitar, mandolin, harmonica
with
* Ismail Safa Yalbaz – guitar, flute, ud, accordion, synths, back vocals
* Suayip Yeltan – bass, guitar
* Cenk Sarkus – percussion, harmonica
* Ozgur Ayabakan – guitar
* Cenk Tarhan – bass
* Koray Ozsoy – drums
* Sabih Cangil – guitar
* Ergin Ozler – maracas
* Pasa Altin – bass
* Cem Polat – drums
* Tolga Kaya – guitar, back vocals
* Utku Dogruak – guitar, back vocals
* Arzu Gorucu – back vocals
* Erbatur Cavusoglu – back vocals
Track List:
CD1 (Acoustic)
01. Yolun Sonunda
02. Surgunden Gelen Gemi
03. Yolda Bir Yerde
04. Soz Etme / Kalem Kirar
05. Sessiz Oyun
06. Senin Kedin Olmak
07. Tas Kalmadan (Acoustic Version)
08. Hic Kimseyi (Acoustic Version)
09. Uc Dunya
10. Dunya Henuz Dunyayken
11. Senden Cok Uzakta
12. Kimsin Sen
CD2 (Electric)
01. Tas Kalmadan
02. Hic Kimseyi
03. Kanima Karisan
04. Bu Ask Degil
05. Yalanci
06. Mumkun Degil
07. Aksamdan Kalma
08. Kedilerin Gunu
09. Kuslari Dinle
10. Sarmal Dongu
11. Benim Kedim Olmak
12. Bir Kadeh Sonra
13. Sevgililer Gunu (Bonus Single)
14. Bir Is Bir Es (Bonus Single)
Links in comments.
Omar Faruk Tekbilek – Mystical Garden (1996) (@256)
11 Oct 2007
(Review from amazon, omarfaruktekbilek.com)
Omar Faruk Tekbilek was born in Adana (in Turkey) to a musical family. At the age of eight, he began his musical career by developing proficiency on the kaval, a small diatonic flute. His uncle owned a music store and gave him music lessons in exchange for work in the store. While working in the store, Tekbilek learned the intricate rhythms of Turkish music, how to read scales, and other rudiments. He was trained on and eventually mastered several instruments; ney (bamboo flute), zurna (double-reed oboe like instrument with buzzing tone), the baglama (long-necked lute), the oud (the classic lute), as well as percussion. By the age of twelve he began performing professionally at local hot spots.
Upon turning 16, he moved to Istanbul where he spent the following decade as in-demand session musician. He stayed true to his folkloric roots, but during this period of frenetic session work in the metropolitan music scene, he explored Arabesque, Turkish, and Western styles and the compositional potential of the recording studio. In Istanbul he also met the Mevlevi Dervishes, the ancient Sufi order of Turkey. He did not join the order, but the head Neyzen (ney player) became another source of inspiration. Tekbilek was profoundly influenced by their mystical approach and fusion of sound and spirit. During that time he was introduced to Hatha Yoga and eventually to Tai Chi and Chi Qong, which he continues to practice daily.
His sixth studio album, “Mystical Garden” combines Tekbilek’s musical mastery, composition and mystical influences creating a soulful and emotional musical journey to a place not easily accessible. The entrance is carefully guarded and always hidden yet within reach. Children, the pure of heart, are the few who are allowed unlimited access. So close your eyes and let Faruk give you a guided tour of a place most of the world has forgotten. Innocence, pure beauty, peace, and tranquility reside here. Step carefully on your journey for all living things are treasured in this Mystical Garden.
Mystical Garden places more emphasis on Faruk’s writing, featuring five original tracks. And there is a greater emphasis on the stellar musicianship of the players. “Egyptian Dance” demonstrates traditional Egyptian motives, with variations on the rhythm and the scales. “Hu Allah” continues to tell Tekbilek’s story in the garden, with his soulful voice over a bed of chanting, nature sounds, and orchestration, along with oud, ney, and bendir. As the last track, this piece leaves the listener in a peaceful trance.
Line-up:
- Omar Faruk Tekbilek / Synthesizer, Arranger, Cymbals, Tambourine, Vocals, Oud, Darbouka, Bendire, Baglama, Ney, Kaval, Finger Cymbals, Davul, Bendir, Zurna, Kavala, Jura
- Arto Tuncboyaciyan / Percussion, Shakuhachi, Drums, Triangle, Vocals, Bells, Bendire, Shaker, Guiro, Zil, Davul, Water Bowl
- Hasan Isikkut / Violin, Kanun
- Brian Keane / Synthesizer, Bass, Guitar, Percussion, Arranger, Cymbals, Drums
- Dan Pickering / Flugelhorn
Track List:
01. Other Side of the River (8:53)
02. Magic of the Evening (6:47)
03. Laz (3:55)
04. Shashkin (6:48)
05. Hasret (8:53)
06. Egyptian Dance (5:06)
07. Three Last Words (8:33)
08. Mystical Garden (7:07)
09. Hu Allah (9:59)
Links in comments.
Akin Eldes – Kafi (2002) (@256)
26 Sep 2007
(Review from guitar9.com)
Akin Eldes is a prominent Turkish guitarist, best known for his work with Bulutsuzluk Ozlemi.
Kafi is his all-instrumental first solo album with his own songs and displays his love for improvisational hard rock, progressive rock and other musical idioms. Eldes loves effects such as phasers, flangers and other time-shifting tools, so the music surges and swells when not driven hard by frenzied, psychedelic soloing, as on “Serbest Bolge”. Bolstered by the drum work of co-producer Cem Aksel and the bass throb of Patrick Chartol, Kafi is an ear-perking and head-turning work aimed at fans of rock improvisation coming from exotic ports of call.
Line-up:
* Akin Eldes – Guitar, VG-8, Bass, DR Programming
* Patrick Chartol – Bass
* Cem Aksel – Drums, DR Programming, Special Effects
* Gurol Agirbas – Bass
* Tanju Duru – DR Programming, Special Effects
Track List:
01. Girizgah (Introduction)
02. Serbest Bolge (Free Zone)
03. Lirik Blues “In Memory Of Yavuz Cetin”
04. 4 Delay
05. Sappho
06. Hababam
07. Sco
08. Haydi
09. Kafi
10. 1/3
11. Sofsotik
12. Ukw
Links in comments.
Pinhani – Inandigin Masallar (2006) (@256)
12 Sep 2007
(Review from sozluk.sourtimes.org)
After performing covers in various bars of Istanbul with his previous band “Van Basten”, Sinan Kaynakci formed Pinhani with his cousin Zeynep Eylul Ucer in 2004. They had played together before in different amateur bands. In fact, Kaynakci had given her first bass as a gift many years ago. “Pinhani” was their grandfather’s nickname in the poems he wrote, they inherited it as the band’s name. The word “Pinhan” is of persian origin, meaning “Secret”.
With veteran musicians Akin Eldes and Cem Aksel, they released their debut in 2006. Warmly received by Turkish listeners, Pinhani quickly gained popularity nation-wide.
Their music is simple, clear, naive, gentle and sincere. Deep words are sung along peaceful and joyous melodies. Where “Don Bak Dunyaya” is melancholic, “Hele Bi Gelin” makes you dance, “Beni Al” leaves a sour taste. “Yildizlar” has the bitterness of a break-up. “Unutuldular” tells the emotional breakdown caused by the accumulation of multiple seperations.
With its magical atmosphere, “Inandigin Masallar” easily ranks as one of the top Turkish folk-rock albums recorded in the last few years.
Line-up:
* Sinan Kaynakci – Vocals, Guitar
* Zeynep Eylul Ucer – Bass, Vocals
with
* Cem Aksel – Drums
* Akin Eldes – Guitar
Track List:
01. Istanbul’da
02. Seni Bana Anlatirlar
03. Hele Bi Gel
04. Beni Al
05. Don Bak Dunyaya
06. Ben Nasi Buyuk Adam Olucam
07. Haftanin Sonu
08. Unutuldular
09. Yildizlar
10. Gozler Anlatir
Link in comments.
Burhan Ocal (and The Trakya Allstars) – Kirklareli Il Siniri (2003) (@256)
22 Aug 2007
(Info from label, burhanocal.com)
Recognized worldwide as a virtuosic percussionist Burhan Ocal has made the bridging of musical cultures his central mission. A native of Kirklareli in Thrace region of Turkey, he grew up in a musical family. From his father, he learned a variety of percussion instruments, while his mother introduced him to religious vocal music. After his first contact with western music, he became interested in combining other genres and cultural traditions, such as jazz and western classical music, with his own.
Burhan Ocal’s instruments are as diverse as his music. In addition to a wide variety of percussion, such as the darbuka (a vase-shaped drum played with the fingers), kos (kettle drum), kudum and bendir, he is a highly skilled player on a number of stringed instruments, including the divan-saz, tanbur and ud. His expressive voice adds to the spectrum of musical elements at his command.
“Trakya All Stars” is a highly special project where Ocal collaborates with master musicians from Thrace region, paying tribute to the musical heritage of his birthplace. The Roman-Balkan influenced album possesses a timeless character which manages to take deep tradition to a contemporary level. It is produced by the Tunisian born French musician, sound engineer and producer Smadj, highly respected for his knowledge of oriental music and for his digital innovations.
Track List:
01. Tekirdag Karsilamasi
02. Suleyman Aga
03. Ferace
04. Karakas Mahallesi
05. Gara Guna
06. Melike
07. Ciftetelli
08. Coban
09. Gures Havasi
10. Davullarim Calar Caydan Asagi
Links in comments.
Ihtiyac Molasi – 1.5 (2004) (@256)
12 Aug 2007
(Review from ihtiyacmolasi.com, sozluk.sourtimes.org)
After a two year hiatus, the band got back together and started working on new material. In 2004, Ihtiyac Molasi released their second studio album “1,5″ in their own studio. The album contains songs composed over a decade, during 1993-2003.
“1,5″ is quite different from their debut. The band pursued a more straight rock sound. Though they disappointed earlier fans, newer fans warmingly welcomed the new sound of “1,5″.
Line-up:
* Sinan Gursoy – Bass
* Taner Sarf – Vocals, Guitar
* Tolga Cebi – Violin, Keyboard, Vocals
* Murat Gullu – Drums, percussions
Track List:
01. Bir Bucuk Tanem (3:48)
02. Her Zaman (5:16)
03. Ay (6:35)
04. Uyandim (4:59)
05. Sus (3:06)
06. Gulumse (3:34)
07. Gece (3:53)
08. Mekanlar (3:13)
09. Dumeni Birak (2:44)
10. Merak Oldum (3:55)
11. Umut (13:05)
Links in comments.
Ihtiyac Molasi – Milad (1999) (@256)
11 Aug 2007
(Review from homestead.com, ihtiyacmolasi.com)
Since 1993 Tolga Cebi, Sinan Gursoy, Taner Sarf and Murat Gullu occasionally played together in a variety of activities, playing covers of rock bands (mostly Pink Floyd) in Canakkale, a seaside town of Turkey where the wind never stop to blow.
In 1995, the band moved to Istanbul and took the name “Ihtiyac Molasi”. Each of them was playing music since a while, their own improvised performances also took a great attention by the fans and soon they became one of the favorite groups of town. In 1996 & 1997 the band’s participation on two contests (namely ‘Best Rock Band of Istanbul’ and ‘Roxy Music Days’) introduced to them to a larger audiene. In 1998, they recorded the song ‘Cengi’ for a compilation album.
Following this compilation appearance, they stroke a record deal of their own. Finally in January 1999, the album, ‘Milad’ (The Nativity), was recorded. The album was released in April 1999 and contained the remakes of the improvised songs the band had been performing regularly. The sound engineer of the production is Okan Dogu, and Cevdet Erek (of Nekropsi) were guest musicians on the album.
The strongest point of the group is the ability to make a lot of evolvements and different approaches of arrangements within one song. The first two tracks for instance evolve fluently from a chamber music rock skilled instrumental music with complex rhythms towards more funky poprock rhythms and then even some poprock song with even more relaxed rhythms. This combination is renewing from a poprock point of view. The third track, “Cengi” is more Turkish folkrock with a jazzy violin. Also the following track, “Milad” is a Turkish folk melody in a proggy version, which is, like the next more chamber music rock track, “Ortamali” with very varied arrangement changes. “Shine” is an English spoken pop song, with no typical Turkish elements any more. The Turkish folk influence can be heard again in some of the other tracks, refreshing in combining it with more progressive guitar playing and rewarding rhythmic skill. The only notable downside of the album is the vocals. This would probably be an excellent album if it was instrumental.
After this album, the members of the band were in the obligation to take a break for their compulsory military service.
Line-up:
* Sinan Gursoy – Bass
* Taner Sarf – Vocals, Guitar
* Tolga Cebi – Violin, Keyboard, Vocals
* Murat Gullu – Drums, percussions
Track List:
01. Cizgi
02. Taken
03. Cengi
04. Milad
05. Ortamali
06. Shine
07. Buffalgo
08. M.O.
09. Kelek
10. Delikanli
11. Istanbul
12. So
Links in comments.
Bulent Ortacgil – Benimle Oynar Misin? (1974) (@256)
28 Jul 2007
(Review from ortacgil.com, sozluk.sourtimes.org)
Ortacgil started playing the guitar in high school. With a bunch of his classmates, they ended up playing under various names. Influenced mainly by The Beatles, Cat Stevens, Donovan and Bob Dylan, he published his first single, called “Anlamsiz” while still in highschool. It wasn’t until 1974, he released his first studio album.
Every once in a while, you hear a record for the very first time and it becomes instantly ingrained into your memory. You intuitively know every note before it comes, you can hum along from start to finish, you feel that it has always been with you and will stay with you for eternity. His absolutely phenomenal 1974 debut “Benimle Oynar Misin?” is considered a landmark album in Turkey. Ortacgil’s songs are written and arranged simply and tastefully, with his voice and gorgeous fingerpicked guitar playing in the forefront of almost every track, and sparse accompaniment on piano, trumpet, saxophone, strings, and several other instruments played by a long list of sidemen and women. The music on this record follows in the tradition of British folk singers and folk rock bands. The mood is melancholic, but with a strong underlying sense of hope and joy.
Even if you don’t understand a word of Turkish, this could be one of the most moving and engrossing records you may have heard. With its amazingly naive sound and unique atmosphere, it’s truly too beautiful to put into any words.
After this album, Ortacgil got married and took a 10-year break from his music career, working as a chemical engineer before his come back in the late 80s.
Line-up:
* Bulent Ortacgil – acoustic guitar, vocals
with
* Onno Tunc – bass
* Cezmi Basegmez – drums
* Ergun Pekakcan – piano
* Attila Ozdemiroglu – vibraphone, flute, tombom
* Nukhet Ruacan – vocals
* Erol Duygulu – sax
* Metin Orser – trumpet
* Tuncer Ozcan – trumpet
* Erdogan Ergun – trumpet
Track List:
01. Gunaydin
02. Kediler
03. Benimle Oynar Misin?
04. Olmali mi Olmamali mi
05. Sik Latife
06. Hersey Sevgiyle Baslar
07. Suna Abla
08. Dort Kisili Dus
09. Anlamsiz
10. Yagmur
11. Yuzunu Dokme Kucuk Kiz
12. Sen Varsin
13. Bahar Turkusu
14. Gunaydin II
Link in comments.
Nekropsi – 10 Yilda Bir Cikar Sayi 2 (2006) (@256)
23 Jul 2007
After a 10-year hiatus, last year Nekropsi stroke back with their 2nd album.
Nothing like their debut; this comperatively shorter album is comprised by various musical approaches like krautrock, electronic, post-punk, psychedelic, experimental, etc.
Line-up:
- Cem Omeroglu / guitar, vocal, bubu
- Cevdet Erek / drums, darbuka, bendir, ziller, vocal, shaker, typewriter
- Tolga Yenilmez / guitar, vocal, effects, sampling, bass, baglama
- Kerem Tuzun / bass, vocal
Track List:
01. Harf Devrimi (4:52)
02. Erciyes Sokta (5:13)
03. Foklar (3:54)
04. BABA (3:55)
05. PAPA (3:50)
06. Harf Devrimi 2005 (4:11)
07. Yok var (3:32)
08. Ebo (5:10)
09. Die Neue Papa (5:10)
10. Baglama (4:42)
Link in comments.
Nekropsi – Mi Kubbesi (1996) (@256)
22 Jul 2007
(Review from progarchives.com, progreviews.com)
The band went through personnel changes after the demo, also marked a change in musical direction. Nekropsi released their first full-fledged album “Mi Kubbesi” in 1996 on the Ada Label.
“Mi Kubbesi” is mostly instrumental (with occasional chanting) full of complex twists and turns. Nekropsi offers a unique blend of heavy bass riffs with the highest of calibre drumming/percussion richly swarmed with multiple guitar passages. Songs dip in and out of many different moods, tempos and forms which is one of the strengths of this listen.
In terms of progressive rock influences, it is a cross between King Crimson’s intensity (nothing here really approaches that band’s compositional complexity, though) and Pink Floyd’s spaciness. There’s also somewhat of a loose jam feel that brings vague space-rock influences to mind. In a blend of middle-eastern and western influences, the exhuberance is always nicely tempered by atmospheric passages. The odd juxtaposition of folk and metal influences, though, pretty much guarantees that this one is difficult to compare to most other prog out there.
Line-up:
- Cem Omeroglu / guitar, vocal
- Cenk Turanli / bass, vocal
- Cevdet Erek / drums, darbuka, bendir, vocal
- Tolga Yenilmez / guitar, vocal, effects, sampling, bass
Track List:
01. Crying Game (2:43)
02. Fok (4:43)
03. Efsane (6:29)
04. Carsi (1:15)
05. 94 Kor (2:58)
06. Derinlik (5:49)
07. Dimli Mi (6:26)
08. Lim (2:07)
09. Hindu (2:19)
10. Carklar (5:20)
11. Ateis (2:46)
12. Goc (5:20)
13. Kubbealti (0:32)
14. Yollar (8:39)
15. Son (5:11)
16. 41 (9:35)
Link in comments.
Nekropsi – Speed Lessons Part 1 (1992) (Demo) (@192)
22 Jul 2007
(Info from progarchives.com)
Nekropsi arrived on the Istanbul scene in 1989 with drummer Cevdet Erek and guitarist Erem Tanyeri; with the addition of guitarist Cem Omeroglu and bassist Umut Gurbuz a year later, the band issued a thrash-metal demo titled “Speed Lessons Part 1″ which sold 700 copies in local music stores and by mail.
Only would interest Nekropsi fans for historical reasons.
Line-up:
* Cem Omeroglu – Vocals, Guitar
* Cevdet Erek – Drums
* Erem Tanyeri – Guitar
* Umut Gurbuz – Bass
Track List:
01. The Pure
02. Honest Mind
03. Make Me Believe
04. Why Doldrums
Link in comments.
Fuat Saka – Lazutlar (1997) (@256)
06 Jul 2007
(Info from haydut.cmpe.boun.edu.tr, sozluk.sourtimes.org)
Fuat Saka had his first music education from his father who played tanbur. He later had education in arts (painting) in Istanbul, music in France and Germany.
Besides scoring for theatres and films, he gave many solo concerts and made arrangements for Turkish and international artists. He also composed the music of Karadeniz (Blacksea) part of the popular Turkish folklore show, “Sultans of the Dance”.
Fuat Saka fuses anatolian blacksea tunes with many music genres. Improvising Blacksea traditional folk songs in his works, he composes poems of well-known Turkish poets.
Line-up:
* Fuat Saka – 12-string guitar, guitar, bass, percussions, bouziki, ovation guitar, e organ, piano, saz, string
* Zaza Miminoschvili – guitar, godin guitar
* Sami Civici – Accordion
* Herbert Koschmieder – Saxaphone, Flute
* Stefan Happel – bass
* Mustafa Sirtli – Blacksea Kemenche
* Muhammet Yakupoglu – Blacksea Kemenche
* Yusuf Tunan Kurtisev – Clarinet
Track List:
01. Lazutlar (3:25)
02. Uy Tirabzon Uy Tirabzon (3:06)
03. Rap Atma (4:47)
04. Tskals Napoti Chamohkonda (2:04)
05. Dere Boyu Kavaklar (4:45)
06. Hekimoglu (3:47)
07. Kurbani (4:37)
08. Gokteki Yildizlari (4:37)
09. Aman Of Aman Ey (3:31)
10. Derule (2:31)
11. Lazosani Berepe (1:56)
12. Ay Vuriyi (3:42)
13. Cilveloy (4:36)
14. Yaylanin Soguk Suyu (5:00)
15. Lazutlar Remix (3:25)
Link in comments.
Mustafa Ozkent ve Orkestrasi – Genclik Ile Elele (1973) (@256)
27 Jun 2007
(Info from finderskeepersrecords.com, amazon)
On the surface, Mustafa Ozkent’s Orchestra were perhaps nothing more than a stage band or an indigenous, rhythm-heavy cabaret band quite similar to the likes of the aforementioned Incredible Bongo Band or the recently excavated Kashmere Stage Band. Turkish pop-historians regularly cite the huge influence the likes of ‘The Shadows’ and ‘The Ventures’ had on the youth of Istanbul as a significant turning point for the burgeoning Anadolu pop scene. Groups like The Mavi IsIklar and Mogallar began to release their own take on guitar standards and surf-groops utilising their first language both lyrically and instrumentally while retaining their traditional, self-taught mastery and pushing the boundaries of Western European and American culture for the discotheque crowd after hours. At times young artists would be forced to compromise their traditional expertise in misguided attempts to replicate the dumbed-down sound of white-trash America – and herein lies the secret that segregated Mustafa Ozkent’s men from the Basphorus boys.
As an expert in both carpentry and electronics, Ozkent was keen to combine his skills with his interests in music and science. Fuelled by a passion for traditional music values the natural progression was inevitable and as Mustafa Ozkent’s reputation and repetoire of original compositions mutated so did his instruments. Not unlike a Turkish Harry Partch, Mustafa Ozkent went on to invent specially treated guitars with additional frets enabling him to replicate unique notes similar to that of a saz or lute allowing the musician to emulate the sound of Western Jimi Hendrix style wah-wah and fuzz while retaining the versatility and rawness of the traditional Eastern sensibilites which ran through young Istanbul’s veins. From here on Mustafa Ozkent’s legacy continued to mutate, and Turkish pop music metamorphosised beyond its wildest dreams, leaving an instrumental album like ‘Genclik Ile Elele’ silently seminal, but in time virtually unattainable.
Ozkent had a good reputation amongst forward-thinking studio engineers and was respected for his work as an arranger with an open mind and wealth of unique musicians at his disposal. On the request of Evren label, Ozkent embarked on his first self-penned album which would test the boundaries of the new sonic medium by creating a lively and futuristic rhythmical pop sound. Ozkent enlisted the services of hammond organist Umit Aksu who would inject Hawkshaw style Champ-vamps throughout the album while a young Cahit Oben would accompany Ozkent on a second guitar to secure some heavy Anatolian-psych interplay begging comparisons to that of Micky Karoli from Krautrockers ‘Can’ (albeit in a slightly less teutonic environment). With twin drummers and a percussionist the “orchestra” was complete.
After initial rehearsals, studio time was secured at Istanbul’s legendary Grafson studios where the full band would assemble to record the live music in single takes without overdubs and in the absence of multi channel recording Ozkent adopted some handy microphone techniques to emulate the total-stereo effect and capture the heavy psychedelic effects and solid close-miked beat breaks.
The end-result is a stunning instrumental album filled with tight grooves and funky beats. Clocking in at 30 minutes, none of the tracks over stay their welcome.
All tracks are soul/rock style covers of traditional Turkish folk songs.
Track List:
01. Uskudar’a Giderken
02. Burcak Tarlalari
03. Dolana Dolana
04. Karadir Kaslarin
05. Emmioglu
06. Carsamba
07. Zeytinyagli
08. Silifke
09. Lorke
10. Ayas Yollari
Link in comments.
21. Peron – 21. Peron (1975) (@256)
20 Jun 2007
(Info from homestead.com)
The Izmir College band was formed in 1970 highly influenced by Creedence Clearwater Revival, The Who and Crosby, Stills, Nash and Young and even performed Tommy at some schoolshows back in 1972. They won the Milliyet contest in 1973 with a self written tune. After that the group members changed, (due to graduating), a viola player was added and renamed their group into ’21.Peron’.
Their influences expanded and included Zappa, Genesis and Gentle Giant, with still sympathy for the Anatolian rock which they continued to develop. In 1974 they did a progrock jingle for a national radio show by Umit Tuncag who supported jazz and progressive music. By 1975 they moved to an instrumental style of music with some Yes and Genesis influences, which was respected but hard to understand for the (Turkish) general public. At that time they recorded 5 tracks themselves, but it was impossible to find a label to release this. More “experimental” or progressive music from small groups outside the Altin Mikrofon contest and the Milliyet (schoolband) contest simply were not promoted.
In 1977 the group had the permission by label owners Attila Ozdemiroglu and Sanar Yurdatapan to record in a professional studio another 6 songs. The tracks had to find a more compact form and balance for the market’s rules. The tapes were used once for a TRT national broadcast airplay but then were left unused ever since. In 1978 the band made live arrangements for an additional orchestra. “Petruska” was played live in a 12 minute version (rock band with orchestra), but this full version recording was not included on this album yet.
Around the same time the German band Embryo started their first world music tour (documented for the Indian & Pakistan parts afterwards on “Embryo’s Reise). In Turkey they played with 21. Peron although the important part of the violin wasn’t there, because Alp had to leave the band for his studies.
In 1979, just as a joke, the band suggested a song for the Eurovision song festival and won the national competition. Due to the oil crisis and threats by other Middle eastern countries, Turkey’s participation in Israel was cancelled, so the band never came to it.
Only recently Arkaplan label put their old recordings together to publish the album they once had dreamed of to release.
“Anne” has a anadolu rock flavour but also includes some psych organ, wah wah guitar and violin improvisation with a developed sound, varying from a garage psych feeling, but it is definitely symphonic in its evolution. “18400 TL.” is inventive with its sound, and compromises progressive rock, and bluesrock or beat rhythms, with anadolu folk and anadolu fuzz psych ideas, also in a symphonic way. Fantastic !
“F.M.O” is more experimental, improvised. Progressive music to lick your fingers to. The track was meant as an imaginary mini-soundtrack. “Petruska” is based upon Stravinski’s composition, in a great progressive / chamber music rock interpretation, inventively played. Stunning ! If this version of 6 minutes is already that good I wish to hear the 12 minute version with additional arrangements !! I’m sure Stravinsky would have approved this work.
Side B starts with “Cocukluk Anilarim”, a more relaxed track with a banjo-like ethno-folk instrument, electric guitars, great psych organ, violin, drums. “Inilti” and “Bes” are good symphonic tracks with much more keyboard chord input, guitars, and drums, just like various West European bands from mid seventies. “Sarap Mahzeninde Gece” has a combination of driving Anadolu elements, with heavy prog rock with refined but powerful arrangements, arranged perfectly into a progressive form. “FMO II”, a bit more moody, fits perfectly here with Curved Air like violin adaptation and a bit more experimenting within improvisation (with echoed and experimental sounds, guitars, violin). Last track “Arap Bebegin Dansi” (with a Debussy theme) starts a bit different, with a more fun rhythmical moog and organ (with some dance violin) combined unexpectedly with some heavy prog rock guitars. In some way it gives another aspect of the Anadolu rock scene, reminding me of Erol Buyukburc area/story, here it still is with all its seriousness intact.
Line-up:
* Alp Gultekin – Violin
* Andreas Wildermann – Keyboards
* Haluk Oztekin – Guitar
* Erden Erdem – Drums
* Aron Serez – Bass
* Gokhan Akcay – Bass
* Seyhan Eris – Guitar
* Halil Yildirim – Drums
Track List:
01. Anne
02. 18400 TL
03. F.M.O. (Film Muzigi Olabilir)
04. Petruska
05. Cocukluk Anilarim
06. Inilti
07. Bes
08. Sarap Mahzeninde Gece
09. F.M.O. II (Film Muzigi Olamadi)
10. Arap Bebegin Dansi
11. Anlatamiyorum (Bonus)
12. Koy Dugunu (Bonus)
Link in comments.
Grup Cig – Cig Turkuleri (1998) (@256)
12 Jun 2007
Mustafa Ozarslan and Oguz Aksac formed Grup Cig in Ankara in 1994, playing Turkish folk songs. What made Grup Cig so unique, was their duelling screaming vocals.
Grup Cig played in local bars of Ankara for many years, singing local folk songs originating from many different regions and cultures of Turkey.
In 1998, with the support of renowned artist Musa Eroglu, Grup Cig released their debut album “Cig Turkuleri”.
Line-up:
* Mustafa Ozarslan: Vocals, Wind Instruments
* Oguz Aksac: Vocals, Wind Instruments
* Murat Cinay: Vocals, Guitar
* Kemal Ozarslan: Baglama
* Levent Kahraman: Vocals, Percussion
* O. Deger Ozsu: Keyboards
* Yildaner Ozkazanc: Drums
with
* Musa Eroglu: Baglama
* Ahmet Ozgul: Acoustic, Electro, Classic Guitar
* Cuneyt Sozmen: Bass, Fretless Bass
* Can Kokrek: Bango
* Metin Ozbek: Bango
* Ferhat Erdem: Pipe
* Huseyin Gecer: Mey, Zurna (Shrill pipe)
Track List:
01. Kahpe Felek
02. Hekimoglu
03. Omrum
04. Yuksek Minare
05. Konuk
06. Essek
07. Halimem
08. Yarim Yarim
09. Ladik Semahi
10. Alisan
11. Hazal Gelin
12. Halay Potpori
Link in comments.
Yeni Turku – Vira Vira (1990) (@256)
12 May 2007
(Info from wikipedia)
Yeni Turku was founded by Derya Koroglu, Zerrin Yasar, Selim Atakan in 1978 in Ankara, Turkey. All group members changed several times throughout the years, except the lead singer Derya Koroglu. Their music combine the sound of traditional Turkish and modern musical instruments, such as the oud, baglama, kemence, qanun and guitar. Many of their lyrics are based on poems by critically acclaimed contemporary Turkish poets. This combination produces a broad range of Turkish and Mediterranean melodies, that unites Anatolian and Byzantine cultures. Yeni Turku’s blend of traditional and ethnic songs appeals to all generations and cross-cultural audiences.
“Vira Vira” is their sixth studio album, issued in 1990.
Line-up:
* Derya Koroglu – guitar, baglama, vocals
* Selim Atakan – piano, flute
* Murat Buket – lute
* Cengiz Onural – guitar, stringed violin
* Tugrul Bayrak – bass
* Tayfun Duygulu – soprano saxophone, clarinet
* Halis Butunley – percussion, vocals
Track List:
01. Vira Vira
02. Inatci
03. Beklemek
04. Oyle Sevdik Seni
05. Irmak
06. Anne
07. Dalgaci Mahmut
08. Eski Asklar
09. Deliler
10. Umut
11. Gece Yarilari
12. Saril Bana
Link in comments.
Dolapdere Big Gang – Local Strangers (2006) (@256)
11 Apr 2007
(Info retrieved from google’s cache)
Dolapdere Big Gang, established in 2004 by a group of eight musicians, reinterpreting previous pop and rock hits with traditional and modern instruments in an alaturka (old Turkish culture) fashion.
Starting with live performances in popular clubs of Istanbul, people spread the word and national TV apperances came after. Their debut album Local Strangers was released in Autumn 2006. It includes covers of all-times hits from Sting, R.E.M., Depeche Mode, Steve Miller Band and many others.
Line-up:
- Emir Yesil / Vocals
- Aykut Sutoglu / Clarinet, Trumpet
- Gokay Sungu / Keyboard
- Irfan Kecebasoglu / Bass
- Yusuf Calkan / Violin
- Mustafa Olgan / Kanun
- Ismail Darici / Percussion
- Memduh Akatay / Percussion
Track List:
01. Englishman In New York – 05:45
02. Smoke On The Water – 05:10
03. Losing My Religion – 04:03
04. It’s Raining Men – 04:11
05. Billie Jean – 05:10
06. Something Got Me Started – 03:16
07. Enjoy The Silence – 03:34
08. Shut Up – 04:56
09. Feel – 04:34
10. Serenade – 04:34
11. La Isla Bonita – 05:01
12. Can’t Take My Eyes Off You – 04:45
Links in comments.
Kopruler – Iki Dunya (2006) (@256)
04 Mar 2007
(Translation from Label)
Kopruler, combines two worlds — classical western music and music from Turkish geography in a harmony, forming an excellent bridge made of musical notes between east and west.
Melodies of classical music geniuses are intertwined with contributions of virtuoses Erkan Ogur, Okay Temiz, Halil Karaduman, Ercan Irmak. Arrangements of Gurol Agirbas, surprisingly transforms these priceless tracks to a world music.
Line-up:
* Erkan Ogur / E Bow-Cura-Fretless Guitar (3-5)
* Ercan Irmak / Reed Flute (Ney) (8-10)
* Almanyal1 Suat / Percussion (9)
* Okay Temiz / Percussion (9)
* Halil Karaduman / Zither (Kanun) (1-7)
* Ahmet Meter / Zither (Kanun) (2)
* Ahmet Koc / Baglama (An Instrument with Three Double Strings) (4)
* Turay Dinkeyen / Fiddle (2)
* Gundem / Fiddle (2)
* Yildiray Guz / Laute (Ud) (1)
* Derya Turkan / Kemençe (A Small Three-Stringed Violin) (5)
* Metin Cakir / Clarinet (2)
* Sukru Kabac1 / Clarinet (6)
* Savas / Clarinet (9)
* Murat Samsunlu / Cümbüş (A Mandolin with a Metal Body) (2)
* Sami Ozer / Vocals (1-4)
* Goknil Gokmen / Rhythm (9-10)
* Gurol Agirbas / Keyboards, Bass
Track List:
01. Four seasons – Spring – Antonio Ludio Vivaldi
02. Hungarian Dances – Johannes Brahms
03. Pavane – Gabriel Urbain Foure
04. Carmina Burina – Carl Orff
05. Adagio – Tomaso Giovanni Albinani
06. Concerto de Aranjuez – Jooquin Codigo
07. Carmen – Georges Bizet
08. Bolero – Mourice Ravel
09. Eine Kleine Nacht Musik – Wolfgang Amadeus Mozart
10. From The New World – Antonio Dvorak
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Zulfu Livaneli – Istanbul Konserleri (Live 1984) (@256)
04 Feb 2007
(Info from livaneli.gen.tr)
Zülfü Livaneli was born in Ilgin, Turkey in 1946. As a young man, he started a publishing company in Ankara but the political turmoil of the 1970′s that influenced all intellectuals’ lives at the time, reshaped his life too. He was accused for his political views and ideals on a number of accounts. After being held under military detention for three months during the coup of March 12th, he had to leave Turkey and move to Sweden. In Sweden, he studied music and philosophy. After Stockholm, he lived in Paris and Athens, and he returned to Turkey in 1984. Livaneli became one of the most outstanding figures in the cultural, artistic and political life of Turkey. He achieved prominent success not only as a musician but also as a writer and a film director. His compositions, books and films brought him national and international acclaim, and more than 30 international awards. Alongside his brilliant artistic career, Livaneli has been a highly influential political figure for the past thirty years.
In his accomplished musical carrier, Livaneli composed 300 songs, one rhapsody -which was recorded by the London Symphony Orchestra- and one ballet. His songs reached cult proportions on a national scale and they were performed by many internationally known soloists such as Joan Baez, Maria del Mar Bonet, Udo Lindenberg, Maria Farandouri, Haris Alexiu, Kate Westbrook. He also composed 5 theatrical scores and 30 soundtracks including award winning films such as ‘The Road’ (Golden Palm Award at Cannes Film Festival; Directors: Yilmaz Güney & Serif Goren); ‘The Herd’ (Directors: Yilmaz Güney & Zeki Okten) and ‘Shirin’s Wedding’ (Director: Helma Sanders Brahms). His albums were released in Spain, USA, Sweden, Germany, Holland and France, and he gave hundreds of concerts all over the world. He produced joint albums and gave concerts with Mikis Theodorakis and Maria Farandouri, and he also worked with Manos Hacidakis, Giora Feidman, Chilean Inti Ilimani and Angel Parra. ‘Best Album of the Year’ (Greece), ‘Edison Award’ (Holland), ‘Best Album of the Year’ (Music Critics Association, Germany), Award for Best Art of Songwriting (San Remo, Italy) are some of the awards that he received.
This is an official recording of his concerts in 1984 in Istanbul. Peter Schulze, a composer and Radio Bremen Music Director says : ‘I was present at most of the concerts that Livaneli gave in 1984 at the San Theatre. I already knew these beautiful songs. They were played and performed with beauty; the stage presentation and the arrangements were impressive. But this was only part of what was going on. The warmth and enthusiasm expressed by the audience, their thirst for honesty added a new dimension, a deeper meaning to Livaneli’s songs. This was completely in harmony with the deep humility of the music. Turkey is fortunate to have such an artist. Livaneli is fortunate to have such a people. And I am fortunate to have lived through all this.’
Track List:
01. Merhaba (3:51)
02. Kardeşin Duymaz (3:40)
03. Karli Kayin Ormani (4:07)
04. Odam Kireçtir Benim (3:44)
05. Eşkiya Dünyaya Hükümdar Olmaz (5:03)
06. Çirak Araniyor (2:46)
07. Bulut mu Olsam (2:47)
08. Kiz Çocugu (4:00)
09. Leylim Ley (4:23)
10. Yigidim Aslan1m (3:19)
11. Özgürlük (3:23)
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Modern Folk Uclusu – Bizim Tepe Konseri (1986) (@256)
25 Jan 2007
Dogan Canku, Selami Karaibrahimgil and Ahmet Kurtaran formed Modern Folk Üçlüsü in July 1969. As a folk trio, they were active in Turkish music scene till 1981. Modern Folk Üçlüsü was the first band that introduced harmonic chorals into Turkish folk songs. Most current vocal harmonies in Turkish folk and pop songs may be regarded as the result of their innovative experiments.
Since 1981, they occasionally re-unite in concerts. “Bizim Tepe Konseri” is an official recording of the concert that took place in Robert College of Istanbul on July 31st, 1986.
Track List:
CD1 :
01. Hincal Uluç Sunuş [3:16]
02. Doce Cascabeles [3:01]
03. Monday Morning [3:29]
04. Jamaica Farewell [2:27]
05. Latin Potpori : Cielito Lindo / Adelita / Qundo Calienta El Sol [5:02]
06. Ali Paşa Agidi [4:01]
07. Senden Bana Yar Olmaz [3:45]
08. Ali Veli [5:27]
09. Dözeren [8:11]
10. Kanun Taksimi [1:28]
11. Efem [3:39]
12. Gül Yüzünde Göreli [3:25]
CD2 :
01. Mang Wani Mpulele [5:14]
02. Rüzgar Uyumuş Ay Daliyor [4:33]
03. Klasikler (Kiz Sen Geldin / Gel Gidelim Çamlicaya / Erdi Bahar) [4:34]
04. 0ncecikten Bir Kar Yagar [5:04]
05. Gecelerim [2:39]
06. Gökte Yildiz Ay Misun [2:25]
07. Sandal [4:19]
08. Bugün Ayin Üçüdür [6:21]
09. Ayrilik [4:48]
10. Leblebi – Leblebi Dogaçlama [6:54]
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