CD Review: Mehmet Sanlikol's 'whatsnext?'

Mehmet Sanlikol
whatsnext?
Dunya

Hailing from Turkey and based on the East Coast of the U.S.A., Mehmet Sanlikol takes a cinematic side of jazz-inspired, lounge tunes with lively trombone, trumpet, sax, piano, bass, drums, and Central Asian/Middle Eastern percussion. The instrumental tracks are long, varied, and very moving. The edgy percussion, horns, and dramatic overtones resemble the suspenseful spy film soundtracks of the 1970's. The album contains nine diverse tracks with varying degrees of jazzy ambiances that possess avant-garde nuances and swishy, percussion-heavy interludes punctuated by punchy horn-driven arrangements. The swirling melodies and rhythms are energetic and engaging without a lack of direction and substance. All of the tracks are instrumental in form. The jazz-noir melodies are poignant and creative without negative side effects. Anyone with an interest in instrumental jazz and Turkish fusion will love Mehmet's compositions. The entire album is dedicated to Aydin Esen. ~ Matthew Forss

CD Review: Seda Bagcan's 'Sunrise'

Seda Bagcan
Sunrise
Spirit Voyage

Turkish-born and German-based, Seda Bagcan creates moving Central Asian-tinged tunes reflecting a yogic presence and Sanskrit vocals. Yoga music lovers will appreciate the wistful and airy melodies, but the piano and some Central Asian percussion and strings take over. This is not your typical kirtan music, but then again, what is typical nowadays? At any rate, the music is mantra based and highly reflective. The soul-stirring voice of Seda is heavenly and blissful. The new album contains eight songs that are a mix of yogic, tantra-based music and Central Asian or Middle-Eastern-tinged elements. The result is a very good album that is easy to listen to for any relaxing or meditative occasion. Seda Bagcan is a talented songstress that knows how to focus on music with a purpose. Sunrise is good from sun-up to sun-down. ~ Matthew Forss

CD Review: Roksonaki's 'Nauryz'

Roksonaki
Nauryz
Mosaiqa

Kazakhstan's Roksonaki is an ethnic ensemble with traditional instruments and tunes that highlight the beautiful music indigenous to the region of Central Asia on the historic Silk Road route. The music is diverse and pop-focused on two tracks--"Saulem-ai" and "Aitys." The first is rather melodic and catchy with a folk-rock style and backup vocals. The latter is a more contemporary tune with atmospheric winds and bossa nova style embellishments. However, the throaty, guttural vocals remind us we are not too far from Central Asia. However, the song merges into a pop-driven medley of angelic voices and showtune-type arrangements with operatic vocals and Broadway-esque renditions. The other tracks contain Jew's harp, drum-kit, keyboard, danyrga, bagpipes, dombra, hand drum, kyl-kobyz, acoustic guitar, saz-syrnay, and assorted percussion. The eleven tracks are a perfect accompaniment to anyone's Central Asian music library. ~ Matthew Forss

CD Review: Mahsa Vahdat & Mighty Sam McClain's 'Love Duets Across Civilizations - A Deeper Tone Of Longing'

Mahsa Vahdat & Mighty Sam McClain
Love Duets Across Civilizations - A Deeper Tone Of Longing
KKV

Iran's Mahsa Vahdat and America's Mighty Sam McClain bring us a new album of musical poetry inspired by the poetry of Mohammad Ibrahim Jafari and Erik Hillestad. The music is bluesy and classical with both Farsi and English vocals. The instruments are varied, including acoustic/electric guitars, Fender Rhodes, harmonica, piano, trumpet, ney, kamancheh, vibes, and double bass. The session songs are more adventurous and textured than previous releases from Mahsa Vahdat. Nevertheless, the contemporary music arrangements on "When You Came" are rooted in blues, jazz, and Central Asian music. The nine other tracks are a mix of soul blues and Central Asian music, which is a treat, as it is very well-composed with a favorable, long-lasting result. In short, two acclaimed and talented musicians bring us an album that is worth listening to over and over again. You will love it! ~ Matthew Forss

CD Review: Niyaz' 'Sumud'

Niyaz
Sumud
Six Degrees

The modern arrangements of the Persian group Niyaz are steeped in Persian, Kurdish, Afghani, Palestinian, and Turkish folk songs. The contemporary arrangements on keyboards, electronics, drums, and percussion are due to the talented Carmen Rizzo. Azam Ali is the vocalist, but she also plays the santoor and assorted percussion. Loga Ramin Torkian plays saz, robab, kamaan, djumbush, lafta, guitar, and viol. The stunning compositions are modernized, but not so much they are diluted with boring or cheap embellishments. Instead, the result is a catchy, moving, and ear-friendly approach to folk music. The popularized result is not devoid of folkish charm. Sumud, which means 'steadfastness' in Arabic, is appropriately-titled. Sumud will astound, amaze, and awe-inspire all who listen to it. ~ Matthew Forss

CD Review: The Alaev Family & Tamir Muskat'' Self-Titled Release From Tajikistan/Israel

The Alaev Family & Tamir Muskat
The Alaev Family & Tamir Muskat
Olamale

The modern folk music of the Israel-based group, The Alaev Family & Tamir Muskat, stems from their original homeland of Tajikistan. The Central Asian melodies and percussion combine with the Klezmer and Balkan string style of other groups to create a heady mixture of steamy, swirling melodies ripe with energy and vitality. Tamir Muskat, of Balken Beat Box fame, lends his programming, drumming, and assorted percussion skills to the project. The Alaev Family plays the doyra, accordion, percussion, clarinet, darbuka, cajon, kanun, and violin. In addition, The Alaev's are a strong vocal family. The vocals are steeped in Central Asian history and provide a sense of adventure and vivacity that is unmatched from similar groups in the region. Anyone interested in Jewish, Klezmer, Tajiki, folk, and Central Asian or Balkan music will love The Alaev Family & Tamir Muskat. ~ Matthew Forss

CD Review: Mahsa & Marjan Vahdat's 'Twinklings Of Hope'

Mahsa & Marjan Vahdat
Twinklings Of Hope
KKV

Mahsa & Marjan Vahdat are back at it again with poems, lullabies, and folk songs from Persia and backed by the ney, setar, daf, percussion, and vocals. The Persian melodies are folkish and evocative. The end result is a classical approach to Persian sensibilities. The instrumentation works together quite well with all of the instruments showcasing their brilliant qualities equally. There are poems by Hafez, Rumi, Hooshang Ebtehaj, Mohammad Jafari, Attar, and Esfehani. There are eleven tracks in all. Fans of Azeri, Persian, Central Asian, Middle Eastern, and classical music will love the music of Mahsa & Marjan Vahdat. ~ Matthew Forss

CD Review: Jadid Ensemble's 'Sigh of The Moor'

Jadid Ensemble

Sigh of The Moor

Whirling Eye Studios

From the opening call to prayer and the Arab-Flamenco rhythms infused with Mediterranean and Middle Eastern melodies, it does not take long to realize the impressive debut by Glenn Sharp and his Jadid Ensemble. Based in the UK, the Jadid Ensemble is composed of Glenn on guitars, cumbus, saz, bass, piano, vocals, assorted percussion, and oud; Olivia Moore on violin; Paul Cheneour on flutes, ney, mizmar; Adam Warne on riq, darbuka, and frame drums. The flamenco guitar style on "Ilm" is as meditative as it is transportive. The percussion and violin accompaniment provide an Andalusian experience. The sub-two-minute "Vandal" has a haunting melody with mizmar, percussion, and the sounds of a busy bazaar or marketplace. The equally short "The Storyteller" is an interlude out of Central Asia. Haunting, choral-type vocals are fitting on the final tune, "Ascension." The rest of the songs do not include any singing. In effect, the music is transcendent, otherworldly, and intuitive. For fans of Andalusian, Mediterranean, Central Asian, flamenco, world fusion, or Middle Eastern music in general, will find the Jadid Ensemble more than a little entertaining. ~ Matthew Forss

CD Review: Grammy-nominated Chandrika Krishnamurthy Tandon

Chandrika Krishnamurthy Tandon

Om Namo Narayanaya: Soul Call

Soul Chants

A recent Grammy-nominated album, Om Namo Narayanaya: Soul Call, is a delicious journey of ancestral significance that draws upon ancient syllabic chants to formulate songs with different Indian ragas. A classically trained Indian vocalist, Chandrika K. Tandon, brings a soothing and intriguing voice backed by incredible instruments including sarod, sitar, esraj, violin, tabla, and various drums and flutes. Each track begins with a relatively slow pace with limited instrumentation and vocal accompaniment, but every song satisfies the soul by picking up the pace after a short time. The classical compositions are relatively modern in form and do not follow the typical raga pattern of solo sitar and vocal accompaniment. Chandrika K. Tandon's vocals are never grating or unwarranted. The Sanskrit chants and modern instrumentation strike a perfect balance between old and new without resorting to pulsating dance music or a boring and dry solo sitar and voice performance. However, a faster paced "Basanth Mukhari" might border on a Bollywood anthem with some flamenco and Central Asian elements thrown in. Overall, Soul Call is an excellent soundtrack for hope and peace in the New Year. ~ Matthew Forss