CD Review: Taraf de Haidouks' 'Of Lovers, Gamblers and Parachute Skirts'

Taraf de Haidouks
Of Lovers, Gamblers and Parachute Skirts
Crammed Discs

The iconic, Gypsy music band from Romania, Taraf de Haidouks, releases yet another glorious album of European and Turkish-infused tunes with a bit of Romanian pizzazz and Balkan candor. The fourteen, dizzying tunes feature the best in Gypsy strings, wind instruments, percussion, and other indelible musical attributes that are top-notch. There are instrumental portions, but this is not an instrumental album. The vocals are very straight-forward, earthy, and neo-classical. The jaunty rhythms are what you would expect from a group of this caliber. Every song is like a mini-party that is full of high energy and nostalgic embellishments. The track titles are translated in English and Romanian on the album. The liner notes contain English and French translations of song meanings. Overall, fans of Gypsy music should already know about Taraf de Haidouks, but if not, this would be an excellent introduction to the band. ~ Matthew Forss

CD Review: Olcay Bayir's 'Neva/Harmony'

Olcay Bayir
Neva/Harmony
Riverboat Records

Olcay Bayir hails from Turkey, but she currently lives in London, where the sounds of the world seem to congregate with such ease. Olcay knows how to channel this world music of sorts in her own recording of Turkish, Anatolian, Mediterranean, and Middle Eastern-influenced music. There is an element of jazz and neo-classical, which permeates throughout the yearning tracks. The music is ripe with folk elements and evocative vocal deliveries, which present listeners with an amazing listening experience. Olcay also incorporates traditional folk songs from Albanian, Armenian, Balkan, and Sephardic sources for a truly world fusion result. However, Olcay is well-centered with a creative vision that transcends space, time, and place. The music is made possible by the baglama, classical guitar, violin, darbuka, clarinet, bass, kopuz, and numerous other instruments. There are nine tracks in all that run about forty-eight-minutes long. There is an overall nostalgic romanticism with the music that is extremely enchanting and well-worth repeated listens. Hooray for Olcay! ~ Matthew Forss

CD Review: SKRUK's 'Sangen fra Katakombene'

SKRUK
Sangen fra Katakombene
KKV

SKRUK is a Norwegian choir that presents a collection of liturgical songs sung in Norwegian. There are also vocals from monks in Turkish monasteries. Per Oddvar Hildre is the conductor for the album, while Siyavush Karimi and Henning Sommerro are talented arrangers. The entire album is vocal without any instrumentation; except for a lone duduk played a couple times. There are twenty spiritual tracks that are heavenly and haunting in the same manner. The spiritual roots of the music originate from the early, primitive church and historical roots with the Syrian Orthodox Church. The alternating male and female vocals are great without any slip-ups. Many of the songs are one to four minutes long, but a couple are five to six minutes. In the end, it doesn't matter how long the songs last. The songs have lasted hundreds of years and will continue to inspire people around the world. Fans of choral and vocal music will rejoice with high marks. ~ Matthew Forss

CD Review: Solvguttene and Kudsi Erguner's 'Pervane'

Solvguttene with Kudsi Erguner
Pervane: Floyet fra Guds Hand
KKV

The music of Solvguttene is steeped in the rich, classic melodies and instrumentation of Turkey with some lyrics by Norway's Henrik Wergeland and Hans Nielsen Hauge. The symphonic choral pieces represent a seemingly unlikely connection between Norway's religious choral constructions and Turkey's Sufi poetry. However, the result works with flying colors and effervescent flutes. Flute legend, Kudsi Erguner, vocalist Bora Uymaz, qanun player Serkan Halili, percussionist Hamdi Akatay, pianist Andreas Utnem, and double bass player, Jo Fougner Skaansar, round out the musical repertoire. The music is dreamy, Middle Eastern, angelic, and new age all wrapped into one indelible package. The swirling, dervish rhythms and instrumentation is somewhat Renaissance-themed, but that is just the old nature of the instruments and cross-cultural influences throughout Central Asia and Europe. At any rate, Solvguttene and Kudsi Erguner bring us a lively instrumental and vocal medley of world music with sauntering melodies that are mature and unforgettable. ~ Matthew Forss

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: Painted On Water's 'Chicago Issue'

Painted On Water
Chicago Issue
Self-Release

Based in Chicago and steeped in Turkish influences, Painted On Water is a duo project from long-time friends and collaborators, Sertab Erener and Demirkan. The new release is a five-track album with rock beats, swirling rhythms, punchy elements, and English vocals by Sertab. There are symphonic rock moments on "Hating You Loving You" and "Why Do You Love Me." The heavier tones do not interrupt the clear vocals. "Despite Ourselves" opens with a melodic and down-tempo introduction, but it is quickly interrupted with loud guitars, swishy percussion, and evocative vocals. "When I Need You The Most" is a punchy rock tune with a Garbage-esque instrumental arrangement and Shirley Manson-esque vocals that add an element of grunge and dance. "A New Me" includes a punchy beat, giddy guitars, funky bass lines, and Sertab's direct and catchy vocal repertoire. The music is engaging with a hard edge that is not too heavy or unnecessary. Fans of American rock music with a does of Turkish flair will find it heartily enjoyable. ~ Matthew Forss    

CD Review: MWE's 'Second Wind'

MWE
Second Wind
Self-Release

Hailing from San Francisco, MWE brings together Balkan brass and Turkish rhythms with heady, instrumental arrangements for a lively good time. Paul Bertin on alto sax, Gregory Jenkins on clarinet, Calvin Lai on zurna, Morgan Nilsen on clarinet, Sean Tergis on davul, darbuka, daf and riqq, Marco Peris on tupan, and special vocal guest, Eva Salina Primack, round out the ensemble. The rhythmic and punchy opener, "Ashkhabad," is pure Balkan brass with a side of Turkish folk and Middle Eastern deliciousness. Eva provides vocals on one tune, "Kara Gozlu Cingenem," which sounds like a traditional Turkish tune. "Tea High" resounds with the loud, clear tones of the zurna, which is quickly accompanied by rhythmic percussion. The buzzing and swishy tones are very punctual and slightly classical. "Agresia" incorporates a variety of skittish tunes, Balkan brass, and Turkish percussion that cannot be ignored. Fans of Balkan brass, Turkish music, world fusion, and instrumental music will love its beautiful charm. ~ Matthew Forss

CD Review: Turkey's Cigdem Aslan Releases 'Mortissa'

Cigdem Aslan
Mortissa
Asphalt Tango

Turkish-born singer, Cigdem Aslan, presents us with a debut album of rousing smyrniac, rebetiko, Balkan, gypsy, and Greek-themed compositions. There are also Sephardic, Turkish, Kurdish, Bulgarian, Roma, and Ladino leanings. Cigdem's voice is timeless and youthful. The thirteen songs are lively, refreshing, and upbeat. Most of the songs are reinvented from the 1920s and 30s. Mortissas are women that are independent and do not behave as society expects, which gives Cigdem's album a fitting title. Not exactly a rebel, Cigdem stays true to Mediterranean, Grecian, and Turkish roots with memorable rhythms, vocals, and melodies. There is even a Central Asian tone; especially with the qanun and baglama. At any rate, Cigdem Aslan creates beautiful songs that deserve to be heard around the world. Start listening today! ~ Matthew Forss  

CD Review: Trio Mrio's Self-Titled Release

Trio Mrio
Trio Mrio
Kalan

The Turkish jazz and rock stylings of Turkey's great guitarist, Sarp Maden, along with Volkan Oktem on drums and Chaglayan Yildiz on bass, create a masterful release of epic tunes that span the gamut of avant-garde, experimental, and fusion. The guitar work is exemplary, as it contains simple, fluid grooves, but rock interludes that are quite remarkable, as well. The meandering sounds of the instruments are inspiring, enthralling, and entrancing. The musical vivacity of the instruments and jazzy leanings makes Trio Mrio shine beyond belief. Anyone with a knack for experimental, jazz, guitar, and instrumental grooves from a Turkish source, then look no further.

CD Review: Sarp Maden's 'Ardindan'

Sarp Maden
Ardindan
Kalan

Sarp Maden's exciting 2010 Turkish jazz release explores a little vocal prowess on "Tazecik," while the remaining songs are completely instrumental. The musical tone is upbeat jazz with keyboard, trumpet, fretless bass, fiddle, and guitar accompaniment throughout. The nine songs traverse the world of ethnic jazz, experimental, avant-garde, and fusion. The music is slightly more complex and varied than the more recent release, Durgun Sular. In a related manner, the music is more rock-driven on a few tracks with frenzied guitar stylings and fast playing, but it is not out of the ordinary for world jazz. Anyone with an interest in world jazz, Turkish jazz, or instrumental music will be very happy with Sarp Maden's Ardindan. ~ Matthew Forss

CD Review: Sarp Maden's 'Durgun Sular'

Sarp Maden
Durgun Sular
Kalan

Hailing from Turkey, Sarp Maden performs jazzy, ambient, lounge music with an easy-listening backbone that is not afraid to upset the jazz world with a fine, innovative work of art. The wholly instrumental album contains sparkling guitar tones, floating sax lines, and light percussion all performed with accurate precision. Sarp Maden plays guitar, while his band mates, Derin Bayhan on drums, Matt Hall on contrabass, and Engin Recepogullan on tenor sax round out the musical experience. Kalan Records is known for producing high-quality recordings and Durgun Sular is no exception. The album title, which means "still waters," is sure to cause a ripple or two throughout the musical community for using meditative jazz sounds and inventive compositions with a global appeal. If you are seeking traditional Turkish music, then you will be disappointed. If you are a jazz fan, you will be rewarded with the sounds of Durgun Sular. ~ Matthew Forss

CD Review: Oojami's 'Time Is Now'

Oojami

Time Is Now

Sarpa

Oojami is the group headed by Necmi Cavli, a Turkish DJ based in the U.K. Time Is Now is primarily a pulsating, dance-club set of tracks inspired by Turkish and Middle Eastern rhythms and instrumentation. However, the drums and bass steal the show for the most part. A few guest vocalists, such as Marilyn Gentle, Elysha West, Aktar Ahmed, Arujunan Manuelpillai, and Blair Mackichan add their talents to some of the tracks. Overall, a relatively urban, contemporary sound rules the album. Though, a few instruments suggest Turkish melodies from a more classical vein. Still, Oojami's strengths relate to the dance-club tracks, which have been featured in a few films, too. The groovy, dance tracks are perfect for drifting away to a musical place of awe and adventure. The vocals are in English, though lyrics are not provided in the liner notes. ~ Matthew Forss

CD Review: Yuval Ron Ensemble's 'Seeker of Truth'

Yuval Ron Ensemble

Seeker of Truth

Yuval Ron Music

As the musical director, oud player, and saz player, Yuval Ron assembles a host of musicians for his ensemble in a session recorded live at the 2008 World Festival of Sacred Music in Los Angeles, California. The ensemble includes Najwa Gibran on vocals; Sukhawat Ali Khan on harmonium and vocals; Yeghish Manukyan on duduk and clarinet; Virginie Alumian on qanun; Jamie Papish on udu, cajon, dumbek, dhol, daf; and David Martinelli on riqq, dhol, frame drum, ankle bells, and dumbek. The album is a collection of Sufi music from North African and Western European regions to South Asia. A host of other performers provide additional vocal and instrumental accompaniment on some of the songs. At any rate, the music is clearly Sufi with musical influences extending back well into the early history of Islam. Yuval Ron's nine songs represent a perfect collection of music that is easy to listen to and uplifting in every sense of the word. A nice blend of instrumental and vocal music with Sufi soul! ~ Matthew Forss

CD Review: Baba ZuLa's 'Gecekondu'

Baba ZuLa

Gecekondu

Doublemoon

The Turkish beat group features traditional stringed instruments and percussion to form a kind of Turk-beat music that is not like techno or dance. Essentially, the music contains a modern tone with traditional instruments. Gecekondu is translated as "slums." Vocalists Murat Ertel and Elena Hristova add some Turkish flair to the repertoire without compromising the pace or beat of the music. There are some similarities to Latin American cumbia music, psychedelia, and North African guitar blues. Gecekondu's wide-reaching comparisons are necessary given the fact the music draws upon several influences directly or indirectly. The music beats are similar to India's bhangra on a lighter scale. However, fusion is a small part of Gecekondu. "Temptation" incorporates English lyrics with a Middle Eastern and Indian melody. Track 10 is a more refined and modernized track with a dub-beat and all the crazy, Turkish percussion one can muster. In fact, it almost borders on Balkan madness! Anyway, Baba ZuLa is a talented group that puts Turkey on the map. Dance your way to Ankara today! ~ Matthew Forss

CD Review: Aynur's 'Rewend'

Aynur

Rewend

Arista/Sony

A Turkish/Kurdish album, Rewend (Nomad), wanders off into places of musical exhuberance. As a female singer, Aynur performs a scintillating set of songs with all the lively percussion of Turkish/Kurdish folk groups. The title track, "Rewend", borders on the sounds of Scandinavian folk, or the Finnish group Varttina. The beautiful peacefulness of the harp with Aynur's voice is showcased on "Xewn". The Central Asian-North African-tinged "Kocere" is another reason why Aynur's music is nomadic, by consciously or unconsciously incorporating the rhythms of the Orient with Andalusia. The larger musical theme encompasses the similar sounds of modern traditional styles from emanating out of the Caucasus (especially Azerbaijan), Persia, Mediterranean, and the Middle East. The songs are not particularly modernized, because of the ney flute, udu, kemanche fiddle, zirna, daf, tembur, harp, and tabla. Still, Rewend is an epic recording for those interested in Kurdish folk music, Central Asian, and North African music. The songs and titles are translated into English throughout the liner notes. ~ Matthew Forss

CD Review: Natacha Atlas' 'Mounqaliba'

Natacha Atlas

Mounqaliba

Six Degrees

What seems to be a departure for Natacha Atlas may in fact be a concept album with historic roots and societal relevance. Mounqaliba is an Arabic term for 'being in a state of reversal'. In this case, the 'reversal' pertains to a growing uncivilization of global culture and society. This is evidenced throughout the album with taped excerpts of Peter Joseph's thoughts on the pitfalls of modern society through the Zeitgeist Movement for the betterment of society as a whole. Mounqaliba is largely a classical, Arabic album without Natacha's typical, modernized Arabic pop sound. Natacha tries to match the lyricism of classical music with Arabic poetry. In addition, Natacha is joined by a twenty-member Turkish orchestra with strings, ney flute, accordion, percussion, and piano. The result is a primarily classical approach to Arabic music with languid beats and soulful vocals interspersed with a few spoken word soundbites, thunder sounds, traffic noise, and religious calls. Despite this, Mounqaliba is the product of a mature songstress and visionary with an eye to the past and an ear to the future. ~ Matthew Forss

CD Review: Abaji's Origine Orients

Abaji

Origine Orients

Absilone Music

Born in Beirut, Lebanon to parents of Turkish, Syrian, Greek, and Armenian lineage, Abaji is quite the instrumentarian. He has collected nearly 250+ instruments from the Mediterranean region, South America, Europe and the Middle East. Abaji plays the duduk, oud, bouzouki, daf, Bali flute, saz, harmonica, kemenche, and a few other instruments throughout the album. His folksy, bluesy Mediterranean concoctions eschew an earthly resonance of multiple ethnic roots. Moreover, Abaji sings in five different languages, including French, Arabic, Greek, Armenian, and Turkish. The entire album was recorded over two days and is void of re-recording and remastering of the tracks into a polished and commercialized piece of character-less matter. However, Origine Orients is a beautiful work of art that echoes back centuries ago to it's ancient roots along the Silk Road. At times, the instrumental medleys remind one of Australia's multi-talented, multi-instrumentalist, Xavier Rudd. Abaji's musical journey is contemplative, energetic, inspiring, and always imaginative. Nicely done! ~ Matthew Forss

CD Review: Sertab Erener & Demir Demirkan

Sertab Erener & Demir Demirkan

Painted On Water

Motema Music

Vocalist Sertab Erener and guitarist Demir Demirkan are a jazzy duo from Turkey. Sertab sings in English, even though some of the songs are based on, or inspired by traditional Turkish folk songs. The songs are sultry, bluesy-jazz-rock compositions that should resonate with all types of listeners. The gritty guitar stylings and piano accompaniment seem to fit Sertab's vocals with ease. At times, the album takes on American blues/rock characteristics while remaining Turkish at heart. Essentially, Painted On Water is an album with a colorful repertoire of musical influences that will suit the flamenco-jazz, lounge jazz, and jazz-rock fan quite easily. Painted On Water is full of funk and Turkish spunk. English lyrics are provided in the liner notes.

~ Matthew Forss

CD Review: 35th Parallel's 'Crossing Painted Islands'

35th Parallel
Crossing Painted Islands
Independent Release

The 2006 release, Crossing Painted Islands, continues the tradition of exploring the world's music. Gabe Hallberg plays the tabla, tar, kou xiang, and percussion. Mac Ritchey plays the oud, bouzouki, acoustic guitar, didjeridoo, and lends his vocals for overtone singing, which is a style commonly heard in Tuva and Mongolia. However, a majority of the tracks are of Turkish origin with one from Armenia. Even so, the music on Crossing Painted Islands is slightly different from their prior release, The Green Vine, which was also reviewed here. Instead, their latest release seems to mainly draw upon the music of the Caucasus, the Balkans, and the Middle East. Still, Crossing Painted Islands is rich with musical creativity and relaxing rhythms well worth a listen. If you are looking for a great world fusion album, then this is for you. ~ Matthew Forss