Turkish modern cds

Bergama Gaydasi, Laco Tayfa Turkish folkloric/jazz fusion
Refer to my review of “Hicaz Dolap” for the general sound and instrumentation of
this album. Hicaz Dolap seems to be more available here in the States, and I would
recommend it first over this, Laco Tayfa’s debut album. Hicaz Dolap isn’t
necessarily better, but different: this, Ciftetelli, is obviously the earlier effort. The
pieces are of somewhat more traditional form and sound. A melody, usually fairly
short and repetitive, is introduced; taksims ensue; and the melody is repeated to
close the track. Jazz is strongly represented, but spoons, zurna, saz, and distinctly
traditional rhythms (three 9/8s and two laz) are more casually, organically
incorporated. The laz traditional/jazz fusion tracks are wonderful. In addition to
excellent, extended clarinet solos, this album contains fantastic though brief taksims
by fiddle, kanun, and bass. The skill and taste of the bassist is particularly
exceptional. Several tracks are eminently danceable if you enjoy a challenge, and
one track made it to my regular routine.
Overall: Excellent
Danceability: Good
Drum use: Darbouka not significant

Husn-U Klarnet: The Joy of Clarinet, Husnu Senlendirici
Turkish jazz/folkloric fusion
Husnu Senlendirici is the clarinetist and leader of Laco Tayfa. This album highlights his clarinet
playing, although there is a full complement of musicians playing on all tracks. Tracks feature a
folkloric mix of instruments (davul, kanun, riqq, oud, tanbur, bouzouki, darbouka, zurna, and
accordion) complemented by drum set, acoustic and electric guitar, shakers, bass, and the
occasional brass instrument. Various styles are accurately represented in fusion with jazz, including
Orientale, Aegean, Black Sea, and Flamenco. The technical skill is superb and the compositions
excellent. Some tracks lend immediately and excellently to Raks Sharki (e.g. the maqsum
Kumsalda); but the majority are more art-focused listening pieces. The album is a great example of
fusion, doing justice to both the traditional and jazz elements, and is exactly as advertized: a series
of clarinet taksims occurring within various styles and modes.
Overall: Excellent
Danceability: Variable (a few marvelous, most fusion only)
Drum use: Darbouka not significant

In the Buzz Bag: Brooklyn Funk Essentials Turkish funk/ska
This is a funk album, light on the fusion. The Turkish folkloric elements typically occur as chunks
mixed into the songs for effect. That said, the folkloric chunks are absolutely authentically
executed and perfectly placed. Saz, kanun, and clarinet riffs; darbouka and riq lines; and zurna
melodies are great. As funk, the drum set, congas, and bass are played competently but not
impressively; the horn section plays profficiently and with superb arrangement. All but one track
contain vocals. The feeling is not exciting, but laid-back and either entrancing or humdrum,
depending on your musical taste. I will confess that the hook from “Istanbul Twilight” was caught
in my head for a solid two week period (coinciding with my last visit to Istanbul). This album is
not for dancing, and contains only incidental occurances of traditional drumming.
Overall: Good
Danceability: Not
Drum use: Darbouka not significant

6. HIS, Dogus Turkish pop singer
Good use of instrumentation: drum set, faded darbouka, riq, clarinet, strings, and synthesizer.
Excellent changes. Tracks range from heavily electronic to almost non-electronic. A mix of
driving techno-like songs, extremely danceable moderate pop songs, and emotional slow pieces.
Vocals on all tracks generally with a serious, sometimes plaintive feel. The first track is a pop 9/8.
Overall: Great
Danceability: Great
Drum use: Not significant

Ellerin Saglik, Yalin Turkish pop singer
Turkish pop with an occasional techno or hop-hop feel. All tracks contain vocals by the artist and
entirely electronic instrumentation. The album uses only simple 4/4 rhythms, sometimes
ayub-based, but there are nice shifts and rhythmic ornamentations. The mood of the vocals is
emotional in most of the song, but more driving and rhythmic on several tracks.
Overall: Good
Danceability: Good
Drum use: Not significant

Kinali Kuzum, atilla tas Turkish pop singer.
The sound comprises drum set, electric guitar, synthesizer, bass, and some traditional percussion
(riqq, davul, and faint darbouka, in order of importance). Zurna and faint kanun appear briefly.
Several tracks contain the “un-chu” techno pulse; others harken to traditional rhythms (maqsum,
ciftetelli). Vocals, present on all tracks, are typically melissmatic and somewhat plaintive. The
sound is electronic but clearly incorporates a hint of folklore: either the melody, meter, or
instrumentation gives away the Turkish origin of each track.
Overall: Great
Danceability: Good
Drum use: Not significant

Git gideceksen, Murat Akgun Turkish pop singer
Faint riqq, deff, nei, and cumbus on some tracks seem to be real, but mainly electronic instrumentation led by synth strings.
Good shifts and accents despite mostly simple 4/4 rhythms. Vocals are mainly melissmatic and plaintive. The slow pieces are
well executed; the fast pieces are driving with excellent use of instrumentation, including sporadic zurna.
Overall: Good
Danceability: Good
Drum use: Not significant

Manga Turkish rock
This is pure, heavy rock: drum set, distorted electric guitar, bass, and male vocals, all with a high
grunge factor. Only a few tracks nod to traditional Turkish music: first a short introductory 9/8,
and later a slow meditation backed by riq and darbouka. The vocals range from singing to yelling
to some hip hop.
Overall: Good
Danceability: Fusion only
Drum use: Darbouka significant

Pop Turkish, various artists Turkish pop compilation
Pop music in a variety of styles, from slow sentimental (Sezen Aksu’s “Deger Mi” is good), to pop
(Mustafa’s “Top” is familiar and Yesim Salkim’s “Istanbul Yeditepe” is friendly). “Onun Sucu”,
by Nukhet Duru, has a bit of Spanish tinge but also a davul part. Maqsum and ayuub appear
sporadically, strongly in Alisan’s Salla. All tracks have vocals and keyboard. Classical guitar is
fairly strongly represented, as is darbouka. Other instruments make guest appearances: fiddle,
kanun, bass, tabla, riq, and zurna. The zurna and riq piece, “Yolcu” by Ali Guven flies with a
strong vocal hook.
Overall: Good
Danceability: Moderate (fusion)
Drum use: Minimal

Ten’tende, Yarkin Turk Ritim Grubu Turkish drum compositions
An album of carefully crafted drum compositions using davul, darbouka, riq, zils, frame drum, cajun,
electric bass, and the occasional melodic instrument for a riff only. Two tracks have actual melodies, of
which one is “Take 5”. Laz, karsilama, and malfuf are used, but mainly the drums play composed patterns
strung together with solos. My favorite track is in 9/8, others are in 11/8 and other odd time signatures.
With one exception (“Patron Istedi”), a dancer would have to really closely choreograph each track, and the
result would suit only fusion or tribal styles properly.
Overall: Great
Danceability: Minimal
Drum use: Great

Ten Skin, Yarkin Turkish drum compositions
See the above review of ten’tende for a description of the content. Udu, bendir, and tabla appear on this
album as well. There are several extremely interesting rhythmic compositions, and several repetitive or
overly simple pieces as well. If I were to chose between albums, I would pick ten’tende as having a higher
percentage of interesting tracks.
Overall: Good
Danceability: Minimal
Drum use: Great

Hicaz Dolap, Laco Tayfa Turkish jazz/folkloric fusion
This album brings Turkish and Romani music from Istanbul, the Black
Sea region, the Balkans, the Aegean coast, and Anatolia together with jazz. Both the jazz and the
folkloric elements are strong, accurate technically, and utterly authentic, unlike the case with many
world music and fusion projects. The primary instruments are clarinet, bass, drum set, and
keyboard. Kanun, saz, riq, darbouka, spoons, and davul are also heard. The musicianship is
outstanding: in particular the clarinetist, the bassist, and the drummers are extraordinary. Three of
the tracks contain vocals. Rhythms are mainly western 4/4s, but there are two 9/8 tracks and one
12/8. I have used three of the tracks onstage, one in my regular routine, to great effect, but
primarily this album is fantastic for listening.
Overall: Superb
Danceability: Good
Drum use: Darbouka not significant