Archive for the ‘Turkey’ Category

Smadj Presents S.O.S. Smadj, Orhan Osman, Savas Zurnaci

Smadj’s roots cross many continents; African Tunisian through his forefathers and French through his childhood, he masters both the oud and computer sound engineering programs. Joining him on this special project is German born, Greek bred, Turkish Orhan Osman with his faithful companion, the Bouzouki, and clarinetist Savas Zurnaci who channels the heavens above with each note he plays. Together these virtuosos discover the mellifluous rhythms and grooves they produce with their spontaneous jamming. Musicians with a flair for the unexpected, a new sound is added into the mix—the electronic fasil—thrusting the musicians into the throes of ecstasy, transporting us to the elusive state of happiness through their art.

Poets and musicians seek happiness to share with their peers. Happiness, that transient state, to tear bits of eternity out of life. The musician, if he’s being honest; is both a poet and a traveler. Man-made laws can’t change anything—poetry knows no boundaries. Turkish music is sought after or shunned by three continents, and it never ceases to accommodate other influences. Yet it never stops being itself. This is what attracts poets to Istanbul; the assurance that they will hear plenty and the promise they’ll sing a tune or two. Like Turkey, Smadj’s roots cross many continents; African Tunisian through his forefathers and French European through his childhood. Smadj forged his education by exploring the musical resources of these two poles. Delving into the rich musical traditions of the Orient by learning to play the Oud, and exploring the modern technological advancements of the West by mastering computer sound engineering programs. Drawn to Istanbul, Smadj soon found two kindred spirits with whom he could make music. German born, Greek bred, Turkish Orhan Osman with his faithful companion, the Bouzouki, and clarinetist Savas Zurnaci who channels the heavens above with each note he plays as he wanders around the world in the footsteps of his gypsy ancestors. Smadj brings these virtuosos together, discovering with their spontaneous jamming the mellifluous rhythms and grooves they produce because of their innate understanding of one another.

The encounter proves to be exceptional, especially because of rich tones provided by talented peers. Together, they invite us to dream, invite us to dance. Musicians with a flair for the unexpected, a new sound is added into the mix—the electronic fasil—thrusting the musicians into the throes of ecstasy, transporting us to the elusive state of happiness through their art. Reminding us that we must never forget that poets are always right.

electronic rythms, electric and acoustic oud
Orhan Osman: bouzuki, “cura”, banjo
Savas Zurnacı: clarinet
Turay Dinleyen: violin (1,8)
Özhan Göğmen & Bülent Çalar: percussions (2,4,9)
Serkan Çalbay: vocal (2)

1 – Hat (06:01)
2 – Asma (05:08)
3 – Davet (05:58)
4 – Bardezum (06:22)
5 – Mes Enfants Cheris (05:40)
6 – Rumba (04:48)
7 – Selin Icin (03:56)
8 – Swing Alla Turca (05:33)
9 – Asya (02:58)
10 – Bir Demet Yasemen – A Bouquet Of Jasmine (06:02)

Duration: 52:26 | Bitrate: 320 kBit/s | Year: 2005 | Size: 109 mb

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Laço Tayfa – 2002 – Hicaz Dolap

   Posted by: Ninorta

Laço Tayfa - 2002 - Hicaz Dolap

Laço Tayfa represents a new synthesis within the Turkish Roma (gypsy) tradition. Under the leadership of clarinetist Husnu Senlendirici, Laco Tayfa brings Turkish regional folk music into dialogue with contemporary world music styles, fired by a driving improvisational style. This unification is achieved in Hicaz Dolap at such a level that listeners will find themselves caught up in a journey to the edges of a harmonious whole that is composed of incongruous melodic structures. Every instrument breathes on its own in this album; instruments once thought to be archrivals merge in great harmony.

Laço Tayfa, who gained instant notoriety with the highly respected album In The BuzzBag, recorded with the funk/acid jazz armada Brooklyn Funk Essentials, are now back with their own brand of funk. Some of the tracks on their debut album, Bergama Gaydasi, such as, “Malatya,” “Izmir’in Kavaklari,” “Fidayda” and “Çiftetelli,” have already become anthems of the music markets on Istiklal Cad.

In this album, Laco Tayfa combines the traditional sounds of Asia Minor and Thrace with Laco Tayfa magic and a highly sophisticated infrastructure. Contemporary musician/composer/conductor/legend Lawrence “Butch” Morris sat in as a consultant for this unorthodox project.

Hüsnü Şenlendirici comes from a family of musicians from the Turkish Aegean coastal town of Bergama, where local Roma musicians play for local inhabitants of different ethnic groups. Interestingly, in this area, Roma musicians play versions of brass band instruments. A typical traditional wedding band consists of clarinet, trumpet, snare drum and a double-headed folk bass drum called a davul. The Senlendirici family has consisted of musicians playing clarinet and trumpet for generations, hence the meaning of their last name, “The ones who create celebrations”. Husnu’s grandfather played trumpet and clarinet, while his father, Ergun, was a highly celebrated trumpet player who moved out of the regional wedding circuit to join studio, concert and touring musicians working out of Istanbul. After training at the state music conservatory in Istanbul, Husnu joined his father in concerts, recorded with world music artists such as Okay Temiz, and toured Europe and the United States. Husnu also participated in local avant-garde experiments, such as the fusing of Roma improvisational style, Turkish melodies and Western classical and jazz harmonies. While seeking new musical challenges, Husnu remains grounded in local Roma and Turkish urban styles, performing at weddings, with urban singing stars at concerts and on recordings.

For this project with Laço Tayfa, Husnu worked with traditional folk material from each of the regions of Turkey, using signature Roma tunes as a basis for a new synthesis which incorporates jazz harmonies, riffs and textures with Indian tabla as well as North African and Arabic rhythmic patterns. In this repertoire, Husnu also presents sounds from his native region, such as 9/8-meter Roma wedding pieces with driving melodic solos in the Aegean style, the melody of an Aegean folk dance form (zeybek) known as harmandali with solo clarinet and davul in the manner of a neighborhood wedding and an impassioned interpretation of an Aegean urban folk song, “Izmir’in Kavaklari.” Within traditional treatments of these diverse regional styles, Husnu embeds new improvisations.
Thus the Black Sea piecces maintain the characteristic parallel 4th harmonies, but add suprising twists and silences. The Rumeli (Turkish Balkan) repertoire of Deryalar and Ramize incorporate Roma Macedonian harmonies in 3rds. The Central Anatolian tune from Fidayda is performed in the bağlama style characteristic of its origins, but moves into an electro-bağlama solo which imitates the guitar. The musicians joining Hüsnü in Laço Tayfa are from Bergama and İzmir

Members :
Hüsnü Senlendirici (Clarinet, Trumpet, Asma Davul and Zurna).
Özkan Alici (Baglama).
Nuri Lekesizgöz (Kanun).
Ergun Hepbildik (Violin).
Mehmet Akatay (Percussion).
Volkan Öktem (Drums and Percussion).
Nurhat Sensesli (Bass) .
Burc Sensesli (Keyboards).

Track List:
01 –  Surmat (Traditional) (05:11)
02 –  Erkilet Güzeli (Traditional) (03:57)
03 –  Zülüf (Neset Ertas) (05:34)
04 –  Estergon Kalesi (Traditional) (03:57)
05 –  Ussak (Traditional) (04:12)
06 –  Püsküllü (Hüsnü Senlerdirici) (03:53)
07 –  Gel Yad’a Salma Dilber (Traditional) (05:28)
08 –  Hicaz Dolap (Sükrü Tunar) (04:47)
09 –  Atmaca (Hüsnü Senlerdirici) (04:28)
10 –  Kütahya’nin Pinarlari (Hisarli Ahmet) (04:38)
11 –  Divane Asik Gibi (Hasan Tunc) (03:41)
12 –  Surmat (Remix) (05:56)
13 –  Erkilet Güzeli (Remix) (05:38)

Length : 61:20 | Bitarte : 320 kBit/s | Year : 2002 | Size : 141 mb

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Djivan Gasparyan & Erkan Ogur - 2001 - Fuad

Before the heart, there was time. Then the miracle occured. The heart came into being. With the command, the beat began. The first blow and the substance shakes with “Fuad” the inital moment of life where movement is born.
“Fuad” is power, sound and rhthym. The heart begins life zealously, beating fast… Speeds up, slows down ; gets high, gets down. Desire, fear, love, joy, sorrow, music,ecstacy, shock, fatigue, attack, disease, halt and restart.

Then a signal to the substance, and comes the moment of ceascing… “”Fuad””. From the minute infinity to the magnanimous one, from nothing to being, “Fuad” commences the universe. There, neither the first nor the last can be defined. Absolute being is the sole reality. Before the heart, the moment of the heart, after the heart; this is the question. There are moments when the heart is broken, that’s the instance that break “Fuad”. The happiest moment of the heart is “Fuad”. It sees, hears, touches, tastes, smells, loves, discerns, feels with “Fuad”. And we think with “Fuad”.

The talent we have and the talents we can never discover are “Fuad”. Logic is formed at the heart, and might be cruel or loving as granted. “Fuad” is in the service of matter, whether human or not, known or unknown, and whether will be discovered, be it living or non-living. Yearning for “Fuad” is a gift to the dreams of humanity.


Erkan Ogur

Erkan Oğur (born 1954) is a Turkish musician. A pioneer of fretless guitars, he invented the first fretless classical guitar in 1976. A composer, he has influenced many musicians with his compositions combining the sounds of Turkish folk music, classical music with the ancient traditional music. He has played many concerts all over the world. He is regarded as a master of the kopuz and bağlama lutes.

Djivan Gasparyan_600

Djivan Gasparyan (born 1928) is an Armenian musician and composer. He plays duduk, an Armenian double reed woodwind instrument related to the orchestral oboe. Gasparyan is widely known as the Master of the duduk.


01 – Yemen (08:39)
02 – Siresi Yarisdaran (09:10)
03 – Volor Molor (09:35)
04 – Yes Pucur Yaris Pucur (01:48)
05 – Fuad (06:36)
06 – Perde Kalkti (06:11)
07 – Siyah Perçemlerin Gonca Yüzlerin (04:42)
08 – Mayrig (07:44)
09 – Lorik (02:47)
10 – Dönüs Yolu (02:14)

Duration: 57:14 | Bitrate: 320 kBit/s | Year: 2001 | Size: 142 MB

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Serkan Cagri - 2008 - Ala

Album: Âlâ
Artist: Serkan Çağrı
Country: Turkey


Serkan Çağrı was born in “Keşan”, Turkey, a town located close to the border of Bulgaria and Greece. Spending whole childhood in this mixed culture, he was first introduced to the clarinet in his primary school days. This meeting led him more and more into music which resulted him to win “The Special Award in the Best Clarinet Performer Contest” when he was only thirteen. Desire of exploring clarinet made him to pursue the music on the Turkish Music conservatoires: Ege, İstanbul Teknik and Haliç University consecutively.

As a musician he had started his professional career with Grup Laçin, which they had played in both national and international tours. His appearance had continued on Montreux Jazz (Switzerland), Jazz a Vienne (France), Rhythm Sticks (England), Moers Festival (Germany), Etnomalaga (Spain), Skobye Jazz (Macedonia) with him playing as a guest artist in Mercan Dede&Secret Tribe, Kardeş Türküler and Yarkın Ensemble projects.

As a leader he is currently playing with his own band on different projects with guest artists such as voice virtuoso Yıldız Ibrahimova and famous Greek clarinettist Vassilis Saleas

During his academical studies, he made researchs on Historical Process of Clarinet in Turkey and Europe, in which his articles were published in several magazines. These studies also made him to write an educational book, “Techniques of Performing G Clarinet”, which can be found in musicstores.

Discovering the instrument, he had re-designed the pitch setting for; in a result, AMATI-DENAK, the leading instrument manufacturer, had produced their new G clarinets with this setting, naming the model after “Serkan Çağrı”.

Produced by Iskender Paydas, “ÂL” consists of Turkish, Greek, Azerbaijani, Crimean traditional songs, two compositions by Serkan CAGRİ (“IGDE KOKULUM”, “MORI”), two arrangements by Tolga Kilic (“Concierto De Aranjuez” and “Yalgizam”) and the remaining arrangements by İskender Paydas.

Significant musicians such as Iskender Paydaş, Mehmet Akatay, Erdem Sökmen, Ismail Soyberk, Cenk Erdoğan, Ozgur Yurtoğlu, Irfan Seyhan, Fatih Ahıskali, Bekir Sakarya, Hasan Gözetlik, Onur Nar, Hakan Güngör and bands such as Kocani Orchestra and Gundem String Ensemble have added flavor to the album with their instruments. Fuat Saka, Murat Cekem, Mehmet Akatay and Atiye have enlivened the album with their voices.

The first video clip of “ÂL” was directed by Devrin Usta for the song “IGDE KOKULUM” which was composed by Serkan CAGRI. The video was shot in the famous concert hall “GHETTO” and was accompanied by contemporary dancers. The video can be seen at the following link:


1 – Rüya (05:38)
2 – Gönül (05:48)
3 – Nihavent Orient (06:05)
4 – Mori (04:03)
5 – Igde Kokulum (03:58)
6 – Kadifeden (04:57)
7 – Concierto De Aranjuez (04:47)
8 – Viomata (03:38)
9 – Rasi Prizren (03:09)
10 – Resim (03:59)
11 – Yalgizam (04:26)
12 – Tek-I Âlâ (04:38)

Duration : 54:58 | Bitarte : 320 kBit/s | Year : 2008 | Size : 85 mb

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