Jazz |

BY ERic finE

Emerging Turks
An article that ran early last year in The New York Times spotlighted an emerging jazz scene in Istanbul that is rich in young talent and new music. Recent recordings by these young Turks showcase a repertoire extending from conventional hard-bop to various hybrids. At the center of this renaissance is pianist Selen Gln, who studied at Berklee College of Music in the late 1990s and has taught a growing number of the citys musicians at Istanbuls Biligi University. Glns most recent trio album, Answers (Pozitif Muzik Yapim PMY 027; 45:56 HHH1/2), features intricate compositions performed over relatively spare accompaniment. Backed by drums and electric bass, Glns music is by turns distant and immediateoften in the span of a single track. Tunes like Busy Lady and I Couldnt Say begin slowly and gather steam en route to Glns technically flashy climaxes. We are the Same draws from jazz-rock, while Love Takes Time displays a more deliberate approach to the beat.
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ozan Musluoglu

While Gln has a greater profile, I prefer pianist agr Sertels Newborn (PMY 029; 69:33 HHHH). Though less original in scope, Newborn sounds less scripted. The tracks are longer, roomier, and have a bigger sound. Passages in B Feeling remind me of McCoy Tyner. Sertels blend of synthesizers and voice on Burning Circles, Cloudy Weather and Values recalls Pat Metheny. On the minus side, the purposely lush Ballad for Rainy Tuesday and Missing cast an arco bass as the lead instrument and emphasize a brand of chamber music that sounds out of place. In spite of its hiccups, Newborn is both catchy and intense.
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Musluoglus roles as bandleader and composer. Yet Musluoglu reserves some solo space for himself, notably on Enjoy Disappointments. While he doesnt play walking lines on every track, the music nonetheless takes its cue from standard-bearers like Art Blakey and Horace Silver (albeit without the latters penchant for exotic syncopation and with far less stretching out). The soloists seem to grow more confident with each track. In addition to Disappointments, the highlights include Fake Promises and Panic.
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Alp Ersnmezs Yazisiz (PMY 031; 42:42 HHHH) reaches back to the jazz-rock of the late 1960s and early 1970s. Rather than the long, open-ended tracks that typified such fare, the seven compositions are tightly constructed. Miles Davis, Weather Report and Return to Forever are obvious influences, but there are undoubtedly others. The instruments include electric guitar, Fender Rhodes, synthesizer and trumpet. Ersnmezs electric bass provides a foundation on SFG and Besik, and dances adroitly out front on Burada Yarah Biri Var. Karsi is a mellow piano trio ballad. Fans of vintage jazz-rock will want this album.
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Serdar Barins Barbun (A.k. Muzik Yapim Ak1011-2; 65:25 HH1/2) demonstrates his technical mastery on alto saxophone and flute. To a degree Barin draws from mid1970s jazz-rock, when labels such as CTI began releasing mellower fare that sometimes featured vocals. Barin is an effective ballad player, who complements the vocalists who appear on several tracks. The album has its moments, though. The title song and also Lay Lay (which features a tenor player) could hold their own with jazz listeners. Sene Sonu and Nibiru showcase Barins flute playing. But too much of the album has a more commercial intent. It serves to dilute the good stuff.
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Bassist Ozan Musluoglus 40th Day (Equinox Music & Entertainment; 38:31 HHH1/2) not only boasts a New York lineup, but also an allegiance to bop. It features horn players Jeremy Pelt and JD Allen, pianist Danny Grissett and drummer Darrell Green. Like many sessions led by bassists, the album spotlights

While Ersnmez and Musluoglu owe the largest debt to American jazz, the group Baba zulas Gecekondu (Essay AY cd29; 60:19 HHH1/2) serves up a gumbo of Middle Eastern instruments, voice and electronics. Theres plenty of folky dance music, the kind with shouted choruses of Hey! Worried Leaf hints at reggae, while Hope reminds me somewhat of the Byrds Eight Miles High. This is the wild card in the deck, equal parts folkloric and psychedelic. DB
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oZan MuSluoglu