Shalosh, The Bell Garden, 2014

A complete and organic sound... Catchy at first sight but also complex enough to make the listener spend some energy to follow... European dominated, American structured and Middle-East influenced... These are definitions that any concerned jazz listeners can automatically give even in the Computer Crash and Jerusalem State of Mind, the first two pieces of Israeli/American jazz trio's first album The Bell Garden. The members of this piano trio are young, energetic and good friends: Gadi Stern on piano, Daniel Benhorin on bass and Matan Assayag on drums. The compositions are collaborative. These seem to be the main pushing forces behind their success in releasing a mature album even in the debut. In my opinion, the modesty in compositions and performance styles are signs of self-respect. They sound like they know very well about what they are playing and they are not in a rush to show themselves off with too crowded and flowery things. The album was lively recorded in Kicha Studios in Tel Aviv in January 2014. Record and mix (at Slick) belong to Ori Winokur assisted by Asaf Shay and Florina Mandel. The album was mastered by Jonathan Jacobi. It seems there is not a label behind and it is an independent production.

Especially the introduction part and shifts in tempo of Computer Crash and the full dynamic range they are using there are holding the listener on the sweet spot for the rest of the album with high expectations. The space they let listeners take some rests in and the energy level which is gradually increasing make the piece a highlight of the album.

Jerusalem State of Mind seems to start with some city sounds from Jerusalem and these are actually going on in the background throughout the piece. So it feels like the trio is playing in some squares or streets while the listeners are passers by. Some parts sound almost like Latin which means they are there to represent some joy whereas some others look like coming from European melancholy. Jerusalem... Maybe it's a city of such mixed feelings.

Leaving Maine is obviously one of the most impressive compositions of the album in which the band is demonstrating how good they are in controlling the tension in their music starting from a basic low tempo piano and brush accompanied dignified bass line to somewhere all members are pushing each others to play more and more energetic. In my opinion the power of a piano trio lies in here. The bass solo just before the energetic part worths listening over and over.

A kind of generic bass entrance turns into a groovy and serious piece in Brain Damaged Pumpkin Pie. The interchange of the main theme between the piano and bass gives an alive texture to the piece. The improvisational part where the main theme is totally left and the return from this part are successfully performed. There are many nice surprises within the piece keeping the audience alerted every time.

Some interesting, naturally produced, almost-asymmetric percussive sounds are continuously coming from very back of the record in the beginning of the 5th track and this actually provides a deep background for the rest. Everything Passes, Even The Trees has a bipolar characteristics: the first character is the silent, piano based one whose energy is constantly growing up till the end, and the second one is the almost aggressive part triggered by the piano and driven to a higher state of energy by the drummer - a very catchy melody from the piano is accompanied by the energetic drum and bass in this part. There is also an instantenous return from the second part to the first one resulting in an enormous groove. 

Elephant feels like it is related to some Far East thing with interesting percussion partitions. The distorted and effect carrying piano tone -may even be some electronically improved keys- increases its mystic aura. Unlike the others playing almost the same ritual-like partition over and over, the bass sometimes follow some interesting lines. The long introduction ends with a complete blast of the whole band and one last time we hear the distorted piano just before they finish.

Pleasure and Disgrace is another very beautiful composition of Shalosh. It sounds almost like a pop hit and having been played this qualitatively, the piece is among locomotives of the album. The drummer's timing is very precise in connecting piano's groovy touches. The bass and piano are following a similar line while the drum-set is responsible for the tension control in the piece.

The bassist deserved to be in the title in Song for Daniel with his nice and dominant performance. The piece has a mainstream style - in the sense of traditional American jazz. Here we see the US impression on the band. There are some electronics added to the keys, which is a successful act to increase the diversity. 

Get Gone is a nice, minimal and jazzy Fiona Apple cover. The trio is again using the dynamic range as much as they can by starting from very low level signals. I am especially impressed by the difference between sound levels of two hands on piano. The drummer can be recorded better considering these low level parts but the idea and the performance is beautiful. 

The minimal rhtyhm section of Sandy is very well in harmony with the soft and touchy piano partitions. This calm piece is sometimes transformed into an energetic one mostly thanks to the master hands on the drum set and the piano's responses to the increases in the tension are just amazing. 

Eulogy -consistent with its name- may even be called the dark end with its melancholic bow performance and the dry snare drum which sounds almost like it is in a funeral band. The piano is alike, it is almost a part of piano sonata performance in andante. The last notes from the keys sound like the demonstration of the inevitable destiny. 

Shalosh is a very qualified piano trio and they are very distinctive in latest jazz scene who is populated a lot by piano trios. They will soon (already maybe) be known to all European jazz scene and will be noticed by main labels, distributors and agencies with their future works. As far as I could see in their webpage it is possible to listen to them live in XJazz Festival in Berlin on May 8th: http://www.shalosh.net/news-shows/ 

Here is a youtube sample for the band: http://youtu.be/dooaJgkEzys

I strongly advise you to buy albums and here is the link for it: https://shalosh.bandcamp.com/album/the-bell-garden

Jazzahead! 2015, April 23rd - April 26th

My first time in Jazzahead coincided with the exhibition's tenth year. Started with just a fair where mostly European jazz professionals were meeting each other in 2005, Jazzahead has become a 4 day jazz medley of conferences, showcases and exhibitions in these last 10 years. Although European dominance is still obvious, as far as I can see it's on its way to become more global. 

To start with, Jazzahead 2015 was between 23rd and 26th of April - from Thursday to Sunday as always. The location has always been Messe Bremen but the place allocated in Messe for Jazzahead has been changed this year and it is moved into a bigger hall. The fair area was full of booths for exhibitors who are mostly representing a label, a booking agency, a musician or a country. Besides, there were many attendees who have no booths but are reprensenting themselves using many public areas supplied to them by the organisation. For the showcases of 30 minutes short concerts, which were taking places in first three days starting at approximately between 2 pm and 3 pm and going on till midnight, two dedicated areas in the Halle 7 were turned into a concert hall with the names Halle 7.1 and Halle 7.2. Besides, Kulturzentrum Schlachthof, which is the nearest building to the hall, was used as the third performance area of showcases. The bands for showcases are chosen among many applicants with a jury composed of many experienced jazz people all around Europe. Jazzahead Clubnight is a concept existing since 2011 and it is held on Saturday nights with many concerts in several places all around Bremen with a single ticket or the full pass. The first day of Jazzahead starts at 3 pm while the others start at 10 am. Each year there is a partner country for whom a day, a big stand and an individual concert in Die Glocke, Bremen is dedicated. It was France this year and Switzerland was announced as the one for 2016 on the last day of the fair.

Considering the location, the best place to stay seemed to be Maritime Hotel on the map which is said to be linked to the exhibition hall by a dedicated aisle (this is said to be changed this year). In my opinion the hotel B&B Bremen -which I also stayed in- is a very optimum choice considering also it's not-so-expensive prices. Since, Messe is closely located to main train station, it is also feasible to use many other hotels which are near to this taking even late night and rainy day walks into consideration. If seeing city center or joining the Die Glocke concert are among what are planned, we can say that Messe's jazzahead side to the station takes 5 minute walk whereas it takes 10 more minutes to reach city center. If a direct transfer with heavy luggage from airport to the hall is needed, it takes almost 15 Euros with the taxi. The weather seems to be fine throughout the exhibition except some rain and this can only be a problem while you are travelling for Jazzahead Clubnight or walking back and forth on the 100 metres between Kulturzentrum Schlachthof and Messe. 

My first day was mostly about trade fair and meetings and I started by taking my badge from the first entrance which includes many informative sheets as well as my card and wristlet. I was registered as a freelance journalist. As a reminder, carry the card and the wristlet all the time with you and be careful about the card, because the mechanism was a loose one which can make you collect it from the ground many times. Besides, since the wristlet can be an all days one make sure that it is not so much tightened in order to let you live with it for four days. There is an additional wristlet you have to wear on Saturday for Jazzahead Clubnight. For the Die Glocke concert buy your ticket in advance -at least on the first morning- and do not buy it from the far back seats in the gallery where the place is almost completely merged underneath the balcony. The acoustic is still nice enough in here but it feels like you are watching the concert from an LCD screen. 

Being an inexperienced attendee in my first musically professional environment, although I have contacted to many of my friends in advance to meet there, I did not make any plan based on strict times. So, frankly, I lived some problems for that reason while meeting people. It is strongly recommended you stick to a well prepared plan including all showcases, places for clubnight and meeting hours/spots. 

There was a restaurant in Messe as well as a wine & cheese bar and a sandwich cafe. Besides, mostly booths were supplying nice aperitifs and wonderful wine (mostly thanks to France this year) that helps you to get what you lost while walking around and spend your whole day only with a small breakfast and a light dinner. 

The first day's showcases were presented within the title French Night. Among the ones I could join, Vincent Peirani & Emilie Parisien concert in Halle 7.2 at 8 pm (an energetic saxophone and accordeon duo) and Sylvain Rifflet Alphabet Quartet in Halle 7.1 at around 9 pm (the flute player Joce Mienniel was the highlight) were special ones and I could catch some performances of Orchestre National de Jazz which was impressive too. Theo Ceccaldi Trio, Donkey Monkey and the Supersonic project of Thomas De Pourquery were unique projects and they sounded very differently giving some clues to us for the next generation's jazz music.

The second day was including German Jazz Expo as well as Overseas Night and Julia Kadel Trio (Halle 7.1 3.30 pm) was my choice as the best. Having been playing together for a long time this promising trio sounds really amazing even in their debut album. Thanks to the nice compositions, structures and a very qualified drummer they will surely be very successful in future. Andromeda Mega Express Orchestra (Kulturzentrum Schlachthof 3 pm) was another highlight with their complex structured orchestral compositions and interesting band leader who is responsible for their interesting compositions. Sebastian Studnitzky's new project Memento in Kulturzentrum Schlachthof at around 4 pm was also impressive especially with catchy melodies and string orchestra accompaniment to Sebastian's piano and trumpet. When it was 8 pm we were at Die Glocke for two successive concerts: Vincent Peirani's Living Being Quintet and Richard Gallliano feat. Sylvain Luc. The dialogues between Peirani and Parisien in the first concert were really worth listening and the performance was appreciated a lot, as easily can be seen from the long autograph signing queue. Richard Galliano's heavenly tone created an amazing atmosphere in Die Glocke merging with Sylvain Luc's unique guitar sound. When I was back at Kulturzentrum Schlachthof there was an almost full house Ed Motta, the Brazilian soul singer. 

The third day was consisted of European Jazz Meeting and Jazzahead Clubnight. There were amazing performances again starting from a really strong Estonian trio, Peedu Kass Momentum. Led by the bass player the band was awesome mostly for the talented jazz pianist Kristjan Randalu. The clubnight started in Haus im Park for me. There was Makiko Hiyabayashi Trio at 5 pm and it was possible to listen to amazing Marilyn Mazur on percussion and drums. Haus im Park was some 10 km away from Messe and listeners could use a bus travel of about 20 minutes to reach there. Even if I found the signs on the street for "jazzahead" a little bit invisible and I roamed around, I was really impressed with the nice acoustic and amazing performance of the musicians. It was my first time for Marilyn Mazur and it was worth leaving all the other stuff in the fair hall.

When it was time for ECM night in the historical place Sendesaal Bremen, I was still trying to find the hall in the lonely, green and wet streets of the city. Even I passed by the hall in advance, I could not see it since there was no sign of jazzahead and in the end I could reach the door only 15 minutes after the performance started. Sendesaal rules did not let me in for the first performance of Jakob Bro, Thomas Morgan and Jon Christensen and I could not accept the situation. There was a queue of people there but I was the Turkish guy and could find the alternative way for sure to see at least two performances. Jakob Bro's new project from ECM was amazingly soft and touchy and Thomas Morgan on bass was a wonderful match for the sound. There is no need to say that Jon Christensen was like playing the drums behind some holy curtains between heaven and earth. Mathias Eick Quintet seemed to change the style in the new album Midwest a lot. The violin has softened the sound and the compositions were much more melodic compared to previous ones. Even I found it a little bit lacking in improvisation, the overall performance was really impressive. Giovanni Guidi Trio's new yellow covered ECM album - which is rare in the label - seems to be also different in the pianist's style. The structures of the pieces were toggling between fully improvisational difficult ones and easily followed catchy melodies based ones. The day ended with Andy Sheppard Quartet which includes Eivind Aarset on guitar and honestly most of the listeners were wondering about this guitarist, who has very high reputation in last years. The performance was enchanting but the problem was that three full time concerts of ECM sound -no I'm not trying to say anything- made the fourth one almost a sleeping session for the listeners, who were passionately there for the musicians. Same place, less air each minute even there were breaks... It could have been three concerts at most. 

Exhausted at around 2 am also because of the taxi crisis in front of Sendesaal, I could barely found myself at bed missing many jam sessions and other stuff about which I heard a lot on Sunday morning: Søren Bebe in Courtyard by Marriott Hotel at 8.30 pm, ADHD in Halle 7.2 at 10 pm, Louis Sclavis in Halle 7.2 at 10.30 pm, Omer Klein Trio in Hall 7.2 at 4.30 pm, Atom String Quartet in Kulturzentrum Schlachthof at 3.30 pm... These are all I missed and added to the to-be-seen list. (You can see many jazzahead showcases from arte tv website: http://concert.arte.tv/fr/jazzahead)

The fourth day was almost empty with some French breakfast (as it was mentioned in the programme but unfortunately I coud not join) and some farewell speeches as well as next year's partner country announcement. 

Jazzahead is surely a jazz exhibiton and a jazz network meeting more than a traditional European jazz festival but with just some improvements it can easily include one for new sounds. For instance, considering also that the Halle 7.1 and Halle 7.2 were almost never full for any concerts, the space can be used to create a three hall which are sonically isolated from each other so that parallel concerts can be held in order to present much more bands to jazz professionals. Since the weather is not so bad at the end of Aprils some places in the parking area can easily be used as an outdoor stage where people can also hang out. This way also the entrance of a public exhibition can be seen much more attractive than what it is now (just a yellow jazzahead flag). Besides, with the almost empty schedule, Sunday can be removed from the programme letting exhibitors and attendees to save a day in their schedule.

Some further improvements can start with adding shuttles for jazzclub nights from Messe at least for the distant ones. Besides, instead of distributing this much musicians around the city, the capacity of the Halle 7 can be used more efficiently as I mentioned above. Even though Sendesaal and Haus Im Park are amazing places, scheduling comparisingly famous jazz musicians all together to these distant areas may result in less attendance to the other places' performances. By the way, as far as I have heard, the Jazzahead Clubnight bookings are made by musicians or managers themselves and jazzahead is not involved with it.

Jazzahead became very beneficial and entertaining for me since it let me see many labels, musicians, booking agencies and distributors all together some of which I have been following for years and decide on what I can do professionally in the jazz business. The most important outcomes for me are the new musicians and albums I learned during these four days and they inspired me to write more and more reviews. I will also try to promote many of them in my own country. Jazz is some kind of a special music genre whose boundaries are updated with each passing day and new trial. So being up to date is important whatever you are doing for it. You can compose, play, review, book, manage, release or listen. You are free to do anything with it but in order to contribute to what you make, you have to be passionate about it as well. Hardworking, following, staying updated are necessary but not sufficient conditions. Wherever I go, whatever I do, jazz will be there staying as my passion. Whenever she calls me I'll be there with my ears, heart and brain.

Magnus Öström Interview Before His Ankara Concert on November 2014

We could create a little time with Magnus Öström to make an interview just before his band's unforgettable Ankara Concert in last November in Nordic Music Festival. The drummer was on the same stage that he played on 9 years ago with Esbjörn Svensson Trio and he was so excited to be there again at that night.

Fatih: Hi Magnus, welcome to Ankara.

Magnus: Thank you.

Fatih: I think the first time was in 2005 with Esbjörn Svensson Trio with an amazing concert. For most of the jazz listeners here, it was certainly a memorable concert. After Esbjörn's passing away you have recorded two albums with your quartet. We all can guess that life is changed a lot for you and (Berglund) after Esbjörn but here I want to ask you this: What has changed in your musical style? Can you compare E.S.T. albums with Thread of Life and Searching for Jupiter considering musical styles and the sound?

Magnus: I was one third of the trio. I think I still brought my sound and my playing to my own band. So that part of the trio is still with me. I think you can hear some connections with the trio and my music but though, it's much more electrified and maybe more in jazz-rock or something. The trio was more -maybe- jazz and it was more acoustic as well. 

Fatih: What is new and different in Searching for Jupiter compared to the first album?

Magnus: One thing is the keyboard player. Gustaf Karlof was a little bit more into the keyboards and synthesizers and he worked in those kind of things. Daniel Karlsson is more focused on the piano, more of a real piano player. Of course he plays a little bit other stuff but his focus and playing are more jazzy. I think that changed the whole sound a bit. The compositions... I don't know if it's changed.

Fatih: More hopeful maybe?

Magnus: Yeah, a little bit lighter.

Fatih: As time passes...

Magnus: I think so. Maybe that's the difference.

Fatih: Besides your own band, you are playing in different projects and some albums: E.S.T. Symphony is one of these. You have given many concerts in 2013 and 2014. How did it feel like going back to the compositions with the symphonic arrangements?

Magnus: First it was of course strange. The thought of playing that music again was a little bit... I don't know - it was a mixed feeling. But how the music has been interpreted for the symphony orchestra and how Hans Ek has arranged the music... I think he has done a fantastic job with it. This is one of the only ways to let this music live on. Becasue it is very hard to play this music ever in a trio setting. It will be many years I think (to do this). Ok it's already many years, but it's still too close. I think it's a beautiful way...

Fatih: Maybe -in other words- this is the best way to keep on playing E.S.T. 

Magnus: Yeah, I think so. Especially for the moment... But, there is also many positive thoughts coming up when you play this music. You played it so much before and you remember all the good things. You are already very thankful for the travel with the trio but it is even more when you revisit them. It's been amazing to do it.

Fatih: Will you continue giving other E.S.T. Symphony concerts in future?

Magnus: Yes.

Fatih: Will any of these concerts be recorded for the album?

Magnus: We'll see. We have been discussing it but we haven't really found the right setting and the right solution yet.

Fatih: Can we say that any previous concerts will not be recorded for the album - which means you are waiting for a future concert to record? 

Magnus: We don't have any really good recording yet. I think we need to find another one. 

Fatih: We are familiar with live recorded albums of E.S.T. Are you planning a live album with your own band?

Magnus: I've been thinking about it but I think it's good for the band to make at least one more studio album to build the song list. 

Fatih: You have worked with Lars Danielsson and Tigran Hamasyan in Lars' last albums Liberetto and Liberetto II. How was it playing with them?

Magnus: I think it's amazing. I think it's reallly really fun. It is also great to be a sideman because it's putting you in another position - you don't have all the responsibilities. In a way sometimes you can relax in another way. Coming there and playing his music is very very nice. I think Lars is an amazing bass and cello player and compositions are very very nice - very lyrical, nearly romantic. Tigran is another universe, he is so free rhythmically and he is in another dimension.

Fatih: Especially in Liberetto II, I have heard nice trio performances which excited my mind to think about a new trio including you. Lately I also saw that you played in Jan Lundgren Trio. 

Magnus: Yeah, it was just a concert.

Fatih: Is it any possible that we will see you in a new trio format as the main project?

Magnus: I don't know - it might happen because I love the setting. No doubt about that. Piano, bass and drums... Very organic, very easy to work... It is very fast changing the development musically. If you are getting four, five and six, it is hard to turn the ship fast. I love the space. It might happen, it might not.

Fatih: I think many European jazz followers agree on it if I say E.S.T. changed the way jazz is following in Europe. In my humble opinion, there were not so many jazz trios sounding like you when you were on the scene. However, after 2008 we started to see many bands which are compared to E.S.T. and most of the time they are defined by a new term called E.S.T. sound. What do you think was this E.S.T. sound? How can you define it?

Magnus: Wow - that's a tough question. I think it was like a mix of our different backgrounds and our different preferences about music. One of those things that happen sometimes is when you get certain amount of people and sum, the total energy mass gets bigger than each seperate. I think it was the mixture of Esbjörn's fantastic compositions that is kind of jazz but still a lot of pop hits - they are easily accesible for anyone - you don't have to be a jazz nerd. Dan comes from a rock background. I think the combination of the energy of us three together was something special. It's really really hard to explain when you had been there. It's sometimes easier for people outside. But now after few years, you can hear "yeah we got something unique together - the sound" somehow. Also a very important thing is that especially during the late years, everybody really could open up and take their place - you know everyone got space.

Fatih: Maybe it is not something to be defined but something to be listened. If you can tell in words you won't play music maybe?

Magnus: Maybe, maybe... It's always hard to put words on music.

Fatih: Could you please give some names that you find successful and promising on European Jazz Scene? Especially among the trios...

Magnus: Problem with me is that I don't really follow. I have never been that kind of a guy that really checking out stuff all the time. It is hard to tell. I am trying to find any names but... For me, of course Tigran was one thing that strike me when I heard it first time. Tigran is kind of a big name but he is still very young. I think it is very interesting what he has been doing and his projects.

Fatih: You are giving a name from East not from Europe. Interesting?

Magnus: No, but he is kind of mixed. He is coming from Armenia but he has been living in LA for many years. Then he has been staying in France. I think the music is getting more and more like that - it is like a music from world - global. 

Fatih: Progressive rock was always an implicit part of E.S.T. music I think. In my opinion, in your new albums these progressive rock influences are much more than before. Have you listened to progressive rock bands a lot? 

Magnus: No I haven't, not really actually. My background is when I went from pop or something -when I was 12,13 years old - the first thing I heard... There was Billy Cobham. I was very deep into jazz rock for a long time when I was between thirteen to sixteen.

Fatih: Between 70's and 80's?

Magnus: This was from 1978 to 1981.

Fatih: When rock jazz and fusion was very dominant... 

Magnus: For me what is important is jazz-rock not fusion because fusion is even more sleek for me. Jazz-rock has some kind of rough edges. That's my background actually before I went into play in more acoustic and traditional jazz. So it's a mix from that. The only progressive rock band I listened a little bit is Meshuggah - Swedish progressive metal band. I think there is a lot of interesting things happening in metal.

Fatih: What do you currently listen at home when you find time?

Magnus: For me it is sometimes hard to really concentrate and listen. Just the other day, I found this beautiful beautiful record with Stan Getz and Strings. It is called Cool Velvet - maybe from 60's or something. Really really beautiful music - very soft and gentle. He also had this great album called Focus that I listened a lot to when I was like in my twenties. The last really big thing was Laura Mvula from Birmingham I think - an English girl. She sings, writes and arranges.

Fatih: How do you compose? I mean besides the drum-set are you using any other instruments while composing?

Magnus: Yes I compose by the piano. I am not a piano player at all but know enough to compose.

Fatih: Can you compare jazz made in Europe with the jazz made in United States nowadays? 

Magnus: As I said before, I am not familiar really with what is happening both on the Europe scene and the scene in States but I think, of course you have this long long tradition in States. It's actually in a way music coming from blues and all the traditions. They really see the big names before them in the tradition they are carrying and they are still carrying that tradition. That's very important. Maybe you sometimes have more music from the States that are in the vein of the traditional jazz but still you have a lot of other things happening over there as well. But in Europe you might have a more free attitude toward jazz. 

Fatih: No pressure?

Magnus: Maybe a little bit less pressure. But we are also standing on the shoulders of giants. You have to understand.

Fatih: You have to know the alphabet, then you can produce the words?

Magnus: In a way, but I think it's openning up everywhere, it is coming very experimental and very open stuff also from States and Europe. Also the free format and avant-garde style is very big nowadays. Both in Sweden, in States and in Canada. That has a revival recently. 

Fatih: Do you know any Turkish jazz musicians?

Magnus: Of course I know Okay Temiz because he was in Sweden and I know Oriental Wind. İlhan Erşahin. Sarp Maden after EST Symphony in İstanbul and Mehmet İkiz - Swedish/Turkish drummer.

Fatih: Well with all your experiences how do you see the future of jazz and music in general?

Magnus: If you are talking about the business, I don't know where it goes. It is very very difficult times for people in it. There are more people than ever playing music and wanting to be musician but the scene is not growing as much. Also recording side is of course very problematic because people think that music is free nowadays - you can use spotify and whatever.

Fatih: And you are caring about album sales?

Magnus: It might never been that important for jazz musicians. You never sell millions for most part but still you have to get money to do the recording at least because it costs money to do a good recording. Even though you can do a lot more at home nowadays but it is not the same as to work with really professionals in a studio. That's gonna be problem in music industry and it will also hit film industry. 

Fatih: Yeah, it's a general problem. People can be careless about art.

Magnus: The money needs to come from somewhere. It's very easy to just to think that "Ah I can get this for free." Then it starts to be a rule and it is hard to go back. 

Fatih: Do you like to teach playing drums to students? Are you planning to open a school or join a conservatory to give lectures on that in future?

Magnus: Actually I've been to conservatory for a year now. There is a guy who was away from the school and I am asked to get his job for a while. I have five-six students. I think it is interesting.

Fatih: Will you continue?

Magnus: We'll see. It's interesting though it also takes a lot of energy and also a lot of planning - you know we have just twenty four hours per day. My focus is on playing and trying to compose more music. But it is very interesting to meet young students. They have the energy.

Fatih: Like Curly Camel maybe - you are the producer for them. I donated for them, for the album.

Magnus: I appreciate that. The older you get the more interesting it is to work with young people. When you are younger you have a certain amount of energy. 

Fatih: Are you planning to release a new album with the band?

Magnus: Hopefully, I will release a new album next year. Probably not before Autumn.

Fatih: I am looking forward to listening to it. Thank you Magnus, it happened to be a great interview. It is great to see you here at last. 

Magnus: Thank you I am glad to be here. 

Nils Petter Molvaer & Eivind Aarset & Jan Bang - Ankara Concert, March 26th 2015

Three prominent musicians of Norwegian contemporary scene, trumpet player Nils Petter Molvaer, guitarist Eivind Aarset and live sampler Jan Bang gave the first concert of first Ankara World Music Festival in Ankara Palace on last Thursday. Actually, the members of this trio have played together for many live performances as well as many pieces of some albums in Nils Petter Molvaer's discography but this trio configuration was something new especially for Turkish followers.  

The performance consisted of two sets: The first one was the main body with 65-70 minutes and the second one was the closing song of about 10 minutes. Although the main themes were based on Molvaer's previous compositions from albums such as Hamada and Er, the musicians were mostly improvising - sometimes individually, sometimes collaboratively. The level of complexity in these improvisations was so high that just a 10 seconds of concentration lose may cause a listener to be detached from the performance's impressive atmosphere. It was a stimulating concert not only both with the energetic rhythms mostly carried by Jan Bang and the mystic tone of Molvaer's trumpet but also with the special light show. Adding Eivind Aarset's minimal touches and extraordinary sound from electric guitar to these, the overall performance was like spending a night on the limits of jazz, avant-garde, new age, contemporary and even trance music. The impressive vocal sounds created by Molvaer with the microphone of the trumpet and the surprising shifts in tension achieved by Jan Bang are highlights of the performance. The sound design and acoustic conditions were nice too but I think some bass portions of the performance were too heavy for the palace, shaking the ceiling.

In my humble opinion, musical performance may sometimes be for musicians themselves or -let me say- for some qualified listeners who have the necessary patience and open-minded musical ideas. For me, such performances are special ones in which you -as a listener- have a chance to put yourself into the position of the performer. In that case, you are not a mere listener caught by the well known melodies and forms. Instead, you become the one who is responsible to get the idea and if you can make it you leave the venue as someone more experienced instead of a someone entartained. I left the venue as a more qualified listener thanks to three free, creative and innovative musicians last Thursday. If you like to get such an experience catch them for their next performance. 

My Choices Among European Jazz Releases in 2014

This is my list for best 9 European Jazz albums I have chosen among the releases in 2014. It is not a best 10 list because I am waiting for your contribution. If you can't see one of your bests, please mention -as a comment- the name of the album which -you think- should take place in such a list.

For your information, there is no rank or priority level in my list. They are all written down as they came into my mind when I was blogging. 

1 - Life To Everything, Phronesis, Edition Records

2 - Outrush, Kekko Fornarelli Trio, Abeat Records

3 - Extended Circle, Tord Gustavsen Quartet, ECM

4 - Beat, Tingvall Trio, Skip Records

5 - Anyone With A Heart, Iiro Rantala String Trio, ACT

6 - Jerry Léonide, The Key, ACT

7 - Michael Wollny Trio, Weltentraum, ACT

8 - Helge Lien Trio, Badgers and Others Beings, Ozella Music

9- Claudio Filippini Trio, Breathing In Unison, CAM Jazz

Please Support Freelance Music Writers

This is my blog. For October, I published 3 posts: a concert review for Leszek Mozdzer and an interview with İbrahim Maalouf (English/Turkish). Blogger statistics tell me that I have written 117 posts including articles, reviews, interviews, pre-views and music travel notes for 2,5 years. Considering that I am writing long, it seems that there is smth like a book out there of more than 500 pages. The same statistics show almost 45000 clicks on the page. However, as most of you know being freelance is not easy and we all need support and promotion. I need this support especially from my musician friends. I can understand that famous jazz pages, newspapers and critics are more important for you but please do not forget that we -freelance bloggers- are producing prints for you when you are looked for online. As far as I have noticed I could take place only in my 4 or 5 musician friends webpage or social network walls. Most of you are already familiar with the fact that I am advising names to festivals in my country and I am inserting more and more musicians into the lists each day. I am doing what I do just to answer what is coming from my heart. I am sure that you all can understand that our hearts need love and respect to keep on talking to us. Thanks for the support.