Adam Bałdych, 2012 The Imaginary Room

At first sight, violin seems to be a rare instrument for jazz since its beginning, however contrary to mainstream thoughts there were legendary violin players in early times of jazz such as Eddie South, Stuff Smith, Claude Williams, Joe Venuti, Georgie Stoll and Stephane Grapelli. As an important name between the predecessors and the moderns we can give Jean Luc Ponty as the most important name. In contemporary or today's mainstream jazz scene we still rarely see violinists who are generally originated from classical music and producing works in both genre. Generally speaking we can give Nigel Kennedy,  Mark Feldman and Scott Tixier as examples. The reason why I am writing this review is that I am recently affected by  possibly youngest of them. It was on April 2012 while I was looking for the new albums released in ACT Label when I met the new young talent of jazz violin, Adam Bałdych  via his debut in ACT, The Imaginary Room. I have been there with a previous motivation of learning that he was one of the most important violin players in jazz scene lately from some critics and seeing his photos with Siggi Loch, the founder of ACT Label. After seeing the line up in the album and listening to it at home I have decided that I faced an extraordinary style not only for jazz but also for violin. 

Adam Bałdych  has played with many important Nordic musicians in this album who gathered in the name of Baltic Gang: lyrical bassist Lars Danielsson who is well known among European listeners from lots of works from ACT as well as many other Scandinavian contemporary albums, Jacob Karlzon who can be remembered from Viktoria Tolstoy’s albums as one of most important jazz pianists of Sweden previously and nowadays from latest album More that he recorded with his trio JK3, Verneri Pohjola, the young talented trumpeter from Finland (son of Pekka Pohjola), owner of two albums from ACT, the Danish drummer Morten Lund and Marius Neset, another talent on saxophone (from Edition Records label). Behind that album we see two most important names of ACT, Siggi Loch and Nils Landgren as the producers again.

Let me give some biographical information about Adam Bałdych  before analysing the album Imaginary Room in detail.

Bałdych was born in Gorzów Wlkp in Poland in 1986. Accepted as a genius in his country, Poland, since his childhood, Adam became third in Polish national violinist competition in Poznan at the age of 13. The same year he was awarded the first price at regional violinist competition in Szczecin and at Baroque music competition in Gorzow. “Jazz offered me the musical freedom, I was searching for.” is what he said for his meeting with Jazz at the age of 13. In 2002 he was awarded by  "Jazz Celebration“ competition in Gorzów. He is annually awarded the "Key for Career Award“ by Polish magazine “Jazz Forum”. Adam started to be seen in international jazz scene when he was 16 by a tour through Europe and Asia. He has graduated from Kattowitz conservatory with merit after when he got a scholarship from Berklee College of Music in Boston. Started with education in US, Adam Bałdych  has partially lived in US and worked together with famous musicians such as Jim Beard, Didier Lockwood, Pierre Blanchard, Jerry Goodman, Krzesimir Debski, Christian Howes and Mika Urbaniak.

He first gained international attention with his album Damage Control (2009) that he has recorded with his band Damage Control. He released another album in 2009 called Storyboard. Inspired by famous novel Der Steppenwolf, he produced Magical Theatre in 2011.

The famous piano player of ACT, Leszek Możdżer (which can be remembered from Pasodoble with Lars Danielsson) met Adam Bałdych in 2008 to write the soundtrack to the movie Sir Arnes Schatz by Swedish director Mauritz Stiller. Leszek Możdżer introduced Adam Bałdych to Siggi Loch. Loch immediately asked Bałdych to join the ACT family. 

Adam Bałdych  deserves the nickname Evil since he has certainly a very characteristic style for violin that can only be sourced from a pure talent. He really sounds like a woodwind in the album Imaginary Room, in my opinion. You can also smell some blues from his violin which is already affected by rock. You can understand the reason behind this when you listen to the previous albums which is full of electric violin. Besides Imaginary Room you should also have a look at fantastic album My History of Jazz of Iiro Rantala in which Adam Bałdych  also took part.  

All the pieces in the album is composed by Adam Bałdych instead of track 6 and track 8. Let me give the track list in the album with my brief comments:

1. Village Underground: An energetic entrance to the album... The rhythm section consists of cold piano, wide performed/recorded drums and double bass playing mostly from lower octaves. The piano and bass simply follows a basic line while drums are deciding on the tension moving between two channels successfully. The woodwinds and violin is played in harmony. The main theme remembered me some opera-kind compositions.
2. Mirrors: A melancholic piece in which you can find many long classical violin performances from Adam Bałdych over every other instruments that are trying to create a tensional environment for him. We have little hopeful areas in the piece which have perfect links between the body.
3. The Room of Imagination: Coming from previous album and seems like to have inspired Adam to name the album, the piece is a fantastic composition from Adam Bałdych. This is the real success of the album. Especially Marius Neset shows us his power with his saxophone in very well written partitions. We also listen to great solo performances from Adam which sometimes accompanied by trumpet as well as the saxophone which are following the main theme. After the first half, the tension is increased with higher octaves’ trumpet which is cut sometimes by soft and melancholic violin accompanied by piano and minimal percussion.
4. Cubism: Some undetermined situations are mentioned in the entrance by both the rhythm and the melody presented by Adam, Verneri and Marius. We listen a brief piano solo (even it is not a complete solo since the piano is well beyond in sound weight)
5. K8: This piece should be carefully listened for the brass parts that feels like to be played by a big band by means of continuous and controlled sound of violin and contribution of Nils Landgren on trombone, solo saxophone part to see Marius Neset’s performance and solo violin part for Adam’s of course. This is certainly a part of the general feeling in the album lowering the tension a bit compared to the Cubism. You can easily be linked from that piece to others.
6. Time Traveller: The virtuosic (blues like at the same time) violin entrance is responded by firstly dark then warm piano of Jacob Karlzon. They are talking together instead of listening to each other. The composition belongs to Jacob Karlzon and Adam Bałdych .
7. Rama hai: The drummer Morten Lund preferred brushes in this deep bass supported melancholic piece. The album’s heart beats are at lower paces now. Adam is playing like going on where he left the previous piece. The naive feelings are supported by narrow trumpet from Verneri.
8. For Zbiggy: This is a tribute from Adam Bałdych  to Zbigniew Seifert, a good Polish violin player died in 1979. The tension is increased again. Adam Bałdych  again shows us what a great musician he is. Look at his great harmony with the rest of the band. He sounds as if the violin is a standart instrument for such pieces. I loved that tone very much. Give attention also to good performance of Morten Lund who never gives up filling the background.
9. 11.16: A long introduction of Adam Bałdych  carries us to an again well written brass partitions that is very well performed and sometimes supported sometimes dominated by a great violin. The drums are organically fed into the sound and the control of the drummer is fantastic.  
10. Zarathustra: This feels like a basic melancholic soundtrack first. By introduction of cello from Lars Danielsson and Jacob’s piano we faced with a classical piece more than a jazz one.
11. Inspiration: I like the name as I like the entrance, violin on top of drum&bass and piano. It is minimal and soft. The articulation is satisfied by trumpet and saxophone distributed in two channels and introduced in second half.
12. Million Miles Away: Lars Danielsson and Adam Bałdych composed the piece together. I really felt like in a Lars’ composition from Pasodoble or Liberetto. A duo performance of a mystic violin and a lyrical double bass... A new talent on violin from middle Europe, an experienced troubadour on double bass from northern Europe. The result is a short but a great performance.

http://www.youtube.com/watch?v=u07SA8pTVPY 

Nils Landgren Funk Unit 23 Kasım'da İstanbul'da

Aslına bakarsanız, 1992 yılından beri devam eden bu köklü ekibin her yaptığını anlatabilmek için oldukça uzun birkaç yazı yazmam gerekiyor. Özet olarak tutmak istediğim bu yazıda ben sizlere 23 Kasım 2012’da İstanbul Ghetto’da sahne alacak Nils Landgren Funk Unit’in neden Avrupa’nın en önemli funk gruplarından biri olduğunu ve neden onları dinlemeye gitmeniz gerektiğini kısaca anlatmaya çalışacağım.

Nils Landgren Funk Unit grubuna ismini kurucusu ve halen lideri İsveçli ünlü trombon üstadı ve vokalist Nils Landgren veriyor. 1956 yılında doğan Nils Landgren çok küçük yaşta davulla başladığı müzik hayatına klasik trombon ile devam etmiş. 1980 yılından başlayarak İsveçli efsane Bengt-Arne Wallin ve tromboncu Eje Thelin’den etkilenerek doğaçlamaya  yönelmiş ve profesyonel müzik hayatında öncelikle İsveç’in ünlü pop ekiplerinde, sonrasında ise jazz, soul ve folk türlerde birçok farklı albümde yer almış.

1992 yılına gelindiğinde Nils Landgren, Unit adı altında funk türünde performans vermeye başlamış.  Bu ekip Funk Unit olarak 1994 yılında Almanya’nın Salzau şehrinde düzenlenen Jazz Baltica festivalinde boy gösterdiğinde dikkatleri üzerine toplamış ve 1995’te ACT firmasından Live in Stockholm albümünü yayımlamış. (Piyasada rahatlıkla bulabileceğiniz bu albümü kesinlikle dinlemelisiniz!) 1992 yılında Unit adındaki ilk ekipte gördüğümüz  Nils Landgren (trombone, vokal), Henrik Jansson (gitar), Jesper Mejlvang (klavye), Lars DK Danielsson (bas), Per Lindvall (davul) isimlere, 1995 yılındaki ilk albümde Ake Sundqvist (davul, perküsyon ve trompet) ve Jan Ugand eklenmiş. Bu albümde ayrıca konuk sanatçı olarak Maceo Parker ve sonrasında ekibin ayrılmaz üyesi olan Magnum Coltrane Price’ı görmek mümkün.

1997’de Alman Caz Ödülünü alan Paint It Blue, 1999’da basılan Live in Montreux ve 5000 Miles, 2001’de çıkan Fonk Da World albümleri ve bu süre zarfında başta Almanya olmak üzere birçok Avrupa ülkesinde verdikleri sayısız enerji dolu konserle funk ve caz dinleyiciyileri için çok önemli bir grup haline gelmişler. Spiegel 2001 yılındaki turneleri sonrasında onları Avrupa’nın en önemli funk grubu olarak nitelendirmiş. Bu yıllarda çıkan albümlerde Nils Landgren, Esbjörn Svensson ve Magnum Coltrane Price değişmez isimler olarak göze çarpmakla beraber alto saksofonda Per Rusktrask Johansson bir albümde konuk sanatçı diğerinde ana üye olarak görülmekte. Yine Esbjörn Svensson Trio’dan hatırlayacağınız davulcu Magnus Öström ve basçı Dan Berglund, Michael Brecker, Randy Brecker, Roy Hargrove, Till Brönner ve Viktoria Tolstoy’un adlarına da albümlerde konuk sanatçı olarak rastlamak mümkün.

2004 yılında İsveçli ünlü pop grubu Abba’nın eserlerini yorumladıkları Funky Abba albümü, 2007 yılında basılan Licence To Funk ve 2010’da Nairobi’de bulunan Médecins Sans Frontières (Sınırı olmayan doktorlar) projesine destek veren Funk for Life albümü ekibin daha güncel stilini yansıtan çalışmalar. Ekibin, Funky Abba albümünde piyanoda Robert Di Gioia’ya davulda ise Wolfgang Haffner’e yer verdiğini görüyoruz. Bununla birlikte, Licence To Funk’ta piyano ve vokalde Ida Sand ve üflemelilerde Magnus Lindgren’in yer aldığı çok daha minimal bir ekibe rastlıyoruz. Son albüm Funk For Life’da kadro şu şekilde: Nils Landgren (trombon, vokal), Magnum Coltrane Price (bas, vokal) Magnus Lindgren (üflemeliler, back vokal), Jonas Wall (üflemeliler, back vokal), Sebastian Studnitzky (klavye, trompet, back vokal), Andy Pfeiler (gitar, vokal) Robert Mehmet Ikiz (davul, back vokal), Wolfgang Haffner (davul-iki davul olan yerlerde)

Nils Landgren Funk Unit, İstanbul’daki konsere de Funk For Life kapsamında geliyor. Albüm kadrosunda da gördüğünüz İsveç’te yaşayan Türk davulcumuz Mehmet İkiz’i de bu konserde dinleme şansı yakalayacaksınız.  

Devamlı değişen, gelişen ve yenilenen ekiplerle Nils Landgren Funk Unit bir nevi İsveç müzik okulu gibi de çalışmakta. Esbjörn Svensson’un bu ekiple çalarken Siggi Loch ile tanıştığını unutmayalım. Nils Landgren şu an hem müzisyen hem de yapımcı olarak Alman ACT firmasının en önemli isimlerinden. Keşifleri ile özellikle İskandinav cazına ve bu coğrafyadan çıkan harika vokallere verdiği destek takdiri hak ediyor. Devamlı farklı projelerde, aralarında efsane isimlerinde olduğu sayısız müzisyenle beraber çalmakta. Bütün bu devinen yapıda değişmeyen tek şey Nils Landgren’in müziğin sınırlarının olmadığına ve paylaşılması gerektiğine dair müzik felsefesi. İşte bu yüzden bu iyi müzik yapan iyi kalpli müzisyenleri dinlemeye gitmelisiniz bence. Konserden önce, bahsettiğim albümleri de (özellikle canlı kayıtlar ve Fonk Da World albümü) dinlemenizi tavsiye ederim. Ya da aşağıdaki örneklere göz atabilirsiniz.


http://www.youtube.com/watch?v=WD9g1ZcGj5k
http://www.youtube.com/watch?v=LXdQMs13OGU&feature=related
http://www.youtube.com/watch?v=SuZD2R9N9fA&feature=relmfu
http://www.youtube.com/watch?v=xRoyCSzzKxY

Nils Landgren Funk Unit is coming to İstanbul on November 23th

Actually I should write a couple of long articles to explain exactly what this old band has done since its foundation in 1992. However, my aim in this article which I'd like to keep short is why Nils Landgren Funk Unit is one of the best funk groups in Europe and why you should go to see them on November 23th at Ghetto in İstanbul.

The name of the band comes from Sweden trombonist and vocalist Nils Landgren who is still the leader of the band. Nils Landgren was born in 1956 and started to play music when he was a little child with drums. He, later, switched to the classical trombone. During 80's he is inspired by legendary Sweden musician Bengt-Arne Wallin and trombonist Eje Thelin and decided to improve himself in improvisation and started his professional career by taking part first in popular bands in Sweden then played in many albums with genres of jazz, soul and folk. When we come to 1992, we see Nils Landgren was performing in his own band called Unit. When this band performed in Jazz Baltica Festival in Salzau Germany in the name of Funk Unit, they suddenly caught attractions and released Live in Stockholm album in 1995 from ACT. (You should certainly listen to that album that you can easily find in music markets) The personnel in the first unit were Nils Landgren (trombone, vocal) Henrik Jansson (guitar) Jesper Mejlvang (rhodes) Lars DK Danielsson (bass) and Per Lindvall (drums). In the first album from 1995, we see Ake Sundqvist (drums, percussion and trumpet)  and Jan Ugand as additions. We can also see Maceo Parker and Magnum Coltrane Price (who became one of the most important member of the unit later) as guest appearances.

After the albums Paint it Blue (German Jazz Award winner) in 1997, Live in Montreux and 5000 Miles in 1999, Fonk Da World in 2001 and countless energetic live performances all around Europe especially in Germany, they became a very important band for jazz and funk listeners. Spiegel described them as the best funk band in Europe in 2001. Nils Landgren, Esbjörn Svensson and Magnum Coltrane Price seem to be the long term members of the band during these years, whereas Per Rusktrask Johansson played in albums sometimes as the band member sometimes as guest musician. We can also see E.S.T members drummer Magnus Öström and bassist Dan Berglund, Michael Brecker, Randy Brecker, Roy Hargrove, Till Brönner and Viktoria Tolstoy as the guest appearances in these albums.

Funky Abba in 2004, which includes famous Swedish band Abba's covers, Licence to Funk that is released in 2007 and Funk for Life in 2010 supporting also Médecins Sans Frontières (Doctors without borders) in Nairobi are recent works of them that reflects their latest style. I should mention that Robert Di Gioia played piano and Wolfgang Haffner played drums for Funk Unit in Funky Abba. Besides, we see that in Licence to Funk, Funk Unit preferred a more minimal band including Ida Sand on piano and vocal, Magnus Lindgren on woodwinds. The personnel in last album Funk for Life is as follows: Nils Landgren (trombone, vocal) Magnum Coltrane Price (bass, vocal) Magnus Lindgren (woodwinds, back vocal) Jonas Wall (woodwinds, back vocal) Sebastian Studnitzky (rhodes, trumpet, back vocal) Andy Pfeiler (guitar, vocal) Robert Mehmet Ikiz (drums, back vocal) Wolfgang Haffner (drums when 2 drums)

Nils Landgren Funk Unit is coming to İstanbul with Funk for Life concept. You will also find the chance to listen Turkish drummer Mehmet İkiz who lives in Stockholm. Nils Landgren Funk Unit is also a kind of Sweden jazz school with its ever evolving structure. Please remember that Siggi Loch of ACT meet Esbjörn Svensson while he was playing with Funk Unit. Nils Landgren is one of the most important name both as a producer and a musician. Nils Landgren’s support to Scandinavian jazz and vocalists emerged from this land with his discoveries worth appreciation. He is going on to play in many different projects with many different musicians. In this ever evolving structure there is one thing remains the same: His musical philosophy that says music has no borders and it should be shared. Now, that’s the ultimate reason for you to go to the concert, see and meet these good musicians. Please have a look at the albums that I have mentioned before going. (especially the live records and Fonk Da World) Or else you can see the samples below.

http://www.youtube.com/watch?v=WD9g1ZcGj5k
http://www.youtube.com/watch?v=LXdQMs13OGU&feature=related
http://www.youtube.com/watch?v=SuZD2R9N9fA&feature=relmfu
http://www.youtube.com/watch?v=xRoyCSzzKxY

After The ACT Jubilee Night Concert in İstanbul on October 7th

I am not going to explain just a concert or a musician in this article because it will be a kind of understatement to write ordinarily what I have lived on October 7th in İstanbul. In fact my consciousness and subconsciousness were continuously moving me back and forth since I have heard about the event. However, you know, things you have faced in real life can sometimes simply exceed what you dream. The last Sunday was just one of such days. (I should mention that I will continue on writing in this lyrical and subjective style throughout the post which is consistent with the spirit of music and explain my dreamy view of things. For anyone having a problem about that and waiting a solid objectiveness such as in soccer reviews, I advise changing the channel.)

I took the flight in the early morning from Ankara (capital of Turkey) to İstanbul. Just after landing on airport I made my way to Arnavutköy quickly. The beautiful reason why I am so excited and being in rush is that I was going to meet founder of ACT, Siggi Loch, for lunch before ACT Jubilee Night Concert. Easier than said, Siggi (Siegfried) Loch has realized his dreams of producing the music he likes by founding ACT, which is one of the most important jazz labels in Europe.  I could not even made a question list but at least I managed to take some notes on my phone. I have had just basic goals in this meeting: preventing myself from getting too excited, trying to listen carefully and not to talk too much. Frankly, I am not quite successful on attaining such goals. Forgive me, I was with my role model and asking for guidance.

Although Siggi Loch has vast experience in music and life, I have found him quite sincere and modest. I mean, I feel like I am not talking with someone who worked with legendary Arif Mardin and Nesuhi Ertegün for Warner Music and founding ACT records company. He became more important for me with his each comment and story about music and musicians. He has not come alone to Turkey, his wife Sissy Loch was with us at the lunch. Both of them liked İstanbul very much. We have talked about our meals, streets and wines. He has mentioned that he fall in love with İstanbul and it’s been 20 years since they last visited İstanbul.

We sometimes remembered the legendary musicians, sometimes talked about new talents during our lunch with creator of ACT. Esbjörn Svensson was the main topic for a long time. According to Siggi Loch, Esbjörn Svensson Trio is the best trio of their era and From Gagarin's Point of View is a very important album in jazz history. We fell in sorrow when he was talking about his passing away and we saw Sissy Loch crying while she was explaining Esbjörn Svensson’s wife and sons. Siggi Loch said “At first, I just decided to finish ACT after Esbjörn passed away but there were lots of new talents in the label. Michael Wollny is especially important for me with his special talent and you will see what I am talking about tonight. After I have considered these, my decision was on continuing.” I felt that pianists are especially important for Siggi Loch. He has explained their musical adventures with Vijay Iyer in detail. We have talked about his last album Accelerando and his success of becoming cover for Downbeat magazine in UK. Iiro Rantala, who is one of the talented new pianists of ACT, was mentioned as possibly the most technically successful pianist of the label so far by Siggi Loch. I have learned that Siggi Loch likes his album Lost Heroes very much just like me.

In order to relief the environment a bit after Esbörn Svensson’s depressing story, I have asked to Siggi Loch the first thing that come into his mind when I say Turkish music. After some trial, we have learned that he has listened to percussionist Burhan Öcal in one of his performance and liked it. When I asked him whether I should stay as a music enthusiast or I can do something professional about music, Siggi Loch started to tell us a fabulous story of jazz world guided with legendary Turkish music producers Arif Mardin and Nesuhi Ertegün. The last days of Nesuhi Ertegün, the East-West label and his Warner Music days... The moment that he said “All these people are Turkish then why not?“ probably is when seeds that will change my life in future are planted in my brain. I have felt a certain self-respect with these important words. We learned that he does not like two things. One is working with musicians whose main concentration is on money and the other one is listening to music while doing something else. I was about to ask him to take me and educate as a disciple but I restrained myself. After that fabulous meeting we have said goodbye to each other to meet again at the concert. Siggi Loch told me that he had a surprise for me at the concert by calling me with my name. While I was trying to decide on whether this is dream or real life, I just shook hands with him and left.

There was another good concert 2 hours before ACT Jubilee Night in İstanbul Lütfi Kırdar Hall. Miles Smiles project gathered many wonderful musicians who are Miles Davis’ students at the same time. We have listened many qualified variations of Miles Davis’ compositions at this concert. The Hammond performance of Joey DeFrancesco and drummer Omar Hakim were highlights of the night. We have faced with a certain reverberation and reflection problem in this concert due to acoustic design of the hall. Thus, the overall effect on the audience was not as good as it should be considering the musicians’ performances. Although the emptiness of the hall approximately to the half of it due to Fenerbahçe-Beşiktaş football match is not important for me, I think the organization should check itself and take it as a feedback.

I have met Siggi Loch and Sissy Loch again between two concerts. Siggi Loch was carrying my gift in his hand which was my surprise. The new album of Wolfgang Haffner, Heart of the Matter, which is not released yet. It is hard for me to explain my feelings at the moment that I took it.

After having a great day and warming up with a good concert it was time for ACT Family Band to be on the stage. Siggi Loch was on the stage just before them. He seemed a bit sorry to have seen the hall is only half-full. However, he has shortly  shared the 20 years history of ACT label by mentioning names of Nesuhi Ertegün and Arif Mardin. He also dedicated the night to them. The concert started with a problem in the microphones and our high energy level is disturbed a bit. I think the reasons were the previous night’s ACT Jubilee concert in Malmö, Sweden and the Miles Smiles project just before this concert preventing the musicians to perform a soundcheck. However we had the wonderful Nils Landgren on the stage. He is someone who knows what to do when and affects people not only with his music but also with his charisma. He managed to save the night and made a perfect intro. He gave a perfect description of a meal to explain the diversity and richness in ACT label all around the world. While Nils Landgren was starting to do that there was just Lars Danielsson on his double bass at the back playing a walking bass instead of his well known lyrical tunes. After that Nils Landgren invited his friends from ACT Family Band one by one: drummer Wolfgang Haffner, pianist Michael Wollny, saxophonist Céline Bonacino, trumpeter Verneri Pohjola, vocalist Caecilie Norby and guitarist Johan Norberg. Each new musician took part in the first piece Family Stew by adding their partitions and in the end, the whole band finished it together. Johan Norberg and Nils Landgren performed a very emotional piece from their nostalgic Chapter Two project called Get Here just after that. Johan Norberg participated in the concert as another famous guitarist of ACT label since the regular member of Family Band Nguyen Le is not with the band. The playlist was very similar to previous ACT Jubilee Nights with some interesting differences: But This One Goes in Four from Ancient History (2012) album of Verneri Pohjola, Zig-zag Blues from Céline Bonacino’s Way of Life album, Lonely Dancer from Michael Wollny, Silent Way from Wolfgang Haffner’s album Shapes, Hymn (from Liberetto) and Pasodoble from Lars Danielsson, Bei mir bist du schoen and Dead Princess from Arabesque (2011) of Caecilie Norby and a Joni Mitchell cover Both Sides from her voice and Stars in Your Eyes from last album of Nils Landgren. 

Performances are given by changing configurations of artists on the stage. Nils Landgren took part in more pieces than what I expected with his velvet soft voice. His tiredness that is obvious from previous night could not prevent him from making incredible trombone solos. The highlights of the performance were the mimics of Lars Danielsson while performing with his double bass, Nils Landgren’s raising arms through the end of the solos and Michael Wollny’s dances with his piano. Once again, the last performance of the band just before the encore was Dodge The Dodo of From Gagarin’s Point of View (1999) of Esbjörn Svensson Trio. The guitar solo intro from Johan Norberg for Dodge the Dodo was incredible. Michael Wollny proved himself again in this extraordinary piece having nice piano partitions. I did not understand whether he danced with the piano or played it. There is a profound and organic connection between his hands and instrument. His cold tone remembering us the Scandinavian tradition was so nice. We continued to remember the legendary Esbjörn at the encore. When Nils Landgren mentioned the name of Esbjörn Svensson the audience responded with applause. Love is Real was created by Esbjörn Svensson Trio and Josh Haden (son of Charlie Haden) in the album Seven Days of Falling (2003) of the trio. It is actually based on the composition Believe, Beleft and Below which is in the same album and lyrics are written and sung by Josh Haden. We have listened Love is Real from Nils Landgren as the main vocal and Caecilie Norby as the side vocal. While Verneri Pohjola is playing the ballad Nils Landgren closed his eyes and Caecilie Norby looked down. We dived into dreams, sorrow, melancholy and asked why again. 

And the concert ended just like that. I have taken lots of autographs on my albums. I almost have all albums of Nils Landgren and Lars Danielsson but the meeting could be realized only after that concert. It was so easy for them to remember me because of my social networking, blogging and my dedication to ACT label. I was like meeting some relatives from my family. 

As a summary I was as happy as I can be. The only huge missing one was Esbjörn Svensson, whom I could not met in this life. However, I am sure that he was on the stage and between us during and after the concert since there are lots of people thinking and dreaming about him. I know that’s a dream but you know, people live what they feel.  

7 Ekim ACT Jubilee Night Konseri’nden Aklımızda Kalanlar

Bu yazıda size tek bir konseri veya özellikle bir müzisyeni anlatmayacağım. Çünkü 7 Ekim günü olanları her zaman başımdan geçen müzikal maceralardan biri gibi anlatmak o günü biraz hafife almak olur. Aslında bugünü aylar öncesinden duyduğumdan beri bilinç ve bilinç altım beni yerle gök arasında devamlı hareket ettirmekteydi. Ama olur ya, bazen yaşadıklarınız hayallerinizi aşar. Geçtiğimiz pazar işte böyle bir pazardı. Konuyu bu hamaset stili ile bu abartı seviyeye taşıdığım şu satırlarda olanları daha da duygusal ve müziğin ruhuna da uygun bir şekilde sübjektif bir perspektiften ve kendi hayali dünyamdan anlatacağımı belirtmek ister futbol yorumu gibi bir şey bekleyenlerin ise kanalı değiştirmelerini tavsiye ederim. 

Sabah erkenden Ankara'dan İstanbul'a uçtum 7 Ekim’de ve hava limanından da doğrudan Arnavutköy'e uçarak vardım o pazar sabahı. Acelemin ve heyecanımın nedeni ise onunla görüşecek olmamdı. Sevdiği müziği, hayallerini gerçekleştirerek kurduğu ACT ismi altında üreten Siegfried(Siggi) Loch ile ACT Jubilee Night konseri öncesi yemek için buluşacaktık. Kafamı toplayıp bir soru listesi bile hazırlayamadım son ana kadar ama neyse ki telefonuma bir kaç not almıştım. Yine de tek bir konsantrasyonum vardı o da heyecanıma yenilmeyip gevezelik yapmadan onu dinleyebilmek. Becerebildin mi derseniz, hayır. Ne yapayım rol modelim ile karşı karşıyaydım, bana bir yol göster diyordum ona. 

Yılların tecrübesine, yaşanmışlıklarına, bilgisine ve duygusuna sahip Siggi Loch’u oldukça mütevazi ve sıcakkanlı buldum. Yani karşımda Arif Mardin, Nesuhi Ertegün gibi efsanelerle Warner Music firmasında çalışmış ve şu an ACT ismi ile Avrupa cazını yönlendiren bir insan yok gibiydi. Bütün o ağırbaşlılığın yanında müzikle, cazla, müzisyenlerle ilgili yaptığı her yorumla, aktardığı her anekdotla biraz daha büyüdü gözümde. Yalnız gelmemişti Siggi Loch, eşi Sissy Loch ile beraberdi. İkisi de çok beğenmişlerdi İstanbul’u. Yemeklerinden, şaraplarından ve sokaklarından bahsettik bol bol. Arnavutköy'ün manzarasına bakarken İstanbul'a aşık olduğundan ve en son 20 yıl önce geldiğinden bahsetti.

ACT’nin yaratıcısı ile yaptığımız sohbette kimi zaman eskiler hatırlandı kimi zamansa yeni yetenekler konuşuldu. Esbjörn Svensson konunun odak noktasındaydı uzun süre. Siggi Loch'a göre Esbjörn Svensson Trio döneminin en iyi triosu ve From Gagarin's Point of View albümü jazz tarihinin en önemli albümlerinden. Siggi Loch, Esbjörn'ü anlatırken hepimiz yutkunduk ve çocuklarından ve eşinden bahsederken Sissy Loch’un gözlerinden yaşların indiğine tanık olduk. "Çocuğum gibi görüyordum Esbjörn Svensson'u. O aramızdan ayrılınca ACT'yi kapatmaya karar verdim ama bir sürü yeni yetenek vardı. Özellikle Michael Wollny, gerçek bir dahi, bugün siz de göreceksiniz. Sırf onun için bile devam ettirmeliyim diye düşündüm." dedi Siggi Loch. Onun için ACT çatısı altındaki piyanistlerin yeri çok ayrıymış gibi geldi bana. Uzun uzun Vijay Iyer'den, onun son albümü Accelerando'dan ve Downbeat dergisine kapak olduğundan bahsetti. Genç yetenek olmasa da ACT ile yolları yeni kesişen Iiro Rantala'dan konuştuk. Harika albüm Lost Heroes'dan ve yeni yayınlanacak olan albümden bahsettik. Teknik açıdan ACT'nin karşılaştığı en geniş spektrumlu ve başarılı piyanist olabilir diyor Siggi Loch, Iiro Rantala için.

Konuyu biraz yumuşatmak adına Türk müziği deyince aklınıza ilk ne geliyor diye Siggi Loch'a sorduğumda bir kaç deneme yanılmadan sonra Burhan Öcal'ı bir yerlerde dinlediğini ve çok beğendiğini öğrendim. Konu buradan Arif Mardin ve Nesuhi Ertegün gibi Türklerin jazz dünyasına verdikleri inanılmaz katkılara geldi. Ben Siggi Loch'a sadece bir müzik hayranı olarak devam mı etmeliyim yoksa sence ben de inandığım müzik için daha önemli birşeyler yapabilir miyim diye sorduğumda işte o zaman jazz prodüktörleri tarihinin bizden birileri tarafından yönlendirilmiş hikayesini dinlemeye başladık. Nesuhi'nin son günleri. East West plak şirketi. Arif Mardin'in caz dünyası için önemi. “Bütün bu işleri yapanlar Türk, neden olmasın?” dediği anlar zannedersem benim için en önemli olanlardı. Bir özgüven geldi üstüme başıma, ileride hayatımı değiştirebilecek şeylerin tohumları beynime atıldı gibi sanki. Parayı çok ve en önde düşünen müzisyenlerle çalışmaktan ve müzik dinlerken başka bir şey yapmaktan hoşlanmadığını öğrendik. Sayın Siggi Loch, lütfen beni yanınıza alıp müridiniz olarak yetiştirin diyecektim ama tuttum kendimi. Bu güzel sohbetin ardından akşam konserde görüşmek üzere ayrıldık ve “Konser alanında sana bir sürprizim olacak.” dedi Siggi Loch bana ismimle hitap ederek. Rüya mı hayal mi derken ellerini sıkıp ayrıldım.

7 Ekim Pazar akşamı 20:30’daki The ACT Jubilee konserinden önce yine Lütfi Kırdar’da önemli bir konser daha gerçekleşti. Saat 18:30’da başlayan konserde Miles Smiles konseptinde sahnede birçok önemli ismi gördük. Miles Davis’in bestelerinin oldukça farklı ve güzel düzenlenmiş hallerini yine zamanında onunla beraber çalmış müzisyenlerden dinledik. Joey DeFrancesco’nun harika Hammond performansı dikkat çekiciydi. Yine de onu daha önceden North Sea’de dinleyen arkadaşımızdan daha iyidir aslında diye bir yorum kulağımıza çalındı. Harika solo performansı ile olduğu kadar düzenlemelerin ve performansın altyapısına can katan Omar Hakim akıllarda kalan müzisyendi. Bu konserde genel olarak Lütfi Kırdar Kongre Salonu’nun akustik kondisyonlarına bağlı olarak ciddi bir yansıma ve reverberasyon problemimiz vardı. Bu sebeple de genel etki istenildiği ölçüde değildi. Pazar gününün Fenerbahçe-Beşiktaş maçına denk gelmesi ile ilgili olabileceğini öğrendiğim böylesi ünlü müzisyenlerin konserinde salonun yarı yarıya boş olması sorunu ise beni çok ilgilendirmemekle beraber organizasyonun kendisini biraz sorgulaması için bir sebeptir diye düşünüyorum.

İki konser arasında, ACT Jubilee Night konserinden hemen önce Siggi Loch ve eşi ile Lütfi Kırdar'da karşılaştık. Siggi yemekte söz verdiği ve bana hediye etmek istediği Wolfgang Haffner'in henüz piyasaya sunulmamış Heart of the Matter albümünü de yanında getirmiş. Albümü aldığım andaki mutluluğumu tarif edemem.

Mükemmel geçen bir gün ve güzel bir konserle ısınmanın ardından o beklenen konserin anonsuna gelmiştik nihayet. ACT Family Band sahneye çıkıyordu. Hemen öncesinde Siggi Loch sahneye geldi. Çıkarken, sanırım yarısından fazlasını boş gördüğü salon birazcık moralini bozdu. Yine de 20 yıllık ACT hikayesini Nesuhi Ertegün ve Arif Mardin isimlerini de anarak bizlerle paylaştı ve geceyi onlara ithaf ettiğini belirtti. Gece ses düzeneğindeki mikrofonların sıkıntısı ile başladı ve tepelerde gezinen enerjimiz biraz hayal kırıklığına döndü. Bunun sebebi bana göre hem bir gece önce İsveç Malmö’de verilen ACT Jubilee Night konserinden dolayı müzisyenlerin geç gelmeleri ve ses kontrol yapamamaları hem de Lütfi Kırdar’da konserin hemen öncesinde Miles Smiles konserinin olmasıydı. Ama sahnede muhteşem Nils Landgren vardı. Neyi ne zaman nasıl yapacağını bilen ve sahnede müziği ile olduğu kadar karizması ile de dinleyicilerini etkileyen biri o. Bu işin de üstesinden geldi ve çok etkili bir giriş yaptı. ACT'nin, Avrupa'nın hatta bazen dünyanın çok farklı ülkelerinden topladığı sanatçıları ile oluşturduğu zenginliği anlatmak için çeşnili bir yemek tarifi yaptı. Bu sırada arkada sadece Lars Danielsson tanıdık bas tonu ile alıştığımız lirik melodiler yerine temel bir bas hattı çalmaktaydı. Devamında Nils'in davetleri ile davulcu Wolfgang Haffner, piyanist Michael Wollny, saksofonist Céline Bonacino, trompetçi Verneri Pohjola, vokalist Caecilie Norby ve gitarist Johan Norberg sahnedeki yerlerini aldı. Her yeni gelen sanatçı ilk parça Family Stew'in kendisine ait partisyonlarını çalarak sonunda sahnede bir bütün halini aldılar. Bu performansın hemen ardından normalde ACT Family Band’de gitarist olarak yer alan ünlü Vietnamlı müzisyen Nguyen Le’nin konsere katılamamasından dolayı diğer ACT Jubilee Night gecelerinden farklı olarak Nils Landgren ve Johan Norberg'in Chapter Two'dan hatırlanacak nostaljik çalışmalarından biri Get Here ikili tarafından icra edildi. Devamında ACT Family Band’den diğer ACT Jubilee Night konserlerine benzer olmakla beraber ilginç değişiklikler de içeren bir parça listesinde şu eserler çalındı; Verneri Pohjola’nın ACT’den 2012’de yayınlanan Ancient History albümünden But This One Goes in Four, Céline Bonacino’nun tek ACT albümü Way of Life’dan Zig-zag Blues, Wolfgang Haffner’in Shapes albümünden Silent way, Lars Danielsson’dan Hymn ve Pasodoble, Michael Wollny'den Lonely Dancer, Caecilie Norby’nin Arabesque (2012) albümünden Bei mir bist du schoen, Dead Princess ve yine onun sesinden bir Joni Mitchell coverı Both Sides, Nils Landgren’in son albümünden Stars in Your Eyes. 

Sahnede sık sık değişen konfigürasyonlarda performanslar verildi. Nils Landgren güzel ve kadife sesi ile beklediğimden daha fazla parçada yer aldı. Bir gece önceki konser kaynaklı ve her hallerinden belli olan yorgunluğu uzun ve enerjik trombon soloları yapmasına engel olmadı. Lars Danielsson’un mimikleri, Nils Landgren’in trombon sololarında sonlara doğru devamlı kalkan kolları ve Michael Wollny’nin piyanosu ile dansı konserin ana merkezindeydi. Jubilee Night’ın bisten önce son olarak çalınan eseri yine müteveffa Esbjörn Svensson’un o unutulmaz 1999’da yayımlanan From Gagarin’s Point of View albümündeki en başarılı bestelerinden Dodge The Dodo parçası oldu. Özellikle parçanın girişinde Johan Norberg’in gitar introsu unutulmazdı. Michael Wollny çok önemli bir yetenek olduğunu bir kez daha piyano partisyonları eşsiz bu eserle ispatladı. Dans mı etti tuşlarla, piyano mu çaldı anlamadım. Gerçekten sinir bozucu bir organik bağ vardı elleri ve enstrümanı arasında. Kuzey Avrupa’lıları hatırlatan buz gibi de bir tonu. Dodge the Dodo ile daldığımız hatıralara biste devam ettik. Nils Landgren bis performansından hemen önce “şu an aramızda olmayan arkadaşımız” diye Esbjörn Svensson’dan bahsettiğinde salondan alkışlar yükseldi. 2003 Seven Days of Falling albümünde yer alan duygusal beste Believe Beleft Below’a Charlie Haden’in oğlu Josh Haden’in söz yazması ile ortaya çıkan Love is Real’i ana olarak Nils Landgren ve yan olarak Caecilie Norby’nin vokalinden dinledik. Verneri Pohjola trompeti ile baladı çalarken Caecilie Norby yere baktı, Nils Landgren ise gözlerini sımsıkı kapadı. Hayallere, isyana, hüzne ve melankoliye daldık.

Ve öylece bitti bu konser. Çıkışta birçok albüme imza alıp hepsi ile sohbet ettik. Neredeyse bütün albümleri vardır Nils Landgren’in ve Lars Danielsson’un bende ama tanışmak şimdiye kısmetmiş. Doya doya özlemimi giderdim. ACT firması ile olan duygusal bağım, blogum ve yazılarım sosyal paylaşım platformları sayesinde zaten birçok müzisyen tarafından bilindiğinden beni hatırlamaları kolay oldu. Sanki yıllardır tanıdığım insanlarla bir araya gelmiş gibiydim.

Mutluydum kısacası. Tek eksik Esbjörn Svensson’du, hayattayken tanışamadığım efsane. Ama onu düşünen, seven bu kadar insan bir araya gelince onun konserde sahnede, konser sonrası aramızda gezindiğini hissettim sanki. Hayal işte ama ne yaparsınız, insan ne hissederse onu yaşar.