E.S.T. Symphony İstanbul Konseri, 10 Temmuz 2013

Trio'su ile yakın zamanın unutulmaz caz müzisyenleri arasına giren İsveçli Esbjörn Svensson aramızdan ayrılalı yaklaşık beş sene oldu. Bu yazı grubun davulcusu Magnus Öström ve kontrbasçısı Dan Berglund'u da içine alan ve Hans Ek'in grubun önde gelen bestelerine saksafon, trompet ve gitar partisyonları içeren orkestral düzenlemeleri ile gerçekleştirilen E.S.T. Symphony konserlerinin İstanbul ayağından hemen sonra kaleme alındı. E.S.T. Symphony'nin dünya prömiyeri 10 Haziran'da Stockholm'de gerçekleştirildi. 10 Temmuz'daki İstanbul konserinin hemen ardından 13 Temmuz'da bir konser de Rotterdam'da North Sea Caz Festivali kapsamında verilecek. Henüz tarih ve yerler belli olmasa da bir kaç konser daha verileceği kulağımıza gelen bilgiler arasında. 2003 yılında Esbjörn hayattayken benzer bir orkestral projenin de hayata geçirildiğini hatırlatalım. Konserlerde Dan ve Magnus dışında piyano, saksofon, trompet ve gitar için de farklı şehirlerden, farklı iyi müzisyenleri "line-up"da görmek mümkün. İstanbul'da Dan Berglund ve Magnus Öström'e piyanoda Jacky Terrasson ve Michael Wollny, saksofonda Marius Neset ve gitarda Sarp Maden eşlik etti. Stockholm'dekinin aksine İstanbul'da trompet sanatçısı yoktu. Düzenlemelerin sahibi Hans Ek konserde İstanbul Filarmoni Orkestrası'nı yönetti. Bu arada İstanbul konserinin Mezzo TV'de yayınlanmak için kaydedildiğini de hatırlatalım. Konser öncesi E.S.T. hayranlarının heyecanları gözlerinden okunuyordu. Hem bilindik besteleri duyacak, hem de yeni düzenlemelerin sürprizlerini dinleyeceklerdi.

İlk parça 2006 yılında çıkan Tuesday Wonderland albümünün de giriş parçası olan Faiding Maid Preludium'du. Performansın girişinde İstanbul Filarmoni Orkestrası'nın yaylılarını iyi duyduk ve bence konser genelinde orkestranın performansı oldukça iyiydi. Ancak çok iyi icra edilmelerine rağmen, sesleri arkalardan gelen baslar zayıf ve ziller oldukça parlaktı. Düzenleme muhteşemdi; ancak yaylıların ve zillerin yükseldiği yerlerde ses karmaşası biraz fazlaydı sanki. Perküsyon ve kemanların yardımı ile Esbjörn'ün hemen ölümünün ardından yayınlanan Leucocyte'den Ajar'a geçiş yapıldı. Bu bölüm klasik bir pastoral düzenlemeydi.

E.S.T.'nin 1999 yılında ACT firması ile yollarını kesiştiren From Gagarin's Point of View albümü ile aynı adı taşıyan mükemmel bestenin düzenlemesi için Sarp Maden ve Michael Wollny sahneye geldi. Belki de armonize edilmeye en uygun eseri budur E.S.T.'nin. Bir kaç yenilik dışında, ritim hızına ve piyano partisyonlarına kadar neredeyse albüm kaydı ile aynı doğrultuda bir düzenlemeydi. Gitarın katkısını çok fazla duyamadım.

When God Created the Coffee Break parçasında piyanist Jacky Terrasson ve saksofoncu Marius Neset sahneye geldi. Jacky Terrason'un bu performansında piyano biraz donuk olmak ve geriden gelmekle beraber Esbjörn'den dinlediğimize göre yer yer biraz daha enerjikti diyebilirim. Magnus Öström'ün inanılmaz hızlı vuruşlarının ardından düşen tansiyonla kulağımıza gelen üflemeliler ve devamındaki Jacky Terrasson solosu oldukça iyiydi. Magnus Öström'ün müthiş başarısına rağmen bu ilk üç performansta akustik olarak davuldan çok iyi sesler gelmediğini söylemek zorundayım. Normal kayıtlarda Dan Berglund'a ait olan partisyonların saksofona verildiği müthiş düzenlemeye Marius Neset'in katkısı etkileyici ve büyüktü.

Sanırım gecenin hem en iyi düzenlemesi hem de en iyi performansı Seven Days of Falling'di. Piyanoda bu sefer Michael Wollny vardı. E.S.T.'nin bu önemli bestesinin sadece Dan Berglund'a ait dört adet giriş notası seyirciyi heyecanlandırmaya yetti. Albüm kayıtlarında piyanodan dinlediğimiz ana tema bu düzenlemede saksofona verilmişti. Marius Neset görevini hakkıyla yerine getirdiği gibi özellikle bu parçada doğaçlamaya çıktığı bölümlerde çok dikkat çekici bir performans sundu. Kontrbasın saksafon ile duoya düştüğü ve piyanonun bu ikiliye yumuşak ve minimal dokunuşlarla eşlik ettiği bölümler de muhteşemdi bence.

Wonderland Suite'e orkestra şefi Hans Ek'in ayrı bir eseri olarak bakılabilir. Diğer düzenlemelerden farklı olarak Hans Ek burada Tuesday Wonderland albümünden Dolores in a Shoe Stand ile başlayan, Goldhearted Miner ve Goldwrap ile devam eden geçişler ve geriye dönüşler içeren çok başarılı bir süit bestelemiş. Girişte yine saksofonun, Esbjörn'ün çaldığı piyano partisyonlarını aldığını görüyoruz. Dolores in a Shoe Stand bölümünde Sarp Maden, Marius Neset, Michael Wollny, Dan Berglund ve Magnus Öström'den oluşan quintet tansiyonu ve uyumu yerinde çok iyi bir performans sundular. Özellikle Sarp Maden'in solosu dikkat çekiciydi. Goldhearted Miner bölümüne gelindiğinde, Esbjörn'ün albümde parçaya pastoral bir hava katmak için piyanonun içine kağıt koyarak çaldığı yerler Hans Ek'in düzenlemesinde flütler tarafından icra edildi. Goldwrap kısmı başladığında enerji tıpkı E.S.T. konserlerinde olduğu gibi iyice yukarı çekilmiş durumdaydı. Magnus Öström'ün performansın bel kemiğini oluşturan flanger efektine yakın bir etki bırakan ritmi ve hemen ardından gerçekleştirdiği inanılmaz solo bu davulcunun neden Avrupa'nın en iyi davulcularının başında geldiğini bir kez daha gösterdi. Wonderland Suite, Sarp Maden ve Marius Neset sololarının yardımıyla Dolores in a Shoestand ana temasına yapılan geçişin ardından sonlandırıldı.

Serenade for Renegade düzenlemesinde piyano partisyonları bu sefer gitara, yani Sarp Maden'e verilmişti. Sarp Maden'in doygun ve uzun tonu bu düzenleme ve bestenin özü ile oldukça uyumluydu. Sarp'ın eşlik eden flütlerle beraber parçaya oldukça mistik ve hatta oryantal bir katkı sağladığını söyleyebiliriz. Sarp Maden'in genel olarak konser boyunca katkısını çok başarılı buldum.

Dodge the Dodo'yu iyi bilenler bu parçanın E.S.T. Live '95 albümüne 1999 yılında yapılan kaydı ile giren versiyonun From Gagarin's Point of View albüm kaydından çok önde olduğunu da bilir. Zaten genel olarak dünyanın en iyi ses mühendislerinden Ake Linton'ın ekibe stüdyo kayıtlarında da katkı sağlamasına kadar üçlünün canlı performanslarının albümlerinin çok ötesinde iyi olduğunu söylemek yanlış olmaz. 2007 Live in Hamburg albümü sanıldığının aksine Viaticum'dan daha fazla dünyada tanınmalarına sebep olmuştur. Hans Ek'in piyano partisyonlarının bir çoğunu yine gitar ve saksofona verdiği bu düzenlemenin performansının girişi de 1999 yılındaki canlı kayda çok yakındı. Oldukça enerjik bas ve "snare" vuruşlarının altında Magnus Öström'ün kalp atışı gibi "kick"leri bizleri eskilere götürdü. Michael Wollny'nin piyanoya sert ve donuk vuruşları, Sarp'ın ve Marius'un ana temayı taşıyışı oldukça başarılıydı. Dan Berglund'un bas yayını eline alması ve o kendine has distorsiyon efekti, müziğin olduğu kadar bizlerin de tansiyonunu arttırdı. 

E.S.T.'nin Tuesday Wonderland albümünde yer alan ve benim en favori bestem olan Eight Hundred Streets By Feet'e yapılan düzenleme, bestenin naif ve melankolik havasına uygun olarak oldukça yumuşak ve derindi. Esbjörn'ün piyanodaki ellerinden birini yine piyanodan dinlerken diğerini zaman zaman gitardan, zaman zaman da saksofondan dinledik. 

Hans Ek, Wonderland Suite'e benzer şekilde Viaticum albümüne de Viaticum Suite'i yazmış. Bu düzenleme için albümden Viaticum, 88 Days in My Veins ve Unstable Table and Infamous Fable parçaları seçilmişti. Viaticum ölmekte olan insanlara verilen son yemek manasına geliyor. Bu sebeple beste oldukça karanlık. Albümde Dan Berglund'un dip basları ile edindiğimiz bu duygu Hans Ek'in düzenlemesinde bas yoğunluklu üflemeli enstrümanlarla bizlere sunulmuş. 88 Days In My Veins bölümünde Michael Wollny'nin kontrbas ile olan uyumu ve Unstable Table and Infamous Fable bölümündeki viyolonsel partisyonları dikkat çekiciydi. Unstable Table and Infamous Fable'da albümdeki gibi müzikal duygu açısından kontrolden çıkan arka üçlü, son bölümde Dan Berglund'un mükemmel kullandığı yayı ve Magnus Öström'ün kısa ve etkili "kick"leri ile en başa Viaticum'un ana temasına geri döndü.

Sarp Maden, Jacky Terrasson ve Marius Neset'in sahneye yeniden geldiği son performansta Strange Place for Snow albümünün ve E.S.T.'nin belki de en sıkı performansı Behind The Yashmak'ı dinledik. Dan Berglund tarafından gerçekleştirilen girişin hemen ardından Marius Neset ana temayı aktardı. Albümde ve E.S.T. canlı performanslarında olduğu gibi doğaçlama bölümünü başlatan tetiği çeken ve parçayı enerjisi inanılmaz yüksek noktalara çıkartan müzisyen, "snare" üzerinde adeta dans eden harika davulcumuz Magnus Öström oldu.

Son performans biter bitmez, ayağa kalkan seyirci, artık trio cazı severler arasında efsaneleştiğini düşündüğüm E.S.T.'nin yaşayan iki üyesi Dan Berglund ve Magnus Öström özelinde bu performansa imza atan bütün müzisyenleri, orkestrayı ve şef Hans Ek'i uzun uzun alkışladı. Eminim Esbjörn Svensson da sahnede müzisyenlerin ve koltuklarda dinleyicilerin arasındaydı. Ön sıralarda ağlayanlar oldu ve ne yalan söyleyeyim; benim de gözlerim yaşlıydı. O sırada Hans Ek'in yanına giden bir genç, Esbjörn'ün ölüm yıldönümünü hatırlatan bir kartonu kendisine verdi. Hemen ardından kırmızı kartonda Gezi Olayları'nda hayatını kaybeden gencecik insanların isimleri yazılıydı. Alkışın dozu bir kademe daha arttı. Esbjörn'e ait karton bisten sonra Dan ve Magnus'un da elindeydi. 

Biste neredeyse her Esbjörn Svensson anma konserinde olduğu gibi Love is Real çalındı. Vokalde Korhan Futacı vardı. Charlie Haden'in oğlu Josh Haden tarafından Seven Days Of Falling albümünün Believe Beleft and Below parçasına yazılan sözlerle ortaya çıkan ve aynı albümün son parçası O.D.R.I.P'in sonuna "hidden track" olarak Josh Haden'in kendi vokal performansı ile eklenen bu parçayı seslendirmek çok kolay değildir. Çok farklı vokalistlerden dinlediğim bu parçayı en iyi yine Josh Haden'in seslendirdiğini düşündüğümü söylemek zorundayım. 

Başından sonuna, E.S.T. Symphony konseri İstanbul için unutulmaz bir konserdi. Ben hiç bir caz konserinde sanatçıların bu kadar fanatikçe alkışlandığını görmemiştim. Açık söylemeliyim konsere katılmayan İstanbullular çok şey kaçırdı. Ancak belirtmekte fayda var; sanırım satılan bilet sayısının Gezi Olayları'nın etkisiyle az olması sebebiyle konser küçük salona alınmıştı. Oldukça büyük orkestrayı ve fazla katmanlı eserleri göz önünde bulundurduğumuzda küçük salonda zaman zaman yansımalardan kaynaklı olarak seste problemler yaşandığını ve özellikle asıl önemli performansların gerçekleştiği bas, davul ve piyano üçlüsünün seslerinin kimi zaman kaybolduğunu veya niteliğini kaybettiği söylemeliyim. Yine belirtmekte fayda görüyorum; E.S.T.'nin 2005 sonrası bir çok canlı performansında, albüm kayıtları ve miksajında yanlarında yer alan ve zaman zaman ekibe sağladığı gerçek zamanlı katkılarla grubun adeta dördüncü üyesi gibi olan ses mühendisi Ake Linton, ortaya çıkan sesin niteliğini ilk birkaç performanstan sonra toparladı. Bu da kıyasla uluslararası platformdaki ses mühendislerin bizdekilerden farklı olarak canlı performans esnasında sanatçıdan beklemeden kendi kararlarını alıp durumu kurtarmalarının ne kadar önemli olduğunu gösteriyor. Bu arada bu yazının sonunda sanırım yine eskiden beri E.S.T.'nin menajerliğini yapan Burkhard Hopper'ın bu kadar çeşitli müzisyeni bir araya getirmekteki başarısını kutlamam gerekiyor.

E.S.T. Symphony Concert in İstanbul on July 10th

It's been more than five years that Swedish pianist Esbjörn Svensson of unforgettable E.S.T. passed away and left us all alone. This review is written just after the İstanbul concert of E.S.T. Symphony Project, which is based on orchestral arrangments made by Hans Ek including the drummer Magnus Öström and the bassist Dan Berglund from the trio. The world premiere of E.S.T. Symphony was made in Stockholm on June 10th. After the concert held in İstanbul on July 10th, the next concert will be at North Sea Jazz Festival in Rotterdam on July 13th. Even if the dates and places are not announced I have heard that there will be some other concerts. I should also mention that a similar orchestra project was accomplished in 2003 while Esbjörn was alive. In E.S.T. Symphony concerts, it is possible to see many different musicians from different countries in the line-up. We have listened to Jacky Terrasson and Michael Wollny on piano, Marius Neset on saxophone and Sarp Maden on guitar in İstanbul. Sarp Maden was the Turkish contribution to the project. Hans Ek, the arranger for the concert set list, directed the İstanbul Philharmonia Orchestra in İstanbul. Let me also remind you that the İstanbul concert was recorded and filmed for Mezzo TV. 

The excitement of the audience could easily be seen in their eyes just before the concert. This was not surprising because they would listen to the well-known compositions with many surprises.

The first performance was Faiding Maid Preludium, which is also the entrance to the album Tuesday Wonderland(2006). We have heard the strings of the orchestra very well at the introduction and the orchestra's performance was generally fairly good. However the well performed bass tones, which are coming from the back, were powerless and the well played cymbals from the drum set were too bright. The arrangement was excellent but the sound was too crowded when the strings and cymbals were high. In the last part, the composition was transferred to Ajar from the album Leucocyte by means of percussion and violins.

Sarp Maden and Michael Wollny has come to the stage for a great arrangement of the fabulous composition From Gagarin's Point of View, which has the same name with album that made the trio meet ACT label in 1999. It may be the most suitable composition to be harmonized.  Except some new adds, it was a very similar arrangement with the original composition.

When God Created the Coffee Break has invited pianist Jacky Terrasson and saxophone player Marius Neset to the stage. Even the piano of Jacky Terrasson has sounded a bit cold and dry to me at first, I can say that it was from time to time a bit more energetic compared to what we hear from Esbjörn in this composition. The woodwinds of the orchestra and solo of Jacky Terrasson have taken role after the tension is getting low when fast and strong touches of Magnus Öström ended and they were just perfect. Magnus was artistically very successful but I should say that the first three performances were acoustically not appropriate considering the sound of the drums. The contribution of Marius Neset to the partitions that was originally played by Dan Berglund in the album was huge and amazing.

I think the best arrangement and performance of the night was Seven Days of Falling. Michael Wollny was on the piano this time. The first four notes from Dan Berglund for this very important composition of E.S.T. were enough to excite the audience. The main theme, which was played by the piano in the album, has been carried by the saxophone in this arrangement. Marius Neset, not only has done the work sufficiently, but also has performed a great solo in this part. The instants created when the double bass stayed with saxophone as a duo and when this duo is accompanied softly by the piano were incredible.

Wonderland Suite can be seen as an individual piece of Hans Ek. Different than the others, Hans Ek composed a suite which includes many transitions and turn-backs consisting of Dolores in a Shoe Stand in the entrance and result, Goldhearted Miner and Goldwrap in the development. We have seen that the piano partitions are played again by the saxophone. The quintet including Sarp Maden, Marius Neset, Michael Wollny, Dan Berglund and Magnus Öström gave a very tensional and harmonious peformance. Sarp Maden's solo was especially impressive. The pastoral aura given by Esbjörn by putting papers in the piano, is given by flutes in Hans Ek's arrangement. The Goldwrap part was the most energetic part of the concert similar to old E.S.T. performances. The flanger-like effect and solo of Magnus Öström (who is giving the fundamental to E.S.T. for years) showed us why he is one of the best drummers in Europe. Wonderland Suite has been ended by the main theme of Dolores in a Shoe Stand carried by means of solo performances of Sarp Maden and Marius Neset.

Serenade for Renegade's piano partitions were given to the guitarist Sarp Maden. The saturated and long tone of Sarp Maden was in a deep harmony with the original composition. We can easily say that Sarp has given a mystic and even oriental taste to the piece with the help of flutes. I should mention that Sarp Maden was very successful throughout the concert.

It's been known by the listeners of E.S.T. that Dodge the Dodo of the live record from 1999 which is placed in E.S.T. Live '95 album is far better than the studio record in the album Gagarin's Point of View. More than that, I think it won't be wrong to say that live records of the trio was better than their studio-recorded performances until the world famous audio engineer Ake Linton has started to contribute also to the studio records from 2005. The album Live in Hamburg (2007) was a more famous album than the Viaticum contrary to the general belief. The entrance of this arrangement of Hans Ek, whose piano parts are again given to the guitar and saxophone, was very near to the album version. We have been carried to the old times by the deep heart-beat-like kicks of Magnus Öström which are well beneath energetic bass line and snare drums. The hard and cold touches of Michael Wollny to the piano and the performance of Sarp and Marius in the main theme were all fairly good. The bow performance of Dan Berglund and his authentic distortion tone has increased the tension of the music and the audience to a very high level.

The arrangement made for my favorite composition Eight Hundred Streets By Feet from the album Tuesday Wonderland was soft and deep, similar to melancholic and naive original composition. One hand of the Esbjörn on the piano had been given to the saxophone and guitar.

Hans Ek has also written a suite to Viaticum. There were Viaticum, 88 Days in My Veins and Unstable Table and Infamous Fable in Viaticum Suite. Viaticum means the last meal given to a man who is dying. For this reason, the composition is very dark. This feeling which is given by Dan Berglund in the album was given by brass instruments played from bass lines in the concert. The harmony between Michael Wollny and the double bass in 88 Days In My Veins and violoncello performances in Unstable Table and Infamous Fable were good. The trio behind has turned back to the main theme of Viaticum with short and sharp kicks of Magnus Öström in the end.

The last performance was the incredible piece of E.S.T. from the album Strange Place for Snow called Behind The Yashmak. Sarp Maden, Jacky Terrasson and Marius Neset were the guests in this important tune of E.S.T. Marius Neset has given the main theme just after the entrance made by Dan Berglund. Similar to what has happened in the album, the musician who has pulled the trigger to start the improvisation and carried the energy to incredible levels was Magnus Öström.

The reaction of the audience to this wonderful concert was a long standing ovation. They were applauding all musicians on the stage among which Magnus Öström and Dan Berglund were precious of the night. I am sure that Esbjörn Svensson was with them and us all night. There were people crying in front seats. Let me tell you that I have also cried a little bit. A young men has given a small banner board to Hans Ek on which a tribute word to Esbjörn was written. Just after that he has also given a red banner board on which the name of the people who has been killed during latest Taksim Gezi Park events in İstanbul is written. The level of the applause has been increased then. The board for Esbjörn was also given to the Dan and Magnus after the encore.

It was Love is Real what has been played in the encore similar to many tribute concerts for Esbjörn. Korhan Futacı was on the stage for vocals. The lyrics of Love is Real has been written by Josh Haden, son of Charlie Haden, to the Believe Beleft and Below composition from Seven Days of Falling of Esbjörn Svennson Trio. Josh Haden's own vocal performance is in the same album's hidden track after the piece O.D.R.I.P. The vocal performance of this piece is a very difficult one and I think it is always Josh Haden who has performed the best for it. 

From beginning to end, I think, E.S.T. Symphony Concert was an unforgettable one for İstanbul audience. I have never seen a jazz concert that has been applauded this much fanatically. I should mention that the ones that could not join has missed an incredible concert. However, it is necessary to point out that the concert hall was changed due to low ticket sales as a result of latest events in İstanbul. Considering complicated sounds of the arrangements and big orchestra, there were many reflection problems in the small hall and the main important parts of the sound belonging to the solo instrumentalists at the back has lost its quality many times during the concert. It is also beneficial to point out that Ake Linton has recovered many problems successfully after the first couple of performances and I think this should be a lesson for our sound engineers in Turkey. As a last point, I should congratulate the success of Burkhard Hopper since he has organised this fabulous and difficult event including many musicians having different timetables.

Melody Gardot İstanbul Jazz Festival Concert on July 5th 2013

It was just another Friday when I was travelling from Ankara to İstanbul again for another İKSV Jazz Festival concert. This time, I left my office to experience the highly reputed live performance of my favourite singer Melody Gardot. She impresses me deeply with her incredible technique, magic voice and wonderful compositions for a long time.

I think on July 5th it was the first time that İstanbul Culture and Art Foundation held a concert in gardens of German Embassy in Tarabya. The stage was implemented just after the entrance from the sea. The audience could see the sea just behind the stage while sitting in the gardens and watching wonderful buildings around. The attention and attendance to the concert was high. The audience, some of whom were sitting while others were standing, listened to Melody Gardot in a windy and a moist night of İstanbul.

The entrance of the concert was made by wonderful instrumentalists as it should be in similar qualified vocalist's concerts. Irwin Hall on flute, saxophone and clarinet, Mitchell Long on guitar, Chuck Staab on drums and Aidan Carroll on bass... Frankly, I have not known about them before the concert and after searching for these good musicians, I learned that they are all stand-alone qualified ones in their own projects.

After the improvisational and energetic introduction made by this quartet, Melody came to the stage and sit on to play the piano accompanied by applauses from the audience. The performance has surprisingly turned out to the Rain from the second and the most important album of Melody, My One and Only Thrill. The groovy and modern approach of the drummer Chuck Staab was impressive in this performance. I am attracted by the well designed sound system started from the first minute I heard Melody's vocal even if there was the wind. Melody's vocal was as intense and touching as it was at studio records and I think many people were deeply affected by this pure voice. The wind barrier that is made for the saxophone was a proof of how carefully the sound system is handled. Two pieces Goodbye and Mira, from the album Absence, which are intensively impressed by Brasilian music, were played  later on. We have listened to the Goodbye also in a different arrangement. Melody made a small talk after the performance Mira. The following piece was Cesaira Evora's wonderful composition Saudade and it was another important performance of the concert. After that Melody told us about her first, interesting and magic day in France.

The transference of this magic to us was accomplished when Melody Gardot has left the stage to Irwin Hall's solo performance after making everyone close their eyes. Especially then, I have felt that we were experiencing an extraordinary performance designed excellently with its style of address and fiction. Irwin Hall has played tenor and alto at the same time for a while. After that, among most important pieces of the second album, Les Etoiles (The Stars), Baby I'm a Fool, Who Will Comfort Me and So We Meet Again My Heartache from the album Absence are performed in very similar arrangements to album versions. We also listened to Melody's guitar playing meanwhile. During intervals between pieces we listened to wonderful quotes from Melody Gardot about music and life. Considering her emotional contact with the audience and her artistic posture in front of the microphone I think she is an extraordinary jazz singer. The excitement has risen to the highest state after Melody has obtained permission from The Ambassador for the audience to come to the green area just in front of the stage to dance. After this last performance and an intense ovation, Melody has performed in the encore with a new composition from the next album, Preacher Man, whose main theme is the bad slavery period in American History.

After having talked with this wonderful musician after the concert I can tell you that she is as modest and sincere behind the stage as she has been seen while performing. She has thrown herself easily into the crowd to sign autographs on albums. I feel myself very lucky that I could find the chance to listen to Melody Gardot in such a wonderful place in İstanbul.

Melody Gardot İstanbul Caz Festivali Konseri, 5 Temmuz 2013

Geçtiğimiz cuma akşamı yine Ankara'dan İKSV Caz Festivali için uçağa atlayıp İstanbul'a geldiğim akşamlardan biriydi. Bu sefer mükemmel tekniği, büyülü ses rengi ve harika besteleri ile beni en çok etkileyen vokallerden biri olan Melody Gardot'un o dillere destan canlı performansını deneyimlemek için işimden çıkıp yollara düştüm.

5 Temmuz Cuma akşamı, sanırım İstanbul Kültür Sanat Vakfı ilk kez Tarabya taraflarındaki Alman Yazlık Rezidansı'nda bir konser gerçekleştirdi. Sahne, deniz tarafından olan girişin hemen sonrasında önü ve yanları muhteşem bir bahçeye arkası da denize bakacak şekilde oluşturulmuştu. Konsere ilgi çok yoğundu. Ayakta, sandalyelerde veya Alman Sefaratı'nın müthiş yapılarının merdivenlerinde oturan dinleyiciler nemli ve bol esintili bu İstanbul gecesinde dinlediler Melody Gardot'u.

Sahneye Melody Gardot'dan önce her iyi vokalin arkasında olması gereken türden çok iyi müzisyenler geldi. Saksofon, flüt ve klarnette Irwin Hall, gitarda Mitchell Long, davulda Chuck Staab ve kontrbasta Aidan Carroll... Açık söylemem gerekirse Melody ile gerçekleştirdikleri bu konserden önce kendilerini tanımıyordum. Ancak özellikle Irwin Hall ve Chuck Staab fazlaca dikkatimi çektiğinden konser sonrası yaptığım araştırmada hepsinin kendi çalışmaları ile oldukça yeterli ve çok iyi müzisyenler olduklarını öğrendim.


Bu dörtlünün bir süre devam eden doğaçlama ve enerjik girişinin ardından Melody alkışlar arasında piyanonun başında yerini aldı. Bahsettiğim enerjik giriş tahmin edilemez bir şekilde Melody'nin ikinci ve en önemli albümü My One and Only Thrill albümünden Rain parçasının oldukça farklı bir düzenlemesine evrildi. Bu performansta davulcu Staab'ın groovy ve modern yaklaşımları dikkat çekiciydi. Melody Gardot'un sesini duyduğum ilk anda açık havadaki esintiye rağmen mükemmele yakın kurulan ses düzeneği dikkatimi çekti. Stüdyo kayıtlarından dinlediğimiz kadar keskin ve dokunaklı o ses herkesi ilk saniyeden itibaren yerine çiviledi. Saksofon için camdan yapılan rüzgar engeli de işin ne kadar titiz yapıldığının göstergesiydi bence. Yoğun bir şekilde Brezilya müziği etkisi altında olan son albüm Absence'dan arka arkaya önce Goodbye sonra Mira çalındı. Goodbye'ı da farklı bir düzenlemede dinledik. Melody dinleyici ile Mira'dan önce kısa bir tanışma konuşması yaptı. Devamında Mitchell Long'un flamenko tarzı girizgahı ve eşliği ile icra edilen Cesaira Evora'nın müthiş bestesi Saudade'ı dinledik. Ardından Melody, Amerika'dan Fransa'ya ilk gelişinde yaşadığı ilginç ve büyülü günün hikayesini anlattı. 

Büyünün bizlere de geçmesi, Melody'nin herkese gözlerini kapattırıp sahneyi sessizce Irwin Hall'un mükemmel saksofon solosuna bıraktığı müthiş bölümde gerçekleşti. Özellikle bu anlarda bir konserin ötesinde seyirciye hitaptan tutun da kurguya kadar her şeyiyle çok iyi hazırlanmış bir performans izlediğimizi daha da iyi anladık. Irwin Hall bir ara hem tenor hem de alto saksofonu beraber çaldı. Sonrasında ikinci albümün en önemli eserlerinden Les Etoiles (The Stars), Baby I'm a Fool ve Who Will Comfort Me, Absence'den ise So We Meet Again My Heartache parçaları albüm versiyonlarına oldukça yakın bir şekilde mükemmel icra edildi diyebilirim. Bazı parçalarda Melody Gardot'un gitarını da dinleme şansı bulduk. Parça aralarında Melody'nin hayata ve müziğe dair harika sözlerini dinledik. Özellikle seyirci ile duygusal teması ve mikrofon önündeki estetik duruşu öyle sıradan caz vokallerde göreceğimiz şeyler değildi açıkçası. Son performanstan hemen önce Melody'nin Almanya  Büyükelçisi'nden dinleyicinin sahnenin önündeki yeşil alana gelip dans etmesi için izin alması çoşkuyu arttırdı. Seyircilerin eşliği ile gerçekleştirilen son performansın ardından uzun süren alkıştan sonra yeniden sahneye gelen Melody, biste henüz kayıt aşamasında olan yeni albümünden Preacher Man adlı parçayı icra etti.
Konser sonrası kısa süre de olsa konuşma imkanı bulduğum bu harika müzisyenin sahne arkasında da sahne de olduğu kadar samimi ve cana yakın olduğunu söyleyebilirim. Kalabalıkların içine kendisini atıp imza dağıtmaktan hiç çekinmedi. İstanbul'da böyle bir mekanda Melody Gardot'u dinlediğim için kendimi çok şanslı hissediyorum. 

The Voice of The Heaven, Solveig Slettahjell

I am listening to the album Good Rain from Solveig Slettahjell Slow Motion Quintet now, while I am preparing this post. Just now, I have surrendered just as when I have heard her voice for the first time about 5 years ago. I can easily remember this day. Attracted by a beautiful face on the cover of an ACT Vocal Jazz Series' CD, I have come to home with the album, right in front of my hi-fi set. I was totally locked into the fabulous vocal entrance of Solveig Slettahjell with the question "Where Do You Run To?". No sound has touched to her voice for the first minute. She has asked the same question three times and added "I'm right here. I run to the mountains, and it's strong and it's quite, it's open and wide and I breathe, still I run on". These were her last solo words before some electronically supported rhythms and many other consistent softly played instruments started to accompany. 

During last five years, I have tried to collect all of her albums, which are mostly with Slow Motion Quintet. This magic voice became one of my favorite singers with her each newcomers and although it is released in late 2011, I just could find her latest duo album with Morten Qvenild a couple of months ago, named Antologie, which is full of wonderful covers and arrangements of fabulous music hits of their times. This latest work instantly triggered me to write a review for Solveig Slettahjell. She is already famous enough among Scandinavia and ACT followers all around the world but I feel like I should do anything for her to be more known to the world.

Let's start with a brief biography of a life full of music and a list of a glamorous discography. Then I'll continue with few details about some albums. 

She is from Oslo, Norway. As a daughter of a pastor, she started to sing in church choirs and started to study piano and singing in secondary school. From 1992 to 2000 she was in Norwegian Academy of Music, where she had got a master degree and met Sidsel Endresen, her teacher. 

Until the release of the album Slow Motion Orchestra in 2001 from the label Curling Legs with her name as the leader, we see Solveig Slettahjell in the acid-jazz/funk band Squid and vocal quartet Kvitretten. She has worked with Eldbjørg Raknes, Kjersti Stubo, Tone Åse, Anna Sundström, Hans Jørgen Stop and Kristin Asbjørnsen in this band. The album Super was made with Squid in 1998 and Everything Turns was made with Kvitretten in 1999. Meanwhile, she has participated in many vocal ensembles. Before those, surely, her duo performances with Håkon Hartberg until 1996 need to be mentioned. 

In 2002, another album is released with Squid and the album Silver is made with Slow Motion Quintet from the label Curling Legs again. Slow Motion Quintet were Solveig Slettahjell (vocal), Sjur Miljeteig (trumpet), Morten Qvenild (piano), Mats Eilertsen (double bass), Per Oddvar Johansen (drums) at these times and this personnel stayed the same until the album Domestic Songs in 2007 

On giving a wonderful performance in Jazz Baltica 2004, after which she is highly approved among jazz listeners, and signing with ACT, Solveig Slettahjell and her quintet released Pixiedust in 2006. Immediately after this album, Silver is reissued from this label and Good Rain is recorded and released in 2006 from ACT. ACT period has continued with Domestic Songs in 2007 in which we see Peder Kjellsby on harmonium, glockenspiel, guitar, percussion and Joe Berger Mhyre on bass.

The album Batagraf of Jon Balke from ECM label and Burglar Ballads from C+C records are among the ones in which she has been seen as a guest artist meanwhile. She has also recorded with Tord Gustavsen in 2008 within the album Natt i Betlehem, in which we also see Sjur Miljeteig from Slow Motion Quintet. 

In 2010, once again Solveig Slettahjell has recorded with Slow Motion Orchestra and the album Tarpan Seasons is released from Universal Music. This time there were Even Hermansen on guitars, vocals, Andreas Ulvo on organ, vocals and Joe Berger Myhre on bass. The last album Antologie is a duo with her long time friend from Slow Motion Quintet, pianist Morten Qvenild and it has come from Universal too.

On analysing the albums released with Slow Motion Orchestra (named as Quintet sometimes) in a chronological order from 2001(SMO, Slow Motion Orchestra) to 2010(Tarpan Seasons), I can say that some very important common aspects draw attention. First of all, the music is slow, detailed and organically concentrated on nuances. Started from Silver(2002), the instruments are occasionally supported by electronics and effects. The vocal is consistently soft and at the forefront but solidly accompanied by the other members of the quintet. Each detail of the sound is given close attention. The style of the arrangements and compositions is actually reflected in the names of the band: Slow Motion Quintet/Orchestra. I think Solveig Slettahjell's graduate study has a profound effect on this choice and incredibly successful results. She has studied on rhythmic aspects of phrasing during this period. It is sometimes really hard to play together in such a very slow tempo. Singing within this tempo requires a real high vocal power. In my opinion, the real power and uniqueness of Solveig Slettahjell resides at this point. Her vocal is soft and strong at the same time. A long time durability of a silky alto vocal is what I am trying to describe. When you especially think of the last duo record Antologie, you realize that Solveig Slettahjell is so successful that she can carry the melody on her own. It is known that even many instrumentalists are afraid of solo and duo performances due to the vulnerability to easily observable mistakes but Solveig Slettahjell is always like a self-confident, calm and strong river.

When we start to talk about varieties in these albums, I'd like to mention that there is a certain difference between the album Slow Motion Orchestra (2001) and the others. Slow Motion Orchestra is almost a jazz standard album having a strong swing feeling with just a little bit of Nordic effect.  I have felt a sharp difference on hearing the first piece of Silver, Take it with Me of Tom Waits (which would be revisited by Solveig Slettahjell lately on the album Antologie). However, especially in the live records at the end of Slow Motion Orchestra, you can easily see some signals for the future works: the tempo is drastically slowed down so that it is hard to recognize the main theme but at the same time easier to understand the details of the composition. (You can check Wild Is The Wind piece in the album to better understand what I am talking about.) Thus I can accept that we see similar pieces in Slow Motion Orchestra and Silver.

The album Silver is first released by Curling Legs in 2002 and reissued by ACT in 2006. On starting to listen to the album, I saw some clues about the future. The vocal style, compositions and performances are various. The performance of Take It With Me of Tom Waits  is almost at the point that she is now in Antologie. However we see some similar performances with the previous album in following tracks. The composition from Morten Qvenild, What If, can easily prove that he has a profound impression on the overall style of the music made by Solveig Slettahjell. Nina Simone's Nobody's Fault But Mine, Moon River and Time After Time (a great duo performance with Mats Eilertsen's double bass) are other distinctive performances. In Time After Time you can listen to an awesome scat performance of Solveig Slettahjell. You can also listen to a solo vocal performance at the end which carries the name of the album, Look For The Silver Lining. The album is recorded and mixed by Vidar Lunden in Musiklofftet, Oslo. The mastering is made by Gierts Clausen and Knut Vaernes in Fersk Lyd, Oslo.

Generally speaking, Pixiedust (ACT,2006) has a more naive sound than the Good Rain. The instruments are generally minimal again and Solveig Slettahjell’s vocal is well at the front. There are some acoustic samples that is electronically mixed and electronic supports in both rhythm and melody. At first sight, the entrance piece Hope colored by trumpet, harp (I can bet you ten bucks that there is a harmonica but it is not mentioned in the liner notes)  and soft brushes on the drums may cause you to think that this is a very warm album. However, as the piece giving the name to the album, Faith, Trust and Pixiedust has started to find your ears with ice-cold bass of Mats Eilertsen, you suddenly feel like the emotional state in the album is swinging. As you listen to the other tracks, you can easily see this pattern: independent of the emotional state of the lyrics, the odds are warm, the evens are cold. Hiatt's wonderful composition Have a Little Faith in Me is also very well performed by Solveig Slettahjell and her friends in this album. Especially percussive touches at the back while our heavenly singer is singing like an angel, is so amazing. Morten Qvenild is right there again with his naive piano tone and some electronic based keys. Sjut Miljeteig's trumpet is in a great harmony with the vocal as always. Solveig Slettahjell's sophisticated touch to Billie Holidays' and Arthur Herzog's incredible Don't Explain should also be mentioned. The quintet is performing this piece again in a very slow tempo which seems a strange at first for this well know tune. However, as you go further in the record you realize that this is the pure beauty in slow motion. My another favorite performance in this album is Starpillow. The entrance is made by a distorted electronic-signal and samples that sound like some falling-object in a well with a very slow tempo. Then Solveig Slettahjell appears at the center gathering all these sounds with a sharp vocal. Then suddenly the tension is decided to be raised. You can observe here how a vocal should be when the tension is desired to be controlled with it. She is doing this in harmony with the drums so comfortable and beautiful that you feel like she is a living instrument. I should emphasize again on her vocal power. To understand better what I am talking about you should use a good equipment to hear every detail of the record. Solveig Slettahjell’s vocal has many layers to be heard. There are little tails in it when the sound is decaying and you should give attention to them. In this performance solo piano part of Morten Qvenild in the second half also need to be listened carefully. How they are connected with Solveig Slettahjell, how they are so careful about tempo… All of these should be analysed carefully. The rhythm given by a sound similar to a saw cutting a wood in the piece Sleepy Pixie should also be listened. The end of the album is made by a very interesting and a slow motion arrangement of the well known tune When You Wish Upon A Star. The records and mixing of this album are made by Andy Mytteis at Bugge's Room in Oslo, Norway. It is mastered by Fersk Lyd in Oslo.

The album Good Rain (ACT,2006) as you may have noticed at the beginning of this article, is my favorite one. In my humble opinion, the most detailed record for Solveig Slettahjell’s vocal is achieved in here. On the other hand her vocal style is a bit more colorless. I usually listen to this album when I feel myself exhausted. The slowed down rhythm, sophisticated compositions and beautiful lyrics have a power to make your heart beat slower and make you relax physically. Consistently, the other members of the quintet have also chosen a colder and more mechanical sound. Its concept is similar to Pixiedust but its sound is a bit darker. The entrance piece Where Do You Run To is sharp and touching. It's like a manifest to a lover, a friend or today's human being not to be lost in this wild world. Lyrics are written so intensely that they can easily carry you in a state in which you ask yourself where am I running to. All you need is a deep silence and an open heart. After the first minute of solo vocal, we start to hear Mats Eilertsen's deep double bass and Morten Qvenild's keyboard softly accompanying Solveig Slettahjell with some additions of electronics by Per Oddvar Johansen. After the first half, a rustling trumpet tone from Sjur Miljeteig appears with some little percussion while a deep, continuous and electronic bass is filling the low frequencies. The result is just amazing. The piece and the band is like a living organism. It is unnecessary to listen to each instrument or the vocal individually. Give yourself to the sound and the idea. A distorted electronic signal on the right channel and a muted trumpet from the right introduce us one of the darkest song of the album: Another Day. The speed is sometimes doubled up and carried back by the percussion to prevent monotony. The emotional composition of Solveig Slettahjell Colour Lullabye is the most melancholic piece in the album. She softens her voice, tries some highs and is accompanied by a compatible piano tone. You should certainly give attention to the perfect percussion of Per Oddvar Johansen in Morten Qvenild's composition Flawless. Its like the sound of a slow horse car on a concrete road. This rhythm continues throughout the piece. Another important aspect is the harmony between the tension of the trumpet and Solveig Slettahjell's vocal. As far as I have heard two trumpet records are mixed one of which is played with a mute. We were indians is Sjur Miljeteig's composition and it is used in an introduction video in ACT Music page. The tension is again swinging but generally high. Especially in solo performance of Fossett's Do Lord, Solveig Slettahjell is like a magic. I don't believe there are too many singers on this earth that can sing this piece as beautiful as Solveig Slettahjell. The music, the melody and the rhythm are in her lips. Some arcade-game-like signal played in a couple of different notes are what we hear in the beginning of Miljeteig's My Oh My composition. As the melody is started to be supported by trumpets which is recorded and mixed in many layers, the tension tends to increase by help of percussion. Solveig Slettahjell's rising vocal and some signals from other instruments explode like a bomb and we, as the listener, find ourselves in a very different emotional and rebellious state. As soon as the tension goes back to low levels, the piece ends and Peder Kjellsby's beautiful composition which gave the title of the album is performed with a naive style: Good Rain. Please give your attention to the beautiful trumpet entrance made by Sjur Miljeteig. Per Oddvar Johansen is using his brushes in this piece while Morten Qvenild is playing some inanimate notes from the piano and keyboard at the same time. Solveig Slettahjell's vocal is again like any other instrument; melodic and touching. The records of this album are made by Andy Mytteis at Bugge's Room in Oslo, Norway and at Is it Art Studio in Kölviken, Sweden. It is mixed by Sjur Miljeteig and Andy Mytteis at Bugge's Room and mastered by Audun Strype and Sjur Miljeteig at Strype Audio. 

Domestic Songs is released in 2007 from ACT label again. As can be understood from the name of the album, this is a home production. "It is recorded in Solveig's place, mixed at Sjur's place" is what it says in the liner notes. In this record two members are new to Slow Motion Quintet's: Peder Kjellsby on harmonium, glockenspiel, guitar, percussion and Jo Berger Myhre on bass. In fact we don't see any Slow Motion Quintet expression in the album booklet. The entrance is made by two duo records. 4:30 AM seems to be composed at around that time. Peder Kjellsby is accompanying Solveig Slettahjell's silky voice and emotional piano. In this piece her vocal is perfectly musical and its harmony with her piano is incredible. Emphasizing on the present time, present conditions and present place, Solveig Slettahjell's composition I do is like a poem of simplicity. She is again with her own piano in her living room. How should I describe this voice? It is like a warm and tender blanket that finds you when it is too cold. This time, Sjur Miljeteig is next to her playing mellophone and euphonium. He is coming into stage when Solveig Slettahjell is increasing the tension with harder touches to the piano. Solveig Slettahjell's cover for Tom Waits' incredible composition Time is one of the most important performances of the album. Solveig Slettahjell is performing solo in this song with her piano. There is no one between her and Tom Waits. The wide dynamic range she has presented with her vocal and the emotional state she has carried to the audience is wonderful. It may be the best cover I have ever heard for this song. Following this, Solveig Slettahjell's composition Snowfall is performed by the whole line-up with Per Oddvar Johansen on drums and Jo Berger Myhre on bass. This is the most energetic piece in the album. The gospel style performed Match Perfect is another important piece. Oh Sweetly is performed by Solveig Slettahjell and his brother Olav as a sincere vocal duo. Before that we listened to a beautiful trumpet partition from Sjur Miljeteig in Solveig Slettahjell's composition Leave Me Here. This album is giving some signals about what Solveig Slettahjell would do in Antologie. The album is recorded and mixed by Sjur Miljeteig and Peder Kjellsby. It is mastered by Giert Clausen at Fersk Lyd, Oslo with Knut Vaernes.      

The album Tarpan Seasons (Universal, 2010) softens the sound further by almost leaving no clue of standard jazz or soul. I see Tarpan Seasons as a link between older albums with Slow Motion Quintet and Antologie from some points. The album is starting almost from where Good Rain has left the band. We see Andreas Ulvo on organ, vocals and Even Hermansen on guitar and vocals in Slow Motion Orchestra as new names considering last line-up. The first piece Precise Content is like a smoother version of a composition from Good Rain. On the other hand, Solveig Slettahjell seems to sing in a different style and the electronic usage by musicians seem to be less. As far as I have heard Solveig Slettahjell is generally in or near high notes with a more mystical tone. I think this change has given a warmer and more emotional identity to the album. Especially Sjur Miljeteig's composition Your River, Solveig Slettahjell's compositions How They Shine and Three Hearts in a Bowl are very melancholic pieces whose vocal partitions are very well performed by Solveig Slettahjell in almost a whispering style. There are also energetic pieces in the album such as Visit whose drum and bass performances are very successful. The solo acapella-like performance of Solveig Slettahjell in You Go I Go and her lyrical style in Be Steady are my favorites in this record. The records and mixing of this album are made by Sjur Miljeteig and Peder Kjellsby at Is it Art Studio in Kölviken, Sweden. It is mastered by Björn Engelmann at Cutting Room in Stockholm, Sweden.
     

In the latest album Antologie (Universal, 2011), Solveig Slettahjell has worked with her long time friend from the quintet, Morten Qvenild, who has a dominant effect with his piano on the style of almost every album he has participated in. Solveig Slettahjell explains this album in the CD-booklet as a kind of turning back into herself where she sees a singer before a composer. She says she remembers the time she comes home and sings alone with the piano. The song choices are related with these memories. In my opinion, some of the covers of popular hits in Antologie such as Wild Horses, Crazy, The Winner Takes It All and The Famous Blue Raincoat (more than just a cover, we can describe them as rearrangements) are probably the best ever done so far. The entrance to this album is made with Mick Jagger's Wild Horses. A reverberant crystal-like piano and a lyrical vocal are preparing you for this great album in the beginning. The feeling reaches to the top when Solveig Slettahjell was on the high notes through the end of the song. I don't know whether I will hear anything more emotional than the vocal in The Winner Takes it All. She has really felt the song before singing it and we, as the listener, has vast of time to absorb what's going on due to the slowed down tempo: the harmony between piano and vocal, the tensional progress in Solveig Slettahjell's vocal... You may even imagine her face while singing. Some of the expressions are so sharp that they almost become facial. If you do not start to think your ex-loves during listening to this piece, I think there are some missing points in your life. The most energetic piece in the album is Crazy of Gnarls Barkley. The vocal becomes colder, the piano becomes more percussive around bass line and some electronics is used to realize this energy. The main rhythm seem to be produced by a synthesizer. Even that energetic hit is changed into a slow, delicate and detailed artistic piece with a wonderful arrangement. Especially the moment that the rhythm gets silent and Solveig Slettahjell stays alone in the middle of the song with her fantastic vocal is unforgettable. The incredible lyrics of Leonard Cohen meets Solveig Slettahjell's magic voice and wonderful pronunciation in Famous Blue Rain Coat. Take it with me of Tom Waits is sang by Solveig Slettahjell several times before, but in this duo configuration we are with best of the performances made so far. Generally speaking I can say that Solveig Slettahjell has a more popular vocal style in this album without giving any concession in sophistication, which means she sings like herself: elegant and dignified. The album is recorded by Morten Qvenild at Malmoya. It is mixed by George Tandero at Living Room Studios and mastered by Greg Calbi at Sterling Sound New York.

Besides her album with Slow Motion Orchestra I should write something about Natt i Betlehem that Solveig Slettahjell has recorded with Tord Gustavsen and Sjur Miljeteig. The album have the musicians' versions of Chrtistmas Hymns (from Solveig Slettahjell's webpage). If there wasn't such an album I really would fell myself unlucky not to have listened any Norwegian lyrics from Solveig Slettahjell. The soft touches of Tord Gustavsen is in a great harmony with the vocal. Besides, the reverberant sound of the album is very well suited with the concept. I am so deeply affected by some pieces such as I denne sote juletid and Det kimer na til julefest.

Here I will share some samples from youtube for the readers to get a quick idea about this incredible singer. However, here I also would like to demand from any readers to be a real LISTENER. Buy albums, use some proper equipment to listen to music, learn more about what you listen. Search for more, discover other albums of any musicians you like and try to join a live performance of this musician.

Wild Horses from Antologie: http://www.youtube.com/watch?v=IUQSqzyRP-Q
The Winner Takes It All from Antologie: http://www.youtube.com/watch?v=AlVzq9LsPgw
Crazy from Antologie: http://www.youtube.com/watch?v=wu1hyE7VRa4
Have A Little Faith In Me from Pixiedust: http://www.youtube.com/watch?v=p5OXq9pyjnU
Flawless from Good Rain: http://www.youtube.com/watch?v=DB6vzvsx5pA
and some other samples: http://www.youtube.com/watch?v=qskrF9PvIow&list=PL5610A011BFA7BC3C

An Uninvited Review for All Star Concert of International Jazz Day 2013 in İstanbul

"One of the things I like about jazz, kid, is I don't know what's going to happen next." 

Bix Beiderbecke

This beautiful quote is reminded to the audience by The Director-General of UNESCO Irina Bokova on April 30th in İstanbul. Before her, one of the most important living figures of jazz, Herbie Hancock, was in front of the microphone to make the opening speech. 

That's right! The All Star Concert of The International Jazz Day is held in İstanbul in 2013. As most of you know, organized by UNESCO, started in 2012, April 30th is being celebrated as International Jazz Day with many events all around the world. We, as some lucky and decisive jazz listeners, had found the chance to listen to forty important jazz musicians on the same stage in a single night in the historical place Hagia Irene, inside Topkapı Palace this year. There has been twelve different performances with various line-ups and I should mention that many of these gatherings were just like a dream. I should add that there were many other educational events held in İstanbul on this day including some of these important musicians. 

Since the concert was a live broadcast via youtube to the world and you can easily reach it from the link I have shared below, I won't give the list of the personnel one by one. As you will see in the video, starting with Herbie Hancock and Irina Bokova, there has been a speaker between each performance and almost every musician coming to the stage is introduced by these speakers. However, I'd like to mention some instances such as Al Jarreau, Lee Ritenour, Terri Lyne Carrington, Marcus Miller and George Duke were playing Take Five and Blu Rondo Ala Turk; John McLaughlin, Branford Marsalis, İmer Demirer and Vinnie Colaiuta were performing Resolution and Jean-Luc Ponty, John McLaughlin and Zakir Hussain were transferring the audience to another universe by their tremendous performances in Lotus Feet. Here is the full concert: http://www.youtube.com/watch?v=6s8vAE8BuoU

I think one of the most amazing parts of the night for Turkish listeners is that The Director-General of UNESCO Irina Bokova mentioned Ahmet Ertegün and Nesuhi Ertegün as founder of Atlantic Records and sons of first Ambassador of Turkish Republic to the United States, Münir Ertegün. Another important point for us was that there are qualified Turkish musicians right next to the legendary names of jazz: Imer Demirer on trumpet, Bilal Karaman on guitar and Hüsnü Şenlendirici on clarinet. We already know that Imer Demirer has a reputation in international jazz stage and is known by Herbie Hancock very well. For Hüsnü Şenledirici, I have to mention his great performances with Marcus Miller and Dhafer Youssef in recent years. Let me add that he has also taken stage in last North Sea Jazz Festival. When we come to Bilal Karaman, he is decided to be a part of last year's İstanbul Jazz Festival's special concert with Marcus Miller and performed with Lars Danielsson for another concert in the same festival. We have listened to Bilal Karaman and Hüsnü Şenlendirici with Dianne Reeves and Zakir Hussain in the all-star concert. Imer Demirer has been seen many times on the stage with many musicians. 

Surely, the night was not just directly about jazz and music. As I have mentioned in the beginning there were many speakers expressing their good wishes and messages concerning the importance of the idea of jazz carried in years. As Turkish speakers we have firstly seen Minister of Cultural and Tourism of Turkey, Ömer Çelik with a very short speech. He has used an interpreter and in my humble opinion, considering the translation, the irony in the beginning is too vulnerable to be misunderstood. What he was trying to say can be paraphrased as "There is a saying in Turkey that someone uses to express his/her boredom or complaint for a friend's foppish talk or behavior. One say <Do not make jazz> to his friend in this situation. Today I am telling you <Make jazz, as much as you want...>." First of all, this saying whose source is not known is hardly used in Turkish and it is generally used by the people that do not like jazz also as music. Secondly, translations of such strange sayings generally do not have one-to-one equivalent in another language which usually results in misunderstandings. Mr. Çelik finished his talk with an important message for the children in Syria where the war is going on. The other Turkish speaker was the famous stand-up comedian Cem Yılmaz. He was too entertaining and funny as expected. We used to hear his shows and small jokes during interviews in Turkish but it seems that he can easily be successful in the international league considering the audience's reaction. He was also so successful on murmuring the melody of a tune by Marcus Miller. Thelonious Monk Jr. and Martin Luther King III were other international names who made speeches between performances.

Now it is of course time to talk a bit from perspective of a listener. Who could join this event? How was the organization seen on the audience's seats? How did the performances sound? 

Even the concert is scheduled a long time ago, the announcement of the concert were too thin until the official press conference is made. Thus, considering also the size of Hagia Irene, I had already guessed that this concert would be a special, closed-to-public and VIP event. Despite this fact, I scheduled my flight from Ankara to İstanbul. I was angry with the organization first and complained about this to many of my friends from jazz scene in Turkey. Then I, like many members of today's human clan, decided to forget others and tried to find an invitation just for me. As some of you know (but popularity of the subject may gather new readers) besides my profession in electronics, I am a kind-of unofficial jazz writer in Turkey and write concert previews, reviews and interviews from time to time in most popular jazz portal of the country which forces me to make many travels generally within a day. The natural result of these connections may be seen to mean an automatic invitation for the all-star concert. However, this is not the case. I could not find it from my friends in Turkey. Fortunately, thanks to a concerned international contact, I could find the opportunity to have my name put on the list. 

This was what happened before I found myself in front of the door of Topkapı Palace which is guarded by two soldiers and two bodyguards on April 30th. At first try, since I do not have a printed invitation, I could not manage to persuade any of these guys. The main reason for the problems I have faced that there were no one from organization having an invitation list at the outermost door. By the way, I should mention that I really do not know who is responsible for which part of the organization and who are given invitations. The only thing I know is when I entered to see the invitation list after my all attempts and having given my name also to Branford Marsalis to give it someone inside, I could find my name out there and took a small yellow card from the guy responsible for this list. Then, at last, I was sitting at the far back of the hall next to some guys from Thelonious Monk Institute from US. I really do not want to give other important names that shared these back seats with me but I really felt myself lucky to have at least been inside. 

When we come to the sound, from my bad position in the hall, I have to say that, as soon as the performances started we were a bit disappointed with what is coming from the stage as sound waves. I was not sure about the reasons behind, but the sound design was not what should be in such an important event. After having listened to the performance again from youtube I thought that most of the problems may have been resulted from microphone placements. You will certainly understand what I am trying to say when you will especially listen to the second piece. There were many problems with these microphones one of which caught Herbie Hancock during his speech as clearly seen in the video. I know that the hall is too reverberant, but as far as I have seen this has been a problem just for some cymbals in the drums. In some performances mainly piano and bass partitions were inadequately delivered. Of all performances, in my opinion, there was a single totally perfect sounded one, which belongs to John McLaughlin, Zakir Hussain and Jean-Luc Ponty. 

Please know that I have given my above comments just as side information. Only seeing these legendary musicians on the same stage is a fabulous event for me. I just would like this to be a monumental event of music whose raw material is sound.

As a brief summary, I certainly see this night an unforgettable one for Jazz in Turkey and think that it would be far better if it could have been public. As you all know, jazz is freedom and freedom needs free men that can share feelings of each other without any VIP borders.