01. Suzinak Semai (Aksak Semai) 4:11
02. Mus 5:15
03. Kabak Tatlisi 3:03
04. Zikir 7:52
05. Çay Elinden 6:22
06. Demek Istiyorum Ki...(Ferahfeza) 2:34
07. Ege 3:47
08. Dolunay 7:27
Alto Saxophone, Soprano Saxophone – Doudou Gouirand
Bass, Bass Guitar – Thomas Ostergren*
Drums, Berimbau, Percussion [Talking Drums, Log Drum], Cuica – Okay Temiz
Ney – Akagunduz Kutbay*
Piano, Synthesizer – Tuna Otenel*
Recorded and mixed at Studio Ramses, Feb 1979.
"Thanks to Antoine De Caunes, Remy Kolpa, Don Cherry."
Okay Temiz is the most important and first fusion jazz artist from Turkey. I saw him live. He's very talented, but modest in a way as well. His style nowadays has adaptations from ethnical sources from all over the world, but he also adapted jazz and even free jazz style into its most pure essence. Most albums I heard were fine, but non of these are over the top from start to end. Okay himself found "Green Wave" a fine introduction for his own music. I had a very interesting interview with him. It's linked as text file at the end.
I have his item "Zikir" from 1979. It is an ethnojazz which has very good moments and is good overall. Zikir is Okay Temiz with Aka Gündüz, Tuna Ötenel, D.D.Gouirand, Onno Tunç. Here he used the Double-string electric berimbau. This instrument featured the addition of separate microphones and signal processors for the string, gourd and caxixi. His technique involved using as many as nine signal processors simultaneously in conjunction with a free-hand grip, which allowed the left hand to slide the coin farther up and down the string, producing many more than the traditional two pitches. By amplifying each part of the berimbau, Temiz could exploit other possibilities, such as tapping on the gourd with the coin, fingers and stick, successfully producing traditional Turkish rhythm. The effect of it is tremendous.