Saturday, July 16, 2016

Oriental Wind - 1981 - Bazaar

Oriental Wind 

01. Pazarda Balvar 5:06
02. Savsat Bari 4:05
03. Karsilama 5:45
04. Bitlis Melfani 5:09
05. East Trip 3:18
06. Köcekce 4:16
07. Daldalan 6:36
08. Kadioglu Zeybegi 4:54

Percussion [Indian Tuned Sticks] – Okay Temiz
Electric Guitar – Janne Schaffer
Piano, Drums [Gattam] – Bobo Stenson
Synthesizer – Björn J:son Lindh
Tenor Saxophone, Soprano Saxophone, Alto Saxophone, Bells [Finger Bells] – Lennart Åberg

Recorded January 21st-25th, 1981 at Studio Marcus, Stockholm.

Okay Temiz was born in Istanbul in 1939. He grew up in Ankara and received his musical education as a drummer and percussionist at the conservatory there. He felt a pull towards a kind of global musical idiom at a very early stage. After completing his studies, Temiz was compelled to earn his bread by playing in Turkish show and dance bands. Nonetheless, he dedicated his spare time to studying his kindred musical spirits.

Temiz finally found what he was looking for in Stockholm. Not, as one might expect, among Swedish jazz musicians, but among the Africans and Afro-Americans who had settled in that northern metropolis. More specifically, it was Okay Temiz who was found. Don Cherry, a pioneer of global musical thought, took notice of the Turkish drummer with the unusual ideas. The drummer thus gained admission into quite an illustrious circle comprising musicians such as: Mongezi Feza, Chris McGregor, Dudu Pukwana, Harry Miller (i.e. a large majority of McGregor’s “Brotherhood of Breath”), as well as Palle Danielsson and Charlie Mariano, all of whom were in one way or another concerned with introducing melodies and rhythms from the far corners of the earth into jazz.

Along the years, Okay Temiz was involved in numerous musical projects. To mention a few,  the Turkish-Swedish band Sevda which enjoyed much popularity in Scandinavia, Oriental Wind existing in two editions: a Swedish one and a Turkish one. It was the latter that helped him explore the point of departure for his own version of ethno jazz.  Oriental Wind became a kind of springboard for Temiz, for he toured widely with the band, appearing in India (as in 1980 at the Jazz Yatra Festival in Bombay) and at festivals all over Europe and making a distinguished name for himself.

To the present day, Okay Temiz has remained true to his ideals of an Orient-Occident fusion.  In 1999, he recorded  the album Karsilama with “drums beating and trumpets sounding” (or, more correctly, with davuls beating and zurnas sounding).  undertook a similar process in Finland in 1995 with his MAGNETIC BAND, a Scandinavian-Turkish quintet. This would later lead to the album Magnetic Orient (2002). Here as well, the strains of the Orient (the Turkish dulcimer kanun and the Turkish lute oud) join western (jazz) instruments such as the trumpet and the electric bass and Temiz’ percussion instruments from the many regions of the globe in a breakneck rhythm slalom to achieve a fusion of the music of the Balkans and the Turkish-Arabic region with jazz, rock and Latin: a course ideally laid out for the master drummer!

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