Sevda - 1972 - Live at Jazzhus Montmartre featuring Salih Baysal

Sevda 

1972

Live at Jazzhus Montmartre featuring Salih Baysal

01. Taksim 9:45

02. Misket 6:40

03. Ya Mustafa 4:55

04. Çifte Telli 3:15

05. Köçekce 4:15

06. Oyun Havasi 1:40

07. Çadirimin Üstüne 1:45

08. Karsilama 2:15

09. Çadirimin Üstüne (Da Capo) 4:20

10. Naciye 2:00

11. Kürt Ali 4:40

Baritone Saxophone – Gunnar Bergsten

Bass – Ove Gustavsson

Drums, Darbuka – Okay Temiz

Trumpet, Piano, Darbuka – Maffy Falay

Violin – Salih Baysal

Turkish folk material.

Recorded March 23rd, 1972 at Jazzhus Montmartre, Copenhagen.

Free Jazz with turkish flavours! The beginning violin tone is quite jarring to me but when the music evolves and the rest of the band joins in the violin fits right in. The band joins towards the end of the first side and the group continues to play in full force to the end of the second side. I really liked the jam'ish and very rhytmical presentation. Okay Temiz really holds down the grooves, as usual. Even though the track listing says otherwise the whole album feels like a single tune, just changing periodically. Definitely worth a listen, definitely a unique view of free jazz.

Recorded on legendary Copenhagen jazz ground a mere week after ”Live i Sverige '72” and released in the same year, this is like a companion volume to the previous album. ”Live at Jazzhus Montmartre” captures Sevda in an even more expressive mood; the music is rawer and with an even greater Turkish emphasis. The playing is so intense it's almost dangerous – when at their most frenzied, I almost want to duck not to get hit in the head from the debris and splinters flying off the music. An incredible album.

From Jazz I Sverige ’72, Maffy Falay took a stripped-down version of Sevda and Salih Baysal across Europe, stopping over in Copenhagen, at Jazzhus Montmartre (1972) to record this live performance. Although there is a quintet, what sticks in the mind is the high and lonesome wail of Baysal’s violin. Falay had curated a myriad Turkish folk tunes and he opens the book on them here, virtually handing the floor to Baysal to play all of them virtually by himself; or at least that’s how the listener will remember the album to be – so imposing a presence is the violinist’s. Also, quite unbeknownst to many, the drummer Okay Temiz was extending his footprint into the nascent “World Music” planet. Sitting behind a very unusual looking drums-set made from beaten copper, clad in a variety of patterned shirts, Temiz brings a delicate balance between the music he played with Don Cherry rhythms and his deeper Turkish sensibility to this recording. “Ya Mustafa” is, perhaps, the most memorable song on this recording.