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beards, specs and jeans and a vibe of embat- tled resistance with attitude about them. Not in the slightest. They disappointingly turn out to look like friendly bank executives at a weekend’s karaoke night. Maybe it’s this safe and clean everyday image that has helped their fans to identify with them, and for their progressive and controversial (for Turkey) politics to be widely engaged with. The third thing I note is more of a drawback: their music is very enjoyable, but lacks some edge, and the two main singers, one male and one female, have decent voices but nothing to set the blood coursing. For this concert they have massed orchestral ranks of musicians, includ- ing traditional Turkish, and Western classical instruments. In amongst it there’s some great playing – and indeed, enjoyably, there’s Ertan Tekin on duduk – but it’s subsumed into a whole that serves songs that are unknowable to a non-Turkish speaker. A shame as Grup Yorum’s lyrics are the key to appreciating this important group. For Turkish speakers only probably then, and an important and cele- bratory bit of social music history.


Erdal Erzincan was the new baglama saz virtuoso whizzkid on the block a decade and more ago. He introduced a level of musi- cianship to the hammering-on and tapping styles of playing that was fast and extraordi- nary, yet musical but not showy. A serious musician, he’s steeped in the traditions of Anatolian music, and now just into his 40s, is producing music where his baglama playing is totally at the service of the song, and his singing has integrity and soul. In Girdab-i Mihnet (Kalan 546) (Vortex Of Trouble?) he gives his sources and the authors (where known) for the wide selection of traditional songs. The whole package has good intent and honest devotion; his voice isn’t sufficient on its own to stop you in your tracks, but it now has some worn-in beauty and simple power that, coupled with the inventive and varied saz playing, is very rewarding. The music mostly speaks for itself despite lack of translation of the printed lyrics. Ela Gözlü Sahım with its fluid string hammers and taps is beautiful, and Hey Pir’s fast springy push- pull rhythm with a swung chanted melody is another standout.


Traditional songs of the Anatolian Alevi- Bektashi accompanied on baglama are also the foundation for Kızılbas II – Various Artists (Kalan 547). Kizilbash is a derogatory term (literally ‘red-head’ for their distinctive red headwear) for Safavid Shia Muslim tribes used by the dominant Sunni Muslims over the ages. Here Kalan reclaim and reassign the term as a deliberately positive cultural act. The texts of these songs are mystical and devotional poetry, for example by the famous Pir Sultan Abdal (early 16th Century) who, among many others, was killed for his social and religious convictions and whose work was continued by future poets and musicians assigning his name to new works to keep the spirit alive. His and other kindred poets’ music and words are widely performed and popular to this day. The first Kalan Kızılbas release (Kalan 466) to which this is the succes- sor, included an all-star line-up of traditional musicians (Sabahat Akkiraz, Erdal Erzincan, Erkan Ogur, Mikail Aslan, etc), and is the more accomplished of the two releases: the one to go to first. This second volume draws in a younger generation of so-far unknown to me singers and players, and is a welcome introduction to some good musicians with by no means young-sounding voices. There’s a lot of depth, grain and reined-in passion to the singing, and the springy and detailed saz riffs symbiotically accompany as has been the way for centuries. Pity there are only two female vocals on a total of 18 tracks, especial- ly as women have full and equal participation in Alevi culture, music and religion. The main drawback as ever is: what are they singing about? Where are the song and album notes


or some lyric translations? Volume 1 had some revealing introductory English text, this has nothing similar.


Azadi (Kalan 529) by the acclaimed Kur- dish film director and singer Nizamettin Ariç is tightly and adroitly scored for strings by Ariç to accompany his passionate and nuanced vocals. Without any English clues as to what the songs are about, the admittedly beautiful sound is probably too populist-art- house (not necessarily contradictory) and not rootsy enough for many here. Out of respect to Ariç I would have appreciated a language entry point with some context from Kalan.


Kalan have produced many historic reis- sues and compilations of important music from earlier eras (their Archive series), and have also set projects of earlier pre-recording- eramusic up for studio performance. Baba Hampartzum (Kalan 516) is a double CD devoted to the works of Istanbul-born Arme- nian Hampartzum Limonciyan (1768-1839). Born poor he managed to make a life in


music (in the Catholic church and music academies) through talent, and invented the Hampartzum notation system which suited Ottoman music better than Western nota- tion. The first CD has works associated with him performed by a classical instrumental group of tanbur (Murat Aydemir), kemençe (Derya Türkan), kanun, and percussion, plus voice. The second CD is an all-choral perfor- mance of pieces by a 12-strong Armenian male voice choir. For those interested in Armenian music from two centuries ago this must be a key recording. Also, I commend Kalan for producing some extensive detailed sleeve notes in English (for music students and the Armenians in the USA no doubt). My own subjective response is less important, but I found the vocals on both discs a bit disen- gaging, my failing I’m sure!


www.kalan.com/en.html (this version of their website is still new and being built up).


Chris Potts


Time Gentlemen Please featuring The Demon Barber Roadshow Derby Folk Festival


Billed as the “UK’s No 1 Folk & Hip Hop Dance Extravaganza”, you may wonder about the nature of the competition. However, even if it were manifold, I suspect you’d be hard pushed to better Time Gentlemen Please fea- turing The Demon Barber Roadshow. It is a hi-octane spectacular with a rude prolifera- tion of visceral athleticism and diverse and dynamic array of talent.


The stereotype-stripping ethos of the piece is the linchpin of its success. In its fusion of contemporary street dance with tradition- al English dance forms, it offers up both a fas- cinating exploration of common threads – steps, patterns, body positions – and a top- class modern day variety act with universal appeal, not once compromising on quality or talent. It has everything: dexterity, acrobatics, adrenaline, humour and showmanship.


The context for the show is a meeting of the two sub-cultures at a regular folk session


at The Fighting Cocks pub. Over a backdrop of some superb human beatbox, percussion and Bryony Griffith’s strong and strident fid- dle playing, the dancers move from con- frontational distance to celebratory union, with The Demon Barbers’ cloggers’ intricate and light-footed skills pitched against the athletic flow of the b-boys. We’re talking West Side Story with bells on!


The piece is transporting and absorbing; all over in a flash despite its hour-and-a-half length. The fitness and endurance of the crew is amazing! Among many memorable moments: the lightning-speed rapper set, the longsword danced with snooker cues and some truly beautiful morris, including a stand-off jig between a security guard and a punter which showcases Will Hampson’s ele- gance and physicality as a dancer.


Time Gentlemen Please is a quality package. Here, it was performed to a well- attended and attentive Derby Folk Festival crowd. Presented to a younger and/or broad- er audience, I’m sure it would be equally well received as the well-earned triumph it is!


Sarah Coxson


Photo: Graham Whitmore


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