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AAJ Review: Kayhan Kalhor and Erdal Erzincan, Kula Kulluk Yaksir Mi
My review of Kayhan Kalhor and Erdal Erzincan's Kula Kulluk Yakişir Mi, today at All About Jazz.
After the success of The Wind, the duo's recording augmented by Ulaş Özdemir's divan baglama (or Turkish bass saz), this time they go it alone in a live show that Kalhor feels is one of their best. And it's no surprise. This may not be jazz by conventional definition, but in its unrelenting improvisational nature, and the way the Iranian-born Kalhor - child prodigy and virtuoso of the kamencheh (spike fiddle) - and similarly virtuosic, Anatolian-born Erzincan, an exemplary proponent of the oud-like baglama/saz, suggest that jazz's roots may go farther back than the American emergence in the early part of the 20th century. Certainly the way that these two instrumental masters interact, at times in complete and utter in-the-moment spontaneity, other times take written music like the main theme from The Wind and turning it into something new, suggest that if one of the genres's cornerstones is not just improvisation (because, after all, isn't composition just imprivisation made over a loner period of time?) but instantaneous extemporization, where interaction and a persistent push and pull are fundamental, then might this not be jazz, too?
An argument, perhaps, for another day, but in the meantime, Kula Kulluk Yaksir Mi is another winner from Kalhor, also a member of Ghazal, and Erzincan two musicians who may or not be playing jazz, depending on your definition, but what they are playing is some of the most exciting music, both modern and redolent of antiquity, that you're likely to hear this year.
Review here.
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