Mercoledì 18 maggio il Circolo Arci BIKO in collaborazione con Piattaforma Fantastica e Holidays Records presenta il live di un'incredibile formazione turca di free jazz composta da Umut Çağlar, leader del collettivo KonstruKt, assieme al polistrumentista veterano dell’improvvisazione Hüseyin Ertunç e ad una sezione ritmica formata dal contrabbassista Doğan Doğusel e dal batterista Cem Tan. A parte i riscontri in patria, questi musicisti sono anche conosciuti per aver collaborato con jazzisti europei, giapponesi e americani di rilievo come Joe McPhee, Peter Brötzmann, William Parker e Akira Sakata. Il loro approccio al free jazz è stato accostato a più riprese a nomi suggestivi come Art Ensemble of Chicago e Sun Ra con la sua Arkestra.
In occasione dei tre concerti italiani il quartetto presenterà un quadruplo box in vinile - trasposizione integrale delle Gümüşlük Sessions, registrate lo scorso ottobre nei pressi di Bodrum, nel Sud della Turchia - e la riedizione di Mûsikî, il capolavoro del formidabile trio composto da Hüseyin Ertunç, Phil Musra e Michael Cosmic, registrato nel 1974 a Cambrdige, Massachusetts.
In recent years, followers of improvised music have been lucky enough to witness the emergence of an internationally visible Turkish free music scene focused on the collective KonstruKt and several related artists. Their output self-released or issued on small labels like Holidays, Sagittarius A-Star, Omlott and Roaratorio, much of the group’s notoriety has been realized through collaborations with European, Japanese and American musicians, all carrying deep historical weight (e.g., Joe McPhee, Peter Brötzmann, William Parker). But Turkish free music also has its own lengthy history, and the members of KonstruKt have sought to play with veteran multi-instrumentalists Hüseyin Ertunç and Okay Temiz. Temiz might be more familiar to astute listener-collectors for his work with Don Cherry and John Tchicai, but Ertunç is a fascinating sonic and visual artist who spent time in the Boston and LA improvising underground before returning to Istanbul in the early ‘90s, and has been well represented in recent documentation of Turkish improvisation.
Recorded over two days yet retaining a continuous, immediate vibe, Gümüslük Sessions: At Lon’s features a stirring quartet with Ertunç on piano, bassist Doğan Doğusel (a peer of Ertunç’s who also worked with Temiz), the young drummer Cem Tan, and a stalwart of the KonstruKt group, Umut Çağlar (reeds, percussion). Most of Ertunç’s recorded appearances have been on drum set, where he’s employed a massive and materialist cymbal approach that takes Sunny Murray’s explosive chatter as a lifting-off point. Ertunç waxed one LP as a leader in 1974, Musiki (with then-regular partners Michael Cosmic and Phill Musra, issued on the tiny Intex label), and returned to Turkey in the early 1990s. Ertunç’s playing, relentless as it might be, evinces a strident, swinging quality that reaches back decades. His pianistic approach is rooted in the outpouring of voluminous, allover rhythm in concentrated shards. One might first think of early Cecil Taylor, though another Boston resident is also worth mentioning – Jaki Byard, who could move from barrelhouse to crepuscular romanticism and dense chordal superimpositions at the drop of a hat. If he and Ertunç didn’t necessarily work together, their spirits are kindred.
In the caliber of multi-album statements like Taylor’s Nuits de la Fondation Maeght (Shandar, 1969) and string instrumentalist and composer Alan Silva’s Seasons (BYG, 1970), At Lon’s stretches out texturally and conceptually, although there’s a loose, homegrown informality unique to these musicians’ orbit
(partly attributable to the dry, open recording quality). The initial marathon pace relaxes into nattering trails and the full ensemble falls away to reveal spare duos and trios over the course of eight sides. Ertunç’s piano ebbs as zurna, flutes and bamboo reeds (or “küstüfons”), auxiliary percussion and voices draw out the music’s connection to folk forms, as well as the interleaved East-West textures of Yusef Lateef and the AACM. As ‘out’ as the music gets, there’s always a center in Ertunç’s keyboard approach; moreover, his linkages with the pliable, allover percussive buzz and thrumming pizzicato create a constant burble of jabbing movement. This is a clunky, Monkish swing or a playful push-pull, rather than the ‘tinka-tinka-ting’ of bebop. Concentrated, unflagging and incredibly spiritual, Ertunç, Cağlar, Doğusel and Tan have convened to structure an incredibly personal artistic document that speaks to theuniversal possibilities of freedom.
Apertura h 21:00
ingresso con sottoscrizione 8 EUR + tessera Arci obbligatoria
selezione musicale a cura di Babari e Domestic Dome
Circolo Arci BIKO
via Ettore Ponti 40 Milano
MM2 Romolo - bus 90/91 - 47 - 74