Istanbul Jazz Festival Istanbul, Turkey July 3-19, 2012 Istanbul, the second largest city in the world, has become an important meeting point in countless ways.
Founded in around 660 BC by King Byzas, captured by the Romans and later by Sultan Mehmed II to become the capital of the Ottoman Empire, Istanbul was, despite its size and strategic location, inexplicably overlooked in favor of Ankara as the nation's capital when the Republic of Turkey was declared in 1923.
Despite its "second city" status, Istanbul has grown substantially since the 1920s. Today home to more than 13 million people, the city sits (geographically) on the edge of Europe. The western half city neighbors Greece and Bulgaria, while the massive Anatolia region is in Asia. The two continents are divided by the mighty Bosphorus river one of the world's busiest waterways.
Since the 1970s, the privately run Istanbul Foundation for Culture and Arts (İKSV) has capitalized on the city's rich musical heritage and popularity as a film location and has worked tirelessly to establish Istanbul as a major cultural hub in the region.
Istanbul enjoys a rich history of well educated, highly skilled and adventurous artists and the Istanbul Foundation for Culture and Arts (İKSV) has provided an array of arts, theatre and design festivals for forty years.
İKSV's Istanbul Jazz Festival has been held every year since 1994. Currently under the leadership of director Pelin Opcin, the festival features jazz, pop, rock and world music and attracts somewhere in the region of 50,000 people to some 30 concerts held at various historical and outdoor venues around the city every July.
Among the headline jazz artists hosted by the Istanbul Jazz Festival since its inception have been saxophonist Ornette Coleman
"One of the primary goals of the Istanbul Jazz Festival has been to encourage the production of jazz music in Turkey and contribute to its promotion abroad through such special series as the European Jazz Club, Young Jazz and Encounters with Masters, where we bring together well-known musicians from Turkey and around the world to play together," says Opcin.
This year's program was as eclectic as it was impressive. On one side of the musical spectrum were sensitive pop artists Antony & The Johnsons and Morrissey, while on the other side were soul and R&B stars Erykah Badu
, accompanied by some of the most prominent musicians in Turkey: clarinetist Hüsnü Şenlendirici, percussionists Burhan Öcal and Okay Temiz, trumpeter İmer Demirer, and guitarist Bilal Karaman. The remaining members of the ensemble were all Miller regulars: guitarist Adam Agati
, who has played with Miller for nearly 20 years most recently on the albums Marcus (Concord Jazz, 2008), Free (Dreyfus Jazz, 2007) and Silver Rain (Dreyfus Jazz, 2005). The whole show was recorded and the festival team, along with Miller, is currently considering a commercial release.
, Bryan Ferry and Grace Jones, the last week of the festival was a diverse one, with concerts from local Turkish jazz acts, soul/funk band Sharon Jones & The Dap-Kings, jazz heavyweights Keith Jarrett, Gary Peacock and Jack DeJohnette, and a closing performance by Morrissey.
On a balmy Tuesday night in Istanbul's Silahtar neighborhood, which sits at the confluence of the Kağıthane and Alibeyköy rivers and the Golden Horn, Sharon Jones & The Dap-Kings took confidently to the waterfront stage at the Santralistanbul Kıyı Amfi.
In an area lined by working class housing estates and a complex network of terrifying five- lane roads dominated by speeding taxis and police cars, the popular funk/soul big band raced through "Broadway Combination," "Sideburns," "He Said," "Broken Hearted Man," "New Shoes," "Things Got to Get," "Still Be True" and "Money," as well as several others.
A no-alcohol policy, apparently enforced to appease local residents and councilors, did not seem to inhibit the excitable crowd, which whooped and hollered at every opportunity. Several members of the public were invited to dance on the stage and the impressive Jones and her band managed successfully to reach new heights of audience participation from start to finish.
Swelling the number of people on stage to nearly twenty, big-haired girls were invited to shriek, guys to shout and everyone else to shake their "thing" to the well-rehearsed rhythms of Brooklyn's eleven-member-strong Dap-Kings (including backing vocalists Starr and Saundra, also known as The Dapettes).
One lucky participant even took the opportunity to propose to his girlfriend from the stage. From her seat at the rear of the venue, she appeared to make gestures that indicated a positive response to the gesture.
Later on the same evening, it was time for the European Jazz Club, held at the Istanbul Foundation for Culture and Arts' own newly built, and rather stylish, venue, Salon. The previous two weeks had seen Tamer Temel Quintet (featuring Matthias Pichler), Baki Duyarlar Quartet (featuring trumpeter Eric Vloeimans
and Tobias Klein and Bilal Karaman (featuring Lars Danielsson) all perform at the intimate jazz spot. That night's featured artist was Russian alto saxophonist Dimitry Baevsky, who joined Ayşe Gencer and her band.
Opening with "Luiza," the elegant Turkish singer, dressed in a flowing white gown, illuminated the dark club with songs from her debut album But Beautiful (Aisha Records, 2011). Gencer's sultry vocals were supported the whole time by local pianist Serkan Özyılmaz, who displayed a light, delicate touch as a contrast to the robust and punchy style of trumpeter İmer Demirer.
"I Didn't Know What Time It Was" and "Don't Explain" preceded an accelerated rendition of "It's All Right With Me," which provided guest saxophonist Dmitry Baevsky ample opportunity to showcase his perky, often-explosive alto style.
Baevsky, whose first album, Introducing (Lineage Records, 2004), featured pianist Cedar Walton
as contributors, appeared confident throughout the show but rather serious-looking and somewhat humorless. Largely avoiding eye contact with the audience, Baevsky chose to communicate though his horn. He did this superbly on "Give Me The Simple Life," which was stretched nearly beyond recognition during a dynamic, fun and often brilliant rendition replete with solos from all three members of the rhythm section.
After a pair of somber Turkish-language ballads, the good old American Songbook was explored further with "Here's That Rainy Day," "Love For Sale," "But Beautiful" and "All Of Me" making up the rest of the set.