One of the most serendipitous developments in New York music this year is that Seyyah, who might be this city’s most epic Turkish band at the moment, have been playing more lately. Which is more impressive than it seems, considering that percussionist/singer Jenny Luna has been plenty busy with her own similarly haunting Turkish-Balkan band Dolunay. Pretty much everybody else in Seyyah plays with other bands as well. Tanbur lute player Adam Good is also in Dolunay, and lends his prowess on many stringed instruments to numerous other groups including sizzling rebetiko metal band Greek Judas. Oudist Kane Mathis has his own project, his Indian-tinged groove duo Orakel, and plays in Nubian band Alsarah & the Nubatones. Clarinetist Greg Squared is in Raya Brass Band (who played a sizzling set this past Saturday night at Barbes) and Sherita. Violinist Marandi Hostetter plays with slinky Egyptian bands Nashaz and Sharq Attack (some might say that they’re the same group) and others, as do percussionists Simon Moushabeck and Philip Mayer.
Seyyah’s next gig is this Jan 15, with sets at 8 and 9:30 PM at Cornelia St. Cafe. Cover is $10 plus a $10 minimum; the food at the downstairs West Village jazz boite is actually a cut above what most jazz club kitchens throw at you. Seyyah are also one of the latest bands with the good sense to release a live album, a free download recorded at Barbes last May on a live WFMU Transpacific Sound Paradise broadcast which also featured a rather rare, starkly intense set of Georgian folk tunes by guitarist Ilusha Tsinadze and his trio, plus a lustrous, hypnotic, tantalizingly brief handful of tunes by a subset of lavish, paradigm-shifting Indian carnatic choir the Navatman Music Collective.
Seyyah’s set – with a slightly altered lineup – opens with Mahur Saz Seman, a catchy, bouncy, somewhat bittersweetly anthemic tune. As the song goes on, the trills of Zoe Christiansen’s clarinet and Eylem Basaldi’s violin take it into more brooding territory before the main theme returns. Sultani Yegah veers between a jiggy, sea chantey-like bounce, and more wary, chromatically incisive interludes, with a spiky, moody tanbur solo. Basaldi takes centerstage with her microtonal nuance in the briskly flurrying, slashing Hicaz Zeybek, the set’s arguably best and most Arabic-inflected song.
Scampering percussion propels Hüzzam Oyun Havasi – like most of the songs here, it starts out with everybody playing the rippling, uneasy modal melody, then Good pulls away, then we get a moody, deliciously microtonally-spiced clarinet solo and a lively percussion break. The night’s coda is Çeçen Kizi, a wickedly catchy, broodingly intense, undulating theme with Basaldi leading the charge out this time. It’s amazing how good the sound quality is, considering how packed and noisy the bar was that Saturday night.
And if you’re going to Golden Fest this weekend, Greek Judas, Raya Brass Band and Dolunay will all be there on Saturday.