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Tag: Joan Terol Amigo

Yet Another Haunting, Exhilarating Album From Oud Master Mehmet Polat

Oudist Mehmet Polat hails from the Urfa region of Turkey, a hotspot for cultural cross-pollination for centuries. So it’s hardly a surprise to hear how individualistically he blends traditional Turkish sounds with Arabic, African and Andalucian music in addition to American jazz rhythms. Every year, he seems to put out a new record that always ends up on the best albums of the year page here. The latest one, The Promise – streaming at Bandcamp – will definitely be on the best of 2020 list here next month. In general, it’s Polat’s at his most upbeat and optimistic.

While Polat’s custom-made oud has a couple of extra bass strings, the electrifying opening track here, Firefighters is more of an exploration of the upper registers, peaking out with a series of incisive chords after a long build through enigmatic Balkan-tinged modes over Daniel van Huffelen’s bass and Joan Terol Amigo’s drums.

Polat builds an almost teasing, unresolved suspense in the second track, Nature Hits Back, before spiraling and then descending to the depths over percussionist Ruven Ruppik’s many textures and shifting rhythms. Pathfinder is a catchy, anthemic, dynamically vamping number over elegantly syncopated, boomy frame drum by Alper Kekeç.

Polat teams up with Sinan Arat on ney flute and Kekeç on frame drum again for Footprints, a hypnotically pulsing, mysterious, mostly one-chord jam. Then he completely flips the script with the spare, funky Permission, featuring a starkly melismatic solo from kamancheh fiddle player Elnur Mikayılov.

Polat and the opening track’s rhythm section hint that they’re going into qawwali as Swinging in Hands gets underway, but instead they go off on a bouncy West African kora-inspired tangent and end with a spacious bass solo. The undulating Fidelity to İstanbul makes a good, upbeat segue.

Guest Shwan Sulaiman contributes an expressive, dramatic vocal in Being the Voice over a scampering backdrop with echoes of North African rai music. Polat breaks out his loop and distortion pedals for Symbolizations, the most overtly psychedelic track here.

The real stunner here is Nêterseno, with haunting clarinet and defiantly populist vocals from Mikail Aslan and trebly tenbur lute by Cemil Qocgiri, picking up with a fiery flamenco groove before coming full circle. Polat plays a darkly incisive, melancholy solo over a drone in the lament Nothing Is Yours and closes with My Cultural Womb, a syncopated, edgily modal number reflecting influences from Turkey to Egypt.

Haunting, High-Voltage Balkan and Middle Eastern Sounds from Oud Mastermind Mehmet Polat

One of the most richly dynamic albums of recent months is Mehmet Polat‘s Quantum Leap, with his eclectic band Embracing Colours. The oud virtuoso and composer’s latest releas, a mix of influences from Andalucia to the Balkans and the Middle East is streaming at Bandcamp.

The opening track, Expanded Lives, is stunningly intense, a wounded minor-key anthem that builds to a long, flamenco-tinged, flurrying crescendo from the bandleader. Accordionist Bart Lelivelt joins the dance as it reaches a peak, then the rhythm section – bassist Hendrik Müller and drummer Joan Terol Amigo – pull the song back to more elegant drama.

They don’t waste a second to segue into Dancing Statues, a suspenseful accordion-bass conversation setting off a fiery, pulsingly insistent Balkan dance with a deliciously edgy, chromatic accordion solo, with the bandleader adding his own scampering, misterioso lines. Playing the Time Away is more pensive, with a series of carefree oud/accordion exchanges.

The band stay in animated dance mode with the tricky metrics of Falseta Mesopotámica, Polat firing off a percussively incisive solo, singer Ciğdem Okuyucu adding her spacious, ripely melismatic voice to the mix. They follow with Segue – good as that joke is, this bridge is a particularly interesting one, shifting from a kinetic scramble to a wary, brooding bowed bass solo, picking up with renewed intensity and eventually coming full circle.

Trumpeter Eric Vloeimans’ airy microtones join with the accordion to introduce the slow, stately, Palestinian-inflected anthem All Connected: with the trumpet moving into stark blues, it could be the album’s most hauntingly gorgeous track.

The aptly titled, saturnine Breathing Again is another stunner, Polat’s allusively chilling, spacious solo giving way to Imamyar Hasanov’s plaintive, imploring kamancheh fiddle. The quote at the end is too good to give away: let’s say it’s a happy ending appropriate for the current political climate.

The band follow Polat’s steady, sternly catchy solo piece Conveyed Emotions with Contemplation, a big, powerful, serpentine, Balkan-spiced showstopper. Then Polat and Müller edge their way into the shapeshifting Entropy – with the exchanges between Polat’s soaring vocals and Michalis Kouloumis’ stark violin, it’s the closest thing to current-day, electric Black Sea jazz here.

Lelivelt’s portentous accordion taqsim kicks off A Deserved Distraction – it seems designed as a welcome, pedal-to-the-metal diversion in the wake of so much haunting intensity. The group close with Aftermath, a grimly beautiful tableau that wouldn’t be out of place in the Mohammed Abdel Wahab catalog: Polat’s insistent, minimalist solo is impossible to turn away from. What a breathtaking record.

Polat’s next concert is on January 31 at the Lutherkirche Sudstat, Martin-Luther-Platz 4 in
Cologne, Germany.