Omar Faruk Tekbilek
Crescent Moon (Celestial Harmonies 13176-2)

If I were ever in a spy movie that was set in Turkey, this would have to be the soundtrack. This recording features one of the most famous Turkish musicians, Omar Faruk Tekbilek. Unfortunately, the liner notes of this recording are not very good, so I don't know exactly who plays what on what tracks, but I do know that Omar is a master of doumbek and frame drum.

The first track ("Crescent Moon") begins with eerie wind sound effects and eerie flute. At 2:17, all heck breaks loose as drums and sitar and other assorted stringed instruments enter. (I'd like to thank Celestial Harmonies once again for NOT giving me a clue to what these instruments are and who is playing them.) The piece adopts a feverish tempo that shows the musicians' virtuosity.

Track 2 ("Yalel") begins with flute and a sustained bass, with drums and tambourines entering with another up-tempo cadence. The flute player is very adept. It must be noted that intonation may not sound exactly correct by Western standards; however, Middle Eastern music relies on a different tonality than what we are used to.

Track 3 ("Salute to the Sun") begins with vocals and flute. This track creates a wonderful sonic atmosphere with flute soloing over sustaining instruments.

If you like shawm music, track 4, "Tamzara" will knock your socks off. It is a wonderful example of great shawm playing (I know, I know … you didn't think there was such a thing). Virtuosi frame drum accompanies … I guess it's Omar?? Very simple and beautiful lute? (Mandolin?) (Zither?) begins "Baglama Delight." Later in the piece voices enter with a very charming harmony. I have no idea what this song is about … but it sure sounds nice!

Track 6 ("Hijaz Raks") begins in a frenzy of drums, tambourines, flutes, violins and more shawm. Once again, the virtuosity of the performers is shown. "Last Moments of Love," track 7, is a very delicate melody orchestrated in violins, flute, bells, and a light frame drum accompaniment. Slightly mournful, the melody is well constructed. Some kind of stringed instrument beings "Adanali" (track 8) with a well-played cadenza. Drums and other stringed instruments enter after the cadenza and begin an upbeat call and response section which sounds a lot like Cajun zydeco. I can see myself flailing about wildly to this tune.

The intro to "Azeri" is scored for the mystery stringed instrument and plenty of tambourine. Flute and other drums enter later. Another expertly played piece.

Track 10 ("Yunus") begins with low flute and sustained strings. Subtle chord changes make this piece very interesting. A vocal soloist enters in the middle of the track. The accompaniment builds to a slightly more up-tempo climax. I thought this piece wasn't the best choice for the last track – maybe track 8 would have been a better fit.

Overall, though, I like this recording a lot. Turkish music is very different from western music in the way it treats rhythm and tonality. It is a refreshing departure from a lot of the crap shoved at us by the music industry. You can have your John Mayer, I'll take a shawm any day.

Loud Bassoon rating scale

Review by SIL