As previously, today we’re going to another unknown artist to most of the Western audience; legendary Turkish producer and arranger, again there’s little information available about this grand maestro! Per hour, we will continue to investigate its details and if some Turkish readers could provide us more details, it will be welcome!
Let’s go to our history:
Belly Dance in the Middle East has two distinct social contexts: as a folk or social dance, and as performance art. As a social dance, belly dance is performed at celebrations and social gatherings by ordinary people who are not professional performers. Dancers wear their ordinary clothes rather than a special dance costume.
The version of belly dance that is performed on stage has its roots in the social dance, and is typically a more polished version, with more emphasis on stagecraft, use of space, and special costumes designed to show off the movements to best effect.
Professional performers (dancers, singers, and actors) are not considered to be respectable in the Middle East, and there is a strong social stigma attached to female performers since they display their bodies in public, which is considered haram. (!)
As Turkish law does not impose restrictions on Turkish dancers’ movements and costuming as in Egypt, where dancers are prevented from performing floor work and certain pelvic movements, Turkish dancers are often more outwardly expressive than their Egyptian sisters. They’re known for their energetic, athletic (even gymnastic) style, and their adept use of finger cymbals, also known as zills.
Another distinguishing element of Turkish style is the use of the Karsilama rhythm (faster than others) in a 9/8 time signature, counted as 12-34-56-789.
Turkey was also known, male belly dancers!
Let’s go yo our artist:
Zafer Dilek (b. 1945) is one of the unsung heroes of Turkish music having worked as arranger, producer, and guitarist for countless famous Turkish artists (usually uncredited); also in film soundtracks, as a solo artist and in Zafer Banu Hülya group. He officially began its career in 1971 and in 1976 produced Selda’s second album.
The development of Turkish pop music in the ’70s saw the consolidation of Anadolu Rock, drinking on traditional influences, suddenly folklore (once seen as outdated) became a true fever when arranged with electric (modern) instruments.
The so-called Oyun Havalari turned into an export product, with its appealing (erotic) covers, uptempo overall and many famous artists doing this kind of exploitation portrait of the Middle East, such as Esin Engin, George Abdo, Omar Khorshid, Ahmad Djamal, Erköse Kardeşler and Ozel Turkbas. (!)
Let’s go to our album:
Groovy instrumental, lot’s of ethnic percussion, beautiful woodwinds, and excellent guitar / Bağlama playing in an unstoppable rhythm, feverish psychedelia with short length tracks, and a small sense of deja-vu: the songs are quite similar in this oriental party, but this will not belittle your hearing appreciation, hoşlanmak!
The ‘IM’ highlights are Arabi Oyun Havası and Konyalı. (this is an exclusive rip)
A1 Kol Bastı Oyun Havası
A2 Tokat Sarması
A3 Sultan Ciftetellisi
A4 Arabi Oyun Havası
B3 Bahriye Çiftetellisi
B5 Adana Çiftetellisi
B6 Kazancı Oyun Havası
Devir – DP 7777