Timuçin Şahin's Flow State

Nothing Bad Can Happen

Price: € 19.95
Format: CD
Label: Between The Lines
UPC: 0608917124323
Catnr: BTLCHR 71243
Release date: 02 June 2017
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Label
Between The Lines
UPC
0608917124323
Catalogue number
BTLCHR 71243
Release date
02 June 2017
Album
Artist(s)
Composer(s)
EN
DE

About the album

"Flow," also known as ‘The Zone’ in positive psychology, is the mental state in which a person who pursues a particular activity sinks completely into it."

Timuçin Şahin really gets to the point with that. He wants to immerse himself deeply into his music and actually sink into it in each of his projects. However, the term "flow" goes even further for the Turkish guitarist, who went to the Netherlands in 1992, studied at the Hilversum Conservatories and jazz guitar in Amsterdam, and then studied classical composition at the Manhattan School of Music in New York. "I also see the possibility of a renewal, a kind of recollection of lost virtues that lead us out of this general state of indifference in which we currently are, and in which the ignorance of our society, the emptiness and anonymity as well as the illusory image of the world, which is forced upon us from birth."

Şahin's current band with the pianist Cory Smythe, bassist Christopher Tordini and old-hand drummer Tom Rainey help him to slide into this very special flow. When the 44-year-old talks about music, then there is always talk of "collective individuality". Something that bundles the distinctive features of individuals into one big whole. Or even leaves corners, edges and traces behind even in a compact structure. In this, they use their own personal vocabulary and form an unknown, exciting language from it. The three co-musicians and friends are fearless and impressive improvisers, the man with the double-necked guitar stated enthusiastically. They provide the chance with their passionate and creative contributions to enter a largely undiscovered sound world, combining all surrounding acoustic information into a new musical value system.

Dr. Nils Vigeland, Timuçin Şahin’s teacher at the Manhattan School of Music in New York laid the foundation for this special kind of "philosophical improvisation" in 2003. Although the once passionate follower of rock bands such as Led Zeppelin and Van Halen studied only four months under the classical pianist, the encounter took his further career in a completely different direction. "He liberated my sound," Şahin summarized the short but significant period in the Big Apple where he already worked as a sideman with Randy Brecker, Greg Osby, Mike Mainieri, Mark Turner, Tony Moreno, Ernst Reijseger, Donny McCaslin and Thomas Morgan. He dedicated “Nothing Bad Can Happen” to Vigeland not the least because of that

The high art of eight pieces is in the fact of serving all influences from rock all the way to Ornette Coleman’s Harmolodics not as clichés on a silver platter, but rather cleverly hidden in a dense forest full of overlapping instrumental contributions. Consequently, it’s worth your while to prick up your ears and follow the paths of Ethel Şahin, Cory Smythe, Christopher Tordini and Tom Rainey. Together, they develop a subtle, detail-loving, surprising mixture of sounds that flow into extremely entertaining stories. Fear not! Nothing bad can happen to you here.
„´Flow`, in der positiven Psychologie auch als ´The Zone` bekannt, ist der geistige Zustand, in dem eine Person, die einer bestimmten Aktivität nachgeht, ganz darin versinkt.“
Damit bringt es Timuçin Şahin eigentlich schon auf den Punkt: Bei jedem seiner Projekte will er tief in seine Musik eintauchen und eigentlich darin versinken. Doch für den türkischen Gitarristen, der 1992 in die Niederlande ging, an den Konservatorien von Hilversum sowie Amsterdam Jazzgitarre studierte und dann an der Manhattan School of Music in New York klassischen Komposition erlernte, geht der Terminus „Flow“ noch weiter. „Ich sehe darin auch die Chance einer Erneuerung, einer Art Rückbesinnung auf verlorene Tugenden, die uns aus diesem allgemeinen Zustand der Gleichgültigkeit herausführen, in dem wir uns gerade befinden und an dem die Ignoranz unserer Gesellschaft, die Leere und Anonymität sowie das illusorische Bild der Welt schuld sind, das uns von Geburt an aufgezwungen wird.“

Şahins aktuelle Band mit dem Pianisten Cory Smythe, dem Bassisten Christopher Tordini und Drum-Haudegen Tom Rainey hilft ihm, in diesen ganz speziellen Flow zu gleiten. Wenn der 44-Jährige über Musik spricht, dann ist dabei stets von „kollektiver Individualität“ die Rede. Etwas, das die markanten Eigenheiten Einzelner zu einem großen Ganzen bündelt. Oder eben auch in einem kompakten Gefüge Ecken, Kanten und Spuren hinterlässt. Dabei benützen sie ihr persönliches Vokabular und formen daraus eine noch unbekannte, aufregende Sprache. Die drei Kollegen und Freunde seien furchtlose und eindrucksvolle Improvisatoren, schwärmt der Mann mit der doppelhalsigen Gitarre. Sie würden ihm durch ihre leidenschaftlichen und kreativen Beiträge die Chance geben, eine bislang weitgehend unentdeckte Klangwelt zu betreten, in sich der alle herumliegenden akustischen Informationen zu einem neuen musikalischen Wertesystem vereinen.

Den Grundstein für diese spezielle Art der „philosophischen Improvisation“ legte 2003 Dr. Nils Vigeland, Timuçin Şahins Lehrer an der Manhattan School of Music in New York. Obwohl der einst leidenschaftliche Anhänger von Rockformationen wie Led Zeppelin oder Van Halen nur vier Monate bei dem klassischen Pianisten studierte, sollte die Begegnung seiner weiteren Karriere in eine völlig andere Richtung lenken. „Er hat meinen Sound befreit“, fasst Şahin, der als Sideman bereits mit Randy Brecker, Greg Osby, Mike Mainieri, Mark Turner, Tony Moreno, Ernst Reijseger, Donny McCaslin und Thomas Morgan arbeitete, die kurze, aber bedeutsame Zeit im Big Apple zusammen. Nicht zuletzt deshalb hat er „Nothing Bad Can Happen“ nun Vigeland gewidmet.
Die hohe Kunst der acht Stücke besteht darin, sämtliche Einflüsse vom Rock bis hin zu Ornette Coleman Harmolodics nicht als Klischees auf dem Silbertablett zu servieren, sondern vielmehr geschickt in einem dichten Wald voller überlappender Instrumentalbeiträge zu verstecken. Es lohnt sich deshalb wirklich, die Ohren zu spitzen und die Wege von Timuçin Şahin, Cory Smythe, Christopher Tordini und Tom Rainey zu verfolgen. Gemeinsam entwickeln sie ein subtiles, detailverliebtes, überraschendes Stimmengewirr, das in extrem kurzweilige Geschichten mündet. Keine Angst: Dabei kann einem nichts Böses passieren.

Artist(s)

Timucin Sahin has been recognized as one of today’s truly unique voices of contemporary jazz music by publications such as San Francisco Bay Guardian, AllaboutJazz, Jazzwise, Downbeat and Jazz-Times as well as by many others.

His unique sound on fretless electric guitar and his emotional content in his composing made him non-comparable and his music almost impossible to categorize.

Both his compositions and his playing on his double-neck guitar – his trademark – radiate an incomparable individualism.

His music is drawn from a wide body of knowledge and experience, often developed from his considerable skills as a guitarist. He employs improvisation but in ways hard to separate from the sound of his notated music. His music is characterized by a delicacy of instrumental imagination and rhythmic structures, which have much flexibility though clearly pulse derived.
Audiophile audition described his music as follows:
“There is a lot going on in Sahin’s ample assortment of tones and experimentation and his approach to composition and performance necessitates active involvement. But to apply a one-time film student’s simile, it is like delving into a David Lynch or Atom Egoyan movie: on subsequent tries understanding and insight start to occur. “

Timucin Sahin, born in Turkey, immigrated to Holland as a young man to study jazz guitar and classical composition in Hilversum and Amsterdam Conservatories. Then he continued his studies at the Manhattan School of Music.

He was awarded first prize at the prestigious Dutch Jazz Competition in 2001 and second prizes at the Jur Naessens Music Award in 2002, and Deloitte Jazz Award in 2006.

His third record as a leader “BAFA” is widely regarded as one of the most unique and uncompromising jazz recordings of contemporary jazz of today.
Raul d’Gama Rose at All About Jazz wrote:
“The language of saxophone-guitar dialogues has never been the same after Coleman’s legendary Harmolodic duels with Pat Metheny. There is a chance that Timucin Sahin may have crossed that horizon after all, with Bafa”

He recently released his quintet album “INHERENCE” which is reviewed by Downbeat as “very impressive, visceral yet also cerebral and feisty quintet album”.

Timucin Sahin played and/or recorded with Randy Brecker, Greg Osby, Robin Eubanks, Kai Eckhardt, Mike Mainieri, Mark Turner, Tony Moreno, Aydin Esen, Gene Jackson, Dave Kikoski, Ernst Reizeger, John O’ Gallagher, Owen Hart Jr, Donny McCaslin, Tyshawn Sorey, Thomas Morgan, Ralph Alessi, Tom Rainey, Sean Rickman, Loren Stillman, Russ Lossing, Dan Weiss, Concertgebouw Jazz orchestra, to name a few.

He has composed for and commissioned by Amsterdam Percussion Group, Occult Ensemble, Mivos String Quartet, Timetable Percussion Ensemble,Enric Monfort Ensemble, Ere Lievonen, Verso, Amsterdam Conservatory Symphonic Orchestra, Brisk Quartet, TobeSung, Loadbang and others.

Timucin shares his concepts about his sui-generis guitar playing and composing in masterclass situations. Notable engagements include: Manhattan School of Music New York (USA), NYU New York (USA), Amsterdam Conservatory (NL), Tilburg Conservatory (NL).
Timucin Sahin is also a PhD candidate in composition at NYU Arts and Science and has been conducting his PhD thesis.

Composer(s)

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