Okan Ersan (g)
Pat Levett (h)
Soner Ersen (p)
Steve Rose (b)
Ralph Salmins (d)
In recent years, there have been many souls that we have lost from our close inner circle, that we loved and valued. Our relationships and experiences are now only in memories and picture frames. Of course, people don't love to forget… This work I have done is a piece that I started in November 2017 and that I wrote in loving and painful memory of the precious ones that have moved on from this world, whom I have honoured until today in sorrow and took its final shape with the passing of my be loved pet Ivy…
What I mean is that, "Music Art" is about expressing feelings and thoughts with sounds, so I tried to reflect all the words that have lodged themselves in my throat and the weight I feel in my chest with this work, expressing my own feelings...
To all my friends who contributed and accompanied me:
Special thanks to Soner Ersen for piano and arrangement, Pat Levett for harmonica, Steve Rose for double bass and Ralph Salmins for drums. Dear Legendary #HaydnBendall in Mixing, dear #DianaGorovaya in Mastering, Esra Emin who photographed the cover art, and Eren Yağmuroğlu, who was with me at every stage, did not spare any contributions, I thank them too.
Special Thanks to : Umit Inatci Emine Akosman Hats Ertepinar Cihan Jean Akosman
In case you want to listen and to share in our memories and farewells with us once again in comemorating them all.
ÜMİT İNATÇI SANAT MERKEZİ'nden
Ümit İnatçı Sanat Merkezi 2021 Haziran ayı itibarıyla kurulmuş, ilk etkinliğini de geçtiğimiz ay yayıncılık alanında yapmıştır. Ümit İnatçı’nın Zihinsel Deneyler, Kutsanmış Vahşet, Parçalı Yazılar ve Lacivert Ağrısı adlı yazınsal eserleriyle faaliyete başlayan kar amacı gütmeyen sanat kurumu bu defa bir sergiyle sanatseverlerle buluşuyor.
Ümit İnatçı’nın son iki yılda yaptığı çalışmalardan oluşan tuval ve malzeme/nesne resim sergisi “Armonia Mundi” adını taşıyor. Sanatçı, soyut lirik ve yazısal resimlerin yanında ritüel kurgulara sahip olan asamblajlardan oluşan bu sergisinde eserlerindeki müzikaliteye işitsel boyut kazandırmak üzere müzik sanatçısı Okan Ersan’la çalışmıştır. Kırk altı (46) eserden oluşan sergi bir de müzikal eser olarak Okan Ersan’ın kurguladığı deneysel müzik eşliğinde izlenirken eserlerin görüntüleri de video olarak sergide yer alacak olan büyük ekrandan izlenebilecek.
“Mikrokozmos ve makrokozmosun birbiri içinde yansıyan karmaşık sesler kozmik bütünlük içinde kendi armonisini arıyorlar. Bir döngü dinamizmi olarak kaos ve düzen hissiyatı veren ritmik ardışıklık bütünleştirici bir uzam içinde yer alıyorlar. Bir resme bakarak uyumlu uyumsuz sesler duyabilmek için kulak kesilmek yerine gözlerin açık olması lazım. Gözlerle işitmek resmi duyumsamak demektir; anlam kendini geri çekiyor bu safhada. Her resmimi içinde müzik aletlerinin çalındığı, şiirlerin okunduğu birer bahçe olarak tahayyül ediyorum. Bahçenin organik ve geometrik bütünlüğü içinde, sonsuz gökyüzü altında müzikal bir oyunun koreografisini tasarlıyorum. Doğa ve uzay kendi seslerini bağışlıyor bana, kendi renklerini, kokularını… Kozmosta öncesizlik ve sonrasızlık arasında coşkulu bir Armonia Mundi inşa etmek için (Üİ)”.
Sergi, Lefkoşa Atatürk Merkezi’nde yer alacak. Açılışı -pandemi kuralları gereğince alınan önlemlere uyarak- 7 Eylül Salı günü (2021), saat 19.30’da yapılacak olan sergi 18 Eylül’e kadar açık kalacak.
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PHOTOS BY LEVERKUSENER JAZZ FESTIVAL
Okan Ersan & Noise Adventures
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They used to be on different sides: Eckhard Meszelinsky was the one who listened and invited his counterpart, the musician Okan Ersan, to perform at his internationally renowned festival. So the exceptional guitarist from Cyprus came to the Leverkusen Jazz Days. There he combined jazz, rock and the sounds of his southern European homeland into a wonderfully gliding neo-folk version of fusion that caresses the listener. And Eckhard Meszelinsky, the head of the festival with the hat, was pleased about another artist who confirmed the relevance of the jazz days in the midst of a music circus that is becoming increasingly confusing today. The foundation stone was laid. Gradually, a friendship developed between the two men. Music as a connecting passion did its magic work. And today Eckhard Meszelinsky and Okan Ersan are logically standing together. On one side. On the side where they are both behind and at the instruments. The music lovers have adjusted and adapted their positions to one another - and are now doing what they love best: jazz. Skirt. Folk. Fusion is world music in the truest sense of the word.
SIMON MC BRIDE & OKAN ERSAN (Guest)
On the outer album Nibiru (named after the mythical planet) his jazz fusion quartet cooks a quite a solar storm. Each of the seven chapters charts a musical narrative related to its respective celestial theme. The album also incorporates some NASA space samples as heard at the start of the opener "Chapter I: 6EQUJ5 (Wow Signal)" in which Ersan cannily used Morse code to translate the reference for the unknown signal "6EQUJ5."
The overall feel of the dramatic fast-paced piece is reminiscent of Allan Holdsworth at his most lyrical, and Holdsworth springs to mind even more with Ersan's incendiary solo break on "Chapter III: Deep Field," an interpretation of visual phenomena within the small region of the constellation Ursa Major, taken from the Hubble Deep Field (HDF) observed by the Hubble Space Telescope. But it's not all sound and fury as "Chapter V: Transcending" will attest. The focus here is the portrayal of the travel of energy from the body and its return back to the universe. There's a sense of pastoral floating with Ersan evincing some delicately understated glissando adornments. The title track relates to a mythical outer planet within our solar system and additionally is inspired by a signal received in 1977 that is believed to be the first ever transmission from outer space. Whilst Ersan introduces this harmony-rich number with elegant harmonics, each member of the quartet executes a solo to represent salutations from Nibiru to Earth. Once again there's more fluid and tasteful Holdsworthian shredding from Ersan.
The second part of the title of the final track (Anunnaki) relates to The Anunnaki, a group of deities who appeared in the mythological traditions of the ancient Sumerians, Akkadians, Assyrians, and Babylonians. The music here reflects the chaotic Space Jungle through which the Anunnaki supposedly travelled in their quest for an element to save their planet Nibiru. But here, as with the staccato-laden "Chapter IV: Gravitational Waves," the group sounds more like jazz fusion pioneers Brand X, an electrifyingly dynamic beat propelling the piece along. In this taut and compositionally imaginative forty minute outing, Ersan has produced a remarkably intelligent and perfectly executed suite of exciting jazz fusion. He is undoubtedly a musician who needs to be heard more widely.
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