A few weeks ago, we were lucky enough to have Sertab Erener and her partner Demir Demirkan come by the studio to talk about their latest project "Painted on Water." For those you who are not familiar with them, Sertab is a pop diva from Istanbul, and her rendition of "Every Way That I Can" (written by Demirkan) which won the Eurovision Song contest in 2003 cemented her place in the hearts of the Turkish public. During the time we spent here, one couldn't help but see that the couple truly enjoy each other's company, and the interview went on for quite a while, as they talked about their music, how they met, their work method, and how the "Painted on Water" project developed. This was a tough one to edit, because it was all so interesting.

I really wanted them to demonstrate how the songs went from Turkish folk to mainstream pop, and they did that and more.

Keep an eye out for more from this very rich interview in upcoming blogposts-- like a performance where Sertab demonstrated her operatic chops and her pop stylings, all in one song!

This just in from a friend who thought it was worth sharing.  He's right.
Istanbul's Sulukule, the world's oldest Gypsy settlement, known for its music & dance clubs, is being demolished by developers to make way for gentrification. If you have ever been entranced by the sound of Turkish Roma clarinet, read this and weep.

Good-bye, Gypsies: The Loss of 1,000 Years

Rupa, who fronts the April Fishes is certainly a multi faceted creature. A doctor, a musician, a painter, a linguist, she is someone who doesn't just sing about life, she plunges in with both feet.  She spent quite a bit of time talking to me in New York about the various bandmembers and singing their praises (sorry Fishes, I didn't use that stuff --and readers, it IS an excellent band!) but eventually we got down to some of the subjects that drive her.

A documentary about the band's trip along the border between Mexico and the USA is in production.

On another note, there is a very moving video that while as commercial as it gets, cuts to the heart. It is an homage to Neda, and all the young people who have demonstrated and suffered during the recent government crackdown in Iran. The majority of people living in that country are now below the age of 30-- Possibly the largest demographic on earth of educated young people to be held back by their own government. These days we all know we are watching history when we watch Iran.

The ripples continue to spread outward.

I first heard Tamer Pinarbasi play the kanun on our video for Amnesty International "The Price of Silence." Andres Levin, the producer, had him record the first layer of "world music" onto the existing basic track from Aterciopelados. As soon as I heard the results, I was entranced. Tamer just laid down one good take after another, plus it was all tasty stuff.  Later, when I was taping my first blog installment I caught Tamer playing again, with the New York Gypsy Allstars.  This time I was struck by his technique and velocity. He played some great solos, and even his backup (which I sometimes think is as much the measure of a musician as the solos) was great. So I contacted him and last week he gave me a quick interview and performance at our office before running off to a gig in Brooklyn.

I must say I got a bit hypnotized just looking at the kanun and at Tamer's hands...hope you do too!