Katakofti is another name for an 8/8 time, divided into 3+2+3, which is called Müsemmen in Turkish classical music, The word Katakofti is related to both Greek and Roma and is a compound of the words ‘khat’ (melody) and ‘kofti’ (contrary, adverse). Gypsy musicians use the term to refer to compositions which have a rhythm or melody against the grain. The makam (mode) of this song is the classical makam Zirgüleli Suzinak, but the composition, originally a sirto dance tune from the folk music of Thrace, is usually called Çargah Sirto by non-Gypsies. Unlike most sirtos, which are named after their makam, this one is named after its dominant tone, Çargah. Gypsy musicians also use the name Katakofti for this particular tune. Kafakofti’s exuberant groove invites improvisation.
Harmandal is a well-known Turkish Gypsy tune, which usually accompanies the characteristic Zeybek dance. Harmandal is played throughout the Aegean Sea region, from Çanakkale to Mugla, as well as further inland in Anatolia. The piece is often performed as a duet for davul and zurna (big drum and shawm), but the Harmandal performed by the small “Incesaz” ensembles (clarinet, cümbüsh, violin, darbuka) is very popular too. The elasticity of the subdivision in 9 slow beats (2+2+2+3) and the melodic structure allows the performers immense freedom.
Soski: The famous rembetika musician Giorgos Katsaros with his magic guitar playing inspired Alec Kopyt to write lyrics to this melody. On this album the magical play was performed by Mehmed Yerkabartan on oud.
Der Terkishe Yale Ve Yove: A traditional klezmer piece which was performed and recorded in the 1920′s by clarinet player Naftule Brandwein. The common klezmer dance form became known as Terkishe (“Turkish”) in Istanbul, where many klezmer musicians lived in the late eighteenth, early nineteenth centuries. The rather agressive groove of this Terkishe inspires to rapping, which explains why Job Chajes chose it as the basis of a cheeky rap song, which tells the story of someone listening to klezmer music but choosing the wrong band entirely: If you are after some really good music, you’ll have to try De Amsterdam Klezmer Band and The Galata Gypsy Band!
Didem is a melody with a 5/4 time (2+3). The original inspiration for it derives from a composition by the Turkish Gypsy musician Selim Sesler, although this influence has become indiscernable in the final composition. Didem was written especially for this project and is meant to be played by a very small ensemble, as a counterpoint to the fuller tutti compositions, and to create a more intimate atmosphere. The song uses an unusual combination of kanun and trumpet. The kanun of Hicret Onat takes centre stage as the solo instrument. Gijs Levelt dedicates this piece to his friend Didem from Ankara.
Bambi Cafê takes and mixes up the characters of both bands, then adds something to the mixture. The result: Western and Turkish sounds compounded with the personal musical preferences of the composer. The song explores two different takes on a 12/8 time: 7+5 and 3+3+3+3. The cowbell and the accordion form the link and continually play a ‘clove’ in unison. They provide a vehicle for the two clarinet players, with all their differences and similarities. The Bambi Cafê is located opposite the Dilson Hotel and the Shaman Club in Beyoglu, Istanbul, and during rehearsals and in their breaks the musicians went there to have ayran, durum döner and tasty fruit shakes, not to mention the kokoreç which some of them enjoyed.
Magnificent Seven is inspired by the unsurpassed Gypsy brass bands from the Moldavian port of Romanio. It has a fast galloping 7/16 time accompanied by a melody which leaves the horn section hardly any chance to breathe at all. The musicians are challenged to play high-energy. lt’s a very danceable tune, suitable for any sparkling wedding or party! Alas, the world-famous movie by the same name had little to do with the naming of this piece of music…
Elfje is a Bulgarian oriental song on 11/8 time. Guitar, banjo and kanun merge and became as one instrument when they play the melody in unison. The song starts off with a magnificent doina/taksim with a mystical vibe on the Turkish clarinet. Accordion and baritone form the rhythm section. Janfie van Strien and Göksel Zurna end up battling it out on clarinet. The result is fairy tale music which fits the title of the piece (“elf” is Dutch for both “eleven” and “fairy”). Elfje has an hypnotic and somewhat manic atmosphere, characteristic of the compositions of Jasper de Beer.
Moya Raba: Alec Kopyt took this song from a recording by the Greek rembetika singer A. Kostis, renowned for his urban realism. At the time Alec listened to many rembetika CDs and wrote his own lyrics to these songs in Russian. Rembetika originated as the urban folk music of the Greek population in Ottoman Izmir, and was later brought to Greece. The songs are reminiscent of Odessa, Ukraine, where Alec grew up.
On the Fly: Original klezmer/Gypsy based composition in which the Amsterdam Klezmer Band chases the first beat of each bar in a repetitive theme. Clarinet and trumpet oscillate through the chords, accompanied by a fast tarantella. The contemporary sound of klezmer from Amsterdam, as recorded in Istanbul.
Tulum Havas, here performed by the Galata Gypsy Band, is one of the most popular pieces of Turkish folk music and derives directly from the Gypsies of Thrace. The piece is named ofter the tulum or gayda, a type of bagpipe played in the Balkans and Thrace. A special characteristic of the tulum is the double tone that it produces. The Gypsy muscians prove their virtuosity by achieving the same effect without the use of a tulum. Violinist Selami Karaali bows two strings at the same time, producing a two-part melody.
Di Naie Chuppe: This is a newly written klezmer song, inspired by recordings from the United States from the 1920s. Clarinet players such as Naftule Brandwein and Dave Tarras recorded many klezmer tunes during this period. For the Amsterdam Klezmer Band those recordings are a source of inspiration. The ‘Chuppe’ is a piece meant for dancing using slow, large movements.
Limonchiki is originally a Yiddish street song from Odessa which was first performed on stage by Leonid Ufyosov and his legendary Big Jazz Band. Limonchiki (denoting bank notes of one million) is also the title song of the third Amsterdam Klezmer Band CD and constitutes a guaranteed party smash hit worldwide.
Bahriye Çiftetellisi: The çiftetelli appears in many variations in the folk music of Western and Central Turkey. The different compositions based on this popular rhythm each have their own name, combined with the generic name çiftetelli. Çiftetelli means “with one pair of strings” and is named after the two-string baglama on which this dance tune was originally performed. Gypsies like to play the çiftetelli at the celebrations of non-Gypsies, who they call Baro-Gaci (non-self). Çiftetelli is the dance music most commonly used by the female Gypsy (Çengi) and Oriental (Dansöz) dancers. The song, and with it the entire album, is concluded with a bone-chilling solo on clarinet by Göksel Zurna.

The project

The popular Dutch group De Amsterdam Klezmer Band consists of seven self-willed and sparkling musicians. The group radiates the true spirit of traditional klezmer music and never fails to surprise with their original new compositions, incorporating other musical styles such as blues, rap and funk. Gypsy and Balkan music have always played a part in the swinging klezmer music of the Amsterdam Klezmer Band. Using clarinet, trumpet, trombone, saxophone, accordeon, double bass and voice the Amsterdam Klezmer Band brings the infectious enthusiasm, authentic emotionality, passion and mirth of klezmer music. Kulsan introduced the Amsterdam Klezmer Band to the Galata Gypsy Band from Turkey, a group whose virtuoso performances on clarinet, kanun, violin as well as oud, and darbuka and other percussion instruments classes them among the very top musicians of Turkish Gypsy music. Folk and Balkan music together with their own particular Gypsy touch are the ingredients of their heartwarming music, with its tempo and rhythms which never fail to stir. The Amsterdam Klezmer Band and the Galata Gypsy Band together treat their audience to an unforgettable feast of music.

Galata Gypsy Band

The Galata Gypsy Band is an ensemble consisting of members of a large company of Gypsy musicians from Edirne and its surroundings (Thrace), who have played together for many years: the Edirne Romanlar. The musicians of the company perform in various combinations at parties, weddings and other occasions and at many music venues in the region. The popular party music they present is a mix of Turkish folk music, fasl and Gypsy instrumental and vocal music.
Anatolia and Thrace – what is now Turkey – have been a route to the West for migrating Gypsies since the 9th century, but have also always been an attractive area for settling down. In the cultural melting-pot of this region the Gypsies, who have always been engaged in music and dance, contributed significantly to these art forms. Wherever the Gypsies settled down they assimilated the local folk music, always adding their own characteristic touch. They have also made a name for themselves in the performance of Ottoman classical music, which is still part of their repertoire. Continuing to the present, music companies in all parts of Turkey have consisted largely of Gypsy musicians. In the regions where most of the Gypsies live, they also developed their own onginal style, a smooth blending of Balkan, Arab, Oriental and Turkish sounds.
Gypsies can be found all over Turkey but live mainty in Thrace, especially Edirne, and in the region around the Sea of Marmara, Iicluding Istanbul. The characteristics of their music vary per region. In Central Anatolia they play davul and zurna, and also baglama, in Thrace and Marmara, Influenced by the music of the Balkans and Turkish classical music, Gypsy ensembles perform on the clarinet, oud, violin, kanun and darbuka, and on the cümbüsh, a metal banjo.
Since 1998 the Edirne Romanlar have been focusing on a traditional Gypsy music repertoire, which threatened to fade into oblivion. They endeavour to breathe new life into this music and popularize It, not just as party music, but also on stage. The Edirne Romanlar company – founded and led by Çeribasi (Gypsy king) Mehmet Ali Körüklü – and its objectives are supported by the Turkish Ministry of Culture. The Edirne Romanlar have given many concerts and performed at a great number of festivals throughout Turkey and in several European countries. In 2000 they had great success at the international Gypsy Festival in Bulgaria and in 2002 with their tour of the Netherlands, organized by Kulsan.
The Galata Gypsy Band consists of top musicians from the Edirne Romanlar. Individual band members have performed on many albums by famous Turkish artists. This is the first project by a distinct ensemble from the Edirne Romanlar, a project parficulariy unique because of the international collaboration involved