The Forbe, Camden
Having never before been to the Forbe in Camden, I admired the interior; classy wooden walls, high ceilings, intriguing angles and a wall of plants I particularly liked. The stage was set for the opening act; Olcay Bayir and her touring band. Coming from Turkey with Kurdish origins, Olcay mixes the classical Anatolian musical traditions with her western musical training. Coming to the stage it must be noted how wonderfully gracious Olcay Bayir looked, wearing a classy black dress embellished with beautiful jewellery, the audience quickly hushed.
Olcay started her performance by singing an original composition in a wonderful soprano voice, that managed to stretch from the lowest octaves climbing steadily higher and higher until I’m sure she managed to squeeze five different octaves into one song. The drums and the five stringed bass sounded more western influenced driving each song with an almost rock’n’roll sound. This contrasted well with the traditional techniques used playing the acoustic guitar, and the pairing of the Kaval, a traditional flute instrument from Turkey, with the violin, harmonising and together ornamenting around the operatic voice of Olcay.
Olcay Bayir treated us to one or two originals off her new upcoming album. Olcay’s stunning voice echoed through the unusual space connecting to every audience member. The use of the Kaval working with the violin really lifted the Macedonian sounds from her compositions creating a fusion of music that is not only easy to listen too, but also divine with rich textures. Olcay Bayir announced that for her second upcoming album she has launched a crowd funder to help towards the cost, in return she’s offering rewards, plus pre-orders of the album. After 45 minutes of playing Olcay left the stage to be set up for the nine piece all brass balkan orchestra.
What an entrance they made, coming out section by section layering and building up a real buzz around their first song. After blasting us with some heavy brass talent, without introduction Mamak Khadem joined the boys on stage and together they finished their opening sequence.
The stunning spiritual voice of Mamak Khadem comes from a fusion of traditional styles embracing cultures from all throughout the middle east. Primarily an Iranian singer, her roots in ancient poetry and traditional Persian music have helped Mamek find common threads throughout the globe, creating continuously innovative music. During their performance together Mamak Khadem and the Dzambo Augusevi Orchestra brought influences from primarily Iran and Macedonia, but also Serbia. Together they played through a number of Mamaks songs including a particular favourite of mine from the evening; ‘Those Eyes’ of which Mamak had composed specifically for the Orchestra.
The evening was filled with infectious grooves. The playful, upbeat manner in which the Dzambo Agesevi Orchestra perform showcases their rare connection. Within the nine members we have an Uncle named Koko, his brother, and that brothers son; Dzambo.
Dzambo himself joined his uncle in the orchestra as third trumpet at the mere age of 11, and over the next few years became one of the worlds most renowned players shocking and awe inspiring around the globe. “Jumbo 11” is an album by Dzambo, made at the age of 11, after being invited by legendary saxophone player Ferus Mustafov to record. From there Dzambo won every trumpet playing award there was, including in ‘Pehcevo Competition’ ranking as every position possible. From 2006 to2011 he was unbeatably the fastest trumpet player in the world. He also achieved ‘every trumpet players dream’ of winning the ‘Guca Festival’ for himself and the Orchestra, who were eventually asked to stop contending in order to give others a chance. Uncle Koko is also a legend in his own right. Having played abroad in many projects his virtuosity is recognised everywhere.
The evening seemed to fly as each song seamlessly grooved into the next. Mama Khadem demanded a complete deserved respect as she powerfully sung with the nine piece brass band. With varying trumpets and horns and a percussion section that consisted of a Rowland Synth pad and a large Tapan drum, not once did Mamak Khadem’s voice fade into the noise. Somehow, the the big brass beats from the Dzambo Agusevi Orchestra worked perfectly in sync Mamak who clearly had a close and warm friendship with the boys. Together they performed one of Mamaks more diverse songs from her first album - ‘Jostojoo, Forever Seeking’ of which Songlines magazine highly acclaimed. The song itself ‘Bigharâr (Restless Yearning)’ asked both the Uncle Koko and Nephew Dzambo to sing with Mamak, consequently the energy of the evening really hit a high with everyone in the audience dancing and applauding.
Mamak spoke a few times between the songs explaining how she had told the band to learn English, but she will be doing most the speaking as they “didn’t do very well” (queue waves of chuckles from the orchestra). Throughout the evening she told us stories of her life and travels, speaking of her journeys through cultures making all kinds of friends and a families, and told us how the orchestra had become her “favourite family”. The love and appreciation the members had for one another was clear throughout. After every song applauding each other, embracing smiling and laughing.
After an epic finally Mama concluded to the audience that “Music has no boundaries and it is the language of love”. She then left the stage leaving the nine behind to step up the balkan beats for the last segment of the evening.
Here the audience really came alive, seemingly suddenly half Macedonian/Turkish the band launched into Balkan styled patriotic sing along songs. The talent of each members of the band really shone through as they played fast, complicated, elegant pieces and did so, with such an air of ease. Needless to say Dzambo’s trumpet playing shone through as an exceptional talent, frequently shocking and stunning the audience. The horn section themselves were so smooth with the groove I felt if I took my eyes of the band, I could convince myself I could hear a western bass guitar on the stage.
With a huge amount of audience singing, the encores seemed they would never end. I spoke to a lady in the audience who had grown up in Macedonia and she said;
“This music is so nostalgic, it makes me feel like I am home. But not just for me, for Perisan people too, and Iranian, so many people feel at home to this music.”
Although I had grown up in the South of England, I could feel the nostalgia filling the room with admiration for the extremely talented orchestra.
After the third encore, the band finished with ‘Crazy Dance’ an upbeat original that left both the audience and, it seemed, the band reluctant to leave.
I had really enjoyed the evening, the electric energy emanating from the stage stayed with me till I was home, trying to sleep.
Olcay Bayir will be releasing new music soon, you can find more about her crowdfunding project on her Facebook page. Make Khadims albums are available on all platforms, including her brand new album ‘The Road’. The Dzambo Agusevi Orchestra are continuing to travel and play their music globally.