Theodosii Spassov Trio
The Fish Are Praying for Rain
Traditional Crossroads

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"Tatovata Rabotilnitsa"
All of the usual heebie-jeebies about the validity of ethnic music and jazz fusions fall by the wayside in just the first few measures of The Fish Are Praying for Rain. Theodosii Spassov, who is well known in Balkan music circles as "that jazz playing kaval player" is a perfect example of how one person steeped in a particular musical culture can integrate other traditions into one cohesive, artistic persona. The trio of Spassov, Roumen Toskov on piano and keyboards and Hristo Yotzov on drums and percussion don't pull any punches, and the beginning track plunges the listener head on into "Karchenitsa 216" (a wordplay on the dance "Kopanitsa, perhaps?") on into "Tatovata Rabotilnitsa," both relentlessly propulsive pieces. We immediately know that all these players are heavyweights who could hold their own in any New York jazz venue. Indeed, Spassov seems determined to knock the listener out with sheer energy and virtuosity for the first half of the CD and it isn't until the seventh track that the pace slows down for the beautiful ballad "Tudorka" which despite its traditional sound, is a Spassov original. After this gem, the music becomes more relaxed, with some pensive and lyrical tracks rounding out the set.

The success of this music comes from Spassov's basic approach; he is more concerned with similarities than with differences; his interest and familiarity with a broad range of musical styles is always anchored to an insistance on its affinity with Balkan music. For example, on his impressive solo track "Tui-To!" he utilizes the vocalese associated with the playing of Indian tablas, but he is taking those exercises and applying them to the sound and rhythms of the tupan, the Balkan double headed drum. Thus, all the tracks have a link to Balkan music, but are played with the free, unaffected joy of master jazz improvisors.

The playing of the trio is a delight, with Toskov and Yotsov both supplying extraordinary sensitivity and chops. Spassov's kaval is blown, sung through, processed, overblown, and played every which way but upside-down. His interest in sound as music is apparent from his solos, but also from the tracks of urban and rural soundscapes which intersperse the CD, from the bustle of a Sofia train station to evening rain falling on a small village.

In all, this is an impressive American debut. Credit goes to Harold Hagopian of Traditional Crossroads for taking a chance with this, and one can only hope that it finds its way into the ears of the Jazz public. - Michal Shapiro

Audio ©2000 Traditional Crossroads, published T-Crossing
used by permission

Buy it at cdroots.com

Selim Sesler
The Road to Kesan
Turkish Rom and Regional Music of Thrace

Traditional Crossroads

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"Patrona Samiotisa"
Impeccably assembled by musicologist Sonia Seeman, this CD presents wedding music as performed by Selim Sesler's Rom (Gypsy) ensemble in Kesan, which is in the tiny fraction of Turkey that lies on the European continent. Consulting the musicians regarding song selection and order to achieve an aesthetic sense that is true as possible to that of the local community, Seeman takes great care to put the music in context. Extensive notes, photos, and an anecdote about a holiday picnic provide us with a package that is not only exciting for the ears, but also enlightening for the mind. The music itself is a classic Rom combination of songs drawn from the traditional local repertoire and virtuosic improvisation. Odd meters with a stop-and-go feel abound for the dance numbers (9/8: 2+2+2+3, 7/8: 2+2+3), while ribald lyrics spike the drinking table songs for men.

The melismatic clarinet is king here, not the shriller double-reed timbre of the zurna, which was the preferred instrument in older times. A violin, kanun (Turkish zither), cumbus (a banjo-like instrument), and drums (davul and darbuka) round out the ensemble. In a real wedding, there would also be requests for more urban genres such as arabesk and fantazi, but here the focus is on the traditional Rom selections. The only minor gripe I have is that this is a studio recording, which misses out on the ambient noise of a field recording (laughter, clapping, a rooster crowing...) that really makes you feel like you are there in the midst of it all. -- John Cho

Audio ©2000 Traditional Crossroads, published T-Crossing
used by permission

Buy it at cdroots.com

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