Seeking music in the present moment, this trio take a bold improvisational approach to performance. Featuring original pieces from the three artists, their aim is to traverse into the territories of pure music, combining the resonances of their cultures and places with an eye on the avant garde.
Dine Doneff (aka Kostas Theodorou), multi-instrumentalist and composer, has been an active member of the Greek musical scene since the early 80’s, and travelling around the world taking the chance to collaborate with musicians from different cultures. His music is a result of his experience in jazz music and his deep roots in the music of the Balkans. Narrative, dynamic, lyrical at times, his music captures his audience and together with his extraordinary fellow musicians he creates a fascinating and unique soundscape.
İzzet Kızıl is one of the foremost percussionists of Turkey, specialising in darbuka and near-eastern percussion instruments. Born in the city of Diyarbakir, in the east of Turkey, he grew up in an environment of Kurdish, Farsi and Sufi rhythms. As a percussionist, Kizil has an open contemporary perspective, and his personal style is characterised by intuitive sensitivity and natural virtuosity.
... harpist Natalia Mann, who brought her harp-bass-percussion trio to play original music in Babylon on Sept. 26. ...Mann’s group was a stellar package of inspired contemporary improvisation with a world-music twist.
For the Babylon performance, Turkish percussionist İzzet Kızıl and Macedonian bassist Dine Doneff joined harpist Mann, who is a native of New Zealand and a fearless improviser. She and her international colleagues weave a global musical fabric but their collective identity is firmly anchored in Mann’s unique harp approach that it can function in many other ways than standard concert use.
Her approach is one that’s percussive, vocal, emotional, evocative and even occasionally abrasive. Performing at Babylon without any electronics other than general amplification, the trio provided on-the-spot brainstorms produced by paying close attention to each other. We could hear them thinking. Their ambrosial brew of original material, with titles like her “Gül Çay” (Rose tea) and Doneff’s “Dudula” (Macedonian rain dance) went from delicate to explosive throughout their ambient improvisations. Kızıl’s cleverly understated contributions underscored everything with delicacy and with a blessed absence of testosterone-infused drummer ego.
Their final piece, “Butterfly Effect,” which refers to how the motion of a single butterfly’s wings can affect all of the Amazon, Mann dedicated to “all those who showed such strength and bravery in Gezi Park.” Their encore, another extended improvisation that involved her singing for the first time that night, revealed a rich, throaty voice. This stunning addition bodes well for what can develop in the future for Mann and her delightful musical projects