Ferit Odman | Nommo

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Jazz: Hard Bop Jazz: Mainstream Jazz Moods: Featuring Drums
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by Ferit Odman

A dynamic debut album from Turkish jazz drummer featuring the finest names in New York jazz scene today. Brian Lynch (trumpet), Vincent Herring (alto-sax), Burak Bedikyan (piano), Peter Washington (bass). Hard-bop with no opologies..
Genre: Jazz: Hard Bop
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  Song Share Time Download
1. The Eternal Triangle
5:41 $0.99
2. Nommo (One)
0:55 $0.99
3. Rob Roy
6:15 $0.99
4. To Wisdom the Prize
10:53 $0.99
5. Tadd's Delight
6:50 $0.99
6. Nommo (Two)
1:14 $0.99
7. Mr. AT.
8:00 $0.99
8. An Oscar For Treadwell
5:12 $0.99
9. Good Times
3:55 $0.99
Downloads are available as MP3-320 files.


Album Notes
Liner Notes by: - Mulgrew MILLER -
"One of the outstanding students who crossed my path as a teacher has been a young drummer from Turkey.
His playing would indeed delight the heart of the American jazzman as he has fantastic time and great passion.
He would be welcomed on the New York jazz scene. He is one of the treasures on the Istanbul scene.
The listener should expect a set of great swinging music from Ferit Odman."

Ferit Odman (1982) is an on demand jazz drummer based in Istanbul.
He started his music studies in Sweden as an AFS exchange student (1999), got a full scholarship to get his B.A. in Music at Istanbul Bilgi University (2001), attended the School For Improvisation workshops in NYC (2004), and has been granted a Fulbright Scholarship to further build on his studies at William Paterson University (2006).
He spent / played two years in NYC, studied with jazz greats like Mulgrew Miller, Harold Mabern and Bill Goodwin and he holds a M.M. (Master of Music) degree in Jazz Performance.
He became heavily entrenched in the Turkish jazz scene at a young age and recently performs and tours with Turkish pianist Kerem Görsev, while leading his own quintet and promoting his debut CD release “Nommo” that he recorded in New York with Vincent Herring, Brian Lynch, Burak Bedikyan and Peter Washington.



to write a review

Marla K.

Swings 'til the last note
Great recording from start to finish by leader/drummer, Ferit Odman. Arrangements, musicians, solos, entire recording is a gem! Support jazz and jazz musicians; buy this recording...I did!

Sinem Saniye

Ferit Odman has talent oozing from every beat. A great addition to every Jazz lovers collection. Buy this album!

Nick DeRiso

Ferit Odman – Nommo (2010)

Drummers, even the rare ones who find fame, are enablers. They spend the bulk of their time refocusing the spotlight on others. It’s no different on Nommo, the sterling new quartet release by Turkish-born Ferit Odman. He assembled a thoughtful group of notables for sessions held in Brooklyn, N.Y., and then smartly allowed each of them to join the conversation.

The result is a collaborative, almost communal, effort, as if Nommo was put together over a series of long talks at the kitchen table.

Odman begins with a sizzling-hot appetizer: “The Eternal Triangle,” a quintessential Sonny Stitt bop blowing session from his seminal 1957 recording with Dizzy Gillespie and Sonny Rollins, Sonny Side Up. Trumpeter Brian Lynch takes a brightly swinging turn before saxophonist Vincent Herring begins a propulsive exploration. Odman is a juggernaut behind them, pushing the action along with wit and power. By the time pianist Burak Bedikyan, a fellow Turk, nudges in with a smart and swinging interlude, Nommo has established a crackling intensity.

“Rob Roy,” a newer composition by Oscar Peterson from 1996’s Meets Roy Hargrove and Ralph Moore, spotlights the symbiotic relationship Odman quickly developed with bassist Peter Washington, a former member of Art Blakey’s Jazz Messengers who has appeared on countless jazz recordings. They perform like two halves of the same heart, pulsing and contracting behind a series of brilliant conceptions by the soloists. Bedikyan’s supple turn on the piano is a highlight.

As the entrée, Odman and Co. offer two different versions of the title track, written by Jymie Merritt, a bassist who recorded 10 albums with Art Blakey between 1958-62. The initial take on “Nommo,” athletic and angular, recalls the memorable version on 1966’s Drums Unlimited by Max Roach, where the drumming legend tore this song to shreds. A second version, meanwhile, feels like a slow-motion replay of the rippling hard-bop polyrhythms found on those Jazz Messengers recordings.

On “To Wisdom, The Prize,” a 2007 composition by former Jackie McLean and Hugh Masekela sideman Larry Willis, Odman downshifts into a contemplative swing. Lynch, who has played with Phil Woods and won a Grammy with Eddie Palmieri, solos with a direct, disarming emotion.

“Tadd’s Delight,” by multi-talented composer Tadd Dameron, remains a rousing stop-start exercise in post-bop flexibility. Lynch opens with a cool, edgy turn that recalls this tune’s most memorable version in the straight-ahead style, from 1955’s Round about Midnight by Miles Davis. Herring then steps forward, playing John Coltrane to Lynch’s cerulean Davis, and adds a thrilling turbulence.

“Mr. A.T.,” Walter Bolden’s title track for a 1991 recording by Art Taylor, boasts an easy afternoon sway, as Herring and Lynch work in tandem before taking impressive solo turns.

An expected saxophone showcase doesn’t materialize on Charlie Parker’s “An Oscar for Treadwell,” written in honor of a jazz-loving disc jockey and definitively recorded with Gillespie on 1950’s Bird and Diz. Instead, once again, the whole band is featured by turns. First, Bedikyan expertly fronts a brashly grooving trio sequence with Odman and Washington, before interludes by Lynch and then, most interestingly, by the saxist. Instead of a cascading sheets-of-sound outburst, we’re treated to a slow burn by Herring, who famously toured with Lionel Hampton’s big band, and has also appeared with Wynton Marsalis and Gillespie, among others.

Odman closes with a pastoral ballad, this perfect dessert aperitif, called “Good Times” by fellow Turkish jazz musician Aydin Esen, a pianist alongside Gary Burton, Eddie Gomez and Pat Metheny, among others. Even here, Bedikyan’s swirls and strides are couched in this lithe interplay between Washington and Odman.

Nommo is, until the very end, a group effort.