Fahir Atakoglu

A native of Turkey, Fahir Atakoğlu is an international award winning composer and pianist well known in the fields of large symphonic works, film music and jazz. His works have been performed in various music festivals in Europe and The United States to critical acclaim, and he is considered one of the most outstanding pianists and composers in the world today.

Fahir was recently honoured (2015) as one of the 50 Most Influential Turkish American Artists. Since 1986, Fahir has composed jingles, documentary and film music for many national and international productions. For his work in film composition, he won first prize for “Documentary Music Compositions” at the Milano Film Festival as well as “Outstanding Achievement in Arts Award”, Platinum Sales awarded by EMI Greece, Telos Dios Telosfor sales in excess of 480,000 and he won “The Best Song Award” from the Mega Channel in Greece. Most recently Fahir Atakoğlu scored and composed the soundtrack of the TV Drama entitled “Magnificent Century” (“Muhtesem Yuzyil”). Fahir’s virtuosity can be further demonstrated with the music that he composed for the Istanbul National Ballet’s performance of“East Side Story”.

Also an accomplished solo artist, Fahir has released 17 albums since his solo debut in 1994, and he maintains an intense international touring schedule in Europe and the USA, including his recent sold out shows at the world renowned Kodak Theatre in Los Angeles, and Carnegie Hall in New York City, proving his worldwide appeal.

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Recent releases, Jazz Funk and much more

Album Review

For Love by Edward Blanco
Live At Umbria Jazz by Jakob Baekgaard

Profile

Fahir Atakoglu: Istanbul Blues

Album Review

Live At Umbria Jazz by James Nadal
If by Dan McClenaghan

Review by Michael G. Nastos

For his sixth recording, Turkish born pianist Fahir Atakoglu has gone retro, recalling the '80s contemporary New York City/Seventh Avenue South neo-bop, skunk funk, and fusion of the Brecker Brothers and Steps/Steps Ahead. Playing exclusively acoustic and not electric piano, he also employs the quite different sounding electric guitarists Mike Stern or Wayne Krantz on alternating tracks, adding Michael Brecker disciple Bob Franceschini, electric bass guitar pioneer Anthony Jackson, and the dynamic drummer Horacio “El Negro” Hernandez. Atakoglu attains the sound he seeks quite easily, a bit derivative, but exciting and refreshingly done some 25 years after the fact. Of course the twist is the folkloric Turkish nuances, rhythm and elements he incorporates, and that he has added on from his 2005 breakthrough CD “If,” which concentrated on his trio with Jackson and Hernandez. The result is more jaw dropping music from this most awesome, brilliant, death-defying pianist who deserves a ton of wider recognition and admiration. On the more electrified side, urged on by Stern's characteristic high-pitched guitar, “Fuse On” kicks off the CD with an unmistakable Brecker/Steps Big Apple Broadway swagger and strut, while a staggered choppy staccato accent identifies, but does not update “Sync-Op.” In the pocket American style, the hip and contemporary “Aheste” has Stern at his most resonant, a ringing endorsement of Atakoglu's attempt to drag this music into the now. Krantz is a more subdued, but still substantial player, and he stokes a distinct Turkish fire with embers instead of flames as on the 7/8 beat of “Black Sea” a heavy Mid-Eastern dialect paced by Atakoglu's cascading piano lines, and on the dervish like 10/8 measures of “Trapped” with an industrial guitar woven through the pianists probing inventions. Combining the different influences, the outstanding “ESS” is a minimalist tune fronted by Franceschini's lurid tenor lines, a more balanced timbre between all the instruments, and an out and out rock and roll bridge. It cannot be overemphasized that Jackson and Hernandez together are killin', and are about as unstoppable a tandem as there can be going in modern jazz or fusion musics — period! If you go back to the first recordings of Steps when Michael Brecker was with them, the similarities are quite clear, but they didn't have a pianist as formidable as Atakoglu. There's a lot to enjoy on this recording from a contemporary and historical standpoint, and as listeners should definitely own a copy of “If,” this one shows a willingness to expand, employ different styles, and bodes well for Atakoglu's next adventurous excursion.

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