Buradan sonra yavaş yavaş başka yörelere kayıyor :)

Mirga Kardeş Türküler

All rights belongs to Timur Agrba.

Photo taken by Katie Khromova. (https://www.twenty20.com/photos/ab7eb59f-d6ac-4b04-bd56-919445f99b82)

Агрба Тимур - Ачаг Ашэа

Kardes Turkuler Silemano

Залим Хагуров (пшыналъэ Гуп) – Къэбэрдей Макъамэхэр

kardeş türküler | daye rojek Te  (1994 Concert)

Мохьмад Нохчо - Shashan Nalmes

KARDEŞ TÜRKÜLER -Kayseri Ğogum

This album includes recordings from a major expedition across Türkiye in 2017. Some of these materials have been released in previous years. This release features songs and tunes we collected in two neighboring provinces: Sakarya and Düzce.
In Sakarya, we visited the Abkhazian family ensemble Azar, which folklorist Madina Pashtova and our friend Erhan Turkav recommended to us before the expedition. Erhan, a Circassian from Türkiye, knew almost all the elderly and young musicians in Sakarya and Düzce.
The rare recordings we found on Facebook from compilations promised a meeting with an old style, free from academic or pop influences. Expeditions in Abkhazia showed that such music is almost gone there. The Soviet influence was very strong — choirs in Sukhumi, Pitsunda, and even villages often sounded like ensembles from radio committees or cultural centers. This, of course, is also interesting, but we wanted to find performers who had either not been influenced by this or had somehow overcome it.
Thus, we were looking forward to our trip to the villages of Sakarya, perhaps even more so than other meetings in Türkiye. It seemed our informants were just as eager to meet us. From the doorstep, we were greeted by elderly Abkhazians keen to show us their hospitality — the table was full of homemade food, and people were ready for well-wishes and toasts (though we only drank tea there).
During the long feast, we learned that the ensemble had faced difficult times — one of the main vocalists and experts in traditional Abkhazian songs, Nezhmettin Anashba, had recently passed away, making it harder for the group to maintain the style of Abkhazian polyphony. It was also sad that there seemed to be no replacements among the younger generation. Azar was regarded as the last bastion of Abkhazian table singing. As is often the case, people were more focused on preserving the image of the last and most valuable bearers of tradition than on acquiring their knowledge and skills.
Fortunately, Tolat Sadzba was still alive — an elder who still remembered the song lyrics and was willing to sing them. That day, after several dishes and traditional blessings, we managed to record only two songs. A heroic ballad from the Russo-Caucasian War about Ajgerei-ipa Kuchuk (about whom there are both Circassian and Ossetian songs) and a song-melody for choral dances — Aurasha.
Perhaps we could have recorded more, but the informants were more interested in talking and asking about the homeland (both Abkhazia and the Circassian republics) than in singing songs. The first expedition is often introductory, where we establish contact, and the main part of the material is recorded during the second visit when people are no longer trying to impress us with their hospitality. We left Sakarya firmly believing we would return later and record the rest. But just a few months after our recording, Tolat Sadzba passed away. Thus, these two incredible songs became our only recording of the legendary Azar.
Recording in Düzce
Erhan also organized the recording in Düzce. There, elders (mostly Shapsugs and a few Abkhazians) formed a home ensemble with the ironic name "70-Year-Old Youth." This joke not only accurately described the participants' age and enthusiasm but also the music played by the unofficial group — wedding music for games-dzhegu.
The lively elders passed the accordion, played the melodies from hand to hand, sang dance refrains in chorus, and used large wooden benches as percussion instruments, hitting them with wooden sticks (called pkhachag here).


KARDEŞ TÜRKÜLER -Kayseri Ğogum

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