Brandon’s drumming in “As Is” is a masterclass in restraint, space, and tension. He begins with a straightforward groove—kick on 1 and 3, snare on 2 and 4—providing a solid backbone. But his playing is anything but static. As the jam progresses, he subtly removes hits, creating an intentional sense of space. His fills are sparse but impactful, proving that sometimes playing less is playing more.

When Cenk momentarily steps back, Brandon seizes the moment, launching into a dynamic solo. He builds intensity through meticulously timed kick strokes, gradually escalating towards a climax. His control over tension and release is evident, as he seamlessly transitions from open, airy patterns to dense, kick-heavy grooves, incorporating rapid-fire snare strokes for added energy. Amidst the percussive interplay, a raw, unintended detail emerges—the squeaking chain of his kick pedal. Whether a technical flaw or a perfect imperfection, it adds to the authenticity of the moment. Perhaps a little oil could have helped, but the unfiltered reality of the jam remains part of its charm.

A percussionist at heart, Ilker approaches every instrument with a rhythmic mindset. In “As Is,” his synthesizer work is deeply percussive, driven by a groovy bassline built around octaves and simple, hypnotic ostinatos. Using just two fingers—one from each hand—he crafts a rhythmic, minimalistic pulse that anchors the improvisation while leaving ample space for the others to build upon. His choice of a pentatonic scale keeps the harmony open-ended, allowing the jam to breathe. The simplicity of his playing is intentional, acting as both a foundation and an invitation for spontaneous musical exploration. For Ilker, musicianship transcends instrumentation—whether on percussion, synth, or something entirely unexpected in future sessions, his rhythmic instincts remain at the core of his playing.

Cenk’s entry into the jam is both intuitive and exploratory. He starts with his left foot pounding bass notes, laying the harmonic groundwork before gradually introducing chords. As the piece unfolds, he transitions from sustained harmonies to intricate melodies, shaping the jam’s harmonic movement. This prevents the improvisation from becoming stagnant, transforming it from a one-chord vamp into a dynamic, evolving progression.

What makes Cenk’s performance even more remarkable is his complete unfamiliarity with the B3 Hammond Organ. With no time to figure out the instrument’s mechanics, he improvises his way through, learning its quirks mid-performance. The result? A fascinatingly unconventional approach—at times, playing with his hands crossed due to his unawareness of octave adjustments. This unfiltered, instinct-driven playing creates an organic energy that is both fresh and unpredictable. Bass notes, harmonies, and melodies spill out simultaneously, embodying the spirit of the jam.