The bass guitar work of Cenk Tezil added another layer of intrigue to “Jam It Is”. The tapping technique he used was both percussive and harmonic, as if he were not only playing the bass guitar but creating a rhythmic landscape on the fly. His lines were arpeggiator-like patterns that moved in rapid, cascading waves without ever losing the groove that held the whole ensemble together.
What was striking about Tezil’s bass lines was their ability to act as both rhythm and harmony at once. It wasn’t just a foundation for the rest of the band; it was an essential voice, weaving in and out of the musical fabric, never overshadowing but always in sync. The almost mechanical precision of his tapping brought an electronic vibe to the otherwise organic setup, making the contrast between the dark, analog tones of the band and the modernistic bass a defining feature of the performance.

On drums, Brandon Lewis played with an intensity and sharpness that punctuated every corner of the “Jam It Is” performance. When describing Brandon Lewis’ drumming, it’s crucial to highlight his distinctive sound and creative approach. His playing is characterized by hard, sharp attacks, clockwork timing, and a deep sense of creativity, as he crafts small melodies within his rhythms, accentuating certain beats and adding intricate variations. His sharp reflexes allow him to react quickly to the music around him, seamlessly adapting to changes in the groove. With a blend of precision, innovation, and confidence, Lewis brings a dynamic and compelling energy to every performance, creating rhythms that are both musically intricate and powerfully engaging. Lewis displayed the kind of finesse that only comes from a deep understanding of rhythm, delivering moments of blistering energy without ever losing the tightness of the groove.

It was evident that Lewis wasn’t just a drummer; he was a timekeeper, guiding the ensemble through the ebbs and flows of the jam. His precision kept the chaotic energy of the band grounded, allowing each member the space to explore without fear of losing their way.

At the heart of the “Jam It Is” performance was Yusuke Yamamoto, whose improvisational solo on keys was nothing short of mesmerizing. Armed with a Rhodes and a melodica, Yamamoto’s playing style was a juxtaposition in itself—rooted in percussionist sensibilities, but executed with the breath control of melodica. His solo felt effortless, as if he were dancing with the air around him, the melodies flowing as naturally as his movements. 

His breathy, atmospheric tones contrasted the more aggressive rhythms around him, yet it never felt disconnected. His playing was like a thread weaving through the chaos, a quiet center of calm in an ocean of sound.

What truly sets Yusuke Yamamoto apart is his ability to transform the Fender Rhodes with his analog setup. When he hits a chord on the Rhodes, he immediately manipulates the sound using his analog pedals, creating a real-time looping delay effect that stretches a single note or chord into something much larger. This technique adds layers of texture and complexity, as the initial hit evolves into a cascading, almost hypnotic sound, continuously building and shifting. By using his pedals to loop, delay, and modify the Rhodes’ tones, Yamamoto blurs the lines between performance and sound design, creating an immersive sonic landscape that feels both organic and experimental.

A standout feature of “Jam It Is” was the inclusion of the riq, a middle eastern percussion instrument played by Gilbert Mansour. The riq’s presence added an intriguing element of mysticism to the performance. With clockwork precision, Mansour’s hands fluttered across the surface of the riq, offering quick, busy touches to the cymbals and skin. The delicate yet rapid notes brought an added layer of complexity to the rhythm, acting as both a bridge between cultures and a sonic spice that added unexpected flavor to the jam.

What’s remarkable about Mansour’s performance is how effortlessly he blended the traditional sound of the riq with the more contemporary feel of the bass and drums. The mystical, almost hypnotic qualities of his playing weren’t just a nod to Middle Eastern traditions—they were a musical conversation, perfectly complementing the groove laid down by the rhythm section. His delicate ornamentation acted like the strawberry on a cake, sweetening the complex flavors that came before it.

The true genius of the “Jam It Is” performance, however, may lie in the subtleties of Ilker Ciraci’s percussion work. As a percussionist, Ciraci’s role wasn’t to dominate the stage with sound, but to guide the flow of the music. His contributions were sparse, often playing just a few notes on the congas or layering in effects percussion at the right moment. It was clear that Ciraci understood the power of silence, as Miles Davis suggested: “It’s not the notes you play, it’s the notes you don’t play”.

His sparse percussion work was an essential counterpoint to the busier elements of the jam, and it highlighted the band’s ability to trust one another’s instincts and allow the dynamics of the performance to evolve organically. Ciraci created a canvas for others to paint upon, and in doing so, he helped push the music forward in a way that only silence can.