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.

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.

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.

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.

In “Sparkling Psycho”, Ilker Ciraci’s percussion work is a masterclass in textural nuance and rhythmic innovation. As a pivotal force within the ensemble, Ciraci brings an unexpected depth to the jam, navigating seamlessly between subtle, effect-driven sounds and more groove-oriented support. His use of shakers, for instance, is a key tool in binding together the constantly shifting rhythmic foundations. In this piece, rather than simply locking in a straightforward beat, Ciraci uses these textures as connective tissue, adding a layer of complexity that feels almost like a breath of air within the music’s intricate web.

But it’s Ciraci’s work on the requinto, the lowest drum in the conga set, that really stands out. His approach to this instrument is far from conventional; while he employs traditional strokes, the rhythms he generates are entirely his own, emerging spontaneously in response to the evolving musical narrative. These patterns aren’t rehearsed or expected—each note feels like a new discovery, a moment in real-time that contributes to the ongoing improvisational flow. The requinto’s low, resonant tones provide a rich, grounding contrast to the other instruments, but Ciraci’s inventiveness in how he plays it gives this part of the percussion section a vivid, almost tactile presence.

Ciraci’s flair for polyrhythms is another defining feature of his performance. He is a master at layering accents in ways that defy conventional time structures. Where one rhythm might normally sit comfortably within a 4/4 framework, Ciraci stretches time, creating a dreamlike sense of rhythmic displacement. His use of delayed accents and off-kilter beats adds a surreal dimension to the music, making it feel as if the entire piece is floating in a constant state of suspended motion. These polyrhythmic layers are not merely decorative; they challenge the listener’s perception of time, inviting them to lose themselves in the music’s ebb and flow.

Through these textural and polyrhythmic contributions, Ciraci doesn’t just play percussion—he shapes the very fabric of “Sparkling Psycho”. By blending traditional elements with forward-thinking innovation, he weaves a dynamic rhythmic tapestry that gives the track its unpredictable, ethereal quality. His subtle yet impactful approach ensures that the groove never feels static, always evolving and constantly drawing the listener deeper into the immersive world he creates.

In “Sparkling Psycho”, Brandon Lewis flips the conventional approach to drumming, transforming his kit from a mere timekeeper into a dynamic melodic instrument. Rather than leaning into the cymbal-heavy, effect-driven style often favored in floating, open-ended jams, Lewis offers a refreshingly grounded yet still unconventional approach. His drumming is not about repetitively anchoring the groove or relying on rhythmic ostinatos; instead, he crafts intricate phrases that breathe alongside the harmonic shifts happening within the band.

What stands out most in Lewis’ performance is the way he uses his kick drum. Rather than simply locking in a standard beat or serving as the backbeat, his choices in kick phrasing become part of the conversation, responding to the evolving harmonic landscape created by Yamamoto’s synthesizer and Tezil’s shape-shifting basslines. His kick doesn’t just mark time—it acts as a voice, expressing itself melodically and rhythmically, moving in and out of sync with the rest of the ensemble in a way that feels like a carefully woven dialogue rather than a mechanical pulse.

In the space between Lewis’ kicks, his snare and tom work adds texture and dimension, carefully complementing the floating, unstructured melodies without overtaking them. His phrases come across like musical sentences rather than mere rhythmic support. The way his sticks carve through the air, leaving space between hits, allows the overall texture to breathe, making every strike feel intentional and carefully placed.

This approach gives the drums an emotive quality—his kit doesn’t simply punctuate the music; it becomes a part of the unfolding musical story, responding in real-time to the harmonic and textural changes occurring around him. The drumming feels like a dialogue, an ever-evolving narrative that contributes to the piece’s fluidity, rather than being relegated to a static background role.

Brandon Lewis’ ability to treat his drum kit as a melodic instrument in “Sparkling Psycho” is a standout feature. By focusing on phrasing and dynamic response to the harmonic shifts of the ensemble, he crafts a drumming style that feels like a voice within the musical conversation—a subtle yet impactful element in an otherwise fluid and ever-shifting jam.

“Cenk Tezil’s Shape-Shifting Basslines: Anchoring and Evolving the Groove in ‘Sparkling Psycho'”

Cenk Tezil’s basslines in “Sparkling Psycho” are the sonic bedrock that holds the track together, providing a solid foundation amidst the shifting rhythmic terrain crafted by his bandmates. However, stability is only one part of Tezil’s musical language—what truly sets his playing apart is the way he morphs and bends the bassline to interact with the fluidity of the jam.

At the heart of Tezil’s contribution lies a mastery of hypnotic, repetitive grooves. His basslines pulse with a steady pulse, a grounding force that ties the band to the beat as Yamamoto’s synth and the other instruments venture into unknown territory. These grooves are like anchors in the sea of improvisation, offering a sense of continuity and stability while still leaving space for the music to breathe and evolve.

But it’s Tezil’s subtle and dynamic alterations to these grooves that truly elevate his performance. As Yamamoto introduces new harmonic ideas on the Rhodes, Tezil responds with impeccable precision, shifting the root notes in real-time. These shifts don’t disrupt the harmonic flow but rather warp and recontextualize it, creating a sense of harmonic ambiguity that complements the surreal, dream-like atmosphere of the track. He bends the harmonic framework without ever straying too far from the key, ensuring that the groove never loses its footing while still introducing unexpected tonal shifts.

Adding another layer of complexity, Tezil incorporates harmonics into his bassline. These high-pitched overtones weave seamlessly into the evolving chords of Yamamoto’s Rhodes, further enriching the track’s harmonic texture. The result is a lush, intricate soundscape that exists somewhere between the tonal clarity of traditional harmony and the ambiguity of improvisational exploration.

In “Sparkling Psycho”, Cenk Tezil’s basslines don’t just hold the groove—they bend it, stretch it, and shape it to fit the constantly changing musical landscape. His ability to provide harmonic richness while staying locked into the pulse of the track makes his contribution to the piece a vital force, maintaining a sense of unity while pushing the boundaries of the jam’s evolving sound.

At the center of “Sparkling Psycho” lies Yusuke Yamamoto’s cosmic approach to sonic manipulation, where his mastery of the Rhodes and synthesizer crafts a sound world that is as expansive as it is immersive. Far from just a contributor to the jam, Yamamoto’s instruments act as the gravitational core around which the other musicians orbit. His work doesn’t simply color the musical canvas—it dictates its shape and direction, creating an ever-shifting landscape that draws the ensemble deeper into its fold.

Yamamoto’s use of synthesizer textures is nothing short of alchemical. As he tweaks the parameters of his synth in real-time, he morphs simple, two-note motifs into evolving, complex structures that seem to grow and breathe on their own. The most striking aspect of his technique is the fluidity with which he shifts between rhythmic patterns—what begins as a steady, duple figure can, in an instant, expand into triple or quadruple time, with the turn of a knob. This constant transformation adds an almost cosmic dimension to the piece, as if the very fabric of time and space is being manipulated to suit the band’s evolving mood.

These textural changes are not just for effect; they serve to direct the flow of the improvisation. As Yamamoto alters his sounds, he sets off waves of response from the ensemble, creating a shared musical dialogue that feels intuitive and spontaneous. The shifting sonic textures act like a sonic tide, guiding the band through moments of tension and release, instability and resolution. The way he bends and stretches the soundscape gives the jam a sense of constant motion and transformation, pulling the musicians into an otherworldly, collective groove.

By shaping sound with such precision and fluidity, Yamamoto brings a sense of weightlessness to “Sparkling Psycho”, allowing the music to feel suspended in time while maintaining a dynamic pulse. His ability to morph textures in real time adds a gravitational pull to the improvisation, driving the collective reaction of the ensemble and turning the performance into a shared, living experience. Through his cosmic soundscapes, Yamamoto not only defines the sonic atmosphere of the piece but also creates an expansive space for the musicians to explore, react, and interact—making “Sparkling Psycho” a truly collaborative journey.

Sal Mamudoski’s saxophone performance on “Bananas” is nothing short of a masterclass in Balkan-gypsy artistry. With a style steeped in tradition yet brimming with personal flair, Mamudoski takes listeners on a journey through the rich sonic landscapes of Macedonia and beyond. His ability to blend technical virtuosity with raw emotional expression makes his contribution to this track unforgettable.
Balkan-Gypsy Roots: A Dynamic Blend of Tradition and Energy
Mamudoski draws deeply from the Balkan-gypsy tradition, delivering a performance that is both intricate and explosive:
* Expressive Dynamics: His melody flows like a living organism, shifting effortlessly between tender, whispered tones and bold, resonant bursts of sound.
* Rapid-Fire Ornamentation: The hallmark of his style lies in the fast, intricate flourishes that pepper his playing. These embellishments, far from being mere decoration, are the emotional heartbeat of the piece, adding texture and vitality.
Melody and Solo: A Perfect Marriage of Technique and Emotion
Mamudoski’s saxophone doesn’t just follow the groove—it tells a story:
* The Melody: Rooted in the storytelling traditions of Balkan music, the melodic lines are a dance of rise and fall, joy and longing, balancing rhythmic complexity with lyrical beauty.
* The Solo: When Mamudoski steps into the spotlight, the track shifts gears:
* Technical Brilliance: His lightning-fast runs, cascading scales, and pinpoint precision are exhilarating, showcasing a command of the saxophone that borders on supernatural.
* Balkan Rhythms: The uneven time signatures and syncopated beats of traditional Balkan dances pulse through his playing, creating a hypnotic, foot-tapping groove.
* Emotive Impact: Every note is imbued with purpose, every phrase shaped to resonate with deep feeling. Mamudoski doesn’t just play—he narrates.
Channeling the Soul of the Streets
Mamudoski’s performance captures the spirit of gypsy street musicians, where music is raw, urgent, and deeply human. There’s an unfiltered honesty to his playing—a blend of joy, melancholy, and fiery energy that connects with listeners on a primal level. His saxophone becomes a voice that speaks of history, culture, and celebration, all while driving “Bananas” to new heights.
A Cultural and Musical Celebration
With “Bananas,” Sal Mamudoski doesn’t just perform; he transforms. His saxophone work bridges the gap between traditional Balkan roots and the track’s modern sensibilities, crafting a soundscape that is as diverse as it is cohesive.
In a world overflowing with musical fusion, Mamudoski’s contribution to “Bananas” is a reminder of the power of authentic artistry. It’s a performance that captures the essence of Balkan-gypsy music while pushing boundaries, leaving listeners captivated and craving more.

“Groove Alchemist: Cenk Tezil’s Bass Magic in ‘Bananas’”

Cenk Tezil’s Bass Wizardry on “Bananas”: A Groove-Driven Masterpiece
When it comes to “Bananas,” Cenk Tezil’s bass playing isn’t just a foundation—it’s a star performer in its own right. From the first note, his precision, groove, and dynamic finesse turn the track into a masterclass in musical synergy. Tezil doesn’t just hold the groove; he shapes it, reinvents it, and breathes life into every bar.
Staccato Funk: A Groove with Grit
Tezil’s staccato playing is pure genius. Those rhythmic gaps? They aren’t just silences—they’re the spaces where magic happens:
* Bounce and Breath: The short, sharp bursts of sound create a buoyant, infectious rhythm that dances perfectly around Sal Mamudoski’s fiery, gypsy-style saxophone. It’s not just support—it’s a rhythmic conversation.
* Call and Response: Tezil plays like a musical conversationalist, weaving echoes of Sal’s melodies into his basslines, turning the saxophone’s fire into a dialogue of groove and melody.
Melody as Groove: Reinventing the Rules
Tezil doesn’t just accompany—he transforms. His bassline blurs the lines between melody and rhythm:
* Ostinato Magic: Key melodic fragments are repeated as a hypnotic groove, grounding the track while keeping it dynamically alive.
* Harmonic Swagger: Beneath the surface, subtle harmonic shifts add color and depth, proving that groove and sophistication can go hand in hand.
Ghost Notes: The Secret Sauce
Cenk’s use of 16th note ghost notes is the unsung hero of the track:
* The Groove Glue: These muted notes aren’t just filler—they’re the pulse of the song, the unrelenting heartbeat that keeps everything in motion.
* Textural Gold: They add a layer of percussive texture, giving the bassline a tactile, almost physical presence that you feel as much as you hear.
Dynamic Control: Groove Meets Grace
Tezil’s dynamics are where technical mastery meets artistic intuition:
* Holding Back, Letting Go: During Sal’s sax solo, Tezil drops the volume just enough to let the sax shine, proving that restraint is as powerful as presence.
* Accentuated Punches: When it’s time to step forward, his accents hit like lightning—precise, impactful, and always perfectly timed.
* Rhythmic Play: From long, smooth tones to rapid-fire subdivisions, Cenk keeps you on your toes, injecting energy and variation into every phrase.
Basslines that Tell a Story
Cenk Tezil’s work on “Bananas” is more than just bass playing—it’s storytelling. It’s about knowing when to lead, when to follow, and when to let the music breathe. His staccato rhythms, ghost note pulses, and dynamic interplay don’t just support the track—they elevate it, making “Bananas” a groove-heavy masterpiece that demands your attention.
If you’re looking for a bass performance that marries funk, finesse, and fearless creativity, “Bananas” is where you’ll find it. Tezil’s bassline isn’t just the backbone of the track—it’s the soul.

Brandon Lewis, aka “B-Riddimz”: Redefining Drums in Bananas
In “Bananas,” Brandon Lewis, better known as “B-Riddimz,” delivers a standout performance that fuses modern American drumming with the track’s rich Balkan influences. His approach transforms the drums into a melodic voice, creating an interplay of rhythm and harmony that drives the song’s eclectic energy.
Melodic Precision
Lewis doesn’t just keep time—he shapes the music:
* Grooves That Sing: His rhythms flow seamlessly with the melody, adding depth and a sense of conversation within the ensemble.
* Purposeful Fills: Each fill feels intentional, elevating moments like Sal Mamudoski’s sax solo with emotional precision and dynamic flair.
A Groove-Centric Approach
* Modern Vibe: Lewis’s groove-forward drumming introduces a fresh, contemporary edge, providing a striking contrast to the Balkan tones.
* Dynamic Mastery: His shifts between subtle restraint and high-energy intensity keep the track engaging and unpredictable.

A Modern Rhythm Architect
In “Bananas,” Brandon Lewis bridges tradition and innovation, bringing melodic sensitivity and a progressive edge to the drum kit. His performance isn’t just about keeping time; it’s about shaping the song’s identity. With grooves that stick and fills that thrill, Lewis proves why he’s not just a drummer but a driving force in the modern musical landscape.

In “Bananas,” Ilker Ciraci’s percussion doesn’t merely keep time; it becomes a voice of its own, singing with quiet brilliance and weaving a rhythmic undercurrent that effortlessly complements the melody. Rather than dominating, his approach feels like a delicate duet with the song itself, a seamless fusion of tradition and modernity, where each beat dances in tandem with the music rather than overshadowing it.

An Ensemble of Tones
Ciraci’s percussion setup is nothing short of a masterclass in orchestration, a deliberate arrangement of instruments chosen to craft a textural and tonal balance. The djembe takes center stage as the lead voice, played horizontally to transform its deep resonance into a melodic muse. Ciraci’s signature “split-finger” technique, inspired by the percussive intricacies of darbuka rhythms, channels sharp, staccato notes into cascading melodic lines that ripple through the track like a flowing current.

Anchoring this melody is a trio of congas, which form a harmonious foundation beneath the djembe’s flight. Their open, resonant tones shape a rhythmic canvas, providing a grounding pulse that allows the djembe’s sharpness to cut through with clarity. The interplay between the congas and djembe creates a natural dialogue—an intimate rhythmic call and response that holds the entire piece in its subtle embrace.

A Groove with Grace
Ciraci’s rhythm is more than just a sequence of beats—it’s an invitation to listen deeply, to feel the ebb and flow of the music as it moves in waves. He embraces a minimalist approach, resisting the urge to overcrowd the track with excessive complexity. Instead, he crafts grooves that breathe, leaving ample space for the melodies to soar above while maintaining a steady pulse below.

The dynamic interplay between the djembe’s sharp, precise strikes and the congas’ warm, rounded tones creates a tapestry of rhythm that evolves throughout the track. Each note is intentional, each beat placed with purpose, allowing for a fluid and organic growth. The ornamental precision of Ciraci’s split-finger embellishments—like fleeting rhythmic trills—adds a subtle but powerful brilliance, elevating the entire performance with a touch of percussive finesse.

Percussion as a Partner
In “Bananas,” Ciraci’s percussion is not merely a backdrop—it is a partner to the melody, a supportive force that shapes the mood and enhances the emotional depth of the track. His touch is light but intentional, grounding the music with an organic pulse while leaving space for the harmonic and melodic elements to breathe freely.

Ultimately, Ciraci’s performance proves that percussion can be as lyrical and expressive as any melody. In “Bananas,” his rhythms don’t just keep time—they sing. His rhythmic symphony blends precision with emotion, tradition with innovation, making every beat an integral part of the song’s narrative. It’s a testament to the art of percussion, where every strike, every tone, and every groove is a lyrical gesture, a statement in its own right.