Interview – Zeynep Ozbilen

Fearless, original, and politically-charged, the widely acclaimed “Jazz songstress” Zeynep Ozbilen is dropping jaws with Zest, her newest album. Backed by an eight-piece band, a string quartet, and guest musicians, Ozbilen leaves no stone unturned when it comes to the quality of the album’s instrumentals: after her musical career kicking off in Istanbul at the age of twelve, Ozbilen combines her background of classical singing, her advocacy for multiculturalism and women’s rights, and her reworking of traditional Turkish songs to weave a tapestry of both musical and political mastery. There will be an album release concert and party at Lula Lounge on May 10, find out more about the show HERE.

First of all, congratulations on the completion and publication of Zest. What would you say has been the most rewarding part of making the album? 

Thank you. The most rewarding part of making the album was actually the ‘making’ part of it. Sharing a dream with so many people makes it such a great experience. The process of ‘making’ the music album involves such a great spectrum of collaborators, musicians, arrangers, sound people, management team, visual creative team and many more, that makes the journey much more exciting than the final destination itself. The Zest of sharing.

From the conception to the finished project, how did the album change? 

It all starts with the dreaming part, then the dream takes some form in mind, then comes the part of sharing the ‘sounds’ with musician friends. From that moment on, the sounds start snowballing into their musical form. When creating music, the greatest thing happens when ‘what you hear at the end’ sounds much better than ‘what you initially had in your mind’. I have been so fortunate to be working with such great musicians, and I want to thank them all form my heart for sharing my dream. The final music has the fingerprints of everybody who put their soul into it. I owe my producer Jeremy Ledbetter a great deal for he totally understood my music language as an arranger and producer. And each and every musician had added their own individual spices into the music, and that made it so ‘Zestful’.

What hurdles did you have to overcome while writing and recording Zest?

When creating, ‘sky is the limit’. Well, actually that expression falls short – when creating, there is no limit. So, the real challenge is to come to terms with your limits in real life, such as financial limitations. But I have to admit, being an artist in Canada, where there exists a number of support systems for arts such as Grants, makes life relatively easier compared to many other countries. I hereby would like to thank Factor Grants for valuing our music and contributing partially for the production of Zest. Let this be Zest for life.

Now, in Zest you are backed by a vast array of musicians. Did you have a hand in picking these musicians? If so, how was that process? If not, how were they selected for you?

That is the magical power of music, parts fall into their places themselves to complete the puzzle. I consider myself very lucky to be making music and being surrounded by great musician no matter where I am, Turkey or Canada. Almost all of the musicians who contributed to Zest are my dear musician friends, and I adore the music of each and every one them. Toronto is such a great place from a multiculturalism point of view that here exists a vast array of musicians with vast array of musical backgrounds. Almost all musicians in Zest, miraculously found their own place, as if they were meant to play in the first place.

As someone who is invested in letting music channel your views on topics such as multiculturalism, women’s rights, and human rights, how long did songs like “Papa Don’t Give Me Away”—which breaches the topic of domestic abuse and child marriages—typically take you to write? 

It takes years and years of building up before starting to cry out. There are so many unfairness and injustice still going on all around the world that one can write a song every day to cry out about something. Voicing in the name of the suppressed ones who cannot raise their voices, is the least one can do to stand together with them. Freedom of speech and tolerance in Canada helps having a freer and broader perspective and raising a voice about issues. That is what my other song is about – ‘In the North’ which is a celebration of being Canadian.

Out of the ten tracks on this album, which one would you say you have the most emotional attachment to?

Oh, a though question to answer. How can I choose among the songs, since I am emotionally attached to all of them. Each song has a different spirit that moves me. It is true World Music album, where Turkey meets Cuba in Canada. Anatolian, Sephardic, Mediterranean, Cuban, North American Indigenous melodies and rhythms mixing in each song in harmony. But still, my new composition “Papa, don’t Give Me Away” has a different place in my heart. This song is addressing to the historical and current practice of child marriages and abuse of women in various cultures around the world, including my homeland. The song is a desperate plea by children to their elders.

And which one would you consider to be your favourite song from this album to play live?

Again, it is hard to choose among the songs, since each one is a different experience when playing. And also almost all songs have at least one guest musician which makes it even more exciting. Jane Bunnett, Mike Murley, Ernie Toller, David Restivo are among our guests who will be playing with us at the album release concert on May 10th at Lula Lounge.

Speaking of live performances, what in your opinion has been your most memorable show of 2016 and why?

TD Toronto Jazz Festival, is always a great experience. And also I have to admit, playing a Friday Dance Night at Lula Lounge with my other band – the Latin Orchestra, has been a very honoring, because it is almost always Cuban or Latin American bands playing Salsa music for the dancing guests. Our Turkish tunes and also some North American standards, such as “Spinning Wheel” in Latin rhythms moved the dancers  and the dance floor was always full from the first note to the last.

Moving forward, what did 2016 end up teaching you that you’ll carry forward in your music career? 

2016 was a pivotal year for me, as I started to receive recognition for my own songs, further established amazing working relationships with musicians from Turkey, Cuba and Canada, and, I had a chance to further explore the Canadian landscape.  The lesson learned in 2016 was that I am enriched by constantly sharing my musical gift with others and  collaborating with musicians from a variety of backgrounds.  The business of music is a difficult one, but if we allow the music to guide us, we will never go wrong.

And finally, what can audiences look forward to you from in 2017?

Music and more music.  I’m going to be performing and playing my music wherever and whenever possible.

Connect with Zeynep Ozbilen:
Website
Facebook
Twitter