![\"Rembetiko\"](\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2013\/11\/Rembetiko.jpg\")
<\/a>\u0130smail Keskin, rembetikodan bahsederken, arkas\u0131nda ismini ve kimli\u011fini b\u0131rakan, s\u00fcr\u00fcld\u00fc\u011f\u00fc Yunanistan\u2019da isimsizli\u011fi ve kimliksizli\u011fi ya\u015fayan rembetlerin lakaplar\u0131ndan yola \u00e7\u0131k\u0131yor ve \u00c7i\u011fdem Aslan\u2019\u0131n son alb\u00fcm\u00fc Mortissa\u2019ya var\u0131yor. <\/i><\/b><\/p>\n\u00d6yle bir m\u00fczik ki rembetiko, ate\u015fin i\u00e7ine oturmu\u015f zifiri gece karas\u0131 gibi bir yandan par\u0131ldar \u00f6te yandan isinde insan\u0131n nefesini bo\u011far. Salt ac\u0131dan ve salt bo\u015f vermeden do\u011fmu\u015ftur, bu y\u00fczden kimseye eyvallah\u0131 olmaz. Neden olsun?<\/p>\n
Rembetiko, Anadolu\u2019dan Yunanistan\u2019a s\u00fcr\u00fclen ilk m\u00fcltecidir ve s\u0131rt\u0131nda iki damga ta\u015f\u0131r. \u0130lki geldi\u011fi ev, arkas\u0131nda b\u0131rakt\u0131\u011f\u0131 ya\u015fam\u0131, ad\u0131 ve kimli\u011fi… \u0130kincisi Yunanistan\u2019a vard\u0131\u011f\u0131nda bulamad\u0131klar\u0131, yaman bir pi\u00e7lik ac\u0131s\u0131nda kimliksizli\u011fi, isimsizli\u011fi ve elbette lakab\u0131… Belki de bu y\u00fczden Rembetiko\u2019nun ilk ustalar\u0131, Anadolu\u2019da da adet oldu\u011fu \u00fczre, isimlerinden \u00e7ok lakaplar\u0131yla tan\u0131n\u0131rlar. Bu lakaplar kahramanl\u0131k ni\u015fanesi, \u015fanl\u0131 \u015ferefli s\u0131fatlar de\u011fildir. Aksine, f\u0131rlaman\u0131n diline en g\u00fczel oturan kelime neyse o…<\/p>\n
Mesela Kostas Skarvelis… Columbia Records\u2019un ilk sanat y\u00f6netmeni olabilecek kadar maharetli bu m\u00fczisyenin lakab\u0131 \u201cPastourmas\/Past\u0131rma\u201dyd\u0131. Neden diye merak edenin cevab\u0131 \u00c7i\u011fdem Aslan\u2019\u0131n Mortissa<\/i><\/b> alb\u00fcm\u00fcnde var.\u00a0 S\u00f6zleri ve m\u00fczi\u011fi Kostas Skarvelis yani Pastourmas\u2019a ait \u201csto kafe aman\u201d \u015fark\u0131s\u0131ndan da anla\u015f\u0131laca\u011f\u0131 \u00fczre Pastourmas, ya\u015fama ve gustal\u0131\u011fa d\u00fc\u015fk\u00fcnd\u00fc. Nas\u0131l olmas\u0131n? 1880\u2019de \u0130stanbul\u2019da do\u011fdu, M\u0131s\u0131r-\u0130skenderiye\u2019de b\u00fcy\u00fcd\u00fc, Atina\u2019da ya\u015fama at\u0131ld\u0131. Rembetiko\u2019nun en parlak d\u00f6nemini pla\u011fa kaydedenlerden biri olarak keyfi yerindeydi. Fakat bir rembetin hayat\u0131 ve \u00f6l\u00fcm\u00fc \u00e7eli\u015fkiler dizisidir. O hayat, g\u00f6stermelik ya da yak\u0131nmal\u0131k de\u011fil saf ac\u0131larla sabittir ve hayattan al\u0131nan k\u0131sac\u0131k ne\u015fe misliyle geri \u00f6denir. Bir rembet olarak, Pastourmas da bundan nasibini ald\u0131. Columbia Records\u2019un ilk sanat y\u00f6netmeni, Yunanistan\u2019da Nazi i\u015fgali s\u0131ras\u0131nda el mecbur ayakkab\u0131 tamircili\u011fi yapt\u0131.\u00a0 Nihayetinde, 8 Nisan 1942\u2019de, lakab\u0131 Pastourmas olacak kadar yeme\u011fe ve gurmesine d\u00fc\u015fk\u00fcn bu rembetin hastane raporunda \u00f6l\u00fcm sebebi olarak, \u201ca\u00e7l\u0131\u011fa ve k\u00f6t\u00fc beslenmeye ba\u011fl\u0131 \u00f6demler\u201d yaz\u0131yordu.<\/p>\n
\u00c7i\u011fdem Aslan\u2019\u0131n ilk alb\u00fcm\u00fcn\u00fcn ismi de bir rembetisa lakab\u0131, Mortissa<\/i>\u2026 Mortissa<\/i> ne demek? Argo s\u00f6zl\u00fckleri birbiri ard\u0131na a\u00e7\u0131p dilsel bir tart\u0131\u015fmaya gerek yok. Mortissa<\/i>, morti<\/i> kelimesinin kad\u0131n formudur. Morti<\/i> bir rivayete g\u00f6re 1854\u2019te Frans\u0131z askerleri Atina\u2019ya gelip yerle\u015fti\u011finde, yanlar\u0131nda getirdikleri kolera hastal\u0131\u011f\u0131 ortal\u0131\u011f\u0131 kas\u0131p kavurdu\u011funda sokaklar\u0131 dolduran cesetleri g\u00f6ms\u00fcn diye tuttuklar\u0131 ara mahalle bitirimlerine mort\u2019tan (\u00f6l\u00fc) t\u00fcremi\u015f bir kelime olan mortides (\u00f6l\u00fcc\u00fc) denmeye ba\u015flamas\u0131yla ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Di\u011fer bir rivayet T\u00fcrk\u00e7e argodaki \u201cmorti\u201dden Yunancaya ge\u00e7ti\u011fidir ki, hani \u201cmortiyi \u00e7ekmek\u201d deyimi pek me\u015fhurdur. Ha bir de \u00f6l\u00fc soyuculara mortis<\/i> denmi\u015f bir ara 1920\u2019lerin Atinas\u0131\u2019n\u0131n Pire liman\u0131ndaki geni\u015f yer alt\u0131 i\u015f d\u00fcnyas\u0131nda\u2026<\/p>\n
B\u00f6yle \u201ci\u00e7 a\u00e7\u0131c\u0131\u201d bir etimolojiye sahip bir kelime g\u00fczel bir k\u0131z i\u00e7in neden kullan\u0131l\u0131r? Bir \u0130ngiliz ya da bir Alman bunu \u00e7\u00f6zmek i\u00e7in birka\u00e7 dilbilim doktoras\u0131na ihtiya\u00e7 duyabilir ama Anadolu\u2019nun seslerine a\u015fina biri sanat\u0131n ve a\u015fk\u0131n Dionysos hallerine a\u015fina oldu\u011fundan \u201c\u00f6l\u00fc soyucu\u201d ve elbette \u201c\u00e7apulcu\u201d bir sevgili fikrine hi\u00e7 yabanc\u0131 de\u011fildir\u2026 Mortissa<\/i> da Rembetiko\u2019nun i\u00e7inde b\u00f6yle bir kelimedir, \u201calaniara\u201d kelimesinin serseri \u00e7a\u011fr\u0131\u015f\u0131m\u0131na nazaran, \u201cmortissa\u201d daha oturakl\u0131d\u0131r hani \u00f6pse de yumruk da atsa fark etmez, ikisi de adam\u0131 g\u00f6\u00e7\u00fcr\u00fcr denilebilecek cinsten bir kad\u0131n\u2026 \u00c7i\u011fdem Aslan ve de alb\u00fcm\u00fc, san\u0131r\u0131m bu ismi sonuna kadar hak ediyor.<\/p>\n
Mortissa Smyrnia-\u0130zmir Mortisas\u0131, g\u00f6zleriyle \u015fark\u0131y\u0131 s\u00f6yleyenin kalbini yakm\u0131\u015f, Mortisa\u2019ya ne olur \u00e7ek git buradan diye yalvar\u0131yor.<\/i><\/p>\n
\u00c7i\u011fdem Aslan, T\u00fcrkiye\u2019de SOAS Rembetiko Band ve Londra\u2019n\u0131n en iyi klezmer toplulu\u011fu olarak g\u00f6sterilen \u201cShekoyokh\u201d ile verdi\u011fi konserler d\u0131\u015f\u0131nda \u00e7ok fazla tan\u0131nan bir ses de\u011fil. \u00d6te yandan Londra\u2019da, \u00f6zellikle de \u201cworld music\u201d severler taraf\u0131ndan son derece iyi tan\u0131n\u0131p takip ediliyor. Bu y\u00fczden alb\u00fcm\u00fcn\u00fcn \u00e7\u0131kmas\u0131n\u0131n \u00fczerinden bir hafta ge\u00e7meden BBC3\u2019te programa davet edildi, \u201cThe Guardian\u201d\u0131n m\u00fczik ele\u015ftirmenlerinden ge\u00e7er not ald\u0131, songlines\u2019da 2013\u2019\u00fcn en iyi 100 alb\u00fcm\u00fc aras\u0131na girdi ve \u015fimdi fROOTs\u2019ta 2013\u2019\u00fcn en iyi alb\u00fcm\u00fc i\u00e7in 10 adaydan biri\u2026<\/p>\n
Alb\u00fcmde on \u00fc\u00e7 \u015fark\u0131 var, rembetikonun evi diyebilece\u011fimiz \u0130zmir t\u00fcrk\u00fcleri d\u00f6neminden ba\u015fl\u0131yor, sonu-dibi diyebilece\u011fimiz Stamoulis\u2019in \u201cBir Allah\u201d rembetiko-laikosuyla sona eriyor. Bu iki \u015fark\u0131 aras\u0131ndaki d\u00f6nemleri dinleyiciye an\u0131msatacak bir \u015fark\u0131 mutlak mevcut. \u015eark\u0131 d\u00fczenlemeleri yerinde, rembetikonun can\u0131 demek olan \u015fark\u0131 s\u00f6zlerine m\u00fcdahale edilmemi\u015f. Yani eroin yerine rak\u0131, ha\u015fha\u015f yerine \u015farap denilerek sa\u00e7ma sapan bir sans\u00fcr tuza\u011f\u0131na d\u00fc\u015f\u00fclmemi\u015f ki, mesela \u201cCafe Aman \u0130stanbul\u201dun \u201cfasl-\u0131 rembetiko\u201dsunda Metaksas diktat\u00f6rl\u00fc\u011f\u00fc g\u00fcnlerinden kalma bu sa\u00e7ma sans\u00fcr can\u0131m\u0131z\u0131 bir hayli s\u0131km\u0131\u015ft\u0131.<\/p>\n
\u015eark\u0131 d\u00fczenlemelerinde orijinal kay\u0131tlar\u0131n birebir kopyas\u0131 yerine stil korunmak suretiyle enstr\u00fcman geni\u015fli\u011fi biraz artt\u0131r\u0131l\u0131p, rembetikonun solist ve solo enstr\u00fcman a\u011f\u0131rl\u0131kl\u0131 aranjmanlar\u0131 biraz daha orkestral seviyeye \u00e7ekilmi\u015f. Columbia\u2019n\u0131n 1920\u2019lerde me\u015fhur Amerika ve Atina kay\u0131tlar\u0131na kolay kolay kabul etmeyece\u011fi ba\u011flama ve kopuz, \u201cNenni\u201d ve \u201c\u00c7ak\u0131c\u0131\u201d par\u00e7alar\u0131nda kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor.<\/p>\n
Peki anadili Rumca olmayan bir solistin rembetiko s\u00f6ylerken telaffuzu nas\u0131l? Son derece \u00f6zenli ve iyi \u00e7al\u0131\u015f\u0131lm\u0131\u015f. Dokuzuncu par\u00e7a olan \u201c\u00c7ak\u0131c\u0131\u201dda hi\u00e7 T\u00fcrk\u00e7e bilmeyen Paul Melas\u2019\u0131n performans\u0131, alb\u00fcme g\u00f6sterilen \u00f6zen \u00fczerinden \u00c7i\u011fdem\u2019in Rumcas\u0131na referans g\u00f6sterilebilir. Alb\u00fcmde ele\u015ftirilecek hi\u00e7 mi bir \u015fey yok? Arayan, her \u015feyi oldu\u011fu gibi onu da bulur. Mesela, son d\u00f6nemde \u00e7\u0131kan rembetiko alb\u00fcmlerinde ortak olan bir s\u0131k\u0131nt\u0131dan yak\u0131n\u0131labilir belki, o da hareketli par\u00e7alarda a\u015f\u0131r\u0131 h\u0131z\u2026 Alb\u00fcmdeki \u201cFerece\u201d ve \u201cPane gia to praso\u201d gibi hareketli par\u00e7alar, rembetikonun o vurdumduymaz yava\u015fl\u0131\u011f\u0131na uymayan bir \u015fekilde y\u00fcksek h\u0131zda \u00e7al\u0131nm\u0131\u015f. Metronom, karar\u0131ndan \u00fc\u00e7 d\u00f6rt vuru\u015f h\u0131zl\u0131 devrediyor. Rembetiko, elinde ba\u015fka hi\u00e7bir keyif kalmam\u0131\u015flar\u0131n m\u00fczi\u011fi oldu\u011fundan eski ustalar ritmi hi\u00e7 aceleye getirmezler. Bu durum, alb\u00fcm\u00fcn art\u0131lar\u0131n\u0131n yan\u0131nda \u00e7ok k\u00fc\u00e7\u00fck bir not ve yak\u0131n d\u00f6nemdeki rembetiko alb\u00fcmlerinin bu konudaki s\u0131k\u0131nt\u0131lar\u0131n\u0131n yan\u0131nda, ancak bir nazar boncu\u011fu denilebilecek \u00f6l\u00e7\u00fcde\u2026<\/p>\n
B\u00fcy\u00fck usta Rita (Ampatsi)\u2019dan \u201cPane gia to praso\u201d<\/i><\/p>\n
Son olarak, alb\u00fcmdeki m\u00fczisyenler ger\u00e7ekten iyi bir i\u015f \u00e7\u0131karm\u0131\u015f. Rembetiko, 19.yy alaturkas\u0131yla alafrangas\u0131n\u0131n aras\u0131nda bir yerde durur. Enstr\u00fcmanlar\u0131n t\u0131n\u0131s\u0131 bir gazele, bir aryaya kayabilir \u00e7\u00fcnk\u00fc Roza Eskenazi gibi vokalistler her ikisinde de olduk\u00e7a yetenekliydiler. B\u00f6yle bir solistin orkestras\u0131 da ona g\u00f6reydi ve neredeyse ikinci bir vokal gibi sololar\u0131yla vokalistle d\u00fcet ediyor olmalar\u0131 rembetikoda karakteristik bir \u00f6\u011fe olarak ortaya \u00e7\u0131km\u0131\u015ft\u0131. Mortissa<\/i><\/b> alb\u00fcm\u00fcnde bunun bir \u00f6rne\u011fini dinleyebilmek ger\u00e7ekten \u00e7ok \u00f6nemli. Londra\u2019n\u0131n en iyi klezmer kemanlar\u0131ndan biri olarak g\u00f6sterilen Meg Hamilton, Mortissa<\/i><\/b>\u2019n\u0131n 3. par\u00e7as\u0131 \u201cTo dervisaki\u201dde \u00c7i\u011fdem Aslan\u2019a keman\u0131yla bir enstr\u00fcmandan \u00e7ok, tam da olmas\u0131 gerekti\u011fi gibi k\u0131skan\u00e7 fakat usturuplu bir ikinci vokal gibi e\u015flik ediyor. \u201cTrava vre manga kai alani\u201dde \u00f6zellikle klarinette Susi Evans\u2019\u0131n h\u00fcnerleriyle \u015firin bir m\u00fczikali hissetmek, \u201cU\u015fakl\u0131 k\u0131z\u201d par\u00e7as\u0131ndaysa Londral\u0131 m\u00fczisyenlerden alaturka sololar dinlemek, arada alb\u00fcm boyu hamura kar\u0131\u015fan klezmerin tad\u0131\u2026 Son derece tatl\u0131 deneyimler\u2026<\/p>\n
\u00c7i\u011fdem Aslan\u2019\u0131n Mortissa<\/i><\/b> alb\u00fcm\u00fc Avrupa\u2019da Asphalt-Tango Records imzas\u0131yla \u00e7\u0131kt\u0131 ve k\u0131sa s\u00fcrede olduk\u00e7a iyi bir \u00e7\u0131k\u0131\u015f yakalad\u0131. Radyo BBC3 yay\u0131n\u0131, The Guardian ele\u015ftirisi, Songlines\u2019da 2013\u2019\u00fcn en iyi ilk 100 alb\u00fcm\u00fc aras\u0131na girmesi, fROOTs gibi olduk\u00e7a \u00f6nemli bir m\u00fczik dergisinin 2013\u2019\u00fcn en iyi alb\u00fcm\u00fc i\u00e7in 10 aday aras\u0131na girmi\u015f olmas\u0131 bunun en iyi g\u00f6stergelerinden. Alb\u00fcm, T\u00fcrkiye\u2019de y\u0131l sonuna kadar Sony Records imzas\u0131yla \u00e7\u0131kacak.<\/p>\n
Alb\u00fcm\u00fcn Avrupa kayd\u0131n\u0131n kitap\u00e7\u0131\u011f\u0131na buradan ula\u015fabilirsiniz: <\/i>http:\/\/www.asphalt-tango.de\/records\/aslan\/pdf\/Songbook_Booklet.pdf<\/i><\/a><\/p>\n