Timuçin Şahin’s Flow State
Nothing Bad Can Happen
Betweenthelines BTLCHR71243 CD-2017
Timuçin Şahin (7 string fretless and 6 string fretted electric guitar & compositions)
Tom Rainey (d)
Christopher Tordini (b)
Cory Smythe (p)
1. Nothing Bad Can Happen (9:03)
2. Mahir’s Plan to Find Scrus (5:22)
3. One Hundred Days in a Week (7:05)
4. Flow State-Part I:Resurrection (3:54)
5. SNS (10:05)
6. Flow State-Part II: Reconstruction (2:44)
7. Bakumbağa is Scrus (5:58)
8. Flow State-Part III: Coexistence (3:30) (This piece is dedicated to Nils Vigeland.)
One of our esteemed musicians, Timuçin Şahin is a guitarist, composer and teacher. When asked how he fell in love with jazz during an interview, Şahin replied “Hülya Tunçağ poisoned me”. I am glad that I unintentionally did so. Of course, this isn’t about injecting the poison through radio programs. Especially in the field of jazz. One needs to hear the rest of the world out in addition to education, and as John McLaughlin also said during my first interview with him, one needs to work, work, work. Timuçin Şahin lay a strong foundation through education and tried his chances in Europe first, followed by New York, and he achieved success. The result of his talent, education and creation are his albums: “Slick Road (2003)”, “Window For My Breath (2005)”, “Bafa (2009)”, “Inherence (2013)”. Şahin brought a fresh look to the stages of modern jazz and recorded these albums with the prominent jazz musicians.
He brought together pianist Cory Smythe, bassist Chrıistopher Tordini and drummer Tom Rainey under the roof of “Flow State” with his 2017 album “Nothing Bad Can Happen”. The titular piece “Nothing Bad Can Happen” starts out with a short excursion that Şahin-Smythe-Tordini-Raıney quartet takes. The tutti part that follows points out to the uncanny modernism of the piece. This first class musical journey which progresses through free improvizations ends with an emphasis on Şahin and Rainey.
“Mahir’s Plan To Find Scrus” reflects upon the colorful imaginary world (as I also experienced first hand) of Timuçin Şahin’s clever and creative son Mahir.
“One Hundred Days In A Weekend” and “SNS” proves the masterful intonation in the free flow lead by Şahin and Smythe. Of course, the roles of Tordini and Rainey are much more than just rhythmic accompaniment. The complete the quartet with free embellishments that support the intonation.
“Bakumbağa” is reminiscent of “Nothing Bad Can Happen” in the way it is presented. Our ears dedicatedly follow Rainey’s brushstrokes, the way Smythe touches the keys of the piano, the way Tordini enters and exists, Şahin’s understated guitar playing…
“Flow State- Part I: Recurrection”, “Flow State- Part II: Reconstruction” and “Flow State- Part III: Coexistence” are a three-step reflection of Timuçin Şahin’s perspective on music, creativity and life.
He shares this with three master musicians like himself: Cory Smythe, Christopher Tardini and Tom Rainey…
“Nothing Bad Can Happen” isn’t the final stop during dear Timuçin Şahin’s journey, but a precursor to the innovation to come…