The Nat Geo Music Interview: Omar Faruk Tekbilek

Renowned Turkish Sufi Musician Tells Us What Its Like To Be Remixed

by Derek Beres

Since moving to upstate New York from his native Turkey in 1976, multi-instrumentalist Omar Faruk Tekbilek has become regarded as a foremost expert on Middle Eastern music, a reputation earned through his own nine albums, as well as guest appearances with a large variety of artists. Equally devoted to Sufism, yoga, and tai chi, his main passion-control of the breath-is exhibited in his virtuosic flute playing. Training to be a cleric in youth, he realized that playing music was his personal form of devotion. Today, he remains committed to cultural unity, spiritual study, and world fusion.

With the release of the second edition of their Rare Elements series (the first devoted to the music Indian sarangi player and vocalist, Ustad Sultan Khan), Five Points Records highlights Turkey's most well-known international artist with a collection of dance-ready remixes by Joe Claussell, Junior Sanchez, Amon Tobin, Cheb i Sabbah, Jordan Lieb, Nickodemus and Zeb, and more.

Talking from his home in upstate New York, Tekbilek discussed his feelings on these remixes, as well as forthcoming projects, not to mention the true focus of his devotion: breathing.

Nat Geo Music: What are your thoughts on the remix album?

Omar Faruk Tekbilek: The first time we had remixers take my music, they did not change too much, so that it still sounded very much like my originals. But this time, I thought they went to that much more extreme sound. The DJs added so much of their own, and did not use too many of my elements. Then I talked to David [Nichtern, Five Points Records founder], and I had so many realizations-that it should not be the same anyway, as it is a different approach. The remixers and David were very enthusiastic about the project, and this is a different way of looking at my music. They are introducing not only new elements, but the words as well, and it is still effective. I realized I had to reach younger minds, to help them get a glimpse of our timbres, our instrumentation. I accepted it as something that will bring more music to my life.

Any favorites?

"The Sufi" [Joe Classell's Mystical Version], I like it very much. He did a great job with it. The way he lined up the melodies-I listened to it many times. Another one was [Junior Sanchez's] "Selemet." The bass-it's very danceable. My friends and I were dancing around to it over here.

You brought Turkish music with you when you moved to America in 1976. In your perception, has America's perception of Middle Eastern music changed over the last three decades?

Since the beginning, the way we played with the sounds of many cultures, we had Greek and Egyptian musicians from very early on. We were positive as well, showing people that there is unity between all these music forms. Yes, I believe Americans are appreciating Middle Eastern music more and more these days.

One of your focuses has always been bridging cultural/political divides through your music. What are you currently doing to promote this idea?

This November I did this soundtrack, Kelebek [a movie about why 9/11 occurred, told from a Turkish perspective], which was released in Turkey one month already. I made this album with Brian Keane. It's going to be released all over the world soon. We are now licensing to all the countries. Since two years I have another project in my mind. It's going to be a very good project for me, for my realization of breath. All the Sufi traditions emphasize the importance of breath-they were breath masters. The title is Breath Riders. I am going to take music from Morocco, Egypt, Iran, Pakistan, even Georgia, Turkey, and even the Balkans, from north of Greece. I am going to explore the Sufi traditions of each of these countries. I am collecting good songs from each tradition. It will be, Insha'Allah, the next project I am introducing.

What is your relationship with Sufism?

I studied Islam from very young. I went to school to become a cleric, the religious priest. But I never finished those studies. I had already become a musician, since age eleven. I found the prayer in the music. I did have that adoration of the one lord from an early age, which is the Sufi tradition. They say adoration of the lord is first, then we love the creatures because of the creator. The Sufis love all creatures. In order to understand this, they emphasize the breath. It is the glue that holds spirit and body together. They know how to control their breath. This is why I call it "riding on the breath." You can put this breath on any instrument, so I put it on the ney, and it comes out "ooooohhhh." This is the philosophy. It made me more aware of my breath.

Your devotion to yoga came soon after, correct?

At the same time I became interested in Hatha Yoga. My teacher threw all his medicines away to heal his stroke. After two months, he threw out all the medicines and he healed himself with his breath. I loved practicing yoga. The first sentence in the yoga book said: yoga is the healthy coordination of mind, joints, and muscles. In order to help your mind, you must polish your joints by stretching and bending, and bend your muscles. If they are not open, they cannot coordinate together. This is the key to happiness. You have to control your mind by meditation, and exercise your body. Then comes breath control. Your diaphragm is your master.

What is the most important lesson these practices have taught you?

In Taoism they talk about the energy loops of the spine, which travel up and down the arms and legs. In my yoga practice, I do certain postures every day to keep my muscles and joints loose-go down to lotus posture, then to cobra, and then work on my breathing, to keep the energy in the loops circulating. When we move ourselves into these positions, the muscles send the pain to the brain. When we hold it and keep to the breath, and go to the third eye point, we start to forget about the body, and can expand our awareness and clarify our focus.

Is there awareness of yoga and tai chi in Turkey?

Yes, in the last ten years Eastern philosophy has become quite popular there. Recently a religious guy, this conservative guy-thick headed, how you say, even more than orthodox-was saying how bad it is that yoga is being practiced there. They do not understand the real value of the practice.

What do you think Sufi philosophy can offer Americans?

Two things I can say: adoration of Lord, and loving all the creatures. The third thing is awareness of the breath. Your own breath is given to you, and when you use it, you use it for yourself, and begin to judge others less. Judging others is wasting your breath. We should use it to make ourselves better, and to contribute to society.

In the documentary Sufi Soul, the filmmaker brings up the point that Sufism is still "illegal" in Turkey, although for the most part is overlooked by the government.

After Atatürk, there were so many people full of superstitions. They closed all the Sufi houses of worship. As a cultural understanding, Sufism is still very important. They don't say we are radical, but it is still respected. The rituals are still performed. The religions were using people for political purposes, and so those powers did not want people to really understand the Sufi. It's human nature: since the beginning, when brother killed brother, people go lower than animal, and higher than angel. Whoever the saint or prophet, these business and political people only really want power. They kill in the name of God, because they get so blind to the power. Sufis love all creatures.

What musicians are you listening to today, besides your long list of collaborators?

My mission is to get whatever is inside out. Right now I don't know what is outside that I should explore. I'm always trying to improve myself: How can I do the best that I can do? I'm still a bit uneducated about what is going on in the outside world of music.

Playing so many instruments, how do you decide upon your songwriting process?

The song comes from whatever the situation calls for. "Tree of Patience" came when I was walking from a haircut. My father called me and said 'I will come give you a ride after your haircut, what time do I come?' I said 'No, no, I want to walk.' He said, 'It's too far,' and I said, 'No, it's not, I want to walk.' And while I was walking that melody came to me. I got back and wrote the notes down very quickly so I would not forgot. The song can come at any time. I just have to listen for them.