It was 2013 when I first heard of Başak Yavuz. A friend of my passed me a CD named Things and it harbored a lot of things, musical, lyrical and narrative things. Eenie meenie miny mo melodic successions under a deep layer of cute tonal customization. My information bank widen with learning that she was a juror for Grammy and later on she founded her own music company. Guess what the name could be, Things & records. Yet again very nicely touched. Things evolved into a new chapter eventually as expected from every creative soul. Innovation moved her into creating her new baby called A Little Red Bug that hit the stores very recently. The album is like a little flirt, winking at you from the shelf and making her noticeable. Perfect cover, booklet and all the packaging.
But what matters is obviously the music. Here lays a fertile, originative and melodic architectural structure. English and Turkish didn’t sound this similar like never. Her dexterity of playing with her vocals is just new. In a world where every style is in bed with another, I feel a unique reach of a characteristic style here. She has her own style and that cuts her like a knife from the others. But the awkward thing is that in little red bug her style is not having a style at all. It’s sophisticated, elaborative and involved.
The album embodies every style and makes it sound like jazz but yet not actually jazz. A labyrinth of musical involvements stand out separately in each corner but they unite where necessary than move on their own paths. Collisions in epicurean rhythmic adventurous involvements. Out of eleven pieces that engenders a little red bug, ten are signed off to Başak herself while Bye Bye Blackbird goes to Ray Henderson & Mort Dixon.
Her comrades are a bunch of binding chain standing shoulder to shoulder. Embracing the cadenced structure of creativity. It has been a long time since I have heard such an inspired music flow fed with ingenious preciseness.
You feast your ears on something, you are delighted and gratified by what you hear.