Parallaxi, 06.07.2025 – Read original post
Written by Panagiotis Kavartinas | Translated into English from Greek
Interview with Panagiotis Kavartinas:
Omar Farouk Tekbilek is not just a virtuoso of traditional Eastern instruments, but also an authentic bearer of a spiritual musical tradition that bridges East and West, past and present.
Written by Panagiotis Kavartinas
Originally from Adana and deeply influenced by Sufi philosophy, his music transcends genre boundaries, speaking directly to the heart. His love for Greece is both avowed and mutual. Since his first appearance in Athens in 1995, he has created an unbreakable bond with the Greek audience. Today, he returns to Thessaloniki to pay tribute to a legend of Greek music, Mikis Theodorakis.
The concert-tribute to the great composer, who sealed the identity of all of post-war Greece, is for Tekbilek an act of deep gratitude and honor. After all, he had the opportunity to meet him personally, shortly before Theodorakis passed away. A few days before their appearance in Thessaloniki, we spoke with Omar Farouk Tekbilek about his roots, his relationship with Greece, Theodorakis, and music as a language that unites people across borders and religions.
You grew up in an environment where tradition, faith and music were inextricably linked. Tell us about your beginnings.
I was fortunate to grow up in a deeply musical environment, surrounded by tradition and faith. I had two older brothers who were musicians and were a great source of inspiration for me. Our neighborhood in Adana was also rich in musical tradition, which shaped my path from a very early age. I started playing kaval and baglama at the age of nine. At eleven, I met my first teacher, Aydın Cangurgel. He owned a music store and also worked as a concert agent. He invited me to help him in his store when he was away due to professional obligations, and in return, he taught me the basics of music and included me in his musical ensemble. I stayed with him until I was sixteen, when I moved from Adana to Istanbul.
Is there any musical element from your childhood that still guides you to this day?
Absolutely. The system of makams (a system of melodic genres used in Turkish classical music and Turkish folk music) and the deep rhythmic knowledge I acquired from my first teacher still guide me today. They are the heart of every creation and performance I make.
Did you always believe that your life would be dedicated to music or were there moments of doubt?
I have never doubted my love for the Ney, the Baglama and percussion. They have always been a source of inspiration and strength for me. This passion is what guides me even today.
Do you remember the first time you felt that music is not just sound but something deeper? A calling perhaps?
Yes, I remember it very clearly. I was about ten years old, playing Baglama alone in my room on a very hot summer day. I was completely absorbed – I was sweating, I was concentrated, almost in a trance. Suddenly, my mother opened the door and, seeing me drenched in sweat, she started asking me: “Why don’t you go outside and play with the other children instead of sitting here with the baglama on a day like this?” Her voice startled me. I looked at her and said: “Mom, I’m having a great time with myself. Don’t worry about me.” After she left, I remained silent and thought about this moment. I realized that the state in which I was playing was the same as when I was praying – completely devoted, alone with myself, cut off from the outside world. At that moment I understood: playing is prayer for me. And I hope to continue praying this way for the rest of my life.
You immigrated to the US very early, in 1976 if I’m not mistaken. How easy was it to not be influenced by “Western” music and to flourish as a composer while remaining faithful to the sounds of the East?
I believe that the secret to staying rooted in tradition while developing as a musician was my experience in Istanbul. I quickly established myself as a studio musician and for about ten years I played with many famous singers. This experience gave me a deep and diverse musical foundation. Working in the studio taught me discipline, flexibility and professionalism, while keeping me close to traditional sounds. This balance helped me stay true to the music of the East and develop as a composer.
For many, your music is a bridge between East and West. How easy was it to convey this feeling to the Western audience?
I owe a lot to Brian Keane – an extraordinary guitarist, composer and sound engineer – who produced my first six albums. His respect for my love of tradition and my approach as a musician played a crucial role in shaping the sound that reached Western audiences. In the studio, we often shared many emotional moments during the recording process. We always had in mind not to overdo anything, we never overdid it – our center was the authenticity and soul of the music. I believe that it was this honesty and emotional truth that touched the listeners and helped bridge the gap between East and West.
What is the role of traditional music in a world dominated by ephemeral entertainment?
Traditional music has immense value because it carries the wisdom and emotional depth of generations before us. In a fast-moving world that seeks fleeting entertainment, preserving these traditions keeps us connected to our cultural identity. At the same time, we add our own experiences to this continuity and pass it on to future generations, ensuring that it continues to evolve meaningfully.
How can an artist combine respect for tradition with the need for innovation and evolution?
Tradition is a treasure trove built on the experiences of those who came before us – but it is not a closed system. It is open-ended, and we, as artists, must feel free to contribute to it. Innovation does not mean abandoning tradition – it means adding to it wisely and honestly. As Beethoven once said: a musician must be free as a gypsy and disciplined as a soldier. It is in this balance between freedom and respect that evolution is born.
In a rapidly changing world, how can one preserve one’s musical and cultural roots?
The only way is through continuous study, learning and practice – while keeping our minds and hearts open. Connecting with our roots requires dedication, but also a willingness to listen, evolve and interact with the world around us, without losing our center.
You have collaborated with musicians from different cultures. What did you gain from these musical exchanges?
One of the biggest lessons I have learned from these collaborations is that rhythm is the universal foundation of music. When we truly perceive the beats, it becomes easier to understand and connect with even the most complex melodic structures. These collaborations have deepened my appreciation for both diversity and unity in music.
What does “traditional music” mean to you? Is it reproduction or a living organism?
I believe it is both. Traditional music is a living organism that breathes and evolves through each reproduction. It carries the essence of the past while remaining open to the touch of the present.
How can a musician find the “soul” of a song written centuries ago?
For me, the soul of a melody is revealed when I feel something physical – like goosebumps – or emotional, like tears in my eyes. That’s when I know the song has touched something deep and timeless.
Has your relationship with music changed over time?
Not at all – it has just gotten stronger. In the last four years I have also started studying western flute and guitar, which has added a new dimension to my musical journey.
Tell us about OMAR FARUK SCHOOL OF MUSIC. Are young people interested in traditional music and instruments?
Yes, very much so! In Turkey, the opening of conservatories in 1975 for classical and folk music created a great wave of awareness and interest among the younger generations. Today we see many extremely talented musicians in all fields. I try to support them by sharing my experience on my YouTube channel, and I feel grateful for their warm and heartfelt reactions.
As an artist influenced by the Sufi tradition, how do you experience the relationship between music and God?
As I have said before – for me, playing music is a form of prayer. The universe is made of vibrations, and music is the art of vibration. When we create music, we communicate with the universe itself. For me, music is the most direct and sacred path to God – to our true essence.
You often talk about the spiritual dimension of music. What is the role of prayer or meditation in your creative process?
Prayer and meditation help me connect with my deepest roots. They sharpen my awareness of the connection between body and mind, which is essential for any artist. After all, we use both, body and mind, to express what cannot be said in words.
Will you continue to record? Are you preparing anything for the immediate future?
Absolutely! I have already recorded four new tracks and am currently working on a new album. More music is definitely coming.
What would you like to leave behind as an artistic legacy?
I want to be remembered as someone who did not waste his time on Earth, who contributed something substantial to the art of music, and whose songs continue to live on in the hearts of music lovers.
What do you look for when you play live? A personal connection or a collective experience?
For me, the collective experience is more powerful. Music is a collective art – it is meant to bring people together, to create a shared emotional journey. When the musicians, the audience and the energy of the venue become one, that is when the real magic happens.
After so many years of creating, touring and collaborating, what is it that still moves you when you go on stage?
I feel incredibly lucky to share the stage with such loving and respected musicians. Every time we go on stage and see the audience waiting for us, with eyes full of curiosity and anticipation – it fills us with joy. This mutual energy, the shared enthusiasm and the emotional connection we create together, is food for the soul. It is what keeps us inspired, and we want to continue to offer this joy, as much as we can.
You have performed in Greece many times. What is your relationship with the Greek audience?
Since the first time I played in Athens in 1995, I felt a deep connection with the Greek audience. It became clear to me how much we share musically and culturally. Since then, I promised myself that I would always have a Greek on the keyboards in my band – and I kept that promise. For over 20 years now, Yiannis Dimitriadis has been both my beloved brother and an exceptional musician. I am truly grateful for the bond we share with Greece.
What will be special about this concert in Thessaloniki?
It is a true honor to play in memory of the great Mikis Theodorakis and to help keep his spirit alive in the hearts of music lovers. This performance in Thessaloniki is especially important to me because I had a very personal and moving moment with him before he left. I visited him at his home and played him one of his songs on the ney. He listened to me with a smile and said, “Bravo, Omar!”—a moment I will remember forever.
How did you meet Mikis Theodorakis? What was your relationship like?
I met Mikis Theodorakis through the cultural organization LifeArt, with which I collaborate. They organized an event at the Michael Cacoyannis Foundation in Athens and invited me to perform five of his songs. Before the event, we visited him at his home, where I had the honor of spending a very special half hour with him. There, he gave me his personal blessing to perform his music – a moment I will never forget.
You have mentioned in the past that Greek music is familiar to you. What similarities do you see between the Greek and Turkish musical traditions?
If we look closely at what we now call Classical Turkish Music, we will clearly see the profound influence of Greek musicians and composers – many of whom were Ottoman citizens and served in the imperial court. For almost 500 years, we lived side by side in the same space, sharing cultural, musical and emotional landscapes. It is only natural that our musical traditions are so deeply connected.
What message would you like to send to the Greek listeners who have been following you and loving your music for decades?
I want to express my sincere gratitude to the Greek listeners – for the love, respect and for coming to our concerts with such warmth and enthusiasm. Their support gives us the courage to continue doing what we love. Music is the last true frontier – a place where we can understand each other beyond identities and borders. It reminds us that we are all one soul.
Thank you very much for your sincere interest and your time. I hope to meet you in Thessaloniki.
Please! It was a great pleasure to share my feelings with you and I hope to see you in Thessaloniki.
The conversation with Omar Faruk Tekbilek, even online, is a reminder that music is not just sound – it is prayer, memory, a bridge of communication. In his world, spirituality is not limited to words; it is transformed into musical vibrations, which touch our souls. His tribute to Mikis Theodorakis in Thessaloniki is not just a concert; it is a tribute from an artist who knows from the inside what it means to serve music with faith, respect and love.
On July 10, Omar Farouk Tekbilek returns to Thessaloniki, participating in the Lazariston Monastery Festival with a special concert-tribute to the memory of Mikis Theodorakis, the composer who sealed the culture and identity of modern Greece. He will be joined by Rita Antonopoulou, one of the most dynamic and sensitive voices of the Greek scene. On the night of his concert in Thessaloniki, on July 10, the sky will be illuminated by the brightest full moon of the year – a coincidence that seems almost symbolic for Omar Farouk’s music, which unites earth and sky. In closing, I keep his words deep inside me: “Music is the last true frontier – a place where we can understand each other beyond identities and borders. It reminds us that we are all one soul.” Even through an online conversation, Omar Faruk Tekbilek’s presence was warm, generous and meaningful – as if he himself bridged the distance with the power of his music and heart. OMAR FARUK TEKBILEK AND HIS ENSEMBLE, Whirling Dervishes participate, MONASTERY OF LAZARISTON FESTIVAL Thursday, July 10, Rita Antonopoulou participates., Opening Act: Stamatia Molloudi.