Abdulkadir Gür, of Nashville, is the most sought after bağlama player in Tennessee. Kadir was born in the Kurdish region of Turkey called Bakur and first became interested in the saz in high school. When he expressed interest in playing one, his father responded with a challenge. He told Kadir, “If you can wake up every day at 5 a.m., go to the bakery, and bring back the first batch of fresh bread—for one full month—I’ll get you your saz.” Through cold mornings and grogginess, young Kadir retrieved bread every morning, and at the end of the month, his father bought Kadir his first saz.
The saz or bağlama is from the Kurdish region of Turkey. It has a pear-shaped wooden body, a long fretted neck, and typically 7 strings. Its warm and resonant sound is suitable for both melodic and rhythmic playing. In Kurdish Music, it accompanies storytelling, folk songs (dengbêj tradition), and celebrations. The saz/bağlama is believed to have evolved from the tanbur, an ancient instrument with origins in Mesopotamia and Central Asia. In Kurdish Heritage, the saz is deeply woven into oral tradition. It’s especially associated with the dengbêj tradition—where epic tales, history, and emotions are passed down through song and storytelling. The instrument became a voice for a people with limited access to written expression. While “saz” is a more general term, “bağlama” refers specifically to this form. Kurds might refer to it as tembûr, bozuk, or simply saz, depending on the region and dialect. During times of political or cultural repression, the saz has served as a symbol of cultural survival, carrying the soul of Kurdish music and memory across generations.
Kadir never took a formal lesson but learned through observation. His father grew up in a Kurdish village and was a shepherd in his youth. He often played his saz while watching over his flock in the mountains of Kurdistan. Kadir embraces his father’s tales of playing the saz in the hills as part of his heritage. Kadir watched his father and neighbors playing and observed musicians during wedding ceremonies. Over time, he began performing with various bands across Kurdistan, gaining experience and confidence. Today, he continues that journey in Nashville, where he leads my own music group, Vaveyla.For Kadir, it is paramount to preserve and pass down the rare tradition of playing the saz, especially within communities like Nashville’s Kurdish population. The saz holds an important role in the community, and he is often asked to play at weddings, events, and the annual Newroz (New Year) celebration. He only knows of one or two players in Tennessee and believes it is vital that younger generations learn to play the saz and understand its significance. “The saz is not just an instrument;” Kadir explains. “It’s a bridge to our cultural history, a vessel for the stories, emotions, and struggles of the Kurdish people. It plays an irreplaceable role in our music, carrying melodies that speak of our identity, our past, and our resilience. If we don’t actively pass down this tradition, we risk losing an essential part of who we are.” By continuing this tradition, memories are also preserved. Kadir states, “The saz can be the soundtrack of our future, just as it has been the soundtrack of our past.”
As part of the Traditional Arts Apprenticeship Program this year, Kadir will teach apprentice Aram Ezra Zengin how to excel at playing the saz. Aram has an eagerness to learn and a natural musical talent. Aram has been heavily influenced by his dad’s playing and has seen Kadir play at Newroz. Aram writes, “My goal is to become a professional saz player. I want to work with Mr. Gur because he is the best saz player in our community, and he knows how to teach really well. I think learning from him will help me get better, understand the music more, and make sure this tradition stays alive for the future.”
