{"id":3951,"date":"2010-01-11T10:02:05","date_gmt":"2010-01-11T07:02:05","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/01\/11\/bu-kalp-seni-unutur-mu-fikret-kizilok-ve-sarkilari\/"},"modified":"2010-01-11T10:02:05","modified_gmt":"2010-01-11T07:02:05","slug":"bu-kalp-seni-unutur-mu-fikret-kizilok-ve-sarkilari","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/01\/11\/bu-kalp-seni-unutur-mu-fikret-kizilok-ve-sarkilari\/","title":{"rendered":"Bu Kalp Seni Unutur mu ? | Fikret KIZILOK ve \u015fark\u0131lar\u0131"},"content":{"rendered":"

M\u00fcnir Fikret K\u0131z\u0131lok<\/strong> (10 Kas\u0131m 1946, \u0130stanbul – 22 Eyl\u00fcl 2001, Istanbul<\/span>) 1946 y\u0131l\u0131nda \u0130stanbul’da do\u011fdu. 22 Eyl\u00fcl 2001’de bir hastanede uzun s\u00fcredir \u00e7ekti\u011fi kalp hastal\u0131\u011f\u0131 y\u00fcz\u00fcnden hayat\u0131n\u0131 kaybetti. Hafif T\u00fcrk m\u00fczi\u011fi i\u00e7in rock t\u0131n\u0131lar\u0131 ve deneysel \u00e7al\u0131\u015fmalar\u0131yla \u00e7ok \u00f6nemli bir sanat\u00e7\u0131yd\u0131.<\/p>\n

\u00d6\u011frenim hayat\u0131na Galatasaray Lisesi’nin ilkokul k\u0131sm\u0131nda ba\u015flad\u0131. M\u00fczikle de ilk tan\u0131\u015fmas\u0131 burada ger\u00e7ekle\u015fti. \u0130lk enstr\u00fcman\u0131 kendisine ya\u015f g\u00fcn\u00fcnde arma\u011fan edilen k\u0131rm\u0131z\u0131 bir akordeondu.<\/p>\n

\u0130lk m\u00fczik derslerini s\u0131n\u0131f arkada\u015flar\u0131ndan birinin klarnet\u00e7i olan babas\u0131ndan ald\u0131; ilk konserini de bir 23 Nisan\u2019da Taksim Belediye Gazinosu\u2019nda d\u00fczenlenen okul m\u00fcsameresinde verdi. Fikret K\u0131z\u0131lok ve Orkestras\u0131<\/em> adl\u0131 k\u00fc\u00e7\u00fck grubun elemanlar\u0131 K\u0131z\u0131lok\u2019un s\u0131n\u0131f arkada\u015flar\u0131d\u0131r ve \u00e7ald\u0131klar\u0131 halk t\u00fcrk\u00fcleri ile alk\u0131\u015f al\u0131yorlard\u0131. Bu d\u00f6nemdeki en b\u00fcy\u00fck hitleri “Tamzara” t\u00fcrk\u00fcs\u00fcn\u00fcn yorumuydu.<\/p>\n

Ortaokul ve lise y\u0131llar\u0131nda bu konserler s\u00fcrd\u00fc. Lise y\u0131llar\u0131nda akordiyonu b\u0131rakan K\u0131z\u0131lok, Elvis Presley’den etkilenerek eline gitar\u0131 ald\u0131. Fikret\u2019in o d\u00f6nemdeki en b\u00fcy\u00fck destek\u00e7ileri ise \u00fcst s\u0131n\u0131flarda okuyan Bar\u0131\u015f Man\u00e7o ile Timur Sel\u00e7uk’tu.<\/p>\n

Kad\u0131k\u00f6y’de oturan Fikret K\u0131z\u0131lok, 1964’te arkada\u015f\u0131 olan Cahit Oben<\/span> ile birlikte yeni bir at\u0131l\u0131m i\u00e7ine girdiler . Yeni bir grup kurarak profesyonel hayata ge\u00e7meye karar verdiler. Yanlar\u0131na bas gitarist Koray Oktay<\/span> ve davulcu Erol Ula\u015ft\u0131r<\/span>‘\u0131 ald\u0131lar; b\u00f6ylece Cahit Oben 4<\/span> do\u011fdu. Kendilerini “daha ziyade Beatles tipi m\u00fczik yapan bir grup” olarak tan\u0131mlayan Cahit Oben 4, \u0130lham Gencer<\/span>‘in i\u015fletti\u011fi \u00c7at\u0131 Gece Kul\u00fcb\u00fcnde<\/span> programlar yapmaya ba\u015flad\u0131, bir yandan da mahalle konserlerini s\u00fcrd\u00fcrd\u00fc. Bu arada kendi paralar\u0131yla iki 45’lik plak doldurdular. Bunlardan ilkinde iki yabanc\u0131 \u015fark\u0131y\u0131 yorumlad\u0131lar: The Rolling Stones’\u0131n s\u00f6yledi\u011fi bir The Beatles \u015fark\u0131s\u0131 “I Wanna Be Your Man” ve “36 24 36”. \u0130kinci plaklar\u0131nda daha “kendilerine” d\u00f6nd\u00fcler. Pla\u011f\u0131n ilk y\u00fcz\u00fcnde Silifke\u2019nin Yo\u011furdu<\/span> vard\u0131; di\u011fer y\u00fcz\u00fc ise bir besteydi: Hereke<\/span>, ayn\u0131 zamanda K\u0131z\u0131lok’un plak olarak yay\u0131nlanan ilk bestesiydi. Cahit Oben 4, H\u00fcrriyet Gazetesi<\/span>‘nin d\u00fczenledi\u011fi Alt\u0131n Mikrofon<\/span> yar\u0131\u015fmas\u0131n\u0131n 1965 aya\u011f\u0131na da “Makaram Sar\u0131 Ba\u011flar \/ Halime” pla\u011f\u0131yla kat\u0131ld\u0131lar. Grup bu plaklardan sonra Oben, m\u00fczik hayat\u0131na ni\u015fanl\u0131s\u0131 F\u00fcsun \u00d6nal ile devam etmek istedi\u011fi i\u00e7in ayr\u0131ld\u0131.<\/p>\n

1965’te K\u0131z\u0131lok, “Fikret K\u0131z\u0131lok ve \u00dc\u00e7 Veliaht” ad\u0131 alt\u0131nda ilk pla\u011f\u0131n\u0131 yay\u0131nlad\u0131. Grup gitarda Harun Bat\u0131baygil, basta G\u00f6khan Torgay, davulda Koral T\u00fcmay’dan olu\u015fuyordu. “Belle Marie \/ K\u0131z Ay\u015fe” \u015fark\u0131lar\u0131ndan olu\u015fan pla\u011f\u0131n iki \u015fark\u0131s\u0131 da Fikret K\u0131z\u0131lok’a aitti. Fikret K\u0131z\u0131lok, bu iki grupla \u00e7\u0131kard\u0131\u011f\u0131 plaklardan sonra Cahit Oben 4 ile \u00e7al\u0131\u015fmalar\u0131n\u0131 s\u00fcrd\u00fcr\u00fcrken girdi\u011fi di\u015f\u00e7ilik y\u00fcksekokulundaki e\u011fitimini s\u00fcrd\u00fcrd\u00fc. Bir s\u00fcre sadece okuluyla ilgilendi.<\/p>\n

M\u00fczikten kopamayaca\u011f\u0131n\u0131 anlad\u0131\u011f\u0131nda ilk solo pla\u011f\u0131n\u0131 doldurdu. Bu d\u00f6rt \u015fark\u0131dan olu\u015fan bir EP’ydi. Folk ad\u0131n\u0131 verdi\u011fi b\u00f6l\u00fcmde “Ay Osman” ve “Colours” \u015fark\u0131lar\u0131 yer almaktayd\u0131. Beat ad\u0131n\u0131 verdi\u011fi ikinci plakta ise The Beatles’\u0131n All My Loving<\/span> \u015fark\u0131s\u0131n\u0131n T\u00fcrk\u00e7e aranjman\u0131 olan “Sevgilim” ve “Baby” \u015fark\u0131lar\u0131 yer ald\u0131. Bu plak o y\u0131llarda fazla ses getirmedi. Bunun \u00fczerine K\u0131z\u0131lok okulunu bitirmeye karar verdi. Yine de zaman zaman arkada\u015flar\u0131n\u0131n kurdu\u011fu Kayg\u0131s\u0131zlar’la birlikte \u00e7al\u0131\u015ft\u0131, Bar\u0131\u015f Man\u00e7o’ya e\u015flik etti. “Ay Osman” \u015fark\u0131s\u0131n\u0131n Bar\u0131\u015f Man\u00e7o ve Kayg\u0131s\u0131zlar olarak yeni bir yorumunda kaydetti. Ancak Bar\u0131\u015f Man\u00e7o’nun ilk e\u015fi Marie Claude<\/span> ile a\u015fk ya\u015famaya ba\u015flad\u0131\u011f\u0131 i\u00e7in ikilinin yollar\u0131 ayr\u0131ld\u0131.<\/p>\n

Di\u015f\u00e7ilik Y\u00fcksekokulu<\/span>‘nun son s\u0131n\u0131f\u0131nda okurken mahalleden arkada\u015f\u0131 Arda Uskan<\/span> ile bir yolculu\u011fa \u00e7\u0131kt\u0131; bu m\u00fczik hayat\u0131n\u0131 t\u00fcm\u00fcyle etkileyecek bir yolculuktu. Bu yolculukta A\u015f\u0131k Veysel<\/span> ile tan\u0131\u015ft\u0131. D\u00f6n\u00fc\u015fte gitar\u0131n\u0131 eline alan K\u0131z\u0131lok st\u00fcdyoya girdi ve 1969’da A\u015f\u0131k Veysel<\/span>‘in Uzun \u0130nce Bir Yolday\u0131m<\/span> t\u00fcrk\u00fcs\u00fcn\u00fc yeni bir d\u00fczenlemeyle kayda ald\u0131. Bunu bir 45’lik olarak yay\u0131nlad\u0131. \u0130kinci solo 45\u2019li\u011fi Fikret K\u0131z\u0131lok’un hayat\u0131nda da \u00f6nemli bir d\u00f6n\u00fcm noktas\u0131 oldu. Arka y\u00fcz\u00fcnde s\u00f6zlerini kendi yazd\u0131\u011f\u0131 bir halk \u015fark\u0131s\u0131, “P\u0131nar Ba\u015f\u0131ndan Bulan\u0131r” t\u00fcrk\u00fcs\u00fcn\u00fcn bir b\u00f6l\u00fcm\u00fcn\u00fc kullanan Benim A\u015fk\u0131m Beni Ge\u00e7ti<\/span> yer ald\u0131. O g\u00fcne dek s\u00fcrd\u00fcrd\u00fc\u011f\u00fc suskunlu\u011fu ve bunu bozmas\u0131n\u0131n nedenini de plak kapa\u011f\u0131nda \u015f\u00f6yle a\u00e7\u0131klad\u0131: Piyasa, \u00f6ylesine T\u00fcrk benli\u011finden uzak melodilere kucak a\u00e7m\u0131\u015ft\u0131 ki, beni dinlemeyeceklerdi bile. Bug\u00fcn ise durum b\u00fcy\u00fck bir h\u0131zla de\u011fi\u015fiyor. Bu \u00f6z benli\u011fimize d\u00f6n\u00fc\u015fte ben de \u00fczerime d\u00fc\u015fen g\u00f6revi yapmaya karar verdim…<\/em><\/p>\n

Kas\u0131m 1969’da yine A\u015f\u0131k Veysel’in yan\u0131na Sivrialan<\/span>‘a gitti. Kar yollar\u0131 kapay\u0131nca \u00fc\u00e7 ay ustas\u0131n\u0131n yan\u0131nda kald\u0131. [2]<\/sup> D\u00f6n\u00fc\u015fte “Yumma G\u00f6z\u00fcn K\u00f6r Gibi \/ Ya\u011fmur Olsam”, K\u0131z\u0131lok\u2019un as\u0131l \u00e7\u0131k\u0131\u015f\u0131n\u0131 yapt\u0131\u011f\u0131 plak oldu. 1970 tarihli plaktaki iki \u015fark\u0131n\u0131n da s\u00f6zleri A\u015f\u0131k Veysel’e, besteleri Fikret K\u0131z\u0131lok’undu. Plakta, gitar, tumba ve saz\u0131n yan\u0131nda de\u011fi\u015fiklik olsun diye enstr\u00fcman olarak tahta ve ta\u015f kulland\u0131. \u015eark\u0131lar \u00e7ok be\u011fenildi, plak \u00e7ok satt\u0131 ve sanat\u00e7\u0131 ilk alt\u0131n pla\u011f\u0131n\u0131 ald\u0131.<\/p>\n

Bu ba\u015far\u0131n\u0131n ard\u0131ndan fazla ara vermeden bir 45\u2019lik daha yapt\u0131. Ancak bu kez kendisine ait bir \u015fark\u0131yla ortaya \u00e7\u0131kt\u0131: “S\u00f6yle Saz\u0131m”. Plak kapa\u011f\u0131nda, “T\u00fcrk geleneklerine uygun 17 perdeli H\u00fcseyni d\u00fczende \u00fc\u00e7 de\u011fi\u015fik saz\u0131n bat\u0131 anlay\u0131\u015f\u0131nda ve \u00e7oksesli olarak kullan\u0131ld\u0131\u011f\u0131” bir \u015fark\u0131 olarak tan\u0131mlan\u0131yordu. Pla\u011f\u0131n arka y\u00fcz\u00fcnde K\u0131z\u0131lok\u2019un Karacao\u011flan’dan besteledi\u011fi G\u00fczel Ne G\u00fczel Olmu\u015fsun<\/span> vard\u0131. Her iki \u015fark\u0131da da kendisine Nedim Demirelli<\/span> e\u015flik etti. Plak, listelerde de kendisini g\u00f6sterdi ve haftalarca 1 numarada kalm\u0131\u015f olan Bar\u0131\u015f Man\u00e7o\u2019nun Da\u011flar Da\u011flar<\/span>‘\u0131n\u0131 devirerek liste ba\u015f\u0131 oldu.<\/p>\n

1970 y\u0131l\u0131n\u0131 bu iki plakla kapatt\u0131. Bu plaklar y\u0131l sonunda Hey dergisi taraf\u0131ndan d\u00fczenlenen “Y\u0131l\u0131n M\u00fczik Oskarlar\u0131” anketinde g\u00f6r\u00fclmemi\u015f bir ba\u015far\u0131ya imza att\u0131: “S\u00f6yle Saz\u0131m”, “Yumma G\u00f6z\u00fcn K\u00f6r Gibi” ve “G\u00fczel Ne G\u00fczel Olmu\u015fsun”, Bar\u0131\u015f Man\u00e7o’nun “Da\u011flar Da\u011flar”\u0131n\u0131n ard\u0131ndan s\u0131ras\u0131yla ikinci, \u00fc\u00e7\u00fcnc\u00fc ve d\u00f6rd\u00fcnc\u00fc oldu. Fikret K\u0131z\u0131lok da ayn\u0131 ankette “Y\u0131l\u0131n Erkek \u015eark\u0131c\u0131s\u0131” se\u00e7ildi.<\/p>\n

1970 y\u0131l\u0131n\u0131n getirdi\u011fi ba\u015far\u0131lar\u0131n ard\u0131ndan bir s\u00fcre plak yapmayan sanat\u00e7\u0131 bu d\u00f6nemde bir Anadolu turnesine \u00e7\u0131kt\u0131. Turne s\u0131ras\u0131nda Siverek<\/span> yolunda donma tehlikesi ge\u00e7irdi; bir kamyon \u015fof\u00f6r\u00fc taraf\u0131ndan kurtar\u0131ld\u0131. Bu olay\u0131n ard\u0131ndan bir plak yapt\u0131 ve “Emmo” adl\u0131 bestesini bu kamyon \u015fof\u00f6r\u00fcne ithaf etti. Grafson<\/span> \u015firketi ile anla\u015fan K\u0131z\u0131lok’un 1971 tarihli firmadan \u00e7\u0131kard\u0131\u011f\u0131 ilk pla\u011f\u0131n arka y\u00fcz\u00fcnde Ahmed Arif’in \u015fiiri \u00fczerine besteledi\u011fi “Vurulmu\u015fum” adl\u0131 \u015fark\u0131 vard\u0131. K\u0131z\u0131lok, 1972’de bu \u015fark\u0131yla Bulgaristan’da yap\u0131lan Alt\u0131n Orfe Festivali<\/span>‘ne kat\u0131ld\u0131.<\/p>\n

Bu d\u00f6nemde K\u0131z\u0131lok Bir Ali Var<\/span> adl\u0131 bir oyun yazd\u0131 ancak bu oyun hi\u00e7 sahnelenmedi. Bu oyunun \u015fark\u0131lar\u0131 bu d\u00f6nemde plak olarak yay\u0131nland\u0131. 1971’de “G\u00fcn Ola Devran D\u00f6ne \/ Anadolu’yum” (Anadolu’yum \u015fark\u0131s\u0131n\u0131n ilk k\u0131tas\u0131 Ahmed Arif’e aittir), 1972’de “Leylim Leylim (Kara Tren) \/ G\u00f6zlerinden Bellidir”, 1973’te “K\u00f6ro\u011flu Da\u011flar\u0131 \/ Tutamad\u0131m Ellerini” hep Bir Ali Var oyununun \u015fark\u0131lar\u0131yd\u0131. K\u00f6ro\u011flu Da\u011flar\u0131 \u015fark\u0131s\u0131 T\u00fcrk m\u00fczi\u011finde \u00e7ok ender yer alan sitar ile ba\u015flamaktayd\u0131. Bu oyunun di\u011fer \u015fark\u0131lar\u0131ndan “Kime Sormal\u0131”y\u0131 D\u00f6n\u00fc\u015f\u00fcm<\/span> e\u015fli\u011finde Tansu<\/span>, “Duyar M\u0131s\u0131n”\u0131 ise o d\u00f6nemde \u00fcn\u00fcn\u00fcn doru\u011funda olan Timur Sel\u00e7uk yorumlad\u0131. Ayn\u0131 y\u0131l “Bac\u0131n \u00d6nde Ben Arkada \/ Koyverdin Gittin Beni” pla\u011f\u0131n\u0131 \u00e7\u0131kard\u0131.<\/p>\n

1973’te A\u015f\u0131k Veysel\u2019in hayat\u0131n\u0131 kaybetti. K\u0131z\u0131lok cenaze t\u00f6renine de kat\u0131ld\u0131. Bu \u00f6l\u00fcm \u00fczerine daha sonra K\u0131z\u0131lok saz\u0131n\u0131 k\u0131rd\u0131, bir s\u00fcreli\u011fine m\u00fczi\u011fi b\u0131rakt\u0131 ve kendini t\u00fcm\u00fcyle di\u015f hekimli\u011fine verdi. Bu d\u00f6nemde e\u015fi \u015eeyda K\u0131z\u0131lok ile evlendi. Fikret K\u0131z\u0131lok 1974’te Tehlikeli Madde<\/span> ad\u0131n\u0131 ta\u015f\u0131yan yeni grubuyla uzunca bir Anadolu turnesine \u00e7\u0131kana kadar ortal\u0131kta g\u00f6z\u00fckmedi. Grup klavyede Turhan Y\u00fckseler<\/span>, gitarlarda Ataman Hakman<\/span> ve Siret Yurtsever<\/span>, bas gitarda Sahir Kay\u0131han<\/span>, davulda Eser Say\u0131ner<\/span>‘den olu\u015fuyordu. Turnenin ard\u0131ndan \u0130stanbul\u2019da seri konserler verdi. Tehlikeli Madde ile folk motiflerinin rock ile harmanland\u0131\u011f\u0131 \u015fark\u0131lar yapt\u0131. Giderek folk motiflerinin yerini daha alaturka sesler ald\u0131. Yine Ahmed Arif’in \u015fiirlerinden yararland\u0131\u011f\u0131 “Haberin Var m\u0131 \/ K\u00f6r Pencere \/ Ay Batt\u0131” bu d\u00f6nemin en \u00f6nemli pla\u011f\u0131 olarak dikkat \u00e7ekti. K\u00f6r Pencere’ye ba\u011fl\u0131 olarak pla\u011fa al\u0131nan “Ay Batt\u0131” ise, pop\u00fcler m\u00fczi\u011fimizin enstr\u00fcmantal \u015fark\u0131lar\u0131 aras\u0131nda \u00f6zel bir yere sahipti. Ayn\u0131 y\u0131l grupla ikinci ve son pla\u011f\u0131nda “A\u015fk\u0131n Olmad\u0131\u011f\u0131 Yerde” ve yine bir A\u015f\u0131k Veysel t\u00fcrk\u00fcs\u00fc “\u0130nsan M\u0131y\u0131m Mahluk Muyum Ot Muyum” \u015fark\u0131lar\u0131 yer ald\u0131.<\/p>\n

Bu plaktan sonra yap\u0131lan “Anadolu\u2019yum 75”, daha \u00f6nce yay\u0131nlanan ayn\u0131 adl\u0131 \u015fark\u0131ya bir g\u00f6ndermeydi. Bu \u015fark\u0131da Fikret K\u0131z\u0131lok, ilk kez Naz\u0131m Hikmet<\/span> \u015fiirinden yararland\u0131. B y\u00fcz\u00fcnde “Dara\u011fac\u0131” \u015fark\u0131s\u0131 yer ald\u0131. Son 45’li\u011fi ise Mart 1976’da yay\u0131nland\u0131. Mahzuni \u015eerif’ten “Biz Yanar\u0131z” ve vazge\u00e7emedi\u011fi Veysel’den “Sen Bir Ceylan Olsan” adl\u0131 t\u00fcrk\u00fcleri yorumlad\u0131 sanat\u00e7\u0131 bu pla\u011f\u0131nda. Plak ele\u015ftirildi. Fikret K\u0131z\u0131lok\u2019un kendini yenileyece\u011fi g\u00fcnleri bekliyoruz<\/em> gibi ifadeler kullan\u0131lm\u0131\u015ft\u0131 bu ele\u015ftirilerde. K\u0131z\u0131lok, b\u00fct\u00fcn bunlar \u00fczerine ortadan kayboldu.<\/p>\n

1977 ortalar\u0131nda, 1971 – 1972 y\u0131llar\u0131nda yapt\u0131\u011f\u0131 ancak o g\u00fcne dek yay\u0131nlamad\u0131\u011f\u0131 kimi kay\u0131tlar\u0131 bir alb\u00fcm olarak piyasaya s\u00fcrd\u00fc. Not Defterimden<\/span> ad\u0131n\u0131 ta\u015f\u0131yan bu alb\u00fcmde K\u0131z\u0131lok\u2019un deneysel \u00e7al\u0131\u015fmalar\u0131 vard\u0131: Atonal<\/span> bir altyap\u0131 \u00fczerine Naz\u0131m Hikmet<\/span> \u015fiirini koydu ve kendi deyimiyle “\u015fark\u0131c\u0131l\u0131\u011f\u0131 de\u011fil, m\u00fczisyenli\u011fi” dener. Ancak d\u00f6nemin “nazik” siyasi ortam\u0131nda bu \u00e7al\u0131\u015fma fazla ortalarda g\u00f6z\u00fckmedi. Plak \u00e7\u0131kt\u0131ktan k\u0131sa bir s\u00fcre sonra toplat\u0131ld\u0131. (Yeniden yay\u0131nlanmas\u0131 ise 1993’\u00fc buldu.) Bu arada Var\u015fova’da bu alb\u00fcm\u00fcyle iki \u00f6d\u00fcl ald\u0131. Ancak, pla\u011f\u0131n toplat\u0131lmas\u0131 onu etkiledi ve Fikret K\u0131z\u0131lok, m\u00fczi\u011fi b\u0131rakt\u0131\u011f\u0131n\u0131 a\u00e7\u0131klad\u0131. O g\u00fcne dek 13 alt\u0131n plak ve \u00e7e\u015fitli \u00f6d\u00fcller alan sanat\u00e7\u0131, bundan sonra derin bir sessizli\u011fe g\u00f6m\u00fcld\u00fc. Buna gerek\u00e7e olarak da “haz\u0131rlad\u0131\u011f\u0131 yap\u0131tlar\u0131n ticari olmad\u0131\u011f\u0131 gerek\u00e7esiyle plakevleri taraf\u0131ndan geri \u00e7evrilmesini” g\u00f6sterdi ve bir daha profesyonel olarak m\u00fczik hayat\u0131na d\u00f6nmeyece\u011fini bildirdi. 1978’te o\u011flu Ya\u011fmur K\u0131z\u0131lok<\/span> do\u011fdu.<\/p>\n

1983’te 5 senelik bir aradan sonra tabla, bas gitar, ney ve bendir e\u015fli\u011finde kaydetti\u011fi Zaman Zaman<\/span> alb\u00fcm\u00fcn\u00fc yay\u0131nlad\u0131. En iyi alb\u00fcmlerinden biri olarak Zaman Zaman’da, klibinde ud \u00e7ald\u0131\u011f\u0131 alb\u00fcme ad\u0131n\u0131 veren \u015fark\u0131 Zaman Zaman, daha sonra yeniden yorumlanacak Yeter Ki, Sevda \u00c7i\u00e7e\u011fi, daha \u00f6nce 45’lik olarak okudu\u011fu G\u00fczel Ne G\u00fczel Olmu\u015fsun \u015fark\u0131s\u0131n\u0131n yeni yorumu ve daha bir \u00e7ok ba\u015far\u0131l\u0131 \u015fark\u0131 vard\u0131. Alb\u00fcm\u00fcn pla\u011f\u0131nda K\u0131z\u0131lok’un “Ege \u015eark\u0131lar\u0131”, “Veyselname” ve “\u0130nsanc\u0131klar” adl\u0131 alb\u00fcmlerinin yay\u0131nlanaca\u011f\u0131 s\u00f6ylense de bu ger\u00e7ekle\u015fmedi. Bu alb\u00fcmdeki “Sevda \u00c7i\u00e7e\u011fi”nin, Orhan Gencebay’\u0131n “Tanr\u0131ya Feryat” \u015fark\u0131s\u0131ndan esinlendi\u011fi iddia edilmi\u015ftir. Ancak K\u0131z\u0131lok \u015fark\u0131n\u0131n bir Bekta\u015fi nefesi tarz\u0131nda oldu\u011funu s\u00f6ylemi\u015ftir.<\/p>\n

Fikret K\u0131z\u0131lok 1980’lerin ba\u015f\u0131nda B\u00fclent Orta\u00e7gil ile tan\u0131\u015ft\u0131. \u0130kili \u00c7ekirdek Sanatevi projesine ba\u015flad\u0131lar. Bu projede T\u00fcrkiye’de pop\u00fcler m\u00fczi\u011fin d\u0131\u015f\u0131nda kalan gruplar, burada dinletiler yap\u0131p, bunlar kaydedilip s\u0131n\u0131rl\u0131 bi\u00e7imde bas\u0131l\u0131p da\u011f\u0131t\u0131l\u0131yordu. Para amac\u0131 g\u00fctmeyen bu projede, bir\u00e7ok sanat\u00e7\u0131 ilk sahne deneyimlerini ya\u015fad\u0131. Bu sanat\u00e7\u0131lar i\u00e7inde Erkan O\u011fur, Yeni T\u00fcrk\u00fc, Ezginin G\u00fcnl\u00fc\u011f\u00fc gibi bir \u00e7ok ki\u015fi vard\u0131. Bu d\u00f6nemde Fikret K\u0131z\u0131lok di\u015f hekimili\u011fini de b\u0131rakt\u0131 ve kendini sadece m\u00fczi\u011fe verdi. Fikret K\u0131z\u0131lok, burada da\u011f\u0131t\u0131lan \u00fcr\u00fcnlerde kay\u0131tlar\u0131 yapt\u0131. 1985’te B\u00fclent Orta\u00e7gil ile “Biz \u015eark\u0131lar\u0131m\u0131z\u0131…” alb\u00fcm\u00fc kaydetti. 1986’da ise bandroll\u00fc alb\u00fcm olan “Pencere \u00d6n\u00fc \u00c7i\u00e7e\u011fi” alb\u00fcm\u00fc \u00e7\u0131kartt\u0131. TRT’nin “Cumartesiden Cumartesiye” program\u0131 i\u00e7in \u00e7ocuk \u015fark\u0131lar\u0131 kaydettiler. Daha sonra yasalar nedeniyle alb\u00fcm yay\u0131nlamak zorla\u015f\u0131nca, evin \u00fcretkenli\u011fi azald\u0131, daha sonra da K\u0131z\u0131lok ve Orta\u00e7gil’in uyu\u015fmazl\u0131klar\u0131 ba\u015f g\u00f6sterince ikili yollar\u0131n\u0131 ay\u0131rd\u0131.<\/p>\n

K\u0131z\u0131lok, Orta\u00e7gil ile birlikte Sonay Tanr\u0131sever<\/span>‘in alb\u00fcm\u00fc “Gecenin \u00dc\u00e7\u00fcnde” alb\u00fcm\u00fcn\u00fc prod\u00fckt\u00f6rl\u00fc\u011f\u00fcn\u00fc yapt\u0131 ve Orta\u00e7gil’in “Mum” \u015fark\u0131s\u0131 d\u0131\u015f\u0131nda b\u00fct\u00fcn \u015fark\u0131lar\u0131 yazd\u0131. Ayn\u0131 y\u0131l Sibel Sezal<\/span>‘in “Bu Kalp Seni Unutur Mu?” alb\u00fcm\u00fcn\u00fc yine Orta\u00e7gil ile yap\u0131m\u0131n\u0131 \u00fcstlendi. \u015eark\u0131lar\u0131n \u00e7o\u011funu da \u00d6zkan Samio\u011flu<\/span> ile yazd\u0131. Ayn\u0131 y\u0131l Yana Yana<\/span> alb\u00fcm\u00fcn\u00fc \u00e7\u0131kard\u0131. Bu alb\u00fcmde Erkan O\u011fur, Fuat G\u00fcner, Fahir Atako\u011flu gibi sanat\u00e7\u0131lar, K\u0131z\u0131lok’a e\u015flik etti. Bu alb\u00fcmde prod\u00fckt\u00f6rl\u00fc\u011f\u00fcn\u00fc yapt\u0131\u011f\u0131 Sonay ve Sibel Sezal alb\u00fcmlerinden iki \u015fark\u0131y\u0131 do\u011frudan alb\u00fcmden al\u0131p \u00fcst\u00fcne vokallerini kaydetti. (S\u0131ras\u0131yla Gecenin \u00dc\u00e7\u00fcnde ve Bu Kalp Seni Unutur mu? \u015fark\u0131lar\u0131) Ele\u015ftirel “Why High One Why” \u015fark\u0131s\u0131n\u0131n geri vokallerinde H\u0131ncal Ulu\u00e7, Ferhan \u015eensoy, Grup G\u00fcndo\u011farken gibi isimler yer ald\u0131.<\/p>\n

1990’da Olmuyo Olmuyo<\/span> alb\u00fcm\u00fc yay\u0131nland\u0131. Bu alb\u00fcm K\u0131z\u0131lok taraf\u0131ndan da ele\u015ftirilen, milletvekili se\u00e7imleri \u00f6ncesine yeti\u015ftirilmek i\u00e7in aceleye gelmi\u015f bir yap\u0131m olarak g\u00f6r\u00fclmektedir. \u00c7ekirdek Evi d\u00f6neminden Ninni, Entelekt\u00fcel, Alaturka Liberal, D\u00fc\u015fler \u015fark\u0131lar\u0131 da alb\u00fcmde yeni d\u00fczenlemeleriyle yer almaktayd\u0131. 1993’te Ferhan \u015eensoy’un “K\u00f6hne Bizans Operas\u0131”n\u0131n m\u00fcziklerini yapt\u0131. Ayn\u0131 y\u0131l ikinci e\u015fi Dicle K\u0131z\u0131lok ile evlendi.<\/p>\n

Bir s\u00fcre yine m\u00fczik \u00e7al\u0131\u015fmalar\u0131na ara veren K\u0131z\u0131lok, 1995’te Demirba\u015f \u015fark\u0131s\u0131 ile geri d\u00f6nd\u00fc. T\u00fcrkiye’deki en ba\u015far\u0131l\u0131 siyasal ta\u015flamalardan biri olan “Demirba\u015f”, S\u00fcleyman Demirel’in siyaset sahnesinden uzakla\u015famamas\u0131n\u0131 esprili bir dille anlatan bir \u015fark\u0131yd\u0131. Bu \u015fark\u0131n\u0131n i\u00e7inde bulundu\u011fu alb\u00fcmde “Ninni”, “En Entellekt\u00fcel”, “\u015eark\u0131daki Maymun” gibi eski ta\u015flamalar\u0131n yeni d\u00fczenlemeleri, “U\u011fur Mumcu” isimli bir \u015fark\u0131, Z\u00fclf\u00fc Livaneli ve Ahmet Kaya’ya ta\u015flamalarda bulunan “P\u015f\u015ft Barmen” \u015fark\u0131s\u0131 vard\u0131. Alb\u00fcm Deniz Som’un “Vaziyetler” kitab\u0131 ile birlikte sat\u0131l\u0131yordu. Ayn\u0131 y\u0131l “Demirba\u015f” ve “P\u015f\u015ft Barmen”in de yer ald\u0131\u011f\u0131, yeni \u015fark\u0131lardan olu\u015fan “Yadigar” alb\u00fcm\u00fc \u00e7\u0131kt\u0131. Bu alb\u00fcmden \u00e7\u0131kan “Kalbim” \u015fark\u0131s\u0131 dikkat \u00e7ekti.<\/p>\n

K\u0131z\u0131lok daha \u00f6nce 25 A\u011fustos 1975’te U\u011fur Mumcu’nun yazd\u0131\u011f\u0131 “Sesleni\u015f” yaz\u0131s\u0131n\u0131, 10 b\u00f6l\u00fcmde inceleyip senfonik \u015fiir olarak bestelemi\u015f, 1993’te Show TV’de bu \u00e7al\u0131\u015fman\u0131n bir b\u00f6l\u00fcm\u00fcn\u00fc Derya Baykal okumu\u015ftu. Bu \u00e7al\u0131\u015fma “Vurulduk Ey Halk\u0131m” ad\u0131yla alb\u00fcm haline getirildi ve 1996’da yay\u0131nland\u0131.<\/p>\n

1998’de Mustafa Kemal Atat\u00fcrk’\u00fcn hayat\u0131n\u0131 Atat\u00fcrk’\u00fcn a\u011fz\u0131ndan anlatt\u0131\u011f\u0131, ara\u015ft\u0131rmalar\u0131n\u0131, metin yazarl\u0131\u011f\u0131n\u0131, s\u00f6z ve bestelerini tamamen kendisinin yapt\u0131\u011f\u0131 veda alb\u00fcm\u00fc Mustafa Kemal – Bir Devrimcinin G\u00fcncesi<\/span> ile destans\u0131, lirik bir m\u00fczik yapt\u0131. Alb\u00fcm yan\u0131nda konuyu anlatan bir kitapla piyasaya s\u00fcr\u00fclm\u00fc\u015ft\u00fc. 28 \u015eubat S\u00fcreci’ni ya\u015fayan T\u00fcrkiye’de K\u0131z\u0131lok saf\u0131n\u0131 g\u00f6stermi\u015fti. Bu alb\u00fcmden sonra “Suya Yaz\u0131lan \u015eark\u0131lar” adl\u0131 bir alb\u00fcm \u00e7\u0131karaca\u011f\u0131n\u0131 s\u00f6ylese de o alb\u00fcm hi\u00e7 yay\u0131nlanmad\u0131<\/p>\n

Devrimci’nin g\u00fcncesi sonras\u0131 Fikret K\u0131z\u0131lok, \u015fark\u0131c\u0131 olarak m\u00fczik d\u00fcnyas\u0131ndan uzakla\u015ft\u0131. 1995’te Fuat G\u00fcner ile MF\u00d6<\/span> hiti “Sak\u0131n Gelme” \u015fark\u0131s\u0131n\u0131n s\u00f6zlerini yazd\u0131. 1999’da Fuat G\u00fcner’in solo alb\u00fcm\u00fc i\u00e7in 4 \u015fark\u0131n\u0131n s\u00f6z\u00fcn\u00fc yazd\u0131. Ayn\u0131 y\u0131l Ferhan \u015eensoy’un yazd\u0131\u011f\u0131, Derya Baykal’\u0131n oynad\u0131\u011f\u0131 “\u015eu An Mutfaktay\u0131m” oyununun m\u00fcziklerini yapt\u0131. 60’l\u0131 y\u0131llardaki 45’liklerinin bir b\u00f6l\u00fcm\u00fc “G\u00fcn Ola Devren D\u00f6ne” ad\u0131yla bir alb\u00fcmde topland\u0131. 2001’de Sertab Erener’e “Oysa” ve “Kumsalda” \u015fark\u0131lar\u0131n\u0131 verdi ve Erener “Kumsalda”y\u0131 alb\u00fcm\u00fcn ilk klip par\u00e7as\u0131 yapt\u0131.<\/p>\n

Daha \u00f6nce 1998’de kalp krizi ge\u00e7iren K\u0131z\u0131lok, Bodrum<\/span>‘da 2001 Temmuz’unda kalp krizi ge\u00e7irdi. \u0130stanbul’a getirilen K\u0131z\u0131lok’un durumu bir s\u00fcre d\u00fczeldi. Onu \u00f6l\u00fcmden kurtaran hem\u015fire i\u00e7in son bir \u015fiir yazd\u0131\u00a0 Kalp pili tak\u0131lsa da 22 Eyl\u00fcl 2001’de hayat\u0131n\u0131 kaybetti. \u00d6l\u00fcm\u00fcnden sonra daha \u00f6nce \u015fiirini besteledi\u011fi d\u00f6nemin ba\u015fbakan\u0131 B\u00fclent Ecevit: “De\u011ferli besteci ve yorumcu Fikret K\u0131z\u0131lok’un zamans\u0131z aram\u0131zdan ayr\u0131l\u0131\u015f\u0131ndan \u00fcz\u00fcnt\u00fc duydum. Fikret K\u0131z\u0131lok, birbirinden g\u00fczel besteleri ve e\u015fsiz yorumculu\u011fu ile her d\u00f6nem b\u00fcy\u00fck be\u011feni toplam\u0131\u015f ve m\u00fczik tarihimizin \u00f6nc\u00fc sanat\u00e7\u0131lar\u0131ndan olmu\u015ftur. Merhuma Allah’tan rahmet, ailesi ve sanat\u00e7\u0131 dostlar\u0131na ba\u015fsa\u011fl\u0131\u011f\u0131 dilerim.<\/em>” a\u00e7\u0131klamas\u0131n\u0131 yapt\u0131. Orta\u00e7gil ise “\u00d6l\u00fcm kar\u015f\u0131s\u0131nda ne s\u00f6ylenir bilemiyorum. \u00c7ok \u00fczg\u00fcn\u00fcm. Bir zamanlar birlikte \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z iyi bir dostumdu. Hem i\u015f orta\u011f\u0131m, hem iyi arkada\u015f\u0131md\u0131. Son y\u0131llarda kendisiyle fazla g\u00f6r\u00fc\u015fme imkan\u0131m\u0131z olmad\u0131 ama onu her zaman, \u00e7ok zeki ve iyi bir s\u00f6z yazar\u0131 olarak herkes gibi ben de hat\u0131rlayaca\u011f\u0131m.<\/em>” dedi. Sanat\u00e7\u0131, hayat\u0131n\u0131n son y\u0131llar\u0131n\u0131 ge\u00e7irdi\u011fi Bodrum’da defnedildi.<\/p>\n

Sanat\u00e7\u0131n\u0131n \u00f6l\u00fcm\u00fcnden sonra ad\u0131 Ankara’da bir parka verildi. Nisan 2002’de Sezen Aksu, MF\u00d6, B\u00fclent Orta\u00e7gil, Sertab Erener, G\u00fcndo\u011farken, Cahit Berkay gibi sanat\u00e7\u0131lar\u0131n kat\u0131ld\u0131\u011f\u0131 bir sayg\u0131 konseri verildi. Denizi \u00e7ok seven K\u0131z\u0131lok 2004’te ad\u0131na d\u00fczenlenen bir yelken yar\u0131\u015f\u0131yla da an\u0131ld\u0131.<\/p>\n

Son \u015fark\u0131s\u0131 “A\u015fk Var Ya”, Demir Demirkan ve Fuat G\u00fcner taraf\u0131ndan okundu. 2002’de D\u00fcnden Bug\u00fcne adl\u0131 Fikret K\u0131z\u0131lok toplamas\u0131 yay\u0131nland\u0131. Bu alb\u00fcmde daha \u00f6nce yay\u0131nlanmam\u0131\u015f Ama Babac\u0131\u011f\u0131m ve Kumsalda \u015fark\u0131s\u0131n\u0131n Frans\u0131zca orijinal demosu Plage Egoiste bulunmaktayd\u0131. 2007’de B\u00fclent Orta\u00e7gil ile \u00c7ekirdek y\u0131llar\u0131nda kaydettikleri \u00e7ocuk \u015fark\u0131lar\u0131ndan olu\u015fan “B\u00fcy\u00fckler \u0130\u00e7in \u00c7ocuk \u015eark\u0131lar\u0131” alb\u00fcm\u00fc yay\u0131nland\u0131. Dream TV’de “Bir Sanat\u00e7\u0131y\u0131 Anlamak” adl\u0131 bir belgesel ile an\u0131ld\u0131.<\/p>\n

Ba\u015fkalar\u0131 taraf\u0131ndan yorumlanan \u015fark\u0131lar\u0131<\/span><\/strong><\/p>\n

Fikret K\u0131z\u0131lok’un bir \u00e7ok \u015fark\u0131s\u0131 yeniden yorumland\u0131. Bunlardan baz\u0131lar\u0131:<\/p>\n