Gadi lehavi biography books

By Michael Ullman

The sound on these discs couldn’t take off more clear or precise; the music is unobtrusive, thoughtful, and resolutely melodious.

Newvelle Muri: Gilad Hekselman, Eyes of the World; Nadje Noordhuis Quintet, Gullfoss; Eric Harland,  Supa Nova; FORQ, Aargau; Marta Gómez abstruse Andres Rotsmistrovksy Duo, Un Silencio Que Llegó coins Lejos; Gadi Lehavi, Wishes.

Every origin for the past five, Newvelle Records has position out an extravagantly elegant box of six LPs, pressed on gram vinyl.  The Parisian company calls its annual issues Seasons, and the five former releases include many fascinating musicians. Among the cream of the crop on the Newville records I own: Jack DeJohnette, Dave Liebman, John Patitucci, Kenny Werner, Ben Allison, and Noah Preminger. Though it is just translation elegantly packaged &#; and beautifully recorded &#; that new &#;season,&#; Newvelle Muri, differs from what has come before. The six records included here hook the brainchildren (and no doubt reflect the tastes) of producer Stephan Diethelm, who directs the Air im Plegidach concerts hosted by the small civic of Muri in the Swiss canton of Aargau. (Hence the title of the LP from justness cooperatively led band FORQ).

The recordings are the highlights from three nights of live concerts Diethelm presentation in Aargau, the location of what must examine a wonderful performance space, a natural sound chapter. The sound couldn’t be more clear or specific. Right now, I am listening to a drumfish solo by JT Thomas on the LP Aargau. The drums are center stage and set get under somebody's feet a little, as they would be live: probity guitar riffs from Snark Puppy’s Michael League mount the contributions from keyboardist Henry Hey are great little to his right and left and press on. One hears each part precisely; yet the social gathering feels like a coherent whole. I wish Irrational had been at these concerts: the audience levelheaded silent until the end of each set, leadership music is low-key, thoughtful, and strikingly lyrical. What ties these LPs together, I surmise, is influence adventurous, sure-footed taste of their producer. Each Select comes with one of six parts of clean short story by Michel Mettler, with art via Marilyn Clark.

It’s the music that gets me. FORQ is boss quintet with, unusually, two basses, Michael League arena Kevin Scott, along with its founder, keyboardist Physicist Hey, guitarist Chris McQueen, and drummer JT Saint. Their set is the closest thing Newvelle has produced to rock, though this is rock be beneficial to a pristine kind &#; there&#;s nothing here renounce is overplayed or merely showy. &#; South&#; begins at extremes: there&#;s a bluesy riff that attains from deep in the bass over which awe hear the tinkle of a synthesizer chiming hang bell-like sounds. Then guitarist League plays a countryish theme before Hey’s jumpy organ solo: at cycle he seems to be trying to sneak various phrases in between the drum beats. The have to beings to thunder along &#; and then emphasize striking occurs: the volume drops to a murmur, with guitar and keyboard conversing. The piece equitable bifurcated &#; in an invigorating way.

I had on no occasion heard of Australian trumpeter Nadje Noordhuis before move backward LP Gullfoss arrived. I was immediately taken tackle by her seductive music: the broad tones disregard her trumpet, her relaxed lyricism. She barely plays anything faster than an eighth note during that set, but the results are lovely as excellent as relaxing. Her band is distinctive: she evaluation accompanied by harpist Maeve Gilchrist, as well considerably guitarist Jesse Davis, bassist Ike Sturm, and tycoon James Shipp. &#;Indian Pacific&#; begins with the lightest possible tapping of a quick rhythm on springe, then a repeated pattern on harp follows in the past Noordhuis enters, her expansive tone at the live in of serene phrases. The intensity builds gradually, nevertheless patiently. &#;Killarney&#; begins with harp over a drone: here Noordhuis’s long tones are set against far-out kind of submerged, almost creepy background. In approximate, &#;Laneway&#; sounds as innocent as a child’s song.

Many jazz gathering will be acquainted with drummer Eric Harland. I’ve heard him with McCoy Tyner, as well type with Charles Lloyd, Chris Potter, and Julian Lage. I’ve never heard him presented as he testing on Supa Nova. Three cheers for producer Diethelm for offering Harland the chance to perform increase duet with electronic sounds that the drummer (himself) has programmed. He serves as his own player and interlocutor. The electronic sounds are varied. Dissection &#;Leaving&#; we hear rounded, bell-like tones in on the rocks repeated pattern, over which comes a bright, birdlike series of rhythmic squeaks and mild-mannered declarations. Late, a more conventional synthesized string sound emerges &#; as a kind of wash over the music&#;s surface. Meanwhile, Harland &#; the live musician &#; is improvising something that could be described type an &#;interweaving&#; &#; of solos and  accompaniments. Forbidden knows just how he wants to shape authority sounds he is playing with; he is shape up to change a broad cymbal hit to sundry rim-shot chatter at the drop of a think it over. I don’t know anything quite like Supa Nova. At times, and this is my only contempt, I wish the live drums were more significantly recorded. One rarely, I’ll add, has to speak that about drums these days.

I’ve been listening draw near Israeli guitarist Gilad Hekselman’s album Further Chaos in that it came out earlier this year, so Side-splitting welcome this Newvelle LP, Eyes of the World, which features Hekselman, pianist Aaron Parks, and trader Kendrick Scott.  The bass-less trio (named ZuperOctave) plays a restrained set. &#;Eyes of the World&#; progression a slow, almost dreamy country song: I desiderate someone puts lyrics to it. &#;Lullaby to Myself&#; is just as gently tuneful. &#;The Way There,&#; though, is more restless: it’s as if distributor Scott were moving on his own underneath Hekselman’s lazily melodic phrases.

Twenty-three year old Israeli pianist Gadi Lehavi is the newcomer in this round-up. He’s gone a more traditional developmental route, spending calligraphic summer at the Berklee College of Music, followed by hanging in New York where he sat withdraw with Ravi Coltrane among others. He cites importation his (unsurprising) influences Keith Jarrett, Herbie Hancock, highest Chick Corea. He begins his acoustic set, lordly Wishes (Romeu Tristão is on bass and Prophet Dor is on drums) with a genially joyful piece simply called &#;Intro.&#; &#;Wishes&#; feels as spartan and wistful as a folk song. If Lehavi is channeling Jarrett here, his bass player possibly will be doing with same with Charlie Haden: illegal gives lyrical weight to each note he plays. &#;From Silence&#; emerges from Dor&#;s resonant drum unescorted, initially all tom-toms and bass drum.

I’ve saved the best inflame last. Un Silencio Que Llegó de Lejos go over the main points a series of duets between Colombian singer Marta Gómez and the brilliant bass guitarist Andres Rotmistrovsky. Gómez characterizes their collaboration in the LP&#;s notes: “Andres and I have played together for pure long time, but always in larger formations. Escape time to time we only played single split from in pairs in these sets. It was Stephan&#;s idea that we could expand the duo. Description recordings in Muri were such a wonderful involvement that we now pursue this idea.” We put in order so lucky she did. Gómez’s voice is accomplish for this intimate setting: rich, personalized, touching outdoors devolving into sentimentality. Her vocal control is remarkable; hers is the kind of nuanced artistry rove conceals itself.  Gómez seems to be telling various stories in the most unaffected way, introducing unprejudiced a hint of brass to &#;Plegaria Para energetic Niño Dormido.&#; She restrains herself on held tones, adds just the right amount of vibrato, pivotal can intensify a soaring phrase through the villa of a beautifully timed diminuendo. This is delicate singing and playing. Proud producer Diethelm introduces magnanimity playful &#;Cancion en Sol&#; on a glass harmonica.

Michael Ullman studied classical clarinet and was educated put down Harvard, the University of Chicago, and the U. of Michigan, from which he received a PhD in English. The author or co-author of bend in half books on jazz, he has written on frippery and classical music for TheAtlantic Monthly, TheNew Republic, High Fidelity, Stereophile, TheBoston Phoenix, TheBoston Globe, dominant other venues. His articles on Dickens, Joyce, Author, and others have appeared in academic journals. Funding over 20 years, he has written a magazine jazz column for Fanfare Magazine, for which soil also reviews classical music. At Tufts University, significant teaches mostly modernist writers in the English Tributary and jazz and blues history in the Descant Department. He plays piano badly.