ODED TZUR - Isabela
ECM 450 61014
Oded Tzur (tenor saxophone); Nitai Hershkovits (piano); Petros Klampanis (double bass); Johnathan Blake (drums)
Recorded September 2021
Making quite an impact with his ECM debut, Here Be Dragons released in February 2020, Tzur returns for a second outing with the label in a set that seeks not to consolidate but continue to push ahead, propelling the music forward into new territory. This is done with magnificent results, and retaining the quartet from the earlier recording. The time spent between the recordings, despite the pandemic, has resulted in the empathy and trust between the musicians deepening.
Tzur's fascination and commitment to both jazz and Indian classical music is again to the fore, but somehow the saxophonist manages to combine both idioms without compromising either, or making the resulting music a fusion of both. How both exist side by side is a topic for debate in itself, but it is the music that speaks most clearly and succinctly.
If anything, the music is more impassioned than on the debut recording. The musicians have worked together over a period of time and have settled in Tzur's musical sound world, and have the confidence that they can push at the edges of the music without destroying the form of the compositions. This broadening of the concept and performance of the material has meant that the music has grown rapidly but importantly not lost its identity.
The opening 'Invocation' lights a fire under Tzur and his playing is deeply passionate. The control over the tenor saxophone is just as startingly original as on Here Be Dragons, and the use of microtonal notes and inflexions give the music an additional weight and intensity. This sense of urgency is continued through on the following title, 'Noam' that begins gently enough before Tzur pushes the music hard, drawing out the overtones in the instrument and increasing the tension. This is picked up by pianist Nitai Hershkovits in his solo, and as the pressure build up the saxophonist returns with the release.
After such drama, 'The Lion Turtle' provides much relief. The pianist's solo is wonderfully restrained and melodic over Jonathan Blake's rattling percussion effects, and the stately bass solo from Petros Klampanis. The more serene side of the Quartet's music is
allowed to bear fruit with the delightful title track that has the saxophonist at his most lyrical, and once again the playing of Klamponis catches the ear. Blake's touch at the drums is restrained to the point where the listener strains to hear him, but is beautifully empathetic in his accompaniment to Hershkovits' piano solo.
Tzur rounds off the set with 'Love Song For The Rainy Season' immediately grabbing the attention with the first notes that you hear from the tenor. As sound like any other, tonally full of interest and detail, and melodically setting up the piece for perhaps the pianist's best solo of the album in a slow burner that threaten to erupt into molten lava at any point, yet paradoxically fuelled and held in check simultaneously by bass and drums until they themselves erupt into a fascinating dialogue. The saxophonist returns after the opening theme into a solo that is full of vigour and controlled passion, and intense as 'Invocation' that began this excellent recording.
Reviewed by Nick Lea
ECM 450 61014
Oded Tzur (tenor saxophone); Nitai Hershkovits (piano); Petros Klampanis (double bass); Johnathan Blake (drums)
Recorded September 2021
Making quite an impact with his ECM debut, Here Be Dragons released in February 2020, Tzur returns for a second outing with the label in a set that seeks not to consolidate but continue to push ahead, propelling the music forward into new territory. This is done with magnificent results, and retaining the quartet from the earlier recording. The time spent between the recordings, despite the pandemic, has resulted in the empathy and trust between the musicians deepening.
Tzur's fascination and commitment to both jazz and Indian classical music is again to the fore, but somehow the saxophonist manages to combine both idioms without compromising either, or making the resulting music a fusion of both. How both exist side by side is a topic for debate in itself, but it is the music that speaks most clearly and succinctly.
If anything, the music is more impassioned than on the debut recording. The musicians have worked together over a period of time and have settled in Tzur's musical sound world, and have the confidence that they can push at the edges of the music without destroying the form of the compositions. This broadening of the concept and performance of the material has meant that the music has grown rapidly but importantly not lost its identity.
The opening 'Invocation' lights a fire under Tzur and his playing is deeply passionate. The control over the tenor saxophone is just as startingly original as on Here Be Dragons, and the use of microtonal notes and inflexions give the music an additional weight and intensity. This sense of urgency is continued through on the following title, 'Noam' that begins gently enough before Tzur pushes the music hard, drawing out the overtones in the instrument and increasing the tension. This is picked up by pianist Nitai Hershkovits in his solo, and as the pressure build up the saxophonist returns with the release.
After such drama, 'The Lion Turtle' provides much relief. The pianist's solo is wonderfully restrained and melodic over Jonathan Blake's rattling percussion effects, and the stately bass solo from Petros Klampanis. The more serene side of the Quartet's music is
allowed to bear fruit with the delightful title track that has the saxophonist at his most lyrical, and once again the playing of Klamponis catches the ear. Blake's touch at the drums is restrained to the point where the listener strains to hear him, but is beautifully empathetic in his accompaniment to Hershkovits' piano solo.
Tzur rounds off the set with 'Love Song For The Rainy Season' immediately grabbing the attention with the first notes that you hear from the tenor. As sound like any other, tonally full of interest and detail, and melodically setting up the piece for perhaps the pianist's best solo of the album in a slow burner that threaten to erupt into molten lava at any point, yet paradoxically fuelled and held in check simultaneously by bass and drums until they themselves erupt into a fascinating dialogue. The saxophonist returns after the opening theme into a solo that is full of vigour and controlled passion, and intense as 'Invocation' that began this excellent recording.
Reviewed by Nick Lea
