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Gilad Atzmon liberates the Americans: Orient House Ensemble, Ronnie Scott’s London, August 30th 2008
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Posted by: editoron Monday, September 01, 2008 - 09:25 AM |
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By John Stevenson
For sheer improvisational fireworks, quirky humour and genre-defying invention, one will be hard-pressed to find a bandleader as unique as Gilad Atzmon.
The London-based Israeli-born saxophonist and clarinetist is also a novelist and controversial commentator on the complex politics of his homeland. Over the last decade he has blazed a distinctive trail with the Orient House Ensemble, mixing up the sounds of the Middle East with any number of influences including mainstream jazz, funk, calypso, and of course, klezmer.
This writer witnessed him in action at London’s premier jazz venue, Ronnie Scott’s, playing to a full house that hung on his every note. It was a gig that was as much about what he put into his mouth – playing both soprano and alto saxes simultaneously on one number – as what came out of it in terms of fine soloing and choice ad-lib remarks to the audience.
Most of the compositions played came from the OHE’s critically acclaimed CD, Refuge – an intelligently conceived melange of rock and Arab-influenced jazz tunes.
With the evocative “My Refuge”, the OHE took its audience to the wadis and souks of the Maghreb and beyond, and then magically morphed into a rousing call-and-response montuno rhythm, demonstrating the borderless nature of all good music.
The foot-stomping shuffle of “Spring in New York” rocked the house, while “The Burning Bush”, featuring Atzmon’s expressive shenai-like clarinet, came as an interesting contrast.
Atzmon’s droll requests for America to “liberate itself” before liberating any other country pointed to the saxophonist’s politics - which audiences occasionally get as a bolt-on to the music. This was Atzmon as practical joker, replete with saxophone quotes from Yankee Doodle Doo and TV soap Dallas.
But the full-house of more than 200 Ronnie Scott Jazz Club patrons also got the full measure of Atzmon’s sublime lyricism on alto saxophone, especially when he dipped into the jazz standard bag to essay the Louis Armstrong-popularised “What a Wonderful World”. Though Charlie Parker was his first influence, Gilad’s attack is similar to that of Sonny Stitt with shades of Cannoball Adderley.
Drummer Asaf Sirkis, who plays with the dedication of a monk, was most impressive at his kit, offering a dependable pulse in lock step with Yaron Stavi’s firm electric and acoustic bass navigation. Pianist Frank Harrison’s Fender Rhodes and acoustic piano accompaniment was outstanding.
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