Those distinguishing marks can be traced to the founder of both the Kadima Collective and the eponymous label, Jean-Claude Jones, a bassist of the first rank himself. Born in Tunisia and raised in France, Jones is a Berklee College graduate who immigrated to Israel in 1983. A veteran of fusion, mainstream jazz and free improvisation, Jones is a man of remarkable energy who has chaired the Jazz Department at the Jerusalem Academy of Music and Dance and compiled a list of playing credits that runs from Stan Getz to Marc Ribot.
Jones started Kadima Collective as a co-op in 2004 with a few other like-minded Israeli musicians: "My original idea and goal were to document the free improv scene here in Israel and let the world know where we are in this particular trend of music. Together with a small group of musicians, we started to record our experiments, with the intention to have them published somehow. Soon after, in 2005, after realizing that it was a waste of time to look for an international label that would publish us, I decided to create the Kadima Collective Recordings, along with a couple of friends, great local free improvisers."
Part of the distinctive energy of Israeli free improvisation comes from the special cultural mix of "sabras, i.e., Israeli born and others like me, olim, emigrants from different parts of the world," says Jones. You might hear it in two of the label's finest musicians, the native-born soprano saxophonist Ariel Shibolet and the senior clarinetist Harold Rubin, a veteran painter and musician who had fled South African apartheid in the '60s and lived in Europe before settling in Israel.
For Jones, Kadima's multiple missions are embedded in the Hebrew sounds of the name: K (kouf), D (daled) and M (mem). "Combined with different vowels they can give 'kodem,' at the beginning or before; 'kedem,' ancient times; 'kedma,' progress; 'kidoum,' advertising, progress, promotion; 'hakdama,' introduction; 'kedimout,' priority and many more. 'Kadima' literally means move on, go ahead, proceed. I have a desperate desire to move on. I happen to be suffering from a debilitating disease, MS [multiple sclerosis], no cure in sight. Since I have been diagnosed, the best therapy to keep my life happening is to be doing only what I love, playing and devoting my energy and spending my money in documenting free improv music."
Jones took production into his own hands: "I bought the full DigiDesign hardware and Pro Tools software. Took me a couple of years to learn how to use the stuff and we started recording cuts in my home-made Pro Tools studio and manufacturing limited runs of CDs, all co-productions between Kadima and the guys. That was the easiest part. Attracting distributors was another story...
..."So I had the idea of approaching a few artists of international stature and based abroad, with the intention of helping to promote the label and get the interest of distributors, retail stores and writers. And this is exactly what happened, from 2007 with Ned Rothenberg and Joëlle Léandre, soon followed by Mark Dresser, Barre Phillips, Bert Turetzky, Vinny Golia and Günter Baby Sommer. And we all received international attention."
The catalogue that is evolving is a fine balance between Jones' interests, those strong local players and an international cast of largely great bass players. Among the best of the local performances is Jones' own Recomp, recomposed and excerpted performances that include bassist Avishai Cohen, Rothenberg and Rubin, among others. Jones' distinctive creativity is further apparent on The World Is Round with speaker Joseph Sprinzak. It's a sound/text piece in Hebrew based on Gertrude Stein's eponymous story. There's a masterpiece of free group improvisation from California called Untitled (1959)it's named for a Mark Rothko paintingin which Shibolet visits with Bay-area singer Aurora Josephson, trombonist Jen Baker, pianist Scott R. Looney and bassist Damon Smith. Rubin's One Voice combines two long suites for unaccompanied clarinet that reveal a great improvising soloist.