Jazz Articles about Yotam Silberstein

Yotam Silberstein: Future Memories

by Friedrich Kunzmann
March 13, 2019

If 2016's The Village (jazz&people) qualified as a step outside of Yotam Silberstein 's comfort zone, Future Memories may as well be considered a giant leap. The New York-based guitarist has evidently arrived at a point in his career where he feels free to play and compose as he pleases, and makes his confidence known to his sidemen so that they can smoothly follow suit. With veteran bassist John Patitucci and drummer Daniel Dor keeping a breezy rhythmic foundation, Silberstein's ...

Tessa Souter: Picture in Black and White

by Victor L. Schermer
October 15, 2018

New York-based vocalist Tessa Souter is becoming treasured among jazz fans and musicians alike. Equally effective in clubs, in concert and on her several fine recordings, she combines the sonority, vocal range and discipline of a classical contralto with subtle and sultry jazz inflections. Everything she sings is well thought out and in good taste. She works with the best instrumentalists and has a consummate grasp of both swing and the modern jazz idiom, as well as folk and world ...

Yotam: Brasil

by Dan Bilawsky
November 17, 2011

A single letter separates the English and Portuguese spellings of the world's fifth largest country, but that letter distinguishes between an outsider's view and the way that an insider takes it all in. Brazil is for tourists, but Brasil is for those initiated in the musical ways of this South American land of wonder. While Israeli guitarist Yotam Silberstein was born more than six thousand miles from Ipanema Beach, he displays the understanding, insight and sensitivity of a man who ...

Yotam: Brasil

by Lawrence Peryer
November 17, 2011

Brazilian music is tricky. It must be approached carefully as its mellow understatement can be vulnerable to sterility in production and blandness in execution. Brasil, by Israeli guitarist Yotam Silberstein (now known solely as “Yotam") is plagued by both attributes. It is quite difficult to appreciate the competency of the players with whom Yotam has surrounded himself for this outing, as both the playing and engineering carry a certain lack of character and color. Too smooth throughout, ...

Yotam Silberstein: Next Page

by J Hunter
May 23, 2009

Next Page has been pegged as an organ trio disc. The problem with that is saxman Chris Cheek appears on five of the disc's nine cuts. True, keyboardist Sam Yahel never lays out, but to completely dismiss Cheek's role in Yotam Silberstein's second release as a leader--even for simplicity's sake--is to ignore a range of color that helps make Next special.

Simplicity is what this date is all about, as Silberstein's unadorned hollow-body guitar work freely invites comparisons to releases ...

Yotam Silberstein: Next Page

by Jerry D'Souza
May 20, 2009

Yotam Silberstein began playing guitar when he was 10. His first interests were rock and pop, but five years later he began studying jazz. After he finished high school in Tel Aviv, Silberstein moved to New York City. He continued pursuing jazz and, over the years, has played with Kenny Barron, Avishai Cohen, Roy Hargrove and John Faddis among others. Silberstein made his recording debut with The Arrival (Fresh Sound New Talent, 2004).

Here, Silberstein finds a comfortable ...

Yotam Silberstein: Next Page

by Dan McClenaghan
May 6, 2009

The organ trio approach is one of the more drenched-in-the-tradition formats in jazz. From Wes Montgomery's Riverside recordings through Grant Green's Blue Note sets up to Dr. Lonnie Smith's innovations, there's always a feeling of timeless soulfulness to the grouping of guitar, Hammond B3 organ and drums.Tel Aviv-born guitarist Yotom Silberstein, on Next Page, brings a reverence for that tradition, along with a hint of a Near Eastern tint, a nod to Bossa Nova, and a turn of ...