David Broza and Omer Avital: Brozajazz: Paris Alhambra

When jazz fusion comes to mind, the default association is generally jazz-rock. But fusion is far more expansive, as Israeli singer-songwriter David Broza proves on BrozaJazz: Paris Alhambra. Here, Broza's lifelong love of jazz meets Mediterranean, flamenco and folk traditions, all brought together in an intimate acoustic jazz setting.

Broza's affinity for jazz began early. As a child, he absorbed the sounds of Miles Davis, Dizzy Gillespie, John Coltrane and Charlie Parker while his aunt painted in her art studio. His youth in Israel, England, and Spain exposed him to a wide range of musical traditions, and later collaborations with Townes Van Zandt and Steve Earle added strands of Americana to the mix.

Throughout his career, Broza has thrived on musical curiosity. His songs, rich with Mediterranean color and flamenco intensity, have always reached across borders. With BrozaJazz: Paris Alhambra, he brings that openness into a traditional jazz framework. Rather than signaling a stylistic detour, the album reveals another dimension of his artistry.

The project took shape during Broza's collaboration with bassist and composer Omer Avital, a musician whose work seamlessly blends modern jazz with Middle Eastern influences. Their partnership led naturally to a full-length concert project featuring Avital's quartet: Eden Ladin on piano, Itay Morchi on drums and Itamar Borochov on trumpet. The music captured here is a vibrant mix of soulful improvisation and cross-cultural sensibility.

The chemistry among the players is evident from the opening track, "Prelude #1." The tune's traditional jazz feel provides a foundation for improvisation, with the quartet communicating instinctively. Borochov's trumpet adds a nice punch to the mix. That energy leads into "Bedouine Love Song," where Broza's vocals enter the scene. Rather than dominating, his voice shares the space with trumpet, piano, and rhythm section. Each part adds to the space without getting in the way of the song.

Throughout the set, the performances illuminate new contours in Broza's writing. His feel for jazz harmonies and improvisational phrasing expands his melodies while preserving their intimacy. A folk-rooted lyric might unfold into a quiet conversation between piano and trumpet; a straight-ahead groove may open into exploratory ensemble interplay. The album's live setting amplifies that sense of spontaneity and ease.

BrozaJazz is more than a blending of styles; it is an embrace of musical diversity. By bringing his songs into the jazz idiom, Broza reminds us that music is a universal language, one that welcomes anyone willing to join the conversation.

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