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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 guitar hovers with melodic ease. Vitor Gonçalves and Glenn Zaleski take over chordal duties on piano, Fender Rhodes and accordion.
Similar to his past endeavors, Silberstein's compositions on Future Memories effortlessly blend different musical cultures, all the while steeped in deep jazz tradition. The title track opens the record at slow pace but with a gripping atmosphere. Acoustic guitar picking introduces the rhythm while piano and electric guitar focus on the melody. Texture and insightful interplay are at the core of this exhibition of dexterity and make for a colorful painting, which is soon followed by a contrastingly choppy theme in "Matcha" (as in the caffeine-based Japanese beverage) that is designed to keep eyes peeled.
"Wind On The Lake" is reminiscent of Pat Metheny 's experiments with South American rhythms, in part due to its rhythmic subtlety and simultaneously vast atmospheric nature. Vocal humming of a simple melodic theme combined with fat guitar leads further solidify the reference. Like Silberstein's interpretation of Argentinian composer Carlos Aguirre's "Milong Gris" on The Village, his take on Hamilton de Holanda's "Capricho de Donga" is one of the highlights of this album. Silberstein's tendency to over-solo is eliminated by the already intricate staccato theme and the highly dynamic interplay between all involved. Gonçalves and Patitucci each take their instrument on a spin over the changes to round off this wholesome affair.
Silberstein's most balanced outing to date, Future Memories showcases a guitarist who has found his own voice and does not shy away from using it. The album title's oxymoron is reflected in the music: the melancholic flavor of the past complements the futuristic adventurousness well. At the same time, this music seems independent of time. Timeless, some might say...
Track Listing: Future Memories; Matcha; Wind On The Lake; Impedimento; Intro To Night Walk; Night Walk; Capricho De Donga; A Picture Of
Yafo; Capricho De Espanha; Choro Negro
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab. My late great pa-in-law--the actor Keith Michell--wins the contest hands down however, as he co-starred in the 1962 movie All Night Long rubbing shoulders with Dave Brubeck, Keith Christie, Bert Courtley, John Dankworth, Ray Dempsey, Allan Ganley, Tubby Hayes, Charles Mingus, Barry Morgan, Kenny Napper, Colin Purbrook and John Scott! Wish I could have been a fly on the wall of that soundstage!
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