One of the more interesting trends in the last several years is the melding of modern jazz sensibilities with traditional Jewish klezmer music. The New Klezmer Trio, John Zorn's Masada, and David Krakauer have all created some powerfully moving music within this context. Hasidic New Wave's Jews & the Abstract Truth is a haunting, exhilarating ride. While the title implies a light-hearted approach, the music is in fact quite moody and intense. This is by no means a criticism.
The disc opens with the driving "Satmer Hakafos #6," which veers between Ornette-ish abstraction and wedding dance music abandon. Co-leader Greg Wall burns on tenor sax and David Fiuczynski turns in some slippery guitar licks. "Sim Shalom" cooks over a funky groove and features amazing solos from Wall, Fiuczynski and co-leader Frank London on trumpet. "Tzur Mishelo" is a somber ballad full of emotion and poignant beauty. Percussionist Aaron Alexander and bassist Kenny Davis contribute solid, imaginative support throughout.
Other highlights include a gorgeous tenor saxophone feature on "Last Temptation of Lady L" and "Eliyahu Hanovi," the exhilarating wedding dance music of "V'smatcha," a freeform horn dialogue on "Welcome to the McDonald's in Dachau," with Ben Goldberg of the New Klezmer Trio sitting in on bass clarinet, and the funkified freak out of "Finale:'Juba.'"
The deep traditions of both Jewish music and jazz are honored in this outstanding release. Highly recommended.
Satmer Hakafos #6, Sim Shalom; Tzur Mishelo; Last Temptation of Lady L.; Eliyahu Hanovi; V
Greg Wall, tenor sax; Frank London, trumpet; David Fiuczynski, guitar; Kenny Davis, bass; Aaron Alexander, drums.
Rhythm Abstraction: Azure is the first volume of new compositions created as a follow up to 2018’s
release Rhythm Kaleidoscope. As with that release, Brock Avery improvised drum and percussion
solos. Frank Macchia then composed music for woodwinds and orchestra to Brock’s creations. Azure
is the first of three extended play albums of 6-7 compositions which will be released starting in
January and followed up in April and July. In Azure we have a created a group of pieces that continue
our quest for honoring the art of improvisation with a “stream-of-consciousness” sense of
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