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In a quartet that includes both guitar and piano, a certain symbiosis between the players is necessary for the success of the sound. Israeli guitarist Inbar Fridman has established that relationship of musical symbiosis with pianist Camelia Ben Naceur, part of a trio Fridman calls the "French mob" that also includes bassist Laurent Chavoit and drummer Stefano Lucchini, rounding out the quartet of the guitarist's Time Quartet Project.
Fridman, who studied in the USat William Patterson Universityhas now moved back to Israel. She has toured Europe alongside Ben Naceur with French bassist Oliver Gatto and drummer Billy Cobham, and the deep musical relationship these players have developed, has evolved into a fortuitous recording project.
Fridman and Ben Naceur share songwriting duties on six of the set's seven tunes, generating a sound that is ego-less and chamber-like, lyrical, beautiful, and tranquil, underlain by vibrant energy and momentum. There is a sense that the musical connection between guitarist and pianist was enhanced by geography and family. The set was recorded in France, at the foot of the Pyrenees over four days, under the apparently salubrious influence of Ben Naceur's father's sugar corn crepes. Piano and guitar trade the spotlight and comping duties with grace and aplomb, with the main focus remaining on the ensemble sound.
Ben Naceur's "13 Days" flows between strength and momentum to spare, wistful reverie. Inbar's ephemeral "No Palm Trees" floats on a whispering rhythmic cushionInbar's crisp guitar followed by the fluid delicacy of Ben Nauceur's piano.
The Time Quartet Project is a gorgeous introduction to a pair of upcoming musical voices.
Track Listing: Dark Song for a Clear Day; Christopher's Cheek; Acoustic; No Palm Trees; 13 Days; Day Dreamer; Just a Folk Song.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.