Once again its 5:30 am, back from a concert in jerusalem-a city so full of history and heritage.
We, too, drove up there to re-examine out history, heritage and most importantly-the depth of our faith.
The club was packed (rare for this particular one) with various fans-some who drove up from every and any corner of the country to hear the band. (THANK YOU!)
Tonight was the first night of a 2 week tour which features Nir Na'aman. Nir is visiting from NYC. He also is one of the most gentle , beautiful and generous souls one will come across. He's been one of my closest friends and musical partners for the past, mm, 13 years...
and least i mention, Nir is one of the most amazing and simply unbelievable saxophone players you will ever have the chance of hearing.
This tour is dedicated to the passing of 40 years since the passing of Jazz god John Coltrane.
Coltrane for the jazz musicians is what quantom physics are to the mathematician, and what Bach is to the classical musician-Coltrane's music represents the roots and heritage of jazz, it's history and grandeur, yet at the same time it presents some of the most daunting challenges a jazz musician will ever face - theoretical and technical challenges-and perhaps the harder ones-personal, emotional and philosophical challenges.
My group of bandits and myself have been known to be dedicated to "new" music, "original" music and other terms coined to convey one's attempt o find one's personal path.
Yet we were all brought up within a certain tradition, a certain language, a certain world which is most often referred to as "jazz standards".
The standards are songs and jazz compositions made famous by the jazz giants of the 20th century.
These standards, like any, represent the common ground a musician has to cover in his journey to become a jazz musician. These standards contain endless melodic, harmonic and rhythmic possibilities we will spend our life exploring.
And against these standards we measure our growth, our goals, ourselves.
Within these jazz standards John Coltrane's music stands out-some of his compositions have gained mythical stature among jazz musicians, some even considered as "holy" and not to be touched.
Many of these songs started musical and social revolutions, both small and large.
Nir Na'aman and myself have performed some of Trane's music growing up, and a little less than a year ago have recorded this music following an american tour.
As the years passed our musical ability grew, and as we mature we are able to bring more to the table-more experience, better understanding of jazz history and hopefully -more SOUL.
But the important things remained the same-Coltrane's amazing music which echoes his spirit every time played, my band's dedication to exploring music's in's and out's e-v-e-r-y night out, and last but not least-Nir's loving friendship, his real and deep belief in music and jazz as a way of life, his amazing mastery of the jazz language and his willingness to test it once again in a leap of faith as to discover not only what it is-but what it could be if....
Once again im being reminded by my partners, is that the only standards worth sharing are the highest ones.
See you out there:)
"Isnt Classical music dead?!"
"Go live a full, interesting and varied life. It will come out in your art"
The above sentence is one often heard by artists in every field and culture - masters pass it on to their students as a mantra in one's quest to grow as a person as well as an artist.
I hear the saying above is true, but cannot actually attest to it...
I always felt the desire to get lost in my own world and imagination, choosing to not only focus on one genre of music (which is in itself only one form of art within many ways of human expression) but focus on even more specific extremes within the genre.
I pick and choose, mix and match certain moods, grooves, chords, and keys only to discover how much can be said with how little.
I often choose a small group of peers and mentors and work pretty much only with them, working towards long lasting musical and personal collaborations and relationships.
Some say "but why limit yourself"?
I say "why the hell not?!"
I feel that the deeper I dive into my own personal waters the more intimate i become with them, making every shade of blue really count.
And this way of working really works for me.
I say no to projects I would enjoy in other fields only to feel like making real progress in my tiny chosen field.
It might be a needle in a hey-sack, but hey-its my needle, and its a damn fine one :)
Every year or two I take on a project from outside my field-a drum and bass band, a classical chamber ensemble, or god forbid-a rock n' roll band- only to feel emotionally detached from the music real quick and swear to never stray from my beloved jazz till death do us part.
The only musical world I keep returning to only to never find a real format to grow with is the classical world.
I performed with different ensembles-from world-famous orchestras to small obscure chamber groups and always felt like a fish out of water...
Somewhere between the conductor throwing his hands or sticks in all directions as if to land a highjacked plane to the fact every note is already written therefore after the 2nd concert i feel like im 50 years old reading the same book over and over again.
And the audience drinks no wine, dresses funny and misses bingo night to hear the music.
Besides, none of my friends listen to classical music thinking it died with their grand-grandparents...
In short-I'm LOVING IT.
Last time I was invited to perform as a soloist with an orchestra I immediately asked If I could bring the trio with me. I figured that even if we can't make the 2 ends meet at least I'll see my buddies and we'll rock out on our own time later that night at some jazz club.
To my surprise , the orchestra people said yes...
But (there's always a but with non-jazz musicians) we'll have to meet midway-you can improvise on some of the music, and will have to play some of the orchestral music too. You can rock out on some of your jazz as long as you'll play our music elegantly enough...or so they said....
I must add that the marriage of such bastard children as improvised and written orchestral music almost never works. really. usually it sounds like cheap broadway BS at best or real sonic disaster at worst...
So why am I telling you this?
Because this week I been a part of a very special project.
The Israeli Stage Orchestra invited 3 soloists to perform music of their choice with them, and after 2 concerts this week, we all can't wait for the rest of the season.
The entire "band" is made up of classical musicians from all nationalities and all ages,
We turned the entire program inside out-they play bach and I improvise guitar solos over it, the drums play jazz brushes behind me playing Ravel, we play jazz samba behind Saint-Saëns, as well as each soloist performing an original composition of his choice.
After 2 somewhat-rocky rehearsals we were all amazed that the last 2 concerts at The Jerusalem Theater were fantastic, and to packed houses too...
This music is absolutely gorgeous and I find myself listen with great anticipation to what everyone is playing as it comes out so dreamy and pretty in the face...
We have 8 more concerts with this project (which I was just informed will continue next year) the next 2 will take place this coming saturday at the Tel-Aviv museum (rest of the dates are on the band's website) and I hope you can make it :)
The above sentence is one often heard by artists in every field and culture - masters pass it on to their students as a mantra in one's quest to grow as a person as well as an artist.
I hear the saying above is true, but cannot actually attest to it...
I always felt the desire to get lost in my own world and imagination, choosing to not only focus on one genre of music (which is in itself only one form of art within many ways of human expression) but focus on even more specific extremes within the genre.
I pick and choose, mix and match certain moods, grooves, chords, and keys only to discover how much can be said with how little.
I often choose a small group of peers and mentors and work pretty much only with them, working towards long lasting musical and personal collaborations and relationships.
Some say "but why limit yourself"?
I say "why the hell not?!"
I feel that the deeper I dive into my own personal waters the more intimate i become with them, making every shade of blue really count.
And this way of working really works for me.
I say no to projects I would enjoy in other fields only to feel like making real progress in my tiny chosen field.
It might be a needle in a hey-sack, but hey-its my needle, and its a damn fine one :)
Every year or two I take on a project from outside my field-a drum and bass band, a classical chamber ensemble, or god forbid-a rock n' roll band- only to feel emotionally detached from the music real quick and swear to never stray from my beloved jazz till death do us part.
The only musical world I keep returning to only to never find a real format to grow with is the classical world.
I performed with different ensembles-from world-famous orchestras to small obscure chamber groups and always felt like a fish out of water...
Somewhere between the conductor throwing his hands or sticks in all directions as if to land a highjacked plane to the fact every note is already written therefore after the 2nd concert i feel like im 50 years old reading the same book over and over again.
And the audience drinks no wine, dresses funny and misses bingo night to hear the music.
Besides, none of my friends listen to classical music thinking it died with their grand-grandparents...
In short-I'm LOVING IT.
Last time I was invited to perform as a soloist with an orchestra I immediately asked If I could bring the trio with me. I figured that even if we can't make the 2 ends meet at least I'll see my buddies and we'll rock out on our own time later that night at some jazz club.
To my surprise , the orchestra people said yes...
But (there's always a but with non-jazz musicians) we'll have to meet midway-you can improvise on some of the music, and will have to play some of the orchestral music too. You can rock out on some of your jazz as long as you'll play our music elegantly enough...or so they said....
I must add that the marriage of such bastard children as improvised and written orchestral music almost never works. really. usually it sounds like cheap broadway BS at best or real sonic disaster at worst...
So why am I telling you this?
Because this week I been a part of a very special project.
The Israeli Stage Orchestra invited 3 soloists to perform music of their choice with them, and after 2 concerts this week, we all can't wait for the rest of the season.
The entire "band" is made up of classical musicians from all nationalities and all ages,
We turned the entire program inside out-they play bach and I improvise guitar solos over it, the drums play jazz brushes behind me playing Ravel, we play jazz samba behind Saint-Saëns, as well as each soloist performing an original composition of his choice.
After 2 somewhat-rocky rehearsals we were all amazed that the last 2 concerts at The Jerusalem Theater were fantastic, and to packed houses too...
This music is absolutely gorgeous and I find myself listen with great anticipation to what everyone is playing as it comes out so dreamy and pretty in the face...
We have 8 more concerts with this project (which I was just informed will continue next year) the next 2 will take place this coming saturday at the Tel-Aviv museum (rest of the dates are on the band's website) and I hope you can make it :)
Modern jazz in modern times
"Excuse me-what kind of music was that? "
" You tell me" i answer.
"it sounds like some new kinda jazz to me-but i dont know about ALL music"
"neither do I" i answer.
Modern Jazz in modern times.
its 5 am.
i just got back from playing a concert in jerusalem.
Playing in jerusalem means i drop off my motorcycle at the local rent-a-van, head back to telaviv, pick up the band, and then drive to jerusalem, play the concert, go eat, drop off the band in telaviv only to return the car at 4:30am.....loooooooonnnnggg night.
by the time we get to jerusalem and we are just about to fall asleep, after sitting in the car for 3 hrs, and we actually did consider disappearing from the jazz club for the favor of a great local pizza place, followed by a movie.
we been working hard this past month traveling all across israel, and rehearsing on days off. we all wanted a night off.
but, we are here, we might as well play. we been working too hard at it to not see what tonight might bring.
there were maybe 30 people in the audience - most of them regulars who come see the band every couple weeks.
we know some of them by name, some of them have our phone no's or emails and inquire about next week's show, CD's etc.
we know they all paid a ticket, yet we get ripped off by the new clubowner (we perform there every week when in israel) and we get payed a sum too low to print....i will reveal we lost money after gas and food expenses. and we didnt eat all posh...
so we all agree that maybe we should just cancel our weekly shows there for Oct. and nov. and just rehearse in telaviv, or play one of our Telaviv venues instead ( "even for free!" ,suggested by a band member who prefers to remain anonymous. he plays drums.)
and i agree. its way too much work, for very little money. we might as well.
now ill take the risk of being the helpless romantic ill never admit i am, and say tonight was one of the most exciting concerts I been part of in some time.
from the first note the music danced, roared, cried, touched, and really kicked ass.
nights like these are rare, and most musicians will tell you-the really good nights really do feel like a million dollars. and i will attest to the same mantra:)
What are the odds? that in a country where people fear the next war, stressed about next month's rent, embarrassed about our president, and feel lost waiting for the next political and social change-what are the odds that 3 people will band together and work towards a unique and personal group statement?
young men leaving their girlfriends behind, their financial worries behind, their egos behind and travel a too long a way in all hours of the night just for the chance of being part of something special. of something that might matter to someone. anyone.
We play real loud, so you'd know that jazz kicks ass.
We play super slow, so you'd feel that time stands still.
We play as fast as fast gets, and sounds flash right before your eyes and ears.
We give it all we got. so you'd know we are as serious as cancer-this music is our statement about who we are, as young men in a society that doesn't care for expression, for individuality, for courage, for music.
We would prefer to just chill out, take the night off, get some food.
But we are already here, we might as well play.
Modern Jazz in modern times.
" You tell me" i answer.
"it sounds like some new kinda jazz to me-but i dont know about ALL music"
"neither do I" i answer.
Modern Jazz in modern times.
its 5 am.
i just got back from playing a concert in jerusalem.
Playing in jerusalem means i drop off my motorcycle at the local rent-a-van, head back to telaviv, pick up the band, and then drive to jerusalem, play the concert, go eat, drop off the band in telaviv only to return the car at 4:30am.....loooooooonnnnggg night.
by the time we get to jerusalem and we are just about to fall asleep, after sitting in the car for 3 hrs, and we actually did consider disappearing from the jazz club for the favor of a great local pizza place, followed by a movie.
we been working hard this past month traveling all across israel, and rehearsing on days off. we all wanted a night off.
but, we are here, we might as well play. we been working too hard at it to not see what tonight might bring.
there were maybe 30 people in the audience - most of them regulars who come see the band every couple weeks.
we know some of them by name, some of them have our phone no's or emails and inquire about next week's show, CD's etc.
we know they all paid a ticket, yet we get ripped off by the new clubowner (we perform there every week when in israel) and we get payed a sum too low to print....i will reveal we lost money after gas and food expenses. and we didnt eat all posh...
so we all agree that maybe we should just cancel our weekly shows there for Oct. and nov. and just rehearse in telaviv, or play one of our Telaviv venues instead ( "even for free!" ,suggested by a band member who prefers to remain anonymous. he plays drums.)
and i agree. its way too much work, for very little money. we might as well.
now ill take the risk of being the helpless romantic ill never admit i am, and say tonight was one of the most exciting concerts I been part of in some time.
from the first note the music danced, roared, cried, touched, and really kicked ass.
nights like these are rare, and most musicians will tell you-the really good nights really do feel like a million dollars. and i will attest to the same mantra:)
What are the odds? that in a country where people fear the next war, stressed about next month's rent, embarrassed about our president, and feel lost waiting for the next political and social change-what are the odds that 3 people will band together and work towards a unique and personal group statement?
young men leaving their girlfriends behind, their financial worries behind, their egos behind and travel a too long a way in all hours of the night just for the chance of being part of something special. of something that might matter to someone. anyone.
We play real loud, so you'd know that jazz kicks ass.
We play super slow, so you'd feel that time stands still.
We play as fast as fast gets, and sounds flash right before your eyes and ears.
We give it all we got. so you'd know we are as serious as cancer-this music is our statement about who we are, as young men in a society that doesn't care for expression, for individuality, for courage, for music.
We would prefer to just chill out, take the night off, get some food.
But we are already here, we might as well play.
Modern Jazz in modern times.
Musics and musings
This week's diet consists of new and old discoveries:
1. Ornette Coleman - Sound Grammar
For an album covered this much by global press it went pretty much un-noticed in NYC. This is an amazing album. Its a time in history where the major statements are made by the veterns of this artform-and with that please check out the amazing last 2 keith jarrett solo releases.
2. Ralph Towner - Solstice
Its been a habit of mine to seek out old, out-of-print ECM albums no one kinda talks about, and this one is a real find. Garbarek, Garbarek, Garbarek.
and it makes me wanna get me a 12 string guitar and disappear with it to some exotic island and dream myself away.
3. Branford Marsalis - The Beautyful ones are not yet born
I been listening to this trio for 8 years now, but only got this one lately, even though i knew the toons from the live album of the same period the studio album is unreal.
Please keep in mind there's a new album just released by Adam Rogers.
We just played with Adam at Smalls couple months back, and it was one of the highlights of our tenure there. The chemistry was special, the audience was right wong with it-it was a night to remember
Luckily it was recorded. one day...
Adam is the sweetest person. A real thinker and a heartfelf lyricist, and I have a real obsession for his last 3 albums. He also happens to be nothing short of an amazing bandleader and compser. And everyone knows his guitar playing is on the superhuman realm. go get the album.
Benny lackner trio , with DBT honorary member Derek Neivergelt on bass-is having thier new CD release bash tomorrow. do not miss. i hear the new album is their best yet, and that says ALOT.
1. Ornette Coleman - Sound Grammar
For an album covered this much by global press it went pretty much un-noticed in NYC. This is an amazing album. Its a time in history where the major statements are made by the veterns of this artform-and with that please check out the amazing last 2 keith jarrett solo releases.
2. Ralph Towner - Solstice
Its been a habit of mine to seek out old, out-of-print ECM albums no one kinda talks about, and this one is a real find. Garbarek, Garbarek, Garbarek.
and it makes me wanna get me a 12 string guitar and disappear with it to some exotic island and dream myself away.
3. Branford Marsalis - The Beautyful ones are not yet born
I been listening to this trio for 8 years now, but only got this one lately, even though i knew the toons from the live album of the same period the studio album is unreal.
Please keep in mind there's a new album just released by Adam Rogers.
We just played with Adam at Smalls couple months back, and it was one of the highlights of our tenure there. The chemistry was special, the audience was right wong with it-it was a night to remember
Luckily it was recorded. one day...
Adam is the sweetest person. A real thinker and a heartfelf lyricist, and I have a real obsession for his last 3 albums. He also happens to be nothing short of an amazing bandleader and compser. And everyone knows his guitar playing is on the superhuman realm. go get the album.
Benny lackner trio , with DBT honorary member Derek Neivergelt on bass-is having thier new CD release bash tomorrow. do not miss. i hear the new album is their best yet, and that says ALOT.
Banding,bending and bonding (the trio)
Hi everyone,
For the festive debut of my blogaroo I shall open with the million dollar question we been answering most frequently this past month-
"where's the band?!"
Truth is that after performing 150-250 concerts annually during the last 4-5 years we have been a band, and after an insane winter of performing all over and recording new material I needed a break. Its me. blame it on my youth...
We played a tour of israel a month ago to packed houses-which was amazing to me-i figured bet. my mom and Nadav's mom we'd have 20 people...
Now ill be spending the next couple of month performing as sideman, Nadav will do the same, Francois is recording a new album with his brother, and come June we'll hit Europe for June and July. Then a long tour of Israel and Greece in Aug. and a long US tour in Sept., during which we'll finish the new album with my mentor, the amazing producer Robert Sadin.
In the next month we'll re-do the entire website, and start blogging away both here and on the band's website.
Please keep in mind that any opinion expressed here is not more than an opinion-feel free to agree, disagree, write back, send flowers (red works best) etc.
See you at the gig
Dekel and the Band
For the festive debut of my blogaroo I shall open with the million dollar question we been answering most frequently this past month-
"where's the band?!"
Truth is that after performing 150-250 concerts annually during the last 4-5 years we have been a band, and after an insane winter of performing all over and recording new material I needed a break. Its me. blame it on my youth...
We played a tour of israel a month ago to packed houses-which was amazing to me-i figured bet. my mom and Nadav's mom we'd have 20 people...
Now ill be spending the next couple of month performing as sideman, Nadav will do the same, Francois is recording a new album with his brother, and come June we'll hit Europe for June and July. Then a long tour of Israel and Greece in Aug. and a long US tour in Sept., during which we'll finish the new album with my mentor, the amazing producer Robert Sadin.
In the next month we'll re-do the entire website, and start blogging away both here and on the band's website.
Please keep in mind that any opinion expressed here is not more than an opinion-feel free to agree, disagree, write back, send flowers (red works best) etc.
See you at the gig
Dekel and the Band
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