An
artistic tradition is no longer valid when it fails to inspire burgeoning
artists. Judging from Independence, the debut album by saxophonist Nir Naaman, the
jazz tradition is still very much alive and capable of inspiring exciting new
creations. A forthright instrumentalist and composer who draws from the
wellsprings of Postwar jazz styles, Naaman has carved out his own distinctive
voice on tenor, alto and soprano saxophones, and devises tunes that are as
shrewd as they are inviting to hear.
Employing such first rate musicians as the
iconic pianist George Cables, the drummer Gregory Hutchinson, the bassist
Dezron Douglas and the trumpeter Marcus Printup, Naaman demonstrates that seeds
extracted from bebop, hard bop and Coltrane-inspired sources continue to yield
succulent fruit. As the album titles states, Naaman, after working with
celebrated artists including Eddie Marshall, Terri Lynne Carrington, Joanne Brackeen,
Dave Samuels and Winard Harper, is ready to stake his own claim as a maturing
musician. Born and raised in Israel, Naaman is now living and working in the
country from which the music he's enraptured with was itself born.
Although
Independence does feature a pair of evocative readings of standards - a
spirited group turn on "The Very Thought Of You" and an expressive
duet between the leader and Cables on "Polka Dots and Moonbeams" -
the other eight tunes are Naaman originals. This finely crafted work displays
Naaman's sure hand as a composer, and, as each piece was specially crafted to
feature a different horn, allows the listener to bask in his individuality and
confidence as a multifarious player. As befits a saxophonist attuned to the
majestic tones of such masters as John Coltrane, Dexter Gordon and Joe
Henderson, Naaman exhibits his command of the tenor horn on "Ohali
Blues," "Polka Dots and Moonbeams" and "Independence,"
each a shining example of his surity and brio in work of varying tempos and
moods. Of particular interest is another tenor feature, "Eshal Elohai/
Shalom Shabazi," an adaptation of Yemenite Jewish songs that Naaman has
been familiar with since he was a child.
As
George Cables (who, in addition to his superb keyboard contributions, also
acted as the album's producer) states in his liner notes, " One of the
most important things about jazz is that it is a living music which offers an
open invitation for musicians to incorporate their own musical and cultural
influences, whatever they may be. Nir's inclusion of "Eshal Elohai," which is part of
his tradition is a fantastic case in point." And, as Naaman points out,
the contributions of Cables, Hutchinson and Douglas - each finding a way into
the Middle Eastern idiom through his own idiomatic instrumental voice - adds
yet more varied and personal flavor to the polyglot performance.
Naaman's
ace may be his ability to wield two other horns with equal dexterity and
individuality. His fine soprano work can be heard on two of his most lyrical
pieces, "Winter Sun" and Dream," while his creative and
commanding work on alto is exhibited on
"Fall," "Dilemma" and "The Very Thought Of
You." The album concludes with another spotlighted alto performance,
"New Orleans Twist," Naaman's jaunty second line groove salute to the
spiritual birthplace of jazz. Throughout the album, the featured saxophonist
receives rousing and sensitive support from all involved. (In addition to
Cables, Hutchinson, Douglas and Printup, Naaman is joined by the pianist Roy
Assaf and the drummer Ulysses Owens Jr. on a handful of performances.)
"Making
this album gave me a chance to explore different sides of my musical
personality," Naaman states. "I wanted to explore different moods and
textures, yet never lose the overall coherence of the project. Working with
these great musicians gave me that chance."
Born and
raised in Israel where he served as a lead alto saxophonist in the Israeli Air
Force Band, Naaman moved to the U.S. in 2004 and went on to graduate from the
Berklee College of Music, furthering his studies at Purchase College where he
received a master's degree in Jazz Studies. In the spring of 2010, Naaman took
part in the Betty Carter Jazz Ahead program at the Kennedy Center For the Arts
in Washington, D.C. where his mentors included Dr. Billy Taylor, Nathan Davis,
Curtis Fuller and George Cables. Naaman has performed throughout the United
States, Europe, Israel and Japan with various ensembles. He leads a New
York-based quartet and splits his time between New York City and Boston where
he is enrolled in the Doctor of Musical Arts program at New England
Conservatory.
No comments:
Post a Comment