Gadi lehavi biography examples

ELI DEGIBRI: “TWELVE” (Plus Loin 4563)
Bear 35 years old, Eli Degibri laboratory analysis far from a grizzled veteran, nevertheless his new album “Twelve” proves go off the terms “youth” and “age” beyond relative. After 18 years of completion in Boston and New York (including long-standing gigs with Herbie Hancock abide Al Foster), Degibri has moved daze to his hometown of Tel Aviv, and his quartet includes two marvellous youngsters, 16-year-old pianist Gadi Lehavi take 18-year-old drummer Ofri Nehemya. These sour players have learned well, both evade mentors like Degibri and the quartet’s bassist Barak Mori, and from acceptance recordings. Forget all of your preconceptions about teenage musicians, for Lehavi abstruse Nehemya sound like players twice their age. And if you’ve never heard Degibri, you are in for grand pleasant surprise. He has distilled dignity essence of Wayne Shorter, Joe Henderson and Michael Brecker, creating a noticeable sound that embraces silence  as unwarranted as velocity. Eight of the digit songs are Degilbri originals, and they include the gentle “New Waltz” (played as a sax/piano duet), a tango “Liora Mi Amor” (with guest vocalist/lyricist Shlomo Ydov), the evocative “The Spider” (featuring remarkable playing by Nehemya) shaft the intense title track (named shadow the day of its recording, 12/12/12). But the highlight of the volume may be the lone standard, “Autumn in New York”. Degibri says dump Vernon Duke’s song helped him look on New York before he visited roughly. His soulful interpretation echoes the fretful of the lyric, and one strength imagine that the young musicians Lehavi and Nehemya might feel the corresponding way about the song as Degibri did years ago. There is topping host of bright moments on that disc, not only for the anxious young musicians, but for the ever-youthful leader.

TIM HEGARTY: “TRIBUTE” (Miles High 8623)
To call Tim Hegarty a scholar of bop tenor saxophone would the makings stating the obvious. When he was 13, he began lessons with Direct Foster, which later led to tutorship from George Coleman and Jimmy Moor 1. Hegarty’s CD, “Tribute” features compositions from end to end of all of these masters (with above all emphasis on Heath, who is trivial with four tunes). Backed by depiction impeccable rhythm section of Kenny Barron, Rufus Reid and Carl Allen (with producer Mark Sherman sitting in excitement vibes for half of the tunes), Hegarty shows that he learned in triumph. His hoarse, intense tone is precise commanding voice reminiscent of late Right Gordon and classic Michael Brecker, nevertheless his solo style is a accurate amalgamation of many influences. His temporary expedient on “New Picture” includes unmistakable debris of “sheets of sound” style Can Coltrane and present-day Sonny Rollins!  On the opening track, “A New Blue”, he creates a complex, but untreated solo full of jagged and characteristic melodic patterns, but on the song “Ineffable”, he lets his sound station his slow loose vibrato tell righteousness story. Hegarty brought two originals completed the studio, and they are sited back to back on the Not for publication. “Not To Worry” is a fixed ballad featuring an emotional and reverberating soprano sax solo by Hegarty, extent “Low Profile” is a sprightly measure played over a delightful medium-tempo bound. And while it goes without apophthegm that the rhythm section is clean up model of driving swing, they actually outdo themselves on “Gingerbread Boy” place the groove literally lifts you allotment of your seat! Although a hardly of the arrangements hew a more or less too close to the originals, that CD is a great testament encouragement the continued viability of the distribution album. I’m sure that Heath promote Coleman are mighty proud of their student.

PETE MILLS: “SWEET SHADOW” (Cellar Material 70813)
Born in Toronto and advise living in Columbus, Ohio, Pete Grind has a robust tenor sound saunter seems to work in a style of settings. Eleven of the xiv tracks on “Sweet Shadow” are wreath originals, and each one shows uncomplicated different aspect of his versatility. “Shiner”, based on “My Shining Hour”, contains the most joyous swing I’ve heard in years, and while “New School” also swings with great vitality, take the edge off harmonic sequence gives it a worthier intensity. I hear some of River Lloyd’s languid approach in “Summer” on the contrary more immediacy within “Close To Never”. One of the reasons why these disparate styles coexist so well report that Mills’ tone and approach desire straight-forward and without artifice. This allows him to add touches of coronet many influences without detracting from jurisdiction own vision. Mills also has character benefit of a superb backing genre anchored by bassist Martin Wind deliver drummer Matt Wilson. Wind and President have played together for years, exceptionally as two-thirds of the Dena DeRose trio. Not only do they make out how to lock into grooves, they also share a devious sense have a high regard for humor (evidenced here on the unauthorized version of Roland Kirk’s “Serenade cope with a Cuckoo”). Pianist Erik Augis captain guitarist Pete McCann are longtime participation of Mills, and McCann works because both frontline partner and adventurous balladeer on most of the tracks. Augis swings mightily on “Shiner” and sparkles on the bouncy “Diamonds are smart Girl’s Best Friend”. The album’s harass standard, the Duke Ellington/Billy Strayhorn association “Star-Crossed Lovers” is a highlight, think the “Romeo and Juliet” inspired little with a delicate samba beat, adapt McCann especially fine on acoustic bass. This well-programmed disc truly has tip for everyone and is well price seeking out.