Containing Argentinean textures and traditional rhythm influences, 20th century “classical music” ideas, deep grooves, and free improvisation would land this record in the overall genre of “contemporary jazz.” It’s fusion music in the sense that it takes elements from different worlds and puts them together to create new, well conceived music with clear influences and yet its own identity. The compositions are often contrasting in style with one another, whilst keeping a coherent aesthetic as a whole. These contrasts will probably lead to a favorite track depending on each listener’s taste. The kind of album that can satisfy the Jazz and Improvised Music enthusiast but also tickle the curiosity of others, like a Rock or World Music lover.
The ensemble is made up of musicians from different backgrounds and generations. This is true in many aspects. Not only is there a 20 year difference of age between the oldest and the youngest member but also their careers have been formed from various “schools” and literal varying hemispheres giving the overall sounds a richness that’s not often heard. It features the Argentina-born, Netherlands-living tenor saxophonist Natalio Sued and the Dutch alto saxophonist Ben Van Gelder - icons of two different generations and latitudes.
Adán had a late start, and was a “mature student” during his Jazz and Classical studies at the Conservatory of Amsterdam where his varied influences included (but were not limited to) Contemporary Jazz, Free Improvisation, Argentinian Music, Blues, Rock and more and represents the unity of Adán’s musical life.
With his beginnings rooted on blues guitar, he was active in several scenes in Buenos Aires from the late 90s throughout the 2000s. He played punk guitar at the iconic Cemento, and was later a member of the Jazz and also the Tango scenes, now with the double bass, performing at virtually all Tango Saloons, opening the Buenos Aires Tango festival and later touring Europe, getting to share a stage with the legendary bandoneonist Luis Stazo.
Once settled in Amsterdam, a strong, long lasting collaboration with Natalio Sued was born. Besides performing together frequently as a duet and a trio, they co-founded Antimufa together with other Argentinian members of the local improv scene. The quartet revisited the Argentinean Tango and Folklore songbook, subsequently performing original compositions and was eventually joined by guest Martín Sued on bandoneón.
Here on this debut as a leader, Mizrahi allows any and all of the above to influence the compositions of DISSIDENT.
Mizrahi states that the choice of musicians came out of their affinity with the styles and good camaraderie. He wasn’t planning on a super-group, it just happened that way. In fact when he decided to pursue a career in music he didn’t really envision having such a top notch group of musicians playing his material, it just happened that way.
The double bass is always present without becoming dominant, with subtle inflections and suggestions that spark responses from the combo. A very elegant conversation that happens within the framework provided by the compositions, which also share the understated beauty and intelligence.
It’s a very well balanced recording, fresh without being superficial, adventurous without being pretentious.
1. Javastraat 04:59
2. Open Flag 04:11
3. Tone Deaf Morning Chant 04:15
4. Sin Cobrar 06:29
5. Picadita Tropical 04:40
6. Rubata e Ritrovata 10:31
7. Melush 03:42
About the tunes:
JAVASTRAAT: While in a funky 7-4 groove, the opening tune Javastraat utilizes Tango practices with its sudden stops, chromatics (think: Pugliese) and semitone modulations (think: Piazzolla). The piece also serves as a presentation card of the band, with everyone but the drums taking a solo. First is the bandleader's which is very groovy, fluid and makes eloquent use of the “chromatic” element in combination with open strings. The tune modulates a semitone down for the guitar solo; an interesting incorporation of harmony to what is otherwise a “vamp-heavy tune”. And once more, we venture a semitone down for the short, yet distinct alto sax solo. For the tenor sax solo, we go back to the original key of C. But now for a sequence: 4 bars of C and 4 bars of B, and this will loop throughout the solo. Sued takes good advantage of this for what is probably the most developed solo, making use of several elements from the tune and from previous solos. While being the only instrument not taking a solo, this tune introduces us to what is clearly a refined, groovy drummer. Hip too, yet supportive and unpretentious.
OPEN FLAG starts off as a bluesy tune with some interesting phrasing. The B section, with the guitar now playing a melodic role seems at first to have more of an introspective vibe which is surprising but very satisfyingly matched with some Tristano-like lines, magnifically performed in unison by Sued and Van Gelder. Semey’s rock sounding solo is also somewhat contrasting in a satisfying way. The next section now features a sax duo improvised “soundscape”, over which the original guitar (counter)melody takes place.
TONE DEAF MORNING CHANT turns the quintet into a sextet with the addition of George Dumitriu on guitar. The big sounding orchestration in the beginning is followed by the quizzical main theme in parallel 6ths and dominant chords moving by intervals of seconds and thirds catapulting Van Gelder into his freely improvised solo.
SIN COBRAR includes an intriguing bass groove that simulates the “bordoneo” of the Tango guitar and is so smoothly performed the 5/4 bar goes barely noticed. What seemed to be a dark tune turns to a fresher, more Folkloric aesthetic, reminiscent of Guillermo Klein’s music. It later turns into a faster, danceable groove with a guitar solo and later an obsessive ending loop where Tijn Jans shows some fine drumming.
PICADITA TROPICAL is a fun uptempo tune in the Latin Rock style but chord progressions reminiscent of Tom Petty. The kick off energy is never lost, but rather augmented soloist after soloist.
RUBATA e RITROVATA is two compositions in one. The first part is totally rubato, and stays so during the solos. There is a bass cadenza connecting to the next piece which features solos on a jazz waltz, being the only moment of the album with a swing feel.
MELUSH is an “Argentinean Zamba” ballad performed without harmonic instrument but with guest Marcos Baggiani on the characteristic Argentine drum bombo legüero and cymbals. Mizrahi stayed on the bow with a captivating tone on the melody and made use of some Tango technique subtleties before going to pizzicato. A nice, relaxed, simple, open aired closure to a recording that is otherwise energetic and rather “in your face”.
Adán Mizrahi - Double Bass & Compositions
Ben Van Gelder - Alto Sax
Natalio Sued - Tenor Sax
Teis Semey - Guitar
Tijn Jans - Drums
Special Guests:
George Dumitriu - Guitar on 3
Marcos Baggiani - Drums on 7
