Adán Mizrahi - DISSIDENT (ears & eyes Records)

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

PREORDER

Dikeman / Allemano / Baggiani / Svirsky - The 2nd Path To NowHere (FLEA BOY RECORDS 2018)

The 2nd Path To NowHere” was released on February 21, 2018 by “FLEA BOY RECORDS”. Album was recorded by interesting and original jazz masters – Lina Allemano (trumpet), John Dikeman (tenor sax), Leo Svirsy (piano) and Marcos Baggiani (drums). All these four musicians are creative and talented jazz musicians – their original and innovative playing style is full of unpredictable stylistic waves, spontaneous musical decisions, extraordinary and dynamic sound and many other things. Because of creative, fascinating and interesting improvising the musicians are famous and active members of avant-garde jazz scene – they are concerting in various world countries, playing and collaborating together with other various avant-garde jazz masters. Their playing style is based on synthesis of different jazz styles – avant-garde jazz, free-jazz, creative jazz and other experimental jazz styles are combined together with bebop, post-bop, hard-bop and other intonations of modern and traditional jazz styles. Musicians masterfully combine all these elements together in one place and create energetic, active, vivid, gorgeous and bright sound.

This album compositions have original and dynamic sound. The synthesis between avant-garde jazz, bebop, hard-bop, post-bop, some intonations of cool and various traditional jazz styles, are the main element of this album compositions. Free, wild and spontaneous collective improvisations are full of different stylistic waves, unpredictable and sudden turns and surprises. All four musicians are improvising passionately and expressively. Trumpet melodies by Lina Allemano are full of many different musical language elements, which are masterfully combined together. Wild fast and furious solos, aggressive, provocative, rigorous and very sharp sounds, powerful and vibrant blow outs, stunning musical experiments and special effects are gently combined together with soft, memorable, melodic and romantic melodies.

She tries out many innovative and experiment ways of playing – organically combines together sudden and colorful trills, virtuosic and wild fast passages, gorgeous and interesting glissando and other traditional playing techniques with experimental and fascinating methods of playing. The improvisations by Lina Allemano are unpredictable and dynamic – the sound is always changing and never stays the same. Musician express many different moods, characters and create contrasting music elements – the sound of their improvisations sometimes is soft, lyrical and nostalgic or  very dramatic, loud, powerful and vibrant.

From the silent, abstract and subtle episodes her improvisations turn out to expressive, wild fast, harsh, sharp, dramatic, bright and turbulent culminations. Tenor sax improvisations by John Dikeman are as much expressive and interesting as trumpet melodies. Improviser also is playing especially expressive, bravely and creatively tries out new and unusual ways of playing, puts together many different music styles, which are the opposites to each other. His improvisations are based on contrasts – silent and extremely loud, vivacious and tragic, harsh and soft, depressive and joyful and many other different moods, characters and expressions are gently combined in his improvisations. Piano improvisations by Leo Svirsy are based on avant-garde jazz elements and form the harmonic basement of the compositions. Sharp, aggressive and provocative dissonances create dramatic, active, interesting and expressive harmonic background.

Virtuosic passages, turbulent and fascinating piano solos, wild fast passages and arpeggios, sudden glissando and many other traditional playing techniques are used together with innovative ways of playing. Marcos Baggiani drums form and keep firm, outstanding and solid bass line and drum section. His improvisations gently fit together with other musicians playing – for the most of the time he improvises very expressive, vivid, passionate and striking.

Marcos Baggiani  improvisations have especially rich and bright musical pattern, are contained by many different types of rhythms and basic rhythmic formulas of various jazz styles. Album improvisations have bright, vivacious, vivid, deep and vibrant sound.

1. The 2nd Path To NowHere 14:15

2. Mr. John abrió la puerta 06:57

3. BAM! 03:14

4. Under Leo's Sign 05:18

5. Dialogen 01:29

6. Popolocotocopoco 06:49

7. A Rare Sweetness 02:28

8. The Beginning 08:10

Lina Allemano: Trumpet

John Dikeman: Tenor sax

Leo Svirsy: Piano

Marcos Baggiani: Drums