Daphna Sadeh & The Voyagers - Reconciliation

Artist: Daphna Sadeh & The Voyagers
Title: Reconciliation
Year: 2009
Genre: Jazz
Label: Tzadik
Source: CD
Bitrate: 180 kbps avg
khz: 44.1
Mode: Joint Stereo
Encoder: LAME v3.97 -V2 --vbr-new
Reldate: 2009-06-18
Storedate: 2009-00-00

Tracklist

1. Queen Of Sheeba 6:39
2. Gulliver In Jerusalem 6:52
3. Avinu 6:11
4. What Else Is There 5:02
5. Reconciliation 5:06
6. Klil 6:35
7. Kadish 5:37
8. Eternal Mother 4:43
46:45

Release

The ringing endorsement by John Zorn, describing
bassist Daphna Sadeh and the Voyager's
Reconciliation as 'brilliant and hypnotic
seductive and powerful music" might sound just a
tad like self publicity, given that he commissioned
the music for his own label, were it not for the
fact that it is true. Sadeh has led the Voyagers on
a journey of musical discovery since 2003, and
this, their third album, is a distillation of the
musical veins that run through ancient and modern
Jewish history; Jewish music, yes, but one that
rubs shoulders and bumps and grinds with Middle
Eastern, Arabic and Turkish sounds

The musical Israeli Diaspora, which, like a stone
in a pond, has created ever expanding waves in the
New York jazz scene and beyond, has been a story of
note in recent years. Sadeh is perhaps the most
Israeli of the lot, at least musically, as she has
absorbed so much of the myriad cultures that make
up modern Israel. The opener, "Queen of Sheeba,"
with its bolshy, melodic gaiety, thumping tuba
sound, from trombonist Mark Bassey, and Stewart
Curtis' flying clarinet, sounds like the soundtrack
to an Emir Kursturica film of a Jewish wedding in
Jerusalem

Reconciliation is released as part of John Zorn's
Radical Jewish Culture series, though Sadeh is on
no mission other than a musical one; she was
bassist in an Israeli Arabic band which played
Lebanese music years before she went to New York to
study classical music, and where she ventured into
avant-garde jazz. Elements of jazz permeate the
Voyagers' music, though jazz is, by Sadeh's own
admission, not her natural language. Nevertheless
her understated hand guides the ensemble with a
lyricism which brings to mind Charlie Haden, with
her lovely arced bow playing and probing but gentle
touch

Accordion, clarinet, guitar and trombone waltz
around each other, and unison playing, reminiscent
of Rabih Abou Khalil's ensembles, characterizes
these tunes, particularly the fast paced "Gulliver
in Jerusalem." This track features fine statements
by Curtis, Bassey and Sadeh herself. The
musicianship throughout is first rate; solos are
short and to the point and individual instruments
are employed primarily to route the melody of each
piece

The music is thoughtful, as on "Avinu," but not
especially melancholic, with the exception
perhaps, of "Klil"; Sadeh's bass is to the fore
here, where it meshes beautifully with Ivor
Goldberg's guitar and mandolin in quiet reflection
In general though, even the slower passages of the
compositions are upbeat and the music mostly
canters along breezily

The title track does not specifically reference
Israel/Palestine, but rather peoples' personal
inner battles. It is surely true that if everybody
made an effort to address their own prejudices and
recognize the common thread that unites all
humanity, rejecting harmful dogma and isms in the
process, that all the walls would come tumbling
down. This is the musical well from which Sadeh and
the Voyagers draw their water

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