Once upon a time jazz fans had a pretty decent idea of what they might get when they bought tickets for a gig. Yes, there have been new genres, subgenres and styles that have evolved over the years, which is the natural way of any self-respecting art form. But, for three or four decades now, and certainly in the past 10-20 years, jazz musicians have increasingly formed crossover synergies with artists from ostensibly disparate domains of the music-making business.
That took off in particular with the explosion of the world music sphere in the late 1980s and early 1990s, and jazz musicians – icons and lesser-known artists alike – popped up in all sorts of unexpected collaborations.
The forthcoming edition of the Red Sea Jazz Festival, which takes place in Eilat February 22-24, has quite a few intriguing twinnings lined up across the three-day roster.
That certainly suits the spirit of Dubi Lenz, which will pervade the event and continues to inform the programming choices. Lenz, who died last June at the age of 76, was a linchpin of the country’s world music and jazz scenes, and founded the winter version of the Red Sea Jazz Festival in 2011. He also served, for some years, as joint artistic director of the main summer edition alongside internationally renowned saxophonist Eli Degibri.
Degibri is, fittingly, front and center in next week’s bash down South, most notably in the opening show (February 22, 6 p.m.), when he fronts the “Love Without Borders” tribute to Lenz.
The cast for the gig features an appropriately eclectic array of musicians from across a broad sweep of styles and genres. World-renowned ladino music singer Yasmin Levy is in there, as is Brazilian-born guitarist Marcelo Nami and percussionist Joca Perpignan, Andalusian-inflected jazz pianist Omri Mor, and veteran bassist Omer Avital. The sumptuous, multi-genre lineup is completed by drummer Matan Ephrat, singer-songwriter Rona Kenan, cellist-vocalist Maya Belsitzman, and jazz pianist Tom Oren.
Lenz would, no doubt, have approved of the personnel and stylistic mix, and the artists will surely do him proud.
BELSITZMAN AND Oren also pop up, as a duo, on the second day (1:45 p.m.) of the Eilat proceedings. This is something of a supergroup pairing between one of our most promising jazz artists and an established star of the Israeli music scene.
'An emerging star'
Oren, who has been carving out a burgeoning career from his New York base for some years now, is one of the brightest emerging stars in the global jazz firmament. Six years ago he underscored his potential by winning the Thelonious Monk Institute of Jazz International Piano Competition, the most prestigious jazz contest in the world. That came with a handy cash prize and a recording contract with Concord Music. Oren’s debut release, Dorly’s Song, duly came out in 2020 as a trio setting along with bassist Barak Mori and drummer Eviatar Slivnik, with Degibri guesting.
Oren says that, while Belsitzman may not be recognized as an out-and-out jazz artist, he feels entirely comfortable – nay excited – with the forthcoming Eilat date. He notes they have prior successful experience.
“It is amazing to work with her,” he enthuses. “We began our [professional] connection in 2021. It started when we performed in Eli Degibri’s series at Heichal Hatarbut [in Tel Aviv].” Things worked well. “Maya and I got a program together at short notice, and we bonded straightaway. I already knew, of course, that she was a powerhouse of musicality and feeling, no matter what the style. She always brings her singular approach to everything she touches.”
Some might view the Oren-Belsitzman confluence as something of a sonic stretch, but, as Oren points out, they share plenty of expansive common ground. “We both have classical music in our backdrop, and we both love music per se, all music. We draw on the same worlds of [musical] associations.”
Oren feels the pairing should offer the Eilat audience a good return on its ticket money, as well as going with the artistic flow. “Maya has great stage presence, and when she plays with someone else, when she supports the other musician, she does that with so much sensitivity. She always goes for it, all the way, whether it is a maelstrom of sounds and dynamics, or even a single quiet note. She can work with just one sound, stretch it out and tell an entire story with it.”
That speaks to Oren’s take on sonic sculpting. “We both have a melodic, lyrical approach to music. And Maya leaves you space to express yourself. This is going to be fun for us and, I hope, for the fans, too.”
The pianist says he and Belsitzman will not be just going through their paces, and will explore all kinds of cultural and artistic areas. “Maya has a suite based on a children’s book, and we may take something from that. This is not just a matter of turning up and playing a jazz standard or an Israeli song. I think I will bring in a number I called “Forest Conference.” That has a sort of tribal leaders’ gathering vibe to it. There are also nonmusical influences in there. We can allow ourselves to play freely, but we remain faithful to the framework.”
Sounds tantalizingly lip-smacking. And with Oren due to put out his next album “sometime in the next few months,” there is plenty to look forward to from him.
OTHER ACTS to look out for down South include saxophonist Alon Farber and Hagiga, pianist Katia Toobool and her trio, a quartet led by New York resident flutist Hadar Noiberg and up-and-coming harmonica player Ariel Bart, and a promising matchup of Degibri and pianist Shai Maestro.
The extracurricular shows in the program include a threesome led by iconic pianist-singer-songwriter Yoni Rechter; pop singer Assaf Amdursky; with veteran rock-pop pianist-singer Rami Kleinstein teaming up with folk-country style outfit Jane Bordeaux.
For tickets and more information: www.redseajazz.co.il
