This form does not yet contain any fields.

    To Buy Gilad's Music and Books

    splendid, ever changing album Andy Robson, Jazzwise **** 

    Riotous mix of oompah music-hall cavortings, slurred-pitch Middle Eastern rhapsodising, luxuriously sensuous clarinet love-songs, and stormy collective blasts reminiscent of the 1960s John Coltrane quartet John Fordham, The Guardian ****

    a blend of passion, intensity, superb musicianship and an underlying political commitment as Atzmon continues to campaign against all kinds of oppression..... a man who has done so much to enhance the cultural landscape of the UK in recent years The JazzMann ****

    ..serious messages and stunning music-making BBC Music Magazine

    Soulful  Jack Massarik, The Evening Standard ****

    Spirituality and time-bending alto-sax virtuosity Mike Hobart Financial Time ****

    His Music us a revelation M&G ****

    …this blistering, beautiful set…a fluid, hypnotic, optimistic blending of sounds .
    Andew Male, Mojo, October 2010.

    The vivacity, urgency and spontaneity of the best contemporary jazz spurs him always   The Guardian ****

    Atzmon agitation gets under your skin Spiegel

    Astonishing invention and virtuosity  Robert Shore, Metro

    Atzmon's spirit and soul inhabit every one of his compositions, and his playing is truly exceptional, staking a genuine claim to being one of the finest saxophonists in contemporary jazz....This is a richly varied recording from one of the most exciting and intriguing bands in jazz; a classic in the making Bruce Lindsay

    Another top notch saxophone-led set…by the prodigiously talented Gilad Atzmon and his band…By turns provocative, wistful and pugnacious, it bristles with intrepid invention and convincingly demonstrates that Atzmon’s definitely at the top of his game right now.”
    Charles Waring, Record Collector, Christmas 201


    A musical lesson in humanity Ramzy Baroud, Counterpunch

    Intense and involved but at the same time highly entertaining  Alan Joyce This Is Nottingham

    The most original and creative jazz musicians out there, and every single one of his albums is a masterpiece. This is also true of this one. Vineyardsaker, The Vineyard of the Saker

    Incredible and unprecedented  Rainlores World of Music


      The Tide Has Changed by Gilad Atzmon


    Release Date: October 4, 2010

    Ten years ago I realised that beauty is the way forward. I saw that art is the true means of transformation. Spirit and energy are bricks and mortar. Shapes and colours are hammers and chisels. Rationality is a misleading concept, the melody is the truth,  humanism is a metaphor, consciousness is the devil and amnesia is freedom. The tide has changed and so have we, more than ever, and in spite of all the odds, we laugh.

    In the last decade I have managed to surround myself with some of the most incredible musicians around, people who push each other towards the edge of artistic creativity and beyond. I guess that the Orient House Ensemble’s motto is pretty obvious: relentlessly, we remind ourselves why we decided to make music in the first place.

     I thank the Gods for allowing us to proceed so far.

     Gilad Atzmon


    The Tide Has Changed

    Dry fear

    The tide has changed

    And so have we

    Bolero at sunrise 

    London to Gaza

    We lament

    In the back seat of a yellow cab

    All the way to Montenegro

    We laugh


    Gilad Atzmon - alto & soprano saxophone, clarinet, accordion and vocals

    Frank Harrison – piano, Wurlitzer electric piano, xylophone and vocals

    Yaron Stavi - double bass and vocals

    Eddie Hick - drums and vocals


    Tali Atzmon – vocals (tracks 1,2,3,8&9)

    Derek “The Draw” Hussey - Master of Ceremonies (track 1)




    The Jazzmann: The Tide Has Changed

    Gilad Atzmon & The Orient House Ensemble

    Tuesday, October 05, 2010

    Reviewed by: Ian Mann

    Album Review

    4 out of 5

    The Tide Has Changed

    “The Tide Has Changed” is as good as anything the OHE have produced in their ten year history.

    Gilad Atzmon & The Orient House Ensemble

    “The Tide Has Changed”

    (World Village/Harmonia Mundi)

    For a decade or more the Israeli born multi-instrumentalist Gilad Atzmon has been a larger than life (in every sense) figure on the UK music scene. Primarily a saxophonist he is most commonly pigeon holed as a member of the jazz community but Atzmon’s interests take in several forms of so called “world music” plus the sphere of rock through his involvement with The Blockheads. On top of all this there is Atzmon’s work as an author, polemicist and political activist. He is one of the hardest working musicians in the country, playing hundreds of gigs a year and involving himself in playing, writing and production activities for other artists, among them Robert Wyatt, Adriano Adewale and Sarah Gillespie, in addition to his own prolific output. 

    However Atzmon’s principal creative outlet remains his working group The Orient House Ensemble. 2010 represents the tenth anniversary of the formation of this hard working and innovative combo. The current edition comprises of founding members Atzmon and Frank Harrison (piano, keyboards), long serving bassist Yaron Stavi and new drummer Eddie Hick. The OHE have long been a formidable live act, their often fiery music augmented by Atzmon’s huge on stage personality. Their albums have sometimes been uneven and maybe even a little self indulgent as Atzmon has attempted to cram all his various interests into a single entity but nobody could ever accuse an OHE record of being dull.

    I first saw Atzmon play at Hay Festival with the Blockheads, one of the last gigs Ian Dury himself ever played. I was hugely impressed with Atzmon’s contribution and promised myself to check out his jazz outfit. Shortly afterwards I was lucky enough to see the OHE on the Stroller programme at Brecon Jazz Festival (it must have been 2001) , bought their début album at the gig and have been a fan ever since. I’ve seen the OHE again on several occasions and never been disappointed but with the best will in the world I couldn’t recommend anybody to see the Blockheads without the unique presence of Dury. I saw them at a charity bash at Kidderminster Town Hall a year or so ago and was bitterly disappointed, only the jazzers in the line up, Gilad and drummer Dylan Howe, emerged with any real credit.

    “The Tide Has Changed” is the OHE’s sixth album and is a celebration of the changes the group has been through over the past ten years. The music is the familiar mix of jazz, Middle Eastern music, Argentinian tango, Brecht and Weill and much else besides. The instrumentalists are augmented on some pieces by the vocals of Gilad’s wife Tali Atzmon and Gilad’s old Blockheads mate Derek “The Draw” Hussey acts as Master of Ceremonies on the opening track “Dry Fear”. Hussey, Dury’s former minder, now handles the vocals for the Blockheads but frankly he’s no substitute for the original diamond geezer.

    Turning now to the OHE’s latest magnum opus the album opens with “Dry Fear” as Derek The Draw acts like a kind of cockney Leonard Sachs and the OHE come on like a cross between Kurt Weill and English Music Hall. It’s a playful curtain raiser, a bit of fun to sweeten the palette for the more serious stuff to follow.

    Next up is the epic title track, a lengthy exploration of Middle Eastern motifs and jazz style improvising with Atzmon’s fluent, fiery alto playing to the fore. Drummer Hick, formerly a member of The Souths Trio steps seamlessly into the shoes of the departed Asaf Sirkis to ensure that the new look OHE has lost none of it’s rhythmic muscularity or flexibility. Harrison is very much Atzmon’s musical right hand man and the versatile pianist is also outstanding here with a solo of feverish inventiveness.

    “And So Have We” is a natural successor, this time haunting and brooding with Gilad on clarinet and Tali on wordless vocals. Stavi, such a fine ensemble player features here as a soloist, his playing lyrical but unfailingly resonant.

    “Bolero At Sunrise” borrows from Ravel’s famous melody as Atzmon and his colleagues give the musical form a Middle Eastern twist. The OHE brood and simmer and there’s a beautifully sparse piano solo from Harrison above Hick’s insistent snare tattoos. The pianist vies for excellence with the leader’s distinctive wailing soprano.

    “London To Gaza” is a genuine musical journey with Atzmon deploying various reeds plus accordion in a cinematic, near ten minute epic. The OHE are, as ever, totally on Atzmon’s wavelength and offer passionate but sympathetic support as their leader’s playing becomes more and more abandoned. Harrison’s expansive solo is equally inspired, he is the perfect foil for Atzmon adding light and shade to the Ensemble sound.

    “We Lament” features the band at their most tender with Atzmon’s choked intensity contrasting well with the lyricism of Harrison and Stavi.

    The leader doubles on accordion for “In The Back Seat Of A Yellow Cab” which mixes lyricism and whimsicality in equal measures

    “All The Way To Montenegro”  is a Balkan/klezmer style romp with Tali’s wordless vocals featuring alongside Gilad’s squiggling clarinet. The album ends with “We Laugh”, a return to the cabaret/music hall mood of the opening item.

    Despite being bookended by a couple of brief, almost throwaway items the body of “The Tide Has Changed” is as good as anything the OHE have produced in their ten year history, a blend of passion, intensity, superb musicianship and an underlying political commitment as Atzmon continues to campaign against all kinds of oppression. Even the group’s name, derived from the Headquarters of the Palestinian people in Jerusalem, is a political statement. Atzmon may keep his politics and his music increasingly separate these days but they are still inextricably linked by a man who has done so much to enhance the cultural landscape of the UK in recent years.


    Gilad Atzmon Orient House Ensemble - review (4 stars)

    Gilad Atzmon's virtuosity, eclecticism, showmanship and ironically delivered politics are currently devoted to the 10th anniversary of his Orient House Ensemble: there's a 40-date tour and a new album. A shrewd pacer of live shows, Atzmon steered tonight's performance from ambiguous, unsettling microtonal and geographical drifts between the west and the Middle East, toward an optimistic, conventionally tempered finale on Wonderful World, pulled off without a hint of cheesiness.

    Atzmon displayed his quavering, pitch-warping sound on the opening of the album's title track, The Tide Has Changed. But he soon cranked up the theme's staccato hook, then sprinted into flying double-time bop. Most of the other improv diversions came from pianist Frank Harrison – who, like his boss, favours deceptively oblique buildups to what become emphatic sermons – though bassist Yaron Stavi and new drummer Eddie Hick were the ensemble's steadily pulsing and sometimes roaring engine.

    Atzmon played his mischievously sentimental soprano account of Ravel's Bolero before once again twisting the pitching to give it a pensive, discomfiting feel. London to Gaza was a melancholy ballad over bowed bass that became a flat-out group wail. A theme reminiscent of It Ain't Necessarily So turned into Roll Out the Barrel, and then into Mack the Knife, before a chattering Indo-bop vocal improvisation threw Salt Peanuts in for good measure. At the close, the leader turned to pure-toned baroque clarinet, veering into an east European folk-dance feel, and for an encore paid tribute "to our favourite Palestinian singer – Louis Armstrong". He announced that his heartfelt account of Armstrong's most famous hit proves to him "that despite Bush, and Blair and all those people, we believe it can still be a wonderful world".



    Rainlor Music:Gilad Atzmon & The Orient House Ensemble Live At Ronnie Scott's Jazz Club

    Gig Review:

    Gilad Atzmon & The Orient House Ensemble Live At Ronnie Scott's Jazz Club


    Gilad Atzmon - soprano & alto sax, clarinet

    Frank Harrison - piano

    Yaron Stavi - double bass

    Eddie Hick - drums

    Date of Review: 2010/10/03

    Even before the end of the sold-out First House, a substantial queue was already forming for the Second House outside Ronnie Scott's. Soon after 10pm, the First House crowd started emerging, many clutching OHE CDs, a good mix of young and old, all evidently having had a highly enjoyable evening. Some enthused in glowing terms about the performance to friends waiting in the queue. But such scenes have become a commonplace at gigs featuring the incredible Gilad Atzmon & The Orient House Ensemble.

    And Friday night was a particularly momentous occasion, the launch of the album celebrating the tenth anniversary of Gilad Atzmon & The Orient House Ensemble, The Tide Has Changed. (Available in stores and online from Monday, 4th October.) Who would have thought it possible that the OHE, this most seminal jazz band, has already wowed crowds and reviewers alike for a whole decade!

    I well remember how when first hearing a track from their eponymous debut album, I could hardly wait to hear the rest of Gilad Atzmon & The Orient House Ensemble. It was something akin to being hit on the head with a hammer. As somebody who had practically grown up on the old super giants of jazz like Bird and Trane, I was at once amazed and delighted to hear in Gilad Atzmon that same potential, that same buzz and excitement that only true super giants deliver. Was it really possible that a whole generation after the death of John Coltrane, and after all the stagnation that had crept into jazz, here at last we had a new super giant, a jazzman of not only supreme virtuosic skill and musicianship but solid substance? It was possible, and Atzmon and his OHE soon proved the point. Indeed, it soon enough became clear that jazz had a new "trinity" of super giants - Bird, Trane, and Atzmon. But not only that, even on that self-titled debut album it was already clear that in pianist Frank Harrison and drummer Asaf Sirkis Atzmon had managed to surround himself with equally stellar band mates. And original bassist Oli Hayhurst was far more than the average bassist, too. When Atzmon's long-time friend and collaborator Yaron Stavi took over the bass position from Hayhurst in 2003, we soon saw the greatest jazz band since Miles Davis' legendary first quintet.

    Close your eyes during one of Atzmon's blistering bop runs and you might well imagine that you're listening to the Bird himself, albeit a contemporary Bird, extended harmonies and all, if often in a modal context. Do the same during one of Atzmon's equally fiery, soaring hard bop runs and you could well think you're hearing Trane as he might have sounded had he lived. But in either case, there's always something more. That something is that Atzmon is no mere imitator but very much his own man, a great innovator himself, and with the stamp of his own personal genius on everything he does.

    Not only that, but the Orient House Ensemble is not a band of mere sidemen, but rather, a co-operative organic whole of equals. The genius of pianist Frank Harrison in particular is quite simply peerless today. Yaron Stavi is the finest and certainly the most versatile and lyrical of bassists, and while Asaf Sirkis, unquestionably the foremost drummer today, has moved on last year, young Eddie Hick is already proving himself a worthy successor and will almost certainly rise to equally lofty heights as Sirkis in time. He certainly has the genius and the skill, if not yet the experience perhaps.

    And now it's the tenth anniversary of Gilad Atzmon & The Orient House Ensemble, and the launch of their album celebrating this. A very special performance is always guaranteed with Atzmon and the OHE, so in many respects Friday night's launch gig at Ronnie Scott's might well be a foregone conclusion. But that would not be the whole story, nor the whole truth.

    As the crowd streamed into the club for the Second House at half past ten, it soon became evident there would be few if any seats left. By the time the house band, the Ronnie Scott's All-Stars, started the warm-up, as best as I could count there might have been a dozen or so seats left.

    When the time arrived for Gilad Atzmon & The OHE's single set, the reception they received was rapturous. From the first bar they played the crowd was simply in awe.

    As ever, Atzmon also proved himself the witty, charismatic and charming raconteur and all-round entertainer as well as the masterful jazz titan that he is. Atzmon could charm any crowd and have them eating out of his hand like tame puppies.

    The set took in a selection of tracks from the tenth anniversary album with mostly extended improvs.

    The tracks from The Tide Has Changed included the gentle And So Have We, the ferocious The Tide Has Changed, the hauntingly beautiful Bolero At Sunrise, and the dramatic, sometimes impassioned London To Gaza, before a return to a theme first heard on the second OHE album, Nostalgico, as 20th Century, and subsequently on Muzik as Re-arranging The 20th Century. Here, it became Re-re-arranging The 20th Century, with an extended Salt Peanuts, the great Dizzy Gillespie/Kenny Clarke bebop classic based on Count Basie's Basie Boogie rounding off this new version. Not since Dizzy and Bird have I heard such a breathtaking, inspired rendition of this latter piece.

    Next, we were treated to the night's sole outing for Atzmon's equally gorgeous clarinet with the exuberant All The Way To Montenegro, again from the anniversary album, followed by an arrangement of the album's opener, Dry Fear, likewise an exuberant piece.

    All through the night's spectacular performance, Atzmon was, as always, generous to a fault in allowing equal or almost equal space for his band mates to shine.

    Atzmon and Harrison more than showed why they are today's fiercest, fieriest and most innovative improvisors, unheard since the days of Bird and Trane. Their fire and passion are matched by their equally unparalleled sensitivity and inventiveness. Stavi's bass and Hick's traps provide the ever perfect complement. Hick does an admirably tremendous job of following in the giant footsteps left by Asaf Sirkis and deserves every respect. Lesser mortals, even more experienced ones, might have been overwhelmed and intimidated by the mere prospect. Atzmon introduced Hick only half-jokingly as "the world's greatest drummer" - he's certainly on his way!

    Throughout the performance, each piece and each solo received rapturous applause from the highly appreciative crowd, to the point of being near ear-splitting. The inevitable encore concluded the set with what has become Atzmon's standard closer, a heart-felt alto rendition filled with optimism and hope of What A Wonderful World. You could almost hear dear ol' Louis as in a distant echo somewhere... The ovation for Atzmon and the OHE was long, loud and enthusiastic, and as heart-felt as the music had been all night.

    Friday night's performance was, even by Atzmon & OHE standards, more than special and extraordinary. It completely took your breath away and was as much excitement and fun and beauty as can be had out of the sack and then some. Spec-ta-cu-lar!

    Atzmon' brilliant genius combines the best of Bird and Trane yet is so much more than the mere sum of such a combination. The crowning glory is that the OHE are probably the finest jazz band of all time.

    What makes Atzmon & The OHE even more special is that they're all firmly grounded and disarmingly modest with it.

    Whatever else you do, if you love jazz, or good music period, you have to go and see Atzmon & The OHE live at least once in your life. They are already living legends.

    If you were unfortunate enough to have missed this Friday's outstanding performance, it was being recorded for broadcast by BBC Radio 3. Moreover, Gilad Atzmon & The Orient House Ensemble are having an extensive tenth anniversary tour, like the album titled The Tide Has Changed, of the UK and Europe. For details check Gilad Atzmon's web site.

    Atzmon and the OHE can next be seen in London in various roles as part of the Jazza Festival at the Scala in London on 12th and 13th October, and in a three-set marathon tenth anniversary special as part of the London Jazz Festival at The Artsdepot on 18th November. The latter includes special guests inc. Asaf Sirkis, and former extended OHE members Romano Viazzani and Guillermo Rozenthuler as well as Tali Atzmon.

    © 2010 Rainlore's World of Music/Rainlore. All rights reserved.



    Talking to Jumoke Fashola BBC Radio London

    I was talking this morning to Jumoke Fashola, BBC Radio London. We discussed music, Gaza, Jazza, OHE's new album, Robert Wyatt, Israel, Palestine and life in general. You may find it interesting.

      Gilad Talking to Jumoke Fashola BBC Radio London by Gilad Atzmon


    The Independent-The Tide Has Changed (World Village)

    Reviewed by Phil Johnson

    Sunday, 3 October 2010


    With an artist as fecund as Atzmon you learn that some you win, some you lose.

    Following the excellent In Loving Memory of America (and preceding a new collaboration with Robert Wyatt), this celebration of his band's 10th birthday returns to familiar Middle Eastern modes and lugubrious sax solos. It also rather uncomfortably mixes the genuinely sublime (sad ballads such as "And So Have We", "We Lament") with the ridiculous, most notably in the Shuttleworth-meets-Brecht vibe of the opener and closer.


    The wandering who- Gilad Atzmon

    GiladAtzmon on Google+