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    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 Guardian: Gilad Atzmon, On tour

    Gilad Atzmon Gilad Atzmon & The Orient House Ensemble.

    Since he came to the UK in the 1990s, saxophonist Gilad Atzmon has displayed a rare knack for joining jazz improv surprises to lyricism and catchy grooves. An Atzmon set can rampage through rapturous love songs unceremoniously invaded by funk and bebop; bursts of free-jazz and dense Bitches Brew electronics; maybe veer into a lateral take on Wonderful World; or classical references upstaged by through-the-horn guffaws. He also runs an imaginative venture dedicated to Charlie Parker's sax-and-strings music of the late-1940s, tomorrow's Brighton gig being a reprise of that entertaining show. The others are for Atzmon's Orient House Ensemble, the world-jazz group now celebrating a decade of colliding American, central European and middle eastern music.

    Corn Exchange, Brighton, Sun; Jazz Bar, Edinburgh, Wed; Montrose Folk Club, Links Hotel, Fri

    John Fordham



    Metro:The Tide Has Changed 

    By Robert Shore

    Metro Friday 1st October 2010

    As the MC announces over the cabaret atmospherics of Dry Fear, The Tide Has Changed is the 'tenth-anniversary celebration...of the one and only Orient House Ensemble'. It's true that no one mixes bebop with traditional Eastern European and Middle Eastern music quite like Israeli-born reed player Gilad Atzmon's outfit. Atzmon is a controversialist and an improviser of astonishing invention and virtuosity; just lsiten to his fleet-fingered sax break on the moody title track or his searching clarinet solo on All The Way to Montenegro, which climaxes in a gravity-defying ascent that echoes the glissando at the beginning of Gershwin's Rhapsody In Blue. His collaborators are no slouches either: Bolero At Sunrise demonstrates how richly suggestive musical restraint can be.



    FT -The Tide Has Changed (4 stars)


    Gilad Atzmon & the Orient House Ensemble: The Tide Has Changed

    By Mike Hobart

    Published: October 2 2010 00:16

    Gilad Atzmon & the Orient House Ensemble

    The Tide Has Changed



    (World Village)

    4 star rating


    The Israeli-born multi-instrumentalist marks a decade leading the Orient House Ensemble with this powerful, finished-article blend of Middle Eastern cadences and unfettered jazz. The agitational spirit is undimmed, but now there is a pensive undertow implying the tide hasn’t necessarily changed for the better.

    Atzmon delivers spirituality and time-bending alto-sax virtuosity on the title track, the introduction is dark-hewed burlesque and there is a village dance finale. Highlights include a clarinet and wordless vocal lament and a soprano-sax excursion on Ravel’s Boléro



    The Guardian: The Tide Has Changed (4 stars)

    Saxophonist, composer, polemicist and wit Gilad Atzmon is currently celebrating 10 years with his eloquently entertaining world-jazz group, the Orient House Ensemble, and The Tide Has Changed seems to represent a mature yet still eager reflection on the story so far. It's a typically 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. The initially dolorous microtonal opening of the title track over Frank Harrison's strummed piano strings turns into an uptempo section of barked staccato sounds and swerving runs uncircled by Tali Atzmon's vocals, while Bolero at Sunrise – for Atzmon's keening soprano sax – is exactly what its title describes, and In the Back Seat of a Yellow Cab splices the versatile leader's accordion and bluesy alto sax with vocal clamours like a crowded party or the squawks of a channel-hopping radio. Atzmon's albums never quite catch the amiable ferocity of his live shows, but this one certainly expresses the Orient House motto: "Relentlessly, we remind ourselves why we decided to make music in the first place."



    Mojo October 2010 The Tide Has Changed

    “…this blistering, beautiful set…a fluid, hypnotic, optimistic blending of sounds from North Africa, the Arabian peninsula, John Surman and Charlie Parker, resulting in a multicultural balm of Gilad to soothe all aching souls.”
    Andew Male, Mojo, October 2010.

    The wandering who- Gilad Atzmon

    GiladAtzmon on Google+