The Tide Has Changed

M&G: The Tide Has Changed von Gilad Atzmon & The Orient House Ensemble

2011-02-10T14:58:34Z

Von Rainer Molz

9. Feb 2011, 13:14

****

Seine Musik ist wie eine Offenbarung. Als gefeierter Musiker der Jazzszene Großbritanniens, lässt er nun auch verstärkt Deutschland in den Genuss seiner Kunst kommen. Mit „The Tide Has Changed“ begibt sich Gilad Atzmon & The Orient House Ensemble auf ein Bebop Terrain voller spannender Momente. Geprägt von nahöstlichen Klängen, schwebt die Musik in einem Dialog voller explosiver Augenblicke unaufhaltsam durch Raum und Zeit. Turbulent!

1963 wurde Gilad Atzmon in Jerusalem geboren. Im Jahre 2000 gründete der Holzblasinstrumentenmusiker die Formation The Orient House Ensemble. Nun gilt es in 2011 ein 10jähriges Jubiläum zu feiern. Zu diesem Anlass veröffentlicht das Quartett eine aufregende Produktion „The Tide Has Changed“. Eine ganz besonders ergreifende Mischung von Kultur und Tradition. Die knalligen Improvisationen versprühen Charme und leben vom schrägen Humor des Bandleaders. Im Dialog der Verspieltheiten – Bebop trifft auf nahöstliche Klänge.

Prägend dabei vor allen Dingen das raffinierte und eindringliche Spiel Gilad Atzmon. Der Multiinstrumentalist – er agiert an diversen Saxophonen, an Klarinette, Sol, Zurna und an Flöten – brennt vor Energie und verströmt unbändige Spannung.

Brillanz, Leidenschaft, Intensität und Wärme – das ist „The Tide Has Changed“. Zeitgenössischer Jazz in unterschiedlichen musikalischen Stilen zelebriert und verpackt. Empfehlenswert!

Line Up: Gilad Atzmon (Multiinstrumentalist), Frank Harrison (Piano, Xylophon), Yaron Stavi (Bass), Eddi Hick (Drums).

Ebenfalls vormerken: The 2011 Spring Tour: 06.03. Wien (A), 08.03. Redange (L), 09.03. Frankfurt, 11.03. Klosters (CH), 12.03. Chur (CH), 13.03. Freibrug, 14.03. Pforzheim, 15.03. Saarwellingen, 16.03. Zürich (CH), 17.03. Karlsruhe, 18.03. Köln, 19.03. Heilbronn. Weitere Informationen unter www.gilad.co.uk

English translation

Gilad Atzmon: "The Tide Has Changed" (World Village)

His music is a revelation. As a celebrated musicians of the jazz scene in Britain, it can now also used increasingly in Germany to enjoy his art. With "The Tide Has Changed" goes to Gilad Atzmon & The Orient House Ensemble on a terrain full of exciting moments Bebop. Influenced by Middle Eastern sounds of floats, the music in a dialogue of explosive moments inexorably through space and time. Turbulent!

1963 Gilad Atzmon was born in Jerusalem. In 2000 founded the woodwind musicians group The Orient House Ensemble. Now it is in 2011 a 10th anniversary celebration. At this event, the quartet is an exciting production of "The Tide Has Changed". A particularly poignant mix of culture and tradition. The bright improvisations exude charm and live off the quirky humor of the band leader. In the dialogue of playfulness - Bebop meets Middle Eastern sounds.

Influential here, above all, the refined and haunting play Gilad Atzmon. The multi-instrumentalist - he acts on various saxophones, clarinets, sol, zurna and flute - is burning with energy and exudes unbridled power.

Brilliance, passion, intensity and heat - this is "The Tide Has Changed". Contemporary Jazz celebrated in different musical styles and packaged. Recommended!

Line Up: Gilad Atzmon (multi-instrumentalist), Frank Harrison (piano, xylophone), Yaron Stavi (bass), Eddie Hicks (drums).

Also Mark your calendar: The 2011 Spring Tour: 06.03. Vienna (A), 08.03. Redange (L), 09.03. Frankfurt, 11.03. Klosters (CH), 12.03. Chur (CH), 13.03. Freibrug, 14.03. Pforzheim, 15.03. Saarwellingen, 16.03. Zurich (CH), 17.03. Karlsruhe, Germany, 18.03. Cologne, 19.03. Heilbronn. For more information www.gilad.co.uk

Spiegel: Gilad Atzmon- The Tide Has Changed (World Village)

2011-02-10T14:53:20Z

http://www.spiegel.de/spiegel/kulturspiegel/d-76655001.html

Gilad Atzmon: "The Tide Has Changed" (World Village)

Seine Saxofon-Soli sind von Charlie-Parker-hafter Intensität und zeigen einmal mehr, was für ein Super-Jazzer der Musiker ist, den viele vor allem als Politaktivisten kennen. Atzmon nennt sein Quartett nach dem Jerusalemer Hauptquartier von Arafats P.L.O. The Orient House Ensemble und ergreift auch als Schriftsteller Partei für die Palästinenser. In seiner Musik verbindet der nach England emigrierte Israeli orientalische und westliche Klänge. Atzmons Agitation geht unter die Haut!

English translation

Gilad Atzmon: "The Tide Has Changed" (World Village)

His saxophone solos of Charlie Parker-like intensity and shows once again what a super jazz musician, whom many know primarily as a political activist. Atzmon calls his quartet to the Jerusalem headquarters of Arafat's PLO The Orient House Ensemble, and also as a writer takes sides with the Palestinians. His music combines the Israeli who emigrated to England Eastern and Western sounds. Atzmon agitation gets under your skin!

Record Collector, Christmas 2010 (4 stars)

2010-11-24T17:45:07Z

4 STARS

“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 2010

Chris Searle, Gilad to be free-The Morning Star (albums review)

2010-11-23T21:20:51Z

http://www.morningstaronline.co.uk/index.php/news/content/view/full/97974

...For The Ghosts Within (Domino WIGCD263) – Gilad Atzmon And The Orient House Ensemble (World Village 450015)

Tuesday 23 November 2010

by Chris Searle

Israeli sax master Gilad Atzmon's collaborations remain as fluid, complex and competent as ever

The Tide Has Changed is the sixth album of the Orient House Ensemble, led by the Israeli altoist Gilad Atzmon, formed a decade ago and named in honour of the headquarters of the Palestinian people in Jerusalem.

"Ten years ago I realised that beauty is the way forward", Atzmon writes in his sleeve notes. And listening to his solo work on the title song after the hokum of the introductory track, you recognise too how the sheer beauty of his sounds - a unique amalgam of Hebraic, Arabic and jazz traditions - has gained authority, sonic unity and huge emotional depth during those years.

The quartet has a new drummer - Eddie Hick - with the ever-inventive Frank Harrison on piano and the pulse of Yaron Stavi on bass. Hick's rattling snares open And So Have We with Atzmon's clarinet, an expression of the Atzmon dictum that "the melody is the truth".

The Jazz Breakfast: CD review: Gilad Atzmon & The Orient House Ensemble

2010-11-09T11:37:14Z

CD review: Gilad Atzmon & The Orient House Ensemble

http://thejazzbreakfast.wordpress.com/2010/11/09/cd-review-gilad-atzmon-the-orient-house-ensemble/

The Tide Has Changed
(World Village 450015)

The Orient House Ensemble, named with Gilad Atzmon’s usual challenging flair, after the Palestinian people’s headquarters in Jerusalem, is ten years old. The only other original member of the band is pianist Frank Harrison, but the band’s music – a winningly compulsive mix of the Middle Eastern and jazz influences – has remained consistent from the start.

Consistent, but constantly developing and becoming more finely interwoven.

Listen to the 11-minute title track of this disc and those elements are there, the Middle Eastern ones especially in Atzmon’s saxophone articulation with its microtonal phrasing, but its just so cohesive now. And is there a saxophonist working in the UK today, or a band in fact, that is able quite to work up this kind of intensity?

But there is also such acute attention to the gorgeousness of the sounds. As Atzmon adds that growl, and launches into those lightning runs, followed by high, held screams at the top of his instrument, Harrison, bassist Yaron Stavi and drummer Eddie Hick churning beneath, so are added rich, held chords of Tali Atzmon’s voice. And then we are back down to a funky bass and drums for Harrison to start building up the tension all over again.

There are heaps more joyous moments like this on this album, including a great version of Ravel’s Bolero, or Bolero At Sunrise as he calls it, Atzmon bringing a fresh lyricism to this most familiar of melodies against a lovely, sinuous groove.

And So Have We shows Atzmon’s rich tone on soprano, while London To Gaza features the multi-layered pleasures on its melodic statement of Atzmon’s saxophone line shadowed by his own accordion with Stavi’s bowed bass underneath, before it morphs into a measured and Coltraneish slow-burner, Atzmon again stressing that Middle Eastern saxophone tone and articulation. It’s a saxophonic tour de force.

And of course, humour is never far away from the seriousness – from the MC-led opening to the oompah madness of We Laugh.

The band, surely one of the hardest working in jazz, is currently nearing the end of a three month tour and comes to the Live Box at The Drum in Birmingham on Sunday evening. It starts at 7.45pm, and you can find out more at www.the-drum.org.uk

At The Edge Arts Centre, Much Wenlock, Shropshire (4 Stars)

2010-10-25T21:36:14Z

REVIEW

Gilad Atzmon, “Gilad With Strings”, The Edge Arts Centre, Much Wenlock, Shropshire, 23/10/2010

http://www.thejazzmann.com/reviews/review/gilad-atzmon-gilad-with-strings-the-edge-arts-centre-much-wenlock-shropshir/

Reviewed by: Ian Mann

4 out of 5

This was a great way to herald in the new era at The Edge.

Gilad Atzmon-Gilad With Strings

Gilad Atzmon and the Orient House Ensemble with the Sigamos String Quartet

The Edge Arts Centre, Much Wenlock, Shropshire, 23/10/2010

This concert was the first in the newly constructed building at the thriving Edge Arts Centre in Much Wenlock. First impressions of the new hall were highly favourable, particularly with regard to the acoustics. Atzmon and his fellow musicians sounded excellent throughout.

The London based Israeli musician Gilad Atzmon is celebrating the tenth anniversary of his regular working band the Orient House Ensemble and is currently in the middle of a huge nationwide tour in support of the quartet’s latest album “The Tide Has Changed”. The tour is sprinkled with dates featuring an expanded line up with the OHE joining forces with the members of the Sigamos String Quartet who had worked with Atzmon on his previous album “In Loving Memory Of America”, a project inspired by the “Bird With Strings” recordings of the great Charlie Parker. This evenings performance included material drawn both from the “with strings” project and from the OHE’s regular repertoire.

The evening began with the four members of the OHE taking to the stage to perform the title track of their new album. Joining Atzmon on saxophones and clarinet were original OHE member Frank Harrison on piano, long serving double bassist Yaron Stavi and the OHE’s latest recruit, drummer Eddie Hick. “The Tide Has Changed” proved to be a stunning opener, a classic example of the group’s unique blend of Middle Eastern musical motifs and jazz improvising, this time with the band’s wordless vocalising adding to an already heady mix. Atzmon and Harrison delivered dazzling solos on alto sax and piano respectively with powerful yet intelligent support coming from a highly flexible rhythm section. Hick has stepped admirably into the void left by the departure of former drummer Asaf Sirkis and the two performances I’ve seen him give with the OHE confirm his growing reputation as one of the UK’s most exciting young musicians.

The Tide Has Changed-John Bungey , The Times , October 23

2010-10-25T21:29:35Z

All that gigging helps account for the collective energy of the band... and this is jazzy, freaky, potent stuff.

Jazzwise: Gilad Atzmon And The Orient House Ensemble - The Tide Has Changed ★★★★

2010-10-22T13:27:01Z

Gilad Atzmon And The Orient House Ensemble - The Tide Has Changed ★★★★

Friday, 22 October 2010 12:32

Harmonia Mundi 450015 | Gilad Atzmon (ss, as, clt, acc, v), Frank Harrison (p, kys, xyl, v), Yaron Stavi (b, v), Eddie Hick (d, v) with Tali Atzmon (v) and Derek ‘The Draw’ Hussey (MC). Rec. 24-26 February 2010

Happy birthday to the Orient House for a decade on the jazz block: and what better way to celebrate than ith thi l d with this splendid, ever changing album. We kick off with Hussey’s circus bark (he’s the Blockheads vocals man) calling us to the party in a mix of Kurt Weill, Sgt Pepper and, um, David Essex. But being the OHE, of course, we walk through the door to the sound of scuffed piano strings and Atzmon’s lamenting ululations. The world’s realities march alongside the good times with this band. However, beauty always beats the bad guys, and a stirring vamp held down by a seismic bass figure soon has the spirits rising on the anthemic title track.

Compared to the likes of Exile, this OHE production uses fewer colours, fewer guests: this is very much a quartet album, deeply focused and with all frills edited out. This is a band that after a decade is as tight as the proverbial drum; and talking of which, the promising Hick slots in admirably, less spectacular than Sirkis, but that complements this disciplined, even inward-looking project.

Other stand-outs include a restrained take on Ravel’s ‘Bolero’. Much of the ‘exoticness’ is leeched out, allowing direct access to that seductive theme which gyres and gambols around us. If Atzmon flourished in Parker mode with In Loving Memory Of America, then Coltrane is the touchstone here, notably on the long meditation ‘London To Gaza’ which features a lyric solo from Harrison whom, need we say, grows leaner, more sparing yet more killing with every recording. We end in party mood, of course, with a Balkan knees up, though the Weill coda reminds us of tears behind the laughter. But for now, let’s raise a glass: to the next decade.

Andy Robson

Zimos News: Jazz activism

2010-10-18T11:19:41Z

http://www.zimoz.co.uk/blog/2010/10/jazz-activism/stivesjazz1/

Gilad Atzmon and the Orient House Ensemble 2010 tour

by Jonathon Blakeley

The Orient House Ensemble are currently touring the UK, promoting their amazing new album – ‘The tide has changed’. The following is a review of a performance, at St Ives Jazz Club, Cornwall, on Friday 15th of October 2010. The current OHE line up is

Serpent charmer

The set started with a Gilad announcing that they were going to play their new album, ‘The tide has changed’, and commenced with the opening track ‘Dry fear’, warming up the crowd with his serpent charmer spell.

The next track required a change of instrument, and for this one Gilad chose his saxophone. He quickly realized that he had left his sax strap up in his hotel room and asked whether someone would retrieve his strap, as he could not play without it. This accident allowed him to improvise and free associate with words. With the strap recovered, a cheer went up from the crowd and the set kicked off with the title track – ‘the tide has changed’ – intense, frenzied and original.

“Obviously I like playing the music but it’s not all about the music, it is Palestine that I am also really interested in. In helping to free the Palestinian People that is very important too…”

The thing that quickly becomes glaringly obvious is the Gilad Atzmon is a chameleon, many different elements in a glorious synergy.

Jazz Musician/Composer
Writer
Blogger
Producer
Stand-up Comic
Political Activist
Traveling Salesman
Creative Guru

Ethically sound

What distinguishes Gilad Atzmon from other musicians, aside from his prodigious talent and wicked sense of humour, is his outspoken political opinions. Most other musicians are much more tight lipped, they argue it’s all about the music, and in doing so reveal their blinkered self-censoring approach. The content of their music quite simple & safe. No politics, religion or controversy.

Gilad does not restrict himself in any such manner, and here one sees his Blockhead punk roots. That is what makes him so thrilling and exciting. In a world where musicians are safe, traditional, conventional, he is provocative, surreal and challenging. He says what others are too afraid to say, for fear of upsetting their careers, standing and reputation.

Most activists stand around with a megaphone shouting angrily about this or that, but not offering any solutions. But Gilad is not angry, quite the opposite. Atzmon is a Jazz activist. He is optimistic and offers solutions to the Israel conundrum. Democracy for Palestinians, Israel should give them the vote, it is the only way that Israel can ensure it’s survival. Israel must cease to be an apartheid regime and integrate with the Palestinians.

He dances about with his various voodoo horns, in-between sarcastically mocking the madness of this world. Creating fantasies and fictions here and there, with much wry amusement.

“At this time I was in Kabul, working for M16 looking for Mujahideen….” he sniggers…Then casually slipping into one of many surreal adverts promoting their albums. “You know we are even offering discount on the Cd’s for volume purchases” he quipped. “It is not that we are desperate, but there is an element of despair…..” he joked dryly. – Gilad Atzmon

Gilad demostrates Jazz rhythms

Higher dimensions of Jazz

Then back to exploring the higher dimensions of Jazz….the music always so unexpected and joyously random. Ethnic rhythms & eastern scales in a free jazz synthesis. Suddenly one of the band would pull a tune in a new unexpected way and rest would quickly adapt. I must single Eddie Hick out for ‘high’ praise, he dazzled with his drumming and nearly eclipsed Gilad several times, wonderful gob-smacking snare work, bewildering percussion and improvisation. It is wonderful to see people at the top of their game, and this is the best the OHE have achieved so far, amazing virtuosity, musicality and range of emotions. Pushing Jazz to the limits and beyond – Peak Experiences Allow Consciousness Expansion. PEACE. not to be missed.

“There are no rules”- Gilad Atzmon

Vineyardsaker: Gilad Atzmon's latest masterpiece

2010-10-17T22:43:13Z

"The Tide Has Changed" - Gilad Atzmon's latest masterpiece

http://vineyardsaker.blogspot.com/2010/10/tide-has-changed-gilad-atzmons-latest.html

"The Tide Has Changed" is the latest record by Gilad Atzmon and his Orient House Ensemble and its celebrates the 10th year of collaboration of this fantastic group of musicians.

The first track, a tongue-in-cheek introduction to the album, immediately sets the tone with this joyful and deliberately silly lead-in to the album. Called "Dry Fear" - this track is paradoxically anything but fearful. The second track, however, "The Tide has Changed", while not exactly fearful, is a tense and powerful mix of modal and free improvisations on a entrancing beat with a strong Middle-Eastern feel to it. I like to think of the basic beat as a "Palestinian hard rock" kind of trance, but the improvisations are very clearly of a uniquely jazz level of virtuosity. Gilad's solos are - as always - an awesome thing to behold, yet the OHE's pianist, Frank Harrison, does an amazing job in replying to Gilad's virtuosity. Both musicians gradually built up their solos into a final explosive climax.

The next track continues on the theme of the second one and is entitled "And So Have We". A slow and melancholic composition, it reminds me of some of the most poignant pieces of Astor Piazzolla; Gilad's wife, Tali, further deepens this sense of "saudade" with her beautiful voice. Next, the bass and the piano engage into a sad yet beautiful dialogue which, again, Tali's voice punctuates. The lament concludes with quiet sense of peace. This is a very deceptively simple and absolutely beautiful track, one of my favorites on this album.

"Bolero at Sunrise" marks a break in style and substance. Beginning with an almost traditional rendition of Ravel's famous "Bolero", this piece rapidly mutates into something very different, a meditation, or even maybe trance, about the fundamental emotions of Ravel's piece, but expressed in a very different way. After a few Middle-Eastern notes, Harrison's piano opens the improvisations rapidly followed by Gilad's sax. Some commentators have felt the influence of Coltrane or Bird in this album, and maybe they are right, but what I hear is pure Atzmon, something qualitatively different from any of his brilliant predecessors. While possibly lighter than the previous track, this one is also an absolute jewel of sheer elegance and tone.

The second part of the album begins with a slow piano intro soon joined by the sax, to a piece called "London to Gaza", an immensely sad composition, filled with pain and raw emotional power. Then, the piece evolves into an explosion of emotions with, again, a trance-like feel to it. Though "London to Gaza" is the fifth track on this album, I feel that it is its central piece, it's core and center of gravity. Filled with pain and range, it's definitely the most complex and emotion-filled track of the album. And yet again I have to point out the absolutely amazing performance by Frank Harrison, whose piano is both an ideal match and contrast to Gilad's sax. If you had to listen to just one piece by Gilad Atzmon, this might not be the easiest one, but it would definitely be one of the most heartfelt ones.

"We lament" is a much more restrained and slow moving meditation, written in pastel musical colors. It softly intertwines the always present sadness of Gilad's compositions with regular moments of real peace and stillness. "The lament" feels like a deep breath taken following the harrowing experience of "London to Gaza". I don't know if Gilad deliberately intended it as a sequel, a conclusion, to "London to Gaza", but that is how I experienced it. It is also a transition piece, at the next one is very different.

"The Back Seat of a Yellow Cab" is a much more whimsical piece, in particular when compared to the rest of the album. The musicians are all still brilliant, the recording excellent, but all in all, this one did not draw any emotion out of me, but maybe that's just me.

"All the Way to Montenegro" completely transforms the mood of the album. The piece is exuberant, joyful and filled with genuinely Montenegrin notes. It reminds me of all the wonderful evenings spent with my Serbian friends, grilling chivapchichi in a forest and drinking red wine. The Mediterranean is home to many different cultures, yet beyond their individual uniqueness, they all share a "Mediterranean commonality" and Gilad's performance truly makes him sounds like a Gypsy musician at a Montenegrin wedding (I don't know if Gilad has spent any time in Serbia or Montenegro, but he sure sounds like he has). Here the pain of life is utterly defeated and "All the Way to Montenegro" is a joyful and typically Slavic celebration of life "in spite of it all".

The album concludes with "We Laugh" - a concluding counterpart to the album's first piece, another cabaret like piece, and a suiting conclusion of the exuberance of "All the Way to Montenegro".

Frankly, when it comes to Gilad's music, I am hopelessly biased: I love it all. Gilad is definitely one of 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. This said, Gilad's music is not immediately easy to listen to, and to fully appreciate it I would recommend listening to each track several times; the music is complex and yet very subtle and a superficial listening to it would probably makes you miss most of its beauty. Bottom line: get the album as soon as it becomes available where you live and listen to it with enough concentration and abandonment to really share into all the beauty of truth it contains.

The Saker