Rafi Malkiel – Water – Tzadik 8151, 55:27 [Distr. by E1] ****:
(Rafi Malkiel – trombone, euphonium, tuba, aguaphonium; Anat Cohen – clarinet; Avishai Cohen – trumpet; Chris Karlic – bass clarinet, tenor saxophone; Itai Kriss – flute; Gili Sharett – bassoon; Jack Glottman – piano; Pablo Mayor – piano (track 2); Dave Hertzberg – bass; Daniel Freedman – drum set; Benny Koonyevsky – percussion; Nestor Gómez, Shane Shanahan – percussion, water, aguaphonium; Mauricio Herrera – congas, timbales; Anthony Carrillo – congas, bongo, clave)
What do you get when you ask a rising star of Latin jazz to explore his Jewish roots and in the process that same artist decides to use water as a metaphor and a literal musical motif? The answer is multi-instrumentalist and composer Rafi Malkiel’s sophomore project, Water, his first for the Tzadik label and released under Tzadik’s Radical Jewish Culture series.
Although Malkiel is best known as a prominent member of the NYC Latin jazz scene – he is credited on approximately 20 albums – on his second outing as a leader, Malkiel effortlessly combines his multifarious influences with a huge group: 15 musicians are represented on 12 tunes. Water is refreshingly unique, an invigorating work that parches the thirst for ambitious, innovative music that maintains a traditional, swinging cadence. While Malkiel incorporates Egyptian and Lebanese songs he heard growing up in Jerusalem, as well as the jazz, classical and Latin music he has studied and played professionally, the diverse ingredients are blended seamlessly via intricate arrangements and Malkiel’s attentive use of textural and harmonic changes.
For example, Middle Eastern and Latin characteristics are encapsulated into “Gilgool,” where hints of salsa are liberally seasoned within the highly-charged chromatic harmonies and grooving rhythm. The large ensemble presentation is highlighted by Itai Kriss’ limber flute, Malkiel’s soulful trombone and Daniel Freedman’s pulsating drums. Listen closely and lapping water can be heard as part of the underlying percussive elements. An increased Afro-Cuban stance buoys the tumbling “Aguanile Mai,” with solid support from pianist Jack Glottman alongside infectious congas.
A beautiful contrast is the quasi-classical “Waves,” which opens and closes with a sample of surf along the Tel Aviv shoreline and then glides into an impressionistic duet between Chris Karlic on tenor saxophone and Anat Cohen on clarinet. When the other horns and the rhythm section slip in, “Waves” unfolds into a romantic arrangement which echoes the kind of European affectation found in Ennio Morricone’s latter-period soundtracks. “Eden Rain” also utilizes water as a starting point (in this case a seasonal downpour), but the cultural features are quite different: reggae and cumbia give this effervescent piece a strikingly effective multicultural ebullience. The appropriately bluesy “River Blue” also begins with a cinematic foundation but progressively boils up by way of Karlic’s Coltrane-esque tenor sax, Avishai Cohen’s muted trumpet and swelling bass and drums.
During the recording process, Malkiel carried his aquafied atmospherics so far he created a new instrument, the aguaphonium, which is notably featured during the interlude cut “Meet My Sweet Little Sea Monsters in Aguaphonium Land.” The concept is odd but intriguing: take a length of garden hose, attach a mouthpiece to one end and a funnel to the other, put the funnel into a container of water and blow. Overdub the result in various ranges and the payoff is a kaleidoscopic aquatic chorus.
Malkiel concludes with the klezmer-grounded “Sky Rainbow,” a swinging number where the full ensemble gleefully gallops along and that Masada or Klezmocracy fans will no doubt embrace. It’s a fitting ending to an unexpectedly remarkable effort.
TrackList:
1. Desert
2. Mai Eden
3. A Drink of Spring
4. Gilgool
5. Waves
6. Eden Rain
7. Meet My Sweet Little Sea Monster in Aguaphonium Land
8. Water
9. Aguanile Mai
10. River Blue
11. Water Prayer
12. Sky Rainbow
— Doug Simpson
