Highend HiFi Magazin Fairaudio 10/2015
Victoriah Szirmai
Music for better listener
Claiming to be somebody, last valid owned truths should be taken care. Basically, this also applies to song collections, talk and act as an ultimatum, but it usually only multiply the numbers on the account of the music industry, the listener, however, no positive – not to mention joy – offer.
Quite different is the case with last of songs of Israeli musicians pair Irit Dekel and Eldad citrine. Meanwhile orchestral miniatures make the underlying songs, their postulated finality defiance, namely completely forgotten. What luck that the end of July with Pinorrekk Records finally also a small record company was found, which banished the already available since February, as a download, in this form, however, unfortunately, completely neglected pieces on CD.
The prelude of the album, whose repertoire is recruited from the collection of jazz standards of the last century, makes the achteinviertelminütige, richly orchestrated, posaunentondurchwebte Everly Brothers classic “Bye Bye Love”, of the idiosyncratic vocal use Dekels offers an almost too soft base. From 3:40 the overture-like piece for modern club track, including nervous beats, meandering soundscapes and hall enriched vocals unfolds, only to transform itself from 4:40 to pure piano-vocal song until a reprise again a cinematographic-orchestral, takes time bass-hugging shape that forms a perfect symbiosis with the thus yearning syllables Dekels. Basically anticipates this track because Song was here the misnomer already the entire album – and offers en passant a journey through the history of popular music. That is quite simply: wow. Or also: Music for Better listener who is able to provide that degree of complexity to show that, but just not interested in exhausting.
Far less painful it comes to the “No More Blues”, which from 1958 is based on Antônio Carlos Jobim’s “Chega de saudade”, but oscillates somewhere between Eastern European folklore and tango with vaudeville twist. This is not only to Zitrins accordion playing, but also to the fellow Alaev Family, the lucky formerly the Uzbek Bukhara, now in the Israeli exile for their percussion stressed Tajik and Jewish sages is known and a little reminiscent of one of the virtuoso Roma chapels, one in moments so many times can eavesdrop in Berlin cityscape.
With billi holiday esker melancholy “You’re My Thrill” waits in the depths of which it simmers abysmal. Again, the orchestration must flash soft a cool disco beat while in the background is heard an Arab Melismensänger. Even the now re-onset orchestra seems to have turned into an Arab wedding band. That the whole thing is based on a Billie Holiday standard that has been forgotten for a long time at this point, because what do Dekel & Citrin from the classical repertoire, can be described adequately with reinterpretation or re-arrangement. Basically, they make their own music, which seems to feel in the intermediate worlds of the Orient and Occident at ease. Like the man in the old joke, which is constantly in demand by ship from New York to Israel and then travels back and that would be because his favorite place.”Well,” the, “the ship of course!” Answered all, complex listening in spite of doing it good to listen to the lonely pipe blowers, which once again abducted in oriental soundscapes.Quite unexpectedly meets a vocal line, the “Get Happy” intones – yes, that’s the dazzling Happy-Go-Lucky-Bigband number which we recently until Rebecca Ferguson have heard that here, wrapped into Molltongewand, but only the true seems to reveal the meaning of the songs and sung Promised Land can seem far less worldly. In principle, make Dekel & Citrine here exactly what Lisa Bassenge let Kylie “Can not Get You Out Of My Head” bestowed – and that is very, very nice.
With “Blues In The Night” is followed by a song, how it actually, though could not get on the radio, so to hear at least Caféhaus: a countryeske guitar number that is almost too denote compared to the previously heard as conventional, albeit was not saved here plenty Streicherkuvertüre. And then comes “You Do not Know What Love Is”, Cassandra Wilson’spop to jazz parade song as vaudeville Waltz sprayed tons of Flohwalzer charm here and so clever the great comparison – his best-known performers included not only the Wilson artists like Billie Holiday, Miles Davis or Chet Baker – escapes. Long nachschwelgen it can not be but because the ensuing “Guess Who I Saw Today” is rhythmically so idiosyncratic that it too strenuous a crossing the border again and again.
The wide spaced, suddenly chopped bass of “Willow Weep For Me” leave to Bartmes’ Modular Soul think and although Dekel first occurs in appearance here as a real jazz singer, I am especially reminded the piece on the 2015er XJAZZ Festival in the – to hear the ultimate version of Lucia Cadotschs project Speak Low, on whose board we can look forward early next year – with all due caution. Here staggers against the piece with a strong oriental flavor dervish equal to its peak, which culminates in utter exhaustion. Very quiet, very delicate, however, the ballad “The Rose”, the device never cheesy, although the melody had to quite done – just think of the versions of Bette Midler or Bonnie Taylor. Eldad Citrine even deserves more praise for Production and Arrangement. Should not go unmentioned Kamancheh player Mark Eliahu who knows how to give the whole a fascinating alien flair, you can at his solo but initially not be sure whether there is an exotic painting or is it rather a wind instrument is really heard.
The break with retracted listening habits is also reflected on the here pentatonic imaging, by harmonic ostinato increasingly enervating “Good Morning Heartache” fort, which is still quite a bit further east abducted until the detached Vocal Line begins weird from the music and to the Classic detects. Nevertheless, one wonders at this point of the album involuntarily whether singer and producer actually play with or against each. Of course, ultimately, here everything falls into place, you sit long enough from the irritation. The the 1941-Schmachtfestzen “Skylark” transform Dekel & Citrine in a two-part indie-folk number, dominated by guitar, piano and percussion hippie.Zitrins singing is pleasant to be withdrawn, although he can shine through that he is behind modern bard à la Bon Iver would not need to hide.
The final Anderthalbminüter “More Than You Know” translates the street music album art in associating sounds: voice accordion, nothing else. Irit Dekel and Eldad Citrine need their enchanted worlds production actually not in order to survive in front of a demanding audience can. I can confirm first hand, I was allowed in spring unplugged in Berlin’s traditional jazz club A-Trane experience. If you have the chance – you will see the two also live in!
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