Five-string bassist and composer Yosef Gutman Levitt appears to have an open invitation to understanding players who wish to travel and musically converse with him in his idyllic studio situation.
The latest player to make the journey is multi-instrumentalist and composer Peter Broderick, another musician who appears to have no recording boundaries. I remember once years ago seeing Peter on a bill with Daniel O’Sullivan and Thighpaulsandra, appearing to concoct an impromptu set that involved thoughts of plane travel. Clearly he is open to the kind of invitation that Yosef and his close musical foils are keen to extend, and the results are quite the delight.
Once again there is an impromptu group consisting of Yonathan Avishai on piano, Itay Sher on guitar and Yoed Nir on cello to colour in the compositions, but it is the interplay between Peter and Yosef that makes the album such an intriguing listen. Peter has clearly done a lot of travelling (he is an American who lived in Denmark but is now based in Ireland), but easily merges into new environments which makes this album a surprisingly comfortable fit for him. Of the recent raft of releases from Yosef, this must be the most low-key; whether that is due to the Peter’s choice of violin as his main instrument or the selection of material, it is hard to say; but it feels more introspective, as if more personal processing is taking place. The bass and piano introduction of first track “The Open Door” is sparse, with a touch of the minor key giving it a pensive but consuming air. The violin when it arrives is soft yet strident, the three elements making their own way, gently covering ground. Of the eleven tracks recorded, three are nigunim, traditional vocal-free Jewish melodies, and the first has a perky folk feel, almost a reel in its lively progress; but as ever Yosef’s accompaniment is subtle yet essential and stands the track out from the folk we are more used to hearing.Considering the low-key approach, there are very different approaches to each track on the album. “Gratitude” feels more lively, with more of an open feel; it stretches for the sky with a sense of movement and a shimmer of stars. The groups seizes momentum and the minor chord choices still hint at solitude, but perhaps that is the state to best give “Gratitude”. A more stark, single-note progression develops into a jaunty horse rhythm nigun with piano adding balance and reflecting light, while on “Revolution” the cello is a grounding influence and the piano has the opportunity to lead. There is something hymnal in the poise of Peter’s violin and once again, the quartet defies expectation.
The violin generally is the focus, but the mix of the five instruments and the generosity of the players mean there is space for all. Reflective guitar might accompany the violin with an ebullient piano pushing through as on “Renewal”, but Peter’s “Cinnamon Swirl” turns things around a little, his melancholy violin figure tracing its way around the piano, allowing another way of hearing the group interaction. Towards the end, things shift again with the shimmering background drone of Peter’s “The Old City” giving a hint of desert wind blowing through the rooftops. It is a jaunty snapshot of a unique city, Peter’s eyes opened as he traverses the sights. “Reflection” is an intriguing duet captured on cassette with a decidedly lo-fi approach, while the album closes with “Wave Of Forgiveness”; here things are even slower and more reflective, as if the group is unwilling or unable to relinquish this unexpected gathering. It is the least structured of the pieces here with space for all to embellish. Its gaze of wonder is a truly open-minded and open-hearted way to end.Once again, Yosef has produced something that shines with humanity and a spirit of openness. His welcoming approach seems to produce magic each time, yet in very different ways. Long may this spirit of unity and inclusion continue.
-Mr Olivetti-
