Three things usually stand out for me upon hearing a musician for the first time: the opening, the chemistry between the musicians, and the communication with the audience. Daniel Zamir and his ensemble this weekend were right on cue for two out of three, leaving me with a slightly detached feel at the end of his somewhat whimsical show.
Zamir, emerging as one of Israel’s leading ethno‐jazz icons, is something of an eclectic. Known for his diverse playing style and fusion of fiery, free form saxophone with Hassidic traditions, Zamir’s music is at once gregarious and highly introverted. It’s obvious that through his music he alludes to his spirituality, as he loses himself in a superb playing style that seems to possess his every movement. The musical chemistry between him and his ensemble was tangible; they both anticipated and complemented every frenetic tune Zamir created. Accompanied by Nitai Herzkowitz on the piano, Amir Bresler on drums, Gilad Avro on contrabass and Yonatan Albeleck on guitar, the ensemble’s technical prowess dominated the room for the first part of the show as they demonstrated a full range of hypnotic, impassioned tones.
No doubt that Zamir is also a talented singer, but his insistence on swapping his saxophone with mainstream covers and heartfelt guitar pieces was like ordering fish at a steakhouse. Good, but certainly not a specialty of the house. After being so intoxicated by the previous set and at the edge of my seat for more of the same, the prolonged vocals seemed inconsistent with the rest of the show. Zamir’s obvious captivation with his music, perfectly harmonious in his instrumental medley, lacked here an intimacy with the audience that made me feel both deflated and confused. Perhaps if I had anticipated Zamir’s unusual collaboration I would have been more inclined towards the soulful and highly personal lyrics, but for me the deep, heart‐wrenching emotional experience was much more influential without the deliberation of lyrical accompaniment.
Zamir has the undeniable capacity to move the soul through his music, as demonstrated by the ensemble’s immaculate, collective finish. Dripping with visceral energy that was lacking in the vocal portion of the concert, their last piece was very much called for to end with the same bang they started. Though it was a little disappointing to see Zamir returning for an encore without his sax, it’s nonetheless intriguing to see where this unusual musician will take his art in the world of the avant‐garde.
Daniel Zamir’s new album “Nehama veIdud” (Solace & Support) is available in stores.
