Yotam Silberstein - Future Memories
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LIVE JAZZ BOOKING, Tommy Hoeg
However, jazz is the hallmark under which all these borrowings are united, confronted with other sources of inspiration that, from Andalusia to the Far East, imbue his music. It is with musicians the guitarist regularly plays with that he has chosen to record “Future Memories”, in which in addition to his own compositions are three pieces by two great Brazilian musicians, the mandolinist Hamilton de Holanda and Paulinho da Viola, master of the choro and heir to the tradition of Jacob do Bandolim and Pixinguinha.
Should one be surprised that Yotam Silberstein has added to his quartet a Brazilian, Vitor Gonçalves? This Carioca by adoption, who has worked with Maria Bethânia and Itiberê Zwarg (a longtime member of Hermeto Pascoal’s group), settled in New York in 2012, where his twin talents as a pianist and accordionist have not gone unnoticed.
Gonçalves takes turn on keyboards on the album with Glenn Zaleski, one of the most remarkable pianists to have emerged in New York in recent years and who has made his mark in Ravi Coltrane’s quartet through his rhythmic exuberance and the acuity of his biting and chiseled playing.
The drummer, Daniel Dor, who has made his mark through his participation in the bassist Avishai Cohen’s trio, masters with a startling ease the odd meters made popular by Israeli jazzmen, and asserts himself as a vibrant percussionist with an ability to convey colors.
The presence of John Patitucci in the quartet follows Yotam’s participation in the bassist’s album “Irmãos de Fé” (Newvelle, 2017), a trio recording inspired to the bassist by Brazilian music, for which he naturally chose the guitarist to accompany him. A bassist for which there is no more need to sing the praises of, a longtime member of the groups of two of the major figures of contemporary jazz, Wayne Shorter and Chick Corea, John Patitucci demonstrates his dual culture of acoustic bass and electric bass, using one or the either on the album, along with a fretless bass, and always with a superbly articulated presence when accompanying the soloist, adding groove or counterpoint in an true complicity with the guitarist: “Everything really clicked with Yotam. He is a very intuitive, very emotional player, he’s lyrical, he’s also strong rhythmically, he has a voice, and he’s also like an encyclopedia of Brazilian music! I really loved the way the colors were flowing all around.”