The Tide Has Changed, German Press Feb 2011

Frankfurter Allgemeine Zeitung:

Arte TV

Cinesoundz ****

Clarino Magazine

Falter

Fono Forum ****

Jazzpodium

Pforzheimer Zeitung (interview)

Pforzheimer Zeitung (review)

Jazzpodiun

Zuritipp

Jazzthetik (portrait)

Jazzthing

Spiegel  ****

Monstersandcritics ****

Sono

Stereo ****

DiePresse Austria 

Audio

Badische-Zeitung

DIE SÜDOSTSCHWEIZ Switzerland 

Dates in Europe this month:

Europe

March  6,  su        Vienna/AU                   Porgy & Bess   

March 7, Mo         Paris/Fr                        Libraire Résistances (talk & concert)

March  8, tue        Redange/Lux                L'inouï

March  9, we         Frankfurt/Ger               Kulturfabrik      

March 11, fri         Klosters/Sw                  Kulturverein      

March 12, sa         Chur/Sw                        3 Könige 

March  13, Su        Freiburg/Ger                  Cafe Palestine (a talk)

March 13, su         Freiburg/Ger                   Jazzhaus          

March 14, mo         Pforzheim/Ger                 Domicile             

March 15, tue         Saarwellingen/Ger           Jazzclub             

March 16, we          Zürich/Sw                       Moods         

March 17, thu          Karlsruhe/Ger                 Tempel  (Talk & Concert)                            

March 18, fr             Köln/Ger                       Altes Pfandhaus      

March 19, sa            Heilbronn/Ger                Jazzclub 

Gilad Atzmon at Ronnie Scott’s W1

The Times

Clive Davis

There are two Gilad Atzmons. One is the political activist whose outpourings on Israel and Jewish history have a worrying habit of lurching from legitimate anti-Zionism into something murkier. The other is the footloose reeds player whose Orient House Ensemble bridges the gap between jazz and world music, bebop and Baghdad. It was the latter, happily, who made the running. While the muscular Israeli expat could not resist inserting a handful of political gibes in the commentary between numbers, most of his quietly droll remarks were closer to stand-up than soap-box.

The music itself — a celebration of Charlie Parker’s “with strings” sessions — was superb. Revivalism so often produces overly solemn music-making long on credentials and short on passion. And at the start, as Atzmon edged into the pensive theme of Everything Happens to Me, it seemed the atmosphere might be far too polite. The self-penned ballad that followed was overlong and diffuse too.

From that point on the performance took wing. Although the publicity material had promised a full string section, the band was accompanied only by the Sigamos String Quartet, and was none the worse for that. Terse and agile, the arrangements mirrored Atzmon's searching runs; there was never a danger that the pianist Frank Harrison, the drummer Eddie Hick and the bassist Yaron Stavi would be swamped as they stoked their long, loping phrases.

Atzmon avoided predictable imitations of Parker on If I Should Lose You and I Didn’t Know What Time It Was. And on original numbers such as Burning Bush the string players cast classical decorum to one side as they rattled off fiery call-and-response figures. Atzmon, occasionally adding shards of colour on clarinet, pushed his alto to the limits as the music took on Coltrane-style intensity — at one point he removed the mouthpiece, generating a ghostly timbre by blowing directly into the horn. Bird sounds and muezzin-like vocalising added to the sense that he was carrying us into a world a long way from 52nd Street.



Gilad with String @ Norwich Playhouse

ROB GARRATT
30 November 2009

Norwich Evening News

In 1949 jazz giant Charlie Parker recorded his Bird with Strings LP, an album that pitted the fiery bebop pioneer against an orchestra to create some of his most delicate, sumptuous playing.

As a 60th birthday present to Parker Israeli saxophonist-cum-philosopher Gilad Atzmon is performing a tribute to the monumental album, touring with a string section alongside his own experimental, outlandish quartet, the Orient House Ensemble.

For Norwich, though, it is old news - having premiered the project nearly 18 months ago at the Norfolk and Norwich and Festival in 2008 to a sold-out Playhouse, making the half-full room this time right a little disappointing.

Click to read more ...

Cork Festival 24th October 09

Irish Times
"Sunday afternoon’s shows at the Everyman, however, provided an object lesson in how jazz is being kept vibrant in the 21st century. Israeli reedman Gilad Atzmon, these days more widely known for his anti-Zionism than his music, is a rare example of a musician whose political passion enhances his playing."


And there's a nice reader comment which appears below the Cork Independent review:

"The Cork Jazz Fest this year was amazing, the Everyman Palace Theatre Sun Ra Arkestra was wild! Gilad Atzmon, unknown to me at the time was outstanding, I went to the double bill for Jack Dejohnette as much as I enjoyed him, Gilad stood out world-class to say the least!"

Review: Gilad Atzmon with Stings by Sebastian Scotney

Review: Gilad Atzmon
(Cadogan Hall, Friday November 6th 2009)

http://londonjazz.blogspot.com/2009/11/review-gilad-atzmon.html

Gilad Atzmon's Cadogan Hall concert was based around his album "In Loving Memory of America. " But the complete Atzmon package contains, in addition to the music, his particular blend of lively entertainment and provocation.

First, though, the music. One of its starting points is Charlie Parker's With Strings album of 1950. Atzmon takes these songs, and particlularly the bitter-sweet ones which deal with feelings of displacement and loss- I didn't know what Time It was, If I should Lose You, Just Friends, Lovers no More , Yesterdays- and extends and enjoys them. I clocked in I didn't Know at a langorous, smoochy tempo of crotchet equals about 60. Lush.

Click to read more ...