While we may not be exactly talking about the stadium-filler marketing sector
here, in an avant garde musical sense the pairing of 30-year-old guitarist Ido
Bukelman and 61-year-old bassist Jean Claude (JC) Jones is something of a
The two will join forces tomorrow (8 p.m.) at
the Barbur gallery on Shiriizli Street in Jerusalem’s picturesque Nachlaot
neighborhood, alongside Norwegian drummer Ståle Liavik Solberg. There will also
be readings by 75-year-old Bialik Prize-winning poet Israel Eliraz whose work,
says Bukelman, was the inspiration for the guitarist’s latest CD The
The musical premise for the event is the official release of The
¸ which was recorded at Jones’s Kadima Collective studio and produced by
Jones. Then again, at this end of the improvisational spectrum what you see and
hear on stage is never the same as the recorded version. Bukelman will also be
strutting a version of his The Door
stuff, solo on guitar and banjo, at Levontin
7 in Tel Aviv this evening at 8 p.m., with the rest of the program comprising a
suitably widely divergent performance featuring Solberg, pianist-keyboardist
Daniel Sarid and bassist Yoav Beirech.
Bukelman, who recently put out a
couple of titles on his and saxophonist Yoni Kretzmer’s brand new Out Now
Recordings record label, says he was happy to work with Jones on the new
“JC knows so much about music and I love the things he does at
Kadima. It was great to make the CD with him,” he said.
guitarist-banjo player also got into Eliraz’s works some time before he got down
to The Door
and discovered a whole new world.
“Israel is an amazing
person. He only started writing when he was about 40 years old and he publishes
about two books a year. He is probably the most productive poet around today.
I’ve read lots of his stuff over the past few years.”
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That continued in
between recording sessions.
“I did three sessions at JC’s studio, one a
month. I’d record then I’d listen to what I’d done for a month, and mull it
over,” explains Bukelman.
“There is something about the way he portrays
things, and the music of his poetry, which I found very inspiring. It is hard to
explain music and poetry concepts in words.”
Over time it became
something of a two-way street.
“I got in touch with Israel and I played
at one of his book launches at [record and publishing company] Helicon. He is
Although Bukelman has worked with Jones before he says he
really appreciates the time and effort Jones put into the album.
very moving for me that he freed up the time to work with me, and to play at
Barbur,” he said. Jones has been suffering from multiple sclerosis for some
years now, and his energies are limited.
SOLBERG’S CONTRIBUTION is also
“I have played with him before, he has a girlfriend here
so he comes over and performs here every once in a while,” says Bukelman. “He is
an excellent drummer and it will be great to share the stage with
The Jerusalem concert will open with a solo spot by
“We’re not talking about a regular drum solo – dadadam dadadam.
This guy creates a whole world of sound and rhythm and percussion. I think it
will be a very interesting evening at Barbur.”
True to his free-flowing
approach to music, and sound, Bukelman says The Door
was very much a
collaborative evolutionary effort together with Jones.
“Kadima has got
some really great artists, like [American bassists] Barre Phillips and Mark
Dresser. JC listened to the solo recording I did for Out Now and really liked
it. I’d record a session then I’d go home and sit and listen to it, over and
over. I’d make notes and try to pick out the best parts of each
The gestation period eventually bore fruits.
had the idea of adding banjo and percussion to the guitar. The last session was
like a dream for me. It all worked so well. That’s rare. I went through some
difficult moments with the recording before the epiphany arrived. JC gave me
carte blanche, and made comments about the material which I could accept or
reject. But he knows so much about music. I was happy to listen to his words of
, which includes 11 original tracks, is an extension of
Bukelman’s quest to explore the world of sound, as opposed to pure
“I try to create a world,” he says somewhat
“You don’t get that so much in jazz, for example. In jazz
you normally have a framework within which you create. But, here, the whole aim
is to devise that world, and to enter a different kind of atmosphere. That was
definitely the intention with the CD. It wasn’t a matter of one track and then
another one. I have an idea and try to find my way with it. It’s connected to
dreams and I can say that this is the music that I dream about. I sometimes get
up in the morning and play the music that has ‘cooked’ inside me
This evening at Levontin 7 and tomorrow at Barbur the public
will see, and hear, if the proof of the pudding really is in the eating, and
whether Bukelman’s pudding is ready for consumption. Judging by The Door
audiences in Jerusalem and Tel Aviv are in for an aural-culinary
treat.For more information: www.barbur.org and 054- 7232866, and www.levontin7.com and (03) 560-5084.
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