Dazniel Zamir - 4 CD's Discography

  Dazniel Zamir - 4 CD's Discography

Satlah - 2000

Publisher: Tzadik Records (John Zorn's Label)
Jazz: Jewish, AvantGarde, Ethnic | Release: 2000
MP3 @ 192 kbps | 44100Hz | Joint Stereo | 75 MB | Total Time: 54:22 | RS

The debut release from Daniel Zamir's SATLAH trio features hot, klezmer-influenced jazz originals by the excellent young altoist. With the exception of the traditional "Hasar Hamemuneh," the pieces are all named as (chronologically) numbered poems so that, according to Zamir, the listener can think of whatever they want instead of being influenced toward certain associations by more evocative song titles. With a strong rhythm section of bassist Shanir Ezra Blumenkranz and percussionist Kevin Zubek, SATLAH moves through kicking, upbeat numbers like the opening cut, "The Theme & Poem 16"; terrific grooves with soaring alto (such as "Poem 1" and "Poem 22"); and quiet moments such as "Poem 12B," which also includes bell ringing and sound bites of a synagogue service.
these lyrical songs alternate between more traditional-sounding melodies and barely restrained explosiveness in which the fun and structure momentarily give way to brief saxophone freak-outs that quickly move right back into the tune at hand. John Zorn also joins in with his alto during this great installment in Tzadik's Radical Jewish Culture series.

Arranged By - Daniel Zamir (tracks: 2, 5, 11) , Satlah (tracks: 1, 3 to 4, 6 to 10)
Bass, Goblet Drum [Darbukkah] - Shanir Ezra Blumenkranz
Drums, Percussion - Kevin Zubek
Mastered By - Allan Tucker
Producer - Satlah
Saxophone [Alto] - Daniel Zamir , John Zorn

1 The Theme & Poem 16 (5:27)
2 Poem 17 (3:36)
3 Poem 12B (3:09)
4 Poem 25 (3:36)
5 Hasar Hamemuneh (3:28)
6 Poem 1 (6:58)
7 Poem 7 (4:37)
8 Poem 22 (5:28)
9 Poem 29 (5:49)
10 Poem 5 (5:57)
11 The Theme & Poem 15 (4:27)



Amen - 2005

Publisher: The 8th Note (Hatav Ha-shmini) Jazz: Klezmer, Jewish, Ethnic | Release: 2006 MP3 CBR @ 320 kbps | 44100Hz | Joint Stereo | 179 MB | +Full Scans | Total Time: 78:09 | RS

In 2006 Zamir, now back in Israel, shot into the Israeli public consciousness with his well received Amen, featuring collections and reworkings of previous compositions. Featuring the best jazz players from the holy land such as: Omri Mor (Piano), Omer Avital (Bass), Daniel Friedman (Drums) , Avishai Cohen (Trumpet)
All together they are creating an amazing record that is truly spirtual and uplifting in any way.

Daniel Zamir - soprano sax, voice
Omri Mor - piano
Omer Avital - bass
Daniel Fridman - drums
Guest - Avishai Cohen - trumpet

1 - Chamesh Eysrei (15)
2 - Shesh Eysrei (16)
3 - Shesh Shminiot (6/8)
4 - Chamesh Madregot Ba Neshama (5 SoulSteps)
5 - Tesha (9)
6 - Shva Eysrei (17)
7 - Pishluk
8 - Shir Ha Shomer
9 - Hasar Hamemuna


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I Believe - 2008

Publisher: Tzadik Records (John Zorn's Label) Jazz: Jewish, AvantGarde, Ethnic | Release: 2008 MP3 HQ VBR @ 220 kbps | 44100Hz | Joint Stereo | 85.5 MB | Total Time: 63:15 | RS

Daniel Zamir, whose first three CDs for Tzadik contain some of the most passionate and sophisticated blending of Jewish Music and Jazz ever recorded returns to Tzadik after a five-year hiatus in Israel to present his complex musical vision with a dynamic new quartet. Joined by three of the most exciting musicians in the New York Jazz scene, pianist Uri Caine, bassist Greg Cohen and percussionist extraordinaire Joey Baron, Zamir’s music takes on a more mature and spiritual quality. This is New Jewish instrumental music at its very best.

Full Review From Allaboutjazz.com

Since he first appeared in New York as a wildly blowing teenage alto saxophonist, Daniel Zamir has toned down just a little. An Israeli who grew closer to his Judaism while abroad, he has since returned to the Holy Land, and these days, plays exclusively soprano sax. I Believe, an American release, shows a fiery but refined player, capable of blending religious melodies with high octane jazz.

The album features as talented and sympathetic a rhythm section as Zamir could hope for in Greg Cohen, Joey Baron and Uri Caine. All have worked on a variety of Jewish-jazz fusion projects before, and Caine's pensive piano work provides the perfect contrast to the leader's tone. His solo on "Poem 51/52" matches the saxophonist's explosive sound by building a rhythmic statement from the ground up and expanding the limits of melody.

For his part, Zamir flies all over the grooving "Poem 54 (770)." He locks into hypnotic repetitions, reaches through the full range of his horn, and calls out with a variety of vocal inflections. Later, his warm interpretation and intense technique combine for the swirling "Let Me in Under Your Wing." The music is not so much played as intoned, as the saxophone leads the group in prayer.

With its bouncing Rasta beat, "Poem 10" echoes Zamir's playing alongside Reggae icon Matisyahu. Save for a great piano solo though, its novelty wears out over eight and a half minutes. By contrast, the lone saxophone's "You Are My G-d" is short and lyrical, never losing focus.
"The Fifth Letter in the Hebrew Alphabet" opens with sax and piano dueting gently, building as bass and drums enter, before giving way to a Zamir solo that sears the soul. Long strings of notes and soulful cries, answered by the rhythm section; create the sense of an impassioned High Holiday service. "Nine Minute (or so) Chabad Nigun" also begins quietly, but keeps gaining steam through modal changes and a tight piano solo, until Zamir again tears through with an ecstatic melodic statement.

"I Believe" provides a heartfelt coda to the album, built off the warm interplay between sax and piano. At once a statement of the leader's faith, the song also reflects the kind of devotion that drives the best musicians. Zamir's religious conviction gives him an intensity that many virtuoso players never capture, and provides as deep a well for emotional expression as any artist could need. He means to touch the soul here, and succeeds.

Joey Baron: Drums
Uri Caine: Piano
Greg Cohen: Bass
Daniel Zamir: Soprano Saxophone

1. 7 Midot
2. Poem 51/52
3. Poem 54 (770)
4. Love
5. Poem 10
6. Let Me In Under Your Wing
7. The Fifth Letter in the Hebrew Alphabet
8. You are My G-D
9. 9 Minute (or so) Chabad Nigun
10. I Believe



Echad - ONE - 2009
Publisher: The 8th Note (Hatav Ha-shmini)
Jazz: Klezmer, Jewish, Ethnic | Release: 2009
MP3 CBR @ 320 kbps | 44100Hz | Joint Stereo | 148 MB | Total Time: 64:47 | RS

There has been a happy and meaningful trend in popular Israeli music over the past few years of reexamination of Jewish roots and modern musical interpretations including classic Jewish songs and texts.
With his previous album, Amen, saxophonist Daniel Zamir broke the barriers of traditional Jazz afficionados by selling over ten thousand copies in Israel alone.
On this fantastic album, Zamir continues his explorations of Jewish texts and melodies in a Jazz context. The result is both highly enterteining and very inspiring.

Review Taken From IsraelNationalNews.com

Jazz saxophonist Daniel Zamir has released a new CD with a tribute to kidnapped IDF soldier Gilad Shalit and a staggering 15-minute version of HaTikva. Unique vocalizations without words, almost like scat singing, make for upbeat and interesting rhythms.

One humorous experience Zamir relates about becoming religious involves the time he and fellow musician Matisyahu went looking for a mikvah and risked being arrested for public indecency in suburban Connecticut. It all started because they were late going to perform a show in the Boston area.
Daniel Zamir's new CD One features Suite to Gilad Shalit, a 15 minute version of Hatikva and scat style vocalizations.

"Being what we are, hippie Chabad people, we didn't really leave on time and we got kind of stuck on the way." explained Zamir.

"Shabbos was coming and we had to stop in this town in Connecticut. We didn't know anybody there, but somehow a person who knew a person who knew another person, knew a family who was kind enough to have us for Shabbos. But the community had no mikvah."

"As you know, Chassidim go to the mikvah every day before davening except Yom Kippur and Tisha B'Av." Zamir said that both he and Matisyahu found their morning prayers to be lacking and felt they needed to find a mikvah first.

"We ended up going to this public park, with a tiny man-made lake with plants and vegetation. They told us beforehand not to dare go there because if someone sees us, it's against the law. I told him, so what do you think? If you go in, I go in. A minute later he was all naked inside the lake and I went after him. Baruch Hashem, we got to toivel and daven like mentchen [take a dip and pray like human beings]."

Going to a mikvah was the last thing on the two musicians' minds when they both started at The New School for Jazz and Contemporary Music in New York. Matisyahu went on to be nominated for a Grammy Award in the reggae category for his Jewish-themed music. Zamir returned to his native Israel after three critically-acclaimed albums in the United States on the Tzadik record label. His became a well-known name on the Israeli scene with his 2006 CD Amen. He explored singing on his 2005 Israeli release Zamir Sings Pop.

Besides the impossibly fast sax solos, the thing that stands out most on One is the "ba da ba di ba" vocals. They are just as fast, almost imitating improvisational instrumental style. The technique comes into play most on the 15-minute long HaTikva, of which only about a minute is the actually melody of the Israeli national anthem.

"I honestly don't know where it came from, but I've always done it." said Zamir. "I'm using the voice as an instrument in a way. It's more expressive then a mechanical instrument. I still won't forget the saxophone. I've been doing both since I was young."

His interpretation of HaTikva includes original words as well, which invoke the religious Jerusalem neighborhood of Mea Shearim and the mostly secular city of Tel Aviv. "The lyrics talk about our time which is the coming of Moshiach." explained Zamir. "The Lubavitcher Rebbe put very clearly. We are the generation of the redemption, the last generation of exile. So our time is really a special crossroads. Within that, the State of Israel is also a part of the story."

Introspective, religious themes weren't in Zamir's mind when he was a student at the Thelma Yellin High School for Performing Arts in Tel Aviv. But as he left for New York, barely 18 years old, he began "recognizing there is a spiritual dimension to life."

"The last place I was looking was Judaism, ironically enough." said Zamir. "I found that the answer to all my questions was in Judaism. It's the only spiritual system that allows the person to become bigger than himself, to go higher than the person himself. I started exploring it more deeply and thoroughly, and today, Baruch Hashem, I am a totally Chabad yirat shamayim person."
Daniel Zamir, now wearing a kipah from his 2000 CD Children of Israel, which featured jazz versions of 1920s Israeli folk songs from Mordechai Zeira and others. With him are bassist Shanir Ezra Blumenkrantz and percussionist Kevin Zubek.

During the six years Zamir spent in New York he met other spiritual seekers. Among them was John Zorn, considered one of the world's best jazz musicians. Zorn produced and performed on Zamir's first CD's. A new CD was released last year on Zorn's Tzadik Records, a home for avante garde Jewish jazz musicians. Entitled I Believe, it features the rhythm section from Zorn's Masada band.

Another friend Zamir made was Matisyahu, of the aforementioned mikvah story. "Both of us were non-religious and both of us started to explore Judaism." Zamir says of his old friend. Our roads met and we made the transition together and stayed good friends."

Zamir's new disc features several non-religious musicians including Israeli rocker Barry Sacharoff and frame drum percussionist Zohar Fresco. Several of the tracks, as on his previous CDs, are called Poem 31 or simply 13, named in the order he originally wrote them. Zamir explains, "I decided to not give them names to leave it open, so anybody who listens can give their own names. If I name a song 'Winter", for example, you'll have winter on your mind. But if I name it Poem Number 19", you can think of winter, summer or even a chair. It's up to you."

One piece that is titled is Suite for Gilad Shalit, about the IDF soldier kidnapped by Hamas terrorists in 2006 and assumed to be held captive somewhere in Gaza.

"It's very important to see him coming back." said Zamir. "When writing material for the album it was hard for me to concentrate sometimes because I was thinking about him. What is he doing? When was the last time he took a haircut? How is his room? How many times a day does he see daylight? What does he eat? Who does he talk to? What kind of bed does he have? What kind of clothes? I got to the point where I couldn't write music and I thought I would take my car and try to personally get him out of there. That wasn't such a smart idea. So I decided to dedicate everything I was doing to him until he comes back."

The composition included Zamir's wordless vocalizations, starting out mellow, and meditative and moving into a catchy up-tempo beat. "It's not like the suite has lyrics like 'Come back Gilad'," said Zamir. "It has a bracha [blessing] that I composed. Music has a very significant spiritual power. When you daven to somebody and play music to somebody, that makes a difference. It changes reality. My prayer is that the music will touch the strings of heaven and things will change and he should come back very soon."

1.Gilad Shalit Suite: Overture (Putumayo)
2. Bracha
3. Six
4. Thirteen
5. Thirty One
6. Hatikva
7. Shedmati
8. Bonus: Shedmati (Radio Version)


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