Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

This is the 1st of your 3 free articles

Become a member for unlimited website access and more.

FREE TRIAL Available!

Learn More

Already a member? Sign in to continue reading

Shauli Einav: Generations

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.

The New York-Israel connection has become one of the most productive in jazz. Shauli Einav is less edgy and less ethnic than most of his compatriots. His tenor saxophone concept is deep in the modern mainstream.

Pianist Don Friedman and drummer Eliot Zigmund are 40 to 50 years older than Einav, bassist Or Bareket and flute player Itai Kriss. Battle-proven veterans like Friedman and Zigmund are perfect for Einav’s chosen repertoire of tunes by Harold Land, Walter Perkins Jr. and Don Byas. Einav plays hard bop with agility and a clean, clarion, powerful sound. He is even more interesting when he stretches. His solo on Andrew Hill’s “Land of Nod” is a vertical, valid, compelling response to Hill’s tilted logic. Einav’s boldest decision is to take on John Coltrane’s “Crescent,” never pushing the tempo like Coltrane did but lingering on the beauty of the 16-bar melody.

Originally Published