SATLAH

Amazon.com
The notion of a teenage jazz prodigy brings to mind mainly players from the distant past--Lee Morgan and Tony Williams, for example. In alto saxophonist Danny Zamir, the world has a prodigy--or at least a player and composer of distinct enough talents that he deserves widespread acclaim on the basis only of his debut CD, Satlah. Released under Tzadik Records' "Great Jewish Music" umbrella, Satlah bucks from the opening into a klezmer-rooted tune that quickly showcases Zamir's yearning, warmly keening tone as his trio runs through a strong melody that recalls Sonny Rollins as much as the Klezmorim. But Zamir, an Israeli native, invites Tzadik founder John Zorn onboard, and they mesh splendidly on the melodies, which stay in the klezmer realm even as they move into the less-charted world of an Ornette Colemanesque soundscape where soloing and melody are largely indistinguishable. Zamir and Zorn engage in some high-intensity chases, as well, each rasping their way back to melodies that remain in the ear after they've disappeared. There are cantor samples, assorted toys and bells interpolated between and through some tunes, and minor-key melodies aplenty throughout Satlah, a word whose meaning, Zamir points out in the liner notes, is Hebrew slang for "euphoria." Zamir's debut is aptly named. --Andrew Bartlett

From Jazziz
At nineteen, Danny Zamir's already a fine alto saxophonist. Here he plays with his trio Satlah, which includes bassist Shanir Ezra Blumenkranz and drummer Kevin Zubek. Executive producer John Zorn makes discreet guest appearances on alto.

Already Zamir has some things in place. He's got fine chops, executing everything so easily he gives the impression of technique-in-reserve. He swings solidly and buoyantly and possesses a fertile melodic imagination; his improvisation has a nice, relaxed flow and good continuity, and he resolves ideas well.

In the music of Satlah, Zamir seems to be synthesizing ideas from various sources: Zorn, Near Eastern and Balkan genres (including a traditional Yemenite melody), Ornette Coleman, and pop-funk. Zamir wrote the originals on this disc, and most of them feature him blowing over repeated rhythm vamps. Actually, there are too many of these tunes; Danny's an imaginative improviser, but including so many harmonically static selections tends to cause monotony. Welcome exceptions here include "Poem 12B," which samples liturgical music, and the pretty "Poem 1"- here Danny shows a lyrical gift. Blumenkranz and Zubek provide springy, strong accompaniment. Like Zamir, they can groove. But a more varied approach would help.

Tracks:

The Theme & Poem 16
Poem 17
Poem 12B
Poem 25
Hasar Hamemuneh
Poem 1
Poem 7
Poem 22
Poem 29
Poem 5
The Theme & Poem 15

Amazon.com

The notion of a teenage jazz prodigy brings to mind mainly players from the distant past--Lee Morgan and Tony Williams, for example. In alto saxophonist Danny Zamir, the world has a prodigy--or at least a player and composer of distinct enough talents that he deserves widespread acclaim on the basis only of his debut CD, Satlah. Released under Tzadik Records' "Great Jewish Music" umbrella, Satlah bucks from the opening into a klezmer-rooted tune that quickly showcases Zamir's yearning, warmly keening tone as his trio runs through a strong melody that recalls Sonny Rollins as much as the Klezmorim. But Zamir, an Israeli native, invites Tzadik founder John Zorn onboard, and they mesh splendidly on the melodies, which stay in the klezmer realm even as they move into the less-charted world of an Ornette Colemanesque soundscape where soloing and melody are largely indistinguishable. Zamir and Zorn engage in some high-intensity chases, as well, each rasping their way back to melodies that remain in the ear after they've disappeared. There are cantor samples, assorted toys and bells interpolated between and through some tunes, and minor-key melodies aplenty throughout Satlah, a word whose meaning, Zamir points out in the liner notes, is Hebrew slang for "euphoria." Zamir's debut is aptly named. --Andrew Bartlett

Customer Reviews:

Satlah -- The Most Exciting and Joyful Debut of the Year.......2000-05-05

In Danny Zamir's liner notes to his debut album Satlah, the tenor saxaphonist explains that "satlah," in Israeli slang, means a state of bliss and beauty. When I listen to Satlah, I feel that Zamir is 100% correct in titling his album as such. Zamir's melodies and improvisations ring with joy, anticipation, and celebration. Some songs begin with warm, subtle build-ups and then crescendo into resounding klezmoresque dances that make one want to jump for joy and contemplate the marvels that life presents us. Poem 17 is pure euphoria from start to finish: Danny Zamir and mentor John Zorn synchronize horns and join forces in a number that testifies to the strength and excitement of a determined klezmor march. Zamir has a characteristic tremolo sound in his playing -- he slides from note to note in a delightfully smooth way. Zamir's drummer and bassist create worlds of beats and grooves that could function as the musical accompaniment to a soulful, joyful resurrection of the dead chronicled in messianic lore. The bells, whistles, and shouts of Zamir's band make us appreciate the rhythmic and cultural density of his music as well as its playfulness. For those Masada listeners who love large, healthy doses of ear-pleasing melody, Zamir's album ought to be playing in your discman right now. Moreover, Zamir's contribution to Zorn's Masada project is significant because of the contemporary Israeli and middle-eastern flavor he injects into the mix. The drum beats and the arrangements are informed not only by the legacy of the klezmorim of Eastern-Europe, but also by the Yemenite and various eastern musical influences of present-day, multi-cultural Israel. John Zorn deserves fantastic points for his assist in discovering and recording Danny Zamir on his label. Indeed, I can imagine the "satlah" that John Zorn experienced when first hearing Zamir work magic on the sax. I fully recommend Satlah to all fans of jazz, particularly those interested in the exciting intersection of middle-eastern flavor, upbeat klezmor, and inspirational, cutting-edge jazz.

A must have for Masada/Zorn fans.......2000-04-05

Young Danny Zamir presents a very Masada like album in Satlah. Zorn's influence in this album is very apparent especially in his 3 tracks on this album. Zorn does a great job of bringing out the best of Zamir. A must have for all Masada fans!

Average customer rating:

Young Lion

Exodus
Satlah
Manufacturer: Tzadik
ProductGroup: Music
Binding: Audio CD

Jewish & Yiddish Music | Folk | Styles | Music

Klezmer | Folk | Styles | Music

General | International | Styles | Music

Avant Garde & Free Jazz | Jazz | Styles | Music

General | Jazz | Styles | Music

General | International | Indie Music | Stores | Music

General | Jazz | Indie Music | Stores | Music
ASIN: B0000584VZ
Release Date: 2001-02-27

Tracks:

Poem 26
La'avoda Velamelacha
Poem 27
Poem 50: Gal
Poem 33
Poem 40
Poem 35
Hasar Hamemuneh
Poem?
Poem 31

Customer Reviews:

Young Lion.......2001-07-25

John Zorn calls Danny Zamir, the leader of Satlah trio, a "Young Lion". Zorn doesn't exaggerate, Zamir is talented and very promissing. He looks like a boy, but when he grabs the alto, he is a giant. This album captures the band live at the legendary Tonic club in NYC, tunes known from the previous studio album (Danny Zamir "Satlah") are more powerfull, soulfull, but the band can play even better! I saw then twice in summer 2001 in Cracow, during the Jewish Art Festival, and their performances were absolutely great! The improvisations are long, harmonic and deep, the emotion is similar to Coltrane's "religious" period. Satlah melodies are based on jewish scales, but the message is universal. Experience it!

International Music:

International Music

International Music