Dan Aran: New York Family | JazzDaGama

By Raul da Gama | Jan 31, 2019

That the drummer Dan Aran has an New York Family should hardly come as a surprise. The porous nature of the art of music today lends itself to a breathtaking amount of – as Charles Mingus once called it: “Osmotin". The great bassist did not live to see the array of musicians who would be drawn to Jazz, but he instinctively knew – like the great musicians of his day – that there were no borders in music. The growth of musicians who have made the journey to Jazz in a relatively short period of time from Israel alone is staggering. The most enlightened among them have brought a Middle Eastern flavour of music that has been absent for centuries.

Suddenly we are now faced with the fact that music should never have been defined as one that some of the more reactionary elements within the industry practitioners attempted to create. Truly good music such as what we hear on this disc should never live in a lonely little CD bin. And the chances that this will not happen, should New York Family get the requisite amount of airplay. Every track is a breathtaking ear-worm in its own way. The best of these tracks are the ones that include Zafar Ayala’s oud with its undulant melodies and plangent chords evoking the lonesome echoes of the desert while creating an aura redolent of the soaring redemptive aura of the blues. The resultant “Gits" is the masterpiece in question.

However, when Mr Aran does play a Blues as in “Blues for Tsofi" his handling of the form is requisitely idiomatic. One misses a vocal here, but even without one we hear, in Adam Birnbaum’s pianism and in Luke Sellick’s low growl a melancholy that soars in much the same way as one that rises out of American soil. But what is even more striking is the manner in which we hear an unabashed swing from Mr Aran’s playing as he guides the musicians into a real of unadulterated and rippling jazzy grooves. Consider “Five Corners" which jumps out of the gate with Mr Aran clearly punching above his weight. In fact each of the musicians does likewise as well, especially the extraordinary flutist Itai Kriss – heard here outside his more recent musical excursions into Afro-Cuban territory.

Mr Aran and Mr Kriss do just that once again, this time on a son entitled “Jaxter and the Shark" which is split between a swinging percussive jazz idiom that turns on a dime into a swaggering guajira with percussionist Marcos Lopez and vocalist Jainardo Batista joining Mr Aran who has clearly mastered clave as well. The revelation again is Mr Birnbaum, who plays with classic tumbao. And then suddenly after a dazzling display of virtuoso playing across idioms Mr Aran returns the group to some of the finest readings from the classic American Songbook. Every student in any contemporary (Jazz) programme in music conservatory learns how to play American Standards. But few play them with such extraordinary soul as Mr Aran and his musicians do. “Hello Young Lovers" is re-visited with brilliant results using Afro-Caribbean rhythms.

The drummer does not take the easy route either, but negotiate rather challenging ones here. “Peace", “Soul Eyes" (the latter brings back Mr Tawil leading in with his magical pizzicato playing on oud leading into a mesmerising solo) and “Like Someone in Love" (on which the viirtuosity and creativity of both Mr Birnbaum and Mr Sellick dazzle) shine like gleaming gems on this album> but the spotlight belongs to Mr Aran, whose playing and inspiration is consistent and at the highest level throughout the disc which is one to absolutely die for…

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Dan Aran: New York Family – Whistling Puffer Fish

by Philip Freeman | Downbeat Magazine

Israeli-born New York-based drummer Dan Aran is a busy guy. He’s recorded in all sorts of contexts, including with players like Art Hirahara and vocalist Bianca Wu. New York Family is his second album as a leader, following 2009’s Breathing.

The music here is a unique blend of jazz, Latin rhythms and Middle Eastern melodies, each track seemingly capable of taking the album in a new direction. The longest piece by far, the 11-minute "Jaxter And The Shark", begins with a pulsing blues groove and forceful flute layered over percussion as Luke Sellick anchors it all with a rock-steady bass line. But at the six-minute mark, the music switches gears and pianist Adam Birnbaum introduces a Latin bolero melody, a turn that makes it feel like an entirely different piece. The very next track, "Grits", begins with and extended out intro, and becomes a duo for our and piano, with just enough slowly swaying bass and drum action underneath.

In addition to original pieces by Aran and flutist Ital Kriss, the album includes versions of standards "Hello Young Lovers" and "Like Someone In Love", Mal Waldron’s "Soul Eyes" and Horace Silver’s "Peace". With the exception of the Silver selection, these mostly are piano trio performances, with maybe a little percussion here and there, demonstrating Aran’s facility with swing and soulful grooves. But what makes New York Family such a fascinating record is the way it combines traditions in an utterly unaffected, everyone-living-side-by-side manner, perfectly evoking the titular city’s atmosphere.

Dan Aran: New York Family – Whistling Puffer Fish

by Audiophile Audition | Nov 27, 2018 | Jazz CD Reviews

With the holiday season upon us, we ponder the inevitable family get-togethers with a wrinkled brow. How will things go? Between the stupefactions of food and televised sports there is yet space for querulousness and tedium. All the more satisfying to hear of (and from) a family gathering that comes off splendidly. I refer to a recent outing entitled Dan Aran and his New York Family. On the cover we see six members, summoned for what looks like serious business, a group photo belies just how much fun and affability will ensue. There will be at least three surprises and an overall congeniality between between family members.

The leader, Israeli Dan Aran, will direct from the kit and supply half of the tunes. He wields a fine stick and works in the Bill Stewart tradition of more is more, coloring the canvas with a lot of detail but refraining from metallic side of the palette. The drumming and the well-orchestrated percussion ensembles are highlights of the session. More surprising is the prominent role of the flute, played by Itai Kriss. The idiom is knotty modern jazz with a bebop orientation. Kriss works the darker hues of the flute and shuns pastel decoration. On the first two tracks, the flute delivers almost more than we can assimilate as if in friendly disputation with hard-swinging rhythm section.

The other two surprises involve shifts in musical idiom. First, there is a big Latin infusion; the family from the South has arrived bringing shakers, wood-blocks and an infectious Latin pulse over which the piano and flute solo with real swagger. With the typical ensemble instruments missing–no trumpet or guitar– the superb technical skills and timbres of the rhythm instruments is brought to the fore. There is some heartfelt and purely conventional singing by Jainardo Batista, which achieves an authentic fiesta spirit.

An Eastern member of the family arrives with an oud. Will there be too many cooks in the kitchen? Not at all. Zafer Tawil plies the plectrum with aplomb, and leader Aron has a nice arrangement titled Gits, in which the Middle Eastern instrument makes an eloquent statement. Blues For Tsofi is by comparison purely conventional. Only superior interactions from the group raise it above the run-of the mill medium-tempo sweetness. Throughout, Aran seems comfortable with all the family members, like the uncle who remembers all the kids’ names. His is a virtuosic affability, in which sense of fun and exacting discipline go hand in hand.

There are two Modern Jazz standards here, Peace by Horace Silver and Soul Eyes by Waldron, but they are as fresh as the originals. On the former, it is the oud which takes the head, it is a nervous and high-strung kind of peace to be sure with the whirling semiquavers doubled by the flute. Certainly an odd take on this standard. Soul Eyes is straight 4/4 in a conventional groove. It is the pianist’s finest moment. He shows a fine separation of hands and lots of tricks while capturing the memorable cadences of the tune. The fadeout sounds a little lazy, though (and, sadly, it isn’t the only one).

Even a perfect party has moments of minor annoyance; perhaps the kids manage to disassemble a room while making a collective racket–easily solved by taking away the noise makers. However, a solution is not as easy on the tune Hello Young Lovers, which overlays a all manner of conga-bongo rhythms to a tune which, by the standards of Richard Rodgers, is trite anyway.

What starts like a flute-dominated record ends up as a showcase for pianist Adam Birnbaum. Best is saved for last. Like Someone in Love is a delight. Powerhouse bassist Luke Sellick takes a ruminative solo. Aran must be smiling from the kit at this inspired trio music. One wonders if this trio isn’t the core of the group and if they regularly perform together, for they work together beautifully. This is a fine record, cleverly designed and well-recorded. With just a bit more studio time, it could have been tightened up, but as it is, it contradicts the Tolstoyan dictum that “all happy families are happy in the same way" through its combination of cheerfulness and originality.

Fritz Balwit

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Dan Aran: New York Family – Whistling Puffer Fish

A variation of the old 70s thing of everybody playing on everybody else’s record, this set finds Aran kicking it out with people he’s either known forever or met after moving to New York and all working together in fluid arrangements over time. The simpatico powers this date along nicely. More like a bunch of old pals playing for the joy of it rather than swinging for the fences, the camaraderie makes you feel like an old pal too, falling right into the vibe and groove. Solid work that works.

Chris Spector
Midwest Record

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Dan Aran: New York Family

Drummer Dan Aran, whom we did not know until now, is based in New York but hails from Jerusalem. For this recording, he gathered musicians he regularly regularly shares the stages of the Big apple with. The goal is in the title of the CD, bringing together this family of musicians to celebrate music in many ways; We go from American Jazz to the Middle East through South America. All the musicians on this recording are faultless, nevertheless we will mention here - flutist Itai Kriss who's playing is very interesting, bassist Luke Sellick who's wonderful to listen to, and Palestinian Oud player Zafer Tawil, whose musical art is subtle and beautiful. This allows us to say now that the drummer does not abuse his position as the leader and allows a performance full of serenity by his friends around him.

Yves Dorison

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Interview with Dan Aran for Columbus Music Magazine (in Hebrew)

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