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Gilad Atzmon Presents Artie Fishel and the Promised Band CD


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Music

Image of album by Gilad Atzmon

Photos

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Biography

The Tide has Changed,

The Orient House Ensemble’s 10th Anniversary Celebration.

Gilad Atzmon formed The Orient House Ensemble (OHE) in London in 2000. The quartet was named in honor of the national headquarters of the Palestinian people in Jerusalem.

In the last decade Gilad Atzmon and the OHE have toured consistently across Europe and the UK, recorded six albums, won ... Read more in Amazon's Gilad Atzmon Store

Visit Amazon's Gilad Atzmon Store
for 4 albums, photos, discussions, and more.

Product details

  • Audio CD (16 Oct. 2006)
  • Number of Discs: 1
  • Format: CD
  • Label: Weapons of Mass D
  • ASIN: B000HXDHP0
  • Other Editions: MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 187,739 in Music (See Top 100 in Music)

1. Watermelon Man (What A Mellow Goy)
2. Themes from Westside Story
3. Theme from Dvorak s New World Symphony
4. Garage Band
5. Bye Bye Blackbird (hoy hoy hoy Blackbird)
6. Radical Goose
7. J FM
8. The Way You Look Tonight (Oy Vey The Way You Look Tonight)
9. You And The Night And The Music (You and the Night and the Moishik)
10. A Night In Tunisia (A Knight Into Nieitsche)
11. Jungle Jazz
12. Ladies And Gentleman
13. My favourite Things

Product Description

Product Description

Anarchic, subversive and deeply hilarious Artie Fishel (aka Gilad Atzmon) is a brilliant but mad saxophonist who is convinced that jazz was born in the ghettos of Eastern Europe and is determined to bring it back home. Expect twisted versions of the Great American Songbook, messed up Klezmer, funky grooves and burning bop as Artie and band take you on a journey through his madcap musical world.

BBC Review

What do these things have in common: George Bush singing "The Wheels on the Bus", a bagel and a drummer known as 'Peter Foreskine'? Answer: they all appear on Israeli reedist Gilad Atzmon's latest release.

In Artie Fishel And The Promised Band Gilad introduces his Benny Hill-like alter ego - a fanatical Zionist (the antithesis of Gilad himself) - and takes a step closer to musical anarchy. He layers the accordion over the electric guitar over a radio show whose signal has been hi-jacked by terrorists. 'When you blend, the violence will end' says the DJ, as 70s rock, smooth jazz, and klezmer are thrown into the mix.

The political innuendo builds as a loose storyline unfolds. On 'Radical Goose' bass, drums and piano puncture Gilad's floating and pensive soprano sax lines, set against an undercurrent of sinister mutterings. "A Knight into Nietzche (A Night in Tunisia)" sees a 40s dance band version of the Gillespie classic peek through an urgent melee of complex, Eastern-sounding sax and Asaf Sirkis' exciting percussion.

Between the mock interviews, riots and hilarious bouts of communal singing, there are some real musical highlights in Artie Fishel, and the opportunities Gilad takes to solo are precious because there are so few of them. The theme from Dvorak's New World Symphony weaves plaintive Chinese strings with rock rhythms and a sensitive, uplifting clarinet solo, and features Atzmon's sparkling runs to the top of the instrument. Ovidiu Fratila's violin leads on "The Way You Look Tonight", and neither the background sounds of gargling nor the comical whispered vocal detract from the delicate beauty of Gilad's clarinet playing.

However lunatic you think Gilad Atzmon's burlesque humour and 'political art', you can't fail to be moved by the inspired arrangements and great musicianship on Artie Fishel And The Promised Band. It's just a shame that they are supporting acts, rather than the main event. --Kathryn Shackleton

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Most Helpful Customer Reviews

11 of 11 people found the following review helpful By S. Baxter on 24 Oct. 2006
Format: Audio CD
There's a bit in one of John Coltrane's many live improvisations on "My Favourite Things" where he alternates between a high register squeal and a bass honk, switching between the two extremes and progressively speeding up the repetition till it reaches the point where it sounds like two saxes playing simultaneously. Gilad Atzmon could probably do the same thing (he has the technique to do pretty much whatever he wants), but what he also does is pull off the same trick with broad humour and high seriousness. This album is a perfect case in point.

It's fair to say that with every album he's been moving a bit further away from what most people would define as jazz (in fact he probably doesn't recognise the definition) and this is further out still. Musically, it's very diverse, ranging from the lo-fi R & B of "Watermelon Man" (re-titled "What a Mellow Goy") to Dvorak's New world Symphony, taking in jazz standards, Coltrane, messed up klezmer and all sorts of other stuff, but it's joined together with spoken interludes, mock interviews, "found" sounds and spoof radio programmes, all based on the overall concept of the eponymous Artie, whose perverse mission is to reclaim jazz as "the music of the Jewish people", born in the ghettos of eastern Europe.

It's all heavily ironic and dotted with in jokes and some truly terrible puns ("A Knight into Nietzsche", anyone?). I listened to an advance copy with my son, who's into hard-core punk, and we both literally had tears of laughter running down our cheeks. It's quite outrageous and will upset a few people who are disposed to be (and so deserve to be) upset.
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