Yotam Ben-Or: ‘Impermanence’

I love it when ‘new’ instruments come to my attention in jazz contexts and completely open my mind. That much is certainly true of ‘Impermanence’, the new album from harmonica player Yotam Ben-Or and his quintet.

I’m particularly embarrassed that this is the Israeli-Belgian harmonica player’s third studio album but the first time I’ve heard his playing.

It’s not just the unfamiliarity of the harmonica as a lead instrument in jazz - this is a great album that has a genuine global feel. When you learn of Ben-Or’s exposure to music from Europe as well as early sounds in Israel and time spent studying with experts across South and Central America, it all makes sense.

He says: "I called it Impermanence because, unlike my previous albums, I strived for acceptance rather than perfection. Instead of controlling everything and reworking it in the studio, I was interested in the flow between us musicians and the songs."

Ben-Or has maintained his established quartet for Impermanence, with Gabriel Chakarji (piano), Alon Near (bass) and Alon Benjamini (drums). Their collective work makes me want to revisit the earlier albums that I have missed.

Alongside this core are special guests Lars Danielsson (cello), who absolutely and audibly shines on Ballad for Daniel. Similarly, Esther Quansah (voice) on Trying finishes the album beautifully with vocal phrasing that both matches and complements the harmonica. Ben-Or’s writing on all eight original tracks allows all the instruments to feature within the harmonica’s sound world.

Listening to Impermanence has reminded me of the great harmonica players and especially the genius of Toots Thielemans. This is harmonica for a new jazz age.