------------------ REVIEWS ------------------ Pianist/composer Roger Davidson brought together a great collection of world class collaborators for this project. First among them was Frank London (The Klezmatics) who produced the album, arranged all of the material, and played trumpet. Joining those two were Pablo Aslan (bass), Richie Barshay (drums), Joshua Horowitz (cimbalom, accordion), and Andy Statman (mandolin, clarinet). Although London probably had a lot to do with how this music actually sounds, the overall concept was undoubtedly Davidson’s. And that concept turned out to be something different than most other klezmer and klezmer-related recordings. The most obvious differences are that this album is completely instrumental and that all of the material was composed by one person - Davidson. There are no traditional pieces or “cover” tunes. But the thing that really struck me after listening to this whole CD several times, is that it’s like an odd symphony composed of many small (but related) movements containing tempo shifts and variations on main themes. I’m even wondering if some parts of the excellent solos were improvised. While there are a few fast danceable passages sprinkled throughout this set, most of the material here is fairly slow and intricate. This is music that must be listened to patiently - it has the complexity and thoughtful beauty of what is generally considered “classical” music. This collection of musicians might be difficult to assemble for a concert tour, given the problems associated with time and schedules. But I for one would definitely go to see them live, even if that required a several hour bus or train trip. For now though, we must be satisfied with this superb recording. I hope there will be more. KR Sing Out! - Vol. 54 #4 - Winter 2012 _________________________________________________________________________ Frank London contributes immensely to pianist Roger Davidson's 12 explorations on a klezmer theme, in which simple and memorable tunes are saved from sentimentality by an introspective minimalism. On Harvest Dance, which is an old Israeli folk song, we may be getting close to the source, given the deeper, older European origins of such songs. But Hungarian Waltz is actually an improvisation around a dixieland tango and Russian-ness, was originally written for the English-country dance community. Roger Davidson has always absorbed different cultures, partly from his mixed American, French and German backgrounds. He composes with respect for convention while also revealing new possibilities, in pieces which eschew the overly cerebral in favour of direct emotional connection. And so, From the Desert To The Sea is a prayer and a journey arising from Davidson's metronomic and meditative lines, in the honest rawness of his empathetic spiritual intentions and his stately playing. JohnPheby, fROOTS (UK) ______________________________________________________________ On the new On the Road of Life (Soundbrush), the Frank London Klezmer Orchestra reimagines composer/pianist Roger Davidson's originals in an avant-garde style. But check out "Dance of Hope," which segues seamlessly to a traditional circle dance. On the same cut listen for Richie Barshay, known around here for his Brazilian shows with Matuto, as he works cuica into this Jewish dance with a Brazilian beat. Introspective tunes abound. London's trumpet and Joshua Horowitz's cymbalom delicately invite us to ponder the concept "Equal in the Eyes of God." —Mary Armstrong, Philadelphia Citypaper http://www.citypaper.net/music/2011-07-14-kaleidoscope.htm http://www.citypaper.net/music/2011-07-14-kaleidoscope.htm http://www.citypaper.net/music/2011-07-14-kaleidoscope.htm http://www.citypaper.net/music/2011-07-14-kaleidoscope.html _________________________________________________________________ Klezmer Rooted and Reinvented Klezmatics’ trumpeter Frank London is also a player and arranger on pianist Roger Davidson’s On the Road of Life, a sharp collection of instrumentals that reveal how much klezmer has in common with waltzes, tangos, cabaret and a range of folk music from Eastern Europe and beyond. Davidson brings a jazz man’s sensibility to the combo he leads, which in addition to London boasts Klezmatics drummer Richie Barshay, Pablo Aslan on bass, Andy Statman on clarinet and mandolin and Joshua Horowitz handling accordion and cimbalom. The compositions are all Davidson’s, and he definitely has a feel for klezmer that moves from lively to stately to evocative. Think of this as klezmer cool, with subtly superb musicianship at every turn. World Music Central.org ___________________________________________________________________ More than klezmer…this is global jazz! Klezmer musical origins were founded in dance and instrumental songs for weddings and other celebrations. Started in Eastern Europe by Ashkenazic Jews, the music accompanied the early twentieth century migration to America. In addition to the folk roots, the genre was transformed by jazz. Once a specific Yiddish-based form, the structure has evolved to become contemporary and global. Brooklyn has become the center of modern klezmer, producing a plethora of crossover artists. Two such musicians are Roger Davidson and Frank London. Davidson, an accomplished pianist/composer has explored many musical styles including classical, jazz, tango and Brazilian. His latest release, On The Road Of Life is a compilation of twelve original compositions that merge these styles with klezmer. With arrangements by Frank London (founding member of the Klezmatics), Davidson (who has worked with John Zorn, LL Cool J and They Might Be Giants) has crafted a mosaic of pieces that express the celebratory aura of hybrid klezmer. Backing him are London (trumpet), Andy Statman (clarinet, mandolin), Pablo Aslan (bass) and Richie Barshay (drums). The project opens with “Freedom Dance” with spirited, dance-tinged mandolin (Statman) and drums (Barshay). The uplifting gypsy/folk/Yiddish concoction is varied and always interesting. Whether executing a brooding piano line (“From The Desert To The Sea”), subtle Russian-like waltz time (“The Lonely Dancers”) or traditional hora (“On The Road Of Life”), the musicians embrace the melodies with jazzy inflections. “Hungarian Waltz” morphs into a Dixieland trumpet (London) romp as Davidson also joins in on ragtime piano. Pablo Aslam’s bass is forceful and the numerous solos are electric. Statman’s contributions, especially on mandolin are illuminating. Accents that invoke the Eastern European vibe are plentiful. Of particular note is the use of Hungarian cimbalom (a hammered dulcimer instrument) by Joshua Horowitz on “Equal In The Eyes Of God”. There exists deep spirituality and cultural pride within the tracks that mesh with London’s structures. Audiophile Audition ______________________________________________________________ ROGER DAVIDSON/On the Road of Life: A piano man with a sense of wonder hooks up with Frank London, Andy Statman and a few other genre hitters to kick out a wild Klezmer date that is certainly going to reside on the top of Klezmer Top 10 list for quite a while. Throwing an audio party that could even get the biggest xenophobe to tap his toe, once this party gets started, you’re lucky if it slows down enough just to let you catch your breath. Wild stuff that reminds you what energy is all about as it’s high octane all the way. MIDWEST RECORD www.midwestrecord.com ______________________________________________________________ Roger Davidson Hits the Klezmer Road Whether Roger Davidson knows it or not, he’s just released an elegant gypsy punk record. It’s not likely that the eclectic composer, whose previous work spans the worlds of jazz and tango nuevo, launched into his new album On the Road of Life with that idea in mind. But that’s pretty much what he ended up with. “Pretty much,” because there are no distorted guitars or pummeling drums here – and also because Davidson’s intent was to write an original album of klezmer tunes. Whether this is klezmer, or Balkan music, or gypsy music is really beside the point – whichever way it falls stylistically, it’s a collection of memorably simple themes bristling with the scary/beautiful chromatics and eerie minor keys common to all those genres. Here Davidson is backed by what he calls the Frank London Klezmer Orchestra, an eclectic group with the great klezmer trumpeteralongside another klezmer legend, Andy Statman on mandolin and clarinet, plus Klezmatics drummer Richie Barshay, Avantango bassist Pablo Aslan and Veretski Pass accordionist/cimbalom player Joshua Horowitz. Some of these are joyous romps. Freedom Dance has solos all around and some especially rapidfire mandolin from Statman. Dance of Hope is sort of a Bosnian cocek with mandolin and clarinet instead of blaring brass, and a tune closer to Jerusalem than to Sarajevo. There’s Harvest Dance, based on a crescendoing walk down the scale; Water Dance, with an absolutely ferocious outro, and Hungarian Waltz, which in a split second morphs into a blazing dixieland swing tune fueled by London’s trumpet. Yet the best songs here are the quieter ones. The title track is basically a hora (wedding processional) that builds gracefully from a pensive, improvisational intro to a stately pulse driven by Aslan’s majestic bass chords. There’s also Equal in the Eyes of God, which reaches for a rapt, reverent feel; Sunflowers at Dawn, which klezmerizes a famous Erik Satie theme; The Lonely Dancers, a sad, gentle Russian-tinged waltz, Statman’s delicate mandolin vividly evoking a balalaika tone; and the epic, nine-minute Night Journey, glimmering with suspenseful, terse piano chords, tense drum accents, allusive trumpet and finally a scurrying clarinet solo. Davidson may be a limited pianist, but he’s self-aware – his raw chords and simple melody lines only enhance the edgy intensity of the tunes here. That he’s able to blend in with this all-star crew affirms his dedication to good tunesmithing, keeping things simple and proper, as Thelonious Monk would