Omer Klein - Introducing Omer Klein

Smalls 30

A tale of two Omers: Klein and Avital, pianist and bassist, protégé and mentor. Both men are products of the fertile Israeli-New York jazz nexus. Both possess deep affinities for Middle Eastern folk forms alongside abiding jazz interests. Conservatory trained, Klein mixes pragmatism and lyricism in his agile pianistics. An immediately evident facet of his style is the architectural interdependence of his hands, the digits of the nimble right delineating colorful melodic leads while the left builds richly textured rolling harmonies. Nothing new there, but the degree to which Klein differentiates the activity of the two is nonetheless memorable. It’s a soloist’s strategy and confidence and there are moments when the presence of his partners seems almost superfluous, almost.

Avital comes from a position of greater experience and assurance, but he refrains from impinging on Klein’s post as principal and plays a supportive role beautifully. Ziv Ravitz on drum kit and Itamar Doari on assorted hand percussion naturally concern themselves with enhancing the rhythmic aspects of the pieces. They too defer to Klein’s able leadership, braiding beats around his light-and-shadow patterns and giving the tunes a consistent propulsive push. “Oud Song” is absent the titular instrument, but Avital does pluck the Arabic lute on “Netanya”, alternating with robust bass interjections. Klein’s wordless vocal turn on “Malchut” threatens to tip the track into sugary sentimentality, but there’s something about the spacious theme that intervenes. The closing “Kavana” is similarly ornamental on the surface with improvisational complexity gradually unveiled beneath. The music may come off as a bit pat in places, and there’s certainly polish in the pianist’s presentation, but the creative passion behind it also comes through with repeat exposure. Klein’s career as a leader is just getting off the ground. This set seems an early bellwether of an extended flight.

~ Derek Taylor