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Ohad Talmor - Jazz Composers Forum

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TICKETS ON SALE AT CINE-TEATRO CONSTANTINO NERYABOUT JAZZ COMPOSERS FORUMSEE ALL PROGRAM
  • Ohad Talmor
  • Ohad Talmor

    (CH/US)

     

     

    The composer Ohad Talmor is a recurring contributor to the Orquestra Jazz de Matosinhos, and is probably the composer who builds more bridges in this transatlantic festival. The son of Israeli parents, he was raised in Switzerland and studied in Geneva and then in New York, where he settled in 1995, more recently becoming a citizen of the US. But more than his geographic travels, it is Talmor’s music that reveals a truly multifaceted artist. Not only does he compose and play in different projects in the field of jazz, he also writes music for classical music performers such as Martha Argerich, the Symphonic Band of São Paulo and the Austrian Spring String Quartet. He composed a Concerto for piano and drums and two orchestras, premiered in 2010 by the Orquestra Sinfónica do Porto Casa da Música, Orquestra Jazz de Matosinhos, Jason Moran and Dan Weiss.

     

    Praised for his ability to write music that is simultaneously lyrical and complex, as well as unpredictable, Ohad Talmor has been in demand for significant contributions as an arranger and composer. With the legendary Lee Konitz, he has co-led three projects that brought him to prominence: the Lee Konitz New Nonet, the Konitz-Talmor String Project and the Konitz-Talmor Big Band (with OJM). He has played with top figures in contemporary jazz, such as Steve Swallow, Jason Moran, Joshua Redman, Fred Hersh, Kurt Rosenwinkel, Chris Cheek, Dave Douglas, Carla Bley, Joe Lovano, Chris Potter, Billy Hart and many others. His music can also be heard on the music stands of orchestras including the Lausanne Big Band, the SoundScape Orchestra of Brazil, the Brecker Brothers and the Brussels Jazz Orchestra.

     

    His own project is called Newsreel, a flexible group that reflects the many sides of his musical identity. The most significant is perhaps the link to the musical language of the last period of John Coltrane, in which the ties to tradition are as strong as the impulses towards free jazz. Talmor’s music is thus a sophisticated and rare derivation of these stylistic ideas, as it keeps the cult of architectural harmonic complexities and blues heritage that others have set aside to focus on developing freer melodic and rhythmic development. What is most surprising is that, even so, at no time is melodic creativity lost, as it is precisely this quality that stands out most in his improvised solos.

     

    Ohad Talmor has many alternative projects, such as the Mass Transformation ensemble, in which five jazz musicians and a string quartet reformulate works such as Bruckner’s Eighth Symphony. Whatever the musical territories in which he wishes to circulate, Ohad Talmor builds his bridges and we see him crossing them with the assurance of those who do not recognize any borders preventing good music from being made.