Daphna Sadeh is an Israeli double bass player and composer currently resident in the UK. “Reconciliation”, released on the New York based Tzadik label is her third album as a leader following “Out Of Border” (2002) and “Walking The Thin Line” (2007). 

Born and raised in Israel she subsequently studied both classical music and jazz in New York before relocating to the UK. Her music is a reflection of her various influences and includes jazz, folk, Middle Eastern and klezmer elements. Her band reflects her various influences with Mark Bassey on trombone and Eddie Hession on accordion joined by Stewart Curtis (clarinets, flutes, recorders), Ivor Goldberg (guitars, mandolin, voice) and drummer/percussionist Ronen Kozokaro. The album encompasses a number of styles but the mood is ultimately uplifting. It has received the endorsement of no less an authority than Tzadik label boss John Zorn, presumably an associate from Sadeh’s New York days. World music guru Charlie Gillett is another fan and has featured Sadeh’s music on his show.

The common factor that links Sadeh’s various influences is her unfailing way with a good tune. All eight pieces on “Reconciliation” are highly melodic, from the gentle balladry of “Klil” and “Kadish” to the more upbeat numbers such as the opening “Queen Of Sheba”. The arrangements are consistently excellent with Sadeh stitching the various colours of an unusual instrumental palette together with great care and skill. The result is colourful, multi hued music that is obviously a real labour of love. 

“Queen Of Sheba” is a rousing opener initially based around Bassey’s insistent trombone vamp and subsequent solo. Guitar, clarinet and accordion all take turns at carrying the jaunty melody and each is featured as a solo instrument. Sadeh also features in the front line, demonstrating her solo abilities with the bow. It’s a colourful and spirited start to a hugely attractive album.

“Gulliver In Jerusalem” mines similar territory, with Bassey’s rasping trombone again prominent, especially in the tune’s more boisterous sections. Curtis’ clarinet and Hession’s fleet fingered accordion playing also feature strongly with Sadeh herself this time soloing pizzicato. Percussionist Kozokaro is granted a suitably volcanic drum break as the Voyagers keep the energy levels high.

“Avinu” is almost inevitably more restrained with Curtis’s brooding, wonderfully woody clarinet combining well with Hession’s accordion drone. Bassey shows the more delicate side of his playing in a brief but lyrical solo.

“What Else Is There” opens quietly but soon morphs into an airy, fast moving tune with a beautiful melody featuring the distinctive high pitched notes of Curtis’ recorder. Goldberg’s agile guitar picking and Hession’s accordion also feature strongly on yet another winning tune. It’s almost impossible not to smile on hearing this good natured, life affirming music.

In a well balanced programme the title track cools things down again but still possesses a gorgeous tune. Curtis’ delicate flute and Goldberg’s gently chiming guitar are sympathetically supported by the rest of the group. 

The elegant “Klil” can initially be equated to a ballad and features the leader’s plucked bass alongside careful and exact acoustic guitar, accordion and flute. It later transforms through a stately mid section into something far more urgent and energetic, Curtis’ flute here combining with Goldberg’s wordless vocal. 

“Kadish” is yet another example of Sadeh’s excellent writing and arranging skills. Another memorable melody is graced by sounds ranging from recorder to trombone with Hession’s accordion holding it altogether. It speaks with a quiet eloquence.

The closing “External Mother” pulls all the elements together in an effective finale that balances the energy of the opening numbers with the elegiac quality of the quieter pieces. Bassey’s trombone comes to the fore again, but like the rest of the album this is really a great team effort. Sadeh blends the various instruments together with great skill and praise is due all round. Particular mention should be made at this point of percussionist Kozokaro who consistently adds colour without ever unduly imposing on the music. 

“Reconciliation” is an apt title as Sadeh expertly blends the different strands of her musical influences together. Some of this music is lively enough to dance to, all is beautiful enough to listen to. Bright and accessible,colourful and unfailingly melodic this is music that should appeal to a wide range of listeners, not just committed world music fans.

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