Yosef Gutman Levitt

Why Ten?

Yosef Gutman Levitt and Itay Sher Heard

Unity

Soul Song

Should you be looking for some calming, pristine sounding music as you seek solace in these chaotic times, look no further than  the music of Yosef Gutman Levitt. We’ve covered the South African-born Jerusalem-based bassist and composer on his 2023 trio rendered Upside Down Mountain and on last year’s debut for his label, Soul Song, where he collaborated with the great guitarist, Lionel Loueke. Why Ten? and Unity are the next two entries on his label, marking Levitt’s climbing trajectory.

On Why Ten? Levitt continues his penchant for collaboration with the brilliant jazz guitarist Gilad Hekselman, whose Life at the Village Vanguard from this past April also graced these pages (excuse the “Live” instead of “Life” in the title, an honest mistake). In any case, their partnership produces a gorgeous trio/quartet effort where they are joined by Levitt’s frequent collaborator, drummer Ofri Nehemya, and reed man and co-composer Gilad Ronen. The album, meticulously engineered, was recorded at Levitt’s home studio in Jerusalem as he wield both his trademark five-string acoustic bass guitar and the double bass. Hekselman plays both electric and  acoustic guitars’, sometimes both within the same composition and is not shy about using some effects when called for. Yet, unlike Hekselman’s solo albums, this is not a soaring guitar album that occasionally blends in rock riffs. The playing here is mostly soothing, spiritual, and deeply refined. Call it quiet intensity.

As you may realize from the previous reviews, Levitt is a deeply observant Jew whose music embodies spiritual and searching elements. The title refers to the symbolism of the number 10 in Jewish mysticism, especially the ten utterances of creation, as recorded in the Torah and the ten supernal sefirot, from kabbalah. Rather than get hung up on terminology, consider these mystical notions. One certainly doesn’t need to be familiar in order to appreciate this gorgeous music. Levitt says, “The title invokes a sense of wonder and introspection without gravity, encouraging a deeper engagement with the music and the timeless sensation it raises about creation, existence, and the the divine order…with a smile!”

 The clarity of the ECM-sounding opener, “Rushing Rapid” has Hekselman layering in effects and using his overdrive pedal. It’s the closest sounding of these tracks to his solo work. Yet the other electric guitar centric tracks, “Bnei Heichala, “From Darkness to Light,” and “From the Water” are more minimalist but highly melodic with Hekselman’s rich guitar tones in the lead.  Levitt’s woody bass tones and Nehemya’s creative kit work is dazzling in support. The guitarist uses layers both acoustic and electric on the spellbinding title track and the closing “Walking in Simplicity” while adopting an acoustic folk-like posture on “Desert Days.” “Two Souls,” and “Route 90.” There’s such an entrancing, transportive and other worldly feel to these tunes, you may find yourself, like I did, hitting repeat.

Gilad Ronen makes his presence felt on the surprisingly funky, groove laden “Soul Spark” where his tenor and soprano is often in unison to Hekselman. He adds his clarinet to the lilting ballad “Two Souls” and flute to the highly textured “The Farm of Nerya.” It speaks to Levitt’s humility that he mostly shuns the solo spotlight but his chops reveal themselves on excursions in “Route 90” and Walking in Simplicity.” Also, in a year that has featured outstanding work from so many of the top guitarists in jazz, we can add this to that glowing list.

Unity with nylon string guitarist Itay Sher and chamber orchestra offers an even lighter, gentle collection of textured music. Gilad Ronen appears again on reeds while also helming these remarkably arresting orchestral arrangements. These are Hasidic Jewish liturgical melodies with stunning harmonics and the freedom of improvisation. This liturgical fare doesn’t even usually have chord progressions but Levitt and Sher worked regularly to create layers, different chord progressions that would give it a more modern feel. Melodies remain intact while the progression shift and change. The two weaved in some other influences as well such as Bill Evans’ 1971 chamber ensemble From Left to Right and Erased Tape recording artist Peter Broderick who uses chamber-brass accompaniment on his 2023 single “Give It to the Sky.”

Rather than call out specific tracks, this should be listened to in its entirety. Sher’s guitar and Levitt’s acoustic bass mostly remain in the forefront throughout with the orchestra and Ronen’s reeds adding sumptuous, colorful accompaniment. This contemplative, introspective music incorporates Third Stream, classical, and folk strains that create a lush, peaceful sound, one that could not be more opposite the ongoing strife in Levitt’s home country. Of note is “Sha’alu Shalom Yerushalayim,” or “pray for the peace of Jerusalem” rendered as “Nigun 551” on Why Ten?, this delicate version thereby giving a linkage to the two projects.

These two projects are continuing testaments to Levitt’s superior compositional skills and his unparalleled spiritual inspiration. His goal for the label is create music that is intimate, improvisational, and with profound honesty. The music must be inspired by a higher force and stripped of any unnecessary elements. Levitt is off to raring start and has collaborations planned with Peter Broderick, Yonathn Avishai, Yage Harush, Didi Elinson and more.  He sets an incomparably high bar here.

– Jim Hynes

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