Beautiful things happen when the heart is fully invested in everything you do, and one of the best examples I can think of is that which we see happen in music and in Jazz time and again. A publicist I know out of Israel sent me an email one day about this female guitarist whom I had never heard of, asked me if I wanted for her to send me the CD, and I said yes; the rest pretty much happened without rhyme or reason, which is how anybody should discover music that moves the soul. I listened to Inbar Fridman’s album in a quiet time, headphones on, I read her bio while doing so, and that little moment when “you know” occurred: I fell in love with her album. As simple as that.
Time Quartet Project (Origin Records 2013) is a like heartbeat: soft yet determined; full of life, yet subtle and above all, rhythmically entrancing. Inbar Fridman’s guitar is delicate and wise beyond her years. With Fridman, Camelia Ben Naceur on piano, Laurent Chavot on bass and Stefano Lucchini on drums, to flawlessly direct all of your emotions to the music recorded on this album. Each and every one of them have left me speechless.
Inbar Fridman was born in Israel, and after attending the Rimon School of Jazz and Contemporary Music, she moved to the United States in search of a Bachelor’s degree in Jazz Performance at the William Paterson University in Wayne, NJ, and while in the New York area, Fridman performed with musicians such as Myron Walden, Will Vinson, Aaron Goldberg, Harry Whitaker and Steve Cardenas. By the time she moved back to Israel in 2005 it was perfectly clear that she was holding a precious gift within herself: that of improvised creativity. Fridman performed throughout Europe with drummer Billy Cobham and bassist Oliver Gatto, to then get in the studio with the above mentioned to record “Time Quartet Project”.
There is no voice louder than the other, no dominant leader that controls what everybody is going to play. The music flows with ease and tenderness. My absolute picks would be “No Palm Trees”, for its lovely poetry suspended in mid air (that piano could not have been felt any more deeply), and “Acoustic”, for its controlled trepidation in an improvised environment and its melody, so addicting from beginning to end. The rest are no less (and so much more) than seamless moments in time, captured, organized and interpreted with warmth and love. You will find your favorite, and through it all, you may notice your soul in flight, looking for that beauty they are playing about. Fantastic.