Yitzhak Yedid

Inner Outcry

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AllMusic Review by

Israeli pianist Yitzhak Yedid is the real McCoy, a serious jazz pianist and an individual stylist, but more than that he is an artist with flair, giving his tunes names such as the cleverly titled "Inner Outcry" or the beautiful Hebrew words "Le'emor" and "Kidushin" (loosely translated as "To say" and "Betrothal"). As producer, he respects no bounds: there is a noir-ish quality to the CD leaflet that mirrors the recording, and color coordinates with the grey shades of the actual compact disc, while the four photos (three of the trio) set a bleak yet artsy tone. The musical results live up to expectations, as Yedid dazzles with an expansive style that incorporates a deeply thoughtful demeanor. On the turtle-like yet short "Told, Not to be Believed," Yedid explores tonal extremes. "The Muse" lets Vlad Nedelin loose on his drums, sparring to the end with the pianist, with a sound that focuses on the low notes. The intense "Inner Outcry" quickly entertains a march-like, syncopated, percussive quality in concert with the bass and drums, gradually building tension with flurries of notes from Yedid's right hand, and powerful bursts from his left. It is all disciplined, even at its wildest. The following "The Naïve" is back to introspection, with short, sharp, punctuated interludes and a passionate solo from Ora Boasson's acoustic bass, rivaling her fine contribution on the opening "Le'emor." The album closes with the lovingly lyrical "Epilogue," as the bassist waxes sonorously, complementing Yedid's classically trained instincts. The pianist carefully sculpts each piece with a precision that belies its complexity. Call it layered minimalism with substance, or better, the unique explorations of a sensitive, talented artist who has discovered a distinctive niche that melds formal technique and improvisational fortitude with its own dark vision: a powerful potion.

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