Eli Fenkle

With the release of his new record, 99 Cent Dreams, Eli Paperboy Reed begins his second decade as an artist much in the same way he began his first: in love with soul music. Reed is ten years wiser this time around, writing with the kind of freewheeling confidence. The result is the finest of his career. Cut at the legendary Sam Phillips Recording in Memphis, TN, and produced by Matt Ross-Spang (Jason Isbell, Margo Price), 99 Cent Dreams is exuberant, a celebration of life delivered by an ecstatic messenger. Reeds arrangements on the album are lean, filtering vintage R&B, soul, and gospel through the heart of a modern songwriter. His stunning voice remains front and center but his performances have matured, a sign perhaps of the newfound perspective hes gained with fatherhood. Fueled by love and hope, this is a collection that, despite its moments of loneliness and pain, ultimately insists on seeing the bigger picture, on recognizing each and every day for the gift that it is.

Tenor saxophonist Eli Degibri brings a seasoned and somewhat unique approach to his debut recording, In The Beginning. While its impressive that the Israeli native performed in circles with names such as Herbie Hancock, Al Foster, and the Mingus Big Band, it is more impressive to hear his own style and development come to the forefront. Paying your dues on the bandstand is one thingbut leading a band and creating your own music is quite another.
While In The Beginning rings with the familiar Coltrane sound, the music is delivered with thoughtful and refined performances that help to distinguish Degibri from other tenor saxophonists. Its not necessarily the sound of his horn, but more the other aspects of his style which captures attention…

On Israeli Song, rising star Eli Degibri brings together two of his mentors, jazz legends Ron Carter on bass and Al Foster on drums, with one of today's most innovative pianists Brad Mehldau. On this recording Degibri displays his talents as both a gifted composer and a dazzling and fluid performer. From intricate bop excursions to delicate, swinging ballads, Degibri and his all star quartet play with a near telepathic chemistry. By not only paying tribute, but actually playing with his inspirations, Degibri has achieved many a jazz musicians dream and has created a modern day masterpiece.

Eli Degibri has a "throwback" sound on his tenor: rich, thick with early morning fog that burns off in the afternoon. He fronts a quartet with Gadi Lehavi/p, Barak Mori/b and Ofri Nehemya/dr through a mix of standards and clever originals. He strips down with Lehavi on a wonderful duet on "Autumn in New York" that displays his palpable lyricism, while his breathy sound on the melodic title track builds up into a hot climax. The rhythm team is spicy on the danceable "Mambo" while an intricate and ectomorphic "The Spider" has some exotic Middle Eastern sensibilities. He switches to soprano on while Shlomo Ydov sings with open shirt exposing chest hair machismo on "Liora Mi Amor" before the leader takes mandolin to hand for a meditative and New Agey "Old Seven." Creative yet holding on to traditions from multiple continents.

Over the years, the phrases "organ/tenor group," "tenor/organ group," and "organ/sax combo" have often been synonymous with soul-jazz. When soul-jazz fans hear the words "organ" and "tenor" in the same sentence, they immediately think of all things funky; they immediately think of Stanley Turrentine's work with Shirley Scott or Gene Ammons' encounters with Jack McDuff and Johnny "Hammond" Smith. But one shouldn't forget about the post-bop innovations of Larry Young, who moved organ groups beyond soul-jazz and paved the way for everyone from Barbara Dennerlein to John Medeski. And on this live album, one hears a tenor/organ trio that has nothing to do with soul-jazz and everything to do with post-bop…