On IMPERMANENCE, his tone is centered and unadorned, almost vocal in its phrasing.
Adhyâropa Records
Yotam Ben-Or – Harmonica; Gabriel Chakarji – Piano; Alon Near – Bass; Alon Benjamini – Drums; WITH: Lars Danielsson – Cello; Esther Quansah – Voice
Jazz harmonica isn’t something you hear every day. It’s a rare voice in the ensemble, and honestly, it’s not always an easy one to love. The instrument can lean into sentimentality a little too quickly—lots of vibrato, soft edges, and a kind of ambient haze that can feel more like background than statement. But Yotam Ben-Or doesn’t go there. On IMPERMANENCE, his tone is centered and unadorned, almost vocal in its phrasing. He’s got tight control over his articulation and breath, and there’s a real sense of direction in how he shapes each line. It’s expressive, but with restraint—and that kind of clarity is what makes this album work so well.
IMPERMANENCE is Ben-Or’s third album as a leader, and he says this one is different. “I called it IMPERMANENCE because, unlike my previous albums, I strived for acceptance rather than perfection. Instead of controlling everything and reworking it in the studio, I was interested in the flow between us musicians and the songs.” The band sounds completely locked in—not in a rigid way, but like they’re all tuned to the same frequency, playing off of each other in real time.
Ben-Or’s been part of the New York scene for over a decade now, picking up a lot along the way from folks like Gregoire Maret, Avishai Cohen, and Edmar Castañeda. IMPERMANENCE feels like a snapshot—of where he’s been, what’s shaped him, and who he’s creating with now. His core quartet—Gabriel Chakarji on piano, Alon Near on bass, and Alon Benjamini on drums—has been with him for a while, and it shows. They have a natural groove that comes from years of playing together.
Carlos Aguirre’s ‘Milonga Gris’ blends the earthy pulse of Argentine folk music with the introspective lyricism of jazz. Chakarji’s piano leans into the milonga rhythm, but he brings in a few Latin twists that give the tune a subtle lift and bounce.
On ‘Kafka on the Beach,’ Ben-Or’s harmonica moves with a quiet, searching tone. Chakarji’s piano adds lyrical lines that thread lovingly through the melody. The syncopated bass lines lope along, adding a pleasant groove, while the drums ’intricate stick work provides a graceful nudge.
‘René’ is a tribute to manager René Hess, who was a big believer in Ben-Or early on. “I was knocked out by this young musician, not even in his 30s, with his incredible stage presence and unbelievable control of his tiny instrument. Thanks to the Gods of jazz for letting me discover this fine artist.”
The guests shine, adding rich colors that lift the album. Lars Danielsson’s cello on ‘Ballad for Daniel’ is beautifully dark and singing, while Esther Quansah closes with vocals on ‘Trying.’ A Brooklyn-based singer and guitarist, she co-founded the experimental art-rock duo The Narcotix.
Yotam Ben-Or’s story starts early—learning harmonica from his uncle back in Nataf, Israel, before moving to Tel Aviv for a special program linking the Tel Aviv Conservatory with New York’s New School for Jazz Studies. While still a student, he toured across Israel, received the America-Israel Grant for several years, and took first prize at the Rostov International Jazz Competition in 2013. That same year, his group Jupiter appeared on the compilation ALL ORIGINAL – BEST YOUNG ISRAELI JAZZ, presented by Avishai Cohen. All of those early experiences feed into the rich, worldly sound he brings to IMPERMANENCE.
