For an instrument so rarely seen in jazz today, the harmonica has had a remarkably deep lineage—from Toots Thielemans to Gregoire Maret. In that spirit, Israeli-Belgian artist Yotam Ben-Or has been quietly carving out a name for himself, first in New York and now increasingly on the European scene. With Impermanence, his third studio album and most personal to date, Ben-Or offers a strikingly lyrical and globally informed perspective on modern jazz.

Featuring his long-standing quartet and guests including Lars Danielsson and vocalist Esther Quansah, the record blends Argentine milongas, Cuban grooves, and haunting ballads into a cohesive, open-hearted statement. It’s also a turning point. “Instead of aiming for perfection,” he says, “I tried to embrace the music as it was—to let it breathe.”

We spoke to Yotam about finding maturity in uncertainty, writing for the harmonica in a contemporary jazz setting, and what Impermanence taught him about letting go.

Impermanence is a striking title. What does that concept mean to you personally—and how did it shape your approach to composing and recording this album?

There is something inherently contradictory about the concept of Impermanence and the act of recording an album – freezing something that is constantly evolving. However, embracing that idea of Impermanence helps me gain a certain level of detachment from my own playing, compositions, and specific choices made at a specific moment, and allows me to share them with the world as they were captured in that moment. In the past I would try to over control everything that happens and even change certain things in retrospect.

This time I tried my best to accept things as they are, give freedom, and allow the music to flow. Over time, I’m realizing that everything is always changing. The way I play, the arrangements of the songs, how I hear the music, my whole perception of reality. So, it would be foolish to obsess over something that happened in a particular moment. I’m understanding that I need to do my best, accept, and move on. This is what this album represents for me.

I practice and study something called Vipassana which is a practice that was developed by The Buddha. According to his philosophy there are three character traits that describe the existence or nature of reality and human experience. One of those characteristics is Impermanence. The two others are suffering and non-self.

This album is rich in international influence—from Argentine milongas to Venezuelan rhythms. Can you talk about how your travels and studies have informed your sound?

Really, the main place that opened me up to so many different cultures and styles of music is NY. Especially music from the Americas and more specifically African-American music. From Cuba, Venezuela, Colombia, Uruguay, Argentina, Brazil, US, Mexico. Since moving to NY almost 11 years ago I traveled a lot to Mexico and spent there a significant amount of time.

There I played mostly Son Jarocho which is a style from a state called Veracruz and I also studied Rumba with a Cuban musician called Manley ‘Piri’ Lopez that lives in CDMX. All those cultures influenced so much my approach to rhythm and composition. My whole rhythmic understanding really comes from those musical cultures and I incorporate so many elements from those cultures into my compositions.

The harmonica has a very specific lineage in jazz, with names like Toots Thielemans and Grégoire Maret. Where do you see your own voice within that tradition?

Toots and Gregoire are huge inspirations of mine. I never got to meet Toots but I’ve listened to so much of his music and he’s really the first absolute master musician to make incredible music with the chromatic harmonica. Gregoire is my mentor and by now a good friend. I appreciate him so much on so many levels. First, musically of course, he took this instrument to another level and his playing deepened my love for this instrument immensely.

He taught me some of the most important things I know in music and in life in general. I have no words to describe how much I’m grateful for him. All of that being said, the first harmonica player that blew my mind is Stevie Wonder. His groove and sound are so deep and moving.

In terms of where I see my voice in this tradition, I think that my playing and the music I make are very different from theirs. Gregoire always told me that it’s very important that I do my own thing and don’t try to sound like somebody else.

The interplay with your core quartet is seamless. What is it about your relationship with Gabriel, Alon, and Alon that makes this group so musically cohesive?

We’ve been friends and playing together for many years. Alon Near and I have known each other since we’re 18 at least (almost 14 years). We had a band together at that time and about 10 years ago he became the bass player in my quartet. Gabriel and I met almost 11 years ago. We moved to NY at the same time and he really encouraged me to start my own project. Alon Benjamini joined the band 3 years ago and we became very close friends since then.

My friendship with each of them and especially Gabriel and Alon N went through so many ups and downs and we really learned how to respect and trust each other on a musical and a personal level. Similarly to my approach to making music I learned how to give them more freedom to be themselves and take the music where they can. In a way we really grew up together. I love all of them deeply and am looking forward to making music with them for many more years.

You’ve toured widely between New York and Europe. Have you noticed different reactions to your music depending on where you’re playing—and do those experiences feed back into your compositions?

I feel like my music is more accepted and respected in Europe. I also always pushed it more over there for some reason. Maybe because in my mind that was where I’m supposed to be playing my music. I always imagined myself going to live in Europe at some point. NY is like a never ending school and it’s a tough place to live. I spent all my 20s till my early 30s nowadays in NY and it shaped a big part of who I am as a musician and a person.

What were some of your key musical influences outside of harmonica players? Any specific albums you’d recommend to our readers?

Many Stevie Wonder albums like Fulfillingness’ First Final, Innervisions, Signed Sealed and Delivered, to name a few. Avishai Cohen Gently Disturbed, Unity, Adama. So many Israeli artists such as Matti Caspi, Shalom Chanoch, Shlomo Gronich, Alon Eder, Dudu Tassa, Eviatar Banai.

Miles Davis Quintet. Coltrane Blue Train, Ballads, Coltrane Plays the Blues. Clifford Brown and Max Roach. Wayne Shorter Speak no Evil. Sooo many Brazilian artists such as Milton Nascimento’s Clube de Esquina, Djavan’s Luz, Joao Bosco’s Disco de Ouro, Egberto Gismonti, Hermeto Pascoal. Yoruba Andabo from Cuba El Callejon de Los Rumberos. Jaco Pastorius’ Jaco Pastorius. Joni Mitchel Blue and Court and Spark. Paul Simon Still Crazy After All These Years. Nick Drake Blue Moon. Q-Tip The Renaissance. Black Star. A Tribe Called Quest. And many many more.

What’s next for you and your quartet?

Tour Europe, US, and Asia and record another album.