Toxic !
14/12/07 18:38 |
Posted by Deghelt
Productions
Toxic du disque "A time for Everything" a été sélectionné dans les compilations 2008 des Bureaux Export de Londres (Jazz Avenue Compilation) et de Berlin (Music Week French Talent).
Yaron Herman sur France 3
10/12/07 12:06 |
Posted by Deghelt
Productions
Fabuleux documentaire sur France 3 autour de Yaron Herman
diffusée sur France 3 Limousin. Visualisez le reportage.
Yaron Herman sur le mur de la Sacem !
10/12/07 11:18 |
Posted by Deghelt
Productions
Une superbe photo de Marc Chesneau prise à Jazz au Fil de L'Oise,
et qui sera sur le mur de la Sacem (Hall of Fame).
Best Jazz Sales at Fnac !
09/12/07 13:52 |
Posted by Deghelt
Productions
A time for
Everything is ranked number 3 best jazz sales in Fnac !
Le disque A time for Everything est classé troisième meilleure vente de la Fnac !
Le disque A time for Everything est classé troisième meilleure vente de la Fnac !
Nuit des Musiciens avec Henri Texier
07/12/07 13:17 |
Posted by Deghelt
Productions
Yaron Herman à
la nuit des Musiciens d'Henri Texier le 8 Décembre
2007
Yaron Herman dans la playlist Air France
01/12/07 15:04
L’ESPRIT JAZZ
(Par Frédéric Charbaut)
Programmation Janvier/Février 2008
Artiste Titre Label
MANU KATCHE MORNING JOY ECM
MARIO BONDI THIS IS WHAT YOU ARE EMI
PAT MORAN COME RAIN OR COME SHINE FRESH SOUND
MOLLY JOHNSON LET’S WASTE SOME TIME VERVE
EDOUARD FERLET ROUE LIBRE MELISSE
LEDISI (TRIBUTE TO ELLA) BLUES IN THE NIGHT VERVE
TORD GUSTAVSEN BLESSED FEET ECM
MAVIS STAPLES EYES ON THE PRIZE ANTI RECORDS
E.S.T. 800 STREETS BY FEET ACT
MARK MURPHY LOVE IS WHAT STAYS EMARCY
ERIC LEGNINI REFLECTION LABEL BLEU
VIKTORIA TOLSTOY DON’T MAKE ME WAIT ACT
KENNY BURRELL SOPHISTICATED LADY BLUE NOTE
DEE DEE BRIDGEWATER FOUR WOMEN VERVE
YARON HERMAN LAYLA LAYLA LABORIE
RIGMOR GUSTAFSSON STILL ACT
STEFANO DI BATTISTA I STILL LOVE YOU BLUE NOTE
CURTIS STIGERS SAN DIEGO SERENADE CONCORD
HERBIE HANCOCK BOTH SIDES NOW VERVE
KURT ELLING AND WE WILL FLY CONCORD
MOUTIN REUNION KUKI’S DANCE NOCTURNE
JONI MITCHELL THIS PLACE UNIVERSAL
JAMES BROWN FOR ONCE IN MY LIFE UNIVERSAL
Yaron Herman in The Guardian !
30/11/07 11:43
John L Walters
Friday November 30, 2007
The Guardian
This album is almost a masterclass in the contemporary trio. In one package, pianist Herman crams powerful originals, straight-ahead swingers, sensitive balladry, Monk pastiche, electronics, a standard, ingenious pop covers and a prayer-like solo cover of Leonard Cohen's Hallelujah, throwing in a bit of free improv and Scriabin along the way. Herman shows a gift for deconstructing recent hits for Björk and Britney. Both Army of Me and Toxic have rhythmic twists that suit Herman's propulsive style, and a harmonic simplicity that is echoed in originals such as Paluszki. His reinvention of the Police's Message in a Bottle works less well. The trio is completed by Matt Brewer (bass) and Gerald Cleveland (drums), featured to great effect on a brief jazz headbanger called El Toro and on the album's "secret" track. But is there A Time for Everything? The pick and mix aspect means that we never learn where Herman's heart lies
Friday November 30, 2007
The Guardian
This album is almost a masterclass in the contemporary trio. In one package, pianist Herman crams powerful originals, straight-ahead swingers, sensitive balladry, Monk pastiche, electronics, a standard, ingenious pop covers and a prayer-like solo cover of Leonard Cohen's Hallelujah, throwing in a bit of free improv and Scriabin along the way. Herman shows a gift for deconstructing recent hits for Björk and Britney. Both Army of Me and Toxic have rhythmic twists that suit Herman's propulsive style, and a harmonic simplicity that is echoed in originals such as Paluszki. His reinvention of the Police's Message in a Bottle works less well. The trio is completed by Matt Brewer (bass) and Gerald Cleveland (drums), featured to great effect on a brief jazz headbanger called El Toro and on the album's "secret" track. But is there A Time for Everything? The pick and mix aspect means that we never learn where Herman's heart lies
Album of the week on the Jazz.co.uk
17/11/07 11:37 |
Posted by Deghelt
Productions
Yaron Herman – A Time For
Everything (Nov 16) -
Mike Chadwick
Israeli-born Herman began playing piano only at the age of 16, using a revolutionary technique. Now ten years later he is on to his second solo album with A Time for Everything using a trio format, his music has brought comparisons to artists as varied as E.S.T., Bjork and Jeff Buckley.
http://www.the-jazz.co.uk/article.asp?id=427219
Israeli-born Herman began playing piano only at the age of 16, using a revolutionary technique. Now ten years later he is on to his second solo album with A Time for Everything using a trio format, his music has brought comparisons to artists as varied as E.S.T., Bjork and Jeff Buckley.
http://www.the-jazz.co.uk/article.asp?id=427219
Yaron Herman - Le Point
16/11/07 14:12 |
Posted by Deghelt
Productions
Yaron Herman dans la Croix
15/11/07 14:04 |
Posted by Deghelt
Productions
Yaron Herman dans Elle
12/11/07 14:21 |
Posted by Deghelt
Productions
Yaron Herman dans l'Humanité
10/11/07 14:44
Les 5 disques Cultes de Yaron
01/11/07 14:46
Yaron Herman in All About Jazz
27/10/07 14:56
A Time for
Everything
Yaron Herman Trio | Laborie Records (2007)
By John Kelman comments
A Time for Everything
Yaron Herman Trio | Laborie Records (2007)
By John Kelman comments
Sometimes the power of a back story can eclipse the music it supports. For Israeli-born pianist Yaron Herman it’s a close call, but A Time for Everything is such a refreshing and multifaceted album that a little background is necessary. Herman, still in his mid-twenties, began playing piano at sixteen, a shift in focus resulting from an unexpected basketball accident that put an end to his sporting aspirations. The sports world’s loss became the music world’s gain when, after only two years of an unorthodox multi-disciplinary teaching method, Herman left to study at the Berklee College of Music. Dissatisfied, Herman left after two months, with a return trip stop-over in Paris turning into an extended stay as Herman quickly established himself as the up-and-coming pianist on the Parisian jazz scene.
A Time for Everything is Herman’s third release as a leader and his first in a trio setting, but he already possesses not just a mature voice, but one that marries a firm grasp of the tradition (his effortlessly swinging “Stompin,” with its touch of stride, and the equally swinging blues, “Monkey in Paradise”) with a youthful mindset that will
appeal to both traditionalists and those with a more modernistic bent. Any album with a song list ranging from Scriabine to Sting, Leonard Cohen to Björk, and the Great American Songbook to—yes, you read that right— Britney Spears, is an album that is, at the very least, worth some attention.
That Herman—alongside bassist Matt Brewer and ubiquitous drummer Gerald Cleaver—can find merit in Spears’ simple pop confection (“Toxic”) only means that he hears potential in just about anything. But unlike other bands that deconstruct popular contemporary songs, there’s no sign of shtick or artifice to be found.
“Message in a Bottle” begins with the sound of someone searching through a radio dial and ultimately finding a fiery intro that only gradually reveals the familiar arpeggios that define this staple from The Police. Cleaver grooves more definitively than The Police’s Stewart Copeland ever did, while Herman marries reverence with liberal reharmonization.
Herman is undeniably informed by many of the usual suspects, ranging from Jarrett to Mehldau. But his ability to run the gamut from assertive and edgy playing on Björk’s “Army of Me,” to European neoclassicism on the
fiery rubato original, “MMM,” spare, dark-hued elegance on “Nishima” and an understated solo look at Leonard Cohen’s enduring “Hallelujah”—leading to a sublime coda where Herman’s playing is enhanced by his trio’s subtle colorations—demonstrates a player whose distinctive voice is already well-formed.
Occasional sound designs by Jean Pierre Taïeb broaden the textural scope without intruding on the trio’s clear simpatico. From a dramatic yet poignant take on “In the Wee Small Hours of the Morning” to “Layla Layla,” which references Herman’s cultural roots, A Time for Everything is a success from start to finish.
Reinforcing Herman’s reputation, and deserving to further raise the profile of this rapidly emerging and remarkable talent,
everything is, indeed, possible.
Yaron Herman Trio | Laborie Records (2007)
By John Kelman comments
A Time for Everything
Yaron Herman Trio | Laborie Records (2007)
By John Kelman comments
Sometimes the power of a back story can eclipse the music it supports. For Israeli-born pianist Yaron Herman it’s a close call, but A Time for Everything is such a refreshing and multifaceted album that a little background is necessary. Herman, still in his mid-twenties, began playing piano at sixteen, a shift in focus resulting from an unexpected basketball accident that put an end to his sporting aspirations. The sports world’s loss became the music world’s gain when, after only two years of an unorthodox multi-disciplinary teaching method, Herman left to study at the Berklee College of Music. Dissatisfied, Herman left after two months, with a return trip stop-over in Paris turning into an extended stay as Herman quickly established himself as the up-and-coming pianist on the Parisian jazz scene.
A Time for Everything is Herman’s third release as a leader and his first in a trio setting, but he already possesses not just a mature voice, but one that marries a firm grasp of the tradition (his effortlessly swinging “Stompin,” with its touch of stride, and the equally swinging blues, “Monkey in Paradise”) with a youthful mindset that will
appeal to both traditionalists and those with a more modernistic bent. Any album with a song list ranging from Scriabine to Sting, Leonard Cohen to Björk, and the Great American Songbook to—yes, you read that right— Britney Spears, is an album that is, at the very least, worth some attention.
That Herman—alongside bassist Matt Brewer and ubiquitous drummer Gerald Cleaver—can find merit in Spears’ simple pop confection (“Toxic”) only means that he hears potential in just about anything. But unlike other bands that deconstruct popular contemporary songs, there’s no sign of shtick or artifice to be found.
“Message in a Bottle” begins with the sound of someone searching through a radio dial and ultimately finding a fiery intro that only gradually reveals the familiar arpeggios that define this staple from The Police. Cleaver grooves more definitively than The Police’s Stewart Copeland ever did, while Herman marries reverence with liberal reharmonization.
Herman is undeniably informed by many of the usual suspects, ranging from Jarrett to Mehldau. But his ability to run the gamut from assertive and edgy playing on Björk’s “Army of Me,” to European neoclassicism on the
fiery rubato original, “MMM,” spare, dark-hued elegance on “Nishima” and an understated solo look at Leonard Cohen’s enduring “Hallelujah”—leading to a sublime coda where Herman’s playing is enhanced by his trio’s subtle colorations—demonstrates a player whose distinctive voice is already well-formed.
Occasional sound designs by Jean Pierre Taïeb broaden the textural scope without intruding on the trio’s clear simpatico. From a dramatic yet poignant take on “In the Wee Small Hours of the Morning” to “Layla Layla,” which references Herman’s cultural roots, A Time for Everything is a success from start to finish.
Reinforcing Herman’s reputation, and deserving to further raise the profile of this rapidly emerging and remarkable talent,
everything is, indeed, possible.
Yaron Herman sur France Info
21/10/07 11:53 |
Posted by Deghelt
Productions
Yaron Herman - 4 Pages dans Jazzman
03/10/07 15:07 |
Posted by Deghelt
Productions
