Amos Hoffman: Press

"On Evolution, his third CD as leader, Amos Hoffman plays the oud he made himself, and offers a fascinating combination of Middle Eastern music and jazz."

“The rich, sophisticated compositions are performed by a spare group (he's backed by percussion, flute and bass/piano/vocals) that affords his playing plenty of room, and mixes his love of Middle Eastern music and jazz on these compositions…It's good, very good indeed, possibly one of the most successful music fusions recorded”

... the appropriately named EVOLUTION is a heady, spice -filled caravan voyage through Middle Eastern and jazz stylings. The sound is both eternal and ever-changing, as strings and flute rooted in folk traditions are combined with a touch of African rhythm and a postmodern sensibility. Just when a track seems to settle into one pathway, Hoffman surprises, moving in another direction as in the fluid "Silence", where Ilan Salem's flute unwinds like a string, offering a tenuous guide into the maze.

“Truly inspiring stuff. … a textured and unpredictable musical statement. I'll take a surprise like that any day of the week”

Deftly meshing Middle Eastern melodies with African rhythms, Tel Aviv-based guitarist Amos Hoffman’s newest effort is a psychedelic tour de force that seeks first to intrigue, then boldly envelops and enchants. Hoffman plays the oud effortlessly, with the notes seeming to melt and dribble off the instrument, while the fast-paced drumming gets your heart racing, teasing you with the question of where the alluring melodies might lead.

With the combination of jazz and Middle Eastern music, the ten tracks on Evolution will probably be welcome to those on the lookout for fresh and inventive music.

Hoffman’s primary instrument on Evolution is the oud, and many of the songs are built on Middle Eastern scales, which Hoffman’s compositions infuse with African rhythms. The result is a heady mixture of jazz-based improvisation and exotic melodies enhanced by Ilan Salem’s alto flute playing. Ilan Katchka’s percussion centers the recording, and Cohen’s contributions, such as the arco bass solo on "Exploration," demonstrate his impressive versatility and restless sense of experimentation. While some tracks highlight each player’s speed and agility, others, such as "Exploration" and "Miss T," are tender and deeply felt. Hoffman mixes things up by, for instance, adding a trap kit to "Hamsa" to give the tune a slightly Western hue. "I Met You" could be taken for Israeli pop music, perhaps, but for the most part Hoffman plays music firmly rooted in Middle Eastern traditions. Evolution is challenging, unusual, and invigorating.

“Hoffman brings special depth to his work that catches you off guard and trips you up every time you think you can out think him and know where he’s going next. A satisfying set that gives world jazz a new standard to live up to.”

Na'ama, named after Hoffman's daughter, is his second solo release after The Dreamer (Fresh Sound, 1999), and is built on original compositions, most of them referencing traditional Arabic maqams or scales.

Unlike Youssef, Hoffman doesn't try to discover new musical territory, but still, his unassuming and straightforward playing finds new colors in the oud. The tender accompaniment of bass player Omer Avital and percussionist Rea Bar Nes, the latter especially while playing the marimba, offers Hoffman great flexibility. On the captivating ”Na'ama,” Hoffman and Bar Nes improvise on a simple lullaby melody, while on “Longa Abu Musa” they stretch the traditional form of the longa into a swift run of solos.

The twelve short tracks on Na'ama don't deviate to a significant degree from traditional oud playing or tune structures, but they showcase a highly gifted player, who successfully combines his Western musical education with one of his homeland's musical traditions.

The album features somewhat surprising instrumentation, including violin, bass, and marimba – the latter being a rather original choice for this sort of musical context. Hoffman’s compositions are noticeably influenced by traditional Arabic music, while primarily exploring an individualistic mix of jazz and pop. The gentle textures and rhythms soothe and invigorate. While he’s still a guitar player and teacher, the oud is how Hoffman chooses to make his mark here. In fact, Na’ama is devoid of guitar. This is an understated, but unique and therefore memorable album.

Israeli jazz guitarist Amos Hoffman turns in strong performances on this all-original session, joined by trumpeter Duane Eubanks, bassist Avishai Cohen, and drummer Jorge Rossy. Hoffman displays wit and wisdom throughout a broad range of musical moods, including the opening boogaloo of "Doobie Time," the touching waltz melody of "Three," the biting mid-tempo swing of "The Flip" and "Memories," and the ballad "Bookie & Ofi." Hoffman's tone is of the dry, vintage archtop variety, and he shows it off especially well on the two-minute solo piece, "Francine," which has the flavor of a Monk composition. Eubanks lays out on several occasions, including the haunting and beautiful title track, Hoffman's finest piece of writing for the date. ~ David R. Adler, All Music Guide