Ben Freidkin: Trial & Error

On his exciting debut Trial & Error, dynamic drummer Ben Freidkin combines music from three live sets spanning two years. Each recording has a different group of side-musicians. For Freidkin it represents a sort of "coming of age" as it coincides with him completing his graduate degree in music. Despite the variety of personnel and sound, a thematic unity permeates the album, that consists of a mix of Freidkin penned originals and covers..

Pianist Nitsan Kolko's hypnotic cascades of notes combine with Freidkin's thunderous beats to open the cinematic "Big City Life," one of the most electric tunes on the record; the acoustics of Kolko's piano intriguingly contrast with bassist Guy Bernfeld, and guitarist Omri Bar Giora's taut, strummed refrains. Over Freidkin's relentless drive and agile cadence Kolko improvises with dark contemplation and a touch of mystery. Giora and Bernfeld mirror one another as the former showcases the muscularity of a rocker and the virtuosity of a bopper.

Equally captivating is the title track. Within the beautifully woven refrains of the band, bassist Gonn Shani's dense lines throb with passion. Freidkin demonstrates his sophisticated polyrhythms and superlative leadership. Kolko again shines with his poetic spontaneity while saxophonist Tal Kalman blows his tenor with brassy bravado. Kalman's big tone and circular phrases glow with fiery blues while maintaining a delightful flirtation with dissonance. Shani's remarkably agile solo also glimmers with indigo hues.

The tense and slowly unfurling "River Man" features the sensual vocals of singer Meital Waldmann. Framing it is the laid back groove of the ensemble centered around Freidkin's rumble and bassist Rosa Lea Salamon's lithe, reverberating vamps. Pianist Moshe Elmakias' bittersweet extemporization matches in emotiveness and intelligence guitarist Shai Jaschek's blistering chords as the latter takes center stage. There is a subtle undercurrent of Levantine mystique which adds a haunting dimension to the piece.

As a performer and composer Freidkin exhibits a maturity beyond his age. Sometimes it is hard to believe that he is not yet 30. Despite the title of this auspicious first outing there is nothing erroneous on this superb release.

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