There is an inescapable charm surrounding any Besser performance and Wednesday’s Zestniks gig at the Backbeat bar was no exception. While his music has many strands feeding it and although it can be hard to categorise, it is never the less rooted in the Jewish musical traditions. Besser is somewhat of an icon in Arts circles and deservedly so. The arc of his work has a momentum that few could emulate. As it alights on various styles or genres it borrows their raiment, and seemingly without compromising what lies at the music’s heart; gathering what is necessary and no more. Over the years he has collaborated with leading conceptual artists, filmmakers, symphony orchestras, electronic adventurers and Jazz musicians. The Zestnics performance reflected much of this fascinating journey.

I am always drawn to performers who leaven their gigs with an appropriate portion of banter and Besser’s comments and asides were delightful. They were delivered with a deadpan expression and consequently were nicely understated. As with music, timing and delivery are everything.  Many of the tunes were from his ‘Gimel Suite’ and a quick investigation of the word leads you to a cornucopia of meanings. It is the third letter of the Hebrew alphabet, it is a letter imbued with special qualities and it this case it is a footing or foundation for composition. This is an ancient to modern music and I suspect that those listening will have conjured their own associations. Because I have recently travelled through eastern Europe, I heard the warp and weft of Polish or Czech street music.   

The other ensemble members came from a variety of disciplines and this was fitting. Caro Manins on vocals with her deep knowledge of ancient Sephardic Ladino music; Nigel Gavin, an adventurous ‘World music’ musician who ignores artificial boundaries; John Bell, a Vibes player from the free to groove or ‘World’ end of town; Eamon Edmundson-Wells on bass, a versatile bass player and also frequently seen in avant-garde settings; Alistair Deverick on drums, navigating those exhilarating rhythms. Lastly were two from the expanded Black Quartet; Peau Halapua on violin and Sophie Buxton on viola – popular classical musicians and sometimes seen with Jazz or ‘World’ ensembles. Besser, of course, was on piano.

Some of the tunes were nostalgic or even mournful, some were brimming with joy – all were enjoyable.  The tunes never strayed too far from the notation, but there were some brief improvised sections which balanced things up nicely. I have posted the last number of the gig and while I am not sure of the title, I know that it brought the house down.

The gig took place on the 4th of July, 2018 at the Backbeat Bar, K’Road, for the CJC Creative Jazz Club.