Guitarist Albare Releases New Album, Eclecticity
JGT contributor Joe Barth catches up with Albare to discuss his new album, Eclecticity.
Born in Morocco, growing up in France and Israel, Albert Dadon, aka Albare, has lived in Australia since the age of twenty-seven. He has just released his new album Eclecticity.
JB: The album is all originals. It appears the songs were all group-composed. Talk about that process.
Albare: Actually, all the compositions on Eclecticity are mine. I’m very strict when it comes to writing the heads and the feel of each song – that’s my voice. But when it comes to the solos, I leave the space open for the musicians to express themselves. That’s where the conversation happens. I trust the players I work with, and their interpretations bring new life to the structure I lay down.
JB: The album opens with a ballad, “All Night Blues.” Why open with a ballad?
Albare: Because it sets the tone—literally and emotionally. I wanted the listener to enter the album in a reflective state. Ballads can carry a lot of weight when they’re honest, and “All Night Blues” invites you into the world of Eclecticity without fanfare, just substance.
JB: How does “Song for Bird” connect with Charlie Parker?
Albare: It’s my way of saying thank you. “Bird” is, of course, Charlie Parker—one of the architects of the music we live and breathe. This isn’t a stylistic imitation or a bebop throwback. It’s my voice expressing gratitude to his. Whether or not it resembles his style is irrelevant.
JB: What motivated you to call the album Eclecticity?
Albare: The name says it all. It’s not about electricity—it’s about eclecticism. The music draws from different genres, traditions, and cultural influences, just as the musicians themselves do. There’s also a strong energy in the album, so if someone wants to hear “electricity” in it, that’s fine too. But really, the word is about diversity of sound, not voltage.
JB: “Long Haul” has a “So What” vibe to it. Is there any connection to the Miles Davis classic?
Albare: None whatsoever. If you’re referring to the sound of the horns or the modal language, that’s just part of the jazz vocabulary we all work with. It’s like using an English verb and being asked if you’re referencing Hamlet. We’re all drawing from a shared language, but that doesn’t mean we’re quoting each other.
JB: Bassist Phil Rex and drummer Felix Bloxsom play superbly. What do you appreciate most about these two musicians as your rhythm section?
Albare: Phil Rex is the kind of bassist who listens deeply and grounds everything with confidence and clarity. Felix Bloxsom stepped in for the recording and did a remarkable job under pressure. He brought his own voice to the music, but still honored the feel and dynamics I envisioned. They both serve the music above all else.
JB: Talk about your long musical relationship with pianist Phil Turcio.
Albare: Phil has been playing with me since he was 18—that’s a lifetime ago. We’re best friends and neighbors, which adds another layer to our musical connection. On Eclecticity, he played the piano parts and was involved in the final stages of preparing the mixes. He understands my musical language intuitively. I produced and recorded the album, and the mastering was done by Leon Zervos at Studio 301. Phil’s presence is part of the DNA of my sound.
JB: Phil Noy is a lyrical saxophonist. What do you appreciate about his playing?
Albare: Phil Noy plays with poetry in his phrasing. He has a beautiful tone and an instinct for when to say more—or when to say less. He never plays to impress. He plays to communicate.
JB: What musical nuances does percussionist Salva Persico bring to the sound?
Albare: Salva is the glue in so many ways. He’s subtle, but he changes everything. His sense of rhythm, space, and color elevates the music and adds dimension without ever crowding the arrangement. He’s deeply musical and always listening.
JB: Some of your growing-up years were in Israel. What personal connections with the song “Israel Blues” do you have?
Albare: I wrote “Israel Blues” in Tel Aviv during the Iranian ballistic missile attacks in early October 2024. I was in a shelter for over an hour while the bombs were falling. The walls were shaking, and I didn’t know if they were hitting targets. But in that moment, this melody came to me. It became a form of survival, mentally and emotionally. That’s where the song was born. That’s its truth.
JB: On “Midnight Mirage,” as well as the closer “Round Trip,” you bring in Jake Mason on organ, Mat Jodrell on trumpet, and Paul Williamson on tenor. Talk about these songs.
Albare: “Midnight Mirage” is a tribute to my Latin musician friends. Albums like “Long Way,” “The Road Ahead,” “Only Human,” and my Jobim Vol. 1 and 2 albums were all done with Latin jazz musicians. This time, it’s performed by Australian musicians, but the reference is there—it’s a salute. As for “Round Trip,” that track was meant to bring everyone together. It’s the final statement of the album, and I wanted it to feature the full spectrum of players—Mat, Jake, Paul, and also Phil Noy on tenor. It’s a way to close the journey by uniting all the voices that have shaped it.
JB: Talk a little about the jazz scene in Melbourne, Australia, and the kind of gigs you play there.
Albare: Melbourne’s jazz scene is broad and adventurous, and Bird’s Basement plays a key role in that. The audience is diverse—committed jazz listeners, casual music lovers, and fellow musicians. It’s a thinking audience, and they come to hear something real. When I perform there, I use it as a platform to test new material—sometimes I’ll play a piece once and never again, other times something resonates and grows into a staple of my repertoire. Bird’s Basement is not just a venue—it’s a living workshop, a listening room, and a place where the music breathes. That’s how it stays alive and continues to evolve.
