Jazz Guitar in War-Torn Tel Aviv

JGT contributor Joe Barth talks to guitarist Gil Livni.

At the writing of this article, Israel is still under attack from Iran and Hezbollah.  Yet the arts, and especially jazz guitar, continue in Tel Aviv.  One of the greatest jazz guitarists in Israel today is Gil Livni.  Gil is not only a great guitarist, but he is also a singer and composer.  In these difficult days, Gil manages to still get out and perform around Tel Aviv.

JB:  Growing up in Israel, talk about what inspired you to play jazz guitar.

GL:  As a teenager, I wasn’t into jazz at all.  I was more into shredding and distortion on the guitar. Then my neighbor, who later on became my most influential teacher, introduced me to Bird (Charlie Parker), Prez (Lester Young), and Bean (Coleman Hawkins) and that changed everything.

JB:  Studying music at the joint program at the Israel Conservatory of Music with The New School in New York, and then later at the Jerusalem Academy of Music. Talk about the musical things you appreciated most about those years of your life.

GL:  I loved studying in the joint program between the Israel Conservatory of Music and The New School, where I also teach today. Being surrounded by people who are deeply curious and passionate about jazz was incredibly inspiring.

JB:  To you and your personal development, what are three of the most influential jazz guitar albums, and why?

• GL:    Wes Montgomery’s So Much Guitar, It’s the first jazz album I owned. I used to fall asleep listening to it.
• Grant Green’s The Complete Quartets with Sonny Clark: Grant’s pure blues, swing, and honesty are timeless.
• George Benson’s Cookbook; Benson’s virtuosity, groove, and tradition all beautifully come together.

JB:  Tell us briefly about your first CD, Past Bed Time.

GL:  It’s a tribute to the Nat King Cole Trio format—guitar, piano, and bass, no drums. I also sing, and there are two original tunes. It reflects our respect for that sound and approach to making music.

JB:  Tell us about your new CD, All In. Did you write the originals for this project?

GL:  Yes, seven out of ten songs. It’s my take on jazz guitar: rooted in the ’50s and ’60s tradition, yet still personal and current.

JB:  That’s quite the rendition of the beloved Beatles Abby Road song, “I Want You (She’s So Heavy).”

GL:  Thanks. I was working with that groove, and it just came to mind. It felt like this was an interesting direction to take it.

JB:  Organist Yonatan Riklis and drummer Yonatan Rosen play superbly.  What do you appreciate most about these two musicians?

GL:  They’re close friends and incredible musicians. Yonatan Riklis has endless ideas and chops, and Yonatan Rosen is a perfect drummer with great swing and great ears. I’m lucky to play with them.

JB:  Saxophonist Amit Friedman plays tastefully on his numbers on the album.

 GL:  He brings fire, modern ideas, and blues. Amit is energetically ruthless and is a great soul.

JB:   It appears that you play what looks like a Gibson ES-175.  Tell us about it.

GL:  I play a 1975 Maya, a Japanese ES-175-style guitar. My dream is someday to have a Gibson Super 400… but I’m happily married, so I’ll wait for a miracle.

Watch Gil perform in a number of settings….

JB:  Tell us about the gigs you play and the jazz scene in Tel Aviv, especially during these volatile times.

GL:  It’s complicated, but the scene is amazing. Wars and gigs don’t always go well together, but after weeks of spending time in safe rooms and shelters, you realize how much you need them. For me, this music isn’t a luxury; it’s essential. We just try to swing as hard as we can.

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