New Release From Roni Ben-Hur, Abriendo Puertas
JGT contributor Joe Barth talks to Roni Ben-Hurt about his new album, Abriendo Puertas.
Roni Ben-Hur developed a love for jazz guitar as a boy growing up in Israel. In1985 he came to New York City to study with pianist Barry Harris. Because of his talent, Roni soon found himself on the bandstand with Barry and others in the New York jazz scene. Roni is an active player/educator in many places in the world and has almost twenty albums to his name. He has just released a new album with some wonderful Cuban musicians, Abriendo Puertas.
JB: So, before I ask about the new album, tell our readers about yourself. When did you start playing jazz guitar in Israel, and in those early years, what was most helpful to your personal development as a guitarist?
RBH: I was introduced to jazz when I was around 17 years old, and I was fortunate to find a wonderful jazz guitar teacher in Tel Aviv, Carol Abramovitch. He taught me the fundamentals and, through him, I discovered Wes Montgomery, who immediately stole my heart.
A couple of years later, I met bassist Emil Ram, who had recently returned to Israel after living in the United States. He introduced me to Grant Green, Kenny Burrell, and many other great jazz artists who remain among my favorites to this day. Emil also told me about Barry Harris and his school at the Jazz Cultural Theater, which eventually became a life-changing part of my musical journey.
JB: To you, what are three of the most influential jazz guitar albums in your personal development as a guitarist, and why?
RBH: It’s impossible for me to choose only three, so I’ll mention four:
- Solid — Grant Green
- Live at the Half Note — Wes Montgomery
- Live at the Village Vanguard — Kenny Burrell
- The Bridge — Sonny Rollins, featuring Jim Hall
These albums—and many others I discovered later—present the guitar with a beautiful, big, warm, rounded sound and a commanding presence. The playing by these masters is boundless, free, swinging, adventurous, and always tells a story.
Later, I discovered Baden Powell’s Afro-Sambas, which also had a profound influence on me. His fiery yet lyrical playing, along with the rhythms and melodies he created, touched me deeply.
JB: Talk about the impact of studying with Barry Harris here in New York.
RBH: Barry Harris had an enormous impact on me. He always taught music first—not technique or information for its own sake, but everything in service of creating beauty. He understood jazz and its intricacies more deeply than almost anyone I have met, and he had a brilliant way of sharing that knowledge with his students. He combined rhythm, blues, bebop, and harmony into a complete musical language that was authentic, beautiful, and accessible.
I learned a tremendous amount from his classes, but I learned even more from playing with him. On stage, I was able to experience firsthand how everything came together. He showed me the importance of being calm, present, honest, generous, focused, and almost Zen-like while making music. Working with Barry was an extraordinary experience that taught me far more than words can express.
JB: How long did you work with the pianist Roger Kellaway, and what did you appreciate about that experience?
RBH: I played with Roger several times in New York, toured with him on a couple of occasions, and also performed on a few tracks from one of his recent albums. Roger is one of the greatest pianists I’ve ever heard. He plays with incredible imagination and freedom, and he is also a master composer and arranger with a profound understanding of modern harmony. Playing with him feels limitless. He takes you on musical journeys you never expected, and they’re always inspiring.
Another pianist with whom I had a much longer association was Chris Anderson. He opened my ears to an even wider palette of harmonies and colors while always keeping the blues and the rhythm at the center of the music. Chris is truly one of jazz’s unsung heroes.
JB: On your new album, Abriendo Puertas, the opening song is titled the same. Tell us about this composition by your pianist, Alejandro Falcón.
RBH: The title means “Opening Doors,” and that really captures the spirit of the album.
Authentic Cuban rhythms, performed by some of Havana’s finest musicians, come together naturally with jazz, without either style trying to change the other. The album celebrates our differences by blending them into something fresh, organic, and inviting. The rhythm section grooves deeply in the Cuban tradition while leaving the door wide open for the blues and jazz to enter naturally. That’s what happens when musicians genuinely love and admire one another.
JB: You immediately contrast it with “Mi Mejor Canción,” composed by José Antonio Méndez, who is associated with the filin style. Tell us about the song and this style.
RBH: I love boleros. There’s something incredibly inviting about slow love songs, and I enjoy exploring every nuance they have to offer.
On this tune, Alejandro and the band create an infectious, relaxed groove that simply invites me to let my imagination wander. Alejandro and I listen to each other very closely, and that mutual trust allows us to play freely, knowing that wherever one of us goes, the other will be right there.
JB: Osdalgia Lesmes beautifully sings “Dos Gardenias” and “Esta Tarde Vi Llover.” Tell us what you musically appreciate about her vocals.
RBH: Everything; her sound is beautiful, her phrasing is sophisticated, and emotionally she is completely convincing. You believe every word she sings because she connects with the music honestly and deeply. This repertoire is one of her great strengths, and we were very fortunate that she agreed to record with us. She is the real thing.
JB: What do you appreciate most about your rhythm section on the album—bassist Pedro Gutiérrez, percussionist Octavio Rivera, and drummer Ruy López-Nussa?
RBH: This rhythm section is a dream team. They swing incredibly hard, yet they’re never overbearing. The groove is deep and solid, while each musician has tremendous freedom within it. Each player carries the rhythm independently, allowing the entire band to move and breathe freely without ever losing the groove. It was an absolute joy to play with them.
JB: It looks like you play a Gibson L-5 guitar. Tell us why it is such a functional guitar for you.
RBH: Actually, I play a Gibson Johnny Smith. I love this guitar. It has a beautiful acoustic sound, and I never practice with an amp. Whether I’m performing live or recording, I always try to preserve that natural acoustic quality. It’s the sound I hear in my head, and this guitar gives it to me.
JB: In a general sense, what was most refreshing about recording this music in Cuba with these Cuban musicians?
RBH: Cuba is an extraordinary place, and its music is unlike anything else in the world. The African roots of Cuban rhythm have been preserved for generations, and being there allows you to experience firsthand the source of so much of today’s music. The musicians are exceptional, and their dedication is deeply inspiring. They have endured many hardships that are completely beyond their control, yet their spirit remains strong. When it comes to music, they always bring generosity, joy, and heart.
JB: The album closes with two compositions by pianist Alejandro Falcón. What makes your musical relationship with Alejandro so special?
RBH: I feel incredibly fortunate to know Alejandro Falcón. He is a brilliant pianist, composer, arranger, and educator, and my life is much richer because of our friendship. His contribution is essential to this album. We recorded four of his compositions, and he also arranged the remaining repertoire. His music gave me the freedom to express myself naturally without ever feeling like an outsider.
Our shared love of jazz and our admiration for musicians such as Bud Powell, Thelonious Monk, and many others brought us together from the beginning. But what truly makes our musical relationship special is the mutual love, respect, and admiration we have for one another.
