Yosef Gutman Levitt: Shir Yedidot
Soul Song Records

A guiding ethos of Soul Song Records, the label founded by Jerusalem bassist Yosef Gutman Levitt, is to create music whose expression's authentic, genuine, intimate, and from the soul. While he's collaborated with a number of different artists, be it guitarist Gilad Hekselman for Why Ten? or multi-instrumentalist Peter Broderick for River of Eden, an element common to all his projects is music that while wholly a product of today builds on Jewish traditions from thousands of years ago. Levitt will often integrate centuries-old Chabad nigunim (Hasidic wordless melodies) into his compositions, a recording of greater spiritual resonance the result.

His latest, Shir Yedidot (Songs of Friendship), is aptly titled for an approach that's more community-oriented than focused on an individual or two. Joining the leader, who plays upright bass and five-string acoustic bass guitar, are pianist Yonathan Avishai, cellist Yoed Nir, percussionist Yishai Afterman, and Gilad Ronen on reeds and Yagel Harush kamancheh, oud, and ney. Amir Bressler adds beats to a select number of pieces, and Ronen's also credited as the arranger and co-producer of the project.

Levitt's reached a stage of maturity and confidence where he feels comfortable letting the music, in his words, “find its own new space” and in concert with his partners allows it to do exactly that. While the material is often contemplative, there's nevertheless an urgency to the performances; they don't meander, in other words, and nor do they lack purpose. With acclaimed players involved, the performances exude finesse and sensitivity. The incorporation of Harush's kamancheh (Persian bowed instrument), oud (fretless lute-type instrument), and ney (end-blown wood flute) adds much to the evocative sound world carefully crafted.

The character of the album is conveyed by “Ya Lach Nafshi” when the musicians build upon a traditional Moroccan melody to generate a poetic expression of textural richness and grace. “Shir Yedidut 117” likewise arrests for its animated rhythmic thrust and the alluring sinuosity of its string melodies. Faster paced pieces like it and “Burning Fire” capture the ensemble executing splendidly together. “Nigun Simcha” adds a different twist in animating its radiant themes with a locomotive pulse. Sunny too is “Shir Yedidut 259,” which exudes a touching innocence and nostalgia in its folk melodies.

Perhaps more representative of Shir Yedidot, however, is the Chabad nigunim “Nigun Gaaguim” for the refined delicacy of its introspective probing and lyrical flow. “Azamer Bishvachin” similarly entrances for the dignified beauty of its hymnal tone. Enhancing the potency of “The Shepherd” is a subtle, gospel-like flavour that amplifies the music's yearning quality; the folk-tinged lilt that emerges to buoy the performance halfway through also bolsters the tune's appeal.

Every contributor is critical to the music's impact and effect, and the timbres produced by kamancheh, ney, clarinet, cello, piano, bass, and percussion make for a richly textured presentation. Playing with humility, Levitt is clearly content to be an ensemble member rather than the dominant soloist. Speaking about his aspirations for Soul Song, the bassist states that he wants to create music that's intimate and honest and delivered with sincerity and care. As he's done with the albums before it, all such goals are reached on Shir Yedidot, and the musicians he recruited to partner with him clearly share his values and vision.

August 2025