Cadence Magazine
May 2007

Gilad Hekselman / SplitLife
Smalls 15

Ticks me off, it does, that some people are so damned talented at so tender an age. Move over Scott LaFaro, Charlie Christian, and Jaco Pastorius for Gilad Hekselman. This Israeli-born New York-based guitarist has, on his debut as a leader, demonstrated to any discerning guitar-centric listener that there is indeed room for another mover and shaker. I don’t think I can overestimate the 23-year old’s (his age when this was recorded) talents: His hard-earned technique, his finesse and, most of all, his ability to express emotional force in a quiet setting.

Listening to this live club date, recorded at the Fat Cat in New York City, I was reminded of Jim Hall, Mick Goodrick, and Jim Raney, in terms of thematic, cerebral design. But Hekselman is a more promising composer, and there’s something about his unpretentious earnestness that sets him apart from anyone else who might come to mind. Right off it’s clear he plays softly but carries a big stick. His “Purim” is appropriately optimistic but tempered with caution, displaying as it does a formidable, restrained technique that signals an intellect of rapid ideas and fertile imagination. His treatment of the standard “My Ideal” is also ample proof this young man is in the business of making beautiful music.

In terms of technical ability one should note his contrapuntal lines incorporated into the aforementioned ballad, and his flawless, liquid delivery and clean, mid-range tone. In other words, this unassuming upstart seems to have it all. Bassist Joe Martin, known for his work with guitarist Kurt Rosenwinkel, is there when you need him and then some. Drummer Ari Hoenig is a bit of a marvel in his own right, what with his telescopic brush and stick patterns that make up for any shortage of musical personnel. Between the two of them they’re a mini-orchestra of inspiration and support. The title of the CD, “Splitlife,” could well imply the two basic moods expressed within this pindrop- attentive club setting. The first half is more driving and riveting, witness Ornette Coleman’s “When Will The Blues Leave.” From there this two night engagement is more subdued in its repertoire and approach, but no less captivating. So there you have it, a mature, young man with the best intentions and a warm heart big enough to slay any giant on the horizon. Who said nice guys finish last?

--Charles Winokoor