The CNY Jazz Orchestra, If a White Horse from Jerusalem Review

by Stamish Malcuss

The Central New York Jazz Orchestra’s latest release, If a White Horse from Jerusalem, offers a grand, cross-cultural jazz symphony that intertwines Jewish, Arabic, and modern jazz traditions in a suite composed by Bret Zvacek. Featuring the masterful soprano saxophonist David Liebman, this album is a profound artistic statement born from a vision of peace, unity, and musical excellence. Rooted in a 2011 commission by Syracuse University’s Humanities Center, the project’s centerpiece is a four-movement suite that exemplifies music’s ability to transcend cultural divides. The album’s additional four tracks showcase The CNY Jazz Orchestra’s versatility, traversing various jazz styles with finesse and depth.

The opening movement, “Ahava Raba,” introduces the suite with a Klezmer-inspired flare. This movement draws from the Ahava Raba scale, deeply rooted in the Jewish tradition, and features clarinet lines that immediately evoke the Klezmer aesthetic. The rhythm accelerates in a traditional hora dance fashion, and one can almost feel the communal embrace as the tempo rises, creating a celebration of life and endurance. The orchestra’s brass and woodwinds pass the melody between the sections as a well-written counterpoint creates a conversation. The movement’s exuberant fanfare gives way to an improvised feature by Liebman, whose soprano saxophone channels the melodic gestures of a cantor, summoning ancient spirits into a modern context with his elegant lines and flowing rhythm.

From the heights of Jewish musical tradition, we are taken to the heart of Arabic music with Movement II, “Allahu Allahu/Maqam Awj Ara.” This piece is built on the intricate scales of the Arabic maqam, with a muted trombone signaling the Islamic musical voice. Here, Zvacek’s arrangement bridges centuries of tradition, seamlessly weaving contemporary jazz elements with ancient, modal melodies. Liebman’s soprano soars above the maqam, responding to the ensemble’s repeated calls, creating a meditative space where the sacred meets the secular. This movement speaks to the shared spiritual ancestry of Jewish and Arabic music while maintaining their individual identities and colored in the rich tradition of jazz.

Movement III, “Ki Lo Noeh/Maqam Saba,” is where the Jewish and Arabic traditions intertwine in an energetic performance that will inspire and entertain. The Hebrew hymn, “Ki Lo Noeh,” alternates with the Arabic Maqam Saba, resulting in a powerful musical expression. The moments of dissonance express the friction of unresolved tensions. As the clarinet asserts the Jewish voice, the tenor saxophone emerges with the Arabic perspective, each instrument representing its respective cultural tradition. A musical conversation follows, where neither side gives way entirely, but through improvisation and mutual respect, they find common ground. This movement embodies the suite’s more profound message: while cultural differences can create dissonance, harmony is possible through dialogue and understanding. The counterpoint in this selection is outstanding in its writing and performance.

Without pause, the final movement, “Present Tense,” charges forward, blending the themes of the previous movements into a modern jazz big band adventure. The ensemble revisits the motifs of the Ahava Raba scale and the Maqam Awj Ara, this time with a fresh, contemporary twist. Liebman shines here once more, his soprano saxophone navigating the rich harmonies of the orchestra with relaxed solo lines fashioned with wisdom and emotional intensity. The piece culminates in a cacophonous yet cathartic climax, with the final notes belonging to the clarinet and muted trombone—symbolizing the ongoing conversation between the Jewish and Islamic voices.

While the suite is the centerpiece, the album’s additional tracks continue the cultural exchange theme. Leonard Bernstein’s “Somewhere,” expertly arranged by Mike Dubaniewicz, is given a poignant treatment with Charles Pillow’s alto saxophone delivering a warm, heartfelt interpretation. The orchestra’s performance brings out the beauty of the composition’s melody. The energy and stylish performance continue the flow of the album’s universal search for peace and belonging.

“Starmaker,” composed by Lou Marini and arranged by Paul Merrill, offers a developing musical setting from the various themes of the suite. The tight orchestration and bright brass lines shimmer, providing a moment of uplift and impressive ensemble playing. The solo features are excellent and show the gifted musicians this ensemble contains. Following this, “Hip-Hop Scuffle,” composed by John Jeanneret, injects a playful, bop-inspired energy into the mix. With its syncopated rhythms and sharp brass interjections, it’s a modern jazz romp that showcases The CNY Jazz Orchestra’s versatility.

Closing the album is Richard Rodgers and Lorenz Hart’s “Where or When,” a swinging arranged by Rick Montalbano. The orchestra’s lush harmonies wrap around this standard melody with the sounds of the great Big Band era. Each ensemble section plays with energy, clean articulation, and phrasing, making the counterpoint and emphasizing hits a powerful persuader to get the foot-a-tapping. The rhythm section of Larry Luttinger on drums, Spencer Phillips on bass, and Montalbano on piano have an incredible chemistry.

If a White Horse from Jerusalem is a unique album, David Liebman’s contributions cannot be overstated. His soprano saxophone adds an elegant guiding voice through Zvacek’s outstanding four-movement suite. The CNY Jazz Orchestra, under the direction of Zvacek, shows its many skills and musicianship through the remaining selections. Each performance on the album is a testament to the power of collective artistry.

In a world where divisions often seem insurmountable, If a White Horse from Jerusalem reminds us that we can find a path forward through dialogue, creativity, and respect for each other’s traditions. This album, steeped in Jewish and Arabic musical heritage, is a triumph step forward on that path.