Sivan Arbel, Oneness Review

by Jeff Becker

Sivan Arbel, a critically acclaimed Israeli vocalist, composer, and arranger, returns with her newest release, Oneness. Known for her blend of rhythm, groove, scat improvisation, and movement, Arbel has captivated audiences at prestigious festivals like the Montreal Jazz Festival and iconic venues such as Lincoln Center and Nublu. Oneness marks the culmination of her decade-long journey in New York, offering listeners a recording that captures her exploration of unity through diversity. This album is inspired by her multicultural upbringing in Israel, and her decade of rich musical experiences in New York, all of which have informed her sound and message throughout Oneness.

At its core, Oneness is Arbel’s response to the divisions she perceives in society today. Through a transcendent symphony of musical expressions rooted in jazz and enriched by influences from Eastern and Western styles. This combination creates a musical narrative through the nine tracks that celebrate cultural and ideological differences while emphasizing the universal connections that bind humanity.

“Dreamland” (feat. Jay Gandhi) opens the album with the ethereal and mesmerizing arpeggio figure from pianist Nick Hetko, setting the stage with a sense of anticipation. Jay Gandhi’s bansuri flute then enters, accompanied by the subtle, rhythmic contributions of Evan Hyde on drums and Tripp Dudley on percussion, steadily building both energy and atmosphere for Sivan Arbel’s vocal entrance. Arbel’s vocals are pure, crystalline in tone, and deeply expressive in emotion, blending seamlessly into the evolving textures of the composition. The piece moves fluidly through multiple feels and dynamics, creating a rich tapestry of sound. One standout moment is the interlude between Arbel’s voice and Gandhi’s flute, a section that captures the dream-like interplay between the human voice and the ethereal quality of the flute.

The lyrics add an introspective depth, exploring themes of dreams, the soul, and the search for meaning in the spaces between thoughts: “Every night the river in my dream sways differently / Sometimes I swim alone / Sometimes a friend joins me…” The lyrical imagery and the fluid musical arrangement blur the line between reality and the subconscious, inviting listeners to immerse themselves in an ever-shifting musical journey.

“Black Feet” presents an intriguing blend of modern jazz and Indian classical music. The feel of the track is established by Sam Weber’s full acoustic bass, Hyde’s supportive drumming, and Hetko’s colorful piano accompaniment. The conversation between Hetko’s piano figures and Weber’s bass lines adds a dynamic foundation for Arbel’s expressive and creative vocal lines. Later in the form, elements of Afro-Cuban rhythms emerge, giving the developing composition a fresh, new sound. Arbel’s vocal range will impress you as she navigates her vocal tessitura with ease and fluidity, exploring the melody with agility and emotional nuance. Her influences from Arabic and Indian classical music are evident in the embellishments of the melody and her unique approach to chord tones, adding depth and authenticity to the track. Tripp Dudley’s percussion further enriches the piece with multiple rhythmic textures and vibrant colors, contributing to the track’s overall lively atmosphere.

“Black Feet” is an Arbel original that celebrates the importance of reconnecting with our inner child. Arbel reflects on the way adulthood often dulls our sense of wonder, and this track calls us to let go and view the world through fresh, unburdened eyes. The lyrics encapsulate this sentiment: “I used to know a young shoeless girl / She went off running in the wild, black feet / Born with the purest soul and shining eyes / Always rolling in the sand / Always laughing…” The lyrics, combined with the rhythmic energy and Arbel’s evocative vocal performance, invite the listener to remember the carefree joy of youth and the beauty of rediscovering that spirit. The track serves as a joyful reminder of the importance of reconnecting with our inner child—a carefree spirit conveyed through Arbel’s dynamic vocal delivery and rhythmic ingenuity.

“Second Floor Beloved,” sung in Hebrew, is one of the most intimate moments on the album. “Second Floor Beloved” tells the story of a homeless man who finds solace in fantasies of a loved one on the second floor. Set against the backdrop of the Tel Aviv boardwalk, this track weaves together a catchy melody with lyrics of emotional depth, providing listeners with a vivid glimpse into Arbel’s homeland and personal narrative. The delicate arrangement, combined with Arbel’s evocative vocal performance.

“Everybody Wants to Rule the World” shows Arbel’s vocal interpretation of the iconic Tears for Fears song, offering a refreshing take on this classic hit. By infusing the track with soulful jazz elements, Arbel highlights themes of power and ambition through a new lens, transforming the familiar melody into something uniquely her own. Her vocal phrasing and harmonic flair breathe new life into the song, making it a standout interpretation that retains the essence of the original while bringing forth new perspectives.

“Oneness,” the title track, embodies the album’s overarching theme of unity. Featuring rich polyrhythms, lush harmonies, and vocal contributions from Aubrey Johnson and Daniel Fresco, “Oneness” encapsulates Arbel’s message of cultural connection and togetherness. The intricate interplay between the rhythm section and vocal harmonies creates a sense of cohesion and warmth, reinforcing the idea that despite our differences, we are all part of the same fabric.

Arbel employs an eclectic array of instruments throughout Oneness, which adds depth to her exploration of different cultures. Jay Gandhi’s bansuri flute introduces an ethereal quality that juxtaposes beautifully against the Western jazz elements, offering a true East-meets-West experience. Tripp Dudley’s percussion adds a lively texture that grounds the music in rhythmic authenticity.

Arbel’s vocal range and expressions are on full display in Oneness. Her scatting abilities shine on tracks like “Black Feet,” where her voice becomes an instrument, playfully dancing around the rhythmic core of the piece. She utilizes dynamic contrasts effectively, moving effortlessly between powerful crescendos and intimate whispers to evoke a wide spectrum of emotions.

The rhythmic style found in Oneness is one of its defining features. Tracks like “Black Feet” and “Yin Yang” highlight the collaborative chemistry between percussionist Tripp Dudley and drummer Evan Hyde, who together establish intricate polyrhythms that keep the listener engaged. The use of shifting time signatures and syncopated grooves adds a layer of unpredictability and excitement to the album.

Each of the nine tracks offers rich orchestrations that blend traditional jazz with influences from Indian classical music, Middle Eastern folk, and Western jazz harmonies. Each is meticulously layered by the ensemble, with the instrumentation carefully chosen to enhance the thematic and emotional elements of the music. The interplay between different ensemble members creates a rich, immersive texture.

Growing up in Israel, Arbel was immersed in a multicultural environment that has shaped her music. “Second Floor Beloved” and “Black Feet” exemplify how her cultural roots influence her compositions, blending Israeli and Middle Eastern motifs with jazz elements in a way that feels authentic and innovative. The collaborative chemistry between Arbel and her ensemble was obvious after a week-long residency at Avaloch Farm, which allowed them to hone their sound and develop a deeper understanding of each other’s musical instincts. This synergy is evident in “Yin Yang,” where the interplay between the musicians adds to the theme of balance and duality.

The central message of Oneness is the celebration of unity through diversity. Arbel’s compositions invite listeners to embrace cultural differences and recognize the shared humanity that connects us all. “Oneness” and “Let Go” embody this ideal, encouraging empathy and connection through their lyrics and musical arrangements. Central to the success of her message is Arbel’s ability to convey a wide range of emotions through her singing style. From the introspective musings of “The World of The End” to the playful exuberance of “Black Feet,” Arbel’s vocals convey a genuine expression of the human experience, offering listeners a journey that is universally relatable. “The Pit” delves into the emotional struggles of relationships, portraying vulnerability and hope with striking honesty.

Oneness is an album representing Arbel’s vocal jazz stylings, incorporating various cultural influences. The thematic coherence of Oneness—the idea that we are all connected despite our differences—resonates throughout each track, providing a sense of purpose and unity that ties the album together. Arbel’s adventurous arrangements and her ability to blend different musical traditions make Oneness an engaging listen by offering a rich, multi-layered experience that invites you to enjoy Arbel’s fluidity as a vocalist and arranger but also her deep commitment to fostering understanding and connection through music.