“Mayim Rabim” (which translates into “Great Water”) features five vocalists, cello, clarinet, piano and drums. Ms. Gottlieb, solo voice and leader, based her song cycle on a biblical source: “Song of Songs,” an ancient collection of beautiful, erotic poetry. There are hints of modern jazz, with the use of quarter-tones and improvisation pervading the basic Israeli sounds of most tracks.

The stunning Gottlieb possesses a powerful voice, using it with authority, soaring over the beautifully voiced chorus of four. Proving that a soft voice can be just as effective, one of the highlights of the album, ironically, comes from the mellifluous solo voice of Ayelet’s brother, Michael Gottlieb who croons “Min Ha’midbar” over the tight clusters of the choir as cellist Rufus Cappadoccia weaves mournful obligati. Another highlight finds Ayelet negotiating the tricky intervals of “Patahti,” a cappella, until pianist Anat Fort enters, comping bitonally. “Tapuah” elicits some rhythmical heavy breathing, which is used correctly, considering the suggestive words from “Song of Solomon.” The appogiatura-filled, a cappella intro by Ayelet on the title track leads to a passionate section of 3-against-4 highlighted not only by Ms. Gottlieb, but by clarinetist Michael Winograd wailing (not in the swinging sense, but Klezmer-like) over the entire ensemble that sounds as if there can be a genre considered “kosher blues.”

-Harvey Siders
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Mayim Rabim is replete with compositions that are able to stand on their own as superb improvisational vehicles for a fine eclectic group of musicians—Israeli-born vocalist Ayelet Rose Gottlieb, pianist Anat Fort, clarinetist Michael Winograd (whose development into a world class klezmer-jazz artist continues to impress), drummer Take Toriyama, cellist Rufus Cappadocia, and four additional vocalists—to deliver eleven sensual pieces. Lyrically, these works draw on material from the Bible’s most erotic literature, Shir Hashirim, or Song of Songs, each song being a celebration of love with an emphasis on its passion.

Like love itself, many emotions weave their way through these pieces. An initial wonderment turns to exhilaration, as beautifully stated on “Libavtini (Captivated my heart),” where the clarinet joyously sings above a vocal chorus. Other emotional moments include the frank percussive sensuality of “Pithi Li (Open Up),” the stark heartache portrayed by Gottlieb’s textural vocals and Fort’s piano on “Patahti (I Opened),” and love’s all-consuming enormity expressed by “Mayim Rabim (Great Waters).”

Singing primarily in Hebrew, Gottlieb both soars vocally and uses her voice as equal instrumental partner. She's most impressive, however, with her ability to convey a line with a devotion and phrasing that powerfully straddles jazz, cantorial music and the avant garde. Her brother Michael contributes the perfect male vocal balance on selected cuts, the Persian trope chanting of Galeet Dardashti beautifully blends with the overall erotic exotica feel, and background vocalists Deanna Neil and Michael Cohen add to the powerful breadth of the sound. When viewed holistically, Mayim Rabim succeeds both musically and conceptually. One of this year’s finest vocal releases.       By Elliott Simon
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