Tzadik TZ8115

Boris Malkovsky is a Russian-trained Israeli master of the bayan (diatonic button accordion) and from the very first bars of this impressive album of bayan and string quartet, it is clear why Tzadik, the eclectic New York label set up by prolific composer and saxophonist John Zorn is a perfect home. In some ways the soundworld of this album is a direct continuation of Zorn’s most popular, and for some, best work – his Masada string trio and sextet recordings, where delicate Jewish-inspired melodies are teased out by exquisitely rendered, semi-improvised cello and violin lines over rock-solid double bass patterns. Boris Malkovsky, together with the Israel Contemporary String Quartet, takes on Masada’s mantle and pushes it further, with less of Zorn’s occasionally wilful disregard for his audience, and a palette of references from Piazzolla to romantic and modernist composers.

Luckily, the whole package comes with both an artistic intent and a lightness of touch that gives it the same accessibility that saw Masada gain such international success. First track ‘Introduction’ is typical of the mood: opening with a familiar klezmer doina – a modal improvisation over meaty ensemble chords – the track soon transforms itself, with a playful, skipping series of changes that echoes Satie and Ravel string quartets. ‘Danceable Sorrow’ is a masterclass of space – dissonant notes held over plucked strings introduce a lush piece with cinematic drama that is in no hurry to unfurl, and all the better for it. A rich, rewarding album.