Bassist Yosef Gutman Levitt Ventures Inspired Collaboration With Yonathan Avishai On The Rapturously Melodic ‘Shir Yedidot’

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data-original-title=”” title=””>Yonathan Avishai, ECM recording artist, with a distinct sensitivity and improvisational finesse as he merges Western and Yemenite-inspired tonalities, creating patterns that feel both fresh and rooted. Yagel Haroush’s kamancheh (Persian bowed instrument) and ney (end-blown wood flute) provide the authentic thread that runs through the album. Yishai Afterman’s percussion work shapes the rhythmic landscape, while Amir Bressler adds his unique beats on select pieces. Gilad Ronen, Levitt’s frequent creative partner and coproducer, appears on woodwinds and crafted the sparkling arrangements.

A religiously observant Jew, Levitt has endowed all his music with a sense of spiritual searching and depth, whether he is interpreting Hasidic nigunim on such earlier releases as Ashreinu and Chabad Al Hazman or exploring original music with a jazz trio on Upside Down Mountain and The World and Its People. “All of my albums begin with a notion of spiritual development, a connection to God and those around me, and how to translate the various things that I’m working on, internally and externally, into melody and music.”

Levitt imbues Shir Yedidot with the solid, earthy sound of upright bass as well as his unique five-string acoustic bass guitar (built by Harvey Citron, Steve Swallow’s luthier), on which he’s developed a signature voice: a warm, singing, bell-like high-register tone with a focus on simple, direct, expressive melodies.

The album’s lead single, “Ya Lach Nafshi,” releasing June 6, captures the essence of this thoughtful project. This traditional Moroccan melody unfolds with quiet confidence, revealing unexpected harmonic shifts that give the piece its distinctive character. Levitt’s bass guitar work forms a solid foundation, subtle yet essential, while Harush’s kamancheh, ney, and oud contribute an authentic textural depth. Avishai’s piano lines dance supportively throughout, complemented by Afterman’s delicate cymbal work that guides rather than dominates the rhythm.

“Azamer Bishvachin” from the Breslov tradition is handled with care and respect, allowing the melody to breathe. Similarly, the Chabad nigunim “Nigun Gaaguim” and “Vehacoahim” are presented as introspective ballads—the ensemble finding space within these traditional forms for personal expression while honoring their devotional origins. There’s an unhurried quality to these interpretations that invites contemplation.

“Burning Fire,” one of Levitt’s original compositions, provides welcome contrast with its faster pace and tight unison lines. The ensemble shows its versatility here, moving from structured passages into a more open exploration of another of Levitt’s characteristically thoughtful melodies.

What connects these disparate pieces is Levitt’s approach—neither forcing modernization upon traditional material nor treating it as a museum piece. The music on Shir Yedidot feels genuinely lived-in, the result of musicians who understand that these melodies, whether centuries old or newly composed, continue to speak to contemporary listeners when approached with sincerity and care.

Levitt launched the Soul Song label with a set of core principles and values in mind: “The goal is to create music, and to create a label that stimulates others to do the same—to make their soul song. To create music that’s intimate and honest, improvised, stripping away anything that’s not needed. That’s the work I want to do with the artists on this label—whether they’re Jewish or not is not important. What’s important is that the music is inspired by something higher. I want to work with artists who are interested in getting to that place.”