Itai Kriss: Daybreak

JOJO RECORDS (RELEASED JUNE 27, 2025)

If Itai Kriss’ intent was to showcase the versality of the flute on Daybreak, he succeeded.
His sixth release covers everything from hard bop burners to Latin American grooves and ballads to Middle Eastern motifs. If his purpose was to demonstrate his virtuosity on flute, he succeeded. His playing is precise, crystal clear and well-articulated, especially on fleet upper register flurries. If his mission was to enhance his reputation as a composer, he succeeded. Except for “East of the Sun” and Horace Silver’s “No Smoking,” the remaining 10 tunes on Daybreak are Kriss originals. If he set out to create a format on which his supporting musicians could excel, he succeeded. Check out Adam Birnbaum’s solo on “East of the Sun,” guitarist’s Yotam Silberstein’s sensitive accompaniment on the duo performance of the Latin-inspired “O Jardim,” the interchanges between Kriss and trumpeter Benny Benack III on the soulful “Drivin’” and the gospel infused “Lemonade.” Sadly, Silberstein only appears on two tracks — the aforementioned “O Jardim” and the bossa “Belleza.” The same is true for Benack who takes a strong solo on “Drivin’” and punctuates Kriss’ lines on “Lemonade.” Bassist Luke Sellick and drummer Anthony Pinciotti demonstrate their versaility as they navigate their way through the various styles and moods on Daybreak. (The album also serves as a dedication to Pinciotti, who passed away shortly after the recording session.)
All in all, Daybreak is a technical success for Kriss and his crew. However, it lacks the emotional impact that is an equally, if not a more important element of jazz.

BOTTOM LINE: Flutist Itai Kriss delivers a CD rich in trills, swirls, shrills and virtuosic skills, but it lacks the emotional “thrills” of a great jazz recording. Fans of jazz flute may want to check out Daybreak, but I’ll wait for a more focused and cohesive follow-up release for Kriss and his band.