Shai Jaschek: Portrait

JAZZ BIRD RECORDS  (RELEASED OCTOBER 9, 2026)

Remember the British Invasion of the 1960s, when musicians from England transformed rock and roll in America? Beginning in the 1990s, jazz experienced its own influx of musicians from Israel. While they may not have transformed jazz in America, they certainly added a new dimension to it. Israeli native and Rimon School of Music graduate Shai Jaschek is part of that continuing invasion. On his second CD, Portrait, Jaschek showcases a warm, distinctive hollow-body guitar sound and a knack for composing melodic themes filled with rhythmic surprises. Bassist Joe Martin and drummer Kush Abadey join Jaschek in exploring a diverse collection of original compositions, ranging from the shadowy groove of “Birmingham After Dark” to the loose, playful “Stomping with Pitzi.” The trio handles beautifully written and performed ballads such as “How Much Longer” and “Mayflower,” along with catchy, folk-like melodies including “When the Sun Came Out” and “Poem.” More contemporary-sounding pieces such as “June 27th” and “Hymn for Peace” round out the album’s musical range. Whatever the mood, Jaschek’s playing remains clean, soulful and edgy. Regarding his trio, Jaschek explains, “I thought Kush and Joe would be a great fit to the music.” They certainly are. Their sympathetic accompaniment and inventive solos contribute to the album’s overall freshness. Guitar aficionados will enjoy tracing Jaschek’s influences, which range from Wes Montgomery to fellow Israeli guitarist Gilad Hekselman. Others can simply appreciate the guitarist’s individual voice, as well as his thoughtful and melodic compositions. Jaschek is a welcome addition to the likes of clarinetist Anat Cohen, bassist Avishai Cohen and guitarist Roni Ben-Hur and others who represent jazz’s Israeli invasion.

Bottom Line: Israeli guitarist Shai Jaschek avoids standards and 12-bar blues on Portrait, instead focusing on well-crafted melodic themes rich in rhythmic surprises. With bassist Joe Martin and drummer Kush Abadey providing strong support, Jaschek demonstrates both a distinctive guitar voice and a considerable talent for composition.

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Welcome to Papatamus Redux

I started reading Cadence in the early 1980s. Since that time, I have come to respect editor and jazz critic Robert Rusch for his intelligent, succinct and unbiased reviews. Over the past twenty years, it has been my pleasure to get to know Robert and his family, making frequent trips from our home in Iowa to New York’s North Country. Several years ago, I was honored to be asked to help edit Robert’s Papatamus column.
I was equally honored to be asked by his family to keep Robert’s legacy of intelligent, succinct and unbiased jazz reviews alive with Papatamus Redux. You can view older editions of Papatamus at papatamus.com.