Ido Bukelman - Acoustic Guitar, Banjo, Percussion.
Solo works – no overdubs.


Full track listing:

1.
Drop 00:31
2.
I Can Hear The Room's Choir 04:06
3.
Man With Just a Handle Blues 04:00
4.
Love Song 06:16
5.
With Birds 04:24
6.
The Door #1 03:16
7.
The Door #2 02:55
8.
The Door #3 01:35
9.
(The R. C. Singing) Over The Tall Flowers 03:45
10.
Red Door 04:31
11.
The Room’s journey (End) 05:37

By Adam Baruch, Jazzis:

This is the second solo recording by Israeli guitarist / composer Ido Bukelman, one of the most prolific musicians on the local Free Jazz / Improvised Music scene. In contrast to his ensemble recordings or those with the EFT trio, where he mostly plays electric guitar, on his solo albums Bukelman opts for the acoustic guitar, adding also banjo and some percussion on this one. Of the eleven tracks on this album, all composed by him, the last six are connected into a suite, which gives the album its title. In comparison to his previous solo album ("Solo"), recorded just a few months earlier, this album is much more relaxed and "well behaved", with clear melodic content popping out between and behind the freely improvised passages. Of course this is still very much Improvised Music, very personal and complex, which presents quite a challenge to the listener, but the overall effect of this album is definitely less stressful and estranging. With four albums recorded and released in less than a year Bukelman emerges as a major talent of the local scene, one that deserves to be followed carefully, open-mindedly and openheartedly as a source of some serious musical experiences.

Ido Bukelman "The Door"
By Stato Pubblicato, All About Jazz Italia:

"...A real stream of consciousness that draws from the languages of the avant-garde and the emotions of the soul. An excursion in the territories of thought and poetry, in perfect solitude, with no regrets."

In questo album Bukelman è da solo alle prese con la sua chitarra acustica, il banjo e piccole percussioni che riesce ad attivare mentre suona i due strumenti a corde, visto che il tutto è registrato in un unica presa di suono, senza sovraincisioni. Un vero e proprio stream of consciousness che pesca dai linguaggi delle avanguardie e dalle emozioni dell'anima. Una escursione nei territori del pensiero e della poesia, in perfetta solitudine, senza rimpianti.


Ido Bukelman: Solo Acoustic Guitar Recordings
By EYAL HAREUVENI, Allaboutjazz, Published: November 12, 2011

Israeli guitarist Ido Bukelman has developed a highly idiosyncratic style since releasing his first solo album, City Tail (OutNow, 2009). At that time, he tended to reference saxophonist Ornette Coleman's harmolidics, guitarist Pat Metheny's clean melodic lines and guitarist Jimi Hendrix's pyrotechnics.

After working closely with Israreli sax players Albert Beger and Yoni Kertzmer, Bukelman began to focus on solo acoustic guitar, now influenced by experimental, conceptual guitarists such Derek Bailey and Bill Orcutt. These two solo recordings track his development as a mature musician and improviser.

This album was inspired by the poems of Israeli poet Israel Eliraz and dedicated to his partner. Bukelman now plays acoustic guitar, banjo and a few percussion instruments such as bells, that he can operate while playing the guitar. The 11 improvisations are looser but also more concise than on the previous album, seeking a deeper, resonant ambience that expands the conventional sonic possibilities of a six-string guitar.

On "Man With Just A Handle Blues," Bukelman's playing is a stream of intuitive improvisation that finds a cohesive structure towards the end. "Love Song" is a more meditative improvisation, as if Bukelman is looking for the right sound to reflect his emotions. The title composition-improvisation, in three parts, unfolds patiently and gently, and through its basic skeletal structure Bukelman explores beautiful harmonic possibilities. "(The R.C. Singing) Over The Tall Flowers" further explores poetic, emotional playing.


By Noël Tachet;

Un maître de la suggestion. Une connaissance assurée de la guitare impro, blues, folk, etc… une dimension proprement guitaristique, un sens de la mise en scène, des plans sonores, beaucoup d’espace entre des sons pourtant pressés, une construction musicale dans l’instant de la sonorité et dans le développement dramatique, qui appartient en propre à la guitare comme reine de l’accompagnement. Une suggestion mélodique et harmonique prégnante, la capacité de mener simultanément plusieurs lignes, une mutation de la mélodie par le timbre, le son (timbre : ancien sens, mélodie réutilisée), un équilibre son/mélodie étonnant, un usage du temps extrêmement fort, entre l’instant sonore et le développement.
Un usage abondant de sortes d’arpèges mutants, pas si loin du banjo 5 cordes (présent par moments), mais mené un pas plus loin : les sons semblent venir d’ailleurs, comme des field recordings mais ils n’en sont pas, le monde est là, la musique est là.
Le disque est construit en deux parties, cinq pièces introductrices conduisent à The door, une suite en six parties assez majestueuses, inspirée d’un poème d’Israel Eliraz dont deux vers sont cités sur la pochette : « I know that music has the answer and one day it will be given » (je sais que la musique a la réponse et un jour elle sera donnée »)

By Par Luc Bouquet:

Le message est clair : l’harmonie doit être renversée, brisée, non plus interrogée mais anéantie. Pour Ido Bukelman, guitariste jadis influencé par Hendrix et aujourd’hui par la poésie d’Israël Eliraz, le salut passe et s’incruste dans la dissonance.

L’accord est toujours maltraitant. Les cordes sont frottées à même le nerf, battues et ballotées jusqu’au trépas. Nous sommes séduits par ce solo singulier, par cette envie de faire fondre les vanités. On aime cette Love Song empoisonnée à jamais et on souscrit, sans réserve aucune, à ce fiel déversé, ici, sans peur(s) et sans reproche(s).