MUSIC REVIEW BY Thierry De Clemensat, Paris-Move
From the very first notes of All In, given the speed at which the guitarist fires off notes in every direction, one feels tempted to dub him "the man of a thousand fingers." Gil Livini draws the listener into a jazz idiom that seems unmistakably rooted in a distant past, yet reshaped by resolutely contemporary harmonic forms. Carried by organ textures and a muscularly present drum kit, hard bop lies at the heart of the album. Track after track, Livini patiently weaves his web, unfolding a narrative that goes well beyond autobiography. What emerges instead is an international vision, as if the guitarist were tuning in to the very pulse of the world.
With his quartet, Livini blurs stylistic and temporal boundaries through an evident musical alchemy. Across ten tracks—seven original compositions, two jazz standards, and one blues—he embraces tradition while actively reshaping it. His playing is lyrical and expressive, driven by a palpable sense of curiosity and joy. This is a jazz guitar that moves forward without severing its roots: modern in attitude, yet deeply respectful of its soul.
Livini first appeared on the radar with Past Bedtime Swing, released in 2023. An Israeli guitarist and singer, he is part of a vibrant and often underestimated musical ecosystem. Israel, for those who may not know, is home to a remarkably diverse scene spanning nearly every imaginable genre. Livini's approach here, however, is an unabashedly formal jazz, drawing generously on the energy of 1960s rock and classic swing. It has been a long time since a musician committed so fully to this hybrid terrain, and what is most striking is the sustained, rock-inspired energy that courses through almost every track. It never overwhelms the jazz vocabulary; on the contrary, it lends it urgency, propulsion, and attitude.
It would nonetheless be reductive to confine Gil Livini to a single stylistic label. A longtime accompanist to many artists, he displays an almost instinctive adaptability across different musical languages. All In rewards attentive, sustained listening: its influences are numerous, layered, and rarely obvious at first glance. Over time, however, the outlines come into focus. One hears echoes of classic hard bop guitar phrasing, traces of bluesy grit, flashes of rock swagger, and moments of melodic restraint that reveal a deep familiarity with vocal phrasing.
What makes All In compelling is not merely the abundant technical virtuosity, but the sense of dialogue that runs throughout the album. Livini doesn't simply take solos; he responds, reacts, and builds. The quartet functions like a living organism, jostling for space. This lends the record an almost cinematic dimension, making it feel less like a simple collection of tracks than a coherent statement in a fully embraced style.
For listeners discovering contemporary jazz guitar, All In is not an entry point. For seasoned jazz aficionados, provided they are genuinely fond of very classic jazz without seeking excessive originality, it will resonate more readily. Above all, this is music that belongs in jazz clubs, with the potential even to get audiences dancing.
Even if it is not the style of jazz we personally favor, it is representative of a significant segment of the jazz audience worldwide, precisely because of its accessibility.
With his quartet, Livini blurs stylistic and temporal boundaries through an evident musical alchemy. Across ten tracks—seven original compositions, two jazz standards, and one blues—he embraces tradition while actively reshaping it. His playing is lyrical and expressive, driven by a palpable sense of curiosity and joy. This is a jazz guitar that moves forward without severing its roots: modern in attitude, yet deeply respectful of its soul.
Livini first appeared on the radar with Past Bedtime Swing, released in 2023. An Israeli guitarist and singer, he is part of a vibrant and often underestimated musical ecosystem. Israel, for those who may not know, is home to a remarkably diverse scene spanning nearly every imaginable genre. Livini's approach here, however, is an unabashedly formal jazz, drawing generously on the energy of 1960s rock and classic swing. It has been a long time since a musician committed so fully to this hybrid terrain, and what is most striking is the sustained, rock-inspired energy that courses through almost every track. It never overwhelms the jazz vocabulary; on the contrary, it lends it urgency, propulsion, and attitude.
It would nonetheless be reductive to confine Gil Livini to a single stylistic label. A longtime accompanist to many artists, he displays an almost instinctive adaptability across different musical languages. All In rewards attentive, sustained listening: its influences are numerous, layered, and rarely obvious at first glance. Over time, however, the outlines come into focus. One hears echoes of classic hard bop guitar phrasing, traces of bluesy grit, flashes of rock swagger, and moments of melodic restraint that reveal a deep familiarity with vocal phrasing.
What makes All In compelling is not merely the abundant technical virtuosity, but the sense of dialogue that runs throughout the album. Livini doesn't simply take solos; he responds, reacts, and builds. The quartet functions like a living organism, jostling for space. This lends the record an almost cinematic dimension, making it feel less like a simple collection of tracks than a coherent statement in a fully embraced style.
For listeners discovering contemporary jazz guitar, All In is not an entry point. For seasoned jazz aficionados, provided they are genuinely fond of very classic jazz without seeking excessive originality, it will resonate more readily. Above all, this is music that belongs in jazz clubs, with the potential even to get audiences dancing.
Even if it is not the style of jazz we personally favor, it is representative of a significant segment of the jazz audience worldwide, precisely because of its accessibility.