Omer Klein trio – Jazz à l’Ecuje – 10/16/2025

Le Compte-rendu du Jars Jase Jazz :

Report from Le Jars Jase Jazz:

Dialogue between Omer Klein (piano), Haggaï Cohen-Milo (double bass), with Amir Bresler subtly joining on drums

The music loops seamlessly. An unwavering swing propels the trio, with my right foot tapping instinctively. An excellent vibration resonates. This ensemble has been together for 12 years—tight, yet constantly inventive. The energy never drops; it’s always flowing. While Omer Klein takes the lead on piano, the balance within the group remains impeccable, engaging in a continuous three-way dialogue.

Their jazz incorporates Middle Eastern sonorities, a natural reflection of their Israeli roots. A finely supported bass solo, with a jagged, delicate tempo driven by the drummer’s brushes, punctuated by Klein’s piano. The music jumps incessantly—is it going to continue non-stop until the break? Soon, they return to the melodic, singing oriental theme from the start. A powerful wave from Klein’s piano swells, then everything calms as they revisit the initial theme.

Pause.

The evening begins with solo piano, followed by an intense dialogue between piano and bass. The drummer switches from brushes to sticks, delivering a high-energy performance—both sophisticated and playful. I tap my foot and nod along, immersed in effective, compelling music.

These three Israeli musicians now live in Germany; times have changed. They’ve come to France especially for this concert.

Returning to brushes, the bass is firmly anchored at the center of the stage, whipped into rhythm by the drummer’s brushes across drums, with piano punctuations—music that offers pure ear candy. Omer Klein claps his hands, and the audience joins in. Amir Bresler’s first solo with sticks unfolds—drums roll, cymbals resonate. Beautiful craftsmanship, fermenting and rising.

I recognize elements reminiscent of Daniel Humair’s cymbal work.

They played “Yemen,” then “Niggun” and “Song Number 3,” three original compositions by Klein (see the video link here).

A piano intro leads into the music’s unfolding, joined by bass and drums. Pure soul medicine. I gently sway in my seat, my neighbor behind not protesting. I vibrate with every pluck of the bass strings. The drummer and pianist orbit each other—exquisite.

Omer Klein suggests we stay for the second set, promising it will be even better—cleverly encouraging the audience.

Intermission

The first standard of the night strikes a more classical, calmer tone. I recognize the theme but not the title. Amir Bresler’s sticks craft a delicate, delightful rendition. Cohen-Milo’s bass glides softly in a finely chopped glissando, punctuated by the brushes and Klein’s accents. The trio revisits the theme.

Then it transitions directly into another tune, with tension building between piano and bass, then piano and drums. The ensemble is flexible, under tension but in control—swinging hard. An intense dialogue ensues between the drummer and pianist, a positive tension that sharpens the scene. Each side delivers impactful accents. At the center, Cohen-Milo relaxes briefly before re-engaging. The tension gradually escalates as Bresler’s solo builds, driven by the pair in ostinato—swift, sharp, luminous.

They performed Benny Golson’s “Along Came Betty,” a modern jazz standard from 1958 written for Art Blakey’s Jazz Messengers… “That Betty must have been some character,” quips Klein. Followed by Klein’s “Shake It.”

A ballad unfolds. Bresler’s mallets introduce a tempo that unravels and refines itself. A nostalgic duo of bass and piano—warm, heartfelt. The drummer joins in to extend the mood with brushes.

Klein’s piano solo opens the next piece—light, rapid, repetitive. Bresler responds with sticks, the melody bouncing joyfully across the stage. Cohen-Milo arrives, settling in. I find myself nodding and tapping, just like my neighbors. The charm works. The bass adds its pulsation in the center—deeply working the strings. The music balances beautifully. The audience’s applause matches the rhythm. The tension remains high; the experience is electric.

ENCORE

Note: Sir T and Lady N, my neighbors at Duc des Lombards during the Jazz sur Seine showcase night on October 14, came to this concert upon my recommendation. They loved it and thanked me warmly. Their last night in Paris ends on a high note.

Line Up: