Since moving to New York in 2014, Israeli-Belgian harmonica player Yotam Ben-Or has established himself as one of the most exciting young artists on the scene there. He has built on the innovations of Toots Thielemans, Howard Levy, Gregoire Maret and other great exponents of the harmonica, developing a unique individual voice on the instrument and making a compelling case to be considered a major force in its small but mighty jazz lineage. His latest recording, Impermanence, released last month, is perhaps his strongest artistic statement to date. It features his core quartet alongside special guests Lars Danielsson and Esther Quansah.
Yotam Ben-Or’s journey began in Nataf, a small village located in the Jerusalem area. It was in these surroundings, at the age of 9, that his uncle helped to spark what has become a lifelong passion for music. He began with lessons on the piano, but after his uncle gifted him a harmonica, they quickly pivoted to that instrument when his affinity for it became apparent: “I fell in love with the harmonica and was practicing it often, even on car rides with my family – my sisters hated it!” He soon took up more formal studies at a youth music school, where a small group of contemporaries introduced him to jazz and improvisation. Understanding music, as he put it, ‘on a deeper level than just reading notes’, was what attracted a young Ben-Or to jazz and composing. It was all about mastering harmony and rhythm to be able to fluently express ideas while remaining present in the moment: “Improvising is like a challenging game, and I’m attracted to challenges.”
Though Ben-Or is now a highly accomplished New York-based artist with a multitude of acclaimed recordings and performances to his name, he has humbly remained a lifelong student since graduating from The New School in 2016. His particular passion for South and Central American melodies and rhythms has led him to frequently travel to countries in those regions, where he has studied with local masters. This is reflected greatly throughout Impermanence, especially in the opening track “Milonga Gris”, a composition by Argentinian-born virtuoso Carlos Aguirre. But what is equally apparent from the recording is how deeply he reveres the American jazz tradition, as well as European jazz innovations and Mediterranean influences.
One of the most fascinating developments to have come about from Ben-Or’s openness to learn is his relationship with fellow harmonica player Gregoire Maret – a legendary figure on the instrument – whom he considers an important mentor. He first heard the harmonica master on Cassandra Wilson’s recording of “I Want More” when he was 13 years old: “It completely blew my mind”, he recalls. A few years later, when Maret visited Israel to perform at Red Sea Jazz, he was finally able to meet his hero and subsequently take some lessons with him. After Ben-Or moved to New York in 2014, he became a regular patron at Maret’s gigs. Their relationship soon blossomed into that of a mentor and protégée, with the latter exposing the former to seminal recordings like “Birdlike” (Freddie Hubbard), and albums from Clifford Brown & Max Roach to East Broadway Run Down (Sonny Rollins). He shared some touching words about this time:
“Gregoire is one of the most important people in my life. I appreciate him so much on so many levels. He took the harmonica to another level, and his playing deepened my love for this instrument immensely. He taught me some of the most important things I know about music and in life in general.”
Another influential figure on the international jazz scene who was quick to recognise Ben-Or’s special abilities was veteran manager René Hess. They met at Festival da Jazz in St. Moritz, Switzerland, in 2022, where Ben-Or was performing with his band, and have been working together since: “René’s support means a lot to me.” Ben-Or’s composition “René”, featured on Impermanence, was his first composition after being asked to record this album by Hess, and its optimistic-sounding nature is a touching nod to the success of their partnership.
Ben-Or features several notable collaborators on the recording, in particular Alon Near (bass), with whom he has played since they were 18. Gabriel Chakarji (piano), like Ben-Or, also moved to NY in 2014. Chakarji was influential in encouraging him to start his own project at the time and, fittingly, contributes a composition called “Merengue” to the album. Alon Benjamini (drums) joined the group later, but is no less at home in their collective sound. Joining the quartet at the core of Impermanence are two special guests: Cellist Lars Danielsson, who they also first met at St. Moritz in 2022, joins the group for an exploration of the combined sounds of harmonica and cello on “Ballad for Daniel”; then, at the end of the set, Ivorian-born Esther Quansah provides her vocal stylings to “Trying”.
Impermanence, Yotam Ben-Or’s third studio album, may be the finest release in his young career so far. All 10 tracks, 8 of which are his original compositions, are truly memorable. But what is most apparent is the synergy between each of the musicians, how it has grown, and the exciting places it might go in future. As Ben-Or says himself: “I love all of these musicians deeply and am looking forward to making music with them for many more years.” This recording will, no doubt, leave us listeners looking forward to the same, but we should take the time to appreciate its triumphant release in the meantime.
Yotam Ben-Or’s Impermanence was released on 20th June 2025 through Adhyâropa Records. It is available now for streaming and download, and physical copies can be purchased via the link below.
