Oded Lev-Ari: About

Listening: Wham

Wake Me Up Before You Go-Go was playing at Bradly’s wedding, and the speakers were really bass heavy. This song has a really interesting, grooving, inventive bass part. Who knew? especially the “I wanna hit that high…” part. If you know who played it – send me a note.

Listening: Ullmann

When first introduced to Viktor Ullmann’s piano music I had a feeling that I could have written these – a very strong sense of common language, concept of the piano, and a strong connection to the overall aesthetic. Subsequent listening made this almost freaky. His personal story is remarkable and sad, but the music is moving and meaningful without it.

Oded Lev-Ari

“Lev-Ari’s arrangements are outstanding”
–Billboard Magazine, April 2007

A skillful and multifaceted composer and arranger, seasoned bandleader and conductor and in-demand producer, Oded Lev-Ari has established himself as one of the most accomplished and versatile musicians of his generation.

Most recently, Lev-Ari was musical director for a Billie Holiday tribute concert, featuring Madeleine Peyroux, Bucky Pizzarelli, Mulgrew Miller, Ron Carter, Antonio Sanchez, Marcus Strickland, Anat Cohen, Ingrid Jensen and the Brazilian singer Mart’nália. Lev-Ari also collaborated with Anat Cohen on the highly acclaimed release Noir, and with Emmy award winning performer Theodore Bikel on a variety of live performance and recording projects.

His work as an arranger has earned him rave reviews, as well as a mention in DownBeat Magazine’s critic’s poll.

Oded Lev–Ari was born in Tel Aviv, Israel. He attended the Thelma Yelin High School for the Arts and served in the Israeli Defense Force Orchestra. From 1993 to 1996 Oded held the position of house arranger for the Dan Shilon – Live! television talk show. He has written over 500 arrangements and compositions for chamber ensemble, jazz big band, Wind and Symphony Orchestra. Lev-Ari is a recipient of the America Israel Cultural Fund scholarship, and graduated with honors from the New England Conservatory of Music, where he studied with renowned Composer and Trombone player Bob Brookmeyer.

Oded‘s compositions have been performed on stages in Israel and the United States, and include chamber, vocal and orchestral works, as well as compositions for Jazz combos and large ensembles.

As a pianist, Oded has appeared in Mexico, Canada, Russia, France, the Netherlands and the United States, and on stages such as Jordan Hall in Boston, the Mann Auditorium in Tel-Aviv and New York Jazz clubs such as The Stone and Cornelia Street Cafe.

Oded has been very active in education for aspiring musicians and people of all ages. Some of Oded‘s research work has been featured in the Harvard Graduate School of Education news. Lev-Ari has been working on developing and researching improvisation and composition for children, teenagers and adults and is currently developing a composition and improvisation workshop curriculum for non-musicians.

From The Press

“Early reviews of “Noir” suggest that it will be one of the finest jazz records of the year, thanks in large part to the arrangements by […] Oded Lev-Ari, which alternate from lush Gil Evans harmonies to hard-charging bebop to a laconic beauty that could accompany a moody European film. “
–Washington Post, May 2007

“Anzic Orchestra is uniquely orchestrated with a large horn section, a guitar in place of a piano and trio of cellos. The arrangements on Noir are anything but black — they are life-affirming and intriguing.”
–NPR Morning Edition Sunday

“Lev-Ari’s arrangements are outstanding”
–Billboard Magazine, April 2007

“…Ingênuo…and La Comparsa are the most buoyant of Lev-Ari’s Gil Evans-worthy transformations”
–Village Voice, May 2007

“Lev-Ari’s arrangements and the band’s interpretations…are virtually beyond criticism”
–Jazz Times, May 2007

“Oded Lev-Ari…seems able to adapt any style from Brazilian to ballad, bop to pop, and make it lustrous and engaging.”
–AllAboutJazz.com, April 2007

“…the arrangements by Oded Le[v]-Ari are all first rate and do not call attention to themselves but rather enhance the music. They all sound like that is the way they are supposed to be; one can’t imagine that they should be otherwise. “
–Morton Gold, November 2006