Only some artists can transcend genres and create a sound independently in music’s ever-evolving landscape. One such artist is Oz Noy, a guitarist who has masterfully blended elements of funk, jazz, and blues into a unique and electrifying style. Born in Israel and now a staple in the New York music scene, Oz Noy has crafted a career that defies categorization, drawing inspiration from various experiences.
In a recent interview on Backstage Sonoma with Steve Roby, Oz Noy discusses his latest album, his creative process, and the magic of musicians coming together to create something extraordinary.
The Genesis of Triple Play: Capturing Lightning in a Bottle
Oz Noy’s latest project, Triple Play, is a testament to the power of live music and the synergy that can occur when musicians are in the zone. Recorded over two nights at Stages Music Arts in Hunt Valler, Maryland, Triple Play captures the raw energy and spontaneity of performing live. “We did it literally at the end of the year,” Noy recalls. “It was like two weeks after we finished a tour in Europe. I called the guys and said, ‘Hey, let’s do this record really quick before, you know, it goes away.'”
The urgency to capture the moment is palpable in the album, which features performances from Dennis Chambers on drums and Jimmy Haslip on bass. “When you’re on tour, things are hitting a certain kind of level,” Noy explains, emphasizing the importance of seizing the opportunity when everything aligns. The result is an album that feels immediate and alive, a snapshot of a band at the height of its powers.
The Art of Fusion: Blending Jazz, Funk, and Blues
One of the most remarkable aspects of Oz Noy’s music is his ability to seamlessly blend different genres, creating a familiar and refreshingly new sound. When asked about his approach to genre-blending, Noy’s response is disarmingly simple: “Well, the short answer is, I don’t know.” However, he quickly expands on this, offering insight into his creative process.
Noy explains that each of his albums is guided by a specific concept, often rooted in the grooves and rhythms of a particular genre. “In the beginning, my first couple of albums were more groove-based,” he says. “I would take contemporary grooves—R&B, bluesy stuff—and write over those grooves. The writing is more jazz, kind of jazz harmony, and stuff like that, so that’s basically the mix.”
This approach is exemplified in his Twisted Blues album, where Noy explored the boundaries of blues music by incorporating shuffles, rumbas, and boogaloos. “I listen to records like in the style of Boogaloo, for example,” he explains. “I listen to the grooves, and then I kind of find grooves that I like and write my own language over that.”
For Noy, the key to successful fusion lies in the groove. Whether it’s a classic Boogaloo track like Lee Morgan’s *The Sidewinder* or a more contemporary R&B beat, the groove serves as the foundation upon which he builds his intricate compositions. “It’s a whole language,” he says, referring to groove-based songwriting. “It’s basically when jazz started to get funky.”
Collaborating with Legends: A Who’s Who of Guitar Greats
Over the years, Oz Noy has had the opportunity to collaborate with some of the biggest names in music, from guitar legends like Eric Johnson and Joe Bonamassa, to drumming icons like Keith Carlock and Vinnie Colaiuta. These collaborations have not only expanded Noy’s musical palette but have also influenced the direction of his music.
“Eric [Johnson] is a friend of mine, and I’m a big fan of his,” Noy shares. “Whenever he comes to New York, I’ll sit in and play with his band. He’ll come and play with my band whenever I’m in Austin.” These jam sessions have led to collaborations on Noy’s albums, including the Twisted Blues series. “I just asked him to come and play on those with me because I heard his sound on it,” Noy explains.
When choosing the right collaborators, Noy is strategic, selecting musicians whose playing will complement and elevate his compositions. “Drummers have a massive impact on the sound of the band,” he says, noting that the way Keith Carlock plays, for example, influences how he writes. “A lot of my stuff comes from grooves anyhow, so I’m even going to think about, okay, I’m going to write this tune with him in mind.”
The Stories Behind the Songs: From the East Village to the World Stage
For Oz Noy, every song has a story, often rooted in personal experiences or moments of inspiration. Take “Chocolate Soufflé,” a track that has become a fan favorite over the years. The song’s origins date back to 1996, when Noy first moved to New York and crashed on friends’ couches while searching for an apartment. “I came up with the main riff of that song, that hook,” he recalls. “It was written as a straight-ahead jazz tune, and I even recorded it as a demo.
But when I did this Boogaloo album, I thought it would be nice to fit that song in.”
The decision to rework the track for the Boogaloo album involved rewriting several sections, but the original hook remained intact—a testament to the enduring power of a good idea. And the song’s name? “The reason it’s called ‘Chocolate Soufflé’ is because, for years before I rewrote it, it was called ‘Minor Shuffle,'” Noy explains with a laugh. “We started to get the soufflé going, and at some point, I just put chocolate in there.”
Looking Forward: New Projects and the Joy of Live Performance
As Oz Noy looks to the future, he shows no signs of slowing down. With several projects in the works, including a collaboration with sitar player Purbayan Chatterjee and a new jazz album for Criss Cross Records, Noy is constantly pushing the boundaries of his music. “As long as I have other concepts or musical ideas that interest me, then I keep going,” he says.
Noy’s key to staying inspired is simple: keep it interesting. “I’m trying to entertain myself first,” he admits. After two or three years of playing a certain album, I’m ready to move on. After I finish recording an album, I’m ready to move on.”
While recording new material is essential, it’s a live performance that genuinely fuels Noy’s passion for music. “To me, playing live is like breathing,” he says. “It’s how music stays alive.” Whether performing in the vibrant music scene of New York or on tour in Europe, Noy thrives on the energy of live audiences. “When you get that connection, it makes the music really sound nice.”
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Photos: Yossi Zwecker
