Mano Suave

Perched spiritually over all the banks of the Mediterranean basin, Yasmin Levy’s music transcends borders and time. Following in the footsteps of a father she never knew, she has worked relentlessly to resurrect the Ladino language taken out of Spain by the Jews who were expelled by the Inquisition in 1492. Her third CD continues to explore the language’s narrative and dramatic poems called “romansas”, and the lyrical songs they call “kantigas”.

Levy’s expressive voice grips the listeners with the opening song “Irme Kero” and particularly the title track “Manu Suave”. Set to a traditional Beduin composition, it features the guest appearance of Natacha Atlas at her most searing. The two voices, one in Spanish, the other in Arabic, flow into each other like the waters of the Atlantic and the Mediterranean. The qanun of Mumin Sesler and the ney flute of Amir Shahsar do the rest in a mesmeric five minute spell.

“These songs represent something of a return to my Ladino roots,” writes Levy in the sleevenotes. She points to the salient Turkish influence “where the continuity is defined more by the music rather than the verses.” This is possibly a homage to the place of birth of Yasmin’s father, who moved to Palestine at a young age. Yitzhak Levy had moved mountains to maintain the language of his forefathers. While Yasmin lost him at a young age, his shadow looms large over her till today and has guided many of her musical choices. Her growing maturity has allowed her to venture further into original compositions and “Una Noche Mas” reveals a talent she will undoubtedly develop (although “Perdono” indicates there is still a way to go).

Intelligently, the singer has surrounded herself with consummate musicians. They hail from as far afield as Armenia, Paraguay, Turkey, Spain, Greece, Iran and Israel. Each brings his/her own grain of salt to the refined fabric the 31-year-old singer has woven into 12 songs. The finale, “Odecha” is a fittingly simple conclusion to a multi-coloured tapestry. Composed by Levy, it is based on Psalm 118: 21-22, which says:

“Lord you have answered my prayers
And in so doing, I’ve been redeemed
The stone that the builders rejected
Has become the cornerstone.”

Superbly sung, full of nuance, it gives shivers to even the most die-hard agnostic - like this reviewer.

November 2007

Jean-Pierre Bruneau

Artist website