Audiotopias of the Multi-Local Musician: Israeli Jazz Musicians, Transcultural Jazz and the Polyphony of Style

ABSTRACT In this essay I consider transcultural iterations of jazz as practiced by Israeli jazz musicians and their implications for a post-nationalist world. By considering the performers discussed multi-local musicians, I offer an alternative to both American exceptionalist views of jazz as well as to “jazz nationalism,” a scholarly outlook that emphasizes the localization of “jazz” in (non-American) nation-states, and that continues to hold sway around the world. In so doing, I also aim to invite explorations of the multi-local music making practices of jazz musicians worldwide. Following a brief discussion about transcultural and transgeneric jazz, and an introduction to my conceptualization of the multi-local musician I discuss the work of Israeli jazz oudist and guitarist Amos Hoffman whose music clearly exemplifies ways in which many jazz artists follow the commonly heard directive to “play their own voice” to the tune of music blending diverse global sources. Finally, I argue that Hoffman and his Israeli colleagues’ stylistic polyphony supports the case for transcultural jazz as an “audiotopia” of “multi-locality,” and that their music offers the possibility of envisioning a better future in the Middle-East.