Nadav Peled’s Long Way moves through jazz, African music and clear melodic writing, with “Summer 1” and “Summer 2” taking different routes through those influences. The first works from a simple melody and complex harmony, while the second brings Mediterranean and reggae colors into Peled’s guitar playing.
Summer 1
“Summer 1” starts with a simple melody over a complex harmonic bed, while the backbeat keeps the track moving. The melody does not need to carry all the weight. The harmony keeps shifting underneath it, and the drums give the tune a firm place to return to.
The guitar solo takes that rhythm further. Its movement comes from the exchange with the drums, with the guitar building over the same backbeat rather than breaking away from it. The solo grows out of the groove.
The melody remains the clearest thread through “Summer 1”, even as the harmony gets denser and the guitar takes more space. The drums keep counting underneath the solo.
Summer 2
“Summer 2” starts from a different place, with Mediterranean hints and subtle reggae in the groove. Peled’s guitar draws from Malian guitar styles and Greek guitarist and singer Aris San, while Jenn Condo’s bass keeps the lower end moving.
The Mellotron changes the air around the guitar. Its psychedelic texture sits behind the rhythm section, adding another layer without replacing the groove. The guitar can move through its different references while the bass keeps the track grounded.
Malian guitar, Greek influence, reggae, and Mediterranean color stay in the same piece without needing to be separated. The Mellotron remains underneath, and the groove keeps going.
