Ariel Bart: ‘The harmonica taught me to stay committed’

Ariel Bart is one of the rarest species in the global jazz ecosystem: the harmonica player.

You’d think that we would not be still impressed by the mere sound of harmonica in a jazz setting — after all it’s 70 years since Toots Thieleman’s debut recording — but no, we still have a long way to go.

Born and raised in Israel, educated in New York, and now based in Berlin, Ariel Bart is also a rare species in the global harmonica ecosystem: she is female. None of this is why you should know her, why you should listen to her music, and why you should go see her perform. You should do all these things, because Ariel Bart is an astonishing artist.

Her harmonica skills aside, she is an imaginative composer, bringing together an eclectic range of musical references, from middle eastern modes to western folk, to classical music to all shades of jazz. Arranged for a trio complete with piano and cello, weaving a rich and airy sonic texture, her music can be deceptive; the tunes start slow, soft and sweet, but before you know it, they have reached deep into you and found worlds of emotion.

So yes, go see her, now that she’s in Australia.

What would you say to a total stranger to invite them to one of your performances in Australia? What should they expect?

I’d tell them that the concert offers an intimate atmosphere, shaped by a unique setting of chromatic harmonica, cello, and piano.

It’s a blend of the soulful expressiveness of the harmonica, the warmth of the cello, and the sensitivity and depth of the piano. The music moves through open improvisation, layered sonic textures, and a deep dive into melodic creation.

The overall sound contrasts with the surrounding textures in a way that creates a balance that feels both romantic and cinematic.

What are your expectations from the audience?

I simply hope they arrive open and curious. Many people haven’t heard the harmonica in this kind of musical context, and I enjoy inviting them into that discovery. Even though the music is instrumental and reflects my own stories, I hope it sparks their imagination so they can connect to it through their own emotions and experiences.

How would you describe your approach to music?

I always describe my music as something rooted in classical influences, combined with improvisation. It’s about creating sounds and filling the room with textures; finding a way to keep it interesting for me, while still being accessible and engaging for an average listener. For me, music is like a palette of colors: you paint the air with different shades, depending on the mood you want to create in the room.

How did you develop your sound?

Since there isn’t a clear method for learning the harmonica, I developed my sound by listening to other instruments. I’ve taken a lot of inspiration from trumpet players and pianists, for example. In the end, I think it helped shape a sound that’s a blend of different influences.

What is your relationship with the harmonica?

It has always been a bit of a love-hate story. I struggled with the fact that it’s such a rare instrument; it was hard to find inspiration, and I often felt that no matter how good I became, people would still choose a trumpet player for their band. That feeling pushed me to start writing my own music and creating my own voice on the instrument, which I’m very grateful for today.

What drew you to it in the first place?

As a child, we listened to a lot of music at home, and many of the artists we loved played harmonica. Stevie Wonder was a major figure in my childhood soundtrack. My older sister fell in love with the instrument and wanted to learn it, and as the younger one, I just followed her path. Eventually, it became quite serious.

Is there something that you would never have discovered about yourself, had it not been for the harmonica?

I think the harmonica made me realize that I’m a very persistent and disciplined person. It taught me a lot about consistency and staying committed.

How did you find your voice as an artist?

I was lucky to be surrounded by very talented musician friends from a young age, and I really feel that we developed a creative process together. We explored what it means to create and to develop our own artistic voices.

Most of the music I’ve written is influenced either by my friends’ work or by watching the performances of the people closest to me. That environment gave me the space to discover myself within it.

Beyond that, I listened to a lot of different music — European jazz, Turkish music, pop music — and took something from each world. There was a lot of trial and error: I wrote a lot, recorded a lot, and threw away a lot. I feel like it’s an ongoing process — maybe one that lasts a whole lifetime.

What has your journey in music been like so far?

Super dynamic, filled with different emotions, and full of ups and downs. I’ve been lucky to perform my original music in incredible places around the world — places I would never have reached without music — and there’s nothing that compares to that feeling.

Along the way, I’ve also met some of the closest people through creating music, and hearing a song you wrote come to life for the first time through other musicians is another kind of high on its own.

At the same time, it’s a complex journey. You constantly have to stay in motion — with booking, with creating, with putting yourself out there — and it brings up ongoing questions about what ‘success’ really means, and whether what you’re doing is worthy or good enough.

What was the main challenge you’ve had to face?

I feel that the bigger and more meaningful the things I get to do, the bigger the challenges become. They seem to grow together. But I guess as long as I’m moving forward, it’s a good sign.

Have you experienced any gender-specific challenges?

I don’t feel that I’ve personally experienced challenges that were specifically gender-related. At the same time, I would love to see more women in line-ups, more female instrumentalists, and more women in teaching positions.

Who are your heroes?

Keith Jarrett, Mathias Eick, Brad Mehldau, Anouar Brahem, The Beatles, Stevie Wonder, and many more.

How did you get into jazz?

I got into jazz in high school when I joined a music department that happened to be a jazz program. That was my first real introduction to jazz and to the idea of improvisation. Later on, I did my bachelor’s degree in New York, and there, you’re constantly inspired by the roots and the original spirit of jazz.