About

Shimrit

“Undoubtedly jazz-gem,” (Audra.com) Israeli-born pianist and composer Shimrit Shoshan began playing the organ and flute when she was 8 years old. Entirely self-taught, Shimrit attended Israel’s prestigious Thelma Yellin School of the Arts. During her studies, she was drafted into the Israeli army, where Shimrit served as an “Excellent Musician,” a title reserved for a select few, while continuing performing and studying under some of Israel’s top musicians including; Amit Golan, Shai Zalman, Ofer Ganor, Amos Hoffman, Avishai Cohen and Rea Barness.

Eventually she set her mind on New York, “I came to New York for jazz. It’s where everyone comes to learn, and you have to study under someone to be someone – that’s how it works.” She began in 2004 at the Jazz Program of the City College of New York City and continued at The New School Jazz Program in 2006, acquiring numerous scholarships for her performances as well as her compositions.

In 2009, Shimrit was a top finalist in the Mary Lou Williams Women In Jazz Competition and the Thelonious Monk Institute Ensemble Competition. She has appeared at Dizzy’s Club Coca-Cola at Jazz at Lincoln Center, Kitano, Sweet Rhythm, Cachacha Jazz ‘n’ Samba Club, Fat Cat and Smalls.

In her short time on the New York scene, Shimrit has shared the bandstand with Charlie Persip, Billy Hart, Billy K, David Shniter, Saul Rubin, Ned Gould, Abraham Burton, Nasheet Waits, Ben Street, John Hebert, Eric McPherson and Tarus Mateen, among others. She appears on Eric McPherson’s latest endeavor, “Continuum” (Smalls Records), has composed and recorded the music for poet Carla M. Cherry’s spoken word release, “Gnat Feathers & Butterfly Wings,” and will be featured on the forthcoming trio release from legendary drummer Charlie Persip with bassist Ben Street.

Shimrit’s debut release, KEEP IT MOVIN’, features bandmates, drummer Eric McPherson, reedman Abraham Burton, alongside incomparable bassists John Hebert and Luques Curtis. Hailed as, “… a rare combination of raw talent and honed technique, coupled with a smile to melt the hearts of the sharpest jazz critics,” (Nearsay.co).

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