Posts Tagged ‘Avishai Cohen’

Six Picks: January 2013

Wednesday, January 2nd, 2013

Happy New Year! My monthly list of recommended CDs, as published in The New York City Jazz Record, January 2013:

Michaël Attias, Spun Tree (Clean Feed)

Avishai Cohen, Triveni II (Anzic)

Hal Galper Trio, Airegin Revisited (Origin)

Jon Irabagon’s Outright!, Unhinged (Irabbagast)

Reggie Quinerly, Music Inspired by Freedmantown (Redefinition)

Sonic Liberation Front, Jetway Confidential (High Two)

On Avishai Cohen

Monday, April 4th, 2011

This review appears in the April 2011 issue of The New York City Jazz Record:

Avishai Cohen
Introducing Triveni (Anzic)

By David R. Adler

It’s hard to avoid the word “authenticity” when describing the raw, bone-deep sense of swing that permeates Introducing Triveni, easily one of the top jazz recordings of 2010. Trumpeter Avishai Cohen, bassist Omer Avital and drummer Nasheet Waits lock it in from the first moments of “One Man’s Idea,” a brisk Cohen original, but they’re just as sturdy and impressive on slow-crawling tempos such as Ellington’s “Mood Indigo.” This is clearly a band effort, full of subtlety and keen interaction, even if Cohen’s main purpose seems to be playing the hell out of the horn.

The trumpet-bass-drums format is not terribly common, and yet it isn’t new to Cohen — he teamed with bassist John Sullivan and drummer Jeff Ballard for his 2003 debut The Trumpet Player (adding tenorist Joel Frahm on three tracks). For his 2008 release Flood, Cohen made music that was darker, more meditative and vamp-oriented, recruiting pianist Yonatan Avishai and percussionist Daniel Freedman, his colleagues from the eclectic band Third World Love. Though Avital is a Third World Love member as well, he and Cohen generate fireworks of another sort here. Their work on Introducing Triveni is solidly, unambiguously “in the tradition” and still every bit as inventive.

Simply put, this is a platform for Cohen the jazz virtuoso. His flair for modern trumpet language is impeccable on “Ferrara Napoly,” a dark and elaborate theme that morphs into a blues (complete with a surprise quote of “When I Fall In Love”). The wah-wah muting on “Mood Indigo” conjures Bubber Miley, arguably by way of Wynton Marsalis. Don Cherry’s “Art Deco,” in plain and accessible F major, sounds as close to a standard as Cole Porter’s “You’d Be So Nice To Come Home To” — both tunes get a similar midtempo treatment, with Waits showing fine taste and control on brushes. John Coltrane’s “Wise One” is full of open-ended rubato tumult, while Cohen’s “Amenu” and “October 25th” are orchestrated in a tight-but-loose way, highlighting the trio’s effortless rapport.

Six Picks: December 2010

Wednesday, December 1st, 2010

My monthly list of recommended CDs, as published in All About Jazz-New York, December 2010:

Luis Bonilla, Twilight (Planet Arts)

Avishai Cohen, Introducing Triveni (Anzic)

Patrick Cornelius, Fierce (Whirlwind)

Benoît Delbecq, Circles and Calligrams (Songlines)

Herculaneum, Olives and Orchids (EF)

SFJazz Collective, Live 2010: The Works of Horace Silver (SFJazz)