AVISHAI COHEN - Arvoles
Razdaz Recordz RD4619
Avishai Cohen - bass; Elchin Shirinov - piano; Noam David - drums; Bjorn Samulesson - trombone; Anders Hagberg - flute
Avishai Cohen’s illustrious career continues apace with this new release on his own Razdaz imprint, also home to such luminaries as Jimmy Greene, Kurt Rosenwinkel and Mark Guiliana. Cohen is one of a handful of players who have established a distinctive sound, to the extent of attracting enough imitators to lay claim to establishing their own school, or sub-genre if you prefer; you can hear traces of his idiosyncratic approach to rhythm and melody in the work of Phronesis, Gogo Penguin and even Snarky Puppy. Cohen’s own Israeli heritage has always informed his incorporation of elements of Middle Eastern modalism and odd metres into his music, and this latest offering makes this connection more explicit; the title ‘Arvoles’ means ‘trees’ in the Ladino language spoken by his Sephardic mother’s family, and the title track is based on an ancient Ladino lullaby, while Mrs Cohen also provided the cover art.
Cohen’s forcefully assertive personality is apparent from the first punchy bass notes of ‘Simonero’ his superhuman attack and precision as consistent as ever; drummer and old schoolfriend Noam David negotiates the tricky metres with ease, providing tasteful colour on ‘Gesture #2’ and thrilling soloing on ‘Face Me’. The writing is tightly plotted but there’s space for newcomer Elchin Shirinov of Azerbaijan to dazzle with his solo breaks on his eponymous ‘Elchinov’ - the Caucasus region keeps producing outstanding and forward-looking musicians and Shirinov is no exception. There are some atmospheric textures for the horns to add a contemporary-classical feel to ‘Childhood’ but this is very much a trio record and Cohen is the dominant voice throughout. ‘Gesture #1’ is a dizzying filigree of accents over a nagging pulse that typifies Cohen’s unique combination of the muscular and the emotively melodic. In ways this album feels like a summing up of his influences to date: ‘New York 90’s’ has an appropriate backbeat, and on ‘Wings’ Cohen even condescends to lay out some swinging bebop lines. However there’s an added restraint and delicacy to the sound that suggests that Cohen’s nostalgic exploration of his roots has both mellowed and broadened his approach, with very satisfying results.
Reviewed by Eddie Myer
Razdaz Recordz RD4619
Avishai Cohen - bass; Elchin Shirinov - piano; Noam David - drums; Bjorn Samulesson - trombone; Anders Hagberg - flute
Avishai Cohen’s illustrious career continues apace with this new release on his own Razdaz imprint, also home to such luminaries as Jimmy Greene, Kurt Rosenwinkel and Mark Guiliana. Cohen is one of a handful of players who have established a distinctive sound, to the extent of attracting enough imitators to lay claim to establishing their own school, or sub-genre if you prefer; you can hear traces of his idiosyncratic approach to rhythm and melody in the work of Phronesis, Gogo Penguin and even Snarky Puppy. Cohen’s own Israeli heritage has always informed his incorporation of elements of Middle Eastern modalism and odd metres into his music, and this latest offering makes this connection more explicit; the title ‘Arvoles’ means ‘trees’ in the Ladino language spoken by his Sephardic mother’s family, and the title track is based on an ancient Ladino lullaby, while Mrs Cohen also provided the cover art.
Cohen’s forcefully assertive personality is apparent from the first punchy bass notes of ‘Simonero’ his superhuman attack and precision as consistent as ever; drummer and old schoolfriend Noam David negotiates the tricky metres with ease, providing tasteful colour on ‘Gesture #2’ and thrilling soloing on ‘Face Me’. The writing is tightly plotted but there’s space for newcomer Elchin Shirinov of Azerbaijan to dazzle with his solo breaks on his eponymous ‘Elchinov’ - the Caucasus region keeps producing outstanding and forward-looking musicians and Shirinov is no exception. There are some atmospheric textures for the horns to add a contemporary-classical feel to ‘Childhood’ but this is very much a trio record and Cohen is the dominant voice throughout. ‘Gesture #1’ is a dizzying filigree of accents over a nagging pulse that typifies Cohen’s unique combination of the muscular and the emotively melodic. In ways this album feels like a summing up of his influences to date: ‘New York 90’s’ has an appropriate backbeat, and on ‘Wings’ Cohen even condescends to lay out some swinging bebop lines. However there’s an added restraint and delicacy to the sound that suggests that Cohen’s nostalgic exploration of his roots has both mellowed and broadened his approach, with very satisfying results.
Reviewed by Eddie Myer
