(Review
by Chris Kilsby)
The first of two outstanding ECM releases this
month - both led by trumpet players - this one a duo with piano. The horn here is that of New York based
Israeli Avishai Cohen, not to be confused with the virtuoso bass player of the
same name who has been on the scene rather longer. This Avishai mostly follows a cool and
detached jazz dialect here, by contrast to his compatriot namesake’s famously
strong Middle Eastern groove. Until
digesting this release, I had the trumpeter down as the lesser of the two
Cohens, but now I’m not so sure, especially after the bass player’s recent
lapse into popular vocals!
The album is recorded with customary ECM
clarity in the Auditorio Stelio Molo RSI in Lugano, resulting in, as claimed in
the notes, a resonant, chamber music quality. It is an enthralling, relaxed and
subtle statement across the thoughtful end of modern jazz, but built on material
for the standards lovers to enjoy.
Cohen deploys a remarkable range of technique and effects across a variety of material and styles. That’s not to
say this is a show off “master class” – the album oozes musical integrity and
taste, mostly through under-stated and winding melodic lines, with breathy or blasting
interjections, and upper register pyrotechnics tastefully deployed where
needed.
My resident trumpet student was
mighty impressed, raving over the echoes of Kenny Wheeler, muted Miles and
more. Such up front technique and inclusion of so many covers
raises the suspicion that Cohen is still looking for a voice of his own, but
this is dispelled by the expressive and sensitive tracks here.
Only the first two tracks are originals, the
rest being “original” interpretations of classics ranging in time from Duke
Ellington to Ornette Coleman. The first,
Opening, by Cohen, sets the tone for
the album with thoughtful and lyrical exchanges both solo and duo. Cohen plays
sumptuous lines, with a distinctive modern edge, and wastes few notes. The second, Two Lines, by the pianist, stretches further, with piercing trumpet
anchored by complex and subtle harmony and pulse from piano – no drummer needed
here!
For the remaining covers, in date order, Azalea
by Duke is lovingly caressed with muted horn and subtle block chords, while Coltrane’s
Crescent is a spacious and even more
languid rendition than the 1964 original, with soaring but sensitive top
end. The hornless MJQ’s modal 1955 Ralph’s New Blues finally gets a horn
part, and both players seem to enjoy exchanging the lead and toying with
time.
Sir Duke is a departure from the other more or less conventional
interpretations – this is a very stripped back and restrained version of Stevie
Wonder’s jaunty full band and vocals 1976 tribute to Ellington.
Abdullah Ibrahim’s
Kofifi Blue is more upbeat, and a
worthy version of the solo piano 1996 original. Here the trumpet sketches
lyrically over restrained Cape style piano, and although the trumpet will take
the plaudits for most listeners, Yonathan Avishai’s playing and soloing is
sensitive and compelling throughout the album. Their long partnership reaches a
rare level of intuition, with free soloing by both alongside conventional
interlocking combinations and occasional precise doubling.
Ornette Coleman’s Dee Dee is given a more relaxed and sparse, but still engaging,
treatment than the 2001 original. The album closes with my favourite, Shir
Eres, a delicate and exquisitely played traditional lullaby.
Overall, not a landmark due to the
preponderance of covers, but a strongly recommended listen for students of
trumpet (and piano!). Already a repeat listening favourite – the reflective and
calm mood a good antidote for the strident chaos of recent weeks’ current
affairs.
Touring all over Europe, but not in the UK as far as I can see. Seems in keeping with the times...
Chris K
Release
date: 06.09.2019 ECM 2641 Format CD LP Recorded September 2018
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