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Avishai Trio “Gently Disturbs” at the Blue Note, August 28-31 Print E-mail
Written by Andrea Canter, Contributing Editor   
Tuesday, 26 August 2008

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Avashi Cohen
 

“...a transcendent example of the capacity of music...to reach beyond geographical and political boundaries ...” --Don Heckerman, The Los Angeles Times 
 

The acoustic bass is not generally perceived as one of the leading voices in a jazz ensemble. Horns and pianos, sometimes percussion and guitars, garner more attention from an audience and even from critics. Yet the bass is critical to the pace and rhythm, and in the right hands, can be an elegant and forceful solo instrument as well. Historically, despite their instrument’s low profile, some of the genre’s most lauded visionaries have been the bassists—Charles Mingus, Dave Holland, Jaco Pastorious, Ray Brown, Ron Carter, Charlie Haden, Stanley Clarke, Gary Peacock, Christian McBride. Add to this list Avishai Cohen, an Israeli composer, bandleader, bassist and (sometimes) pianist (not to be confused with the trumpeter of the same name) with a growing reputation for music that fuses Latin and Middle Eastern folk melodies with modern jazz structures. Now on tour in support of his ninth release, Gently Disturbed, Cohen should solidify that reputation and confirm Downbeat’s designation as “a jazz visionary of global proportions.” In Manhattan, you can hear this for yourself at the Blue Note this weekend, August 28-31. 

Born and raised in Israel, Avishai Cohen first studied piano from age 11, turning to jazz at fourteen and picking up the electric bass in high school under the spell of bass legend Jaco Pastorious. After two years of study at the Music and Arts High School in Jerusalem, he was drafted into the Israeli Army. Following his tour of duty, he returned to musical studies, now interested in the acoustic bass. In 1992, he moved to New York City where he studied at the New School and Mannes School of Music, played with fellow student Brad Mehldau, and joined a Latin band through studies with bassist Andy Gonzales. His opportunities in New York included work with Ravi Coltrane, Wynton Marsalis, Joshua Redman, Paquito D'Rivera, Roy Hargrove, Leon Parker and, particularly, Danilo Perez, before he was “discovered” by Chick Corea in the mid 90s. Cohen played with Corea’s Origin and later with Corea’s New Trio until 2003. His debut Adama was released in 1997, followed by Devotion (1999), Colors in 2000 and Unity (2001) before forming his own label, Razdaz Records.  He has since released Lyla (2003), At Home (2005), Continuo (2006), and As Is: Live at the Blue Note (2007). In summer 2008, Cohen will serve as Artistic Director of the Red Sea Jazz Festival. 

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Shai Maestro
Gently Disturbed (2008, Razdaz Records) brought Cohen into the studio with long-time collaborator, drummer Mark Guiliana, and his new pianist, Shai Maestro. New Jersey native Guiliana first joined Cohen in 2003, appearing on the bassist’s last four releases. Immersed in electronic experiments with the “garage band” Heernt, here 27-year-old Guiliana reveals his acoustic jazz roots and fertile imagination, a monster dynamic range that can push the pulse like a pile driver or “gently disturb” his cohorts’ classical foundations with delicate cymbal work punctuated with deep thuds and lingering static. Like Guilliana, Shai Maestro joined Cohen when barely out of his teens—last year. With Cohen, the young pianist shares the Israeli tradition of music and culture, the product of an arts high school education in Jerusalem as well as Berklee’s summer program. Also a student of world music, Maestro has led a salsa band and studied Indian music (tablas) while building an acclaimed approach to piano informed by Bach, Beethoven, Chopin, Miles, Jarrett, Hancock, Mehldau and more. First enthralled with the music of Avishai Cohen and Chick Corea’s Trio over a decade ago, Maestro brings impeccable articulation (at any speed) and well-differentiated voices in his left vs right hand.  

Together, the Avishai Cohen Trio at times recalls the gentler side of The Bad Plus in their inventive, pulsating, classically informed tactics, the driving beauty and power of Hiromi shrouded in soft pastels, and the harmonic explorations of an acoustic EST. Particularly the classical upbringing of Cohen and Maestro provide a formalized foundation from which all three launch into more edgy territory, but ever so gently that each return home confirms that you were never far away. Sometimes the most productive journeys are in your own backyard. If you have listened to Avishai Cohen or had the pleasure of seeing a live performance, you know to expect the infusion of Israeli, Eastern European and other folk traditions in both his original compositions and other choices. With the exception of two tracks based on traditional folk themes and two group efforts from the trio, Cohen composed the compositions for Gently Disturbed.  His title track, coming midway, is a microcosm of the whole. The bassist starts with a descending theme that continues throughout as Maestro fills in more meandering phrases, yet still presenting a study in simplicity of line. Guiliana adds the most elaborated fills—“gently disturbing” the proceedings as a if a gathering storm in early summer. [Click here for a full Jazz Police review

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Gently Disturbed
Gently Disturbed" tests conventional boundaries without really crossing them, pulling together the classical and cultural backgrounds of the musicians while allowing them to break with both American jazz and European traditions in subtle, harmonic, ultimately very satisfying fashion. If “all the world’s a stage,” for Avishai Cohen and his talented young cohorts, the world is also a concerto. And these three artists are not “merely players.” This weekend, the stage is at the Blue Note. 

The Blue Note is located at 131 W. Third Street in Greenwich Village, Manhattan. Reservations and full schedule at www.bluenotejazz.com. More on Avishai Cohen at www.avishaimusic.com. Gently Disturbed is available from Cohen’s website and other retail outlets. 

 
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