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Avishai Cohen

Ashes to Gold

ECM
Release Date: October 11, 2024

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1 Ashes to Gold, Part I  
2 Ashes to Gold, Part II  
3 Ashes to Gold, Part III  
4 Ashes to Gold, Part IV  
5 Ashes to Gold, Part V  
6 Adagio assai (from Ravel's Piano Concerto in G major)  
7 The Seventh  
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The first moments of “Ashes to Gold” – the dramatic five-part suite which opens Avishai Cohen’s new album – feature the unfamiliar sound of the great Tel Aviv trumpeter playing flute, establishing a dreamlike, almost pastoral ambience soon to be torn apart. What follows is some of the most intense and concentrated music Cohen and his band of friends have recorded to date, mirroring the deep tensions of a troubled era.

Ashes to Gold: the title imagery is drawn from the old Japanese art of kintsugi, the ceramic repair work “where you take the old and the broken and try and put the pieces back together, to make something golden and beautiful from the fragments,” says Avishai Cohen.  “In a way I think that’s where we dwell. Our reality. And although this music can’t help but reflect the times, it also – in my wishful imagination - has some hope to it. At least, it is not only dark.”

Last autumn, Cohen had intended to take a month off in Israel to write the music for his new album, and to play the pieces at concerts en route to the recording session in the South of France.  The cataclysmic events of October 7, however, brought composing plans to an abrupt halt:

“I could not write anything. I couldn’t touch the trumpet. In the beginning of November, I told Yonathan [pianist Yonathan Avishai] that I was going to have to cancel the tour and the recording, but he said ‘No. We need to go and play music’. The way he said it was powerful. I knew he was right.”  

Most of the “Ashes to Gold” suite was ultimately drafted in the compressed time period of a week, “by this point in the full craziness of wartime. With rockets flying over my head, alarms and sirens going off, and so on.  Did all of this affect the music? How could it not?” Accordingly, the suite runs the gamut of emotions, from enraged to wary to profoundly melancholic, and draws forth moving performances in each of its expressive registers.  On tour, Cohen was still adding sections to the music and using sound-checks to rehearse them. “After a rehearsal in Romania, I knew I was missing a theme. I had the timbre and the sound of it in my mind but I still had to write it.  The local promoter found me a studio that had a small Casio in it, and I wrote the music on that.” This became Part III of the suite, where Avishai’s tenderly lyrical line floats above the grave meditation of double bass and piano.  

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