Avishai Cohen, born in Kabri, Israel on April 20th, 1970, grew up in a multicultural family whose roots were found in Spain, Greece and Poland. At home, music was always in the air, with his mother Ora, an artistic influence, listening to both classical and traditional music. Avishai's musical journey began when he was nine years old, when he began playing the piano. After moving to St. Louis, Missouri with his family aged fourteen, he continued to study the piano and began to play the bass guitar. The electric bass put a spell on him when his teacher introduced him to the music of luminary bassist Jaco Pastorius. Back in Israel, Avishai joined the Music and Arts Academy in Jerusalem to further explore the bass universe. At the age of 22, having served for two years in an army band, he decided to take a big step and moved to New York city.
Avishai arrived in a wintry New York, January 1992. Moving to the ‘Big Apple' was a challenging decision, emotionally as well as professionally. The young Israeli had a tough beginning; performing on the streets and working in construction to get by. These small steps gave his music a unique sense of authenticity. He studied at the New School in New York City with such artists as Brad Mehldau and was soon to be performing and recording with Panamanian pianist Danilo Perez' Trio, reflecting the essential role that Latin music played in Avishai's early years whilst in New York.
In 1997 a call from Chick Corea changed everything. Avishai had passed one of Corea's friends a demo tape without particular hope of being noticed. Chick listened to it in his car and called Avishai back a few weeks later, blown away by its freshness. As a member of "Chick Corea's New Trio" and a co-founder of Corea's ensemble, "Origin", for over six years Avishai became an integral part of Chick's music and received the opportunity to fine-tune his skills as a bassist and composer. Performing with Chick Corea played an important part in shaping his musicianship, which led Avishai to consider Chick as a teacher, colleague and friend.
Avishai's first four albums, (Adama, 1998 Devotion, 1999 Colours, 2000 Unity, 2001) were released under Corea's label ‘Stretch / Concord Records' and already featured the essence of his music and original compositions; Mediterranean and Latin influences, and the use of horns and vocals created a sound that was truly unique. Unity, Avishai's fourth album as a leader and the first to showcase his skills on piano, deserves a special mention. The album was recorded with the International Vamp Band, a group of fellow musicians formed by Avishai, from different parts of the world (Mexico, Argentina, Cuba and Israel). The idea behind the cutting-edge project was to allow different cultures interact and converse using the medium of music, delivering a message of peace and harmony.
The growing range of projects he was involved in led Avishai to create his own record label with his manager in 2002, ‘Razdaz Recordz', enabling him to follow his own path as well as record talented young musicians he believed in.
Lyla (2003), Avishai's debut release on Razdaz Recordz , reflected his multitalented artistic personality, ranging from Latin rhythms to electronics, and jazz. At Home (2004) can be regarded as a metaphor defining Avishai's music, if indeed it can be put into words: "music makes one feel at home everywhere". Most followers will also recognize At Home featuring the composition ‘Remembering', an evocative ballad performed with trio and probably the most demanded encore at his live performances, as well as being highly favoured for global use in film and TV .
The cosmopolitan Continuo (2006) followed with great success and displayed the magic of a working band. In 2007, the live recording As Is, Live at the Blue Note marked his return to New York for a series of concerts at the legendary Blue Note jazz club. With Gently Disturbed (2008), Avishai achieved a masterstroke, hitting the right balance between a powerful trio recording, and delicate compositions. This release was an amalgamation of melody and groove, complexity and simplicity that redefined the concept of jazz, and ‘raised the bar' for fellow Jazz musicians.
After residing for many years in New York City , Avishai returned to his roots and moved back to Israel, releasing a fresh musical statement linked to his heritage and history, Sensitive Hours / Shaot Regishot (2008), attained gold sales status in Israel. It was the first album to introduce vocals in all its compositions as well as songs in Hebrew.
Avishai has always been open to various musical influences in his career and he has dedicated his creativity to music that is meaningful to him. A process that led him to incorporate the Ladino language (the language spoken by Sephardic Jews) and culture through his international release Aurora (2009). "I find so much honesty, truth and innocence in those songs that I wanted to keep the language and tradition and make people aware of it" says Cohen. The same year saw Avishai's career begin a fruitful partnership with the prestigious jazz label EMI / Blue Note. This coincided with a special relationship and connection with the French audience. In Aurora, Avishai surrounded himself with a new musical family; a unique project that blended jazz, classical music and Sephardic traditions, finding the perfect environment to fully express himself as a singer. He shared all the languages he felt close to (Hebrew, English, Spanish and Ladino), and opening up to sing enabled him to reach a higher level of communication personally as well as attract listeners and fans way beyond the borders of jazz.
Having already recorded Continuo and Gently Disturbed at the Swedish studio Nilento, sound engineer Lars Nilsson had also become a part of Avishai's artistic family. He felt it was the perfect place to record Seven Seas (2011), his second opus with EMI / Blue Note; which entailed songs he had been performing on tour for some time. This led Avishai to also record Duende (2012) EMI / Blue Note there; a duo album that featured the young and talented Israeli pianist Nitai Hershkovits, a musician he discovered in Tel Aviv and rapidly felt in tune with.
Duende – a Spanish word referring to the spirit, the groove – was the result of the intimate yet challenging format of the piano and double bass duo. It was indeed an enchanted and natural dialogue through music that shed new light on jazz standards, (Such as; "Criss Cross" by Thelonious Monk, Cole Porter's "All Of You" as well as John Coltrane's "Central Park West") and brought these arrangements by Avishai to the fore. In this musical jewel, the first duo interlude in a prolific discography, winning in Germany a Jazz Echo Award for best International album 2013. Avishai proved once again he can never cease to surprise us.
The energy Avishai put into bringing the bass under the spotlight has pushed the boundaries of jazz and earned him international awards and recognition globally. He has continuously performed at the most renowned venues and festivals worldwide and it has enabled him to develop a strong network of followers and listeners, striking a chord with the audience wherever he has performed. The stage is undoubtedly a place where Avishai feels at home, so much so that attending one of his live performances is probably the best way to get acquainted with his musical universe. DownBeat magazine noted Avishai as a "jazz visionary of global proportions" while Bass Player magazine declared him as one of the 100 most influential bass players of the twentieth century.
Throughout 2013, Avishai presented a new, unique project, ‘Avishai Cohen with Strings' to a worldwide audience. At the center of this project was a string quartet with a difference; Avishai replaced one of the violins with a viola in order to benefit from its darker timbre and create more depth. An oboist was further added to the ensemble and joined Avishai's core trio. Avishai's warm vocals in Hebrew, Ladino and Spanish subtly created a mood that complimented the luscious instrumentation on his own one of a kind compositions. He found in this original configuration – "a classical setting with an escape into jazz" as he described it himself – the best way to fully express his love for both, through written music and improvisation and to let influences that have existed for years to blossom.
In 2014, Avishai extensively toured with his trio, and his Almah project ‘trio with strings', worldwide. Furthermore, Avishai produced and presented All Original, released on his own label Razdaz Recordz, a beautiful compilation of music celebrating the growing young Israeli Jazz talents and scene. Avishai hand-picked the musicians featured on the album who he considered as some of the leading young composers of this movement.
2015 saw the release of the new, highly anticipated trio album named From Darkness (Razdaz Recordz) featuring Nitai Hershkovits (piano) and introducing the talented Daniel Dor on drums and marked the next step in Avishai's career. The Trio, a format that has always been present in his music and guides him on his artistic journey, has never been praised so much than in this album; outstanding for the unity and mutual listening between the three partners: "With this Trio, there is an immediate form of equality between musicians."
"Here, three becomes one" says Cohen.
From Darkness combines the strength, the groove and the rhythmic challenges of original pieces such as "Lost Tribe" or "C#-", with the sensitivity and fragility noticeable in "Almah Sleeping" or "Ballad for an Unborn". Far from being a plunge into darkness, this release proves to uplift the listeners and the musicians: "If there is an effect I like feeling within myself whilst playing, it's this one. It is the very essence of the music, a goal to achieve … in those difficult lives of ours, music can be a form of salvation. At least this is what it has always represented for me" says Cohen.
In Leonard Cohen's song "Anthem", he wrote these penetrating lines; "There is a crack in everything. That's how the light gets in." It is through these majestic flaws, carved by humans and musicianship, that From Darkness lets the light radiate from an art that, more than ever, can legitimately claim to reach the truth of the human soul.
In 2016, halfway between respect for tradition and urge for new ventures: Avishai Cohen's very own sound has never been clearer. Throughout his previous projects and musical projects such as; Trio, with Strings, Quintet, Sextet and Duet, it has become evident that the musician and composer is breaking new ground in the classical world. Not surprisingly, Johann Sebastian Bach, admired for his mathematical approach with music, is a frequently cited source of inspiration by Avishai, for the soul and spirit his work conveys.
In 2016 ‘An Evening with Avishai Cohen' was presented which features his dynamic core trio of double bass, drums and piano, while the sophisticated, legitimate integration of full orchestra and chamber orchestra lends an added dimension to Cohen's distinctive sound. This path into the classical world has included collaborations to date with over 25 orchestras with the Malmo Symphony , Luxembourg, Brussels Philharmonic , the BBC Concert Orchestra , Philharmonic Orchestra Essen, Brno Philharmonic Orchestra , Lviv Philharmonic and the Philharmonie de Paris .
These unique and emcompassing concerts continuously develop globally in major venues, festivals with renown classical orchestra partners and conductors.
In October 2017 it was time for Avishai to launch a new band ‘1970', and new album released with Sony ‘Masterworks' France .
As recent stellar performances at the world's major venues have shown Cohen is at the peak of his creative powers. Those who have followed his career over the past fifteen years or so will know that his musical references reach far and wide, moving seamlessly from classical to jazz and traditional songs. Cohen plays and sings magnificently, and often gives vent to his love of melody as well as the art of improvisation. ‘1970' highlights the more accessible side of his talent without compromising his artistic integrity. "It's not a jazz record," Cohen explains. "I don't know what it is, but I've always had a connection to pop. I like pop as much as I like Bach and Charlie Parker. Singing has become very serious in my life over time. I've been asked by many people, when is the vocal album gonna come? Well, this is it, right here."
Around this time a beautiful fresh co-operation came to fruition with famous French film directors Eric Tolédano and Olivier Nakaché , for whom Avishai was commissioned to write the film score for the popular French movie ‘Le Sens de la Fête' . released (October 2017) in over 40 countries ,with box office sales in excess of 5 million, (June 2018 ).
The film score and music includes Avishai's original compositions such as ‘ Wedding Song ‘, ‘Remembering' ‘Nu Nu ‘ , ‘Seven Seas' among others.
In the early days of 2018, A new ambitious initiative ,and project known as :
‘The Avishai Cohen Music Award 2020' Avishai instigating an outreach program that very much upholds the spirit of his label Razdaz Recordz. The award, was open to any musician , composer or group in any style or genre of music to apply. The award gives the opportunity for the overall winner to record and release worldwide an album in 2020. The year was complete with a busy live tour schedule for Avishai with his ‘1970' band, Trio and Orchestral performances ‘An Evening with Avishai Cohen' all over.
In February 2019 Avishai recorded his latest album titled ‘Arvoles' ( Razdaz 2019) returning to the favoured Nilento Studios in Sweden. This new musical statement delivers nine profound , freshly executed original compositions and one soulful arrangement.‘ Arvoles' which means ‘Trees'in Ladino (the ancient language spoken by the Sephardic people of the diaspora).
The 17th album as leader, Is clearly identified with Avishai own unique DNA and heartbeat .‘Arvoles'makes you float between key trio songs with the compliment of horns on several of the tracks, a working unit of deliberation, spirit,and giving you real joy.
This is a masterful musical statement.
Avishai with his dynamic trio will be presenting ‘ Arvoles ‘touring extensively with album recording partners, pianist and composer Elchin Shirinov from Azerbaijan, and the creative and distinctive Noam David, a drummer and composer whose delivers a rich style and complex polyrhythmic sounds .
Looking ahead: Plans are being set for 2020 when Avishai will be celebrating his 50th year when he is scheduled to perform 50 concerts in 50 countries all over the globe.
Charismatic trumpeter Avishai Cohen launched his homegrown band Big Vicious six years ago, after relocating from the US to his native Israel, rounding up friends to shape the music from the ground up. Guitarist Uzi Ramirez, bassist Jonathan Albalak and drummer Aviv Cohen write much of the material together with Avishai. Ziv Ravitz, from Avishai's acoustic quartet, was recruited as second drummer a year ago. "We're all coming from jazz, but some of us left it earlier", Avishai says, summing up the stylistic reach of his cohorts. "Everyone's bringing in their backgrounds, and that becomes part of the sound of the band." Textures from electronica, ambient music and psychedelia are part of the blend, so too grooves and beats from rock, pop, trip-hop and more. A wide-open approach to cover versions - from Massive Attack to Beethoven - is also integral to the Vicious vision. Recorded in Studios La Buissonne in the South of France in August 2019 and produced by Manfred Eicher, Big Vicious's debut album is issued as the band gears up for extensive international touring.
Avishai Cohen never cared much about genre boundaries. On "Big Vicious" he proves this with an impressive range from Beethoven to Massive Attack.
This is an unusual ECM album. A "ping" reverberating for a second, like from the sonar of a submarine, marks the beginning of "Big vicious". Avishai Cohen, who returned to Israeli homeland after many years in New York, founded the band of the same name six years ago. The quintet does not stand for the purely acoustic, sometimes almost uneventful, beautiful sound that the trumpeter celebrates on albums under his own name. A lot happens in "Big vicious", almost too much: rock grooves meet on ambient surfaces, psychedelic echoes on the massive sound of doubled drum kits. Some songs are overloaded, the spherical keyboards and reverberated electric guitars sometimes seem redundant. The cover versions that the band loved during warm-up in the studio are convincing.Beethoven's "Moonlight Sonata" and Massive Attack's immortal anthem "Teardrop", in which Cohen's trumpet takes over the part from singer Liz Fraser - a wistfully easy climax. jp
SEE THE kulturnews PAGE
And now, here are the best new jazz albums of the month!
Trumpeter Avishai Cohen left the US for Israel a few years ago, and upon doing so, formed a band of Israeli musicians (Uzi Ramirez on guitar, Yonatan Albalak on guitar and bass, Aviv Cohen on drums, and Ziv Ravitz on drums and live sampling) called Big Vicious. He says of their music and concept, "We're all coming from jazz, but some of us left it earlier." Their self-titled debut album, on ECM, is a kind of drifting cloud of electronic trip-hop jazz that will appeal to fans of Nils Petter Molvær and similar artists. They've made a video for their version of Massive Attack's "Teardrop," which you can check out below.
SEE THE FULL STEREOGUM PAGE
Trumpeter Avishai Cohen formed this experimental electronic fusion ensemble in 2013 after immigrating to the U.S. from Israel. Featuring Uzi Ramirez (guitar), Yonatan Albalak (guitar, bass), Aviv Cohen and Ziv Ravitz (drums, live sampling), the 11 tracks range from the atmospheric ambient jams (Honey Fountain, Moonlight Sonata, The Things You Tell Me) to surprisingly rocking (King Kutner). It's the kind of crossover sound that acts like Nils Petter Molvaer succeeded with decades back and it still resonates.
READ ALL The Province REVIEWS
As discussed last month when the first lead-off track was released now's the time for Avishai Cohen. However, like so many other artists the spectre of Coronavirus means having to cancel some upcoming tour dates. Drat. However this album coming out at the end of March is for both a short term replacement and for the long haul. The Israeli trumpeter's Big Vicious could not be more different to his work with Kandace Springs who he has guested beautifully with recently. However that appearance shows how he can come in from the edgier redoubts of the avant garde to commute to the bright lights of the commercial big city sound without selling out.
Big Vicious both the name of the album and his band was recorded in the south of France last summer. Guitarist Uzi Ramirez, bass guitarist Yonatan Albalak, drummer Aviv Cohen and drummer/synth/programmer Ziv Ravitz are also on the record. The band is the thing after all. A very hip sound a world away from designer lo-fi designer jazz you hear buffering away all around at the moment. While the mood on 'Hidden Chamber' is bleak somehow there is a sense of hope. 'King Kutner' is an outlier more a blues-rock number and comes complete with an anthemic sense to it as the guitar accompaniment goes into a driving routine.
READ THE FULL marlbank REVIEW
Avishai Cohen - Big Vicious features two guitarists and two drummers and continues to win audiences at international festivals. The album is the catalyst for the band's extensive international tour and was recorded in Studios La Buissonne in the South of France in August 2019 and produced by Manfred Eicher. The players are Cohen: trumpet, effects, synthesizer; Uzi Ramirez: guitar; Yonatan Albalak: guitar, bass; Aviv Cohen: drums; and Ziv Ravitz: drums, live sampling. The material covered on the nine tracks is taken from a wide-open approach, from originals to arrangements of Massive Attack to Beethoven. "Honey Fountain" builds methodically as each musician layers in until Cohen begins the melody. The presence of two drummers can be felt, adding to the rhythmic interest and energy. The relaxed interaction between Cohen's warm trumpet and Albalak's guitar colors is outstanding. The electronica influence can be heard in subtle sounds that float in, but never subtract from the calming energy and acoustic nature of the ensemble. "Teardrop" is built around Cohn's smooth trumpet style that contains just enough reverb to give his sound and ambient color without diluting his beautiful tone. Aviv and Ziv also create colors on their drum sets by using mallets and reverb effects. The fluidity of each players use of electronic sounds to enhance the overall soundscape adds to the feel and sonic color. "Moonlight Sonata" is given a distinctive electronica coloring. Albalak and Ramirez both create impressive sounds using their pedals and their instruments. Cohen states the melody in a very recognizable manner as the rest of the ensemble plays with sonic pastels. When not playing the trumpet, Cohen continues to add to the tapestry by triggering sounds. The overall result of Big Vicious is an adventure in contemporary sounds influenced by today's music brought to life by an ensemble with deep improvisational skills in both performing their respective instruments, but also in creating meaningful electronic sounds that contribute to the music. That's the short of it!
READ THE FULL Staccatofy REVIEW
A deep study of the bebop and classical guitar masters; explosive liberation-oriented music; a previously unreleased collaboration between two legends of African music. All this and more in our March 2020 list of ten albums that you need to know about.
Big Vicious (ECM) marks the debut album of charismatic trumpeter Avishai Cohen's new quintet of the same name. The band was launched after he relocated from the United States to his native Israel. "We're all coming from jazz, but some of us left it earlier," Cohen explains via a press release. In fact, each individual member's different background shapes the eclectic sound of Big Vicious. While the music remains jazz-centered, it also borrows textures from electronica, ambient music and psychedelia, as well as grooves and beats from rock, pop, trip-hop and more. Release date: March 27.
SEE THE JAZZIZ '10 Albums You Need to Know for March 2020' PAGE