a r t i s t : avishai cohen
t i t l e : continuo
d a t e : 2006
l a b e l : Mci records / 99025-2
g e n r e : Jazz
r l s. d a t e : Aug/2006
t r a c k s : 10
b i t r a t e : VBRkbps
s i z e : 75,7 MB
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This yearÆs Connoisseur Series at the Library and Archives
Canada theatre has been widely regarded as one of the bestùif
not the bestùseries in recent years. With nary a weak spot to
be found, it was also a diverse mix, from the Indo fusion of
Rez Abbasi and the incredible explorations of Sonny Fortune
and Rashied Ali to the outstanding performances by Brad
MehldauÆs trio. The final show of the series featured Israeli
bassist Avishai Cohen, who first leapt into the spotlight with
pianist Chick Corea in the late 1990s, but more recently has
been focusing more exclusively on his own projects and label,
RazDaz.
Cohen is a virtuosic player with a deep knowledge of the
tradition, but in the interview that took place with CBCÆs
Andy Sheppard before the show, he talked about how folk
musicùôpeopleÆs music,ö as he put itùis a stronger source of
inspiration. When asked about his broad musical influences and
the way in which he blends them together, he saied ôI never
came to think this way, I just am this way,ö which dovetailed
nicely with the sentiments of Rez Abbasi and Vijay Iyer at the
previous two afternoon performances.
CohenÆs set list was drawn primarily from his latest record,
Continuo (RazDaz, 2006) and At Home (RazDaz, 2005), and
brought together the same two musicians who are part of the
core group on both discsùpianist Sam Barsh and drummer Mark
Guiliana, who has his own record out on CohenÆs label with his
group Neernt, Locked in a Basement (RazDaz, 2006). Both are
young players but not only show significant promise, but feel
very simpatico with CohenÆs personal cross-genre concept.
Cohen, in fact, described the two of them as people who became
friends first, then players in his group.
Andy SheppardÆs description of CohenÆs playingùôhe surprises
the bassöùis an apt description. While the material was an
interesting mix of classical constructs, folkloric melodies
and jazz harmony, and there were strong melodies throughout,
the solos were what made this a strong closer to this yearÆs
Connoisseur Series. Barsh would often take his time developing
his solos, building in intensity and dexterity. Swaying
backward and forwards as he played, there were definitely some
of the magical moments where Barsh made it ôinto the zone,ö
lithe and lyrical. In some ways his overt melodism compares to
the previous daysÆ performance by ESTÆs Esbj?rn Svensson, but
without the electronics (although he did have a small
synthesizer that was not ultimately used).
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01-nu nu [05:15]
02-elli [03:58]
03-one for mark [04:58]
04-ani maamin [05:16]
05-samuel [05:16]
06-emotional storm [07:31]
07-calm [03:16]
08-arava [05:21]
09-smash [05:31]
10-continuo [04:12]
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50:34 min