aizai016 FRview: Avishai Cohen Kicks Of Tour With Set Both Turbocharged and Ghostly - The New York Times Fhe New York Gimes — htip:mytims/Naovow MUSIC Review: Avishai Cohen Kicks Off Tour With a Set Both Turbocharged and Ghostly By NATE CHINEN APRIL 28, 2016 During a mesmerizing stretch of Avishai Cohen’s first set at the Jazz Standard on Wednesday night, his band fell quiet and he pointed the bell of his trumpet into the belly of the club’s piano. As he played a slow cadenza in a controlled high register, each note arriving as a clarion event, the sympathetic vibrations of the piano soundboard produced a shimmer of ghostly overtones, and a sort of pressurized hush. Mr. Cohen had just finished knocking about the title track of his superb new album, “Into the Silence,” with a disciplined quartet: Jason Lindner on piano, Tal Mashiach on bass and Justin Brown on drums. Their version of the oe Bea ae l abandon. So Mr. Cohen’s terse trumpet interlude, with its nergies in the room. SAVE NOW der for ECM, its title suggesting a wink and a nod to the Ends May 4 pnw nytimescom201610428/rtsimusicioview-avishal-cohor-kicks-of-ouwith-a-st-balh-turbochargad-ant-ghosly. him ?rrf=callection*s2Fspolghcollocton%62F pop jazz-musi-reviows 18aizai016 ‘Review; Avishai Cohen Kicks Of Tour With a Set Both Turbocharged and Ghostly - The New York Times One Yea fr 60% off. hen created this music in memory of his father, who died in Unlimited Access lad bearing a plain-spoken title, “Life and Death.” ‘bears some relationship to Mr. Cohen’s recent interest in the aparisons it invites, in terms of color or mood, are Miles afaud,” the 1958 Louis Malle film; John Coltrane’s deep-focus 'M recordings by the Polish trumpeter Tomasz Stanko. But none of these evocations, which seem unintentional, ever wrest the focus from Mr. Cohen or his band. On the album, that band includes a tenor saxophonist, Bill McHenry, who imparts some front-line ballast and an element of counterpoint. Mr. Cohen’s current tour, which kicked off with this two-night stand, features different personnel, but at no cost to the quality of the music. Mr. Lindner in particular proved a marvelous partner, especially oma piece called “Dream Like a Child,” built around a seven-note descending motif that he made into a tremulous fever dream. “Quiescence” was similarly haunting, with a pendular two-note bass line over which Mr. Cohen and Mr. Lindner traced pirouettes in triplet meter. Elsewhere there were moments of surging epiphany and explosive contrast, along with quicksilver traces of Mr. Cohen’s Israeli heritage — most obviously in his choice of scales during several trumpet improvisations, though not the one that seemed to slow time to a dramatic crawl on the stage. ‘The Avishai Cohen Quartet appears on Friday in Chicago and on Saturday in Milwaukee; avishaicohenmusic.com. ‘A version of this review appears in print on April 29, 2016, on page C13 of the New York edition with the headline: A Set Both Turbocharged and Ghostly, pnw nytimescom201610428/rtsimusicioview-avishal-cohor-kicks-of-ouwith-a-st-balh-turbochargad-ant-ghosly. him ?rrf=callection*s2Fspolghcollocton%62F pop jazz-musi-reviowsaizai016 Review: Avishai Coben Kicks Of Tour Wiha Sel Both Turbocharged and Ghostly - The New York Times © 2016 The New York Times Company pnw nytimescom201610428/rtsimusicioview-avishal-cohor-kicks-of-ouwith-a-st-balh-turbochargad-ant-ghosly. him ?rrf=callection*s2Fspolghcollocton%62F pop jazz-musi-reviows