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Finally on CD (32 years later) one the best Israeli early Prog albums:

1^st album by Israeli flautist / pianist / composer Shem Tov Levy – finally released on CD 32 years after it was originally recorded. Levy was of course one of Israel’s best and most talented musicians at the time and a bold innovator, pushing the boundaries of early Israeli Rock, mostly in the Prog direction. After this brilliant debut album, Levy was to join forces with Shlomo Gronich and Shlomo Ydov to form the legendary No Names, and soon after another legendary ensemble Sheshet. Levy composed and arranged all the music on this album, which includes 4 vocal tracks and 5 instrumentals. He also wrote the lyrics for two of the vocal tracks. On the two other vocal tracks Levy used poems written by famous Israeli poets Lea Goldberg and Dalia Rabikovitch, as was quite customary in Israeli Prog on the 1970s. The brilliant melodies, which Levy composed, are perhaps the only truly “Israeli” music written at the time, full of Jazzy chord changes, polyrhythmic pulsation and clever incorporation of Middle Eastern motifs. The instrumental performances are brilliant, as he used the best players on the local scene at the time, like guitarist Itzhak Klepter (Churchills, Kaveret), bassist Ehud Inger, drummer / guitarist Haim Romano, drummer Meir Israel and many others. His flute playing is absolutely mind-blowing of course. He also arranged the music for the string ensemble, used on some of the tracks. In retrospect, this is an extraordinary debut album, full of exquisite music and endless timeless gems and definitely on of the best albums recorded in Israel in the 1970s. This new editions adds four bonus tracks, all great examples of Levy’s superb talent as composer and arranger, including an extra-rare live recording of a live No Names performance, singing a medley of Beatles songs with a typical humorous twist. An absolute classic!

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A new album by one of my favorite young artists is always a feast:

5^th album by Japanese keyboardist / composer Hiromi Uehara, which continues her drift from classical Jazz recordings towards Jazz-Rock Fusion. As the title suggests, Hiromi performs here her stormy interpretations of Jazz standards (only one of her original compositions is included here) with her quartet, which included David Fiuczynski on guitar, Tony Grey on bass and Martin Valihora on drums. This album is definitely her most Fusion oriented recording so far, with Hiromi using the synthesizers to extreme and David’s electric guitar wilder than ever. Of course she plays lots of acoustic piano passages as well, but the entire atmosphere of the album is definitely Fusion oriented. The performances are absolutely brilliant, as expected, and most importantly Hiromi’s arrangements succeed in igniting new fire in some of the standards, that have been previously used to death by so many Jazz musicians. She has a brilliant pair of ears and her youthful spirit, combined with undefined extraordinary virtuosity place her right on top of the new Jazz generation. Of course Jazz purists often criticize the Fusion direction (still 40 years after Fusion was “invented”), accusing her of commercialism and other nonsense. Well, she just released an album of acoustic piano duets with Chick Corea, spitting in the face of her accusers. Anybody with a pair of clean ears and some musical sensitivity should be able to hear Hiromi’s genius, regardless of what she plays, I certainly do. This is a brilliant Fusion album, full of great music, superb performances and joie de vivre, which are so often missing from contemporary Jazz recordings. Brilliant stuff!

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It’s time to add some new Jazz releases, this time related to Chick Corea and his Israeli bass player Avishai Cohen:

4^th album by Israeli bassist / composer Avishai Cohen and almost a complete about face for him in many respects. Cohen abandons the acoustic bass (which brought him his glory), switching to piano and electric bass and joins four other excellent musicians to form what they call The International Vamp Band. The quintet also includes Avi Lebovich on trombone, Yosvany Terry on saxes, Diego Urcola on trumpet, Yagil Baras on acoustic bass and Antonio Sanchez on drums. Together they play some of the most exciting and invigorating music I heard in a long time, skillfully mixing Jazz with ethnic influences, mostly those of Latin, Cuban and Mexican music, but also touching on others, like the obvious Cohen’s Middle Eastern roots. Cohen wrote all the music, except for one standard. The performances are brilliant throughout, with many great solos, including Cohen on electric bass a la Jaco Pastorius. This music is a great document of the true “unity” that music offers to all people, regardless of race, nationality or cultural background – when it is good, it sound good to everybody. It is uplifting to see Jazz musicians embracing and incorporating ethnic roots, creating new mixtures and expanding the somewhat stiff palette of traditional Jazz. Cohen is undoubtedly a Master of his trade and his musical adventures so far provide a superb opportunity for his listeners to step across boundaries and learn new sounds, rhythms and musical colors. A must!

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It’s time to add some new Jazz releases, this time related to Chick Corea and his Israeli bass player Avishai Cohen:

3^rd album by Israeli bassist / composer Avishai Cohen and his most ambitious project to date. Cohen not only expands his personal musical range by adding electric bass and piano to the list of instruments he plays here, but also expanding the lineup of the participating musicians and even including a string quartet. The core lineup, which participates in the album’s recording is a septet with Cohen, Jimmy Greene on reeds and flute, Steve Davis and Avi Lebovich on trombone, Jason Lindner on piano, Amos Hoffman on guitar and oud and Jeff Ballard on drums. In addition, some guest artists are also appearing. Cohen’s ability as a bass player is of course legendary and needs no further discussion here, but his true greatness is his extraordinary ability to compose superb Jazz pieces, which skillfully combine the American Jazz tradition with other musical elements, mainly folklore and World Music. Cohen’s Middle Eastern background is clearly evident in his music, although he is also wide open to other sources of inspiration, like Latin Music. Cohen composed all the thirteen tunes on this album. The overall effect is truly refreshing and the combined skills of the musicians involved create an album of rare beauty, which contains an immense amount of new and exciting music. This is a truly remarkable album, which portrays an extraordinary musical talent at work and shows a new path for the future of Jazz, which hopefully will open new horizons to the somewhat sleepy genre at the start of a new Millenium. A must!

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It’s time to add some new Jazz releases, this time related to Chick Corea and his Israeli bass player Avishai Cohen:

1^st album by Israeli bassist / composer Avishai Cohen, recorded while he was a member of Chick Corea’s acoustic trio and the Origin sextet and released on Corea’s label Stretch Records. The core lineup, which participates in the album’s recording is a sextet with Cohen, Steve Wilson on soprano sax, Steve Davis on trombone (both Origin members), Jason Lindner on piano, another Israeli – Amos Hoffman on guitar and Jeff Ballard on drums. In addition, some guest artists are also appearing, including Chick Corea, Brad Mehldau and Danilo Perez on piano. Cohen’s ability as a bass player is of course legendary and needs no further discussion here, but his true greatness is his extraordinary ability to compose superb Jazz pieces, which skillfully combine the American Jazz tradition with other musical elements, mainly folklore and World Music. Cohen’s Middle Eastern background is clearly evident in his music, although he is also wide open to other sources of inspiration. Of the twelve pieces on the album Cohen composed eleven using just one standard. The overall effect is truly refreshing and the combined skills of the musicians involved create an album of rare beauty, which contains an immense amount of new and exciting music. A truly remarkable debut, which announces many great things to come out of this extraordinary talent. A must!

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It’s time to add some new Jazz releases, this time related to Chick Corea and his Israeli bass player Avishai Cohen:

Chick Corea’s acoustic sextet Origin was formed in late 1997 by expanding his acoustic trio (Avishai Cohen – bass and Adam Cruz – drums) with the addition of trombonist Steve Davis and two reeds players Bob Sheppard and Steve Wilson. After a brief period of rehearsals and one club performance the band was booked to play for six nights (two sets each night) at the NY Blue Note club, which was to be the band’s official premiere. All the music played at Blue Note was recorded, initially mainly for the sake of documentation, but upon listening to the results Corea decided to release this album, which presents just a taste of what happened there. A much more comprehensive recording project, capturing three entire nights (6 sets) was released as a 6 CDs set under the title “The Complete 1998 Live At The Blue Note Recordings”. Origin proved to be indeed an “origin”, a new beginning for Chick, who hasn’t led an acoustic sextet for over 20 years. It served as a perfect vehicle to develop and present a set of new compositions, which show an older and seasoned Jazz Master at work. The music is complex, somewhat dark, serious and multi-layered, requiring attentive listening. In many respects it often resembles some contemporary Classical Music influences. The players have plenty of space to develop both individual and collective extended improvisations, which of course are quite brilliant. Corea is not featured as the main soloist and steps back to become just one of the band’s members. All the music presented on this album, except for one standard, was composed by Corea, who re-examines his life’s achievements here, moving skillfully between his various musical activities, as diverse as Latin music and Free Jazz. All together this is a splendid example of modern Jazz at it’s best, with great music and excellent playing all the way. Corea’s fans don’t need any encouragement here and others should definitely investigate.

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It’s time to add some new Jazz releases, this time related to Chick Corea and his Israeli bass player Avishai Cohen:

We all know Chick Corea loves playing piano duets with other pianists. The legendary recordings from 1978 with Herbie Hancock are to this very day some of my all time favorite Jazz recordings. Seeing this new album, featuring acoustic piano duets with another favorite pianist of mine, Japanese prodigy Hiromi Uehara, really made my heart “jump” for a brief moment, as this was almost to good to be true. I did know these two played live together before, but a whole album and a double one at that – stupendous! The album was recorded live at the Blue Note Jazz Club in Tokyo, and includes, as Chick puts it, eloquently as always: “1 night, 2 pianos, 2 sets, 4 hands, 12 songs, 20 fingers, 176 keys, about 600 people in the audience and thousands of musical ideas exchanging between the two pianist and the audience”. It is exactly that and so much more… Regardless is the song is a standard, a piece written by Chick or by Hiromi, the two have a field day each and every time. The interplay is telepathic, the improvisations divine, the humor obvious and it all makes perfect musical sense and is so beautiful, that I had a marvelous time listening to the album twice in a row, something I almost never do usually. I hope I really don’t have to convince anybody this is superb music. Let me just state that in the last couple of years I have heard so much stupid allegations regarding Hiromi’s “commercialism”, “selling out” and other bullshit, I’m really glad that this album just blows all these baseless nonsense out of the window. Absolutely essential music for body and soul!

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