Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

This is the 1st of your 3 free articles

Become a member for unlimited website access and more.

FREE TRIAL Available!

Learn More

Already a member? Sign in to continue reading

Avishai Cohen/Yonathan Avishai: Playing the Room (ECM)

A review of the duo album from the trumpeter and pianist

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.
Avishai Cohen & Yonathan Avishai, Playing the Room
The cover of Playing the Room by Avishai Cohen and Yonathan Avishai

In the 2019 DownBeat Critics Poll, Avishai Cohen did not make the top 20 on his instrument. Yet very few living trumpet players have made as many excellent records as Cohen.

Playing the Room strips a Cohen ensemble to the minimum, a duo, which provides maximum focus on his specific creative resources. They begin with his trumpet sound. It is brilliantly brassy yet human as breath, and uncommonly capable of nuanced emotional expression. The stark duo format also highlights a special musical bond. Cohen has been playing with pianist Yonathan Avishai since they were teenagers in Tel Aviv. In the open spaces between Cohen’s striking lines, Avishai adds spare, graceful asides that complete Cohen’s thoughts. It’s postmodern chamber music.

The repertoire here is mostly lesser-known works by great jazz composers. John Coltrane played his “Crescent” as a dramatic sweeping ascent. Cohen slows the 16-bar melody and lingers over it in his free, flaring trumpet language. “Dee Dee” is one of Ornette Coleman’s little sing-songs, like a nursery rhyme. On At the Golden Circle, Volume One, it launched his trio into vast outpourings. Cohen and Avishai celebrate the song by staying within it as Coleman never did, and by finding myriad new ways to think about its simple, obsessive melody. “Ralph’s New Blues” is another tune that has already received a definitive interpretation by its composer, Milt Jackson, with the Modern Jazz Quartet. Cohen and Avishai enlarge it, even historically, all the way back to New Orleans. They are a duo that functions orchestrally.

And speaking of nursery rhymes, the album ends with a cradle song, “Shir Eres,” by Israeli composer Sasha Argov. It is right in this duo’s sweet spot: lyrically pristine, perfect for Cohen’s trumpet glow, gentle but not soft.

Preview, buy or download Playing the Room on Amazon!

Subscribe today to JazzTimes magazine and receive reviews, industry news, profiles and much more!


Thomas Conrad

Thomas Conrad has a BA from the University of Utah and an MA from the University of Iowa (where he attended the Writers Workshop). He taught English at Central State University in Ohio, then left the academic world for the private sector. His affiliation with publications such as JazzTimes, Stereophile, The New York City Jazz Record and DownBeat has enabled him to sustain active involvement in two of his passions: music and writing.