Jazz of many cultures

CYNTHIA RAMSAY

Next month, Israeli bassist Avishai Cohen will make his Toronto première, as part of his North American tour for the release of Aurora, his most recent CD.

World-renowned for his jazz playing and compositions, Aurora (EMI/Blue Note) might surprise some fans, as it more resembles folk or world music than jazz. Then again, maybe not. The promotional material for the tour describes Cohen as being able to “take the Sephardic melodies his grandfather sang in prayer, or that his mother hummed while washing dishes, and make them groove. In turn, he can take a sinuous and spontaneous jazz bass line and transform it into a top 40 hit.”

Cohen is masterful at creating mood and his musicianship is impeccable. Adding to the instrumental quality of Aurora are Amos Hoffman on oud, Itamar Doari on percussion and Shai Maestro on piano. In several songs, the piano is paramount and Maestro rises above the occasion.

Cohen’s Hebrew, Spanish and Ladino lyrics resonate more than do his English ones and, while his singing can be beautiful and tender – as in “Shir Preda” – he also can be flat and shaky, as in “Morenika.” The overall pleasure given by Aurora would have been greater if Karen Malka had sang more; her voice is rich, emotive and on key. It is obvious why she is one of Israel’s leading soul, rhythm and blues, and jazz singers, although she is also a composer. (Her debut CD is scheduled for release this year.)

Aurora draws from many cultures, and every song is unique. For example, the instrumental title track is very moving, somewhat sad but actively contemplative, while “Alon Basela,” sung by Cohen and Malka, is lively, with a great driving beat and the music really reflects the lyrics, which are incredibly optimistic, the first verse being translated from Hebrew as, “I believe I’m an oak tree in the rock / Even if a storm will hit me. / I will keep standing / When I shed a tear I plant a tree.”

Cohen and his band will perform at Toronto’s Isabel Bader Theatre, 93 Charles St. West, on Tuesday, Oct. 19. The show is being presented by Koffler Centre of the Arts together with the Canada-Israel Cultural Foundation. For information or tickets, visit kofflerarts.org or call 1-888-222-6608.

Klezmer world music

The Boston-based Klezwoods include both conventional and more eclectic klezmer on their new CD, Oy Yeah!

Band members are Sam Dechenne (trumpet), Greg Loughman (acoustic bass), Joe Kessler (violin), Michael McLaughlin (accordion), Alec Spiegelman (clarinet, saxophone), Tev Stevig (electric guitar), Daniel Linden (trombone), Jeremy Gustin (drums) and Jim Gray (tuba).

Kessler performs and records with several groups, including the Middle East Peace Orchestra, Morphine and Jimmy Ryan. He was a member of the orchestra in the Robert Plant/Jimmy Page reunion tour and has toured across the United States and Canada with the group Boiled in Lead. Klezwoods is Kessler’s debut as a bandleader and he manages to deftly direct this large group of accomplished musicians in a variety of styles.

The opening track, “Ki Eshmera,” is a Yemenite song taught to Kessler by his father, Jack, who is a cantor and leader of the band Klingon Klezmer (whose website is a sight to behold). It and the closing piece, “Chassidic Medley No. 1,” also from Kessler’s father, represent the more commonly heard klezmer.

A couple of the more refreshing takes feature Dechenne on his trumpet: though Turkish in origin, the song “Bahar Dansi” evokes a New Orleans big band sound and, while “Nassam Aleyna” definitely mixes Arabic and tango, the trumpet propels the melody’s movement. Kessler’s violin shines in the Greek-klezmer-Irish-inspired “Syrtos.”

Spiegelman’s tribute to John Coltrane’s “Giant Steps” is also a highlight of this CD. It starts off as one might expect a generic klezmer melody would, but then transforms into a Coltrane-esque number, ending with almost a slow tango – clearly a love song to a music legend.

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