Artist: Avishai Cohen
Album: Naked Truth
Genre: Post-Bop, Contemporary Jazz
Label: ECM Records
Released: 2022
Quality: FLAC (tracks+.cue)
Tracklist:
- Part I (Cohen) - 1:52
- Part II (Cohen) - 5:07
- Part III (Cohen) - 5:49
- Part IV (Cohen) - 7:38
- Part V (Cohen) - 2:07
- Part VI (Cohen) - 0:50
- Part VII (Cohen) - 2:47
- Part VIII (Cohen) - 4:29
- Departure (Cohen) - 4:29
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- Personnel:
- Avishai Cohen - trumpet
- Yonathan Avishai - piano
- Barak Mori - double bass
- Ziv Ravitz - drums
Following 2020's psychedelic funk- and fusion-leaning Big Vicious, trumpeter Avishai Cohen returns to his introspective acoustic quartet work with 2022's meditative Naked Truth. Once again recorded in France with ECM founder Manfred Eicher, Naked Truth features Cohen's quartet with Yonathan Avishai, Barak Mori, and Ziv Ravitz. This is a similar, if different lineup of the groups Cohen used on his previous ECM albums like 2016's Into the Silence and 2017's Cross My Palm with Silver with the one through-line being the presence of pianist Avishai. In a sense, Naked Truth is a continuation of the pair's collaborative 2019 duo album Playing the Room. However, rather than composing songs for the album, Cohen and his group met in the studio and largely improvised each track in one long session, allowing themselves to react in the moment and build each performance organically. Consequently, there are no individualized song titles and each track feels as if it connects to the next, resulting in a kind of unplanned suite. The only exception to this is the album-closing "Departure," named after a poem by Israeli writer Zelda Schneurson Mishkovsky that Cohen recites to ruminative piano accompaniment. The result is a deeply impressionistic recording that finds Cohen leading his group with a sustained lyricism that evokes Miles Davis' classic soundtrack to French director Louis Malle's 1958 film Ascenseur pour l'échafaud. That album was also fully improvised from chordal sketches, with Davis and his band playing to a rough cut of the film for inspiration. While Cohen did not have a film to draw from, he nonetheless conjures a deeply cinematic atmosphere. These are dusky ballads, marked by Cohen's often muted, noir-ish horn lines.
Review by Matt Collar