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Omer Avital Discography (1999 - 2009)

Posted By : marmaduke0 | Date : 29 Apr 2010 23:55:39 | Comments : 9 |
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Omer Avital Discography (1999 - 2009)
5 LOSSLESS CD'S + 17 CD'S Of Mp3 160-320 KBPS
Jazz, Post Bop, World Fusion | 1999-2009 |
3.7 GB @ RS | Labels: Smalls Records / Fresh Sound

“
BIOGRAPHY


Omer Avital was born in Israel in the town of Givataim. He excelled in music studies early on, entering the Givataim Conservatory at age 11 to study classical guitar, and going on to Talma Yalin, Israel’s leading high school for the arts where his interests turned to jazz and the acoustic bass. After a brief period in the national service, Omer moved to New York to be in the heart of the international jazz scene. He quickly achieved recognition as a bassist of rarest talent and musicality, and became one of the most in-demand bassists on the scene, steadily performing, recording and touring with such jazz legends as Roy Haynes, Jimmy Cobb, Nat Adderley, Walter Bishop, Al Foster, Kenny Garrett, Steve Grossman, Frank Hewitt, Jimmy Lovelace, Rashied Ali, and more, as well as some of the great jazz artists of his generation including Mark Turner, Aaron Goldberg, Joshua Redman, Jason Lindner, Jeff Ballard, Brad Mehldau, Antonio Hart, Claudia Acuña, Kurt Rosenwinkel, Peter Bernstein, Greg Tardy, Myron Walden, Larry Goldings, and Ali Jackson among others.

The development of the Omer Avital group is tied closely with the history of Smalls. Avital was in fact on the first gig ever at Smalls, with the then-unknown Peter Bernstein and Brad Mehldau. Avital was a permanent member of the pivotal Jason Lindner Big Band, which developed over years into a weekly Monday night institution at Smalls. Lindner has played host to a generation of bright new talents, and has made quite a mark. The genesis of the classic Avital sextet captured here is partly to be found in Lindner’s band, which at various times in its early days also included Turner, Tardy, Walden, and Owens. The Lindner band always featured gifted and impassioned soloists playing on material with wide dynamics. Its unique qualities were due in part to the special character of the band’s rhythm section. As a rhythm section, Lindner on piano, Avital on bass, and Daniel Freedman on drums were fluid, able to seamlessly modulate together through unusual meters, moods, and stylistic changeups. These qualities carried over into the Omer Avital group.

An expectant air preceded the debut of this group. In the back of Smalls, in what used to be a kitchen, you could see things musical were being cooked up. Freshly penciled sheet music was strewn around, signs of the composer at work. Nascent riffs could be heard escaping from the decommissioned walk-in cooler where Omer would spend long sessions on the rehearsal piano inside. In the doorway at Smalls hung the band’s poster showing Avital’s intent gaze (reproduced here on the back cover). A serious look but natural, with no trace of self-conscious fashion sneer. In its beginnings, Avital’s group was featured on weekly late-nights at Smalls on Tuesdays at 2 am--after the bewitching hour, when it is more the music that is the prime mover, and less the dates and drinks. Here, over a period of a few months, Omer issued forth a stunning array of new tunes and arrangements for everything from duo to sextet. The group quickly caught on among musicians around town, and drew raves from critics. Peter Watrous in The New York Times (1/31/96) wrote: “The bassist Omer Avital's exceptional set at Smalls on Thursday night was cause for optimism for two reasons. The first is that the handful of young musicians in the band who were good improvisers a year ago have become more than that. Expressive, powerful and well informed, the sextet doesn't have a weak link….[Avital] and the drummer Ali Jackson have led the jam-session band, which plays from 2 to 8 in the morning, every Friday for nearly two years, and the communication they’ve developed is extraordinary.” As its notoriety grew, the group was brought on as an evening feature, frequently playing to packed houses on Thursday nights. One of those Thursdays is captured here.

Here Avital reveals himself to be a consummate musical dramatist and storyteller. His compositions are episodic, often having the ring of epic stories and folk legends set to music. Their dramatic force and poetic weight help drive the music. The ensemble chemistry is key to the success of the music. And the Omer Avital Group in its various instantiations had chemistry rare enough to make it memorable among jazz groups in history. Omer chooses his musical ensemble with the kind of care a director takes in casting the leading roles for a dramatic ensemble, and it makes a difference.

Avital and drummer Ali Jackson dance around the beat with effortless grace, setting the tone and pace with nuanced dynamics that range from a whisper to a gunshot. Jackson really uses his drums to speak, and he’s fleet and articulate. He first emerged full-blown on the New York scene around this time, as natural a drummer as there ever was. Music runs in his family, as he comes from a line of great jazz musicians that includes the McKinneys of fame. The four horns play the dramatis personae for Avital’s works. Mark Turner has proven to be one of the most influential tenor saxophonists of our time, and here he is a catalyst who infuses the group with energy and contributes a truly beautiful sound throughout. Gregory Tardy, soulful, sincere, and from St. Louis, had recently come off two years with the Elvin Jones group when this was recorded. He’s a powerful tenor player with an impeccable sound who’s a source of energy for any group that has him. Walden is a virtuosic lead alto player with a commanding tone that never wavers. His features, among them duets with Mark Turner, one of which is included here on 12 Tribes, made for some of the group’s greatest moments. Completing the front line is Charles Owens, a longtime musical associate of Avital’s. Owens was featured on the weekly Friday late night at Smalls for nearly eight years running, and his group was critically lauded for its appearance on the popular Impulse CD Jazz Underground: Live at Smalls, which also featured Avital in accompaniment.

Avital’s bass playing encompasses the full expressive range of the instrument. His grasp of music history is remarkable, drawing on Bach’s crystalline counterpoint, Israeli and Middle Eastern folk music, Yemenite Synagogue music, and early Spanish classical music. His command of jazz history is just as impressive. His influences on bass, among them Jimmy Blanton, Oscar Pettiford, Ray Brown, Paul Chambers, Charles Mingus, Jimmy Garrison, Charlie Haden, and Jaco Pastorius, are paid just tribute in his music. As a composer and bandleader, Avital has clearly learned much from Duke Ellington and Charles Mingus, both ingenious musical dramatists.

At the time of these recordings, now ten years ago, the merits of the group were clear, both in terms of the strength of the individual musicians, and in terms of the strength of the group as a whole. The music has withstood the test of time. Many groups since, by contrast, displayed novelty and promised much, but ended up being little over the mere sums of their parts. Outward novelty alone does not make for innovation. An element of synthesis is needed, and the knowledgeable insight required for that requires a grasp of history, unless one is to be content with reinventing the non-starter. When music is pressed, as it is here, into the service of a talented dramatist and storyteller drawing on a rich musical and cultural history, it becomes something more meaningful. And that I think will be its lasting legacy.

Written By Luke Kaven
Small Records		”


The Omer Avital Group - Think with Your Heart (2001)
Blue Moon


All-Abbout-Jazz Review
Pure Post Bop.

Omer Avital has provided an expansive debut recording in Think With Your Heart. Hyperintelligent and free, Think With Your Heart could be considered what happens to Post Bop as a genre when it is perfected. Add to this the ethnic flair that is infused (hear the cacophonous opening to "Flow") and the music makes an almost religious statement demanding to be heard.

Nothin here would betray this a freshman recording effort. Avital has two solo excursions on the disc, the first being Bob Marley's "Redemption Song." Avital only ventures beyond his own composition with an airy, Middle Eastern "Stella By Starlight." The remainder of the music is an exciting concoction made up of equal parts prodigy, youthful enthusiasm, John Coltrane, Charles Mingus, Bill Holman, and Ariel Sharone. Defiantly brilliant and recommended.


Track listing
1. Think With Your Heart 9:35
2.Stella By Starlight 7:14
3. Make Believe 10:03
4. Andaluz 2:27
5. Marrakesh 7:20
6. Tune In D 10:52
7. The Journey Home 2:42
8. Let It Grow 7:51
9. Redemption Song 4:45
10. Flow 7:07

Personnel:
Omer Avital: Basses; Greg Tardy: Tenor Saxophone & Bass Clarinet; Jay Collins: Flute, Tenor Saxophone, Bamboo Flutes & Soprano Saxophone; Myron Walden: Alto Saxophone; Joel Frahm: Tenor Saxophone; Jimmy Greene: Soprano Saxophone, Tenor Saxophone; Joshua Levitt: Nay Flute; Daniel Freedman: Drums, Bells & Cymbals, Percussion, Claps & Vocals; Marlon Browden: Drums


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The Omer Avital Group - Asking No permission (2005)
Smalls Records


All-About-Jazz Review
The Omer Avital Group was a mainstay at New York's Smalls club in the mid '90s. An unfortunate turn of events with record companies suppressed the bassist/composer's major label debut, and in recent years Avital has spent more time working and studying in his native Israel. But with the release of Asking No Permission and a recent series of Greenwich Village gigs, including a near-magical set at the Fat Cat in mid-January, New York's jazz scene is once again abuzz with Avital's name.

The first of four planned releases of recordings from the Smalls years, Asking No Permission provides ample evidence of why the group was so well regarded. Avital's compositions, like "Devil Head and "Kentucky Girl, at once contain instantly attractive melodies, wide-open spaces for improvisation, and boisterous group interplay. The performances are unrushed, extending to twelve, fourteen and fifteen minutes, perhaps a reflection of the environment Smalls provides for experimentation and the maturation of ideas.

Avital's classic sextet features a lineup of three tenor saxophonists—Charles Owens, Gregory Tardy and Mark Turner, who also doubles on flute—plus Myron Walden on alto and Ali Jackson on drums. The four-reed front line is showcased on "Ballad, a gorgeous, brief piece full of colorful and subtly shifting harmonies among the horns and bass.

At Fat Cat on January 14, Avital's new all-star group with Jason Lindner (piano), Joel Frahm (tenor and soprano sax), Avishai Cohen (trumpet) and Eric McPherson (drums) was on fire, crackling with energy. Though the set started nearly an hour past the advertised time, Lindner, Frahm and Cohen (sitting in on drums) warmed up the audience with a light, playful "Moonlight Sonata jam.

Avital's "Song for Amos led off the set proper, with Cohen delivering the first of many blistering solos, spilling out long ideas one after another and the group blowing full force at the end. Among the other tunes were a rapid bebop number and a downtempo dark blues waltz, but the standout was Avital's "Song of Praise. An overwhelmingly joyous song with an affirming melody over basic, descending chords, it had Avital swaying, bouncing and grinning ear-to-ear as things unfolded.


Track listing
Know What I Mean?!
Lullaby of the Leaves
Ballad
Devil Head
12 Tribes
Kentucky Girl
The Field

Personnel:
Omer Avital: bass; Ali Jackson: drums; Mark Turner: tenor saxophone; Gregory Tardy: tenor saxophone, flute; Myron Walden: alto saxophone; Charles Owens: tenor saxophone.


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Omer Avital - The Ancient Art of Giving (2006)
Smalls Records


All-About-Jazz Review
In a (re)return of the prodigious prodigal son, the Israeli-born and New York City-seasoned Omer Avital is back on the block after extended musical fieldwork in his native land. The Ancient Art of Giving presents the vibrant and eclectic bassist with a host of jazz adepts: Mark Turner (tenor), Avishai Cohen (trumpet), Aaron Goldberg (piano) and Ali Jackson (drums), all veterans of and close collaborators in the underground (literally!) scene at Smalls, a "new -breed Mecca under the auspices of the eccentrically avuncular Mitch Borden.

Pressed on the club's in-house label, this disc captures the spirits of the times, rendered through the lens of Avital's decidedly personal artistic aesthetic. Blending the Old World elegance of Spanish classicism with Afro-Arabic modal soul and North American hard-bop, Avital has gleaned a unique sound from these cultural interzones, a sort of "jazz of Gibraltar.

Many of the tunes on the recording employ the descending phrygian cadences associated with Iberian peninsula composers and flamencos (eg. "Homeland, "Ras Abu-Galum and "Shimi's Tune ), along with an ample dose of gospel (thanks to Goldberg's churchy comping) that recalls the Bobby Timmons-era Jazz Messengers.

When simmered in Smalls' subterranean crockpot into the wee hours, these flavors blend in a pungent potpourri, as on "Arrival, where a funky piano intro sets up a two-horn, Blakey-esque head, followed by tandem soloing from Turner and Cohen; or on "Shimi's Tune, where Jackson's rat-a-tat snare drum fusillades sync and swim with Goldberg's facile pianisms. You can just imagine the heads bobbing.

This October, Avital had been in-house at Smalls; on the first Wednesday of the month, he appeared with Cohen (trumpet), Joel Frahm (tenor), Daniel Freedman (drums) and fellow Israeli Omer Klein (piano). The early set featured "Free Forever, "Suite of the East, "Mountain Top, "The Chant and "New Middle East, all well-conceived, memorable tunes with unusual twists and turns that Avital's unmistakable stylistic stamp. Amidst this all-star cast, Klein in particular dazzled with torrents of turbo-charged one-hand "rolls" and tumultuous lyricism.


Track listing
Homeland
Night Song
Ras Abu-Galum (for Elvin Jones)
Arrival
Shimi's Tune
Bass Introduction
Yes!

Personnel:
Omer Avital: bass; Mark Turner: tenor sax; Avishai Cohen: trumpet; Aaron Goldberg: piano; Ali Jackson: drums.


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Omer Avital - Arrival (2007)
Fresh Sound New Talent


All-About-Jazz Review
Though the picture on this disc's cover might bring to mind some kind of 1970s folk-rock star, the music inside has nothing to do with that. The Israeli-born bassist weaves through a variety of feels, from simple funky beats to more complex rhythmical patterns with some Latin-inspired moments in between.

On "Big Time, Avital begins with a heavily syncopated bass line for his sextet to follow, the piece running just under four minutes in a showcase for pianist Jason Lindner. Live at the CD release party at Jazz Standard, the piece was extended to include solos by saxophonist Joel Frahm and trumpeter Avishai Cohen.

"Sea and Sand finds Cohen playing a beautiful solo with a flurry of notes slightly reminiscent of Arturo Sandoval (except that there are none of the Cuban musician's trademark high notes) while drummer Johnathan Blake fills each empty space with expertly-placed beats. Cohen is again featured in a call-and-response opening to "Song of Thanks, one of the highlights of both the album and the live set. Unfortunately trombonist Avi Lebovich was not on hand at the concert, so his smart fills on this track, as well as the rest of the album, were missed.

Listen also to "Middle Eastern Sunset, in which Avital plays double duty on bass and oud (an instrument sadly not played live). It is a short track that could almost act as a prelude to "Lilian in The Big Blue but even at two minutes changes the entire feel of the disc, showing a different side of Avital's musical influences.

Arrival is not a jazz album per se; instead, it goes into many different directions from a player refreshingly comfortable in various musical settings.


Track listing:
Song for Amos
Big Time
Third World Love Story
Sea and Sand
Arrival
Faith
Cypresses
Vincent
Song of Thanks
Middle Eastern Sunset
Lilian in the Big Blue

Personnel:
Omer Avital: bass, oud, vocals; Jason Lindner: piano, Fender rhodes, vocals; Jonathan Blake: drums, tambourine, vocals; Joel Frahm: saxophones, vocals; Avi Lebovitch: trombone, vocals; Avishai Cohen: trumpet, vocals.


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RECORDINGS AS CO-LEADER







OAM TRIO






O A M Trio - Trilingual (1999)
Freshsound


Review
OAM Trio are an international ensemble hailing from Barcelona, Jerusalem, and Boston. All of the band's members had played in each other's ensembles for years, but had never played together as a trio. Pianist Aaron Goldberg, drummer Marc Miralta, and bassist Omer Avital chose to brief each other in the weeks before the session, but never rehearsed. That said, this program of originals and strange covers from the graveyard of jazz history is an auspicious debut. Goldberg is a pianist who is equal parts Bill Evans, Freddie Redd, and Paul Bley. His composition "Bismillah," with it's Near-Eastern scalar approach and hand drums by Miralta, weaves klezmer and cantorial songs together with flying legato phrasing and post-bop intervallic structure to create something new and positively different. The band follows this in a very organic rendition of John Coltrane's "26-2," turning the African rhythm toward the front of the tune and having Avital play modally through this body. Goldberg just flies on the 16th notes, never dulling a pitch. Avital's "Devil Head" closes the set with a lovely droning bass solo for just under two minutes before Goldberg's glissando arrives with shakers. Filled with close harmonies and major chords, the piece is a lyrical wonder, as it sings from the center of the trio. Goldberg and Avital trade fours throughout in the intervallic weave, and the result is breathtaking.


Track listing:
1. The Loneliest Marc
2. Bismillah
3. 26-2
4. Never Let Me Go
5. Woody ’n You
6. Sea Shantey
7. Devil Head
8. Cheryl

Musicians:
Omer Avital (b),
Aaron Goldberg (p),
Marc Miralta (d)

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O A M Trio - Flow (2001)
Freshsound


Cadence Magazine Review
I want to say right off the bat that totally enjoyed this disc. OAM comes from the first letters of the players' first names with the last name in alphabetical order. But it is Avital, I would say, who is the nominal leader, or at least sharing those duties with Miralta. Avital is an extroverted and propulsive bass player with a recognizable style that combines rhythm / harmonic support with melodic lines, even when he is not soloing. His solos are very strong and he plucks very hard, producing a unique sound which keeps things moving along.

He and Miralta are locked in tight, with Miralta's drumming doing much more than providing a beat. He is fleet and light, all over the drum set, plus switching off to the two percussion instruments without missing a thing. You will need a good stereo or headphones to really hear all that is going on at the bottom, because may times Avital seems to want to fit in with the bass drum. They make a tremendous rhythm section. Now, this may sound like Goldberg is along for the ride, and to some extent he is, as alluded to in the last line of the inner blurb: "Now and then you can hear us laugh at our triumphs and stumbles amidst the stream. This day's work captures an evolving musical romp, three-drummers-in-one and a bunch of bad-ass solos..." Regardless, he fits in very well when doing most of the soloing, but also when comping and picking up motives that Avital lets loose.

Flow, besides being the title of the CD and the name of one of its tunes, is the operative word from the first moment of music. The trio is a unit, and has a distinctive sound as a trio. They are mindful of the Ahmad Jamal Trio, not because they sound like that, but because they sound extremely extemporaneous in that dynamics, tempos, and textures change constantly, seemingly turning on a dime. The OAM Trio also plays in unison (rhythmically) many times, which is thrilling when it comes out of nowhere. The laughter referred to in the blurb above occurs many times throughout the disc, and, while I cannot say for sure, seems to come from either from Avital or Miralta when everything just falls into place for the moment, is locked in, and swings (to use the term loosely) the hardest. This is when the flow (or the zero point, as Greg Osby calls it) need not be pushed, but just pulls everyone along.

A measure of OAM's success for me is that, while there is not a weak cut on the disc, my favorite cuts are "The Shadow Of Your Smile" and "Puff, The Magic Dragon," neither of which are on my short list of Jazz hits. What might have been droll or boring is instead exciting, because these tunes are taken for a ride, refracted, hinted at during the trip and then put back together so that you know you have been somewhere. Close behind are "Flow" by Avital and "MAO's Blues." "Flow" is a rhythmic tour de force that just kicks from beginning to end and shows the interplay between Avital and Miralta at thier tightest, besides having some very coy "Puff"quotes. "MAO's Blues" starts off sounding anything but a Blues, but then settlles in for some hot cooking and what may be Goldberg's most extroverted playing. Miralta takes some marvelous drum breaks in stop time, until they all lock into a groove on a repeated cadential figure (and a loud 'Wow', along with a quote from "Moanin'." Most of the tunes follow an ABA form, which, with its return and recapitualtion, only emphasizes the trip that has been taken. Highly recommended."


Tracklisting:
1. Equinox (Coltrane) - 7:45
2. Mao's Blues (Goldberg) - 5:17
3. Shimi's Tune (Avital) - 7:11
4. The Shadow of Your Smile (Mandel) - 5:33
5. Sad and Bright (Miralta) - 3:54
6. Puff, The Magic Dragon (Lipton/Yarrow) - 5:54
7. Flow (Avital) - 5:17
8. Con Alma (Gillespie) - 6:50

Recorded in Hoboken, New Jersey, 2000

Musicians:
Omer Avital (b),
Aaron Goldberg (p),
Marc Miralta (d)

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OAM trio and Mark Turner - Live in Seville (2003)
Lola


Tracklist
* Taurus
* Fantasy in D
* Sad and Bright
* Flow
* Equinox
* MAO's blues
* Song for Amos

Musicians:
Omer Avital (b)
Aaron Goldberg (p)
Marc Miralta (d)
Mark Turner (sax)


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Third World Love







Third World Love - third world love songs (2002)
Fresh Sound Records


Review
Third World Love began as a summer tour and recording for "Fresh Sound Records" in Barcelona. Avishai Cohen (trumpet), Omer Avital (Bass), Yonatan Avishai (Piano) and Daniel Freedman (drums) instantly became a band. Experimenting with different compositional forms, their music organically blends African, Middle Eastern, rock and jazz.
Whether the show is in a concert hall or rock club the band draws the audience in to a poetic journey of rhythms, songs, dance and joyful celebration

"When the magic is created on stage, there is no choice but to listen, shake your butt and notice how your stupid smile is getting bigger and bigger every second." Haaretz Magazine

OMER AVITAL "Extraordinary." - New York Times
"Roaringly Inventive"- Jazziz
"Strikingly Talented"- Entertainment Weekly
AVISHAI COHEN "What a pleasure to hear an emerging musician put out a record with the real spirit of what I consider jazz to be."-Barry Witherden, Jazz Review
YONATAN AVISHAI
"Yonatan Avishai is a genius pure and simple" -Ha'ir Magazine
DANIEL FREEDMAN
"Loaded with technique"-New York Times
"Daniel plays complex rhythms with rare grace and beautiful intricacy"
-Modern Drummer


Tracklist
1 Bina 12:10
2 Musicians without Boundaries 10:00
3 Flamingo/Brown and Green 14:37
4 Third World Love Story 7:24
5 Assal 11:10
6 Sketch of Barcelona 3:31

Musicians:
AVISHAI COHEN (trumpet)
YONATAN AVISHAI (piano)
OMER AVITAL (bass)
DANIEL FREEDMAN (drums)

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Third World Love - Avanim (2004)
Assal Records/NMC


All-About-Jazz Review
"Avanim" is the second Album Of 'Third World Love' The Israeli - International Group, that Counter 4 musicians; three Israelis and an American one: Avishai Cohen (trumpet), Omer Avital (double bass), Yonatan Avishai (piano), Daniel Friedman (drums). One can categorize their music as world music/ acoustic groove or as jazz that is ahead of its time. All the answers are correct, The music sailed intensively in a universal space with influences of Monk, Jazz Messengers, Latino, Jewish Klezmer and Mingus style Tijuana beat, funk and dub, successfully move and interest an audience that looks for musical stimulation in different areas. the four members group together after each one of them came to an international recognition of his activities as a soloist; Composer and a Brilliant Preformer.




Third World Love was born as a unique musical brotherhood that has, thus far, resulted in numerous sold-out tours and three highly successful recordings, Third World Love Songs, Avanim and Sketch of Tel Aviv. Three of its members originate from Israel and one from New York (Daniel Freedman). Now with three quarters of the band being long-time noted mainstays on the NYC scene (pianist Yonatan Avishai resides in the south of France), New Blues solidifies the band's position as an internationalized, “downtown" amalgam that revels in its striking uniqueness, brilliantly delving deep into multiple genres over the course of the recording.

Throughout Israel and Europe Third World Love routinely plays in venues to large crowds (often a thousand plus strong) of mostly young people dancing and partying the entire night; not your typical jazz scenario - but actually a very exciting part of the perpetual story of jazz and “world" music, reminiscent of the rambunctious, out-for-a-good-time crowds that jazz musicians entertained in another era. Third World Love is a band that is generating excitement for jazz amongst a new generation of fans with a singular brand of music that is a blast to get into, physically and/or intellectually. Time Out Tel-Aviv put it this succinctly, “Forget what you thought about jazz . . . Never in my life have I seen so many people moving to the sounds of such complicate melodies and harmonies. When the music is created on stage, there is no choice but to listen, shake your ass and notice how your stupid smile is getting bigger and bigger every second."



Tracklist
1. La Suite Africain
2. Ein Karem
3. Judith
4. Avanim
5. Three Autumn Sketches: Clouds
6. Three Autumn Sketches: Forest
7. Three Autumn Sketches: Leaves
8. Marrakesh

Musicians:
AVISHAI COHEN (trumpet)
YONATAN AVISHAI (piano)
OMER AVITAL (bass)
DANIEL FREEDMAN (drums)


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Third World Love - Sketch of Tel Aviv (2006)
Smalls Records


All-About-Jazz Review
A celebration of life flows through Sketch of Tel Aviv. Third World Love, based in New York, is a quartet of three Israeli-born players (trumpeter Avishai Cohen, bassist Omer Avital, pianist Yonatan Avishai) and a New York native, drummer Daniel Freedman. Since their debut, Third World Love Songs (Fresh Sound World Jazz, 2002), their music has been labeled world fusion, embracing ideas from the Middle East, Africa and American jazz. Each musician is active as either a leader of his own band or a sideman in various music endeavors. But together as Third World Love, they have created something special.
What's convincing is not just their high level of playing, but also how they pull many global flavors together. For instance, on A Touch of Tahini, you not only hear a Jewish influence, but also a hot Latin clave. In the title piece, Sketch of Tel Aviv, there are swatches of Jewish, European and even American ragtime—further enhanced by a synthesized trumpet solo and a sweet, funky backbeat. That may sound wild, but it works wonderfully to yield music that is both accessible and familiar, regardless of your musical background.

The melody-filled compositions are supported by repeating phrases, interspersed with atypical jazz solos. One interesting piece is the rural-esque Hareshut, boasting mesmerizing oud playing by Omer Avital. On the ballad Suzanna, Cohen's synthesized trumpet evokes an affecting mood. One of my favorite pieces is Suite African #2, which beckons the listener to dance with its steady bass/drum beat and playful trumpet/piano exchanges.

Third World Love draws inspiration from many sources, channeling them into its own sound. It is said that the band is wildly popular in Israel, performing in small venues or large arenas to enthusiastic crowds. Listening to Sketch of Tel Aviv, it's easy to understand why.



Personnel:
Omer Avital: bass, oud
Avishai Cohen: trumpet
Yonatan Avishai:piano, fender rhodes
Daniel Freedman: drums, percussion;
Eviatar Banai: vocals (6)

Track listing:
1 A Touch of Tahini
2 Sketch of Tel Aviv
3 Suite African #2
4 Hareshut
5 S'ai N'wai
6 Horizon (Kav Haofek)
7 Suzanna (aka Rock Ballad)
8 Three Four (Not a Jazz Tune)


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Third World Love - New Blues (2008)
Anzic Records


All-About-Jazz Review
The internationalism of jazz has accounted for much of its innovation for at least the past decade. A restless and protean art form, jazz in hindsight may be described in improvisational terms that are responsible for its constant renewal and its avoidance of rigid categorization as it absorbs new and sometimes disparate elements. Third World Love came into existence through such a global outlook.
Three of the quartet’s musicians moved from Israel to New York City where they immersed themselves in the city’s jazz scene, which JazzTimes says experienced in 2007 “a tidal surge” of talent from that country. Yet the members of Third World Love didn’t perform as a group until New Yorker Daniel Freedman joined them in Barcelona, Spain in 2004. Since that time, they have recorded four CD’s, not to mention performing to much acclaim and excitement around the world. New Blues, Third World Love’s latest release, suggests the influence of the world’s cultures upon the members as it includes a broad assortment of styles, including flamenco, Arabic modes, American blues, Sephardic meters, Eastern European ornaments, jazz changes, European classical references and Afro-Caribbean percussiveness.
In collaborative spirit, the members of Third World Love have contributed the songs to be recorded on the CD. Despite the differences in authorship, the music remains remarkably consistent throughout it, not only because of the readily identifiable colors created through the instrumentation, but also due to the shared feeling inspiring the compositions. The CD opens with bassist Omer Avital’s “Joy of Life,” a three-four theme simply stated during its two-minute introduction, made especially appealing by pianist Yonatan Avishai’s, and then trumpeter Avishai Cohen’s, folkloric solo statements that strip the song to its melodic essence. Then, Avital expands upon the basic motive during the eight-minute presentation of “Joy of Life” as the rhythms become more complex and the harmonies veer between minor and major. Despite the underlying energy propelling the piece, as well as the invigorating improvisation, the group plays with firm control of the music, never over-dramatizing the narrative with excessive crescendos or jabbing accents, and “Joy of Life” remains as light and flowing as Avital intended it to be.
Then, Freedman adds what seems to be a fairly conventional piece, “Little Echo,” ambling and amiable in its block-chorded stroll and complete with little high-treble accents…until the group, as if spontaneously, inserts a reggae rhythm for enlivening effect before it settles back into its cushioned ending. Lest one assume that Freedman’s interests lie solely in direct unvarnished melodies, he supplies contrast by writing “La Camerona,” based upon a confluence of samba and flamenco sensibilities that still remain intriguing while being understated. Once again, Cohen’s trumpet work is burnished, and his solo is naturally structured to expand upon the possibilities of the melody and immersed in feeling that elucidates the thought the Freedman composed.
Cohen’s three compositions range from the apparently Satie-influenced “Gigi et Amelie” with its lilting and still deceptively simple three-four melody to the vamp-based and jaunty “Nature’s Dance” to the piece that gives the CD its name: “New Blues.” A few words are needed about “New Blues,” in addition to the intriguing cleverness of its title and the joy inherent in the quartet’s playing of the piece. With an introductory minimally dissonant two-note off-beat scamper reminiscent of Chick Corea’s sometimes puckish style of charming an audience, “New Blues” indeed does charm…and it delights and draws in the listener with its spirited buoyancy, sprinkles of piano’s notes, and trumpeted smears and blares. Teasingly, the piece, while borrowing from the blues in its feel and twelve-bar chord structure, doesn’t merely set up a theme for successive improvisations. Rather, “New Blues” not only keeps driving through the written melodic composition, but also it increases intensity until its final free-rhythm breakdown into fading dissolution.
Avishai provides “Beauty of Death,” a fragile, quiet song that originated as a free improvisation behind a poet who read verses about two brave souls facing death. Fortunately, Avishai later was able to transcribe the gorgeous, unpretentious song for recording on New Blues, where its slow musical meditation contrasts with the verve of some of the other songs like Avital’s “Hamina.” The CD closes with Duke Ellington’s “So”—a succinct, infrequently heard tune from his 1961 Piano in the Foreground album. Straightforward and devoted to a strong melodic presentation in less than four minutes, Third World Love’s interpretation, heightened by Cohen’s soft muted trumpet and Avital’s soulfulness, pays due respect as Avishai inserts some Ellingtonian stylistic allusions.

So, Third World Love closes another CD with understatement, which is quite a difference from the simmering “Joy of Life” beginnings of 61 minutes before. Unpredictable and un-categorizable, Third World Love remains omnivorous in its absorption of ideas from the countries its members visit. The synthesized and personalized results provide enjoyable


Track listing:
1 Joy of Life Intro
2 Joy of Life
3 Homeland
4 Little Echo
5 La Camerona
6 Gigi et Amelie
7 Nature's Dance
8 Hamina
9 New Blues (Ain't No Thing);
10 So.

Personnel:
Avishai Cohen: trumpet and flugelhorn
Yonatan Avishai: piano
Omer Avital: bass
Daniel Freedman: drums



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LOSSLESS (Img.APE+LOG+Cue)
EAC LOG
EAC extraction logfile from 23. May 2009, 11:08 for CD
Third World Love / New Blues

Used drive : _NEC DVD_RW ND-3540A Adapter: 0 ID: 1
Read mode : Secure with NO C2, accurate stream, disable cache
Read offset correction : 48
Overread into Lead-In and Lead-Out : No

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Other options :
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Installed external ASPI interface

Range status and errors
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Filename D:\Torrent\Third World Love - New Blues\CDImage.wav

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CRC 05708CC3
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No errors occured

End of status report

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The Omer Avital Marlon Browden Project (2005)
Featuring Avishai Cohen & Omri Mor
Fresh Sound


Review
Here is at last the Omer Avital – Marlon Browden project on CD, a very exciting live performance band featuring the very personal sound of trumpet player Avishai Cohen and 19-year-old pianist Omri Mor. This recording was released during a visit of the American drummer Marlon Browden in Jerusalem in 2003.


Track listing:
1. Marlonious (Browden) 5:44
2. Third World Love Story (Avital) 6:22
3. Browden’s Thing (Browden) 12:23
4. Song & Dance- A suite in three grooves-Part 1 & 2 (Avital) 8:01
5. Waiting (Cohen) 9:46
6. Me And You Tonite (Avital) 6:37
7. Asal (Dub version) (Cohen) 7:50
8. Song & Dance-A suite in three grooves-Part 2 & 3 (Avital) 7:54

Recorded live at the Yellow submarine, Jerusalem, July 13, 2003

Personnel:
Omer Avital (b)
Marlon Browden (d)
Avishai Cohen (tp)
Omri Mor (Fender Rhodes)

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Debka Fantasia - Debka Fantasia (2009)
A World Music fusion fantasy built on Bedouin roots
East West Music


Review
Debka is an Arab folk dance from the Levant region. A community stomping ritual to compact the dirt roofs on stone homes, it evolved to include music sung and played by Bedouin tribes in Israel.
Debka also describes a musical style in Israel started in the 1920s. This was a time when European Jewish pioneers reconnected to their ancient “promised land” - and met their new Bedouin neighbors.
Fascinated by traditional Debka music and its fiery, desert-inspired Bedouin rhythms and Arabian scales, these open-minded pioneers soaked up what they heard to build an entirely new genre of music - the first of its kind in World Music - and a first for modern Israel. Israeli poets and Debka musicians back then were able to boldly, yet naturally fuse the sound of Arabia to musical harmonies and structures from the west.
This new project Debka Fantasia is driven by a supergroup of jazz, ethnic and classical musicians who go one step further: for them the colourful, fiery Bedouin influence is undeniable.

Produced and arranged by Yisrael Borochov, the father of Israeli World Music from the East West Ensemble, and Omer Avital an American-Israeli jazz legend from New York, this new fusion of Israeli debka music takes the best of contemporary and traditional World Music from Israel. Critics say Dekba Fantasia has a life of its own, and creates a place - real or imaginary - where its roots of fire from the east meet branches of harmony from the west. The result is combustible.


Members:
Omer Avital
Chaya Samir
Ravid Kachlani
Itamar Doari
Eyal Sela
Itamar Borochov
The Israeli Contemporary String Quartet
Yisrael Borochov
Avri Borochov

Tracklist:
01. Eretz Zavat Halav U'Dvash 9:14
02. Alei Givah Sham Ba'Galil 5:37
03. Orha Ba'Midbar (Yamin Usmoll) 6:43
04. Bein Nahar Prat Unhar Khidekel 6:15
05. Al Givot Sheikh Abrek 5:12
06. Be'er Ba'Sadeh 6:06
07. Shtu Ha'Adarim 7:34
08. Ushe'avtem Mayim 4:19
09. Ballada Al Maayan Va'Yam 5:45
10. At Adama Be'lev Midbar 5:41
11. Shir Ha'Emek (Ba'ah Menuhah Layage'ah) 7:28
12. Lekh Lekh La Midbar 4:16


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Omer Avital, Omri Mor & Aviv Cohen - Live In Rimon School of Jazz (2004)


Tracklist:
4 TRACKS - UNKNOWN TITLES

Members:
omer Avital - Bass
Omri Mor - Piano
Aviv Cohen - Drums


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RECORDINS AS A SIDEMAN





Daniel Freedman Trio (2003)
Fresh Sound/New Talent


Review
Drummer/percusionist/composer Daniel Freedman Leads this exiting session with long time collaborators pianist Jason Lindner (Roy Haynes, Claudia Acuna) and bassist Omer Avital (Joshua Redman, Brad Mehldau). Born and raised in New York City, Daniel has performed with many of the legends of jazz and was a student of Max Roach.
This unique trio has played togeather in New York city at the famous Smalls jazz club for years and has toured the world. All members of the band have been acclimed in publications throughout the world . Daniel was recently featured in a New York Times Article "Propelled by Different Drummers" and in the Modern Drummer article "Jazz Lions". "Daniel Freedman Trio" received nine stars in Modern Drummer.
The trio combines their personal soulful trio playing with strong North African and Cuban influences. the record also features guest artists Myron Walden (Brian Blade fellowship) on Saxophone and Joshua Levy on the traditional Ney flute.


Tracklist:
1. Fareed 6:38
2. Rise Up 6:04
3. Open Hearts 5:39
4. freak Of Nature 7:14
5. Night Poem 4:41
6. Alach Ya Ghazali 6:24
7. You Are So Beautiful 5:34
8. Montuno Picasso 4:56
9. Cypresses 6:50
10. Yes 8:54




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Daniel Zamir - Amen (2006)
The 8th Note (Hatav Ha-shmini)


Review
In 2006 Zamir, now back in Israel, shot into the Israeli public consciousness with his well received Amen, featuring collections and reworkings of previous compositions. Featuring the best jazz players from the holy land such as: Omri Mor (Piano), Omer Avital (Bass), Daniel Friedman (Drums) , Avishai Cohen (Trumpet)
All together they are creating an amazing record that is truly spirtual and uplifting in any way


Personnel:
Daniel Zamir - soprano sax, voice
Omri Mor - piano
Omer Avital - bass
Daniel Fridman - drums
Guest - Avishai Cohen - trumpet

Track listing:
1 - Chamesh Eysrei (15)
2 - Shesh Eysrei (16)
3 - Shesh Shminiot (6/8)
4 - Chamesh Madregot Ba Neshama (5 SoulSteps)
5 - Tesha (9)
6 - Shva Eysrei (17)
7 - Pishluk
8 - Shir Ha Shomer
9 - Hasar Hamemuna



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Rea Bar-Ness - Remember & Forget (2006)
Self Released


Review
A new sound is coming out of Israel.
The fusion of cultures in the region is starting to show its influences within the music that is created here.
Rea bar ness is part of a group of young musicians, who in the past few years have been creating and experimenting with music that is truly Israeli. Elements from Arabic and middle eastern music, as well as from eastern European music are used in this art form, creating a sound that is unique, refreshing and an innovating addition to the jazz world.
In this record, rea shows his talent as a composer, as well as a diverse drummer, using his experience in playing Middle Eastern music, jazz and his background as a timpani player in symphony orchestras. Rea's sound is unmistakable; his powerful playing is a contrast to some of the lyrical melodies on this debut album



Tracklist:
1. And if at all
2. Avazim hayinu
3. Intensity
4. Haj ahhmad
5. Shulka
6. Kineret
7. Tachlles
8. Linda

Artists:
Amos Hoffman - Guitar & Qud
Omri Mor - piano
Omer Avital - bass on tracks 1,4,5,8
Gilad Abro - bass on tracks 2,3,6,7
Avishai Cohen - trumpet
Asaf Yuria - tenor sax
Rea Bar-Ness - drums & percussion

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EAC LOG
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 29. March 2009, 19:55

Rea Bar-Ness / Forget

Used drive : PIONEER DVD-RW DVR-112D Adapter: 0 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
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Read offset correction : 48
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Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface
Gap handling : Appended to previous track

Used output format : User Defined Encoder
Selected bitrate : 320 kBit/s
Quality : High
Add ID3 tag : Yes
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s


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Track | Start | Length | Start sector | End sector
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2 | 9:03.35 | 4:50.47 | 40760 | 62556
3 | 13:54.07 | 7:38.27 | 62557 | 96933
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5 | 30:12.02 | 8:41.11 | 135902 | 174987
6 | 38:53.13 | 6:47.16 | 174988 | 205528
7 | 45:40.29 | 8:14.64 | 205529 | 242642
8 | 53:55.18 | 7:00.48 | 242643 | 274190


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AudioChecker LOG
AUDIOCHECKER v1.2 - by Dester - opdester@freemail.hu
~~~~~~~~~~~~~~~~~

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Tau Analizer Screenshoot

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Amos Hoffman - Na'ama (2006)
Magda

Review
Na'ama' is a refreshing album at the current ethnic music scenery.
Amos Hoffman, a gifted composer and oud player, composed all 12 songs, and performs them while successfully preserving the Arabic music tradition, at the same time combining elements of jazz, latin music and world music.
Hoffman's works is relatively traditional but he adds unusual instruments such as the marimba, which is rarely used in Arab music.
The combination of various instruments and styles to create a unique "fusion" comes naturally to Hoffman, as a musician living in two worlds - the Eastern & Western worlds.
The album is both fascinating and surprising, especially considering Hoffman's Ashkenazi roots (Eastern European).
Instrumental oud album with a Western approach, featuring top musicians:
Amos Hoffman - Oud ; Joshua Levit - Ney ; Ehab Nimer - Violin ; Omer Avital - Bass ; Tomer Zur - Percussion ; Rea Bar Nes - Percussion & Marimba.
One also finds the famous jazz bass player Avishai Cohen as guest musician on track #11

Amos Hoffman started as a classic guitar player. On his 8th birthday, his father gave him an oud as a present. He never studied the oud formally but taught himself, and over the years became the talented composer & player he is today.
At the age of 20, he left for New York where he played for 8 years with top jazz musicians such as Dennis Charles, Avishai Cohen, Sam Newsom (with whom he had also recorded an album), J Collins and others. He also recorded an album (at the Spanish FRESH SOUND label) with Jorge Rossy, Duane Eubanks and Avishai Cohen. During his stay in NY, he was studying oud and maqam (the Arabic modus) with the famous Lebanese ney & oud player Bassam Saba (who played with Simone Shaheen).
In 1999, he returned to Israel and is currently performing and teaching guitar.
Review (Also in Hebrew) on Magda.com



Tracks:
Third King
Takasim Nahawand
Samai Nahawand
Kiryat HaYovel
Na'ama
Takasim Higas
Takasim Rast
Samai Siga
Longa Abu Musa
Takasim Rayat
Shargia
Lonely Sands

Personnel:
Amos Hoffman: oud
Joshua Levit: ney
Ehab Nimer: violin
Omer Avital: bass
Avishai Cohen: bass (11)
Tomer Zur: percussion
Rea Bar Nes: percussion & marimba

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EAC LOG
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 5. April 2009, 21:06

Amos Hoffman / Na'ama

Used drive : PIONEER DVD-RW DVR-112D Adapter: 0 ID: 0

Read mode : Secure
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Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 48
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface
Gap handling : Appended to previous track

Used output format : User Defined Encoder
Selected bitrate : 320 kBit/s
Quality : High
Add ID3 tag : Yes
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s


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Track | Start | Length | Start sector | End sector
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2 | 6:39.29 | 3:28.32 | 29954 | 45585
3 | 10:07.61 | 3:55.28 | 45586 | 63238
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10 | 38:10.15 | 3:10.27 | 171765 | 186041
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Peak level 88.8 %
Track quality 100.0 %
Test CRC C9718116
Copy CRC C9718116
Track not present in AccurateRip database
Copy OK

Track 8

Filename D:\music\rip\Amos Hoffman - Na'ama (2006) {Amos Hoffman, Magda}\08 - Samai Siga.wav

Pre-gap length 0:00:02.00

Peak level 93.4 %
Track quality 100.0 %
Test CRC C752F426
Copy CRC C752F426
Track not present in AccurateRip database
Copy OK

Track 9

Filename D:\music\rip\Amos Hoffman - Na'ama (2006) {Amos Hoffman, Magda}\09 - Langa Abu Musa.wav

Pre-gap length 0:00:02.00

Peak level 93.2 %
Track quality 99.9 %
Test CRC EDB4283C
Copy CRC EDB4283C
Track not present in AccurateRip database
Copy OK

Track 10

Filename D:\music\rip\Amos Hoffman - Na'ama (2006) {Amos Hoffman, Magda}\10 - Takasim Rayat.wav

Pre-gap length 0:00:02.00

Peak level 95.2 %
Track quality 100.0 %
Test CRC 03A7CC5A
Copy CRC 03A7CC5A
Track not present in AccurateRip database
Copy OK

Track 11

Filename D:\music\rip\Amos Hoffman - Na'ama (2006) {Amos Hoffman, Magda}\11 - Shargia.wav

Pre-gap length 0:00:02.00

Peak level 70.3 %
Track quality 100.0 %
Test CRC 097B5F5F
Copy CRC 097B5F5F
Track not present in AccurateRip database
Copy OK

Track 12

Filename D:\music\rip\Amos Hoffman - Na'ama (2006) {Amos Hoffman, Magda}\12 - Lonely Sands.wav

Pre-gap length 0:00:02.04

Peak level 70.4 %
Track quality 100.0 %
Test CRC FC7BAC65
Copy CRC FC7BAC65
Track not present in AccurateRip database
Copy OK


None of the tracks are present in the AccurateRip database

No errors occurred

End of status report



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Posted By: raziel_momo Date: 30 Apr 2010 02:38:12
Killer post brother! You’ll soon get news from me.
Posted By: ghiselin Date: 30 Apr 2010 08:43:59
stunning post. thanks a lot.
Posted By: Equalizer23 Date: 30 Apr 2010 09:11:23
למה לא גם ב-FLAC?
:(
Posted By: marmaduke0 Date: 30 Apr 2010 11:08:59
למה לא תגיד תודה?

תאמין לי -בשביל להנות מעומר באמת, גם תקליט ויניל מזהב לא יעזור לך
לך להופעה בדחיפות.

וחוצמזה...יש כמה לוסלס
אז תבלה!
Posted By: dalida Date: 30 Apr 2010 14:04:31
תודה רבה!
Posted By: tboneporn Date: 30 Apr 2010 15:32:47
Gracias.
תודה
Posted By: frav10 Date: 01 May 2010 10:00:59
Thank's from Israel.
Posted By: p.bennitez Date: 22 May 2010 21:26:16
This is what I would call excellent music, and not the same humdrum revisited. Thanks. And the best of it: it's not 'lossless'. He will replace 'Miles Davis Concerts 70 -75' which have been on my 'цифровой плеер' for more than one year.
Thanks again
Posted By: klakadak Date: 17 Oct 2011 22:09:07
Thank you very much!
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