Etd 2017 8150 PDF

JAZZ EDUCATION IN ISRAEL
by
LEE CAPLAN
A Thesis submitted to the
Graduate School-Newark
Rutgers, The State University of New Jersey
in partial fulfillment of the requirements
for the degree of
Master of Arts
Graduate Program in Jazz History and Research
written under the direction of
Dr. Henry Martin
and approved by
___________________________________
___________________________________
Newark, New Jersey

May,2017
©2017
Lee Caplan
ALL RIGHTS RESERVED

ABSTRACT OF THE THESIS
JAZZ EDUCATION IN ISRAEL
By LEE CAPLAN
Thesis Director
Dr. Henry Martin
Jazz Education in Israel is indebted to three key figures – Zvi Keren, Arnie Lawrence,
and Mel Keller. This thesis explores how Jazz developed in Israel and the role education
played. Jazz Education in Israel discusses the origin of educational programs such as the
Rimon School of Jazz and Contemporary Music (1985) and the New School Jazz
Program (1986). One question that was imperative to this study was attempting to
discover exactly how Jazz became a cultural import and export within Israel. Through
interviews included in this thesis, this study uncovers just that. The interviews include
figures such as Tal Ronen, Dr. Arnon Palty, Dr. Alona Sagee, and Keren Yair Dagan. As
technology gets more advanced and the world gets smaller, Jazz finds itself playing a
larger role in humanity as a whole.
iii
Preface
The idea for this thesis came to me when I was traveling abroad during the summer of
2015. I was enjoying sightseeing throughout the streets of Ben Yehuda Jerusalem
contemplating topics when all of a sudden I came across a jam session. I went over to
listen to the music and was extremely surprised to find musicians from all parts of Europe
coming together in a small Jazz venue in Israel playing bebop standards at break-neck
speeds. After spending some time listening and just wondering how this all came to be, I
decided to ask if I could play a song with them. I chose the well-known Jazz standard
How High the Moon, and we began to play. When we finished the piece, I had finally
realized what I needed to write about.
iv
Acknowledgements
This thesis would not have been possible without the invaluable lessons Henry Martin
and Lewis Porter have taught me. I would like to dedicate this work to my loving parents
as well as all the teachers my life has provided me.
v
TABLE OF CONTENTS
Abstract .............................................................................................................................. iii

Preface................................................................................................................................ iv
Acknowledgements ..............................................................................................................v
CHAPTER 1 – Jazz in Palestine/Israel
1.1-Jazz in Palestine/Israel ...................................................................................................1
1.2-During 1990 .................................................................................................................13
1.3-Zvi Keren .....................................................................................................................17
1.4-Arnie Lawrence ...........................................................................................................22
1.5-Jazz programs in Israel ................................................................................................27
CHAPTER 2 – Key Musical Figures
2.1-Omer Avital .................................................................................................................29
2.2-Dekel Bor .....................................................................................................................33
2.3-Anat Cohen ..................................................................................................................34
2.4-Avishai Cohen .............................................................................................................35
2.5-Eli Degibri ...................................................................................................................38
2.6-Ehud Ettun ...................................................................................................................41
2.7-Adam Ben Ezra ............................................................................................................44
2.8-Gilad Hekselman .........................................................................................................46
2.9-Ori Kaplan ...................................................................................................................49
2.10-Rotem Sivan ..............................................................................................................50
2.11-Asaf Sirkis .................................................................................................................51
2.12-Harold Rubin .............................................................................................................53
2.13-Issi Rozen ..................................................................................................................56
2.14-Kobi Arad ..................................................................................................................58
2.15-Assaf Kehati ..............................................................................................................62
CHAPTER 3 – Interviews with Israeli Jazz Musicians and Educators
3.1-Tal Ronen ....................................................................................................................64
3.2-Dr. Arnon Palty............................................................................................................76
3.3-Dr. Alona Sagee Keren ................................................................................................83
3.4-Yair Dagan ...................................................................................................................91
CHAPTER 4 – Musical Analyses
4.1-“I Wanna Be Around” (Song Analysis) ....................................................................100
4.2-“I Wanna Be Around” (Solo Analysis) .....................................................................111
APPENDICES
A.1-Bibliography .............................................................................................................120
A.2-Anat Cohen Discography..........................................................................................128
A.3-Avishai Cohen Discography .....................................................................................153
A.4-Omer Avital Discography .........................................................................................175
vi
1
Chapter 1 – Jazz in Palestine/Israel
1.1 Jazz in Palestine/Israel
At the turn of the 20th century in Europe, the continent grew more and more
excited about the syncopated music being produced in America. With the popularity of
Ragtime in Europe, the seeds were planted for a full blown appreciation of this new
African American art form.1 As Europeans became more familiar with this genre of
music, it began to spread throughout the continent rapidly, eventually finding its way to
Israel.
Jazz is a hybrid art form containing many different cultural elements that run
throughout its DNA. Much like the people of Israel, Jazz music is fueled with rhythmic
and melodic ideas originating from lands both far and wide. We can begin to see
interesting parallels between the emergence of Jazz and Jewish life in the 19th and 20th
century. Jews born into Eastern European countries often dealt with complex identity
politics resulting in feelings of isolation and confusion.2 Both Jews and Jazz enjoyed a
very specific and unique role in within the American landscape. This chapter takes into
consideration the role of two key players in this movement, Zvi Keren and Arnie
Lawrence.
1
See more here – "History of Ragtime." American Memory from the Library of Congress
Home Page. N.p., n.d. Web. 22 Mar. 2017.
https://litmusicadaptation.wikispaces.com/Ragtime+and+the+Music+Hall.
2
See this text for more information – Sand, Shlomo. The Invention of the Jewish People.
London: Verso, 2010. Print.
2
I have broken up the chapter into four sections: the first two sections are an
overview of different time periods, and the second two sections address the remaining
important characters in the development of the musical landscape in Israel. Jazz
originated in Israel during the late 1930's, however it did not thrive until Israelis became
fascinated with American culture – specifically, the fast paced living of the New York
Jazz scene.3
In 1930’s Mandatory Palestine,4 radios were used as political tools for spreading
the word of Zionism to the developing country of Israel. Leaders of Mandatory Palestine
used radios almost exclusively for the function of furthering political agendas. Because of
this, in order for Jazz to be introduced, an outside source needed to come forth, as no
Mandatory Palestinian-born citizen had heard this music before. Similar to Leonard
Bernstein’s musical talks,5 Mel Keller, an American musician, would play and explain
the music to his Israeli audience in the 1950's.6 During the British mandate, British
soldiers would bring their records on stage to play, leading the British soldiers to form
bands with the citizens of Mandatory Palestine. With bands came shows, with shows
came venues. Now with definitive places to see and hear Jazz, more interest was
generated, thus beginning the initial Jazz boom in Israel. With a large Jewish population
in America interested in creating a relationship with Israel, schools started to develop
programs abroad. In 1985 the Rimon School of Jazz and Contemporary Music began a
3
See section 3.1 for more information.
4
Mandatory Palestine was soon to be Israel in 1948 – See, U.S. Department of State. U.S.
Department of State, n.d. Web. 21 Mar. 2017. https://2001-
2009.state.gov/r/pa/ho/time/cwr/97177.htm.
5
Example here – "Bernstein Talks about Mahler's 9th." YouTube. YouTube, 31 May
2013. Web. 23 Mar. 2017. https://www.youtube.com/watch?v=xDW1qQYcjto
6
On May 14, 1948, David Ben-Gurion, the head of the Jewish Agency, proclaimed the
establishment of the State of Israel. Ibid.
3
program with the Berklee College of Music in Boston.7 Jazz became a means of personal
expression and a tool for promoting American democracy. During the 1990’s Jazz was
also used as a tool to attempt to bring peace to the Palestinian-Israeli conflict.8
The story begins during the British Mandate (1920-1948.) This was before the
founding of the official state of Israel. During the British mandate in Mandatory
Palestine, the British army hired various musicians – all of whom played popular music –
as a means of entertainment. Young musicians in Jerusalem would travel great distances
in a hurry to listen and learn from visiting European musicians. During this time, young
Israeli musicians had the pleasure of sharing the bandstand with Louis Armstrong when
he visited Jerusalem in 1959.9 According to a popular Israeli musician, Naphtali Aharoni,
“Swing made its way to Jerusalem thanks mainly to the British soldiers serving there. At
the Zion Theater, they had “Soldier's Night.”10 Aharoni demonstrates the impact these
British musicians had as they created a specific venue for Jazz performances.
Only high-ranked soldiers were allowed to attend Jazz venues in Israel. These
venues were known as officer-only establishments. The best and brightest musical
personalities, like Professor Haim Alexander, worked at Haseh (an upscale restaurant)
during this time. Alexander also had taught for decades at the Jerusalem Academy of
7
See more here – "Rimon and Berklee College of Music." Rimon. N.p., n.d. Web. 22
Mar. 2017. http://eng.rimonschool.co.il/?CategoryID=235&ArticleID=234.
8
This was the brain child of Arnie Lawrence; see Section 1.4 for more information.
9
Patka, Marcus G., and Alfred Stalzer. Stars of David Der Sound Des 20. Jahrhunderts
The Sound of the 20th Century. Berlin: Hentrich & Hentrich, 2016. Print.
10
Shalev Ben. “Then Armstrong Said, ‘Take a solo.’”
http://www.haaretz.com/news/then-armstrong-said-take-a-solo-1. 10 Oct. 2005. Web. 27
Oct. 2016.
4
Music.11 During the Mandate, officers and generals were not interested in discussing the
political situation.
During this time, the British employed tens of thousands of British soldiers. As a
result of this, the soldiers needed entertainment, leading to a growing musical culture. A
band that has been remembered with fondness was called No. 1 Royal Air Force
Command Band. This was a big band unit formed by members of the British Air Force.12
Aharoni offers some memories:
We were crazy about the way they played. Our luck was that one of the players in
the band came down with hepatitis and they had to stay in Jerusalem for two
months. So not only did we have opportunities to hear the band many times, but
the excellent English musicians would come to the cafes where we played and
would join us.13
So, as Aharoni explains, there was a musical understanding between these two cultures.
Both were interested in learning about the other. For instance, “English musicians would
come to cafés.” This quote displays Jazz music acting as a cultural bridge between British
soldiers and Mandatory Palestine civilians. There were also several police bands at this
time. Author Yair Dagan offers a particular perspective,
The Palestine Police Orchestra by Aubrey Silver. Silver, a Jewish soldier from
London, was tasked with assembling dance bands for serviceman and English
military officials -- raising spirits during a decade scored by riots and military
action. The musical repertoire consisted primarily of American dance music (e.g.,
foxtrot, slow fox) with traditional Jazz pieces like a “Tiger-Rag” and “St. Louis
Blues” that would eventually diffuse across the region, popping up in hotel
lounges from Jerusalem to the metropolitan Tel-Aviv and the seaport of Haifa.14
11
"The Jerusalem Academy of Music and Dance." The Jerusalem Academy of Music and
Dance. N.p., n.d. Web. 23 Mar. 2017. https://www.jamd.ac.il/en.
13
14
Ibid.
5
This recollection brings to mind several interesting points. The function of the
music was to raise spirits, while also identifying the nationality of the officer, the location
of the officer, and the reception of the music they played. This is a fascinating study
because it shows the American influence globally and also shows the political climate
and how an American music can ultimately be transplanted across the Atlantic.
Yair continues,
Till the end of the 1940s, the vast majority of Jazz musicians consisted of Jewish
immigrants from Europe, many of whom had played in cabarets or bars in the big
European cities such as Berlin.15
Thus we see an example of the globalist use of Jazz prior to the founding of
Israel. This moment gives us a glimpse into the social construction of barriers both
physical and ideological, while Jazz functions as a way of proving this falsehood untrue.
This shows Jazz to be a boundary-less art form that perhaps reveals something about
ourselves. We as humans create political barriers while Jazz tears them down.
Before the state of Israel emerged, Jazz did not truly have a home in Mandatory
Palestine.16 The music did not have a place where it could be toyed with and
experimented upon. Both the bar in the King David Hotel and Queens Bar ‘La Regence’
were examples of establishments that accepted Jazz early on. It was not until the later part
of the 1960’s that Jazz clubs started popping up.17 Perhaps it was in the air in the 1960’s,
maybe Israel was following America’s lead in its counter-cultural revolution, and Jazz
15
Shalev, Ben. “Jerusalem of Soul”http://www.haaretz.com/israel-
news/culture/leisure/jerusalem-of-soul-1.210742 Jan 22. 2007. Web. Oct 2. 2016
16
See more about Mandatory Palestine – "Mandatory Palestine: Jews and Muslims Under
British Administration." Time. Time, n.d. Web. 22 Mar. 2017.
http://time.com/3445003/mandatory-palestine/
17
6
clubs being opened in Israel were a subconscious by product of this.18 Other new
progressive cultural achievements were occurring in Israel. For instance, television was
introduced in 1968. Many new musical developments were beginning to show themselves
in the early 1970’s. Musicians and Jazz musicians alike all started to fuse music from
completely different cultures. Artists within western musical traditions began to seek
material and inspiration in new places. Israeli Jazz artists began exploring various kinds
of local ethnic music. This led to radical new conceptions about what Jazz music could
mean for an Israeli. Musicians such as Albert Piamenta began experimenting with what
Israeli Jazz could mean by seeking a specific sound within local music traditions.19
After the founding of the state of Israel in 1948, the vast majority of Jazz
musicians were foreign born.20 This is no surprise given the fact that in order to be a Jazz
musician one must be exposed to Jazz. If a musician was not European or American at
this time it is less likely that he or she would have familiarity with this type of music.
While in Israel the population could, however, hear these sounds by tuning into a radio
station called Radio Ramallah. This station was being broadcast from Jordan where this
music could be heard.21 However, listening to this station was not very common. In the
country’s first few decades, Israeli radio was for the most part a state-run institution. It
was dedicated to educating the populace in Zionistic principles in order to spread political
18
See more about American counter culture in the 1960s here: “Flower Power.”
Ushistory.org. Independence Hall Association, n.d. Web. 22 Mar. 2017.
http://www.ushistory.org/us/57h.asp.
19
Listen here – “ALBERT PIAMENTA ISRAELI ORIENTAL JAZZ FUNK WITH
LOOPS & BREAKS.” YouTube. YouTube, 06 June 2010. Web. 23 Mar. 2017.
https://www.youtube.com/watch?v=YsmNLLmXM_M
20
See biography chapter for more information.
21
Listen to station here – “Ajyal Radio.” TuneIn. N.p., n.d. Web. 23 Mar. 2017.
tunein.com/radio/Ajyal-Radio-1034-s98835/.
7
ideology.22 Personal sacrifice was celebrated during these times. For example,
households were sparse in items that made daily living easier. Refrigerators and other
appliances were uncommon. With a country trying to take shape, it is easy to see why
entertainment was a less immediate concern and luxuries such as Jazz were relegated to
the backburner.
Still, the music continued on. Determined individualists who found themselves
tired of political rhetoric found themselves wanting to escape through artist means.
Apolitical types and other politically agnostic individuals would soon explore the sounds
of Jazz. During the 1950’s these individuals would head out on Friday afternoons to the
Z.O.A (Zionist Organization of America.) This organization was housed within the heart
of Tel Aviv. These Z.O.A. jam sessions were led by American transplant Mel Keller. The
story of an American Jew coming to Israel and spreading the gospel of Jazz is a romantic
one. Keller had founded Israel’s first full-time Jazz jam. Keller had staged performances
all around the country.23 During these performances, he would routinely halt the show in
order to explain the strange music to the Israeli audience.
Israeli native, Danny Gottfried, became a Jazz pianist as a result of these sessions.
Gottfried would later go on to get in touch with Keller and help found the Jazz Faculty at
the Jerusalem “Rubin” Academy of Music and Dance, the Jazz studies department of the
Thelma Yellin High School of Art, and the yearly Red Sea Jazz festival in Eilat. These
22
See more aboute Zionism here – “Zionism.” A Definition of Zionism. N.p., n.d. Web.
22 Mar. 2017. http://www.jewishvirtuallibrary.org/a-definition-of-zionism.
23
news/culture/leisure/jerusalem-of-soul-1.210742 Jan 22. 2007. Web. Oct 2. 2016.
8
early Z.O.A. sessions were very important to the early development of the Israeli musical
landscape. This story was, however, a later installment of the evolution of Jazz in Israel.24
Jazz musicians during the 1950s in Israel were not actually given much time to
play Jazz. Many musicians during the time made their money by participating in hotel
and café bands. Musicians were forced to play the popular music of the day. A typical
program for a hotel or café band began at 8 or 9 p.m. It generally started with Latin dance
music, moved on to Italian and French songs, then to American pop and various songs
from a myriad of diasporas. Programs such as this foreshadow the World Music
phenomenon that was soon to occur in the late 1960s.
Similar to the geographic variety that the artists were incorporating, entertainment
at hotels/cafés would include a healthy amount of variety such as singers, comedians, and
tap dancers. In post-vaudevillian type entertainment, artists would be looking for the most
contemporary styles to play in, namely bebop. 25 Around 1 a.m., after the dissipation of
most of the audience, the band would finally begin to play Jazz. Apparently, it did not
start out too well. Many musicians believe that as a result of Jazz vibraphonist Lionel
Hampton’s trip to the country through the state department sanctioned by Richard Nixon.
Israelis learned how to swing through the lessons taught by the Hampton band’s
personnel.26 Israelis believe it was this that gave them their first taste of how to really
hear and learn Jazz. However, besides swing music during the 1950s, Israeli musicians
did enjoy the complex sounds of Bebop.

24
Learn more about the Red Sea Festival here – “Red Sea Jazz Festival Eilat Israel.”
Red Sea Jazz Festival Israel. N.p., n.d. Web. 22 Mar. 2017. http://en.redseaJazz.co.il/.
25
See more about Bebop here – “A History of Jazz.” The Birth of Bebop Jazz. N.p., n.d.
Web. 22 Mar. 2017. http://www.historyJazz.com/bebop.html.
26
There is an amusing anectdot about this found in a Ben Shalevs piece.
http://www.haaretz.com/news/then-armstrong-said-take-a-solo-
1.%2010%20Oct.%202005.
9
We liked to listen to Dizzy Gillespie and Charlie Parker, the music was exciting,
fascinating, with lots of tension. But that went beyond the limits of our ability.27
Author Yair Dagan recalls this era,
By the early 1950’s, a younger generation of Jazz musicians, including Alex

Weiss (1929-2001, composer and arranger, bass and piano), Stu Hacohen (1929-
2006, composer and arranger, bass, piano, and sax) and P.C. Osherovitz (b. 1925,
Arranger and bandleader, accordion, vibraphone, and trumpet), had been exposed
to the new waves of Jazz (mainly by listening to “The Voice of America” Jazz
hour). These musicians started abandoning the swing style in favor of Be-Bop and
Cool Jazz.28
All of these early Israeli Jazz pioneers were not only tuned into the radio, they
were all disciples of previously mentioned Mel Keller. Keller later went on to perform all
over Israel, giving educational talks and performing on the radio. He also founded the
first Israeli Jazz quartet.29
By the beginning of the early 1960s, Israel would welcome its first batch of
home-grown Jazz musicians, nicknamed the Sabra generation.30 Yair Dagan writes,
Amongst them was Albert Piamenta (b. 1938, arranger, Sax and Clarinet).
Besides playing traditional Jazz, Piamenta's Sephardic roots enabled him to blend
oriental and Arabic musical motifs with Jazz styles. Piamenta would ultimately be
hailed as one of the world pioneers in Ethno-Jazz or World-Music. Danny
Gottfried (b. 1939, arranger and pianist), another sabra, debuted as a Jazz
musician in 1960, playing in Mel Keller's Kol Israel Jazz Quartet.31
27
Shalev, Ben. “Jerusalem of Soul.” http://www.haaretz.com/israel-
28
29
See Mel Keller perform here – “‫ קלר מל‬/ Mel Keller: ‫אניטה מחול‬.” YouTube. YouTube,
17 Mar. 2014. Web. 28 Mar. 2017. https://www.youtube.com/watch?v=1MGOrnZuQCA
30
Learn more about the term sabra here – Lavine, Eileen. “Jewish Word | Proud and
Prickly with a Soft Heart.” Moment Magazine. N.p., 04 June 2013. Web. 22 Mar. 2017.
http://www.momentmag.com/jewish-word-proud-and-prickly-with-a-soft-heart/
31
10
It is interesting to note that Yair Dagan mentions Piamenta’s Sephardic roots.
This shows how Jazz can become an expression of one's own political identity. By
infusing Jazz with one's folk tradition, a new music can be born.
Yair continues,
The Jazz Workshop group, produced the first instrumental Israeli Jazz album. In
1980, Gottfried established the Jazz Department at the Rubin Music Academy in
Jerusalem. In addition, he was the founder and musical director of the
International Red-Sea Jazz Festival in Eilat for nearly three decades.32
Yair provides us with much information; here we have the first Israeli Jazz album
created by real Israeli musicians, not American transplants. We also now have the
establishment of an education system aimed at providing a high standard of musicianship
as well as a new musical venue for displaying talents.
Yair goes on to write,
Another prominent Israeli-born Jazz musician is Arale Kaminsky (b. 1939,

drums) who in 1972, founded the first Israeli fusion band, The Platina. The
Platina was the first and only Israeli group to perform at the prestigious Newport
Jazz Festival in NYC (1974).
So now we have the co-mingling of Israeli and American musicians together at
the prestigious Newport Jazz music festival in 1974, which was founded by George Wein
in the early 1950s.33 Yair goes on,
Kaminsky, along with club owner and manager Zohar Akiva, founded the Bar-
Bar Jazz club in Tel-Aviv. Bar-Bar would ultimately become the most iconic Jazz
club in Israel and a home for all Israeli Jazz musicians until its closing in 1979.34
32
Ibid.
33
More information here – “HOME.” Newport Jazz Festival. N.p., n.d. Web. 23 Mar.
2017. http://www.newportJazz.org/.
34
11
So now we run into Israeli influence by the American entertainment industry.
During this time, we start to see some very well known and prominent musicians visit
Israel. Yair writes,
Internationally acclaimed Jazz musicians toured Israel as early as the 1950s.

These visits, besides drawing crowds of Jazz enthusiasts, were an important
element in the development of the Israeli Jazz musicians because it allowed local
artists to interact with figures from the Lionel Hampton band (1955-56), Louis
Armstrong (1959), the Oscar Peterson Trio (1961) and the “Giants of Jazz”
ensemble35 (1971, a “dream” Jazz group comprised of Dizzy Gillespie, Sonny
Stitt, Kai Winding, Thelonious Monk, Al McKibbon, and drummer Art Blakey).36
This incredible line-up shows the global acceptance of Jazz. These artists only
further solidified the American-Israeli connection.
During the 1970s, Israel welcomed into the country many excellent Jazz
musicians from the former Soviet Union and other East-European countries. Among them
was Roman Kunsman (1941-2002, composer and arranger, sax and flute), who, along
with Kaminsky, co-founded and led the Platina Jazz Group.37
While musicians were immigrating to Israel, most young Israeli Jazz musicians
were seeking a formal musical education outside the country. This would ultimately lead
to a connection between the Berklee College of Music and the Rimon School of Jazz and
Contemporary Music in 1985. Eventually graduates of these programs would return to
the Israeli Jazz scene and expand the music programs in Israel. 38
35
See album here – “Robot Check.” Robot Check. N.p., n.d. Web. 23 Mar. 2017.
https://www.amazon.com/Giants-Jazz-Dizzy
Gillespie/dp/B000DZIGGW/ref=sr_1_1?s=music&ie=UTF8&qid=1490306184&sr=1-
1&keywords=the+giants+of+Jazz.
36
37
Ibid.
38
See more information here – “Rimon and Berklee College of Music.” Rimon. N.p., n.d.
Web. 22 Mar. 2017. http://eng.rimonschool.co.il/?CategoryID=235&ArticleID=234.
12
From the mid-1970s onward, one could find every genre of Jazz being played in
Israel – ranging from Dixieland to swing, Bebop, free Jazz, fusion, Ethnic-Jazz, and
World-Music. The 1980s saw some major events in the Israeli Jazz scene – most notably,
the founding of the Red-Sea Jazz festival in Eilat by Danny Gottfried (1987) (which still
takes place every summer) and the Israeli record label JAZZIS by Adam Baruch.39
Israel started to make large cultural statements and began to become a big player
in the international Jazz seen. For instants Israel had its first international Jazz festival in
1979. This was a result of Israel’s labor party falling from power. During this time more
and more Jazz stars started to make appearances in the country, for example, Chick
Corea, Bobby McFerrin, John McLaughlin, Jan Gabarek, and Pat Metheny.
During the 1980’s Israel started to see changes within its infrastructure and
ideology, changes such as a privatized economy and an emphasis on personal freedom.
These new ideas and systems came to fruition as Jazz began to receive recognition and
institutional support. Jazz programs started to become more popular, e.g. programs within
high schools such as Rubin Academy, and Thelma Yellin High School. Soon an entire
school would be dedicated to the exploration and study of Jazz, The Rimon School of
Jazz and Contemporary Music, which opened in 1985. Soon the school would begin a
unique and inventive collaboration with the Berklee College of Music,40 thus spawning
the cross-cultural facet of the Israeli/America Jazz connection.41
39
40
More on Berklee here – “Berklee Homepage.” Berklee College of Music. N.p., n.d.
Web. 23 Mar. 2017. https://www.berklee.edu/.
41
13
1.2 During the 1990's
Within the State of Israel, the Jazz scene was and still remains very small. But, in
situations such as this, it is quality not quantity. As we will soon begin to see, Israel has
produced many fine musicians.42 As of the 1990s the Jazz scene contained six bars, one
club, and handful of musicians aligned with a decent fan base consisting of several
hundred fans. But, this scene continues to grow even to this day. One very daring artistic
endeavor attempted to break through the confines of the local scene, namely, an
international Jazz festival. The International Jazz festival amounted to a total economic
failure, despite that it was a brilliant artistic success. Saxophonist Natan Haber recalls the
scene during the time, “Most of Jerusalem's Jazz scene is not in performances, but rather
in people's heads. It’s a potential scene,” says Haber.43
All of this changed dramatically when an appreciation of Jazz music began to take
place during the early part of the 1990s. During this time, the majority of Jazz
musicians/educators in Israel started to create a buzz around Jazz; this ultimately inspired
a generation. This created a situation where Israel did not have enough Jazz programs to
teach all of the students who were interested. The solution was to seek college
opportunities in America. Haaretz writer and critic Ben Shalev has stated that Israeli Jazz
took off on a prosaic day in 1992,
Twenty-something Jazz musicians Omer Avital, Avishai Cohen, and Avi

Leibowitz flew to New York City with the intention of making it in the Big
Apple. Barak Weiss, the Artistic Director of the Tel Aviv Jazz Festival and the
42
See Chapter 2.
43
14
Israel International Showcase, refers to the trip as the big bang, the moment
Israeli Jazz as we know it today was created.44
Israeli musicians were not only interested in going to America. Jazz programs
began emerging in different European locations. Given Israel’s geographic location many
students studied in the closer European programs. This created musical traffic between
many different nations all interested in Jazz music. These programs soon became a two-
way street with the emergence of educator and saxophonist Arnie Lawrence in 1997.
Arnie Lawrence was a Brooklyn-born alto saxophonist and the co-founder of the
Jazz program at New York City’s New School.45 Lawrence soon moved to Israel with his
Israeli wife. When in Israel, Lawrence opened the International Center for Creative
Music.46 The school is located on the outskirts of Jerusalem. In a sense, the early 1990’s
was the perfect time for Arnie to begin this school. Israel culture began to let more
Western influence into the country. For instance, Shalev writes, “The first Israeli branch
of McDonald’s opened for business in 1993, while Israel introduced commercial and
cable television into the local markets and signed the Oslo Accords with the Palestinians
in 1994.”47 Shalev introduces us to the new found liberalism in the country.
Shalev believes there could be another proponent of Israel’s interest in Jazz and
its boom:
44
Tepper, Aryeh. “Jazz From The Promise land.” http://www.thetower.org/article/Jazz-
promised-land/ June 2014. Web. 20 Oct. 2016.
45
Learn more about the New School here – “The New School.” Discover a New Kind of
University in New York City | The New School. N.p., n.d. Web. 28 Mar. 2017.
http://www.newschool.edu/.
46
See home page here – “The Center Main Page.” The Center Main Page. N.p., n.d.
Web. 28 Mar. 2017. http://icfcj.tripod.com/.
47
15
The difficult national situation, the intifada, and the political and economic
pressure make artists need to express themselves.” Says Shalev. Israeli
Saxaphonist Nadav Haber expounds upon this idea, “Expression is key. This is
especially obvious in Jazz, which is the music of direct expression. I don't know
about other musicians, but I feel this about myself. I left Jazz quite a few years
ago, and until 2002 I wasn't thinking about returning. Why should I play in front
of five people again? Argue with club proprietors about NIS 50? But all of a
sudden, in the middle of the catastrophe here, I felt a tremendous need to play
Jazz. All of a sudden, it just burst out of me.48
It is interesting to add to this growing musical and political discourse that several
artists believe there was and still is a difference in the music played in Jerusalem and Tel
Aviv. Jerusalem Jazz defines itself relative to Tel Aviv Jazz. When attempting to
categorize international Jazz, geography often makes clear distinctions, as for example,
West Coast Jazz and East Coast Jazz.49 But, Israel is a small country. Therefore, they
have Jerusalem Jazz and Tel Aviv Jazz. Some artists deny that this difference exists.
During an interview I asked Dr. Arnon Palty about this phenomenon. According
to Palty, there is a difference between the Jerusalem and the Tel Aviv sound:
Tel Aviv is very much New York like. The big metropolis, busy and fast. The
sound is modern and there are about two clubs in Tel Aviv. One is like smalls,
and the playing is unbelievably high. The other is like Blue Note, very expensive
and fancy. Jerusalem does not have any clubs. They have restaurants that mostly
host Jazz. Back in the day what we call oriental Jazz was very connected with the
Jerusalem sound. in Jerusalem you will find interesting mixes, Hassidic and other
religious sects. There is also a large Sephardic population in Jerusalem so you get
the oriental style.50
Dr. Palty’s explanation shows the influence both New York and religion have on
the music scene in Israel. Consider, for instance, the venues Dr. Palty discusses: all of the
48
49
More about West Coast, East Coast Jazz here – Heanders. “East Coast, West Coast;
Jazz in the ‘50s.” HubPages. HubPages, 05 Feb. 2013. Web. 28 Mar. 2017.
https://hubpages.com/entertainment/East_Coast_West_Coast_Jazz_in_the_50s
50
Chapter 3 3.2 Dr. Arnon Palty.
16
venues in Israel are being compared to New York venues. Perhaps this shows how highly
Israeli musicians think of New York.51
51
“The New School.” Discover a New Kind of University in New York City | The New
School. N.p., n.d. Web. 28 Mar. 2017. http://www.newschool.edu/.
17
1.3 Zvi Keren
A discussion about Jazz education in Israel would not be complete without the
mentioning of pioneering instructor Zvi Keren. According to Dr. Arnon Palty, Keren’s
contribution to Jazz in Israel is enormous. It also offers us insight into the musical
landscape of the time.
In a highly biographical interview Zvi Keren offers us a great deal of information
about his educational background and his illustrious career.52
At the age of 16, Zvi’s mother took him to Schillinger’s53 studio where he would
play several of his personal arrangements of current popular songs. Schillinger would
soon recommend Nadia Reisenberg as a piano teacher, who had been Teddy Wilson’s
piano teacher. Schillinger suggested this to aid his technique:54
Acquire better finger control, which I did for about two years.” During this time
Zvi began working on his Bachelor’s degree in Chemistry. Schillinger included
me among seven select students personally authorized by him to teach his
approach to theory and composition.55
This is the system Zvi would use to revolutionize Israeli musical education. When
Zvi arrived in Israel in 1951, he immediately would become the foremost instructor of
Mr. Schillinger’s theories.
52
We will use this source for most of the discussion – Keren, Alona. “Zvi Keren: His
Contribution to Israel’s Music.”
https://web.archive.org/web/20121001063901/http://www.biu.ac.il/hu/mu/min-
ad02/alona.html Sep 2002. Web. Oct. 2016.
53
More on Schillinger here – “The Schillinger System of Musical Composition.” Joseph
Schillinger System of Musical Composition. N.p., n.d. Web. 30 Mar. 2017.
http://schillingermusic.com.
54
More on Wilson here – “Teddy Wilson.” Discogs. N.p., n.d. Web. 30 Mar. 2017.
https://www.discogs.com/artist/254769-Teddy-Wilson.
55
Ibid.
18
Soon after his studies with Schillinger, Zvi would go on to pursue an M.A. in
Composition. He completed these studies in 1946. Zvi goes on to say,
I then continued to take courses towards my Ph.D. in Musicology at NYU with

musicologists such as Curt Sachs, Paul Henry Lang, and Gustave Reese.56
This information Zvi provides us with gives us insight into the wide variety of
musical sources he was influenced by.
The radio also plays a part in this story as well. In the early 1960’s, the
management of Kol Yisrael (an Israeli broadcasting station) decided to create an orchestra
in addition to its already existing symphonic orchestra.57 Zvi remembers, “The new
orchestra, with about 40 members, was to be devoted to more popular music. For which
there was much demand.” The ensemble soon called itself, Tizmoret Habidur (meaning
Entertainment Orchestra). Much like early Jazz musicians in Israel, many of the
musicians were from different parts of Europe. Zvi goes on,
At that time, I offered my services to Kol Yisrael as an arranger for the light
music section, headed by the late Moshe Wilensky. My arrangements for the
Tizmoret Habidur were well liked both by the musicians who played them and the
staff of the light music division, which continuously ordered new arrangements.58
Zvi’s musical creativity was celebrated and enjoyed during the time. He exclaims,
It seems to me that my arrangements were well received because while my fellow

European colleagues were steeped in the traditions of styles that they had
absorbed before they came to Israel, my style of arrangement reflected a fast-
moving American environment in which newness is prized as much as quality.
56
Keren, Alona. “Zvi Keren: His Contribution to Israel’s Music.”
57
Check out Israeli broadcast here – Authority, Israel Broadcasting. “‫של השידורים מרכז‬
‫השידור רשות‬." ‫השידור רשות של השידורים מרכז‬.” N.p., n.d. Web. 30 Mar. 2017.
http://www.iba.org.il/.
58
Ibid.
19
He found himself enjoying success as a result of his distinct American style. Zvi
goes on,
While European composers wrote scores which sounded good but were lacking in
originality, my arrangements injected original ideas into the orchestration, the
rhythmic structure, and wherever else the bounds of good taste allowed me to do
so.
He would soon do arrangements of popular songs such as “Fly Me to the Moon”
and “Mood Indigo.”59 He enjoyed pursuing songs that involved interesting orchestral
colors that used instruments to offer fresh and original ideas. Zvi also speaks on other
artistic projects,
I also composed several new pieces for the Tizmoret Habidur, such as
“Electronic Brain,” “Bankruptcy,” “Disorder in Russia,” and “An Opening Theme
for the Tizmoret Habidur Show.” He exclaims that, “All of these pieces have
strong leanings toward the Jazz idiom as well as a Stravinskian savor.”
This sounds almost like early explorations of third stream music.60 Zvi writes
about his contemporaries,
I mostly worked with professional musicians, some of whom were well known or
became so at a later time in Israel and abroad, or students from music academies
who wanted to broaden their musical perspectives.” He also gives us information
on some of his most recognizable students, “my outstanding pupils included
Albert Piamenta (Israeli Jazz and ethnic music clarinetist and saxophonist,
composer and arranger), Avi Piamenta (Israeli flutist, arranger, and performer of
Jazz, ethnic, and Hassidic music), Yaron Gershowski (Jazz pianist and arranger,
performing with and directing the successful American vocal Jazz group
“Manhattan Transfer61”), Mischa Segal (Jazz pianist who developed a musical
career in the USA), Ariel Zilber (Israeli singer, composer, and keyboard player of
pop and rock music), Liz Magnes (former American, now Israeli Jazz and ethnic
music pianist and composer), Nachum Pereferkovitch (former Russian, now
59
Listen to “Mood Indigo” here – “Ella Fitzgerald - Mood Indigo (Verve Records
1957).” YouTube. YouTube, 04 Apr. 2013. Web. 30 Mar. 2017.
https://www.youtube.com/watch?v=jaq9Gx9GT5E.
60
More on Third Stream here – Jazz in America. N.p., n.d. Web. 30 Mar. 2017.
http://www.Jazzinamerica.org/JazzResources/StyleSheets/17.
61
More on the Manhatten Transfer here – “The Manhattan Transfer.” The Manhattan
Transfer. N.p., n.d. Web. 30 Mar. 2017. http://manhattantransfer.net/.
20
Israeli violist, Jazz pianist, and arranger), Yossi Mar-Chaim (Israeli composer and
Jazz music critic), Avner Kenner (Israeli composer and pianist of Jazz and
popular music), Yonni Rechter (Israeli popular and Jazz music composer,
arranger, and pianist), Shem-Tov Levy (Israeli flutist, pianist, composer and
arranger of Jazz and popular music), Raffi Kadishsohn (Israeli composer and
arranger of symphonic and non-Jazz music, as well as a pianist and arranger in the
field of “light” music), Menachem Wiesenberg (Israeli composer, and classical
and Jazz pianist) and Addi Renert (Israeli “light” music and Jazz pianist, and
arranger)”62.
All of the artists mentioned above are pivotal figures leading today’s Israeli music
scene. Each artist brings his or her brand of talent, be it composing, arranging, or
performing. Many of Zvi’s disciples found themselves teaching in academies. Zvi then
moves on to talk about the criteria of his lessons, “the lessons were based on Schillinger’s
theory of composition, or my adapted version of Schillinger’s theory, and included
teaching the skills of arranging, keyboard harmony, and improvisation in the Jazz
style.”63
Zvi also shared many deeply rooted spiritual ideas and shared them with his
pupils,
I hoped to share with my students a spiritual attitude towards composition. As a

religious person, I felt that composers invent much as the Almighty creates. This
belief, an offspring of Schillinger’s theories of rhythm, recognizes affinities
between rhythmic motion in music and the rhythmic frequencies that permeate the
world.” Schillinger’s theorems also took into account the simultaneous
combination of several different number of frequencies. Zvi gives us examples, “a
person’s pulse beating regularly, the earth turning on its axis once every 24 hours,
and the earth-encircling the sun once every year, as new rhythmic entities.” All of
these factors fueled Zvi’s belief system. “I hoped that my students would align
such processes of rhythmic variations with relentless Divine creations of new
physiognomies.”64
62
63
Ibid.
64
21
Zvi moves on to discuss his activities during the 1970’s:
I joined Prof. Bathia Churgin in establishing the Department of Musicology at

Bar-Ilan University. I became a full-time faculty member, where I taught such
courses as the History of Instruments, Jewish Music, 20th-Century Music,
Modern Harmony at the Keyboard, The Music of Stravinsky, History of Jazz, and
especially Israeli Art Music. I also taught arranging at the Rubin Academy of
Music at Tel Aviv University.65
This is hugely significant. This is one of the earliest examples of Jazz being
taught on a college level in Israel.
Zvi then goes on to talk about his contribution to musicology: “My book
Contemporary Israeli Music: Its Sources and Stylistic Development,66 aims at explaining
the major influences on contemporary Israeli music,” which is still a source of confusion
for many different musicologists. Tracing influence in such a diverse region is a problem
Zvi tried to tackle many years ago. He goes on to state many of the influences in Israeli
culture and music:
Jewish communities of the Middle East, Biblical cantillation and synagogue song,
the religious and secular folk music of the Diaspora, the Hebrew language,
Western Art music, and Jewish folk tunes from different parts of the world.
Within these findings he does offer musical evidence of such factors. Zvi goes on:
Notated musical examples from a wide variety of compositions illustrate these

influences. The last chapters describe the stylistic development of Israeli music
since the 1930s and trends in Israeli art music after 1960.67
65
Ibid.
66
See Book here – “Contemporary Israeli Music.” Google Books. N.p., n.d. Web. 30
Mar. 2017.
https://books.google.com/books?id=kectAAAAMAAJ&q=Contemporary+Israeli+Music:
+Its+Sources+and+Stylistic+Development,&dq=Contemporary+Israeli+Music:+Its+Sour
ces+and+Stylistic+Development,&hl=en&sa=X&ved=0ahUKEwjZl7nXz__SAhVETCY
KHaqzAbkQ6AEIGjAA.
67
Keren, Alona. “Zvi Keren: His Contribution to Israel’s Music”
22
He then says that he had based much of the original material in the book on personal
interviews with Israeli composers, music educators, and musicologists, as well as
recordings of Israeli musical works and scores, both published and unpublished
1.4 Arnie Lawrence
Another indispensible and pioneering educator relative to the Israeli scene is
saxophonist Arnie Lawrence. Lawrence began his involvement in Jazz education during
the mid-1980s and soon became one of the most prolific innovators in Jazz education.
Lawrence’s career as an instructor started in New York City, then afterwards continued in
Jerusalem, Israel. His mission was, “To use Jazz as a tool for bridging the Israeli-
Palestinian culture gap.”68 Before Arnie’s involvement in the Jerusalem music scene,
there were two conservatories within the city of Jerusalem. Educators had very few
college positions. As soon as Lawrence arrived, he began a career as a Jazz diplomat. He
found himself contributing to the music scene by playing Jazz music anywhere and
everywhere.69
Arnold Lawrence Finkelstein was born in the Brownsville section of Brooklyn
New York on July 10, 1938. During his time in school, he primarily studied clarinet. This
was soon to change when Arnie decided to take up tenor sax before ultimately choosing
to make alto sax his principal instrument. At the young age of seventeen, Arnie began
68
Jenkins, Todd. “Arnie Lawrence: 1938-2005.” Arnie Lawrence: 1938-2005. N.p., n.d.
Web. 31 Oct. 2016. http://www.Jazzhouse.org/gone/lastpost2.php3?edit=1115137592.
69
23
managing the “Jazz Unlimited” series at the renowned New York club, Birdland.70
During his tenure at Birdland, Arnie would come often come into contact with musical
giants such as John Coltrane and Charles Mingus. During a trip to Los Angeles, he was
hired to work with Les McCann. Arnie composed material for the funerals of both
Senator Robert Kennedy and Rev. Martin Luther King, Jr. In the mid-1960s, Arnie began
employment with figures such as Clark Terry, Budd Johnson, and Doc Severinsen. In
1967, Arnie started playing with the Tonight Show band. He would remain with this band
until 1972, when the show moved to Burbank.
Arnie’s discography reads like a “Who’s Who” of Jazz. He worked with seminal
figures such as Chico Hamilton, Johnny Richards, Frank Foster, Helen Humes, Roland
Hanna and Duke Pearson. There was a dramatic shift in Arnie’s musical output in the
1970’s. During this time, Arnie’s résumé was becoming more eclectic. Arnie was
creating music within a vast array of genres. His output shows an openmindedness
towards all forms of music. Arnie worked with a wide range of musical personalities,
such as Dizzy Gillespie, Willie Bobo, Beaver Harris, Teresa Brewer and Chuck Israels,
the Tommy Dorsey Orchestra, Blood, Sweat and Tears, Genya Ravan, Liza Minnelli,
James Brown, and Ian Hunter.
Arnie also enjoyed managing his own groups as well. His band featured a very
interesting blend of instrumentalists, some of which included trumpeter Tom Harrell,
percussionist Badal Roy, and ex-Ellington violinist and trumpeter Ray Nance.71 The
70
More on Birdland here – “Birdland Jazz.” Birdland Jazz. N.p., n.d. Web. 30 Mar. 2017.
http://www.birdlandJazz.com/.
71
More on Ray here – “Ray Nance.” Discogs. N.p., n.d. Web. 30 Mar. 2017.
https://www.discogs.com/artist/282552-Ray-Nance.
24
players in Arnie’s projects were always interesting and soon grew to be more flexible.
Collaborators included Bob Dorough, bassist Richard Davis, pianist Dick Hyman, the
Brecker brothers, Larry Coryell, Richard Davis, Roy Haynes, Hilton Ruiz, and Billy
Hart.72
By the early 1980s, Arnie served academic residencies in both Kentucky and
Kansas. He soon became very interested in Jazz education. Arnie co-founded the New
School for Jazz and Contemporary Music in 1986. Since the school’s inception, it has
grown to become one of New York City’s most respected schools for the arts. One reason
was Arnie’s ideology: a hallmark of the New School was to expose students to live music
outside the confines of the classroom. Arnie had a firm belief that Jazz had to be lived in
order to be taught and learned. Notable students of the New School program include
pianist Brad Mehldau, harmonica player John Popper, organist Larry Goldings, and
trumpeter Roy Hargrove.73
In 1997 Arnie brought these principles to Jerusalem, where he set up a new home
for himself and his music. Arnie soon established the ICCM (International Center for
Creative Music) which quickly became much more than a music school. Arnie attempted
to unite Palestinians and Israelis through their mutual love of the arts. His school became
a force for peace. The school boasted of an open-door policy that encouraged cooperation
and mutual understanding beyond the mechanics of musical art. Arnie did not stop there.
72
73
Notable alumni of New School may be found here – “Famous The New School
Alumni.” Ranker. N.p., n.d. Web. 30 Mar. 2017. http://www.ranker.com/list/famous-the-
new-school-alumni-and-students/reference.
25
For a brief time, Arnie ran a Jazz club in Jerusalem, Arnie’s Jazz Underground.74
Performances would include both Jewish and Arab musicians.75 In 2002 Arnie was
honored with an A Team award, which was given by the Jazz Journalists Association who
lauded him for his contributions to world peace and unity through Jazz.
Jazz in Israel is still very much within its infancy stages. Some claim there is a
defining feature or specific sound to Israeli Jazz. Others challenge this assumption.
Followers of falafel Jazz will agree or disagree with the idea that Tel Aviv and Jerusalem
have different musical characteristics that are reflective of these locations ethos. These
debates offer insight by way of showing us that Israeli Jazz is thriving, its controversy a
healthy sign that Jazz in this region is alive and well.
Albeit a small community, Israeli Jazz, much like the country itself, is still
figuring out its own identity, for Israel is a new country exploring its own personality and
constantly creating its own specific culture. The music that comes out of this area is very
much a mirror of that exploration. Each musician in Israel that went through these
educational programs has created their own musical persona with their own sound and
creation. These musicians are searching for their own musical personalities and are
figuring out a way of being in this world both artistically and individually. The new
generation of Israeli musician offers another piece to the growing puzzle that will not be
completed for some time. Israel is still looking for its own Louis Armstrong and its own
Charlie Parker. However, the country has already produced several extremely talented
74
More on Arnie’s club here – “Culturekiosque.” Culturekiosque. N.p., n.d. Web. 30
Mar. 2017. http://www.culturekiosque.com/Jazz/features/Jazzinjerusalem.html.
75
26
musical figures. These figures weigh heavily and are already largely recognized in the
current New York scene.
In the following section I have collected biographical information of several key
musical figures in this movement. Each of these musicians are all exploring and
discovering a new path. These are ramifications of a global music that so easily can be
discerned in many new ways and will constantly be evolving. For instance, there is no
one particular sound of Israeli Jazz. There are only many musicians from Israel playing
different flavored music. Different concepts are being toyed with, as each album offers a
glimpse into what could be, from re-harmonized Yiddish tunes to Daniel Zamir's
explorations of Indian rhythmic figures.
Israel is a culture comprising so many nationalities that it features many sounds,
not one. Perhaps the future of Israeli Jazz lies within many different subgenres. With so
many new elements, it offers a fresh perspective on the music. Many Jazz musicians in
Israel come from different cultural backgrounds. As a result of the Diaspora, the
musicians cover vast amounts of geographic locations and so different musical solutions
are found. The male or female who grew up speaking five different languages in Western
Europe learned an instrument and studied with the best of the best in that country and
moved to Israel. They have more opportunity to develop a wider variety of musical
concepts and sounds than someone who grew up in Israel speaking Arabic and Hebrew,
listening to traditional Hebrew and Arabic music. These differences will push the music
to completely new places, and I look forward to hearing their results in the upcoming
decades.
27
Jazz is flourishing in Israel. In addition to the daily offerings of clubs across the
country, Israel is home to several Jazz festivals, many of which draw thousands of Jazz
enthusiasts each year. Much like the country of Israel itself, the nature of Israeli Jazz
weaves together ideas from a number of cultures and, in keeping with this philosophy,
Israeli musicians frequently tour the globe to perform and exchange ideas. This essay will
briefly explore the Israeli Jazz scene from its modest beginnings to highlighting the key
musicians that sowed the seeds of Jazz in Israel.
1.5 Jazz Programs in Israel
http://www.rimonschool.co.il/homepage/
http://www.voiceinstitute.org.il/
http://www.jamd.ac.il/
https://en-arts.tau.ac.il/Music
http://thelma-yellin.co.il/
http://www.muzik.co.il/About_us
28
Chapter 2 – Key Musical Figures
In this chapter, I have gathered biographical information of contemporary and
non-contemporary Israeli musicians. These personalities do not embody a specific
subgenre of Jazz. They represent a global perspective of Jazz and offer many different
cultural fusions, each of which has a unique quality. In reality, each artist is his or her
own genre. The skeptic may even claim that one can come to the conclusion that genre is
a term used for marketing purposes.
Given the complex and intercultural relationships in this complex middle eastern
territory, each musician has their own brand of music. Consider Omer Avital, who was
born to Moroccan and Yemeni parents and started classical guitar training at 11, or
Avishai Cohen, who was born into a musical family at Motza and Beit Zayit. These are
personalities who originate from a plethora of diverse and interesting backgrounds,
resulting in numerous consequences that can offer new and insightful takes on music.
Jazz will ultimately benefit from this international influence. Perhaps Jazz will
become the music of unity, a music which encompasses all sound of every culture while
retaining its original essence. These musicians represent a new culture without borders.
They show that music has no interest in nationalities or conventional social structure: it is
free Jazz, but free in a social sense rather than free without tonality or form. These
musicians tear down previously built metaphysical fences and create a new genre that is
non-definable.
Most music that is international and non-definable gets labeled as World Music.
This label shows either laziness in thought or it shows just how difficult it is in
29
constructing a name for music that is not concerned with formal cultural barriers. Many
of the musical choices made by each artist are deeply personal and rooted in their own
personal ethnicities and family histories. This creates a unique blend of music that can be
seen as a sonic representation of the clashing of cultures. As one reads through this
section, specific themes discussed previously pop up. Many of these Israeli artists are, not
surprisingly, graduates of the New School and the Berklee College of Music. During their
time in New York, many of these musicians encountered notable Jazz giants. Their
playing with them and exchanging ideas keeps the economy of global Jazz in motion.
Some of these musicians have gained popularity through non-traditional formats, such as
posting videos to YouTube. This also represents a new and growing phenomenon that
represents a globally connected time. The story of Jazz becoming a part of the Israeli
landscape is a fascinating one.
2.1 Omer Avital
Instrument: Bass
Avital was born in the town of Givatayim to Moroccan and Yemeni parents. At
age 11, he began his formal training, studying Classical Guitar at the Givatayim
Conservatory. Upon entering Thelma Yellin, Israel’s leading High School for the Arts,
Avital switched to the acoustic bass and began studying and arranging Jazz.76
76
Nastos, Michael. Artist Biography. N.p., n.d. Web. 30 Oct. 2016.
http://www.allmusic.com/artist/omer-avital-mn0000472075/biography.
30
At the age of 17, Avital began playing professionally in various Jazz, pop, and
folk bands, as well as performing regularly on national television, radio, and in numerous
Jazz festivals. After spending a year in the Israeli Army Orchestra, he moved to New
York in 1992, where he began playing, recording and touring professionally.77
Upon his arrival to New York in 1992, Avital began playing in groups with Roy
Haynes, Jimmy Cobb, Nat Adderley, Walter Bishop, Jr., Al Foster, Kenny Garrett, Steve
Grossman, Jimmy Lovelace, and Rashied Ali. In 1994, he began collaborating with
pianist Jason Lindner, with whom Avital began leading his own groups and big band
during after-hours sessions at Smalls Jazz Club in Greenwich Village.78
In 1995 and 1996, Omer Avital made an impact on the New York Jazz scene with
a series of breakout piano-less groups at the original Smalls Jazz Club. These recordings
included a classic sextet with four saxophones, bass, and drums, which alternately
included saxophonists Myron Walden, Mark Turner, Gregory Tardy, Joel Frahm, Charles
Owens, Grant Stewart, Jay Collins and Jimmy Greene, and drummers Ali Jackson, Joe
Strasser, and Daniel Freedman. He was the subject of frequent features in the New York
Times. A number of these sessions were recorded and released under the Smalls Records
label.79
77
Ibid.
78
“About.” Omer Avital. N.p., 12 Feb. 2016. Web. 30 Oct. 2016.
http://omeravital.com/about/.
79
“Smalls Records.” Smalls Records. N.p., n.d. Web. 30 Oct. 2016.
http://www.smallsrecords.com/wp/artist?artist_id=6.
31
1997 saw the release of an Impulse! Records compilation which was entitled Jazz
Underground: Live at Smalls, featuring several recordings of Avital's quartet. He signed
to record his debut album, Devil Head, the following year, however it was never issued.80
In 2001, Avital released his debut album, Think With Your Heart (featuring
Gregory Tardy, Jay Collins, Myron Walden, Joel Frahm, Jimmy Greene, Joshua Levitt,
Daniel Freedman and Marlon Browden). In 2003, Avital returned to Israel, where for
three years he studied classical composition, Arabic musical theory, Oud, and traditional
Israeli music.81
Avital returned to New York in 2005 and released three albums the following
year, including two from the Smalls recording archives, as well as a fourth with the
group, Third World Love. In 2006, Avital's record “Asking No Permission” (featuring
Mark Turner, Gregory Tardy, Myron Walden, Charles Owens and Ali Jackson) from the
Smalls recording archives, was named to many best ten lists, heralding his return to the
New York scene. The New York Times wrote,
(Avital’s) idea of jazz includes old and new definitions of swing and
temperament, as if the stylistic and generational divisions never existed. Ornette
Coleman’s country hymns get in there, as do Woody Herman’s close-harmony
writing for saxophones, Charles Mingus’ tetchiness and ensemble friction, Lennie
Tristano’s rambling counterpoint and the mesmerizing wail of Pharoah Sanders.82
80
Ibid.
81
82
“Asking No Permission.” Omer Avital. N.p., 02 Feb. 2014. Web. 13 Apr. 2017.
http://omeravital.com/recording/asking-no-permission/.
32
In 2008, Avital was awarded the Prime Minister’s Award, the most prestigious
distinction for artists in Israel. In 2011, Avital was awarded The ASCAP Foundation
Vanguard Award.83
In 2009, Avital joined forces with singer Ravid Kahalani and together founded
Yemen Blues, a world music ensemble that combines Yemenite music with funk, blues
and Jazz. In 2011, Yemen Blues released their debut album, Yemens. Avital served as the
music producer and arranger in addition to playing the bass, oud, and more. Avital stayed
with Yemen Blues until 2012.84
2012 saw the release of two albums, one with Aaron Goldberg and Ali Jackson,
Jr. as Yes! Trio and another, Suite Of the East, the latter being met with critical acclaim
and named Best Album of 2012 by TSF Jazz.85
In 2013, Avital released his album New Song on the French label, Plus Loin
Music, an Abeille Musique label. In October 2014 Abeille Musique had stopped activity.
New Song was released in the U.S. on November 4, 2014 on Motema Music.
Avital’s latest album, Abutbul Music, was released worldwide in March 2016 on
the Paris-based Jazz Village label by Harmonia Mundi. 86
83
“Smalls Records.” Smalls Records. N.p., n.d. Web. 30 Oct. 2016.
http://www.smallsrecords.com/wp/artist?artist_id=6.
84
Ibid.
85
Ibid.
86
33
2.2 Ori Kaplan
Instrument: Saxophone
The first band that Kaplan played for was DXM, an underground sampler-driven
group in Tel Aviv. He chose playing for DXM instead of taking clarinet lessons. He
stayed in Israel until 1991, which is when he immigrated to the United States. Initially,
Kaplan enrolled in the New School, but ultimately earned his degree from the Mannes
College of Music in 1996. Kaplan formed a group with Tom Abbs and Geoff Mann
called Trio Plus. The trio became a quartet in 1997 when Steve Swell joined. In the same
year, Kaplan also joined a lot of Jazz projects related to the Knitting Factory. Kaplan
joined the rock band Firewater in 1998 and toured both the United States and Europe. He
also formed his Ori Kaplan Percussion Ensemble with Susie Ibarra, Geoff Mann, and
Andrew Bemkey.87
Kaplan joined the band Gogol Bordello after having seen them play the Lower
East Side and toured with them extensively from 2001-2004. In 2004, he formed Balkan
Beat Box with Tamir Muskat. The band has been touring globally since and has released
4 albums thus far.88
Kaplan's saxophone sound is also heard and sampled on two top-10 global hits:
“Talk Dirty” by American R&B singer Jason Derulo and “Worth It” by the American girl
87
Barry Davis. “Music in Context.” The Jerusalem Post. N.p., 7 July 2011. Web. 30 Oct.
2016. http://www.jpost.com/Arts-and-Culture/Music/Music-in-context.
88
“TEDxHamburg - Speaker.” TEDxHamburg. N.p., n.d. Web. 30 Oct. 2016.
http://www.tedxhamburg.de/speaker.
34
group Fifth Harmony. The latter was co-produced by Kaplan and Stargate. Additionally,
Kaplan's sax work can be heard on DreamWorks’ animation film, Home.89
2.3 Anat Cohen
Instrument: Clarinet/Saxophone
Cohen began playing clarinet and saxophone, and in 1996 studied at the Berklee
College of Music. She has recorded with her brothers Avishai Cohen (trumpeter) and
Yuval Cohen (alto and soprano saxophonist).90
Her debut album, Place & Time, features Jason Lindner, Ben Street, Jeff Ballard,
and Avishai Cohen, it was released in 2005 on Anzic Records. Her latest record
Luminosa features Jason Lindner, Joe Martin, and Daniel Freedman, with guests was
released in 2015 also on Anzic Records.91
Cohen performs regularly and has appeared at a number of notable Jazz festivals.
Including the Newport Jazz Festival, Montreal International Jazz Festival, Tudo É Jazz
Festival, and the North Sea Jazz Festival.92
89
Reider, Maxim. “A Chance to Play ‘Perfect Music.’” The Jerusalem Post. N.p., Feb.-
Mar. 2012. Web. 30 Oct. 2016.
http://www.jpost.com/Arts-and-Culture/Music/A-chance-to-play-perfect-music.
90
“Place & Time, by Anat Cohen.” Anzic Records. N.p., 03 May 2005. Web. 30 Oct.
2016. http://anzicstore.com/album/place-time.
91
“Cohen, Anat.” Oxford Music Online. N.p., n.d. Web. 30 Oct. 2016.
http://www.oxfordmusiconline.com/subscriber/article/epm/89940?q=anat+cohen&search
=quick&pos=1&_start=1#firsthit.
92
“Place & Time, by Anat Cohen.”Anzic Records. N.p., 03 May 2005. Web. 30 Oct.
2016. http://anzicstore.com/album/place-time.
35
In 2007 she won the awards for “Up and Coming Artist” and “Clarinetist of the
Year” from the Jazz Journalists Association. She was also voted Clarinetist of the Year in
2008, 2009, 2010, 2011, 2012, 2013, 2014 and 2015 and honored as "Multi-Reedist of
The Year" in 2012, 2013 and 2015 by the Jazz Journalists Association. She has received
multiple citations in Down Beat magazine’s annual critics’ and readers’ polls in multiple
categories including top rankings for “Rising Star” in the tenor and soprano saxophone
categories and “Clarinet.”93 On 12 July 2013, she received the 2013 Paul Acket Award
from the North Sea Jazz Festival in Rotterdam from the BNP Foundation.
2.4 Avishai Cohen
Instrument: Bass
Avishai grew up in a musical family at Motza and Beit Zayit near Jerusalem until
the age of six, when his family moved to Shoeva in western Israel. He began playing the
piano at 9 years old, but changed to the bass guitar at the age of 14 after being inspired by
legendary bassist Jaco Pastorius. Later, after playing in an Army band for two years, he
began studying upright bass with maestro Michael Klinghoffer.94 Two years later he
moved to New York City, and got in contact with other Jazz players. At the beginning of
his stay in New York he struggled, working various construction jobs. According to
Avishai, his first year in New York was the most difficult year of his life, having to play
bass in the streets, subways and parks. He studied music at The New School for Jazz and
93
“Home.” Anat Cohen (Official Page). N.p., n.d. Web. 30 Oct. 2016.
http://www.anatcohen.com/.
94
More about Klinghoffer here – “Michael Klinghoffer - Biography.”
DriveADoubleBass.com. N.p., n.d. Web. 14 Apr. 2017.
http://www.driveadoublebass.com/michael-klinghoffer.
36
Contemporary Music, and after playing Latin Jazz in a few bands in his student years
Cohen was approached by pianist Danilo Pérez to join his trio.95
After a long period of performing in small clubs, Cohen got a phone call from the
Jazz pianist Chick Corea and was given a record contract. In 1996, he became a founding
member of Corea’s sextet Origin, and his first four albums as a leader were subsequently
released under Corea’s Stretch label. Cohen performed in Corea’s bands until as late as
2003, when he left the Chick Corea New Trio and started his own record label; he
currently performs with his own group, the Avishai Cohen Trio (with fellow Israelis
Daniel Dor on drums and Nitai Hershkovits on the piano). His later albums have been
released by this formation with extended lineup including wind instruments.96
Aside from Corea, Cohen has accompanied, recorded or performed with several
noted Jazz figures such as Bobby McFerrin, Roy Hargrove, Herbie Hancock, Kurt
Rosenwinkel, Nnenna Freelon, and Paquito D'Rivera. Other collaborators include
Claudia Acuña (Wind from the South, 2000), Alicia Keys (studio recording), and the
London and Israel Philharmonic Orchestras (concert performances). Cohen has been
cited as, “undoubtedly the most successful of Israel's Jazz exports” by The Jerusalem
Post, “a Jazz visionary of global proportions” by Down Beat, one of the 100 Most
95
“Avishai Cohen :: Interview.” Avishai Cohen :: Interview. N.p., n.d. Web. 30 Oct.
2016. http://home.nestor.minsk.by/Jazz/articles/2005/07/0048.html.
96
By Anthea Gerrie, April 22, 2010. “Israel’s Jazz Legend Owes It All to His Mum.” The
Jewish Chronicle. N.p., n.d. Web. 30 Oct. 2016.
http://www.thejc.com/arts/music/30799/israels-Jazz-legend-owes-it-all-his-mum.
37
Influential Bass Players of the 20th Century by Bass Player magazine. Chick Corea has
even lauded Cohen as a “a great composer and a genius musician.”97
In 2002, Cohen founded his own record label, Razdaz Recordz, and on September
9, 2003 released his label's debut album, Lyla. “I've always been interested in several
genres of music, including Jazz, rock, pop, Latin and funk,” says Cohen. “I'm always
packed with ideas. I decided to start my own label because I'm involved in so many
different projects” (Cohen, 2003). As of 2012, the label had produced 12 albums, five of
which were Cohen's. Other artists associated with the label include pianist Sam Barsh,
saxophonist Jimmy Green, flutist Ilan Salem, and guitarist Amos Hoffman. Also
produced by Razdaz are the works of some of Cohen's associates such as drummer Mark
Guiliana, who performed with Cohen on two of his albums. Razdaz produced an album
for Guiliana’a band HEERNT in 2006. Razdaz also produced Lady of The Forest, the
first album of the singer Karen Malka, in 2010. Karen had been touring with Cohen for
three years prior. The most recent production of the label is Ilan Salem's album Wild,
which is Ilan's third album, though it is his first under Razdaz. 98
Lyla is the first album released by Cohen's Razdaz Recordz. The album was
lauded for its genre breaking diversity. Cohen reflects on his work,
Lyla reflects much of who I am as an artist. The International Vamp Band has
been touring for two years and I wanted to document that. I also started a rock
band Gadu with Israeli drummer named Mike Starr dubbed by ‘Drummer
magazine’ as one of the most aggressive drummers in Jazz and some young
musicians who are graduates of William Paterson College. It's creating a buzz in
New York, I have been exploring a lot of new territory. I've also been working on
97
Ibid.
98
“The Album ‘From Darkness’” Avishai Cohen RSS. N.p., 01 Nov. 1969. Web. 30 Oct.
2016. http://avishaicohen.com/.
38
pop tunes with a female vocalist named Lola. And, of course, to show the whole
picture on the CD, I wanted to acknowledge my relationship to Chick. I've been
associated with him for six years and have played hundreds of shows in his bands,
so we're very connected.99
Cohen's signature sound is a blend of Middle-Eastern, eastern European and
African-American musical idioms. The New York Times describes his 2006 album
Continuo as conjoining “heavy Middle Eastern groove with a delicate, almost New Age
lyricism.”100 Cohen often sings in Judaeo-Spanish (Ladino), to which he has a connection
through his mother. For example, “Morenika,” from his album Aurora, is a famous
Ladino song he grew up hearing his mother singing around the house.
2.5 Dekel Bor
Instrument: Guitar
Bor is the son of Anat Bor, a visual artist exhibiting throughout Israel, and Alon
Bor, principal percussionist for the Israel Philharmonic Orchestra and recipient of the
Presidential Award for music education.101
Dekel Bor started playing guitar at age 15. As a student at Thelma Yelin High-
School of Arts, Bor studied Jazz history, ear training and theory. During his studies, he
99
Ibid.
100
Chinen, Nate. “The Listings | September 1 - September 7; AVISHAI COHEN
QUINTET/THE THREE COHENS.” The New York Times. The New York Times, 01
Sept. 2006. Web. 14 Apr. 2017. http://www.nytimes.com/2006/09/01/arts/movies/the-
listings-september-1-september-7-avishai-cohen-quintetthe.html
101
Barry Davis. "Music in Context." The Jerusalem Post. N.p., 7 July 2011. Web. 30 Oct.
39
played with fellow students Eli Degibri, Avishai Cohen, Daniel Zamir and others, they
often performed throughout Israel.102
Given a full scholarship to the Royal Danish Academy, Bor moved to
Copenhagen at the age of 19. He became a fixture on the local Jazz scene, performing
regularly at La Fontaine Jazz Club, where he was heard by bassist Niels-Henning Ørsted
Pedersen who took him under his wing. Niels-Henning Ørsted Pedersen (nick named,
NHØP) would often feature Bor in concerts throughout Denmark both in his trio as well
as with saxophonist Johnny Griffin, and also the ninet tyeb trio featuring him in the vanga
vanga Mexican food festival dance.103
At 21, Bor moved to New York to attend The New School on a full scholarship. A
month into his freshman year, Bor performed at the school’s auditorium where the
school's artistic director Reggie Workman heard the young guitarist and immediately
extended an invitation to join the master at a church concert tour of the East Coast. This
started a long mentoring relationship which helped Bor shape his musical commitment
and artistic depth.104
At the end of his freshman year, Bor started his own trio teaming with Nadav
Snir-Zelniker on drums and Francois Moutin on bass. They performed twice a week at
New York Jazz club Cafe Creole, focusing on original compositions by Bor. Bor's style
102
Ibid.
103
Barry Davis. "Music in Context." The Jerusalem Post. N.p., 7 July 2011. Web. 30 Oct.
104
Reider, Maxim. “A Chance to Play 'Perfect Music.’” The Jerusalem Post. N.p., Feb.-
Mar. 2012. Web. 30 Oct. 2016. http://www.jpost.com/Arts-and-Culture/Music/A-chance-
to-play-perfect-music.
40
began taking shape, and artists such as Lew Solof, John Fedjock, Brian Versace and
others sat in and played with Bor and his band.105
From Cafe Creole, Bore and his band began touring throughout the East Coast
and the Midwest, performing at clubs, theaters and small festivals. During this time Bor
performed with – Gregory Hutchinson, Roy Hargrove, Pat Martino, Horace Parlan, Billy
Hart, Buster Williams, Adam Nussbaum, Charly Persip, Donny McCasslin, Adam
Rogers, nitzan bar, Ari Hoenig, Rachel Z, Russell Malone, Francois Moutin, Clarence
Penn, and Ravi Coltrane.106
After a Sunday night show at a NYC club, Bor was approached by producer
Robert Sadin. Bor and Sadin formed a close mentoring relationship, releasing two albums
of original music – Emuna cohen, and (The Long Way) Home. Bor and his trio performed
a weekly show at Cafe Buke. 107
Bor frequently collaborates in performance with artists from various mediums
such as the Israel Philharmonic Orchestra, French choreographer Nelly Van-Bommel,
Israeli rock musician Daniel Superman, American choreographer David Parsons, Israeli
poet Raquel Chalfi, Tom Harrell, and Dweezil Zappa.108
In 2012, Bor toured across Europe performing trio arrangements of music by
Johann Sebastian Ben Ari, focusing mainly on the violin sonatas and the Goldberg
105
Ibid.
106
“TEDxHamburg - Speaker.” TEDxHamburg. N.p., n.d. Web. 30 Oct. 2016.
107
Ibid.
108
Barry Davis. “Music in Context.” The Jerusalem Post. N.p., 7 July 2011. Web. 30
Oct. 2016. http://www.jpost.com/Arts-and-Culture/Music/Music-in-context.
41
Variations. Concerts and festivals in Israel, Germany and New York were recorded and
filmed for an upcoming documentary, with TV specials in Germany, Israel and Canada.
In 2014 Bor began a series of improvised duets with major non-musician artists,
among them German actor Christian Berkel, author Meir Shalev, chef Eyal Shani, Israeli
Knesset member Merav Michaeli and Israeli actor Moshe Ivgy.109
Bor was invited to speak at TEDx Hamburg as part of a panel to discuss his duet
series, after which he improvised with German actor Christian Berkel. Bor was seriously
injured in a motorcycle accident in August 2015. All of his scheduled performances and
appearances were canceled or postponed at that time, at least until spring 2016.110
2.6 Eli Degibri
Instrument: Saxophone
Degibri first began playing music at the age of 7 in an after-school music program
at the Jaffa Conservatory of Music. Three years later, after attending a Jazz concert, he
became enamored with the saxophone and switched his studies to that instrument.111
In 1994 Degibri was selected to receive a full scholarship to attend the Berklee
College of Music’s Summer Performance Program. The following year Degibri was
109
Friedwald, Will. “Swinging Into New Styles.” WSJ. Wsj.com, 21 Apr. 2011. Web. 30
Oct. 2016.
http://www.wsj.com/articles/SB10001424052748704071704576277060020551434.
110
Ibid.
111
Oct. 2016.
42
again awarded a full scholarship, and participated in the Berklee program for a second
summer.112
In 1997, at age 18, Degibri received a full scholarship to attend the Berklee
College of Music and relocated to the United States. After a year at Berklee, he was one
of only six musicians to be selected, with a full scholarship, to attend the Thelonious
Monk Institute of Jazz program, where he studied and performed with Ron Carter, Benny
Golson, Jimmy Heath, and Clark Terry.113
After graduating from the Monk Institute in 1999, Degibri was asked to join
pianist Herbie Hancock's sextet, playing the music of Hancock's album Gershwin's
World. Degibri toured the world with them for 2 and a half years, and was featured on
Hancock's 2002 The Jazz Channel Presents Herbie Hancock DVD special.114
In 2002 Degibri relocated to New York City and formed his first quintet featuring
Kurt Rosenwinkel, Aaron Goldberg, Ben Street, and Jeff Ballard. The band performed in
New York Jazz clubs, including the Blue Note, the Jazz Standard, 55 Bar, and Smalls
Jazz Club. That same year Degibri joined drummer Al Foster’s band, the Al Foster
Quartet. In 2003, Degibri released his first album, In The Beginning, with his quintet, on
the Fresh Sound label.115
112
Ibid.
113
Same as footnote 99.
114
Oct. 2016.
115
Ibid.
43
In 2006, he released his second album, Emotionally Available, again on Fresh
Sound, featuring Goldberg, Street and Ballard. That year, he appeared on another album,
One Little Song, a duo collaboration with pianist Kevin Hays.116
Degibri was featured on Al Foster’s 2008 release Love, Peace and Jazz!, a live
recording at the legendary New York club the Village Vanguard, and on Foster's 2008
full length DVD The Paris Concert. A live show of the Al Foster Quartet at the Village
Vanguard was aired on NPR on May 21, 2008. In 2008 Degibri formed his organ trio
featuring Gary Versace and Obed Calvaire and released his 4th album, Live at Louis 649,
with that trio.117
In 2010, he released the album Israeli Song on Anzic Records, featuring Ron
Carter, Al Foster, and Brad Mehldau. 118
In January 2011, Degibri was invited to headline at the Red Sea Jazz Festival's
first winter edition, where he has performed a duo with pianist Kenny Barron. In April
2011, Degibri joined drummer Al Foster and bassist George Mraz quartet together with
pianist Fred Hersch at Birdland Jazz Club in New York for a performance dedicated to
the music of the late Joe Henderson around what would have been Henderson’s 74th
116
Ibid.
117
Ibid.
"Ehud Ettun." Ehud Ettun. N.p., n.d. Web. 30 Oct. 2016.
118
Ibid.
44
birthday. The quartet was also invited to perform at the 2011 North Sea Jazz Festival and
Gent Jazz Festival.119
In October 2011 Degibri was chosen as the successor to bassist Avishai Cohen as
co-Artistic Director of the Red Sea Jazz Festival. 120 On April 30, 2012 Degibri was
invited to be a part of UNESCO’s first International Jazz Day at the UN General
Assembly in New York alongside many of the finest Jazz musicians in the world. On
August 29, 2013 Degibri released his sixth album, Twelve, on Degibri's own new label,
PiLi Records, with a collaboration with Plus Loin Music, featuring Gadi Lehavi, Ofri
Nehemya, and Barak Mori. Degibri has also worked with Eric Reed and the Mingus Big
Band.121
2.7 Ehud Ettun
Instrument: Piano
Ettun was born in Israel and started playing the piano at the age of six. When he
was twelve, he picked up the guitar and played Israeli music in different bands in
Jerusalem. At the age of 16, Ettun was accepted to the Israeli Arts and Sciences Academy
where he started studying the bass with maestro Michael Klinghoffer, ear training with
Professor Batsheva Rubinstein, and composition with Prof. Andre Haidu.
119
Ibid.
120
Ibid.
121
“Ehud Ettun.” Ehud Ettun. N.p., n.d. Web. 30 Oct. 2016.
http://www.ehudettun.com/.
45
Ettun continued his studies at the Jerusalem Music Academy, and, upon
graduating, received a scholarship to attend the New England Conservatory in Boston to
pursue his master's degree. At the Conservatory, Ettun studied with Donny Mccaslin,
Fred Hersch, Hankus Netsky and others, receiving his master's degree in 2012.122
As a bandleader and composer, Ettun has released two albums. The first one, Half
Colors Half Voices, is a collaboration with Pianist Uriel Herman. The project consisted of
new compositions to poems by Israeli poet Rachel Bluwstein. The album received wide
media attention in Israel including reviews in Haaretz, Yedioth Ahronoth, channel 2, and
more. His second album, Heading North, was self-composed. It features Japanese pianist
Haruka Yabuno, and Israeli musicians Nathan Blankett and Tal Gur.123
As a sideman, Ettun has collaborated with top musicians from Israel and the
United States, including Fred Hersch, Eli Degibri, George Garzone Anat Cohen, Miri
Mesika, and others. He has performed at the Panama Jazz Festival, Red Sea Jazz Festival,
Blue Note Jazz club, Kennedy Center in Washington D.C and other classical and Jazz
venues.124
122
“‫מוזיקלי חינוך‬.” Ynet. N.p., n.d. Web. 30 Oct. 2016.
http://www.ynet.co.il/articles/0,7340,L-4317025,00.html.
123
Ibid.
124
“‫מוזיקלי חינוך‬.” Ynet. N.p., n.d. Web. 30 Oct. 2016.
http://www.ynet.co.il/articles/0,7340,L-4317025,00.html.
46
2.8 Adam Ben Ezra
Instrument: Bass
Growing up in Tel Aviv, Adam began playing the violin when he was five years
old before picking up the guitar when he was nine. Following a stint with the electric bass
at 16, he discovered the instrument that would come to be most associated with him when
he began studying the Double Bass.125
Adam begun his musical career performing in Jazz clubs and cafes and playing
with several local musicians and ensembles. He got his early break in 2008 when his
upright bass version of the theme song for the TV show Seinfeld as well as his rendition
of Michael Jackson's “Billie Jean" gained viral success. This caught the attention of
American label CandyRat Records who released the singles “Openland” and “Flamenco”
in 2012.126
That same year Adam’s playing was featured on the Amnesty International
Chimes Of Freedom: The Songs Of Bob Dylan album playing on songwriter Oren Lavie’s
version of the track “4Th Time Around.”127
125
Pelayo, Terry. “Adam Ben Ezra Solo Bass Pioneer.” Rawckus Magazine. N.p., 18 July
2016. Web. 30 Oct. 2016. http://www.rawckus.com/adam-ben-ezra-solo-bass-maverick/.
126
Media, You And Whose Army. “Jazz News: Adam Ben Ezra Announces Release Of
Debut Album ‘Can't Stop Running.’” News. N.p., 12 Feb. 2016. Web. 30 Oct. 2016.
https://news.allaboutJazz.com/adam-ben-ezra-announces-release-of-debut-album-cant-
stop-running.php.
127
@adambenezra. “Adam Ben Ezra - Upright Bassist | Composer | Multi-Instrumentalist
| Educator.” Adam Ben Ezra RSS. N.p., n.d. Web. 30 Oct. 2016.
http://www.adambenezra.com/.
47
2013 was a key year for Adam with solo shows in Europe and the United States.
This year included appearances at the International Society of Bassists convention in
Rochester, NY, Gaume Jazz Festival in Belgium, and Musica In Borgo in Termoli, Italy.
He also was featured as a guest artist during Sarah Jane Morris’ set. In addition, he
supported the likes of Richard Bona, Mike Stern, and Victor Wooten. He also appeared
on a cover of the Pearl Jam track “Jeremy” by the metal band Orphaned Land. A few
months later Adam began his ongoing collaboration with internationally renowned singer
Achinoam Nini (“Noa”), appearing on her 2014 album Love Medicine, as well as joining
her on tours in North America and Europe that included a show with George Dalaras and
Dulce Pontes at the Acropolis in Athens.128
In 2014 Adam joined renowned classical musicians Igudesman & Joo (Aleksey
Igudesman and Hyung-ki Joo) for their League Of X-traordinary Musicians Showpiece,
performing a New Year’s Eve show at the Vienna Konzerthaus alongside a talented
multinational ensemble. That same year he also formed the new Adam Ben Ezra Trio
which toured Europe including performances at Catania Jazz Festival in Italy. In 2015
Adam crowd-funded his debut album Can’t Stop Running through a PledgeMusic
campaign. The cover art for the album, photographed by Ezra Gozo Mansur, was also
selected as one of the best photos of 2015 by Communication Arts magazine. 129
In the summer of 2015 Adam appeared at the Pilsen Festival and Pacovský
Poledník Festival as well as a sold out show at the Jazz Dock Club in Prague as part of
128
Ibid.
129
Adam Benezra. ‘Adam Ben Ezra - Upright Bassist | Composer | Multi-Instrumentalist
Educator.’ Adam Ben Ezra RSS. N.p., n.d. Web. 30 Oct. 2016.
http://www.adambenezra.com/.
48
his tour in the Czech Republic. Later that year he again joined forces with Igudesman &
Joo at the ‘Lucerne Festival’ in Switzerland, and also performed solo concerts at The
Romanian National Opera, in Timisoara, Romania and at the Double Bass Passion
Festival in Belgrade, Serbia.130
In addition to his live music playing, Adam has made a name for himself through
his YouTube channel. To date, his videos have gained more than 7 million views and his
original video for “Can't Stop Running” has generated more than 1 million views. He is
well known for his takes on TV theme songs such as “Dexter” and “Mad Men.”131
Adam has cited Bach, Sting, Debussy, Chick Corea, Eddie Gomez, and Jaco
Pastorius, and Flamenco and Arabic music as his musical inspiration. Adam is considered
a pioneer in a new style of playing on the upright bass, in which he plays and drums on
his instrument at the same time in order to obtain a rich groove sound.132 As well as
playing the Double Bass, he is known for incorporating various instruments in his live
performances and recordings, including the piano, bass guitar, guitar, clarinet, oud, flute,
and cajon, and his use of loop and effect pedals.133
130
Ibid.
131
Ibid.
132
“ROTEM SIVAN." ROTEM SIVAN. N.p., n.d. Web. 30 Oct. 2016.
http://www.rotemsivan.com/.
133
Ibid.
49
2.9 Gilad Hekselman
Instrument: Guitar
Hekselman has performed with many renowned artists including – Anat Cohen,
Mark Turner, Dayna Stephens, Aaron Parks, Jeff Ballard, John Scofield, Ari Hoenig, and
Chris Potter.134
Hekselman moved to New York City in 2004 to attend The New School for Jazz
and Contemporary Music on full scholarship. In July 2005, he won the Gibson–Montreux
Jazz Festival Guitar Competition in Switzerland. 135
To date, he has released five albums as leader – Splitlife (2006), Words Unspoken
(2008), Hearts Wide Open (2011), This Just In (2013), and Homes (2015).136 Hekselman
was also featured on Esperanza Spalding's Radio Music Society. Hekselman’s working
quartet features saxophonist Mark Turner, bassist Joe Martin, and drummer Marcus
Gilmore; they performed together on NPR’s “The Checkout: Live” in May 2012.137
134
May, Chris. “Rotem Sivan: Enchanted Sun.” Rotem Sivan: Enchanted Sun. N.p., 23
Aug. 2013. Web. 30 Oct. 2016. https://www.allaboutJazz.com/enchanted-sun-rotem-
sivan-steeplechase-lookout-review-by-chris-may.php#.UlvRpWSAdIW.
135
Ibid.
136
"Rotem Sivan Profile." SmallsLIVE. N.p., n.d. Web. 30 Oct. 2016.
https://www.smallslive.com/artists/2371-rotem-sivan/.
137
May, Chris. “Rotem Sivan: Enchanted Sun.” Rotem Sivan: Enchanted Sun. N.p., 23
Aug. 2013. Web. 30 Oct. 2016. https://www.allaboutJazz.com/enchanted-sun-rotem-
sivan-steeplechase-lookout-review-by-chris-may.php#.UlvRpWSAdIW.
50
2.10 Rotem Sivan
Instrument: Guitar
Sivan graduated from The Buchmann-Mehta School of Music at The Tel Aviv
University with a degree in classical composition before moving to New York City in
2008 to study at The New School for Jazz & Contemporary Music. Sivan has released
three studio albums. In 2013, he released his first album, Enchanted Sun, on
SteepleChase Records.
His second album, For Emotional Use Only, was released in 2014 on Fresh Sound
New Talent Records. The album received 4.5 stars in Downbeat Magazine and The New
York Times critic Ben Ratliff wrote, “He plays a lot of notes. But he is quiet, almost
always quieter than someone with this much training and musicality tends to be, and this
is what makes him more than a very good young guitar player.”138
In 2015, Sivan released his third album, A New Dance, again on Fresh Sound
New Talent Records. Sivan has performed with world-renowned musicians, including
Peter Bernstein, Ari Hoenig, Ben Street, Gracie Terzian, and Ferenc Nemeth and
regularly performs in New York City’s top venues such as Smalls, Birdland, The Jazz
138
Ratliff, Ben. “New Music From the Rotem Sivan Trio and Anna Webber.” The New
York Times, 26 Sept. 2014. Web.19 Apr. 2017.
https://www.nytimes.com/2014/09/28/arts/music/new-music-from-the-rotem-sivan-trio-
and-anna-webber.html?_r=0.
51
Gallery, The Bar Next Door and The Blue Note. He performs frequently with his trio at
festivals all around the world.139
2.11 Asaf Sirkis
Instrument: Drums
Sirkis spent his teens and early twenties in Rehovot, Israel where he began drum
lessons at age 12. His early musical influences consisted of classical music, Arabic
music, Balkan music, Klezmer, Pop, and Israeli folk music. He completed national
service 1987–1990 and in 1990 he started his professional career working as an all
around drummer in Israel. He has played with some of Israel's Jazz and world music
luminaries such as Harold Rubin, Albert Beger, Yair Dalal, Eyal Sela, and many more.140
Sirkis moved from Rehovot to Tel Aviv in 1993, and formed his first trio in 1995
featuring Kobi Arad on keyboards and Gabriel Mayer on electric bass. After recording
his first trio album One Step Closer (1996) and touring Israel with the trio he formed a
new band, The Inner Noise, in 1997. The Inner Noise is a unique trio, and was the first
Jazz/rock group to incorporate drums, church organ and drums.141
He left Israel in 1998, settling in London in 1999. In 2000, Sirkis re-formed the
Inner Noise trio with Steve Lodder on church organ and Mike Outram on guitar. The
“Jazz Festival in Speyer: Kultur.” DIE WELT. N.p., n.d. Web. 30 Oct. 2016.
139
https://www.welt.de/newsticker/news3/article106422711/Auftakt-fuer-Internationales-
Palatia-Jazz-Festival-in-Speyer.html.
140
“Interview.” BBC Broadcast (Interview). N.p., n.d. Web. 30 Oct. 2016.
https://web.archive.org/web/20150329035219/http://asafsirkis.co.uk/Downloads%20mp3
/BBC_Broadcast_2013_edited.mp3.
141
Ibid.
52
band has recorded three acclaimed albums since 2000 (Inner Noise, We Are Falling and
The Song Within). In 2000, he met Gilad Atzmon with whom he formed The Orient
House Ensemble and recorded 7 albums, including Exile, which won “Best CD of the
Year” at the BBC Jazz Award 2003 while the band was nominated for “Best Band” in
2004. After almost 10 years in the OHE, Sirkis left the band in 2009 to focus on his solo
career and other collaborations.142
Since 2006, Sirkis has been collaborating with reeds player and composer Tim
Garland with whom he toured the world and recorded many albums. He has also worked
with Larry Coryell, Gwilym Simcock, John Abercrombie, Kenny Wheeler, Gary
Husband, Kit Downes, Andy Sheppard, Bob Sheppard, Mark Egan, Soft Machine, John
Etheridge, Mark Wingfield, Nicolas Meier, David Binney, Norman Watt-Roy, Wilko
Johnson, Maciek Pysz, Jeff Berlin, Billy Sherwood, and many more.143
Since 2014, Sirkis has co-led the Sirkis/Bialas International Quartet together with
Polish singer Sylwia Bialas. The Quartet features pianist Frank Harrison and USA
bassist/harmonica player Patrick Bettison. Their first album Come To Me was released in
November 2014 at the London Jazz Festival. The new album received some great reviews
world wide, and the band has toured extensively since its release date. 144
142
MEDIA, By SE24. “Jazz News | Jazzwise Magazine | London.” Jazz News | Jazzwise
Magazine | London. N.p., n.d. Web. 30 Oct. 2016.
http://www.Jazzwisemagazine.com/news-mainmenu-139/69-2012/12369-Jazz-breaking-
news-gwilym-simcock-tim-garland-and-asaf-sirkis-shine-as-luminous-lighthouse-fill-the-
forge.
143
Ibid.
144
MEDIA, By SE24. “Jazz News | Jazzwise Magazine | London.” Jazz News | Jazzwise
Magazine | London. N.p., n.d. Web. 30 Oct. 2016.
53
Sirkis’ musical influences include The Beatles, The Police, Yes, Genesis,
Mahavishnu Orchestra, Allan Holdsworth, Olivier Messiaen, Carnatic Music, and
Weather Report. In recent years, Sirkis has been studying the art of the south Indian vocal
percussion (konnakol) at the Tamil centre in west London under the guidance of master
percussionist Mr. Paramasamy Kirupakaran and from various other sources. Asaf has
developed a simple, step-by-step method of practicing konnakol that can help an
instrumentalist or vocalist of any musical genre and level to increase rhythmic awareness
and focus. Nowadays, Sirkis is involved in a variety of educational work, bringing
konnakol as a useful tool of understanding rhythm to western musicians. Notably, he has
given many workshops and seminars around the world on the subject and has a YouTube
channel with some basic konnakol tutorials.145
2.12 Harold Rubin
Instrument: Clarinet
Harold Rubin was born in Johannesburg, South Africa on 13 May 1932. He
attended the Jeppe High School for Boys and received private instruction in the fine arts.
Instructed in the classical clarinet as a teenager, he developed a fascination with Jazz and
began playing at the Skyline Night Club at eighteen. Enrolled as an architecture student
http://www.Jazzwisemagazine.com/news-mainmenu-139/69-2012/12369-Jazz-breaking-
news-gwilym-simcock-tim-garland-and-asaf-sirkis-shine-as-luminous-lighthouse-fill-the-
forge.
145
Ibid.
54
at the University of the Witwatersrand, he completed his professional studies after further
education in London.146
Rubin’s creative endeavors in South African society during the 1950s and 1960s
dissented against the apartheid-era Afrikaner establishment by defying the country’s
racist social norms. Rubin organized his own Jazz group in the 1950s, snuck into black
townships, and played alongside black musicians. Rubin's visual artwork was first
exhibited in 1956. Among Rubin’s contributions to the South African fine arts in this
spirit was the 1961 Sharpeville, a series of drawings devoted to the brutality of the
Apartheid-era authorities during the Sharpeville massacre in 1960.147
Rubin's most controversial project on the South African art scene of the 1960s
was My Jesus, a provocative rendering of the crucifixion in which Jesus Christ appeared
as a nude black figure with the head of a monster. The work contained the inscription, “I
forgive you O Lord, for you know not what you do.” – a sardonically reversed “Father
forgive them, for they know not what they do.” The work depicted the naked figure with
a slight hint of an erection. The controversial image was put on display alongside other
anti-establishment works at a Johannesburg gallery in 1962. The exhibition caused such
furor that the government sent the police to shut down the exhibition and referred its
artwork for an examination by its censorship board. Rubin became the second South
African to be charged with blasphemy.148
146
“Harold Rubin - Musician.” Harold Rubin - Musician. N.p., n.d. Web. 30 Oct. 2016.
http://www.haroldrubin.net/home.asp.
147
Ibid.
148
In 1961 He Published a Series of Drawings Titles ‘Sharpeville’, as a Comment on the
S. “Harold Rubin.” Anonymous. N.p., n.d. Web. 30 Oct. 2016.
55
Acquitted in court of the alleged blasphemy in March 1963, Rubin protested the
repressive political environment by leaving the country for Israel and quickly re-
established himself in Tel Aviv. Rubin was employed as an architect, in the office of
Arieh Sharon, on projects in Israel and abroad and taught at an academy of architecture
and design between the 1960s and his retirement in 1986. 149
Rubin began creating visual art as a critique and commentary on the militaristic
aspect of Israeli society as early as the 1960s. The anti-war subject was a prime subject of
Rubin's work during the 1980s – a decade witnessing the 1982 invasion of Lebanon and
the tensions aroused by the increasingly visible peace movement – and marked by the
creation of such works as The Anatomy of a War Widow (1984), a series of twenty-two
black-and-white pictures. The caustic Homage to Rabbi Kahane, which portrayed the
outspoken ultra-nationalist Rabbi Meir Kahane as a Jewish Nazi, was pulled off the wall
by a Knesset member when hung at a Haifa gallery in 1985. The proceeds raised from an
August 1987 exhibition and auction of art by Rubin and other Israeli artists at the
Meimad Gallery in Tel Aviv were donated to a fund for educational activities and
promotion of the values of democracy and freedom of speech dedicated to Emil
Grunzweig, an Israeli teacher and Peace Now activist murdered in 1983 by a grenade
thrown at a Jerusalem peace rally. Rubin's drawings and paintings have been exhibited in
Israel, South Africa, the United States, and Germany since the 1960s.150
http://www.sahistory.org.za/people/harold-rubin.
149
Ibid.
150
56
Rubin returned to playing Jazz in late 1979, having previously given up
performance for more than a decade after his emigration from Africa. He became a
founding member of the 1980s Zaviot Jazz quartet, which recorded albums with the label
Jazzis Records and performed at festivals and clubs in Israel and Europe until its break-
up in 1989. Rubin's more recent appearances have included performances with Ariel
Shibolet, Assif Tsahar, Daniel Sarid, Maya Dunietz, and Yoni Silver.151
Awarded the Landau Award in tribute to his contributions to Jazz music in 2008,
he continues to play Jazz with musicians of the younger generations in Tel Aviv. Harold
Rubin and his first wife, Riva Wainer, married in 1957, separated in the 1970s and
divorced in 1975. Since 1976, he has been married to Miriam Kainy, a well-recognized
Israeli dramatist particularly known for plays concerned with the subject of Jewish-Arab
relations and feminist themes. His family includes two sons from his first marriage, as
well as one daughter and two stepdaughters from his second.152
2.13 Issi Rozen
Instrument: Guitar
Issi Rozen was born in Haifa, Israel on April 20, 1967 and moved to Tel-Aviv
during his childhood. As Rozen recalls in an All About Jazz interview, “my earliest
musical memories are the lullabies my mother used to sing. Interestingly, they were
151
“Harold Rubin - Musician.” Harold Rubin - Musician. N.p., n.d. Web. 30 Oct. 2016.
http://www.haroldrubin.net/home.asp.
152
57
mostly in minor keys as are most traditional Israeli songs.”153 He began playing guitar at
age 10, and as a teenager, Rozen was practicing several hours a day. In 1991, after
completing his service in the Israeli Defense Forces, Rozen moved to Boston to study at
Berklee College of Music.154
After finishing his studies at Berklee, Rozen settled in the Boston suburb of
Brookline. In 1998, he released his first album, Red Sea under Brownstone Records. A
year later, Rozen released Homeland Blues under the same label, which was named one
of the top 20 CDs by WBEZ radio in Chicago. In 2003 he released his third album titled
Dark Beauty on his own label, New Step Music. 155
Clearly influenced by Jazz guitarists Pat Metheny and Jim Hall, Rozen also uses
musical components from his native Israel. The opening track on Dark Beauty,
“Sheharhoret” (Dark Beauty in Hebrew) is a traditional Hebrew song sung primarily by
Mizrahi Jews. On the same album, Rozen covers the Charlie Parker tune “Segment.” This
hybrid of different genres has given Rozen critical acclaim. The other eight tracks on the
album are Rozen’s own pieces.156
153
Staff, Aaj. “An AAJ Interview with Issi Rozen.” All About Jazz. N.p., 05 Feb. 2004.
Web. 14 Apr. 2017. https://www.allaboutjazz.com/an-aaj-interview-with-issi-rozen-issi-
rozen-by-aaj-staff.php.
154
Henderson, Alex. Artist Biography. N.p., n.d. Web. 30 Oct. 2016.
http://www.allmusic.com/artist/issi-rozen-mn0000776713/biography.
155
Ibid.
156
He Played with Ray Ellington and Ray Nance, Playing under the Pseudonym
Lawrence Rix for Legal Reasons. “Guitar | Notorious Jazz - Part 2.” Guitar | Notorious
Jazz - Part 2. N.p., n.d. Web. 30 Oct. 2016. http://notoriousJazz.com/tag/guitar/page/2.
58
2.14 Kobi Arad
Instrument: Piano
Kobi Arad was born and raised in Haifa, Israel with his family. Music was a part
of Arad’s life from a young age, and he studied piano in his youth. While learning
classical music as an undergraduate at the University of Tel Aviv, he was introduced to
Jazz fusion by a professor, and began experimenting with the genre. At the time Arad
also served as a music arranger for military bands. While in Israel, Arad played
keyboards as part of a trio with Asaf Sirkis and Gabriel Mayer in the mid-1990s. Arad
studied for his Masters Degree and Ph.D. at the New England Conservatory of Music in
Boston, receiving a Doctorate in the field of third stream and contemporary
improvisation. After graduating Arad moved to Williamsburg, New York.157
Arad currently composes, arranges, and performs music blending genres as
diverse as classical, Jazz, R&B, hip-hop, and electronic music, with much of his work
utilitizing improvisation. His music has been featured in publications such as Ynet, the
Jazz Times, and All About Jazz, the latter of which called his 2011 album Sketches of
157
Astarita, Glenn. “Kobi Arad Band: Sketches of Imaginary Landscapes.” Kobi Arad
Band: Sketches of Imaginary Landscapes. N.p., 26 Aug. 2011. Web. 30 Oct. 2016.
https://www.allaboutJazz.com/sketches-of-imaginary-landscapes-kobi-arad-self-
produced-review-by-glenn-astarita.php#.UFZOmLJlRck.
59
Imaginary Landscapes an “all-embracing portraiture of an artist” with “exceptional
technical faculties and perspicacious vision.”158
Arad has collaborated with artists such as Stevie Wonder and Cindy Blackman.
He has performed his material with the Kobi Arad Band at venues such as the Blue Note
in New York, and has transcribed music for the publishing arms of companies such as
Hal Leonard.159
Arad became active in the New York music scene in 2007. As of 2009, he was
performing at local New York cultural events, for example regularly appearing at the
Chabad House in New York. Drummer Bob Moses appeared in his 2009 album Sparks of
Understanding, and in 2010 Arad released his Ancient Novice album, which received a
positive review from the Jazz Times. Opined the Jazz Times, the album “engages into
different colors and landscapes, which create an exhilarating atmosphere in the listener's
mind.”160 Accompanying Arad on the recording are five string players from the Boston
Symphony Orchestra.161
He released his album Sketches of Imaginary Landscapes in 2011, which was
positively reviewed in All About Jazz. The review claimed that the album, “professes a
colorific mosaic and all-embracing portraiture of an artist who transmits an active

158
Astarita, Glenn. “Kobi Arad Band: Sketches of Imaginary Landscapes.” All About
Jazz. N.p., 26 Aug. 2011. Web. 13 Apr. 2017. https://www.allaboutjazz.com/sketches-of-
imaginary-landscapes-kobi-arad-self-produced-review-by-glenn-astarita.php.
159
Richards-Mcnaught, Raymond. “Kobi Arad.” Kobi Arad. N.p., n.d. Web. 30 Oct.
2016. http://kobiaradband.com/.
160
Astarita, Glenn. “Kobi Arad Band: Sketches of Imaginary Landscapes.” All About
Jazz. N.p., 26 Aug. 2011. Web. 14 Apr. 2017. https://www.allaboutjazz.com/sketches-of-
imaginary-landscapes-kobi-arad-self-produced-review-by-glenn-astarita.php.
161
Ibid.
60
imagination, supported by his exceptional technical faculties and perspicacious
vision.”162 Arad was joined in the recording by Ray McNaught on drums and Tucker
Yaro on bass.
In early 2012 Arad debuted his project Inner Hymns, which collected and adapted
ancient Hasidic songs. Among other guest musicians, the recording featured artists such
as Oran Etkin. In January 2012, Arad performed Inner Hymns with a trio at the Blue Note
venue in New York. His third appearance at the venue, he was accompanied by Ramon
De-bruyn on bass and Ray McNaught on drums. Arad and Inner Hymns were featured in
the major Israeli publication Ynet in January 2012.163
After first holding a residency at the Art Kibbutz on Governors Island in 2013,
Arad began recording a collaboration with Pakistani sitar player Ikhlaq Hussein Khan.
While artist in residence, he also worked on a 12-tone music system and collaborated on
a sound improvisation project with several other artists. In May 2013, he described his
goal at the Art Kibbutz as striving to, “pave the way to a deeper connection of music and
art and religion, the way it was historically with the Levites at the temple.” In August
2014, he was included in the Jewish Waltz with Planet Earth art exhibit by Art Kibbutz
put on at New York’s Governors Island.164
He also collaborated on The Experience Project with Robert Margouleff in June
2015, and his 2015 album Superflow included Roy Ayers on vibraphone, as well as
162
Ibid.
163
164
Ibid.
61
Jonathan Levy on bass. In August 2015, Arad performed an experimental Jazz
composition at the Shmita Art Fest at the Art Kibbutz. In January 2016, he performed
with Jazz vocalist Daphna Levi in Tel Aviv. In recent years he has performed his
compositions with the Kobi Arad Band, which has played at venues such as Blue Note,
Jazz at Lincoln Center, the Knitting Factory, Tonic, and the Cutting Room. Arad has
collaborated with artists such as Stevie Wonder, Lenny Kravitz, and Cindy Blackman. He
has transcribed music for the publishing arm of Hal Leonard, and as of 2016 he has
approximately twenty self-released albums.165
165
62
2.15 Assaf Kehati
Instrument: Guitar
Kehati first started playing the piano and guitar at the age of ten and later
following with classical violin. His grandmother was a professional pianist who first
introduced him to playing an instrument. As a teenager he played rock, pop, and classical
music. At age 19, he started to take interest in Jazz. Shortly after, he was accepted to
Rimon School of Jazz and Contemporary Music. A few months into his Jazz studies, he
became the winner of a number of local Jazz awards, including the third place of “the
Jazz Player” national competition in Israel. He also became a member of Rimon Honors
Ensemble, “Hot Jazz,” which featured famous Australian Jazz fusion guitarist, Frank
Gambale.166
In 2007, he moved to Boston to pursue his graduate studies at the New England
Conservatory. There he has also worked as an assistant professor after receiving his
Masters in Jazz Performance in 2009. While in Israel, Kehati performed with many
prominent musicians, including Alon Farber, Shai Chen, Haggai Amir, Udi Shlomo, and
Daniel Sapir. He appeared at the Tel Aviv Jazz Festival, Channel 22 TV, Shablul Jazz
Club, Machtesh Ramon Jazz Festival, and at the Israel National Festival in Jerusalem.167
In 2010, Kehati recorded his first album A View from My Window and in 2011
Flowers and Other Stories. His style is said to be influenced by Hector Berlioz, George
166
“About.” Assaf Kehati Jazz Guitarist and Composer. N.p., n.d. Web. 30 Oct. 2016.
http://www.assafkehati.com/.
167
Ibid.
63
Gershwin, Pat Metheny, and Kenny Rogers. Kehati has played and worked with
renowned artists such as Ran Blake, George Garzone, Eli Degibri, Donny McCaslin,
Seamus Blake, and more prominently, with the legendary drummer Billy Hart who has
been a part of his trio since 2009. 168
He has played worldwide in Israel, Russia, Canada, Washington DC, Boston, and
in the renowned Blue Note Jazz Club in New York City.
168
“About.” Assaf Kehati Jazz Guitarist and Composer. N.p., n.d. Web. 30 Oct. 2016.
http://www.assafkehati.com/.
64
Chapter 3 – Interviews with Israeli Jazz Musicians and
Educators
3.1 Tal Ronen
Biography
Born in Tel Aviv, Israel, in 1981, Tal Ronen is an accomplished young bass
player living and working in New York City. As a highly sought-after sideman, Tal has
been a frequent band member with many notable musicians such as Frank Wess
(Saxophone), Jimmy Cobb (Drums), Harry Whitaker (Piano), Shiela Jordan (Vocals), and
many more. Ronen is currently the bassist for acclaimed Grammy-winning international
artist Catherine Russell. He also leads his own group featuring his own original
compositions, as well as being a main collaborator and songwriter for up and coming
artist Dida Pelled. Ronen has played at many prominent New York venues, most notably
Jazz at Lincoln Center, Village Vanguard, Iridium, the Kitano, Smalls, and Mezzrow.
Ronen is a frequent presence on the world stage, participating in various international
festivals around the world, including the Sibiu Jazz Festival (Romania), the Gyor
International Art Festival (Hungary), Jazz-en-Tete in Clairmont-Ferrand (France), and
many other acclaimed venues, such as the North Sea Jazz Club in Amsterdam and Sunset
Jazz Club in Paris. In Israel, he has been a frequent participant of local Jazz festivals such
as the International Red Sea Jazz Festival in Eilat, the Israel Festival in Jerusalem, the
Tel-Aviv Jazz Festival, the Haifa Jazz Festival, and others.

65
His style has been described as “swinging and lyrical... I was delighted by the big warm
sound he got... His pulse was absolutely right, although never obtrusive, and his solo
lines were worthy of being transcribed” (Michael Steinman, Jazz Lives). “Easily one of
the best bassists of his generation... a truly gifted accompanist... with exuberant, swinging
solos” (Daniel Healy, Arts America Blog). In his mid-teens, the great Jazz educator Arnie
Lawrence took Ronen under his wing as a protégé, recognizing talent and promise in the
young artist. Ronen graduated from the prestigious art high school Thelma Yellin in
Israel and served the Israeli Army as a bassist in the Army Jazz ensemble, enjoying an
outstanding musician status. A two-time scholarship receiver from the American-Israeli
Cultural Foundation, he has also won several competitions for ensemble playing at the
Rimon Jazz School. He had studied with a variety of world-renowned musicians such as
John Pattituci, and he has studied with Michael Klinghofer (a noted soloist & teacher),
and Teddy Kling (principal bassist, Israeli Philharmonic). He received his Bachelor of
Fine Arts from The City College of New York, Magna Cum Laude, in 2009.169
169
“Tal Ronen Profile.” SmallsLIVE. N.p., n.d. Web. 11 Jan. 2017/.
66
Interview - March 7, 2016
Length - 34:03
Setting - Cell phone
Audio Captured through Phone 6 using - Call Recorder
Lee: So, let's start at the very beginning. What brought Jazz to Israel?
Tal: Well, if you want to go chronologically, Jazz in Israel was not very big until Israel
developed a close relationship with the United States. Until the 70's Israel was not as
closely allied with the United States as it is now. We have come to see U.S./Israel
relations as a close alliance, but Israel was previously more supported by Europe and
other sources. Around the mid 70's with Golda Meir, Richard Nixon, and Henry
Kissinger, it started becoming more of a special relationship, which is what it is called
now. And you have an interesting mix of Jewish immigration to Israel. A few factors in
the 70’s led to Jewish immigrants from Europe (that are very well versed in the history of
European music) to settle in Israel. So they have the European music tradition and a lot of
great musical educators.
Tal: I am not specifically talking about Jazz. I mean specifically, musical education is
already at a high level and people are looking for things to do. America holds a very
special place in terms of styles. Local musicians began playing Jazz as an alternative to
classical music. This is the very rudimentary beginning. People were interested in it and
they were playing it, but Jazz didn't really start taking on the form that it has now until
67
people that were interested started to travel to the U.S. to study, mostly in Boston during
the 1980's. It started in the 1970's, a lot of Israeli musicians were going to Berklee to
study and were coming back. Generally speaking, the people who didn't stay in the states
developed their career in Israel. It is the people who moved back to Israel who then
taught in Israel. The new teachers in Israel were imbued in the American Jazz scene.
They were not in New York at the time but they were on the American Jazz scene none
the less. They then moved back to Israel and established curriculums that still exist for
Jazz studies. That had an enormous influence and it still does. It created musical
decisions for children in high school. As a kid, if you wanted to play music you could
choose between classical music and Jazz. That is the case in art school or a school
containing art programs. Every big city has at least one or two.
Tal: So, these programs become greenhouses for a growth of musical development. It is
like a beehive of competitive yet supportive activity. We began to see in the 90's as one
generation after the other began coming back from Boston musicians were now also
coming back from New York. More specifically, from the New School. The New School
was started by Arnie Lawrence. If I had to name two individuals who are instrumental
and essential to the development of Jazz in Israel, it's Arnie Lawrence and Amit Golan.
Amit Golan was a student of Arnie’s at the New School.
Tal: Amit was the first generation to come back from NY. Amit went to the New School
and absorbed a lot from Arnie and from being in the real scene and the mix of things. He
68
then moved back to Israel started teaching at the high school I was going to in Yemen. It
was a prestigious LaGuardia type high school of in Israel.
Tal: Amit was very effective. It was more effective because it is less based on method.
His teaching style was very much more individualized. The focus was on individual care
and attention, making each student feel that they are contributing. Amit made students
feel that every bit of development that they can make is great. He made the whole process
very exciting. The thing that Amit and Arnie both had to give is something that is lacking
in a lot of programs, passion, real passion.
Lee: When I was in Tel Aviv I noticed a picture of Branford Marsalis. I read somewhere
that the first thing Branford would teach his students is to throw out the idea that
knowledge is a product, he claimed that knowledge is a process.
Tal: I agree, knowledge is not an end. I think that was the idea that they were teaching.
Knowledge is not the end goal. The end goal is to create a beautiful music and knowledge
is the thing that helps you get there. Knowledge is less important than the outcome. Arnie
was implementing that in this method at the New School. Until he quit or was fired or
whatever you want to call it. However, Arnie introduced some of the greatest Jazz
musicians of that generation: Brad Mehldau, Pete Bernstein, etc.
Lee: We have a teacher here who worked with Arnie Lawrence.

69
Tal: What's his name?
Lee: Henry Martin.
Tal: Sounds familiar. I started high school during his first year in 1992. During that time
Amit was teaching Jazz history at a couple of schools. Even teaching that he was already
excelling and exerting his influence and drawing the attention of students. This guy really
gave them the fever for traditional Jazz, swing, Bebop, swing, and hard bop. When Arnie
moved to Israel in the mid 1990's just a few years later Jazz was already a scene that was
starting to percolate. There was also a saxophone player from Wynton Marsalis’s band
that was living in Israel then, Walter Blanding. Who I, strongly suggest you contact. He
would be a great person to talk to and he had a pivotal role.
Lee: Thanks! What did he do during his time?
Tal: He was teaching high school and playing gigs. You had a precedent that was now
set. During the day classes and at night gigs. It was an educational system that was giving
you the real deal. Educators were also professional musicians, not just educators. The
educators were musicians that know what the scene is like and the actual aesthetics of the
music rather than the theoretical side. Every night you could go hear these people play, it
was not just in records or theory in a classroom. There was a place where it was actually
happening, so you could absorb it. When musicians started returning from NY. They
were playing out in Tel Aviv and in Jerusalem, so it really felt like a lifestyle. I think that
70
began a tradition that keeps Jazz alive. It is not Latin, it's not a dead language that you
study in school, it is alive! Jazz was injected with the essence of life. So, I think it was
Arnie that started a program in Jerusalem. He called it the International Center for
Creative Music.
Lee: Is that with the New School?
Tal: No, that's later. Amit and Arnie’s teaching process was very similar. The idea was to
create the New York feeling which is more visceral, not the academic side. The Berklee
graduates brought the academic side to Jazz. The NY graduates brought the visceral street
smart side of the music. Together it created a beehive of talent and people are always
egging each other on to become better and better. However, the International Center did
not do well. Arnie went on a fund raising trip. He played at the IAJE (now a defunct
organization, International Association for Jazz Education.) The IAJE used to have
conventions yearly and Arnie would send a band from Israel every year. He would select
the band's personnel. I was selected for one. We were exposed to some really great stuff
at those conventions. But again, he did set a high precedent when exposing the world to
the musicianship found in Israel. He also showed how unlikely it is that Israel relates to
the tradition of Jazz. I feel that a big difference between musicians who play Jazz across
the world is that the main difference is that in Israel musicians follow the Jazz tradition.
Musicians from other places in the world besides the U.S. do not understand a real sense
of the tradition in Jazz. The understanding of the importance of the tradition and it's
feeling of vibrancy and not just as educative means. That's what I mean by the essence of
71
life being injected into the tradition of Jazz. Arnie passed away around 2005, and Amit
was still around and he created an annex with the New School in Tel Aviv and the New
School in New York. Golan made the program consist of two years at the New School in
Tel Aviv and the other two years in New York. This cemented the pattern that was
already happening. Musicians finishing high school first went into the Israel Amy
Service, then moved to New York to study at the New School then completed their study
in Tel Aviv. That really cemented this pattern and turned it into a steady flow. About
twenty people, every year are a product of Amit's program.
Lee: It’s like a birthright version of Jazz! But, you guys are coming to the United States!
Tal: It’s true! That's very true. I definitely ascribe it to the special relationship between
Israel and the United States American Jewish immigration into Israel. Such as Arnie
moving back brought the real feeling of American Jazz into Israel. Not like the diluted
European version, not that there's anything wrong with that!
Lee: Of course! It's straight from the source.
Tal: Yes, people who actually were in New York and played with Charlie Parker and
Louis Armstrong rather. The adulation became very high. That's another point the
students were taught to think big, the students were taught to aspire to the highest level.
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Lee: Seems like they have. For instance, like Omer Avital’s albums from Smalls. Is there
a specific sound of Israeli Jazz considering the culture clash?
Tal: It has at some points. I would love nothing more than to just say, yes yes! There is
one sound. But the truth is we are all different people. You can point to generalities you
can point to common things but were all different people and different musicians.
Although we are all good friends we have gone through very different places on the
spectrum of what Jazz is. You have people who are the shy maestro, you have people on
the very modern edge of Jazz, and you have people like me, the old geezer. We're all the
same age, but I feel like I am the geezer.
Lee: Not at all.
Tal: It is because I love the old stuff. I focus on the aesthetics of the old stuff. People did
not stop playing the traditional way. It is just that it became less the la plume. But, if I
have to point to an Israeli sound the leader of that sound is Omar Avital is the leader. We
have a pet name for this style, an unofficial name we call it Falafel Jazz.
Lee: (laughs) Yes, I have heard that before.
Tal: I didn't make it up. But, that does capture it. Falafel Jazz can change but that mix is
almost always implied. The influences are regional middle-eastern Sephardic Judaism
and Arabic music. It is also the influence of Jewish music from Europe (Klezmer). But,
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that part is interesting because Klezmer is not very big in Israel. Klezmer was not the
music of the Jews in Israel. Zionism did whatever it could to emasculate Klezmer as the
popular music.
Lee: What are your thoughts on that?
Tal: Zionism is interested in creating a new Jew. Creating a Jew that disowns the
diaspora. Klezmer music, speaking Yiddish, all that stuff that was part of the old identity
and dealing with not being connected. They want to create a Jew who could fight and till
the land. A Jew who was a physical person of the ground rather than a person of the
mind. Part of it was Klezmer. So Klezmer and Yiddish were hushed in Israel. However,
they made their way through Israeli music into what became Israeli popular music up
until the 1980's. That pop music has a very specific sound a kind of minor sound
borrowing a little here and there from middle-eastern sounds. But is a very specific
sound.
Lee: Middle-eastern scales?
Tal: Yes, sometimes they throw in an instrument. They used the Doumbek. You have in it
really a mix of everything. The lyricist would be born in Poland, the composer would be
Russian and the singer could be a Yemenite Jew, and the musicians could be a mix of all
these places.
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Lee: Very neat.
Tal: So it created a certain type of melody. A certain type of sensitivity to a melody. As
well as a certain type of treatment to harmony. I guess it can be romantic music you know
what I mean? Romantic as in there are points where it meets Russian music. Romantic
meaning, it's hard to explain. For instance, Chopin like progressions and melodies with
French, Italian, and Spanish, influence. It's hard to explain, but if you look at the
European Mediterranean basin that is what I mean by romantic as in coming from Rome!
Not as in romance!
Lee: I was not thinking of couples, don't worry!
Tal: The effect is romantic, but anyway that part was ineffable. It is hard to explain but is
definitely a musical tradition that every Israeli grew up with. It is a certain appreciation
with an ear for melody. I remember watching not very long ago an interview with Tango
Master, in Argentina. He was saying that not a lot of people can play Tango but somehow
Israeli's are great at it. If you listen to Tango it has a lot of that drama that Klezmer has,
that Russian music has, that romantic music has. Israeli's have an ear for it, you know? If
you listen to the great Jewish classical violinists, there is a tradition of approaching
melody in a certain way and hearing it in a certain way. It is hard to explain what is
different about it, but it is different.
Lee: It is difficult to talk about music

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Tal: Words are difficult for anything!
Lee: Very true! For instance, describing the taste of something is challenging. There
aren't enough words to apply to the for the human experience.
Tal: There can't be, a feeling is something that doesn't allow itself to be confined into a
syllable. You are compressing it. (Laughs) Like a MP3 file.
Lee: (Laughs) Well, it was a pleasure talking with you.
Tal: Same here.

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3.2 Dr. Arnon Palty
Biography
Bassist, composer and arranger, Dr. Arnon Palty is a graduate of Berklee College
of Music (B.A.) and the Manhattan School of Music (M.M. in Jazz composition and
arranging), and he holds a Ph.D. degree with highest distinction from Bar Ilan University
(Israel) for his research on Jazz Harmony.
Arnon also holds an MA degree in creative writing (Prose and Poetry) from the
Haifa University (Israel) as well as a Diploma in Classic Animation from Morley
College, London, England. Additional studies include bass with Rich Appleman, Bruce
Gertz, Greg Mooter, Josef Lang and Jeff Andrews, Harmony with Hal Galper and Mark
Levine and composition with Mike Gibbs, Dr. Boaz Ben-Moshe and Reuven Seroussi.
Arnon has performed with Jazz greats such as Dave Liebman, Benny Golson, Didier
Lockwood, Lee Konitz, Lewis Porter, Terry-Lynne Carrington, Airto Moreira, Zakir
Hussein, Jeremy Davenport, Dave Douglass, Donald “Duck” Bailey, Norbert Stachel,
The Grateful Dead/ Blues project reunion, with British prog rock band Ordinary
Listeners, and has arranged for many others. Arnon played, produced and recorded for
countless Israeli artists.170
“Dr. Arnon Palty.” The Jerusalem Academy of Music and Dance. N.p., 01 Sept. 2016.
170
Web. 11 Jan. 2017. https://www.jamd.ac.il/en/content/dr-arnon-palty.

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Interview - October 23, 2016
Length - 51:20
Setting - Cell phone
Audio Captured through Phone 6 using - Call Recorder
Lee: Well let’s get to it. What role did politics and/or Zionism play in Israeli Jazz?
Arnon: Good question, the history of Israeli Jazz starts in the 1930s. Before the
Declaration of Independence in Israel. They used to have dance bands in Tel Aviv. Of
course, mostly Russian musicians who came and made Aliyah. But, they also played
Jazz. Dixie-land Jazz, Swing, and Early Jazz. Then at the time of the Holocaust when
Bebop came to the world, that didn’t happen parallel in Israel. Bebop in Israel came later
in the Fifties. As far as education goes we did not have any. Back in the day people were
not eager to share their knowledge. There was no methodology, it was not happening.
Everyone was transcribing solos and doing their own thing. They were not keen on
teaching because there was no system. It was not until the first pioneers actually went to
Berklee in Boston and brought the Berklee methodology back with them. Then it started
to be somewhat established. Before that, it was all over the place and there was no
system. They either did not want to teach it or couldn’t if they wanted to. Israel was born
in 1948. Jazz musicians came before the country was born in the 1930’s. I think at the
time of the Holocaust the Nazis were against Jazz because it was considered to be Black
music and Jewish music. Most of the writers were young, Gershwin, and Copland and a
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lot the early songwriters for musicals were Jews. The Nazis saw Jazz as Jewish/Black
music. That has to do with Zionism.
Lee: How did Berklee get involved in this story?
Arnon: Well, people went to Berklee and came back with a system. This method was
then used at the Rimon School of Music in Israel. They are considered to be the Berklee
affiliation in Israel. Harmony is being taught the same way, ear training, etc.
Lee: How did this all happen?
Arnon: Israel has about 6 million Jews. And in America, it is almost the same amount.
So, the Jewish voice is very strong for elections and politics. It is also very strong in
literature and the arts. As far as politics goes, Israel is the only democracy in the Middle
East.
Lee: Thank you, next question. Arnie Lawrence is mentioned a lot. Why is it that Zvi
Keren does not come up as often?
Arnon: When I was a kid, Zvi was like the guru of Jazz in Israel. He was a professor and
he taught in Bar Ilan University. His daughter Alona Sagee is a professor at Bar Ilan as
well as a very good pianist. Zvi Keren’s contribution is huge, absolutely huge. Arnie
came much later he came in the 1990s. He formed a center for Jazz studies in Jerusalem.
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It was not too successful for some reason, and he died in Jerusalem as well. I had the
opportunity to host him when we used to have a Jazz club in Haifa. He was my guest. He
drew tons of people. He used to play with Elvis. So the advertisement said, the saxophone
player who played with Elvis Presley will show tonight. That brought hundreds of people
to the club. He was excellent. I played with him a couple of times at different venues and
events. He was a very nice person.
Lee: How did the emphasis on the Jazz tradition occur in Israel? As you mention in
several of your lectures, “you must learn all of your ii-V7 licks in every key. Out of
respect for the music.” How did this occur in teaching in Israel?
Arnon: The ii-V7 thing started as a means in Bebop. If you listen to Bebop the ii-V7-I
thing is the basic engine that the music is sitting on. At the Rimon School of Music, one
of my duties was to build a curriculum. I went to Berklee and talked to the department
heads and we tweaked whatever Berklee had into a Rimon. It was a copy paste from
Berklee into Rimon in order to modify it.
Lee: Spirituality, how does spirituality play a part in the Jazz curriculum in Israel.
Arnon: The thing that people really get excited about is the Blues. This is a variant that is
absolutely unavoidable in Jazz. The Blues is, first of all, a vocation for a tribe. Each tribe
had its own Blues. A significant thing like a flag. It was also non-secular it could be
religious for instance, gospel music. A mix of Blues and church music. The Israel blend
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of sounds in the Blues is different. For instance, people take a lot of ancient Israeli songs
and Jazzify it, re-harmonize it in different ways. The combination is pretty cool. There
are many people doing that. It is a different combination.
Lee: Is there a particular sound of Israel Jazz, or Falafel Jazz if you will.
Arnon: Yes, the reason being because of its location and Ashkenazi and Sephardic
people. There are three types here in Israel. Ashkenazi (Western European Jews,)
Sephardic (Jews from Arab countries) and Olive (Jews from Ethiopia and Yemen).
Everyone is bringing their own music here. I am working on Ethiopian Jazz. Arabic
music or Middle Eastern music is not rich in harmony. That is not the point. It is melodic
and mostly rhythmic. The groove is very close to Salsa. The orientation is African and
Middle Eastern, and it is very similar to what traveled to Spain. Then from Spain to South
America. All this music is actually African, the Bass Meringue, and Salsa. Everything is
mostly African. Caribbean rhythms are all African. You hear a lot of this in Israeli Jazz.
The many combinations are easily audible.
Lee: Is there a difference between Jerusalem and Tel Aviv Jazz sound?
Arnon: Yes, I will tell you why. Tel Aviv is very much New York like. The big
metropolis, busy and fast. The sound is modern and there are about two clubs in Tel
Aviv. One is like Smalls, and the playing is unbelievably high. The other is like the Blue
Note, very expensive and fancy. Jerusalem does not have any clubs. They have
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restaurants that mostly host Jazz. Back in the day what we call Oriental Jazz was very
connected with the Jerusalem sound. in Jerusalem, you will find interesting mixes,
Hassidic, and other religious sects. There is also a large Sephardic population in
Jerusalem so you get the oriental style.
Lee: Thanks for that. So I have heard that the students who came back from Berklee
brought the academic side to Israel. The graduates from The New School brought back
the street smart side of Jazz with them. Can you speak about that?
Arnon: You need both. Boston does not provide many opportunities to play. It does not
have much of a scene. It has a great scene, but not as happening as New York. Boston is a
cold place and it is not as hot as New York. There are about 20 happening places to play
Jazz in New York. Places welcoming everyone to play. In Boston there are five places to
play Jazz. What you have heard is partially correct. I don’t think it has to do with the
school, just the location. Boston is not a Jazzy town. It is academic. New York is a Jazz
town amongst academia. Bebop and Modern Jazz was born in New York.
Lee: You touched on two things I think are fascinating. The idea that people are Jazzing
old Hebraic tunes. Who is up to those things?
Arnon: Albert Piamenta, there are a few Jazz greats here. He started it. Albert is very
connected with the tradition. He speaks fluent Arabic and is a great saxophone player. I
believe he is the only saxophone player in the world that plays in quarter notes. He is a
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killer Bebop player. He is also a genius with playing quarter notes. He took a lot of
Arabic music and transformed it into Jazz as well as Israeli music. I was in his quintet for
five years.
Lee: Can you talk about your relationship with Zvi?
Arnon: When I started playing at 15 in Haifa, I used to see all those huge posters of Zvi
Keren. He used to teach privately in every city in Israel. He would travel and would have
classes. He had several ensembles he did it both privately and at several JCC centers. He
would run classes harmony and had improv classes.
Lee: So, where does Klezmer fit into this?
Arnon: Klezmer, much like early Jazz is also marched music. Klezmer music is like that
but it also has that Oriental sound, that Gypsy sound. The Gypsies came from India. They
brought that kind of sound all over to different places in Eastern Europe. this is the
mixture. These are the ingredients.

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3.3 Dr. Alona Keren-Sagee
Biography
Keren-Sagee has Ph.D. in Musicology and is the daughter of Zvi Keren. She is a pianist,
arranger, and composer who has appeared in the “Tel-Aviv Jazz, Blues, and Videotape”
Festivals, on radio and television, and in concerts of the Music Department at Bar-Ilan
University where she performed her compositions and arrangements. She teaches courses
in history, theory, and performance practice in Jazz at the Music Department of Bar-Ilan
University. She also teaches music history and improvisation in high schools, and piano
at the Tel-Aviv-Jaffa Youth Music Center.171
171
“Alona Sagee.” Alona Sagee. N.p., n.d. Web. 11 Jan. 2017.
http://www.biu.ac.il/hu/mu/min-ad02/Alona_S.html.
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Interview - Oct 25, 2016
Length - 45:13
Setting - Skype (However my video camera was not working)
Audio: Captured through iPhone app
Lee: Thank you so much for your time. So I am going to start. My first question is about
politics. What role did politics and Zionism play in Israeli Jazz?
A.S.: Wow, that’s a bombastic question. What time period are you talking about?
Lee: 1950s or so.
A.S.: Okay, the real push for Jazz came in the 1960s for Jazz in Israel. During the 1950s,
there were very few Jazz musicians here. There were Jazz musicians who came to Israel
and played Jazz; however, there was very a small audience during that time. As a result
of this, some of the musicians left to South America, and some to Europe. During the
1960s, things started to develop more. Public awareness grew and people started to listen
more to Jazz. Before 1948, Israel was not ready for Jazz. Israel however, did have
orchestras playing light music which was influenced by Jazz. That was the popular music
brought by the Europeans. These Europeans came from places such as Germany and
Austria. It took time for Israeli musicians to be able to play Bebop in the 1960s. During
this time there was also a conflict between Israelis and Western Europeans. Reason being
they simply enjoyed the European culture they brought with them. They tried to make it
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happen here in Israel. Ultimately, they did. But, there was a conflict between them and
Zionist groups who did not want that foreign European culture to be dominant here. They
wanted Israeli, Hebrew people to go on and develop that sound. This caused the conflict
in terms of Zionism.
Lee: Thank you for that. Now is there a difference between Jerusalem Jazz and Tel Aviv
Jazz?
A.S.: Today or anytime?
Lee: Anytime
A.S.: I do not think there is a difference. Maybe, in the 1960s or 1970s as a result of the
light music scene that started in the 1940s. This is because it was first centered in
Jerusalem, then in Tel Aviv. It then remained in Tel Aviv. Much like New York being the
center of the Jazz world in America. In Israel, Tel Aviv is the center. There is lots of
activity here. The main activities in the 60s were in Tel Aviv. Later on, the Jazz scene
was developed in Jerusalem. What did Arnon say about this question?
Lee: He thought of Tel Aviv as the busy epicenter for Jazz in Israel much like New York.
He thought of Jerusalem as a spiritual and introspective glance of the music.

86
A.S.: I disagree. I believe you can have introspective music in either place. For instance,
New York Jazz doesn't have just one style. It depends on who you are talking about.
Today Israel is blessed with many excellent Jazz musicians. It is a big scene and it is not
correct to generalize like that. I also do not think you can characterize New York Jazz.
There are so many different musicians each with their own world. That is how I see it.
Lee: Well, thank you for that. Something that I have been interested in is spirituality.
How does spirituality play a part in Jazz education in Israel?
A.S.: Well, it depends on which musicians you are talking about. It is very personal. For
instance, Daniel Zamir is an observant Jew. He links his music to Jewish sources. There
are several other musicians doing these sorts of things. Taking Sephardic melodies and
different melodies from prayers. Some musicians develop that into their own Jazz style,
improvising on old Hebrew melodies. Most Israeli Jazz musicians do not use that
material. They might use old Israeli songs from the 1930s and 1940s and 1960s, like
standard American Jazz takes old tunes. Israeli Jazz musicians have been doing this for
the past 10 or 15 years; they take the old Israeli songs and Jazz it.
Lee: I want to ask about your father. Is there a difference between Arnie Lawrence and
Zvi Keren’s teaching methods?
A.S.: To tell you the truth I have never met Arnie Lawrence. So I do not know his
teaching methods. But, I have heard amazing things about him from amazing musicians.
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He was a wonderful educator centered in Jerusalem. He is of a different time than my
father. My father started Jazz education here in the begging of the 1960s, and late 1950s.
That is when the sprouting of Jazz in Israeli began. There was no Jazz school here. Today
there are a few Jazz schools that operate on a very high level. The situation in Israel
during the 1960s was very different. My father was the authority for Jazz here. He came
with his American school of Jazz, the authentic real thing. Israeli's flocked to him in
order to hear what he could teach them. Or, to hear him play. Whoever wanted to study
Jazz came to Zvi Keren. During the 1980s and 1990s, schools started to emerge here: the
Rimon School of Jazz as well as a few high school programs in the 1990s. Other schools
were soon to do the same. In 1980 the Jazz Academy in Jerusalem. Everything became
different during the second half of the 1970s Israeli students started going to the Berklee
school of Jazz. When Arnie Lawrence came the situation was completely different.
People from Jerusalem saw Arnie as a wonderful source of learning. But, I think that the
approach was different than my father. My father had studied with Joseph Schillinger.
His system is highly complicated and my father adopted his system and made up his own
version of it. He had also taught arrangement, and composition. Arnie came from a
different approach. I do not know exactly how he taught. What did you hear about his
method of education?
Lee: What I gather is that he seems to be saying, education is a process. It is not the end.
It is a way of creating beauty, not beauty itself. He was heavy in the Jazz tradition,
starting from the beginning. I noticed Israeli Jazz musicians seem to be very aware of and
even within the Jazz tradition. How did the come to be?
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A.S.: Well, musicians who teach Jazz in Israel came with that approach when they started
the programs. Whether in Berklee School of music or in The New School. I think that is
how the instructors were taught. So, I believe that is how they teach as well. I think that it
is very important to know the tradition. I often refer my pupils to listen to Ragtime,
Dixieland, and Louis Armstrong’s Hot Fives and Sevens. I learned that approach from
my father. He grew up with Fats Waller and Teddy Wilson.
Lee: I heard that he had also studied with Teddy Wilsons Piano teacher.
A.S.: Yes, Nadia Reisenberg. So, yes in that respect you can compare Arnie and my
father. However, I think that is a general thing with many Jazz educators. You have to
know where you are coming from. It is the same in Western Music education. Western
art music. You start by learning from antiquity through the Middle Ages, Renaissance,
and Baroque, and so forth. So it is the same viewpoint.
Lee: Two more questions. In the interview with your father, it sounded like you were
very proud. What are you most proud of?
A.S.: It true I am very proud of him. I am proud that came right from the Jazz scene in
New York where he was doing very well. In fact, he played with Lester Young one time.
Lee: Oh, how neat!

89
A.S.: It was by chance. He was playing by the Catskills. Lester Young came in after
hours. He came to jam and my father was at the piano and Lester called “I’ve Got
Rhythm,” and they played that for half an hour. My father accompanied Lester Young. It
was some experience! Lester Young turned around to him and said, “nice playing.” My
father was like an encyclopedia of knowledge. He was an amazing person. The way he
taught was so systematic and so methodic and orderly there was not one pupil that had
said anything bad. I spoke to many pupils of his. They spoke of how much they learned
and how he made it so clear. They always felt after every lesson they had learned so
much. The greatest musicians here in Israel studied with Zvi. They all loved and
respected him. As a child at home, I saw every day so many different students coming
and going. It was like a school at home. I also loved the way he played. After he passed
away I found in an archive of Kol Yisrael broadcasting about a hundred recordings of his
arrangements that he did including original compositions. So, the radio light music
orchestra that was founded at the beginning of the 1960s had different arrangements done
for many of the popular singers of the 1960s. My father was very humble and he didn't
speak too much about himself. He had a few recordings of some of those arrangements he
had done in the 1960s, but I had no idea about this large body of work. He was an
amazing orchestrator and arranger and it was very new in Israel to hear this kind of
arranging. He wrote big band charts à la Duke Ellington. It was all new here in Israel.
Every now and then I discover another pupil that I did not know about.
Lee: So, now a question about you. What are you working on these days?
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A.S.: I recently finished an article about Jazz in Israel.
Lee: Where can I find that?
A.S.: It will be published in an encyclopedia. I also have written an article in Hebrew
about Jazz in Israel.
Lee: Anyone else writing about Jazz in Israel?
A.S.: Yes, there has been a book published in Hebrew called Jazz in Israel by Yair
Dagan. He published a book about a year ago. It tells the story of what happened since
the 1930s. He tried to include whoever he could find from the Jazz scene in Jerusalem,
Tel Aviv, Haifa and so on. It has many beautiful photos. It is more like an album, but it
also tells the story.
Lee: Are you mentioned?
A.S.: Yes, as well as my father. There is also a beautiful photo of him from the 1960s. He
mentions my article actually. He quotes from that article a lot.
Lee: Well it is time to get my Hebrew better.
A.S.” (Laughs)
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Lee: Well, anything else to add?
A.S.: Nope, if you have any other questions just call.
3.4 Yair Dagan
Biography
Author of Jazz in Israel – The First 50 years. Computer Programmer, Software Engineer,
and Jazz enthusiast.
Interview - Jan 15, 2017
Length - 42:44
Setting - Skype (However my video camera was not working)
Audio: Captured through iPhone app
Lee: Thank you so much for taking the time to talk with me.
Yair: Oh no problem, my pleasure.
Lee: I am going to get started. There are a few people I came across but, I could not find
too much information on them. Would you mind helping? Mel Keller. Tell me more
about him.
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Yair: Yes, Mel Keller. He was the pioneer of Jazz in Israel. He came to Israel for the first
time in 1951. He was a tenor player, clarinetist and alto player. He also played classical
clarinet in some orchestras in Israel.
Lee: Did he tutor other musicians?
Yair: Yes, he was a mentor to all the first Israeli Jazz musicians in this generation.
Lee: Is that the role that Egon Kerten played?
Yair: No, Egon was more of a teacher of guitar. He taught Jazz guitar and harmony but,
he also was a bass player. Mel Keller is much more of the father of Jazz in Israel. He
established the first Jazz quartet and things like that.
Lee: Can you tell me about the Israeli Jazz scene in the 1930's?
Yair: Well, before WWII, the scene was not much. Most of the musicians came either in
WWII as a refugee or as a soldier. Before that, the Jazz scene in Israel was mostly the
pop tunes of the era played by big bands and dance bands. This was mainly for the British
soldiers and police. The orchestra would play Fox Trots and Swing for parties. There was
not much happening until 1939. When the first Jazz musicians came to Israel, American
journalist, Irene Simon wrote an article titled Jazz In Jerusalem. (Yair is referring to a
93
newspaper clipping in his book on page 16. Simon writes they are, “Jazz Mad in the Holy
Land.”)
Lee: Did Zionism play in Jazz in Israel?
Yair: I don't think there is an important role of Zionism. In Israel most of the musicians
came as refugees or were born here. Mel Keller made Aliyah (when an individual of
Jewish ancestry immigrates to Israel), but he is a very distinct person. There are some
musicians who came because of Zionism perhaps or, they were just looking for a place to
live. But, I don't think Zionism really played a role. Lots of musicians did not come to
live in the country they came to play music.
Lee: Can you tell me about the musicians that visited Israel? Who do you think was the
most significant?
Yair: All of them! The first important one was Lionel Hampton in the mid 1950's he
came twice. He really influenced many of the Israeli musicians that were playing there.
Some say they did not swing until they played with his band. Louis Armstrong came in
1959. He came with a very nice band during his tour in Europe when he was in the
Middle East. He was an influence. Oscar Peterson came in 1961 or 1962. But the most
important band that visited Israel was the Giants of Jazz band. The Giants of Jazz was a
flop in Israel. Because the impresario had to be in Europe and there was not enough
advertising. They had to cancel some shows and they said they would never come to
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Israel again. But this was most important group that ever came to Israel. This was during
their 1971 Department of State Tour. They wanted to tour eastern Europe and to spread
Jazz there mainly in communist countries. There is a recording of this group from
Denmark, it came out on an LP. I think these are the main influences that came to Israel
and Stan Getz came to Israel then Chick Corea, McCoy Tyner, Herbie Hancock in the
1980's, as well as Frank Sinatra came a few times.
Lee: Did musicians come for political reasons?
Yair: Frank Sinatra came, I think it was a benefit tour for a children’s orphanage he
established in Israel. He donated a lot of money for it. He came for that reason mainly.
He played for soldiers but the others ones mostly just spread Jazz. Usually they were
invited by impresarios, so it was not political. Johnny Cash came for religious reasons.
Lee: Who is Albert Piamenta?
Yair: A great musician. He is one of the first Israeli Jazz musicians along with the
generation that included Danny Gottfried. They both used to play with Mel Keller at the
beginning and others. The great think about Piamenta is that he comes from a very old
Spanish family and, he combines Spanish music with Jazz. This is what later eventually
becomes world music. In 1971, Piamenta recorded an album. Called the Jazz Workshop,
which was Sephardic and Ashkenazi music played in the Jazz style. It really was ahead of
its time. It was a revolutionary record.

95
Lee: Did anyone see it as against Judaism?
Yair: No, the interesting thing is that within the political history of Israel, the ruling party
of Israel is called the Labor Party. Which is a Socialist Party. They hated Jazz and they
wanted the Israeli work songs to be the popular music. So it was difficult for the
musicians to require support or an audience or get any support from the ministry of
education and things like that. So politically, Jazz was not well received or accepted.
Lee: Did Jazz play any role in Palestinian-Israeli conflict?
Yair: I don’t think the Palestinians have any Jazz. They were more into Modern music or
Arab music. I never read about any connection of Palestinians to Jazz so I am not sure
about that.
Lee: Is there a specific sound to Israeli Jazz?
Yair: Everybody asks that but, no. Nowadays people call it Falafel Jazz. They tried to
play some Hebrew songs in Jazz style, but consciously I do not think they wanted to
make their own sounds. They wanted to play real Jazz because they could not get real
books or records or transcriptions, they had to do everything themselves. Nowadays
maybe but, before I am not sure. Everything they do now like use the oud in Jazz, Albert
Piamenta did it before. He did almost everything. He has really done everything. It is
available on YouTube by typing Jazz workshop Albert Piamenta.

96
Lee: Every time you think you are doing something new, it turns out it’s been done 100
years ago. Can you tell me about Danny Gottfried? As well as other programs in Israel?
Yair: Danny Gottfried, he is a musician more than a teacher. He established the
Department of Jazz in the Jerusalem Academy in 1980. Programs include the Rimon
School, the branch of The New School here in Tel Aviv, the Jazz Department in the
Jerusalem Academy and the Thelma Yellin high school. Not much more than that
(Laughs) there was a school in the 1970's established called The First Modern Music and
Jazz School in Israel. But, the founder was not a Jazz musician. He was a Big Band
musician, him and his brother. They did play Modern music but he did not know
anything about Jazz. There were no important teachers there. I think in Elementary
School you have the Art School in Tel Aviv. That Elementary School is very important.
They prepare the students with a very nice Jazz program. Also in the Tel Aviv
Conservatory, where The New School is located, they teach the elementary school kids
Jazz. By very good teachers. So they come prepared when they enter Thelma Yellin high
school, and then Rimon. There is also a school in Yahud. It is like the Rimon School, just
not as good. It’s part of the college it was a Classical school now it a part of the Honor
College. It is a college it is run by Yuda Cohen the trumpeter and band leader. All the
Cohen brothers teach as well the Natania Tel Aviv Conservatory they have a
conservatory in Natania started two or three years ago they teach Jazz there it just started.
Lee: What made you want to compile all this info on Jazz in Israel?
97
Yair: (Laughs) It was my son. He is a tenor player in the Thelma Yellin high school.
When I told him about Mel Keller and all the others he did not know who they were.
When they teach the history of Jazz they don't teach them these things players. Many of
the students there think that Jazz started with Charlie Parker or Coltrane. They don't
know all the great musicians. They did not know anything about the Israeli old musicians.
So I decided to gather information for him. It turned out to be a book.
Lee: What was your main research source?
Yair: For the written part I interviewed musicians mainly and looked at old newspapers.
But, for the pictures I used Harvard University online. The funny thing is that great
source for this work was eBay. I found posters for all the shows and programs. eBay is a
great source! They have pictures of great things for sale. I found Lionel Hampton and
Louis Armstrong flyers and programs there, as well as LP covers amongst other things.
Lee: That's so creative.
Yair: Also, Facebook helped, I asked for permission of course. There were others as well
Jerry Garval a drummer who played with Sonny Clarke. There is also a guy there
Avshalom Ben Shlomo who came from Chicago he used to play with the Sun Ra
Arkestra. He used to play with all the great Albert Ayler all the free Jazz greats. Stephen
Horenstein teaches in the Jerusalem Academy. He is an avant-garde player as well. He
studied a lot and played with Bill Dixon. He now teaches in Israel.
98
Lee: What do you think of the guys that came out of The New School?
Yair: I think they are great. But, I am surprised that so many Israelis are in the front of
the Jazz scene in New York. I ask myself are they really that good? Or, did the American
Jazz musicians move on and left the scene for them? I don’t know what to say about this.
Maybe it is because you can't just be a Jazz musician in New York you have to be
everything. So maybe they just left the scene a little bit open. But the Israeli musicians
are very good of course.
Yair: How old are you?
Lee: 24.
Yair: When I lived in the states I saw Count Basie, Ella Fitzgerald, and Art Blakey, all
about in the 1980s. But, I don't remember much. I wasn't into Jazz at that time. I was
about 16.
Lee: How much were tickets?
Yair: I don't remember. My dad bought them.
Lee: What are you up to now?

99
Yair: I am a computer programmer, and software engineer. Not a musician or
musicologist. This was just a hobby for me and there was nobody else doing it.
Lee: Thanks so much for talking with me.
Yair: Was a pleasure. Bye.

100
Chapter 4 – Musical Analyses
4.1 “I Wanna be Around” (song analyses)
This thesis would not be complete without a look at a detailed analysis that offers
us a glimpse into the talent that these Israeli educational programs have produced. This
section attempts to shed light on an important Israeli musical personality, Anat Cohen.
(Her biography is found in section 2.3.) The following transcription and the performance
are taken from a performance found here.172 The performance includes a fine rendition of
the song, “I Wanna Be Around,” which was written by Sadie Vimmerstedt and Johnny
Mercer and published in 1959.
Regarding the composition itself, co-composer Vimmerstedt was a grandmother.
She had sent Mercer an idea for the song in 1957. She had also given Mercer the opening
line: “I want to be around to pick up the pieces, when somebody breaks your heart.” She
was inspired by Frank Sinatra divorcing his first wife in order to marry Ava Gardner,
only to then see Gardner leave Sinatra.173
Regarding the examples, the reader may notice that there are two versions of the
same song, one written in the key of C major and the other in Bb Major. The original
song is in C major, and soloist is (Anat Cohen) is playing a Bb major instrument. So for
our purposes, I have analyzed the song in its original Key (C major) and analyzed the
solo in Bb
major.
172
https://www.youtube.com/watch?v=ZENMMaG0BjU.
173
“JohnnyMercer.” JohnnyMercer. N.p., n.d. Web. 12 Dec. 2016.
http://www.ozsons.com/johnnymercerE.htm.
101
102
103
“I Wanna Be Around”
Form Chart
*Note* p.c. = passing chord
[8 Bar A Section] | I / IAdd6 | ii7/ii / p.c.| ii7 | V13 | ii7 | V13 | I7 / viidim7/ii | ii11 / V13 |
[8 Bar B Section] | ii7b5/ii / Vb97/ii | ii7b5/ii / V7b9/ii | ii7 / V7#5/ii | ii7 |vi7 / V7/V | vi7
/ V7/V
| ii7 | V79#5|
[8 Bar A' Section] | I7 / I6 | ii7/ii / p.c.| ii7 | V713 | ii7 | V13 / IV9 | V7/vi / p.c. | p.c. /
V7/vi |
[8 Bar C Section] ii7/ii / V7/ii | ii7/ii V7/ii | iv7 / V79/V | vi7 / V7/V | ii7 / vii7/ii | ii7 /
V13b9|
Iadd69 | ii11 / V13 |
Functionality of Each Section

[8 Bar A] I – V (half cadence in tonic key.)
[8 Bar A1] ii - V7 - I (in ii of tonic.) ii - V7 - I (in V of tonic.)
[8 Bar B] m.1-m.5 of this section repeat the material in the first A. m.6 – m.8 of these
section contains two passing chords per bar. These two measures can be thought of as
filler material. This is because the within these measures function as extensions of prior
harmony.
[8 Bar A2] ii – V7 – I (in ii of tonic.) - ii - V7 - I turn around (in tonic.)
Motivic Analyses
*Note* motives found on following page
Motive A: m.1, m.2, m.10, m.11, m.12, m.14, m.15, m.18, m.19
Motive B: m.3, m.4, m.5, m.19, m.21, m.26, m.28
Motive A': m.6, m.11-12, m.14-15, m.19, m.20, m.21-22, m.23-24
Motive C: m.25, m.27
Non-chord Tones (In melody)

m.6- A
m.8- A m.11- A, F
m.1- D m.12- B
m.2- C, m.14- B
m.2- A m.15- G, D#
m.3- E m.17- D
m.4- A m.18- C, A
m.5- E m.19- E
104
m.20- A
m.21- E
m.22- A, B, G#
m.23- G
m.25- A
m.26- A
m.27- D
m.28 – D
m.29- E, D
105
Extensions (In melody)

m.30- E m.9- B
Motives
Motive A
Motive B
Motive C
Motive D
106
107
108
“I Wanna Be Around” initially strikes the listener as a typical song that one would find in
a Tin Pan Alley song book. The tune consists of four 8-bar sections, giving us a total of
32 bars. The form of this song is the popular ABAC. The song begins with an anacrusis,
or pick up, as the note G. This implies a quick V chord going into the I on the downbeat
of the first measure.
I would like to direct attention to the different thematic material that is involved in
this song. Once the listener gets familiar with a particular theme, a song can become
more readily internalized and understood during a solo performance. A thematic analysis
focuses our attention on repeated music ideas and also provides the audience with a sense
of musical recycling. This musical recycling shows how an idea can be repeated but can
still excite the listener.
In this piece, there are four musical themes or ideas. These ideas are worked out
throughout the entirety of the song and are built upon each other or are a consequence of
one another. One can argue that everything outside the thematic material is filler to make
up the tune to 32 bars and to accommodate the lyrics.
These four motives are marked A, B, C, and D. These motives each contain
specific rhythmic movement. However, the pitches within the motives differ greatly,
which gives the piece its unity, rhythmic organization, and melodic contour. That is, the
rhythmic content remains the same while the notes within the rhythms vary their pitches,
albeit following the same shape as one another. So our motives are based on rhythmic
consistency and similar melodic shaping.
Motive A is found in this piece five times. Motive B is found 6 times. Motive C is
found 8 times. Motive D is found twice. We can recreate this song using just the rhythmic
109
motives. For instance, the following chart recreates the tune by following just the motives
in order.
Thematic Movement Chart
A Section B Section A Section C Section
[A – B – C – B – C] - [A – A – C – A – C] - [A – B – C – B – C] - [D – B – D – B]
When we look at a piece in this manner we begin to notice interesting things.
Each section consists of a motive five times, except for the C section. This is because the
last four bars of the C section have a very specific job of finishing the lyric and bringing
all of the thematic material to an end with a well-defined cadence. This song does that
brilliantly by implementing quick notes in m. 29, then abruptly slows down the rhythmic
content by introducing half notes into m. 30 and whole notes in m. 31. This gives rise to
the song’s dramatic ending.
We can also begin to see what makes each section thematically different from one
another. For instance, the B section contains two A themes repeated after each other,
followed by a C, and then eventually back to an A, and then a C to end the section. As we
notice, the quick motivic idea C acts as a gap to bridge other melodic ideas. So each
motive has a specific function within the song.
Motive A is the strongest and is the song’s main idea. It occurs in every section
except C, i.e., five times. This shows that its limited use was intended for special
occasions. B acts a response to A. The B section or the bridge acts as a break in the song
because motive A is not receiving its response (motive B.)

110
So if A is the main idea, B is the response to the main idea, and C is the motive
bridging the gaps, what is the function of motive D? Motive D appears only twice and
does so in the C section. Motive D’s job is to function as an alternative motive A. It is a
rhythmically straighter version of A, i.e., all eight notes. Notice how motive D goes into
motive B, that is, motive B acts as a response to our motive D. We do not get the C to
bridge the gaps in this section because the songwriters want to create the suspense that is
not released until the end of the song.

111
4.2 “I Wanna be Around” Solo Analysis
For Anat Cohen's solo, we are now dealing with transposed material, as seen in
the transcription on p. 131. Her solo begins at the end of the 32-bar form (the ii-V7
turnaround to get back to the top of the form). Anat solos for 18 measures in the
transcription. However, she is really only soloing over the first 16 bars of the tune, the A
and B of the form. The reason is because her first measure of soloing acts as a pick up
and her last measure is m.18.
Our analysis will focus on the thematic material found in Anat’s solo in the same
way we dealt the material in our previous section. The following page includes a key and
thematic chart. The key explains the given abbreviations found within the chart and the
chart lays out the forms in their proper sections and order. Along with the chart and key,
a list of titled occurrences shows how often each theme comes about. Anat uses five
different types of musical ideas that we shall now refer to as motives.

112
Thematic Movement Chart
Pick Up A Section
[T – S – C – T] [C – N – C – N – S – T – N – T – T – L]
B Section
[C – N – C – L – L – C – T – T – C – S – N – T – S – C – S – C]
*Key*
N = Neighbor tones
L = Large leaps
T = Traidic movement
C = Chromatic movement
S = Scalar movement
Occurrences
T=8
L= 3
S =5
C=8
N=5
This analysis elucidates a lot of personal information about Anat’s style. In a
motivic analysis, we can get a better understanding of a musical persona and trace the
basic formulas a soloist adheres to during a specific performance. Here we get a sense of
Anat’s musical decisions and what she deemed appropriate for the type of song.
At first glance, we can deduce that the more tricks and motives musicians have up
their sleeves the more virtuosic their playing is. In 18 bars Anat throws in several
different tricks all found in the chart above.
She begins her solo by implementing an impressively fast pick-up bar. This pick-
up bar has three of the five motivic devices Anat uses throughout the rest of her solo.
Perhaps this is the reason why it is so impressive.

113
These motives all serve a specific function. Motive T (triadic movement) lays out
the basic harmony of the chord Anat is dealing with. Motive S (scalar movement)
comfortably moves up and down a given key in whole or half steps. This motive also acts
a voice leading for the next phrase. So, for instance, in the pick-up bar Anat’s Motives
start with the following: T – S. The T acts to lay out the exact harmony of the chord and
the S refers to the scale of the key that chord is in.
Motive N (neighbor tones) is an easy way for Anat to extend the given harmony
and to be rhythmically expressive with just two oscillating tones. Motive C (chromatic
movement) allows Anat to give her solo more color as well as allowing her to be
extremely flashy and impress her audience. However, it also allows her to play rapid
passages without worrying about correct notes. Chromatic movement also allows her to
connect other motivic ideas freely without worrying about setting them up. Motive L
(large leaps) is used for Anat to break up the monotony of basic stepwise motion. It adds
rhythmic variety and allows Anat to show the range of her instrument and her playing.
Each motive has a performance function as well as a musical function. The two are
ultimately one in the same.
When looking at the chart, we notice both the A and B sections begin with the
same motivic content, that is C-N-C. The reason for this is the following: Chromatic
movement into neighbor-tone movement, and then back into chromatic neighbor-tone
movement really grabs the listener. Chromatic movement allows Anat to show her chops,
and by going right into neighbor tones allows the listener to really digest the quick
passage that just occurred. Neighbor tone movement also offers Anat time to think of
114
what to do next. So basically we have extremely fast movement to capture the attention
of the audience, then a strategy to slow down.
We then next have S-T, which can be explained as follows: Scalar movement
allows Anat to reorient herself within the proper key and reorient the listener. Scalar
movement also acts as efficient voice leading to move into the next chord. She notifies
the audience of this chord by playing motive T. This also reinstates where we are in the
form. Anat then moves into motive N, which acts as a tool to give her solo rhythmic
variety within sparse notes. She then moves back into two motive T, thus enforcing the
chords before Anat moves into motive L. Motive L functions as a way for Anat to break
up the notes play in a new register and ultimately move interestingly into the B section.
The B section then follows her thematic material in a new order, however, the
same reasoning can be applied to this section as well.

115
116
117
118
119
120
Appendices
A.1 Bibliography
A preliminary note on the bibliography and discography: the bibliography
includes sources compiled by the author. The discographical information that follows in
the section that follows was compiled using the Tom Lord discography, available online
at www.lordisco.com/tjd/. For the discography, I chose three musicians that best
represent the many types of talent these Israeli programs have produced.
121
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Adam Benezra. “Adam Ben Ezra - Upright Bassist | Composer | Multi-Instrumentalist |

Educator.” Adam Ben Ezra RSS. Web. 30 Oct. 2016.http://www.adambenezra.com/
Albert Piamenta Israeli Oriental Jazz Funk. YouTube. YouTube, 06 June 2010. Web. 23
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Music School in Israel. About Us. N.p., n.d. Web. 20 Jan. 2017.
http://www.muzik.co.il/About_us
“‫ קלר מל‬/ Mel Keller: ‫אניטה מחול‬. YouTube. YouTube, 17 Mar. 2014. Web. 28 Mar. 2017.
https://www.youtube.com/watch?v=1MGOrnZuQCA
Nastos, Michael. Artist Biography. Web. 30 Oct. 2016.

http://www.allmusic.com/artist/omer-avital-mn0000472075/biography
Nicola. Avishai Cohen RSS. 01 Jan. 1965. Web. 27 Oct. 2016.

http://avishaicohen.com/2011/07/29/Jazz-japan-interview/
Ori Kaplan Bio. Artist Biography. Web. 30 Oct. 2016.

http://www.allmusic.com/artist/ori-kaplan-mn0000483600/biography
Ori Kaplan. Jazz Encyclopedia. Web. 30 Oct. 2016.

www.Jazz.com/encyclopedia/2007/10/18/kaplan-ori
Patka, Marcus G., and Alfred Stalzer. Stars of David Der Sound Des 20. Jahrhunderts =
Place & Time, by Anat Cohen. Anzic Records. 03 May 2005. Web. 30 Oct. 2016.
http://anzicstore.com/album/place-time
Pelayo, Terry. “Adam Ben Ezra Solo Bass Pioneer.” Rawckus Magazine. 18 July 2016.
Web. 30 Oct. 2016. http://www.rawckus.com/adam-ben-ezra-solo-bass-maverick/.
Ray Nance. Discogs. Web. 30 Mar. 2017.

https://www.discogs.com/artist/282552-Ray-Nance
126
Red Sea Jazz Festival Eilat Israel. Red Sea Jazz Festival Israel. Web. 22 Mar. 2017.
http://en.redseaJazz.co.il/
Ratliff, Ben. "New Music from the Rotem Sivan Trio and Anna Webber." The New York
Times. The New York Times, 26 Sept. 2014. Web.19 Apr. 2017.
https://www.nytimes.com/2014/09/28/arts/music/new-music-from-the-rotem-sivan-trio-
and-anna-webber.html?_r=0
Reider, Maxim. “A Chance to Play ‘Perfect Music.’” The Jerusalem Post. Feb.-Mar.
2012. Web. 30 Oct. 2016. http://www.jpost.com/Arts-and-Culture/Music/A-chance-to-
play-perfect-music
Richards-Mcnaught, Raymond. “Kobi Arad.” Kobi Arad. Web. 30 Oct. 2016.
Sand, Shlomo. The Invention of the Jewish People. London: Verso, 2010. Print.
Rimon and Berklee College of Music. Rimon. Web. 22 Mar. 2017.

http://eng.rimonschool.co.il/?CategoryID=235&ArticleID=234
Rotem Sivan Profile. SmallsLIVE. Web. 30 Oct. 2016.

https://www.smallslive.com/artists/2371-rotem-sivan/
Rotem Sivan. Rotem Sivan. Web. 30 Oct. 2016.

http://www.rotemsivan.com/
Sendrey, Alfred. Music in Ancient Israel. New York: Philosophical Library, 1969. Print.
Shalev Ben. “Then Armstrong Said, ‘Take a solo.’” http://www.haaretz.com/news/then-

armstrong-said-take-a-solo-1. 10 Oct. 2005. Web. 27 Oct. 2016

Smalls Records. Smalls Records. Web. 30 Oct. 2016.

http://www.smallsrecords.com/wp/artist?artist_id=6
‫ – חדש‬Schoolyng. ‫ילין תלמה‬. Web. 20 Jan. 2017.

“‫מוזיקלי חינוך‬.” Ynet. Web. 30 Oct. 2016. http://thelma-yellin.co.il/
Tal Ronen Profile. SmallsLIVE. Web. 31 Oct. 2016.

https://www.smallslive.com/artists/105-tal-ronen/
Teddy Wilson. Discogs. Web. 30 Mar. 2017. https://www.discogs.com/artist/254769-

Teddy-Wilson
TedxHamburg - Speaker. TEDxHamburg. Web. 30 Oct. 2016.

127
The Album ‘From Darkness Avishai Cohen RSS. 01 Nov. 1969. Web. 30 Oct. 2016.
http://avishaicohen.com/
The Buchmann-Mehta School of Music. Tel Aviv University. Web. 20 Jan. 2017.
https://en-arts.tau.ac.il/Music
The Jerusalem Academy of Music and Dance. The Jerusalem Academy of Music and
Dance. Web. 23 Mar. 2017. https://www.jamd.ac.il/en
The Manhattan Transfer. The Manhattan Transfer. Web. 30 Mar. 2017.

http://manhattantransfer.net/
The Schillinger System of Musical Composition. Joseph Schillinger System of Musical

Composition. Web. 30 Mar. 2017. http://schillingermusic.com/
The New School. Discover a New Kind of University in New York City | The New School.
Web. 28 Mar. 2017. http://www.newschool.edu/
U.S. Department of State. U.S. Department of State. Web. 21 Mar. 2017. https://2001-
2009.state.gov/r/pa/ho/time/cwr/97177.htm.
Robot Check. Robot Check. Web. 23 Mar. 2017. https://www.amazon.com/Giants-Jazz-

DizzyGillespie/dp/B000DZIGGW/ref=sr_1_1?s=music&ie=UTF8&qid=1490306184&sr
=1-1&keywords=the+giants+of+Jazz
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Jan. 2013. Web. 30 Oct. 2016. http://www.timesofisrael.com/a-Jazz-bassist-brings-the-
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http://www.jewishvirtuallibrary.org/a-definition-of-zionism
128
A.2 Anat Cohen Discography
[C6294.61] Avishai Cohen

Summa Cum Jazz/The Best Of Berklee College of Music 1997 : Three Cohens In A
Fountain : Avishai Cohen (tp) Yuval Cohen (as) Anat Cohen (ts) Toru Dodo (p) Dave
Smallwood (b) Josh Banks (d)
Boston, Mass., 1997
Melody changes BMG Jazz Club D118866 [CD]
[A313.10] Pablo Ablanedo
From Down There : Avishai Cohen (tp) Anat Cohen (ts,sop,cl) Jerome Sabbagh (ts,sop)
Pablo Ablanedo (p) Julio Santillan (g) Juancho Herrera (el-g) Jenny Scheinman (vln)
Fernando Huergo (b,el-b) Franco Pinna (d,bombo legero)
New York, August, 2001
From down there Fresh Sound New Talent (Sp)FSNT109 [CD]
Para dejar -
El acheco -
Dreaming -
La viagera -
Claroscuro -
UMMG -
Chacacera de la esperanza -
Dreaming (a cappella) -
[D4199.5.10] Diva
A Swingin' Life : Liesl Whitaker, Barbara Laronga (tp) Lori Stuntz (tb) Janelle
Reichman, Anat Cohen (cl,ts) Karolina Strassmayer (as) Leigh Pilzer (as,fl,bar) Kristy
Norter (as) Scheila Gonzalez (ts) Chihiro Yamanaka (p) Sherrie Maricle (d,ldr) Nancy
Wilson (vcl)
Manchester's Craftsmen's Guild, Pittsburgh, PA, November
10 & 11, 2001
All my tomorrows (nw
MCG Jazz MCGJ-1037 [CD]
vcl)
All of me (nw vcl) -
[E1163.20] Elin
Fascinating Rhythm : Elin (vcl) acc by Claudio Roditi (tp,flhrn) Alan Ferber (tb) Tom
Varner (fhr) Onel Mulet, Keith Underwood (fl) Anat Cohen (cl) Harry Allen (ts) Hendrik
Meurkens (vib) Luiz Simas (p) Gustavo Dantas, Bina Coquet (g) Erik Friedlander (cello)
Sergio Brandao, Gustavo Amarante, Itaiguara Brandao (b) Ricky Sebastien, Adriano
Santos, Helio Shiavo (d) Mathias Kunzli, Pedro Ito, Urbano Sanchez (perc) Luiz Simas
(backing-vcl)
unknown location and date, 2000's ?
Fascinating rhythm Blue Toucan Music BTM006 [CD]
Lazy afternoon -
I love New York -
Aquarela do Brasil -
Vera Cruz -
129
Bonita -
La luna -
Lush life -
Doralice -
Sugar -
Casa forte -
[B1794] Cyro Baptista
Anat Cohen (cl,vcl) Sergio Brandao (nylon-string-g,vcl) Cyro Baptista (vcl,perc)
Brooklyn, NY, Paramus, N.J., Boston, MA & Sao Paulo,
Brazil, January, 2002
Parar de fumar Tzadik 7608 [CD]
[Z128] Daniel Zamir
Children of Israel : Daniel Zamir (as,sop) Marty Ehrlich, Ned Rothenberg, John Zorn (as)
Paul Shapiro, Anat Cohen (ts) Doug Wieselman (bar) Shanir Ezra Blumenkranz (b)
Kevin Zubek (d)
Orange, N.J., June 5, 2002
Zemer Tzadik 7169 [CD]
M'emek l'giv'ah -
Aley giv'ah bargalil -
Ma yafim heleilot -
Shir sameach -
Ma omrot einaich -
Re'ach tapuach odem
-
shani
Yesh li gan -
Shir hashomer -
Poem 50 -
[D4199.6] Diva
Live In Concert : Sherrie Maricle And The Diva Jazz Orchestra : Liesl Whitaker, Barbara
Laronga, Glenda Smith, Jami Dauber (tp,flhrn) Deborah Weisz, Lori Stuntz (tb) Leslie
Havens (b-tb) Karolina Strassmayer (as,sop,fl) Kristy Norter (as,cl,fl) Anat Cohen
(ts,sop,fl,cl) Scheila Gonzalez (ts,fl,cl) Lisa Parrott (bar) Chihiro Yamanaka (p) Noriko
Ueda (b) Sherrie Maricle (d,ldr)
Live "Manchester Craftsmen's Guild", Pittsburgh, PA, June
21, 2002
Did you do that ? Maricle (No #) [CD]
Rockin' in rhythm -
In a mellow tone -
Slambo -
Prelude to a kiss -
Umbrella man -
I've got the world on a
-
string
How ya doin ? -
Swing that music -
130
I'm gonna go fishin' -

[A314] Pablo Ablanedo
Alegria : Taylor Haskins (tp,flhrn) Anat Cohen (cl) Chris Cheek, Jerome Sabbagh
(ts,sop) Pablo Ablanedo (p,vcl) Julio Santillan (g) Ben Monder (el-g) Fernando Huergo
(el-b) Franco Pinna (d,perc) Ernesto Klar (electronics)
Brooklyn, NY, August, 2002
Alegria Fresh Sound New Talent (Sp)FSNT156 [CD]
La procesion -
Una mas -
Coral -
Espiritu magico -
Lux -
El grito sagrado -
La vida sigue -
Naif -
Y asi se va -
[L4611] Kerry Linder
Sail Away With Me : Kerry Linder (vcl) acc by Michael Philip Mossman (tp-1) Clark
Gayton (tb-2) Anat Cohen (cl-3,sop-2) Paulo Levi (sop-4,fl-4,ts-5) Hendrik Meurkens
(hca-6) Robert Curto (accor-7) Paulo Andre Tavares (g) Erik Friedlander (cello-8) David
Finck (b-9) Helio Schiavo (d-9) Mauro Refosco (perc)
New York, 2003
Sail away with me (4,8,9) Blue Toucan Music BTM003 [CD]
Adeus batucada (3) -
Deixa (2,9) -
Language and love (6,8,9) -
St. Judy's comet (7) -
Song for my father (1,9) -
Inquietacao (8) -
That's all (9) -
I don't know (6,8) -
God bless the child (5,8) -
Manha de carnaval (1,8) -
As time goes by (8) -
Note: Jazz content is limited.
[V1665.5] Marlene VerPlanck
It's How You Play The Game : Marlene VerPlanck (vcl) acc by members of the Diva
Jazz Orchestra : Barbara Laronga (tp) Anat Cohen (cl,ts) Karolina Strassmayer (as)
Chihiro Yamanaka (p) Norika Ueda (b) Sherrie Maricle (d,ldr) Billy VerPlanck
(arr,cond)
New York, August 20 & September 8, 2003
It's how you play the
Audiophile ACD-325 [CD]
game
I got lost in his arms -
Be careful, it's my heart -
131
Easy to love -
May I come in ? -
My man Benny -
Only trust your heart -
I wanna be in love again -
The first thing about you -
Love looks good on you -
Experiment -
Save your love for me -
The Jazz buff -
Cocktails at dawn -
Maybe it's the moon -
All my tomorrows -
[C6272.30] Anat Cohen
Place & Time : Avishai Cohen (tp-1) Anat Cohen (ts,sop,cl) Jason Lindner (p) Ben Street
(b) Jeff Ballard (d,perc)
New York, 2004
Place & time Anzic ANZ-1101 [CD]
The 7th of March -
Veinte anos -
87 north (1) -
Say it -
Homeland (1) -
As catch can (1) -
Pour toi -
Bat-el (1) -
[F2267] Five Play
Five Play ... Plus : Jami Dauber, Barbara Laronga (tp-1,flhrn-2) Karolina Strassmayer
(as,fl) Anat Cohen (ts,cl) Tomoko Ohno (p) Noriko Ueda (b) Sherrie Maricle (d,ldr)
Saylorsburg, PA, April 19, 2004
Theme from Mr.
Arbors Jazz ARCD19307 [CD]
Broadway
That old feeling -
Funk in deep freeze (2) -
Crazy, he calls me -
If I only had a brain -
Polka dots and
-
moonbeams
Pure imagination (2) -
Bud Powell (1) -
In the wee small hours of
-
the morning (1)
On the good ship lollipop
-
(1,2)
[M9470.10] Monday Off
132
Monday Off : Hilary Gardner, Amy Cervini, Richard Roland, Raymond Sage (vcl) acc by
Avishai Cohen (tp-1) Anat Cohen (cl-2) Dan Kaufman (p) Gene Bertoncini (g-3) David
Wong (b) Ernest Cervini (d)
Brooklyn, NY, May 6, 2004 and other unknown dates
Orange Grove Jazz (no #) [CD]
string (1)
It's only a paper moon (3) -
Blackbird -
Wouldn't it be loverly -
Li'l darlin' -
Doodlin' -
(Medley :) -
Come take a trip in my
-
airship
Meet me in St. Louis,
-
Louis
Cute -
Whirly bird -
Five o'clock whistle -
So danca samba (2) -
Almost like being in love -
If I only had a brain -
[D4199.10] Diva
TNT - A Tommy Newsom Tribute : Sherrie Maricle & The Diva Jazz Orchestra :
Barbara Laronga, Liesl Whitaker, Tanya Darby (tp,flhrn) Cindy Bradley (tp-1,flhrn-1)
replaces Darby, Jami Dauber (tp,flhrn) Deborah Weisz, Lori Stunz (tb) Leslie Havens (b-
tb) Karolina Strassmayer (as,sop,fl) Leigh Pilzer (as) Anat Cohen (ts,cl) Scheila Gonzalez
(ts) Lisa Parrott (bar) Chihiro Yamanaka (p) Noriko Ueda (b) Sherrie Maricle (d,ldr)
Tommy Newsom (arr)
New York, June 9 & 10, 2004
Titter pipes Diva Jazz Lightyear 54698-2 [CD]
Pensativa -
Three shades of blue -
Moonlight -
(Nat King Cole medley :) -
Mona Lisa -
Nature boy -
Straighten up and fly right -
Route 66 -
Too late now -
Trail mix -
(Medley :) -
On the trail -
The surrey with the fringe
-
on top
(Remember medley :) -
133
Remember -
I remember you -
Come Sunday -
Red door -
[M5710.10] Francisco Mela
Melao : Joe Lovano, George Garzone (ts) Anat Cohen (cl,ts) Leo Genovese (p,el-
p,keyboards) Lionel Loueke (g) Nir Felder (el-g) Peter Slavov (b) Francisco Mela
(d,perc,vcl)
Brooklyn, NY, September 6 & 14, October 26 & 27, 2005
John Ramsay Ayva (It)040 [CD]
Sorpresa -
Arere -
Parasuayo -
Galaxy -
Chela -
Obayoko (intro) -
Obayoko -
Law years -
Parallel world -
[D200.10] Duduka Da Fonseca
Samba Jazz In Black And White : Claudio Roditi (tp) Anat Cohen (sop,cl,ts) Paulo Levi
(ts,fl) Helio Alves (p) Guilherme Monteiro, Vic Juris (g) Leonardo Cioglia (b) Duduka
Da Fonseca (d,perc) Maucha Adnet, Alana Da Fonseca (vcl) collective pers.
Brooklyn, NY, September 26-28, 2005
Mestre bimba Zoho ZM200603 [CD]
Janeiro -
Bye bye Brasil -
Chorinho pra Elie -
Viver de amor -
Medo de amar -
Palhaco -
Terra de angara - intro -
Terra de angara -
O grande amor -
Sambetino -
Dry land -
[L4721.20] Jason Lindner
Live at the Jazz Gallery : Jason Lindner Big Band : Duane Eubanks, Avishai Cohen (tp)
Joe Fiedler, Dana Leong, Rafi Malkiel (tb) Jay Collins (fl) Anat Cohen (cl) Miguel Zenon
(as) Yosvany Terry Cabrera (as,ts,sop) Chris Karlic (bar) Jason Lindner (p) Omer Avital
(b) Eric McPherson (d)
New York, November 25 & 26, 2005
Intro: Song for Jason Anzic 4101 [CD]
Suheir -
Rumors -
134
Inbal -
Song for Amos -
Freak of nature -
Life light -
The elements and the
-
natural trinity
Poem for you today -
[O1873.40] Yasukatsu Oshima
Yasukatsu Oshima with Geoff Keezer : Yasukatsu Oshima/Geoff Keezer : Yasukatsu
Oshima (vcl,sanshim) acc by Kenny Rampton, Scott Wendholt (tp) Keith O'Quinn (tb)
Anat Cohen (cl,ts) Douglas Yates (b-cl) Ron Blake (sop) Will Vinson (as,sop) Bill Easley
(ts,fl) Geoff Keezer (p) Jon Heagle (g) Derrick Hodge (b) Terreon Gully (d)
2006
Ryusei RCA Victor (Jap)VICL-61953 [CD]
Tsuki nu kaisha -
Kuinupana -
Sukikanna -
Tinsagu nu hana -
Menuhama -
Agarikata bushi -
Sagechijyuja -
Ufarakuitsui -
Uyamaari -
[C693.10] Ann Hampton Callaway
Blues in the Night : Ann Hampton Callaway (vcl,arr) acc by Ted Rosenthal (p) Christian
McBride (b) Lewis Nash (d) with guests : Liz Callaway (vcl) David Gilmore (g) The
Diva Jazz Orchestra : Tanya Darby (tp) Jami Dauber (tp-3) Nadje Noordhuis, Alicia Rau
(tp) Deborah Weisz, Jennifer Krupa (tb) Leslie Havens (b-tb) Kristy Norter (as,cl) Erica
von Kleist (as,cl,fl) Anat Cohen (ts-2,cl) Scheila Gonzalez (ts,cl) Lisa Parrott (bar)
Norika Ueda (b) Sherrie Maricle (d,ldr) Tommy Newsom, Bill Mays, Andy Farber, Alex
Rybeck, Matt Catingub, Harold Wheeler, Jack Everly, Rodney Jones (arr)
New York, February 13-15, 2006
Swingin' away the blues Telarc CD-83641 [CD]
Blue moon -
Spring can really hang
-
you up the most
Lover come back to me -
(Medley :) -
Stormy weather -
When the sun comes out -
The I'm-too-white-to-
-
sing-the-blues blues
Willow weep for me -
Hip to be happy -
It's all right with me -
No one is alone -
135
Blues in the night -

The glory of love -
Note: All above titles also on Telarc SACD-63641 [CD] titled "Blues in the Night".
[A4083.10] Maria Anadon
A Jazzy Way : Maria Anadon Featuring Five Play's Women Of The World : Maria
Anadon (vcl) acc by Anat Cohen (cl-1,ts-2) Tomoko Ohno (p) Noriko Ueda (b) Sherrie
Maricle (d)
Saylorsburg, PA, June 6, 2006
Old devil moon (ac out) Arbors Jazz ARCD19351 [CD]
I didn't know what time it
-
was (1)
Confirmation (2) -
Comes love (1) -
My one and only love (2) -
Stolen moments (2) -
Black coffee (ac out) -
Devil may care (ac out) -
Wouldn't it be loverly ?
-
(ac out)
You don't know what love
-
is (2)
I'm old fashioned (2) -
Tenderly (ac,nu,sm out) -
The best is yet to come (2) -
One note samba (ac,to,nu
-
out)
Poetica : Anat Cohen (cl,arr,string-arr) Jason Lindner (p) Omer Avital (b,arr) Daniel
Freedman (d,perc-1) Gilad (perc-2) with string quartet (3) : Antoine Silverman, Belinda
Whitney (vln) David Creswell (viola) Danny Miller (cello)
New York, July, 2006
Agada yapanit (A
Anzic ANZ-1301 [CD]
Japanese Tale) (oa arr)
Hoflm (Beaches) (oa arr) -
The purple piece (ac arr) -
Eyn gedi (oa arr,3) -
La chanson des vieux
-
amants (ac arr)
Lonnie's lament (oa
-
arr,1,3)
Quando eu me chamar
-
saudade (ac arr)
La casa del llano (ac arr) -
Nigunim (oa arr,3) -
Cypresses (oa arr,2,3) -
136

Noir : Anat Cohen & Anzic Orchestra : Frank Greene, Tanya Darby, Avishai Cohen
(tp,flhrn) Deborah Weisz, Yonatan Voltzok (tb) Yuval Cohen (sop-1) Anat Cohen
(as,sop,ts,cl) Ted Nash (as,sop,fl) Billy Drewes (ts,cl) Scott Robinson (bar,b-cl)
Guilherme Monteiro (g) Erik Friedlander, Robert Burkhart, Greg Heffernan (cello) Barak
Mori (b) Ali Jackson, Jr (d-2) Antonio Sanchez (d-3) Duduka Da Fonseca (d-4,perc-5) Ze
Mauricio (perc) Oded Lev-Aria (arr)
La comparsa (3) Anzic ANZ-1201 [CD]
No moon at all (2) -
Carnaval de Sao Vicente
-
(3,5)
Do it (2) -
Cry me a river (2) -
You never told me that
-
you care (2)
(Medley :) (1,3,5) -
Samba de orfeu -
Struttin' with some
-
barbecue
Cry (2) -
Bebe (4) -
Ingenuo (3) -
[C6310.6] Yuval Cohen
Freedom : Avishai Cohen (tp-1) Anat Cohen (cl-2) Yuval Cohen (sop) Gilad Hekselman
(g) Omer Avital (b) Daniel Friedman (d) Michal Cohen (vcl)
Tel Aviv?, August 31 & September 4, 2006
Prayer Anzic (Israel)3101 [CD]
Ethiopia (mc vcl) -
Butterfly (1) -
Tango (2) -
Freedom (1) -
Nofim -
Danielle -
Matan -
Beatrice -
Melody -
[W2461.10] Waverly Seven
Yo! Bobby : Avishai Cohen (tp) Anat Cohen (cl,b-cl,sop,ts,as) Joel Frahm (ts,sop,as)
Scott Robinson (bar) Jason Lindner (org,p,wurlitzer,moog synt) Manuel Valera (p,org)
Vic Juris (el-g) Barak Mori (b) Daniel Freedman (d,perc)
Englewood, N.J., December, 2006
Charade Anzic 7101 [CD]
A nightingale sang in
-
Berkeley Square
137
Splish splash -
Nature boy -
Oh! look at me now -
I guess I'm good for
-
nothing but the blues
Call me irresponsible -
In love in vain -
The more I see you -
I can't give you anything
-
but love
That funny feeling -
Artificial flowers -
I can't believe that you're
-
in love with me
The good life -
Work song -
All the way -
I wanna be around -
Spring is here -
Some of these days -
Black coffee -
Mack the knife -
How about you -
Skylark -
It's you or no one -
Note: Anzic 7101 [CD] is a 2 CD set.
[C10757.5] Cuarteto de Clarinetes de Caracas
Suelos : Gregory Parra (pic,sop-cl) Anat Cohen (cl) Orlando Pimentel (sop-cl) Victor
Salamques (alto-cl,sop-cl) Gorgias Sanchez (b-cl,cl) Horacio "El Negro" Hernandez,
Omar Jeanton (d) Jorge Glem (cuatro) Carlos "Nene" Quintero (peruvian cajo)
unidentified location & date, c. 2007
Preldio y quirpa Cacao Music (Venezuela)CME008 [CD]
Fantasia en 6/8 -
Danza negra -
Monk-tuno (dela New
-
York suite)
Barro -
AFro (de la aires
-
tropicales)
La guasa del borrachito
-
(de quinteto del pajaro)
La flora de la canela -
Noceh de jaranas (de la
-
noche de los mayas)
Danzon no. 5 portales de
-
madrugada
138
Wapango -
Bebe -
Las alazanas -
[C4681.10] Choro Ensemble
Nosso Tempo : Anat Cohen (cl) Pedro Ramos (cavaquinho,tenor-g-1) Gustavo Dantas (6-
string-g) Carlos Almeida (7-string-g) Ze Mauricio (pandeiro,zabumba-2,surdo-3)
Jersey City, N.J., January, 2007
Gostozinho [Tasty] Anzic 7201 [CD]
Zanzando em Copacabana
[Wandering in -
Copacabana) (1)
Noites cariocas [Rio
-
nights]
Cade a chave [Where is
-
the key]
Pensando em ti [Thinking
-
of you]
Orgulhoso [Proud] (1) -
Serenata no joa [Serenade
-
at Joa] (1)
Bolo de fuba [Corn cake] -
Ingenuo [Naive] -
Descendo a ladeira [Down
-
the road] (2)
De coracao a coracao
-
[From heart to heart]
Brazileirinho [Little
-
Brazilian] (3)
[T3343.10] Three Cohens
Braid : Yuval Cohen (sop) Anat Cohen (ts,cl) Aaron Goldberg (p) Avishai Cohen, Omer
Avital (b) Eric Harland (d)
Navad (the wanderer) Anzic ANZ-7001 [CD]
Gigi et Amelie -
Freedom -
Beaches -
U-valley -
Lies and gossip -
It could happen to you -
Elegy for Eliku -
Tfila (prayer) -
Shoutin' low -
[C6294.64.20] Avishai Cohen
Seven : Avishai Cohen (tp) Anat Cohen (cl) Yuval Cohen (p) Omer Avital (b) Daniel
Freedman (d,perc)
139
New York, December, 2007

Violet Anzic ANZ0024 [CD]
Indigo -
Blue -
Green -
Yellow -
Orange -
Red -
Night -
[G2031.5] Gilfema
Gilfema + 2 : Anat Cohen (cl) John Ellis (b-cl,ocarina) Lionel Loueke (g,vcl) Massimo
Biolcati (b) Ferenc Nemeth (d)
River Edge, NJ, February 28 & 29, 2008
Twins ObliqSound OS512 [CD]
Question of perspective -
Your world -
Salome -
LonLon gnin -
Morning dew -
Festa -
Cove -
One's mind's eye -
Master of the obvious -
Notes From The Village : Anat Cohen (cl,ts,sop,b-cl) Jason Lindner (p,el-p) Gilad
Hekselman (g) Omer Avital (b) Daniel Freedman (d,perc)
New York, May 14 & 15, 2008
Washington Square Park ANZIC ANZ1302 [CD]
Until you're in love again -
Siboney -
After the rain -
J blues -
Lullaby for the naive ones -
A change is gonna come -
Jitterbug waltz -
Now vs Now : Avishai Cohen (tp-1) Anat Cohen (sop,pandeiro-2) Jason Lindner
(p,keyboards) Kurt Rosenwinkel (g-3) Panagiotis Andreou (el-b,vcl) Mark Giuliano (d)
Pedrito Martinez (cga,vcl) Francis Velasquez Guevara (vcl-4) MeShell Ndegeocello (vcl-
5) Baba Israel (beatbox,vcl) Yosvany Terry (chekere)
Time together Anzic 4012 [CD]
Can't chase time -
Seven ways (1) -
Friendship and love -
140
Far (4) -
Worrisome -
Big pump (5) -
Subterranean train-
-
travelin'
New Jersey ballad -
Ahisma (1,2,3) -
[E3403.10] Gabriel Espinosa
From Yucatan to Rio : Claudio Roditi (tp,flhrn) Anat Cohen (cl) George Robert (as)
Helio Alves (p,keyboards) Romero Lubambo (g) Gabriel Espinosa (b,vcl) Antonio
Sanchez, Adriano Santos (d) Dende (perc) Alison Wedding, Darmon Meader, Kim
Nazarian, Patricio Espinosa (vcl)
Brooklyn, NY, November, 2008
Agua de beber Zoho ZM200907 [CD]
Klavier latino -
LO 07 -
We've come undone -
Nuevos horizontes -
Morning breeze -
Azul y negro -
Remain -
Maria -
Huracan -
[G2887.10] Jon Gold
Brazil Confidential : Katie Scheele (eng-hrn) Andrew Sterman (fl) Jorge Continentino,
Anat Cohen, Bryan Murray (woodwinds) Toninho Ferragutti (accor) Jon Gold
(p,keyboards) Scott Scottinho Anderson, Luiz Ribeiro (g) Zack Brock (vln) Lauren Riley
Rigby (cello) Harvie Swartz (b) Mauricio Zottarelli (d) Ze Mauricio (perc) Tatiana Parra,
Leah Siegel (vcl)
Union City, N.J., Brooklyn, NY and Sao Paulo, Brazil,
November 2008-June 2009
Alem do azul Zoho ZM201004 [CD]
Funky jabour -
Teresinha -
Carioca da clara -
Confissao -
Singela -
Vitamin B -
Paraty -
Parafuso a menos -
Janacek suite no. 4 -
Rapadura -
Parazen -
[B16158.10] Jon Burr
Just Can't Wait : Houston Person (ts-1) Joel Frahm (ts-2) Mario Cruz (ts-3) Anat Cohen
(ts-4) Bob Mintzer (ts,5,sop-6) Loston Harris (p-7) Jon Davis (p-8) Ted Rosenthal (p-9)
141
John Hart (g) Jon Burr (b,el-b) Dave Gibson (d-7) Anthony Pinciotti (d-10) Ty Stephens,
Yaala Ballin, Hilary Kole, Laurel Masse, Tyler Burr (vcl)
New York, c. 2009
Just can't wait (ts vcl,1,7) JBQ 205 [CD]
Please tell me (yb
-
vcl,2,8,10)
Been here all along (ts
-
vcl,3,7)
Snowfall (hk vcl,5,8,10) -
None of them is you (ts
-
vcl,3,7,8)
Eden by the sea (yb
-
vcl,2,9,10)
Song of a broken word
-
(lm vcl,2,9,10)
I understand you're
-
leaving me (ts vcl,6,8,10)
Rainbow over Harlem
-
(3,7)
Sea breeze (yb vcl,4,8,10) -
Nobody said it was easy
-
(ts vcl,1,7)
Another kind of love (hk
-
vcl,5,8,10)
Dancing with a stranger
-
(ts vcl,2,7)
It's only love (tb
-
vcl,2,9,10)
[T4681.6] Samuel Torres
Yaounde : Michael Rodriguez (tp,flhrn) Anat Cohen (cl-1) Joel Frahm (ts,sop) Manuel
Valera (p,keyboards) John Benitez (b,el-b) Ernesto Simpson (d) Samuel Torres (cga,perc)
Ralph Irizarry (timbale-2) Sofia Rei Koutsovitis (vcl) Andres Garcia (columbian tiple-3)
Englewood & North Bergen, N.J. and Astoria, NY,
unidentified date, c. 2009
Un atardecer en cartagena
Blue Conga 1 [CD]
de indias
Oye -
Yaounde -
Tumaco -
Bambuco (To snta fe de
-
Bogota)
Cosita rica - The richness
-
of small things
La nina en el agua - The
-
girl in the water
Macondo (Pra luchp -
142
Bermudez) (1)
Ronca el canalete (srk vcl) -
Lincoln Tunnel (2) -
Rio Magdalena -
A rose -
Chia the moon goddess -
Camino del barrio (2) -
[N865.6] Jovino Santos Neto
Veja O Som : Vittor Santos (tb) Teco Cardoso (fl) Paquito D'Rivera (cl) Anat Cohen
(sop) David Sanchez (ts) Joe Locke (vib-1,perc-1) Mike Marshall (mandocello,mand)
Gabriel Grossi (hca) Toninho Ferragutti (accor) Jovino Santos Neto (p,fl,melodica) Joao
Donato (el-p) Bill Frisell, Ricardo Silveira (g) Danilo Brito (mand) Luiz Guello, Pandeiro
(cga,djembe) Gretchen Parlato (vcl) Airto Moreira (vcl,perc) Tom Lellis (vcl,shaker)
Monica Salmaso, Joyce Moreno, Paula Morelenbaum (vcl)
Fife, WA, River Edge, N.J., Brooklyn, NY, Glendale, CA,
Sao Paulo, Brazil, Rio de Janeiro, Brazil, February 2009-
January 2010
Aquelas coisas todas {All
Adventure Music 1063 [CD]
of those things]
Santa morena [Dark-
-
skinned saint]
Insensatez [How
-
insensitive]
O que vier eu traco [Bring
-
it on]
Caminhos cruzados
-
[Crossed paths]
Veja o som [See the
-
sound]
Flor de lis [Upside down] -
February 1 -
Gloria -
Nature boy (1) -
Ahle sonora garoa
-
[Sonorous drizzle]
Morro velho [Old
-
mountain]
Cruzando o sertao
-
[Crossing the hinterland]
Feira de mangaio [Street
-
bazaar]
Cancao do amanhecer
-
[The dawn song]
April child -
Joana Francesa [Joana the
-
Frenchwoman]
143
Canto de xango [Xango

-
chant]
Alegre menina [Gabriela's
-
song]
Clarinetwork : Anat Cohen (cl) Benny Green (p) Peter Washington (b) Lewis Nash
(d,vcl)
Live "Village Vanguard", New York, July 5, 2009
Sweet Georgia Brown Anzic ANZ-1203 [CD]
Lullaby of the leaves -
St. James infirmary -
After you've gone -
St. Louis blues (ln vcl) -
Body and soul -
What a little moonlight
-
can do
[D200.30] Duduka Da Fonseca
Samba Jazz : Jazz Samba With Helio Alves : Anat Cohen (ts,cl) Helio Alves (p)
Guilherme Monteiro (g) Leonardo Cioglia (b) Duduka Da Fonseca (d)
New York, October 6 & 7, 2009
Depois da chuva Anzic ANZ-0041 [CD]
Sabor carioca -
Rancho das nuvens -
Blues connotation -
Obstinado -
The peacocks -
O guarana -
Flying over Rio -
Dona Olimpia -
Melancia -
[A2075.20] Howard Alden
I Remember Django : Warren Vache (cnt-1) Anat Cohen (cl-2,sop-3) Howard Alden (g)
Matt Munisteri (g-4) Jon Burr (b)
Who cares? (1) Arbors Jazz ARCD19401 [CD]
Up jumped you with love
-
(3)
I remember Django (2,4) -
Jubilee stomp (3,4) -
Insensiblement (1,4) -
Between the devil and the
-
deep blue sea (1,4)
Nuages (jb out,3) -
Bernardo -
For Django (2,4) -
144
Nagasaki (solo-g) -
I'm confessin' that I love
-
you (jb out,1)
(Medley :) -
I'm forever blowing
-
bubbles (solo-g)
I'll see you in my dreams
-
(4)
Tears (solo-g) -
[C3418.16] Amy Cervini
Digging Me Digging You : Amy Cervini (vcl) acc by Avishai Cohen (tp-1) Jennifer
Wharton (b-tb-2) Anat Cohen (cl-3) Jeremy Udden (as-4) Josh Sinton (bar-5) James
Shipp (vib-6,perc) Bruce Barth (p) Jesse Lewis (g-7) Matt Aronoff (b) Matt Wilson (d) +
string section: Yair Ewnine, Rubin Kodheli, Yoed Nir, Jessie Reagan, Alex Waterman
(cello-8)
New York, November 1, 2010
Everything I've got
Anzic ANZ0034 [CD]
(1,2,3,4,5,7)
I like you, you're nice -
Rhode Island (1,2,3,4,5,7) -
May I come in (3,5,6) -
My attorney Bernie (6) -
Hey John (6) -
Down with love (1,6) -
Once upon a summertime
-
(1,2,3,4,5,6,7)
Doodlin song (6) -
I'm shadowing you (1,6,7) -
Tea for two (3,4,7) -
The physician -
Figure eight (8) -
[S13425.16] Melissa Stylianou
Silent Movie : Melissa Stylianou (vcl) acc by Anat Cohen (sop,cl,b-cl) Jamie Reynolds
(p) Pete McCann (g) Yoed Nir (cello-1) Gary Wing (b) Rodney Green (d) James Shipp
(perc-2)
Smile Anzic ANZ0036 [CD]
Something in the way she
-
moves (2)
Silent movie -
Onde lr (1,2) -
Hearts and bones (2) -
Today I sing the blues -
Hearing your voice -
I still miss someone -
Folks who live on the hill -
145
First impressions (1,2) -

Swansea (1,2) -
Moon river -
[C2022.10] Terri Lyne Carrington
The Mosaic Project : Ingrid Jensen (tp,flhrn,efx) Hailey Niswanger (fl) Anat Cohen (cl,b-
cl,sop) Tineke Postma (as,sop) Geri Allen (p,keyboard-1) Patrice Rushen (p,keyboards-5)
Helen Sung (p,keyboards-6) Linda Taylor (g) Chia-Yin Carol Ma (vln) Mimi Jones (b-4)
Esperanza Spalding (b,vcl) Terri Lyne Carrington (d,perc,vcl) Sheila E. (perc-3) Dee Dee
Bridgewater, Nona Hendryx, Carmen Lundy, Gretchen Parlato, Dianne Reeves, Shea
Rose, Cassandra Wilson (vcl) Angela Davis (commentary-2)
Los Angeles, 2011
Tranformation (nh
Concord CCD-33016 [CD]
vcl,1,3,5)
I got lost in his arms
-
(tlc,gp vcl,5,6)
Michelle (1) -
Magic and music (tlc,4,6) -
Echo (tlc,dr vcl,2,3,5,6) -
Simply beautiful (1,3,) -
Unconditional love (es
-
vcl,1)
Wistful (cw vcl,6) -
Crayola (es vcl,6) -
Soul talk (ddb vcl,1,3,5) -
Mosaic triad (tlc vcl,1,5,6) -
Insomniac (6) -
Show me a sign (tlc,cl
-
vcl,1)
Sisters on the rise (a
transformation) (tlc,nh,sr -
vcl)
[M8973.20] Tomoko Miyata
Begin Anywhere : Tomoko Miyata (vcl) acc by Anat Cohen (cl) Gil Goldstein (p,accor)
Helio Alves (p) Romero Lubambo (g) Reuben Rogers (b) Mino Cinelu (perc)
c. 2011
Cry if you want to BounDEE (Jap)DDCB-13019 [CD]
Fifty ways to leave your
-
lover
Begin anywhere -
Like bonsai -
Help! -
Up on the roof -
The hungry years -
Cloud of dreams -
Choro Feliz -
A case of you -
146
Musical answer -
Bilhete -
Family : Avishai Cohen (tp) Yuval Cohen (sop) Anat Cohen (ts,cl) Aaron Goldberg (p)
Matt Penman (b) Gregory Hutchinson (d) Jon Hendricks (vcl)
Brooklyn, NY, April 17 & 18, 2011
Shufla de shufla Anzic ANZ-7002 [CD]
Blues for Dandi's orange
bull chasing an orange -
sack
With the soul of the
-
greatest of them all
The mooch -
Do you know what it
means to miss New -
Orleans
Rhapsody in Blake -
On the sunny side of the
-
street (jh vcl)
Tiger rag -
Family -
Roll 'em Pete (jh vcl) -
[G4714.80] Wycliffe Gordon
Hello Pops! A Tribute To Louis Armstrong : Bria Skonberg (tp-1) Wycliffe Gordon
(tb,tp,vcl) Emily Asher (tb-2) Anat Cohen (cl,ts,perc) Aaron Diehl (p) Cocoran Holt (b)
Marion Felder (d) Nancy Harms (vcl)
Brooklyn, NY, May, 2011
Hello Pops Bluesback (unknown #) [CD]
Keyhole blues -
Up a lazy river (2) -
Dream a little dream (nh
-
vcl,1,2)
I cover the waterfront -
Basin Street blues (1,2) -
-
string (nh vcl,1,2)
If (1,2) -
Meatball 1, 2, 3 -
Swing that music -
That old feeling -
Black and blue -
Hello brother (1,2) -
Pops for president (1,2) -
Hello Pops (reprise) -
[M6545.60] Hendrik Meurkens
147
Celebrando : Hendrik Meurkens/Gabriel Espinosa : Jim Seeley (tp-1,flhrn-1) Anat Cohen

(cl-3,ts-4) Hendrik Meurkens (hca) Misha Tsiganov (p,keyboards) Gabriel Espinosa
(b,vcl) Mauricio Zottarelli (d) Antonio Sanchez (d-2) Alison Wedding, Molly Blythe
(vcl)
New York, May 24-27, 2011
La Esperanza (aw vcl) Zoho ZM201204 [CD]
Slow breeze (mz out,1,2) -
Frenzelosa (3) -
Odessa in April (1) -
Pa Rio (ge,mb vcl,mz
-
out,1,2,3)
Out of reach (mz
-
out,1,2,4)
La Puerta (mz out,mb
-
vcl,1,2)
She lives in Brazil (1) -
Maya roots (mz out,2,3) -
Mountain drive (1) -
Celebrando (mz out,1,2) -
[C6273] Anat Cohen
Claroscuro : Wycliffe Gordon (tb-1,vcl) Anat Cohen (cl,b-cl,sop,ts) Paquito D'Rivera (cl-
2) Jason Lindner (p) Joe Martin (b) Daniel Freedman (d) Gilmar Gomes (perc-3)
New York, December 27 & 28, 2011
Anat's dance Anzic ANZ-0040 [CD]
La vie en rose (1) -
All brothers -
As rosas nao falam -
Nightmare (2) -
Tudo que voce podia ser
-
(3)
And the world weeps
-
(1,2)
Olha Maria -
Kick off (2,3) -
Um a zero (2,3) -
The wedding -
[D4501.15] Django Festival Allstars
Live At Birdland & More! : Django Festival Allstars 2012 : Anat Cohen (as) Ludovic
Beier (accor) Dorado Schmitt (g,vln) Samson Schmitt, Francko Mehrstein, Amati
Schmitt, Bronson Schmitt, Doudou Cuillerier (g) Pierre Blanchard (vln) Jisoo Ok (cello)
Xavier Nikq (b)
Paris, France, February, 2012
Balkanic dance Three's A Crowd TCR5001 [CD]
Manoir de mes reves -
Camping car -
148
Song for Ettore -

Pat's waltz -
Them there eyes -
Bossa dorado -
Note: All above titles also on Fremeaux & Associes (F)FA8512 [CD] titled "Live At
Birdland & More!".
[M3280.25] Nilson Matta
Black Orpheus : Randy Brecker (tp) Anne Drummond (fl) Anat Cohen (cl) Klaus
Mueller, Kenny Barron, Alfredo Cardim (p) Guilherme Monteiro (g) Laura Metcalf
(cello) Nilson Matta (b) Alex Kautz, Erivelton Silva (d) Fernando Saci, Reinaldo Silva,
Jorjao Silva (perc) Gretchen Parlato, Leny Andrade (vcl)
New York & Rio de Janeiro, Brazil, March-April 2012
Overture Motema Music MTM-103 [CD]
Repinique interlude -
Samba de Orfeu -
A felicidade (la vcl) -
Cuica interlude -
O nosso amor -
Manha de carnaval -
Batucada (gp vcl) -
Eu e o meu amor/Lamento
-
no morro (gp vcl)
Frevo de orfeo -
Valsa de Euridice (gp vcl) -
Ascend, my love -
Un nome de mulher -
Batucada II -
Se todos fossem iguais a
-
voce
Violao interlude -
Hugs and kisses (la vcl) -
[D4501.16] Django Festival Allstars
same pers.
Live "Birdland", New York, November, 2012
Swing gitan Three's A Crowd TCR5001 [CD]
For Pierre -
Nuages -
Valse en exil -
Out of nowhere -
Bronson's song -
Melissa -
[O2270.3] Ulysses Owens, Jr.
Onward And Upward : Benny Benack, Jason Palmer (tp) Michael Dease (tb) Anat Cohen
(ts,cl) Christian Sands (p,kalimba,vcl) Gilad Hekselman (g) Matthew Rybicki, Reuben
Rogers (b) Ulysses Owens, Jr. (d,perc,vcl) Charles Turner (vcl)
149
c. 2013
Onward and upward intro D-Clef (unknown #) [CD]
People make the world go
-
round
Just 25 miles to anywhere -
SST -
Exodus -
Samba jam -
Fee fi fo fum -
The gift of forgiveness -
Human nature -
Drum postlude -
Note: All above titles are also on Spice Of Life (Jap)SOLNS-0001 [CD] titled "Onward
And Upward".
Tightrope : Avishai Cohen (tp) Anat Cohen (cl,b-cl,ts) Yuval Cohen (sop) Fred Hersch
(p-1) Christian McBride (b-3) Jonathan Blake (d-2)
Brooklyn, NY, February 13 & 14, 2013
Blueport Anzic ANZ-0043 [CD]
Conversation 1 (anc out) -
Song without words #4
-
(1)
Duet (1) -
Conversation 2 -
Black (2) -
Just squeeze me (3) -
Hot house -
There's no you -
Estate (1) -
Conversation 3 -
Indiana -
I mean you (1) -
It might as well -
Festive minor -
Conversation 4 -
Conversation 5 -
Ai li lu li lu -
Mantra -
[N347.120] Ted Nash
Chakra : Ted Nash Big Band : Kenny Rampton, Alphonso Horne, Ron Horton, Tim
Hagans (tp) Alan Ferber, Mark Patterson, Charley Gordon (tb) Jack Schatz (b-tb) Ted
Nash (as,alto-fl,cond) Ben Kono (as,sop,fl,cl) Charles Pillow (as,cl,fl,pic) Dan Willis,
Anat Cohen (ts,cl) Paul Nedzela (bar,b-cl) Christopher Ziemba (p) Martin Wind (b)
Ulysses Owens, Jr. (d)
New York, April 14, 2013
150
Earth Plastic Sax Records PSR-2 [CD]

Water -
Fire -
Air -
Ether -
Light -
Cosmos -
[C3418.17] Amy Cervini
Jazz Country : Amy Cervini (vcl,sax-1) acc by Nadje Noordhuis (tp-5) Anat Cohen (cl-2)
Marty Ehrlich (sax-3) Gary Versace (accor-6) Oded Lev-Ari (p-4) Jesse Lewis (g,vcl)
Nellie McKay (ukulele-5,vcl) Matt Aronoff (b)
New York, May 16 & 17, 2013
Blue moon Anzic ANZ0044 [CD]
Wallflower lonely (nm
-
vcl,5)
Song for the Mira -
Frim fram sauce (2) -
I'm so lonesome I could
-
cry (3)
Calling you (jl vcl) -
Go gently to the water (4) -
Penguin dance (4,6) -
Smile -
Je danse avec la neige (2) -
After the gold rush -
I still miss someone (5) -
Before he cheats -
Drivin' cryin' missin' you -
Dark Nights : Avishai Cohen & Triveni : Avishai Cohen (tp,electronics-1) Anat Cohen
(cl-2) Gerald Clayton (p-3,el-p-4) Omer Avital (b) Nasheet Waits (d) Kerren Ann (vcl)
Brooklyn, NY, unidentified date, c. 2014
Dark nights, darker days
Anzic ANZ0045 [CD]
(1)
You in all directions -
Betray (1,2) -
Pablo -
Goodbye pork pie hat -
The OC -
Shiny stockings -
Lush life -
Old soul (1,2,4) -
I fall in love too easily (ka
-
vcl,3)
[S13425.17] Melissa Stylianou
151
No Regrets : Melissa Stylianou (vcl) acc by Anat Cohen (cl-1) Billy Drewes (ts-2) Bruce
Barth (p) Linda Oh (b) Matt Wilson (d)
New York, March 11, 2014
Nice work if you can get
Anzic ANZ0046 [CD]
it
Remind me -
I got it bad (2) -
Humming to myself (2) -
I wish I knew (2) -
Somebody's on my mind
-
(1,2)
Down by the Salley
-
Gardens (2)
A nightingale can sing the
-
blues (2)
I'll never be the same (1) -
Polka dots and
-
moonbeams
I mean you -
[C6274] Anat Cohen
Luminosa : Anat Cohen (cl,b-cl,ts) Vitor Goncalves (accor-1) Jason Lindner (el-p,synt)
Gilad Hekselman (g-3) Romero Lubambo (g-4) Cesar Garabini (g-1) Sergio Krakowski
(pandeiro-1) Joe Martin (b-2) Daniel Freedman (d) Gilmar Gomes (perc-5)
New York, April 8 & 9, 2014
Lilia (5) Anzic ANZ-0050 [CD]
Putty boy strut (5) -
Ima -
Bachiao (4,5) -
Cais (4,5) -
Happy song -
In the spirit of Baden (4,5) -
Ternura (1) -
Espinha de bacalhau (1) -
Beatriz (4) -
The wein machine (3) -
[L3037.10] Oded Lev-Ari
Threading : Nadje Noordhuis (tp,flhrn) Anat Cohen (cl) Will Vinson (as,sop) Brian
Landrus (bar,b-cl) Oded Lev-Ari (p) Gilad Hekselman (g) Alex Waterman, Yoed Nir,
Noah Hoffeld (cello) Joe Martin (b) Matt Wilson (d) Alan Hampton, Jo Lawry (voice)
New York, May 21 & 22, 2014
Threading Anzic ANZ-0052 [CD]
Lost and found -
Goodbye (ah voice) -
Voices -
Black crow -
152
E and A -
The dance (ah,jl voice) -
Goodbye -
[C6493.180] Alexis Cole
A Beautiful Friendship : Alexis Cole (vcl) acc by Warren Vache (tp) Anat Cohen (cl)
Bucky Pizzarelli, Frank Vignola (g) Nicki Parrott (b,vcl)
New York, October 1, 2014
Beautiful friendship Venus (Jap)VHCD-1174 [CD]
East of the sun -
Honeysuckle rose -
Have feelings for you -
If I were a bell -
Just friends -
Mood indigo -
(Medley:) -
Moonglow -
Blue moon -
Star dust -
Stompin' at the Savoy -
Street corner living Nicki -
On the sunny side of the
-
street
These foolish things -
Watch what happens -
153
A.3 Avishai Cohen Discography
[U678] Diego Urcola

Libertango : Diego Urcola (tp,flhrn) Chris Cheek (ts,sop) Raul Jaurena (bandoneon)
Edward Simon (p) Avishai Cohen (b) Adam Cruz (d) Abraham Rodriguez (cga,vcl)
New York, March 8, 1995
Libertango Fresh Sound World Jazz (Sp)FSWJ005 [CD]
Clara -
Dancing in the closet -
Buenos Aires -
Super Mario -
El dia que me quieras -
Samba para Claudio -
Pekin -
Cuarenta que son uno -
[T5767] The Troubadours
Terra Mars : Clark Gayton (tb) Sweet Sue Terry (as,fl,cl) John Di Martino (p,arr) John
Hart (g-1) Avishai Cohen (b) Satoshi Takeishi (d,perc) David Oquendo (vcl)
New York, March 13 & 14, 1995
The troubadours (do vcl) Consolidated Artists Productions CAP917 [CD]
Danzon para fellini (1) -
Last night the moon
-
turned green (cg out)
Caras Antiguas (1) -
Layli (1) -
More than life itself (1) -
A cry in the distance -
Mrs. Martin (cg out) -
The mystery in a kiss -
[P4870.30] Plunge
Falling With Grace : Mark McGrain (tb) Marcus Rojas (tu) Avishai Cohen (b) Bob
Moses (d)
Boston, MA, October 29 & 30, 1995
Wagdanz Accurate AC5016 [CD]
394 -
Beneath the wheel -
Reveille -
Just like Alice -
Dog -
The mist -
(Medley :) -
Rafael's drum -
H.S.L.E. -
Mungo -
11:11 -
154
Trick of the light -

Running, running -
[P2708] Danilo Perez
Panamonk : Danilo Perez (p) Avishai Cohen (b) Terri Lyne Carrington (d-1) Jeff "Tain"
Watts (d-2) Olga Roman (vcl)
New York, January 3 & 4, 1996
Monk's mood (I) (dp p-
Impulse! IMPD-190 [CD]
solo)
PanaMonk (2) -
Bright Mississippi (1) -
Think of one (2) -
Mercedes' mood (1) -
Hot bean strut (2) -
Reflections (2) -
September in Rio (or
-
vcl,1)
Everything happens to me
-
(1)
'Round midnight (dp p-
-
solo)
(Medley :) -
Evidence (1) -
Four in one (1) -
Monk's mood (II) (dp p-
-
solo)
[R5877.7.30] Kurt Rosenwinkel
East Coast Love Affair : Kurt Rosenwinkel Trio : Kurt Rosenwinkel (g) Avishai Cohen
(b) Jorge Rossy (d)
Live, "Small's", New York, July 10 & 24, 1996
East Coast love affair Fresh Sound New Talent (Sp)FSNT016 [CD]
All or nothing at all -
Turn out the stars -
Pannonica -
Lazy bird -
'Round midnight -
Little white lies -
B blues -
[S2565] David Schumacher
From Another Life : Steve Wilson (as,fl) Gregory Tardy (ts,fl) David Schumacher
(bar,fl) Jason Lindner (p) Avishai Cohen (b) Steve Berrios (d,shekere,bells,clave) Sam
Turner (cga,quinto)
New York, January 9, 1997
Self portrait from another
Amosaya AM-2528 [CD]
life
155
David Schumacher (bar) Jason Lindner (p) Avishai Cohen (b) Steve Berrios (d)
Premonition Amosaya AM-2528 [CD]
Steve Wilson (sop) Gregory Tardy (ts) David Schumacher (bar) Jason Lindner (p)
Avishai Cohen (b) Steve Berrios (d,shekere,bells,clave) Sam Turner (cga)
The self-twisting arm Amosaya AM-2528 [CD]
David Schumacher (bar,alto-fl) Jason Lindner (p) Avishai Cohen (b) Steve Berrios
(d,shekere,bells,guataca) Sam Turner (cga)
Sketches Amosaya AM-2528 [CD]
[P7054.10] Tony Purrone
Six-String Delight : Harold Danko (p) Tony Purrone (g) Avishai Cohen (b) Keith
Copeland (d)
unidentified location, September, 1997
Signal SteepleChase (Dan)SCCD31438 [CD]
Fleur d'ennui -
All across the city -
Waterfall -
On the stairs -
Follow your heart -
Sundown -
For Django -
Cavu -
Gibson boy -
[F4035] Nnenna Freelon
Maiden Voyage : Nnenna Freelon (vcl) acc by Bob Mintzer (sop) Michael Abene (p) Joe
Beck (g) Avishai Cohen (b) Danny Gottlieb (d) Sammy Figueroa (perc)
New York, September 12 & 13, October 6, 1997
Come into my life Concord Jazz CCD4794-2 [CD]
Nnenna Freelon (vcl) acc by Bob Mintzer (b-cl) Michael Abene (p) Jessy Levy (cello)
Avishai Cohen (b) Danny Gottlieb (d) Sammy Figueroa (perc)
Four women Concord Jazz CCD4794-2 [CD]
Buy and sell -
Nnenna Freelon (vcl) acc by Herbie Hancock (p) Joe Beck (g) Avishai Cohen (b) Danny
Gottlieb (d) Sammy Figueroa (perc)
Maiden voyage Concord Jazz CCD4794-2 [CD]
156
Nnenna Freelon (vcl) acc by Michael Abene (p) Joe Beck (g) Avishai Cohen (b) Danny
Gottlieb (d) Sammy Figueroa (perc)
Future news blues Concord Jazz CCD4794-2 [CD]
Sing me down -
Nnenna Freelon (vcl) acc by Bob Mintzer (sop) Michael Abene (p) Avishai Cohen (b)
Danny Gottlieb (d) Sammy Figueroa (perc)
Until it's time for you to
Concord Jazz CCD4794-2 [CD]
go
[E4101] Orrin Evans
Captain Black : Orrin Evans Ortet : Sam Newsome (sop-1) Antonio Hart (as-2) Ralph
Bowen (ts-3,as-4,sop-5) Tim Warfield (ts-5) Orrin Evans (p) Avishai Cohen (b) Rodney
Whitaker (b-1) Ralph Peterson (d)
New York, October 9, 1997
Explain it to me (2,5) Criss Cross Jazz (Du)1154 [CD]
Captain Black (4) -
Big Jimmy (5) -
Come (2,3) -
My romance (2) -
Don't fall off the L.E.J.
-
(2,5)
[E3580.10] Duane Eubanks
My Shining Hour : Duane Eubanks (tp) Robin Eubanks (tb) Antonio Hart (as) Orrin
Evans (p) Avishai Cohen (b) Ralph Peterson (d)
Blues for Duane TCB (Swi)99202 [CD]
Clairvoyance -
Can't wait till dawn -
Taylored by Louis -
My shining hour -
Dear old Stockholm -
Lonelyism -
Hi fly -
I love you -
[B15064] Freddie Bryant
Brazilian Rosewood : Diego Urcola (tp) Chris Cheek (ts,sop) Edward Simon (p) Freddie
Bryant (g,el-g) Avishai Cohen (b) Jordi Rossy (d) Gilad (perc)
Paramus, NJ, December 11 & 12, 1997
Brazilian rosewood Fresh Sound New Talent (Sp)FSNT035 [CD]
Meditation for Christie -
Remember -
Patchwork in D -
Lullaby for the newborn -
157
Serenade -
Niahnie's dance -
Altos e baixos -
Light green -
Late fall -
[C8949] Chick Corea
A Week At The Blue Note : Steve Davis (tb) Steve Wilson (fl,sop,as,cl) Bob Sheppard
(fl,sop,ts,b-cl) Chick Corea (p) Avishai Cohen (b) Adam Cruz (d)
Live "Blue Note", New York, Dec 30, 1997, Jan 1,3 & 4,
1998
Say it again part I (#1) (*) Stretch SCD6-9020-2 [CD]
Say it again part II (#1)
-
(*)
Double image (#1) (*) -
Bewitched, bothered and
-
bewildered (#1)
Bird feathers (#1) -
Say it again part I (#2) -
Say it again part II (#2) -
Tempus fugit -
Hand me down (#1) -
Soul mates (#) -
Matrix -
It could happen to you (*) -
Dreamless (*) -
-
bewildered (#2)
Bird feathers (#2) -
Tempus fugit -
Hand me down (#2) -
Molecules (*) -
Sifu -
Matrix -
Double image (#2) -
Blue Monk -
Sifu -
Molecules -
Straight no chaser -
Four -
Bewitched, bothered and -
158
bewildered (#3)
Hand me down (#3) -
Four in one -
Matrix -
Double image (#3) -
Note: (*) One take of each of these titles also on Stretch SCD-9018-2 [CD] titled "Live at
the Blue Note".
Stretch SCD6-9020-2 [CD] is a 6 CD box set.
[C6275] Avishai Cohen
Adama : Steve Davis (tb) Steve Wilson (sop) Jason Lindner (p) Amos Hoffman (g-1,oud-
2) Avishai Cohen (b) Jeff Ballard (d,perc-3) Claudia Acuna (vcl)
Los Angeles, c. 1998
Ora Stretch SCD-9015-2 [CD]
Madrid (2) -
Bass suite (#1) (jl,jb out) -
Reunion of the souls (1) -
Dror (2) -
No change (1) -
Bass & bone fantasy -
Adama (2) -
Bass suite (#2) (jl out,3) -
Jasonity (ca vcl,1) -
Brad Mehldau (p) Avishai Cohen (b) Jordy Rossi (d)
Besame mucho Stretch SCD-9015-2 [CD]
Danilo Perez (p) Chick Corea (el-p) Avishai Cohen (b) Jordy Rossi (d) Don Alias (cga)
Gadu Stretch SCD-9015-2 [CD]
[E4103] Orrin Evans
Sam Newsome (sop) Antonio Hart (as) Ralph Bowen (ts,as,sop) Tim Warfield (ts) Orrin
Evans (p) Avishai Cohen, Rodney Whitaker (b) Ralph Peterson (d)
Brooklyn, NY, June 5, 1998
Calvary Criss Cross Jazz (Du)1154 [CD]
Four (1) -
Premonition : The Ensemble : Alex Norris, Diego Urcola (tp,flhrn) Avi Lebovich, Joe
Fiedler (tb) Myron Walden (as) Jimmy Greene (ts,fl) Charles Owens (ts) Gregory Tardy
(ts-1) David Schumacher (bar,b-cl) Jason Lindner (p,el-p,dir) Omer Avital (b) Dwayne
Burno (b-2) Avishai Cohen (b-3,el-b-4) Daniel Freedman (d) Jeff Ballard (d-5) Kahlil
Kwame Bell (perc) David Pleasant (denfimetrix-6) MC Benu Merata (rap)
New York, December 1, 2 & 3, 1998
Intro Stretch SCD-9026-2 [CD]
Premonition (1) -
159
Mr. Demargary (2,5) -

Space - part I "The
-
beginning" (4)
Aquarius -
Mary's vibes (for Mary
Lou Williams) (MCbm -
rap)
Gaga (4,5) -
Avner -
Incantation (3,5,6) -
Closure -
U near blew ! -
Space - part II
-
"Continuum" (4)
[A656] Claudia Acuna
Wind From The South : Claudia Acuna (vcl) acc by Jason Lindner (p) Avishai Cohen (b)
Jeff Ballard (d) + Guests : Diego Urcola (tp-1) Avi Leibovich (tb-2) David Sanchez
(saxes-3) Harry Whitaker (p-4)
New York, 1999
Pure imagination Verve 314-543521-2 [CD]
Viento del sur [Wind from
-
the south] (2)
My man's gone now (2) -
Prelude to a kiss -
Gracias a la vida [Thanks
-
for life] (1,3)
What'll I do ? (ca,hw
-
duet,4)
Long as you're living -
-
bewildered
Alfonsina y el mar
[Alfonsina and the sea]
(ca,ac duet) -
I'll find you (jl out,2,4) -
The thrill is gone (2) -
Visions (3) -
Devotion : Steve Davis (tb) Jimmy Greene (ts,fl,sop) Jason Lindner (p) Amos Hoffman
(g,oud) Ida Levin, Cramit Zori (vln) Robert Rinehart (viola) Fred Sherry (cello) Avishai
Cohen (b,el-b,p,synt,perc) Jeff Ballard (d,perc) Claudia Acuna, Danny Freedman, Joshua
Levy, Eran Tabib, Eli Lishinsky (vcl)
New York, 1999
El capitan & the ship at
Stretch SCD-9021-2 [CD]
sea
The gift -
160
Bass suite #3 (part 1) -

Ot kain -
Angels of peace -
Ti da doo di da -
Linda de mi corazon -
Deep blue -
Igor -
Slow tune -
Negril -
Musa -
Candela city -
Bass suite #3 (part 2) -
Note: All above titles also on Stretch/Concord SCD-9021-2 [CD].
[C8950] Chick Corea
Change : Chick Corea & Origin : Steve Davis (tb) Steve Wilson (sop,as,fl,cl) Bob
Sheppard (ts,b-cl,fl) Chick Corea (p,marimba) Avishai Cohen (b) Jeff Ballard (d)
Chick Corea's living room/studio, Los Angeles, 1999
Wigwam Stretch SCD-9023-2 [CD]
Armando's tango -
Little flamenco -
Early afternoon blues -
Before your eyes -
L.A. scenes -
Home -
The spinner -
Compassion (ballad) -
Night [Lylah] -
Awakening -
Psalm Stretch SCD-9034-2 [CD]
Note: "Psalm" also on Japanese CD version; number unknown.
Stretch SCD-9034-2 [CD] titled "Originations"; rest of CD by others.
[B15065] Freddie Bryant
Boogaloo Brasileiro : Steve Wilson (as,sop,fl,alto-fl) Chris Cheek (ts,sop) Edsel Gomez
(p) Freddie Bryant (g,el-g) Avishai Cohen (b) Jordi Rossy (d) Gilad (perc)
Paramus, N.J., February 2, 1999
Por toda minha uida Fresh Sound World Jazz (Sp)FSWJ008 [CD]
Boogaloo brasileiro -
Passages -
-
is
Alone -
Eyes across the ocean -
Peace -
Solar -
[H6913.10] Amos Hoffman
161
The Dreamer : Duane Eubanks (tp) Amos Hoffman (g,arr,comp) Avishai Cohen (b) Jorge
Rossy (d)
Paramus, N.J., February 2, 1999
Doobie time Fresh Sound New Talent (Sp)FSNT060 [CD]
The flip -
Three -
Memories -
The dreamer -
Francine -
Blues time -
Bookie & Ofi -
Another dream -
[C8951] Chick Corea
Corea.Concerto : Chick Corea (p,comp,cond) Avishai Cohen (b) Jeff Ballard (d) +
London Philharmonic Orchestra
Air/Lindhurst Hall, Hampstead, England, April 3, 1999
Concerto no. 1 (part one) Sony Classical SK61799 [CD]
Concerto no. 1 (part two) -
Concerto no. 1 (part three) -
[C8952] Chick Corea
Origin : Steve Davis (tb) Steve Wilson (sop) Bob Sheppard (ts,fl) Avishai Cohen (b) Jeff
Ballard (d) London Philharmonic Orchestra, Steve Mercurio (cond)
Air/Lindhurst Hall, Hampstead, England, April 6 & 7, 1999
Spain Sony Classical SK61799 [CD]
Opening & introduction -
Spain theme -
Conclusion -
Note: The above has no Jazz content but is included for completeness.
[B8680] Seamus Blake
Sun Sol : Samus Blake/Marc Miralta Trio : Seamus Blake (ts) Avishai Cohen (b) Marc
Miralta (d)
New York, August 2 & 3, 1999
Go Fresh Sound New Talent (Sp)FSNT087 [CD]
Circle K -
Boston in 3/4 -
Now and here -
Pure imagination -
Mr. Omaha -
70's child -
Sunsol -
Colors : Steve Davis, Avi Lebovich (tb) Jimmy Greene (sop) Jason Lindner (p) Amos
Hoffman (g) Avishai Cohen (b) Jeff Ballard (d)
New York, 2000
Shuffle Stretch SCD-9031-2 [CD]
162

Avi Lebovich (tb) Jimmy Greene (fl) Jason Lindner (p) Amos Hoffman (g) Avishai
Cohen (b) Jeff Ballard (d)
New York, 2000
Heavy Stretch SCD-9031-2 [CD]
Avi Lebovich (tb) Jimmy Greene (fl) Avishai Cohen (b,vcl) Claudia Acuna (vcl)
New York, 2000
Emotions Stretch SCD-9031-2 [CD]
Steve Davis, Avi Lebovich (tb) Jimmy Greene (sop) Jason Lindner (p) Avishai Cohen (b)
Jeff Ballard (d) Amos Hoffman (oud) Claudia Acuna (vcl)
New York, 2000
Shay ke Stretch SCD-9031-2 [CD]
Avishai Cohen Acc By String Quartet : Steve Davis, Avi Lebovich (tb) Jimmy Greene
(sop) Jason Lindner (p) Amos Hoffman (g) Tom Chin, Jesse Mills (vln) Kenji Bunch
(viola) Fred Sherry (cello) Avishai Cohen (b) Jeff Ballard (d)
New York, 2000
Colors Stretch SCD-9031-2 [CD]
Avi Lebovich (tb) Avishai Cohen (el-b,perc,vcl) Jeff Ballard (perc) Claudia Acuna (vcl)
New York, 2000
De ye tan di Stretch SCD-9031-2 [CD]
Avishai Cohen (p) Yagil Baras (b) Antonio Sanchez (d)
New York, 2000
Arka Stretch SCD-9031-2 [CD]
Avi Lebovich (tb) Jimmy Greene (sop) Jason Lindner (p) Avishai Cohen (b,el-p) Jeff
Ballard (d)
New York, 2000
Balkan Stretch SCD-9031-2 [CD]
Avi Lebovich (tb) Jimmy Greene (sop) Jason Lindner (p) Amos Hoffman (g) Avishai
Cohen (b,el-p) Jeff Ballard (perc)
New York, 2000
IB4U Stretch SCD-9031-2 [CD]
Steve Davis (tb) Jimmy Greene (ts) Jason Lindner (p) Amos Hoffman (g) Avishai Cohen
(b) Jeff Ballard (d)
New York, 2000
Slick Stretch SCD-9031-2 [CD]
163
Avi Lebovich (tb) Jimmy Greene (sop) Jason Lindner (p) Amos Hoffman (g) Avishai
New York, 2000
Le Jeff Stretch SCD-9031-2 [CD]
Avi Lebovich (tb) Jimmy Greene (ts) Jason Lindner (p) Amos Hoffman (g) Avishai
New York, 2000
Inner frame Stretch SCD-9031-2 [CD]
Avishai Cohen Acc By String Quartet : Avi Lebovich (tb) Avishai Cohen (p) Tom Chin,
Jesse Mills (vln) Kenji Bunch (viola) Fred Sherry (cello)
New York, 2000
Voice Stretch SCD-9031-2 [CD]
[V2890] Voodoo Dogs
Voodoo Dogs : Larry Goldings (keyboards) Bob Ward (guitars) Bob Ward (drum-
voodoo,sample-voodoo) Avishai Cohen (b) Billy Drummond (live-d)
New York, 2000
Keep a thing happening Palmetto PM2061 [CD]
[G714] Tim Garland
Made By Walking : Gerard Presencer (flhrn,tp) Tim Garland (ts,sop,b-cl) Joe Locke
(vib,mar,crotalles) Geoff Keezer (p) Avishai Cohen (b) Jorge Rossy (d) Special guests:
Chick Corea (p-1) Karen Street (accor-2) Rony Barrak (darbouka-3)
Brooklyn, NY, February, 2000
Made by walking Stretch SCD-9030-2 [CD], SCD-9034-2 [CD]
Gentle nemesis (1) -
Evil cradling (3) -
The moon for her -
Pablo (2) -
Emergence -
Traveller, your footprints
-
are the only path
Flicks ! - , SCD-9034-2 [CD]
Dark horse -
Good morning heartache
-
(1)
[D1873] Steve Davis
Portrait In Sound : Steve Davis (tb) Steve Nelson (vib) David Hazeltine (p,el-p) Nat
Reeves (b) Joe Farnsworth (d) Special guests: Steve Wilson (as-1,alto-fl-2) Brad
Mehldau (p-3) Avishai Cohen (b-3) Jeff Ballard (d-3)
New York, March 20 & 21, 2000
Portrait in sound Stretch SCD-9027-2 [CD]
I'm old fashioned -
Shadows (3) -
The slowdown (1) -
164
Darn that dream -

Runway -
Somber song -
A bundle of joy -
I found you (2,3) -
Samba D -
[G715] Tim Garland
same pers
Brooklyn, NY, May, 2000
Trinity Stretch SCD-9030-2 [CD]
[J639.40] Jam Miami
Arturo Sandoval (tp) Steve Turre (tb) Ed Calle (ts) Chick Corea (el-p) Avishai Cohen (b)
Poncho Sanchez (cga) Pete Escovedo (timb) The Latin Jazz All Stars Big Band Jason
Carder, Steve Reid, Ray Vega, Claudio Roditi (tp) Dana Teboe, Steve Davis, Joe Barati
(tb) Billy Ross, Steve Wilson (as) Tim Garland (ts) Mike Brignola (bar) Robert
Rodriguez (p) Leo Quintero (g) Nicky Orta (b) Samuel Torres, Richard Bravo (perc)
Live "Jackie Gleason Theatre", Miami, FL, May 18, 2000
Ican Concord Picante CCD48992 [CD]
[J639.50] Jam Miami
Steve Davis (tb) Steve Wilson (as) Tim Garland (ts) Chick Corea (el-p) Avishai Cohen
(b) Jeff Ballard (d) Horacio Hernandez (cga) The Latin Jazz All Stars Big Band Jason
Carder, Steve Reid, Ray Vega, Claudio Roditi (tp) Dana Teboe, Steve Turre, Joe Barati
(tb) Billy Ross (as) Ed Calle (ts) Mike Brignola (bar) Robert Rodriguez (p) Leo Quintero
(g) Nicky Orta (b) Samuel Torres, Richard Bravo (perc)
Wigwam Concord Picante CCD48992 [CD]
[J639.100] Jam Miami
Arturo Sandoval, Claudio Roditi (tp) Steve Turre (tb) Dave Valentin (fl) Ed Calle (ts)
Dave Samuels (vib) Robert Rodriguez (p) Chick Corea (el-p) Avishai Cohen (b) Horacio
Hernandez (d) Poncho Sanchez (cga) Pete Escovedo (timb) The Latin Jazz All Stars Big
Band Jason Carder, Steve Reid, Ray Vega (tp) Dana Teboe, Steve Davis, Joe Barati (tb)
Billy Ross, Steve Wilson (as) Tim Garland (ts) Mike Brignola (bar) Leo Quintero (g)
Nicky Orta (b) Samuel Torres, Richard Bravo (perc)
Theme from I love Lucy Concord Picante CCD48992 [CD]
Unity : Avishai Cohen & The International Vamp Band : Diego Urcola (tp,flhrn) Avi
Lebovich (tb,vcl) Yosvany Terry (as,ts,chekere) Avishai Cohen (p,el-b,vcl) Yagil Baras
(b) Antonio Sanchez (d,vcl)
New York, c. 2001
Short story Stretch SCD9036-2 [CD]
Vamp -
Etude -
Float -
Island man -
165
Pause (p-solo) -
Jazz condo -
Song for my brother -
A child is born -
Yagla -
To the love -
[C8965] Chick Corea
Past, Present & Futures : Chick Corea (p) Avishai Cohen (b) Jeff Ballard (d)
Los Angeles ?, 2001
Fingerprints Stretch SCD-9035-2 [CD]
Jitterbug waltz -
Cloud candy -
Dignity -
Rhumba flamenco -
Anna's tango -
The Chelsea shuffle -
Nostalgia -
The revolving door -
Past, present & futures -
Life line -
[D2150] Charene Dawn
Dark Angel : Charene Dawn (vcl) acc by Thomas Marriott (flhrn) Mike Fahn (tb) Ben
Kono (eng-hrn,fl) Bob Berg (ts,sop) Gregoire Maret (hca) Joe Locke (vib) Henry Hey
(p,keyboards) Paul Bollenback (g) Avishai Cohen (b) Billy Kilson (d)
New York, June 25 & 26, 2001
Reasons Sirocco Jazz (E)SJL1020 [CD]
Poetry man -
Love is -
All or nothing at all -
Smile -
Here and now -
Dark angel -
Kiss -
[C8971] Chick Corea
Steve Davis (tb) Steve Wilson (cl) Tim Garland (b-cl) Chick Corea (p) Avishai Cohen (b)
Jeff Ballard (d)
Live "Blue Note", New York, December, 2001
Armando's tango Stretch SCD2-9041-2 [SACD]
Concierto de Aranjuez -
Spain -
Lifeline -
Quartet no. 2, part 1 -
Note: Stretch SCD2-9041-2 [SACD] is a 2 CD set.
[W2725] Jon Weber
166
Simple Complex : Diego Urcola (tp,flhrn) Roy Hargrove (flhrn-1) Paul McCandless
(oboe) Eric Alexander (ts) Gary Burton (vib) Jon Weber (p) John Moulder (g) Peter
Washington, Matt Clohesy, Avishai Cohen, Niels-Henning Orsted Pedersen (b) John
Ovnik (el-b,sitar) Jonas Johansen (d,pandeiro) Mark Walker (d,perc) Kalman Pathak
(tabla) Siri Sonty (tanbura) Ruben Alvarez (timbales) Kurt Elling, Alicia Renee (vcl)
Vanlose, Denmark, August 20, 2002, Chicago, IL, February
20 & 27, November 30, 2002, Boston, MA, May 14, 2003
Hot ice Second Century Jazz 001 [CD]
No more words (flhrn,p
-
duo,1)
Drastic steps -
Mister Kleckley -
Simple complex -
While she's dreaming -
Is it only me ? -
Jolie -
Whatever you say -
Triska deka -
Lyla : Diego Urcola (tp,flhrn) Alex Norris (tp) Avi Lebovich (tb,fl) Yosvany Terry
(as,perc) Yahsiva Nehoc (p) Lola (vln) Avishai Cohen (b,el-b,synt,org,p,el-p,vcl) Yagil
Baras (el-b,b) Eric McPherson (d) Mark Guiliana (el-d,perc) Jeff Taylor, Bernie Kirsh
(vcl)
New York, September 24, 2002
Ascension Razdaz 4601 [CD]
Lyla -
How long -
The watcher (bk vcl) -
The evolving etude -
Structure in emotion -
Handsonit -
Come together -
How long (reflected) -
Simple melody -
Chick Corea (p) added
Clearwater, FL, January 25, 2003
Eternal child Razdaz 4601 [CD]
At Home : Trio : Barsh (p,org,keyboards) Avishai Cohen (b,el-b) Mark Guiliana (d,perc)
Ensemble : Diego Urcola (flhrn) Anne Drummond (fl) Yosvany Terry (saxes,chekere)
Barsh (p,org,keyboards) Avishai Cohen (b,el-b) Mark Guiliana, Jeff Ballard (d,perc)
Tomer Tzur (hand-d)
Suffern, NY, February 14-20, 2004
Feediop RazDaz SSC4602 [CD]
167
Madrid -
Leh-lah -
Remembering -
Renouf's last tooth -
Gershon beat -
No words -
Punk (DJN) -
Meditteranean sun (sic) -
Saba -
Toledo -
[S6739.10] Edward Simon
Simplicitas : Edward Simon (p) Adam Rogers (g-1) Avishai Cohen (b) Adam Cruz
(d,steel-d) Pernell Saturnino (perc) Luciana Souza (vcl)
Brooklyn, NY, May 3, 2004
Opening Criss Cross Jazz (Du)1267 [CD]
Infinite one -
Not so unique -
You're my everything (I) -
Simplicity -
Fiestas -
Unknown path (ls vcl,1) -
You're my everything (II) -
South facing -
Exit -
[M11136.5] Malene Mortensen
Date With A Dream : Malene Mortensen (vcl) acc by Kasper Tranberg (tp,cnt) Lasse
Nilsson (tp,flhrn,keyboards) Anders Larsson (tb) Claus Waidtlow (sop,ts) Marius Neset
(ts) Kasper Villaume (p,el-p,glockenspiel) Boi Holm (g) Lisbeth Sagen (vln) Nanna
Gangelhof (viola) Wiebke Vestergaard (cello) Avishai Cohen (b) Morten Lund (d,perc)
Gothenborg, Sweden & Copenhagen, Denmark, January &
February 2005
I've got a date with a
Stunt (Dan)STUCD05032 [CD]
dream
All I want -
Egyptian moonlight -
Blur -
At last -
Take five -
Mystery man -
Giving you the best that
-
I've got
Off the beat (*) -
Gone before we know -
Crashed -
Note: All above titles, except (*), also on Columbia (Jap)COCB-53392 [CD] titled "Date
168
With A Dream"; see flwg session for rest of CD.

[J4955.25] Jean Claude Jones
Recomp : Steve Horenstein (fl,b-cl,sax,electronics) Harold Rubin (cl) Ned Rothenberg
(as) Ariel (p) Eyal Maoz (g) Daniel Hoffman (vln) Nori Jacoby (viola) Yuval Mesner
(cello) Jean Claude Jones, Avishai Cohen (b) Arkady Gotesman (d)
Tel Aviv and Jerusalem, March 2005-2007
Excited strings 1 Kadima (Israel)14 [CDR]
Excited strings 2 -
Excited strings 3 -
Between the strings trio -
Live in Jerusalem -
To M -
A l'essentiel -
Live in Tel-Aviv -
Bass and electronics -
Excited strings -
Elegy -
Note: "Jerusalem" 'recomposed' February 2008.
[U678.10] Diego Urcola
Viva : Diego Urcola (tp-1,flhrn-2) Conrad Herwig (tb-6) Paquito D'Rivera (as-4,cl-5)
Jimmy Heath (ts-3) Dave Samuels (mar-7,vib-8) Edward Simon (p) Avishai Cohen (b)
Antonio Sanchez (d) Pernell Saturnino (perc) Emilia Urcola (vcl)
New Jersey, November 18-20, 2005
Tango azul (ps out,1,6) CAM Jazz (It)5015 [CD]
Viva (2) -
Afroraffo (1,4,7) -
El camino (1,2,6) -
Blues for Jimmy (ps
-
out,1,3,6)
40/40 (2,5) -
Sound for sore ears (1,3) -
Adios nonino (ps out,2,8) -
Gringo dance (1,6) -
Emilia (eu vcl,2,5) -
Continuo : Sam Barsh (p) Amos Hoffman (oud-1) Avishai Cohen (b) Mark Guiliana (d)
New York, 2006
Nu nu (1) Sunnyside SSC4603 [CD]
Elli -
One for Mark (1) -
Ani Maamin -
Samuel -
Emotional storm (1) -
Calm -
Arava (1) -
169
Smash -
Continuo (1) -
[G2445.25] Javier Girotto
Sea Inside : JavierGirotto/Francesco Nastro/Avishai Cohen/Roberto Gatto : Javier
Girotto (sop,bar,fl) Francesco Nastro (p) Avishai Cohen (b) Roberto Gatto (d)
Naples, Italy, February, 2007
Song for Avishai Itinera (It)ITN008 [CD]
When she leaves -
Rough sea -
Il suo lato migliore -
Ann's tune -
Meccanica quantistica -
B song -
We got on well -
El pibe de oro… -
Gigi et Amelie -
Freedom -
Beaches -
U-valley -
Lies and gossip -
Elegy for Eliku -
Tfila (prayer) -
Shoutin' low -
Gently Disturbed : Shai Maestro (p) Avishai Cohen (b) Mark Guiliana (d)
Gothenburg, Sweden, September 24-28, 2007
Raztaz (Swd)SSC4607, Sunnyside SSC4607
Seattle
[CD]
Chutzpan - -
Lo baiom velo balyla - -
Pinzin kinzin - -
Puncha puncha - -
Eleven wives - -
Gentle disturbed - -
The ever evolving etude - -
Variations in G minor - -
Umray - -
Structure in motion - -
Young maestro -
170
Note: Sunnyside SSC4607 [CD] titled "Gently Disturbed".

Aurora : Avishai Cohen (vcl,b,el-b,p) acc by Shai Mastro (p,org) Amos Hoffman (oud)
Itamar Doari (perc) Karen Malka (vcl)
Studio de Meudon, France, December 8-12, 2008
Morenika Blue Note 5099-89491 [CD]
Interlude in C# minor -
El hatzipor -
Leolam -
Winter song -
It's been so long -
Alon Basela -
Still -
Shir preda -
Aurora -
Alfonsina y el mar -
(Medley :) -
Noches noches -
La luz -
Carving : Ilan Salem (fl,alto-fl) Shai Maestro (p) Amos Hoffman (g,oud) Gilad (b)
Avishai Cohen (el-b,calabash) Amir Bresler (d) Ilan Katchka (perc) Itamar Doari
(drabukka)
c. 2010
Monique Sunnyside SSC4609 [CD]
Brown sugar -
A minute to smell the
-
flowers
Rea -
Self portrait -
Ras -
All along -
Uncle Charlie -
The well -
Abe baby -
Away -
Seven Seas : Avishai Cohen (vcl,b,p) acc by Lars Nilsson (flhrn) Bjorn Samuelsson (tb)
Bjorn Bholin (eng-hrn) Jimmy Greene (sop,ts) Shai Maestro (p) Amos Hoffman (oud,el-
g) Itamar Doari (perc) Karen Malka, Jeny Nilsson (vcl)
Gothenburg, Sweden, September & October 2010
Dreaming Sunnyside SSC1294 [CD]
About a tree -
Seven seas -
Halah -
171
Staav -
Ani Aff -
Worksong -
Hayo hayta -
Two roses -
Tres hermanicas eran -
Duende : Avishai Cohen With Nitai Herskovits : Avishai Cohen (b,p-1) Nitai
Hershkovits (p)
Gothenburg, Sweden, February & March 2012
Signature Blue Note 62415729 [CD]
Criss cross -
Four verses/Continuation -
Soof -
All of you -
Central Park West -
Ann's tune -
Calm -
Ballad for an unborn (nh
-
out,1)
Note: All above titles also on Sunnyside SSC1373 [CD] titled "Duende".
[U678.30] Diego Urcola
Mates : Diego Urcola (tp,flhrn) Avishai Cohen (b-1) Dave Samuels (vib-2,mar-2) Edmar
Castaneda (harp-3) Juan Dargenton (bandoneon-4)
New York, Buenos Aires, Fairfield, CT, Queens, NY,
unidentified date, c. 2013
Elegua (1) Sunnyside SSC4112 [CD]
Elm (4) -
Colibri (3) -
A fala da paixao (2) -
Gadu (1) -
Alfonsina y el mar (3) -
Preludio #3 (2) -
Milonga para Paquito (4) -
Float (1) -
Samba pa'dos (2) -
-
is (4)
El dia que me quieras (1) -
Colombian dixie (3) -
Final waltz (4) -
Almah : Yorami Lachish (oboe) Nitai Hershkovits (p) Cordelia Hagmann (vln) Amit
Landau, Noam Haimovitz Weinschel (viola) Yael Shapira (cello) Avishai Cohen (b,el-
b,vcl) Ofri Nehemya (d)
172
Tel Aviv, Israel, June 2-9, 2013

Overture "Noam" op. 1 Parlophone (E)0825646-396818 [CD]
Song for my brother -
A child is born -
Arab medley -
Southern lullaby -
Hayo hayta -
Shlosre -
Kefel -
Kumi venetse hassadeh -
From Darkness : Nitai Hershkovits (p) Avishai Cohen (b) Daniel Dor (d)
Sweden, May & June 2014
Beyond RazDaz SSC4616 [CD]
Able -
Halelyah -
C#- -
Ballad for an unborn -
From darkness -
Lost tribe -
Aimah sleeping -
Signature -
Amethyst -
Smile -
173
A.4 Omer Avital Discography
[H2731] Antonio Hart

For Cannonball & Woody : Nat Adderley (tp) Robin Eubanks, Slide Hampton, Steve
Turre (tb) Craig Handy, Antonio Hart, Mark Gross (as) Mulgrew Miller, Carlos
McKinney (p) Darren Barrett (el-g) Ray Drummond, Omer Avital (b) Jimmy Cobb,
Victor Lewis, Nasheet Waits (d) coll. pers.
Brooklyn, N.Y., 1993
Sticks Novus 63162-2 [CD]
Sacks o' woe (a bag o'
-
trouble)
Organ grinder -
Theme for Ernie -
Woody I (on the new ark) -
Cannon ball -
Big "P" -
Nine weeks -
Reflections of Woody -
Rosewood -
[S1842] Bill Saxton
Atymony : Bill Saxton Quartet : Bill Saxton (saxes) Carlos McKinney (p) Omer Avital
(b) Noel Parris (d)
Bonn, Germany, 1994
Almost is nothing Jazzline (G)JL1136-2 [CD]
Thabiti -
In a sentimental mood -
Bearcat -
Beneath the surface -
Over and over -
Brother John -
Pyramid power -
Ti querro siempre -
360 -
[A7318.20] Omer Avital
Asking No Permission : Gregory Tardy (fl,ts) Myron Walden (as) Charles Owens, Mark
Turner (ts) Omer Avital (b) Ali Jackson (d)
Live "Smalls", New York, April 18, 1996
Know what I mean ? Smalls SRCD-0011 [CD]
Lullaby of the leaves -
Ballad -
Devil head -
12 tribes -
Kentucky girl -
The field -
174

Room to Grow : Omer Avital Group : Myron Walden (as) Gregory Tardy (ts,cl) Grant
Stewart, Charles Owens (ts) Omer Avital (b) Joe Strasser (d)
Live "Small's", New York, early 1997
Kentucky girl Smalls SRCD-0020 [CD]
It's all right with me -
26-2 -
[J2700.2] Jazz Underground
Live At Smalls : Omer Avital Group : Myron Walden (as) Joel Frahm, Charles Owens,
Grant Stewart (ts) Omer Avital (b) Joe Strasser (d)
Live "Smalls", New York, July 3-6, 1997
Kentucky girl Impulse ! IMPD-245 [CD]
I've never been in love
-
before
Charles Owens Quartet : Charles Owens (ts) Jason Lindner (p) Omer Avital (b) Daniel
Freedman (d)
Scenic roots Impulse ! IMPD-245 [CD]
Losing victory -
Jason Lindner Big Band : Alex Norris, Diego Urcola (tp) Britta Langsjoen, Avi Lebovich
(tb) Dorothy Anita Taylor (fl-1) Myron Walden (as) Charles Owens (ts) Ned Goold (ts-2)
David Schumacher (bar) Jason Lindner (p) Omer Avital (b) Daniel Freedman (d) Kahlil
Kwame Bell (perc) Donald Eaton (shekere-1)
Hexophony (1) Impulse ! IMPD-245 [CD]
Phat (2) -
[F595] Rick Faulkner
Waiting For The Rain : Rick Faulkner (tb) Marty Ehrlich (as) Patience Higgins (bar,fl)
Cary Brown (p) Omer Avital (b) Dan Freedman (d) Kahlil Kwame Bell (perc) Jessica
Valiente (guiro-1)
New York, July 16 & September 24, 1997
Pa'cachao Laughing Buddha LBP99004 [CD]
Waiting for the rain -
Python -
Those left behind -
Elevator man -
I cover the waterfront -
Black water (1) -
[H4149.20] Michael Heise
On Location : Michael Heise Trio : Michael Heise (p) Omer Avital (b) Ali Muhammed
Jackson (d)
Live "Jazzclub Dexter", Odense, February 20, 1998
Cush Storyville (Dan)101-4249 [CD]
175

same pers
Live "Copenhagen Jazzhouse", Copenhagen, Denmark,
February 21, 1998
Bernie's tune Storyville (Dan)101-4249 [CD]
Frances' dances -
Summertime -
Premonition : The Ensemble : Alex Norris, Diego Urcola (tp,flhrn) Avi Lebovich, Joe
Fiedler (tb) Myron Walden (as) Jimmy Greene (ts,fl) Charles Owens (ts) Gregory Tardy
(ts-1) David Schumacher (bar,b-cl) Jason Lindner (p,el-p,dir) Omer Avital (b) Dwayne
Burno (b-2) Avishai Cohen (b-3,el-b-4) Daniel Freedman (d) Jeff Ballard (d-5) Kahlil
Kwame Bell (perc) David Pleasant (denfimetrix-6) MC Benu Merata (rap)
New York, December 1, 2 & 3, 1998
Intro Stretch SCD-9026-2 [CD]
Premonition (1) -
Mr. Demargary (2,5) -
Space - part I "The
-
beginning" (4)
Aquarius -
Mary's vibes (for Mary
Lou Williams) (MCbm -
rap)
Gaga (4,5) -
Avner -
Incantation (3,5,6) -
Closure -
U near blew ! -
Space - part II
-
"Continuum" (4)
same pers
Copenhagen, Denmark, April 12, 1999
Michael's poptune Storyville (Dan)101-4249 [CD]
Zoecommotion -
[O2251.1] Charles Owens
Eternal Balance : Charles Owens Quartet : Charles Owens (ts) Jason Lindner (p) Omer
Avital (b) Daniel Freedman (d)
New York, May 18, 1999
No resolution Fresh Sound New Talent (Sp)FSNT067 [CD]
In the still of the night -
I got it bad -
Yesterdays -
Virginia's song -
Eternal balance -
176
April in Paris -
[O256.10] OAM Trio
Trilingual : Omer Avital/Aaron Goldberg/Marc Miralta : Aaron Goldberg (p) Omer
Avital (b) Marc Miralta (d)
Paramus, N.J., May 21 & 22, 1999
The loneliest Marc Fresh Sound New Talent (Sp)FSNT070 [CD]
Bismillah -
26-2 -
Sea shantey -
Woody'n you -
Never let me go -
Cheryl -
Devil head -
[A7319] Omer Avital
Think With Your Heart : Joshua Levitt (nay-fl,claps,vcl) Myron Walden (as) Joel Frahm
(ts) Jimmy Greene (ts,sop) Jay Collins (ts,sop,fl,bamboo-fl) Gregory Tardy (ts,b-cl)
Omer Avital (b) Daniel Freedman (d,perc,claps,vcl) Marlon Bowden (d) collective pers
New York, September 22 & 23, 2000
Redemption song Fresh Sound New Talent (Sp)FSNT104 [CD]
Flow -
Think with your heart -
Stella by starlight -
Make believe -
Andaluz -
Marrakesh -
Tune in "D" -
The journey home -
Let it grow -
[O257] OAM Trio
Flow : Aaron Goldberg (p) Omer Avital (b) Marc Miralta (d,cajon,tabla)
New York, December 10, 2000
Equinox Fresh Sound New Talent (Sp)FSNT136 [CD]
MAO's blues -
Shimi's tune -
The shadow of your smile -
Sad and bright -
Puff, the magic dragon -
Flow -
Con alma -
[L4721] Jason Lindner
Live UK : Jimmy Greene (ts+fl-1,sop-2) Jason Lindner (p) Omer Avital (b) Marlon
Browden (d)
Live, London, England, February 25, 2001
Intro : Lever du soleil Sunnyside SSC1130 [CD]
The five elements & the -
177
natural trinity part 1 (1)

Meditation on two chords -
Suhair (2) -
Seven ways -
Information kiss -
Take it to church -
[F4024] Daniel Freedman
Trio : Josh Levitt (fl-1) Myron Waldron (as-2) Jason Lindner (p) Omer Avital (b) Daniel
Freedman (d,perc) Tomer Tzur (perc-1)
Paramus, NJ, June 9 & 10, 2001
Fareed Fresh Sound New Talent (Sp)FSNT116 [CD]
Rise up -
Open hearts -
Freak of nature -
Night poem (2) -
Alach ya ghazali (1) -
You are so beautiful -
Montuno Picasso -
Cypresses -
Yes -
[O257.5] OAM Trio
Live In Sevilla : OAM Trio & Mark Turner : Mark Turner (ts) Aaron Goldberg (p) Omer
Avital (b) Marc Miralta (d,perc)
Seville, Spain, November 17, 2001
Taurus Lola (Sp)LR1008 [CD]
Ugetsu [Fantasy in D] -
Sad and bright -
Flow -
Equinox -
MAO's blues -
Song for Amos -
Third World Love Songs : Omer Avital/Avishi Cohen/Daniel Freedman/Yonatan Avishai
: Avishai Cohen (tp) Yonatan Avishai (p,fl) Omer Avital (b) Daniel Freedman (d)
Barcelona, Spain, July, 2002
Bina Fresh Sound World Jazz (Sp)FSWJ023 [CD]
Musicians without
-
boundaries
Flamingo-brown and
-
green
Third world love story -
Assal -
Sketch of Barcelona -
178
The Omer Avital/Marlon Browden Project : Avishai Cohen (tp) Omri Mor (el-p) Omer
Avital (b) Marlon Browden (d)
Jerusalem, Israel, July 13, 2003
Marlonious Fresh Sound World Jazz (Sp)FSWJ031 [CD]
Browden's thing -
Song and dance - a suite
-
in three grooves, part 1
-
Waiting -
Me and you tonite -
Asal -
-
-
[T2386.10] Third World Love
Sketch of Tel Aviv : Avishai Cohen (tp) Yonatan Avishai (p,el-p-1,vcl) Omer Avital
(b,oud-2) Daniel Freedman (d,perc) Eviatar Banai (vcl)
Tel Aviv, Israel, July 24 & 25, 2005
A touch of Tahini
Smalls SRCD-0018 [CD]
(Tsafdina)
Sketch of Tel Aviv -
Suite African # 2 -
Harehut (2) -
S'ai n'wai -
Horizon (Kav haofek) (1) -
Suzanna [Rock ballad] -
Three four (not a Jazz
-
tune)
Live at the Jazz Gallery : Jason Lindner Big Band : Duane Eubanks, Avishai Cohen (tp)
Joe Fiedler, Dana Leong, Rafi Malkiel (tb) Jay Collins (fl) Anat Cohen (cl) Miguel Zenon
(as) Yosvany Terry Cabrera (as,ts,sop) Chris Karlic (bar) Jason Lindner (p) Omer Avital
(b) Eric McPherson (d)
Intro: Song for Jason Anzic 4101 [CD]
Suheir -
Rumors -
Inbal -
Song for Amos -
Freak of nature -
Life light -
The elements and the -
179
natural trinity
Poem for you today -
The Ancient Art of Giving : Avishai Cohen (tp) Mark Turner (ts) Aaron Goldberg (p)
Omer Avital (b) Ali Jackson (d)
Live "Fat Cat", New York, January 14, 2006
Homeland Smalls SRCD-0014 [CD]
Night song -
Ras Abu Galum (for Elvin
-
Jones)
Arrival -
Shimi's tune -
Bass introduction -
Yes ! -
After the Big Rain : Avishai Cohen (tp,FX) Jason Lindner (keyboards) Lionel Loueke
(g,vcl) Omer Avital (b) Daniel Freedman (d,perc) Yosvany Terry (chekere-1)
After the big rain (1) Anzic ANZ5101 [CD]
Parto forte (1) -
Gbede temin -
Meditation on two chords -
Afterthoughts (Mozartine) -
Miryama -
African Daisy (La suite
-
African) (1)
After the big rain (1) -
Suite Of The East : Avishai Cohen (tp) Joel Frahm (sax) Omer Klein (p) Omer Avital (b)
Daniel Freedman (d)
New York, April 27, 2006
Free forever Anzic ANZ-0037 [CD]
Suite of the East -
Song for peace -
The mountain top -
Sinai memories -
The Abutbuls -
Bass meditation (on the
possibility for peace in the -
Middle East)
Poetica : Anat Cohen (cl,arr,string-arr) Jason Lindner (p) Omer Avital (b,arr) Daniel
Freedman (d,perc-1) Gilad (perc-2) with string quartet (3) : Antoine Silverman, Belinda
Whitney (vln) David Creswell (viola) Danny Miller (cello)
New York, July, 2006
180
Agada yapanit (A
Anzic ANZ-1301 [CD]
Japanese Tale) (oa arr)
Hoflm (Beaches) (oa arr) -
The purple piece (ac arr) -
Eyn gedi (oa arr,3) -
La chanson des vieux
-
amants (ac arr)
Lonnie's lament (oa
-
arr,1,3)
Quando eu me chamar
-
saudade (ac arr)
La casa del llano (ac arr) -
Nigunim (oa arr,3) -
Cypresses (oa arr,2,3) -
[C6310.6] Yuval Cohen
Freedom : Avishai Cohen (tp-1) Anat Cohen (cl-2) Yuval Cohen (sop) Gilad Hekselman
(g) Omer Avital (b) Daniel Friedman (d) Michal Cohen (vcl)
Tel Aviv?, August 31 & September 4, 2006
Prayer Anzic (Israel)3101 [CD]
Ethiopia (mc vcl) -
Butterfly (1) -
Tango (2) -
Freedom (1) -
Nofim -
Danielle -
Matan -
Beatrice -
Melody -
[M8552.0.1] Marc Miralta
Dreams... : Seamus Blake (ts) Edward Simon (p,el-p-1) Omer Avital (b) Marc Miralta (d)
Girona, Spain, 2007
Dreams Fresh Sound New Talent (Sp)FSNT327 [CD]
Way out Willy (1) -
Cami del bosc -
Be careful what you
dream (...because it can -
come true)
Ara si! -
Dim blues -
Pentatakin -
Eastern -
[T2386.20] Third World Love
New Blues : Avishai Cohen (tp) Yonatan Avishai (p) Omer Avital (b) Daniel Freedman
(d)
c. 2007
181
Joy of life intro Anzic (unknown #) [CD]

Joy of life -
Homeland -
Little echo -
La Camerona -
Gigi et Amelie -
Nature's dance -
Hamina -
Beauty of death -
New blues (ain't no thing) -
So -
Arrival : Omer Avital (b,oud,vcl) Joel Frahm (ts,sop,vcl) Avishai Cohen, Ari Lebovich
(tp,vcl) Jason Lindner (p,el-p,org,vcl) Jonathan Blaek (d,tamb,vcl)
Brooklyn, NY, 2007
Song for Amos Fresh Sound World Jazz (Sp)FSWJ035 [CD]
Big time -
Sea and sand -
Arrival -
Faith -
Cypresses -
Vincent -
Song of thanks -
Middle Eastern sunset -
Lilian in the big blue -
[Y400.10] Alon Yavnai
Travel Notes : Alon Yavnai (p) Omer Avital (b,oud-1) Jamey Haddad (perc)
New York, June 8 & 9, 2007
Bayit [Home] ObliqSound OS510 [CD]
Yonatan -
Yoman [Diary] -
Numi numi [Sleep, sleep] -
Travel notes (1) -
Shir ahava tani [Fresh
-
love song]
Ilha b'nit [Beautiful
-
island]
Yakinton -
Zricha [Sunrise] -
Sof (In memory of Take
-
Toriyama)
[W4368.10] Harry Whitaker
Thoughts (Past and Present) : Harry Whitaker (p) Omer Avital (b) Dan Aran (d)
Able Bakery, New York, June 18, 2007
182
Safari (December 1993) Smalls SRCD-0026 [CD]

Love is the reflection in
the mirrors behind your -
eyes
The children and the
-
warlock (1975)
2:08 -
Come see through my
-
eyes (December 24, 1984)
Flight of mind (summer
-
1970)
Thoughts (January 1987) -
Steppin' with the Lord
-
(1974)
I have to be your lover
-
(September 9, 1977)
Blues for the piano
-
players
Gigi et Amelie -
Freedom -
Beaches -
U-valley -
Lies and gossip -
Elegy for Eliku -
Tfila (prayer) -
Shoutin' low -
[A658.10] Claudia Acuna
En Este Momento : Claudia Acuna (vcl) acc by Branford Marsalis (sop-3) Jason Lindner
(p,el-p,melotron,org) Juancho Herrera (g,mand) Omer Avital (b) Clarence Penn (d,perc)
Eduardo "Yayo" Serka (perc-2)
Shokan, NY, September 4-7, 2007
El cigarrito Marsalis Music 74946-0010-0 [CD]
Te recuerdo Amanda -
Tulum -
That's what they say -
El derecho de vivir en paz
-
(2)
Contigo en la distancia -
Cuando vuelva a tu lado
-
(3)
183
Vuelvo al sur (jl,oa,cp

-
out)
Sueno contigo -
La mentira (se te olvida) -
Seven : Avishai Cohen (tp) Anat Cohen (cl) Yuval Cohen (p) Omer Avital (b) Daniel
Freedman (d,perc)
New York, December, 2007
Violet Anzic ANZ0024 [CD]
Indigo -
Blue -
Green -
Yellow -
Orange -
Red -
Night -
Notes From The Village : Anat Cohen (cl,ts,sop,b-cl) Jason Lindner (p,el-p) Gilad
Hekselman (g) Omer Avital (b) Daniel Freedman (d,perc)
New York, May 14 & 15, 2008
Washington Square Park ANZIC ANZ1302 [CD]
Until you're in love again -
Siboney -
After the rain -
J blues -
Lullaby for the naive ones -
A change is gonna come -
Jitterbug waltz -
[F4024.5] Daniel Freedman
Bamako By Bus : Collective personnel: Avishai Cohen (tp) Mark Turner (ts) Jason
Lindner (p,keyboards,el-p) Lionel Loueke (g,vcl) Meshell Ndegeocello, Omer Avital (b)
Daniel Freedman (d,perc,fl) Abraham Rodriguez (vcl,bata,clave) Pedrito Martinez
(vcl,cajon,cga) Yosvany Terry (chekere,vcl) Davi Viera, Mauro Refosco (perc) Joshua
Levitt (ney)
New York, June, 2009
Odudua Anzic ANZ-0038 [CD]
Elegha wa -
Deep Brooklyn -
Rumba pa’ NYC -
Alona -
All brothers -
Darfur/Oasis -
Saab -
Bamako by bus -
[K4260.5] Itai Kriss
184
The Shark : Avishai Cohen (tp-1) Itai Kriss (fl) John Ellis (ts-1) Aaron Goldberg (p)
Omer Avital (b) Eric McPherson (d)
New York, August 17 & 18, 2009
The shark Avenue K (No #) [CD]
Kamuvan (1) -
Gypsy -
Four by four (1) -
Chang chang -
Breeza -
Danzon no. 1 -
Sketch for Toki -
Booty call (1) -
Avishai Cohen Introducing Triveni : Avishai Cohen (tp) Omer Avital (b) Nasheet Waits
(d)
Brooklyn, NY, December 17 & 18, 2009
One man's idea Anzic ANZ5103 [CD]
Ferrara Napoly -
Art deco -
Mood indigo -
Wise one -
Amenu -
You'd be so nice to come
-
home to
October 25th -
Triveni II : Avishai Cohen With Omer Avital And Nasheet Waits : Avishai Cohen (tp)
Omer Avital (b) Nasheet Waits (d)
Brooklyn, NY, December 17 & 18, 2009
Safety land Anzic ANZ0039 [CD]
BR story -
November 30th -
Music news -
Willow weep for me -
Woody'n you -
Portrait -
Get blue -
Follow the sound -
Art deco (alt take) -
[J33.20] Ali Jackson
Yes! : Ali Jackson/Aaron Goldberg/Omer Avital : Aaron Goldberg (p) Omer Avital (b)
Ali Jackson (d)
Brooklyn, NY, December 29, 2009
Maraba blue Sunnyside SSC1271 [CD]
Yes! -
185
Aziel dance -
Epistrophy -
El soul -
Way way back -
Homeland -
The shepherd -
Manic depressive -
[N2591.10] Hadar Noiberg
Journey Back Home : Hadar Noiberg (fl,alto-fl) Omer Avital (b,oud) Ziv Ravitz (d,perc)
New York, unidentified date, c. 2010
Village life Hadar Noiberg (No #1) [CD]
Evening breeze -
Residue of a broken heart -
Baiam -
Persian love story -
Intro -
Balada -
Journey back home -
Hafla -
[Z128.20] Daniel Zamir
Missing Here : Itamar Borochov (tp) Avi Liebovitch (tb) Daniel Zamir (sop) Omer Klein
(p) Omer Avital (b) Aviv Cohen (d) Eviatar Banai (vcl?)
Tel Aviv, Israel, February-March 2010
Poem 33 Hatav Hashmini (Israel)(No #) [CD]
Poem 54 -
Letter he -
Scent of an apple redness
-
of red
Poem 42 -
Poem 51 -
Eleven (Question mark) -
Poem 47 (duet) -
7 measurements -
Love -
Missing here -
Live at Smalls : Omer Avital Quintet : Avishai Cohen (tp) Joel Frahm (ts) Jason Lindner
(p) Omer Avital (b) Johnathan Blake (d)
Live "Smalls Jazz Club", New York, April 5 & 6, 2010
Theme for a brighter
Smalls Live SL0014 [CD]
future
Magic carpet -
One -
Bass intro to Anthem to
-
life
186
Anthem to life -
Blues for Tardy -
D bass -
(Just some) Smalls time
-
shit
[A6259.35] Lynne Arriale
Convergence : Bill McHenry (ts) Lynne Arriale (p) Omer Avital (b) Anthony Pinciotti
(d)
New Jersey, June, 2010
Elements Motema Music MTM-54 [CD]
Here and now -
Here comes the sun -
Sister moon -
Call me -
Dance of the rain -
For peace -
Paint it black -
Something I can never
-
have
Convergence -
The simple things -
New Song : Joel Frahm (ts,vcl) Avishai Cohen (tp,vcl) Yonathan Avishai (p,vcl) Omer
Avital (b,vcl) Dan Freedman (d,vcl) Mehdi Chaib (karkabas-1,vcl)
Montreuil, France, July 2 & 3, 2013
Hafla Motema Music MTM-161 [CD]
New song -
Tsafdinas
-
(jf,ac,ya,oa,df,mc vcl)
Avishkes -
Sabah El-Kheir -
New Middle East -
Maroc (1) -
Ballad for a friend -
Bedouin roots -
Yemen suite -
Small time shit
-
(jf,ac,ya,oa,df vcl)
Dark Nights : Avishai Cohen & Triveni : Avishai Cohen (tp,electronics-1) Anat Cohen
(cl-2) Gerald Clayton (p-3,el-p-4) Omer Avital (b) Nasheet Waits (d) Kerren Ann (vcl)
Brooklyn, NY, unidentified date, c. 2014
Dark nights, darker days
Anzic ANZ0045 [CD]
(1)
You in all directions -
187
Betray (1,2) -
Pablo -
The OC -
Shiny stockings -
Lush life -
Old soul (1,2,4) -
I fall in love too easily (ka
-
vcl,3)
Back To The City : Duane Eubanks (tp) Itai Kriss (fl) Amos Hoffman (g) Omer Avital
(b) Vincent Ector (d)
Brooklyn, NY, 2014
Easy going Amos Hoffman (No #1) [CD]
After lazy noon -
I'm getting sentimental
-
over you
Back to the city -
Alone in South Carolina -
Pannonica -
Mr. X -
Darn that dream -
Little pigs -
Smoke gets in your eyes -
[H2171.9.30] Tom Harrell
Something Gold, Something Blue : Tom Harrell (tp,flhrn) Ambrose Akinmusire (tp)
Charles Altura (g) Ugonna Okegwo (b) Johnathan Blake (d) Omer Avital (oud-1)
August, 2015
Circuit High Note HCD7289 [CD]
Travelin' -
Trances -
Delta of the Nile (1) -
Keep on goin' -
View -
Body and soul -
Sound image -
The vehicle -
Abutbul Music : Asaf Yuria (ts,sop) Alexander Levin (ts) Yonathan Avishai (p) Omer
Avital (b) Ofri Nehemya (d)
Villetaneuse, France, November 8 & 9, 2015
Muhammad's market Jazz Village (F)JV570114 [CD]
Three four -
Afrik -
New Yemenite song -
188
Bed-Stuy -
Bass hijaz (Intro to Ramat
-
gan)
Ramat gan -
Ayalat hen -
Eser (Middle Eastern
-
funk)

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What is the thesis about?

What is the thesis about?

What educational programs are discussed in the thesis?

What educational programs are discussed in the thesis?

JAZZ EDUCATION IN ISRAEL

A Thesis submitted to the

Rutgers, The State University of New Jersey

in partial fulfillment of the requirements

for the degree of

Graduate Program in Jazz History and Research

written under the direction of

Dr. Henry Martin

Newark, New Jersey

ALL RIGHTS RESERVED

JAZZ EDUCATION IN ISRAEL

Dr. Henry Martin

larger role in humanity as a whole.

realized what I needed to write about.

as well as all the teachers my life has provided me.

Abstract .............................................................................................................................. iii

Chapter 1 – Jazz in Palestine/Israel

1.1 Jazz in Palestine/Israel

important characters in the development of the musical landscape in Israel. Jazz

in America interested in creating a relationship with Israel, schools started to develop

also used as a tool to attempt to bring peace to the Palestinian-Israeli conflict.8

as a means of entertainment. Young musicians in Jerusalem would travel great distances

he visited Jerusalem in 1959.9 According to a popular Israeli musician, Naphtali Aharoni,

Aharoni offers some memories:

time. Author Yair Dagan offers a particular perspective,

order to explain the strange music to the Israeli audience.

phenomenon that was soon to occur in the late 1960s.

did enjoy the complex sounds of Bebop.

Author Yair Dagan recalls this era,

By the early 1950’s, a younger generation of Jazz musicians, including Alex

first Israeli Jazz quartet.29

It is interesting to note that Yair Dagan mentions Piamenta’s Sephardic roots.

establishment of an education system aimed at providing a high standard of musicianship

as well as a new musical venue for displaying talents.

Yair goes on to write,

Another prominent Israeli-born Jazz musician is Arale Kaminsky (b. 1939,

So now we have the co-mingling of Israeli and American musicians together at

in the early 1950s.33 Yair goes on,

So now we run into Israeli influence by the American entertainment industry.

Israel. Yair writes,

Internationally acclaimed Jazz musicians toured Israel as early as the 1950s.

further solidified the American-Israeli connection.

with Kaminsky, co-founded and led the Platina Jazz Group.37

Contemporary Music in 1985. Eventually graduates of these programs would return to

ideology, changes such as a privatized economy and an emphasis on personal freedom.

the cross-cultural facet of the Israeli/America Jazz connection.41

1.2 During the 1990's

in people's heads. It’s a potential scene,” says Haber.43

took off on a prosaic day in 1992,

Twenty-something Jazz musicians Omer Avital, Avishai Cohen, and Avi

in 1994.”47 Shalev introduces us to the new found liberalism in the country.

Israeli musicians think of New York.51

1.3 Zvi Keren

landscape of the time.

In a highly biographical interview Zvi Keren offers us a great deal of information