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Wednesday WED 3 July 2024
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Sunday SUN 7 July 2024
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Wednesday WED 10 July 2024
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Thursday THU 11 July 2024
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Sunday SUN 14 July 2024
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Sunday SUN 21 July 2024
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Thursday THU 9 May 2024
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Saturday SAT 18 May 2024

Cohen Avishai © Seda Ozguven

Avishai Cohen Banda

»Iroko«

Wednesday 1 May 2024
19:30 – ca. 21:30
Großer Saal

 

Performers

Avishai Cohen, Kontrabass, Gesang

Abraham Rodriguez Jr., Congas, Gesang

Yosvany Terry, Saxophon, Chekere

Diego Urcola, Trompete, Posaune

Jose Angel, Gesang, Percussion

Virginia Alves, Gesang

Programme

Anonymus

The healer

Tintorera

Felipe Cabrera

A la loma de Belen (Bearbeitung: Avishai Cohen)

Anonymus

Thunder drum

Venus

Abie's thing

Eleggua

Ernest Gold

Exodus-Thema (Aus dem Film »Exodus«, Regie: Otto Preminger, USA 1960) (1960)

Gabriel Fauré

Sicilienne op. 78 (Bearbeitung: Avishai Cohen) (1898)

Pedro Flores

Obsesion

James Brown, Betty Jean Newsome

It's a man's man's man's World (1966)

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Zugabe:

Bob Marley

No woman no cry

Anonymus

Avisale a mi vecina

Abie's thing

Note

Unterstützt von Erste Bank
Medienpartner Ö1 Club

Subscription series Percussive Planet
Jazz

Links https://avishaicohen.com

Presented by Wiener Konzerthausgesellschaft

Iroko

»›Iroko‹ has been a long-held dream of mine ever since I met Abraham Rodriguez Jr [...]. [He is] a master of Afro-Caribbean music in its entire spectrum,« says Avishai Cohen. The Israeli-born composer, bassist and singer has left his mark on the jazz scene like no other over the past 25 years. Now he is working with the Conguero singer Abraham Rodriguez Jr. The student of the legendary percussionist Orlando »Puntilla« Ríos has been a sought-after musician in the Latin jazz scene for decades. The title for the project was inspired by the tree of the same name: Iroko is feared in some West African cultures because a spirit living in it is said to drive people mad. Cohen, Rodriguez Jr. and other top-class musicians like Horacio »El Negro« Hernández play virtuosically against this madness and invoke the African deities by reinterpreting Afro-Cuban standards and popular songs. Of course, the typical clave rhythm is not to be missed.

Supported by

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