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by Mark Corroto
As the saying goes, In Between The Tumbling A Stillness, recorded in 2015 in Tel Aviv, comes in like a lion and goes out like a lamb." Saxophonist Assif Tsahar, who sticks to tenor throughout, opens In Between" like a lion, if that lion were Albert Ayler. The 35-minute piece draws from the fire music of the 1960s, propelling forward with an energy that is indefatigable. Credit to bassist William Parker and drummer Hamid Drake. The dynamic duo ...read more
by Karl Ackermann
Israeli saxophonist/clarinetist Assif Tsahar has deep roots in the free-jazz genre, having played with Cecil Taylor, Butch Morris, Peter Kowald, Fred Anderson, Ken Vandermark, Herb Robertson, Cooper-Moore, and many others. Among his other associations are two albums with bassist William Parker, Sunrise in the Tone World (AUM Fidelity, 1995) and Mass for the Healing of the World (Black Saint, 1998), and a European release with Hamid Drake, Live At Glenn Miller Cafè, Soul Bodies, Vol. 2 (Ayler Records, 2002). Parker ...read more
by Jeff Stockton
Digital Primitives, with Chad Taylor on drums, expands the sonic landscape Assif Tsahar and Cooper-Moore carved out with drummer Hamid Drake on Lost Brother (Hopscotch, 2006) by removing a few of the typical saxophone trio tracks and replacing them with more in the way of fuzz, distortion and over-modulation. Not that this band is in need of exotic touches, since Cooper-Moore seems to have set aside his piano virtuosity and reapplied it to his own homemade instruments, including the bows ...read more
by Jeff Dayton-Johnson
Solitude, a set of fairly free jazz by multi-reeds player Assif Tsahar, unobtrusive percussionist Tatsuya Nakatani and string quartet, is surprisingly easy to listen to, but difficult to assess. Each time a group creates a performance like this, they're attempting to create a language from whole cloth. Free jazz is demanding because it's teaching us a language we don't know, using only that language. When it's successful, as in this case, it's strangely beautiful, of course.
Then again, how do ...read more
by Eyal Hareuveni
As its name implies, Lost Brother is about familiarity and musical intimacy. The first collaboration between Israeli reed man Assif Tsahar and Chicago drummer Hamid Drake was named Soul Bodies (Vol. 1, Ayler, 2001), and the musical bond between Tsahar and Cooper-Moore began when Tsahar guested in William Parker's In Order to Survive, where Cooper-Moore played the piano. The relationship continued when Tsahar released several of Cooper-Moore's recordings on his Hopscotch label, culminating with two enchanting duets (America, 2003; Tells ...read more
by Jerry D'Souza
Assif Tsahar/Cooper-Moore/Hamid Drake Lost Brother Hopscotch 2006
Variety spices this collaboration between three musicians whose creativity takes the music to delightful and exciting heights. There is never a dull moment; even in the calm of their expositions comes a centrifugal force that fills the compositions with intense dynamism.
Assif Tsahar is a bold, authoritative player who never loses the opportunity to take a leap into the unknown. Even as he does, he knows when ...read more
by Jeff Stockton
Cooper-Moore & Assif Tsahar Tells Untold Hopscotch 2005
Cooper-Moore doesn't limit himself to the usual range of instruments. When he hears a sound in his head, he invents a device to reproduce it, surrounding himself with a mysterious aura, a shamanistic charisma that creates the sense that he's tapped into a separate world of undiscovered sound. Who can tell what he's playing at any given moment? He's a one man band. But ...read more