Emmet Cohen: Vibe Provider

An album review of the latest by jazz pianist, Emmet Coehn

Emmet Cohen

Vibe Provider

Mack Avenue Records II, LLC

Miami-born, New Jersey-raised, now New York-based jazz pianist Emmet Cohen self-released his debut when he was just 20, now at age 34 and with a dozen records to his name as a leader, and several sessions as a sideman (including a couple of Herlin Riley records, which I love), Cohen releases Vibe Provider, his first since establishing himself, post-pandemic, as a live-streamer, connecting with all manner of jazz legends.

Vibe Provider features several explosive tracks with an octet, and as exciting as they are, the true majesty of the album comes through when the band is reduced to a core trio, featuring Philip Norris on bass and Joe Farnsworth on drums.

Opening track, Lion Song, is graceful, an utter delight, and Farnsworth manages the transition from brushes to sticks in a manner similar to the great Max Roach; adept at both, his brushwork in particular is sublime beneath the cascading piano of Cohen.

The trio swings out harder across Surry With The Fringe on Top, Cohen still very lyrical in his playing, but striding to the point of almost galloping. Huge support from Norris’ brilliant bass playing, which is both understated and the ultimate safety net. Some nice trades between Farnsworth and Cohen to round out the tune.

The bigger ensemble arrives for the title track, and offers a type of post-bop modern jazz at its most widescreen, in particular there’s strong scene-setting from Tivon Pennicott’s tenor sax, which feels like Ravi Coltrane at his most lyrical. The ballad, Unblock The Love, benefits again from Pennicott’s warmth, but also the foundation from Bruce Harris’ trumpet, working alongside Cohen’s chord voicings.

Henei Ma Tov has the trio making the noise of a fuller ensemble, Farnsworth dancing across the toms to crash down on the cymbals in a manner reminiscent of Elvin Jones, while Cohen’s playing easily mimics McCoy Tyner.

A beautiful bit of brushwork from Farnsworth has If This Isn’t Love feeling like the sort of dance Dave Brubeck and Joe Morello might perform, and the octet returns for Emmet’s Blues, with trombonist Frank Lacy carrying the weight this time. It’s a killer way for the record to finish, and those three octet songs are absolutely brilliant, but the moonlight and midnight vibes of the trio balladry is utterly exquisite, and so penultimate track Time On My Hands might be my favourite. But picking a favourite here is like picking best children. They’re all wonderful as long as they’re behaving right? The ‘behaviour’ across this album is perfect, every time, every single vestige, both line-ups, and Cohen plays the parent role in exactly the right way, allowing the children to run, explore and develop from his lead.

I don’t know if I’ll hear a better piano-based jazz album this year. Utterly brilliant.