Struck by their compositional kinship, the pair’s work is rooted in contemporary jazz, but hints at a shared love of folk rhythms, rock, pop and avant-garde music. 

The octet showcases a powerful sense of unity, not just in their musical common ground, but in their individual journeys to get there. 

“There’s an aspect of cultural exchange to this group,” Cohn maintains. “Everyone is from a different country. We come from really different backgrounds but we’ve followed our honest path and found what we love.” 

Featuring vocalist Tatiana Nova joining a contingent of four horns (Greschuk, fellow trumpeter Yakiv Tsvietinskyi, alto saxophonist Joshua Schofield, tenor saxophonist Gianni Gagliardi), pianist Lorenzo Vitoloand drummer Áron Tálas aiding Cohn in the rhythm section, the group’s sound is energetic, rich and has a strong sense of identity. Self-described as a ‘modular ensemble’ able to assume a range of sizes and shapes, at the root is the musical connection Cohn and Greschuk share.

With intriguing subject matter (and a healthy dose of humour) including an ode to a friend’s agitated unspayed cat (Luna’s Lullaby), the experience of being scammed by someone using an alias (Ladina Oswald) and mould formations in a flatmate’s neglected fridge (Nubes), Cohn’s five pieces mesh with Greschuk’s three to create a world of intricate lyricism, labyrinthine form and engaging tension and release. 

Ensemble Infinity also documents what Greschuk calls the “trumpet brotherhood” that he shares with Tsvietinskyi. “Yakiv is from Ukraine,” Greschuk notes, “and my grandfather was from Ukraine. We have this super-strong friendship and in the middle of the war I went to Ukraine to visit and perform with him. On my tune ‘Bosque’ we trade improvising on full choruses, with Yakiv on flugelhorn, and it felt so great to capture that.”

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