Some crossover projects might lead you to the conclusion that jazz and classical are mutually disempowering: the constraints on the development of the through-written elements and the straitjacketing of the improvisational impetus can leave you feeling short-changed. Happily, that's not the case with this project from Israeli bassist/composer Avishai Cohen, in which he leads his regular trio through a mixed repertoire – originals, folk tunes, Thad Jones's ‘A Child Is Born’ – with the accompaniment of an ‘altered’ string quartet (two violas, one violin) supplemented with oboe/cor anglais. The adapted character of the classical unit is key, bringing a unique soulfulness to the sound of the music and underscoring the beauty of many of the melodies here, and the balance between composed and improvised elements feels entirely natural. The flowing, deeply felt opener ‘Overture (‘Noam’ Op. 1)’ demonstrates Cohen's chops as a composer and arranger of classical chamber music, while the last number, ‘Kumi Venetse Hasadeh’, shows his growing confidence as a singer.

Jazzwise spoke to Avishai Cohen about the album What made you decide to do this project now?

It seemed a natural time to do it because I have been writing and arranging more and more for strings and oboe in the last few years. I've always dreamt of making it a whole project. My classical training, other then studying classical piano from ten years old, has been mainly listening to a lot of great composers. My studying of Bach, Mendelssohn and even Béla Bartók in my younger years triggered my hunger for classical music.

You're playing with an ‘altered’ string quartet.

A lot of my music is written in a lower register and I thought having this beautiful deeper sound from the two violas would work better. With the bright-sounding oboe on top of that, the sound is particularly special. Choosing the oboe for this project was first of all for its specific beautiful human quality and soulfulness in its basic sound; I have been in love with that sound for many years. Also my intention was to get as close to an orchestral sound as I can with this small chamber unit.

What's the biggest challenge working with classical musicians?

Classical musicians are used to performing older pieces of music and from written sheet music. In the beginning it was challenging because they worked and rehearsed differently to us, and also rhythmically, but you soon adjust to each other and it's been great to be a part of this process. Mainly we're in a classical setting because there is more through-written music but then you enter into the jazz world with an improvising solo. When improvising in this group however, you can't solo for as long as you want, it's a set time.

How did you choose the material?

Choosing the material for this album has been a bit different and taken longer than usual because we've been rehearsing for a few years and I've been working on compositions and arrangements and checking out different tunes which I've heard throughout my life. It's the culmination of that process and exploration.

Tell me about the last track, on which you sing.

‘Kumi Venetse Hasadeh’ is a beautiful old Hebrew song from the 1960s that not only has a gorgeous melody but beautiful, innocent lyrics of a love song, lyrics that no longer exist today in songs. Arranging this song almost felt like writing my own music. It took me a long time to feel comfortable with my singing but, particularly since the release of my album Aurora, it's now a part of my music and live shows. I love this song and the lyrics are beautiful so really it had to be on this album.