Do you have a plan to vote?

Let us tell you the information you need to register and cast a ballot in D.C.

On Flood, part two of his “Big Rain Trilogy,” trumpeter Avishai Cohen uses a minimalist trio of trumpet (Cohen), piano (Yonatan Avishai), and hand percussion (Daniel Freedman) to evoke both the dry, flaking land and the torrents of water that fill it — a stunning achievement. Cohen’s long, graceful trumpet lines combine musical motifs from a number of cultures into a cinematic sound that’s all his own, lyrical and gentle but heavy with the wisdom of the ages, and that moves like the waves over the solid foundation of piano (Freedman’s drums suggesting the drama of the event).

Cohen’s flood is much like Noah’s: a metaphorical cataclysm that forces examination of the relationships between life and death, man and nature, and the cycles of time. This volume of the story, in particular, is a meditation, evoking the motion — of the water, of the people and animals it displaces, and of the sun and the moon (all expressed in the central track, “Nature’s Dance”). It’s a unique piece of music, but a delicate and beautiful one. Get it.