October 22, 2008. Posted by Joshua Jackson.
Anat walked into the club a few minutes before doors opened to the public. She's using a new reed on her soprano saxophone tonight, so she spent some time warming up the soprano and breaking in the new reed.
The first set is sold out tonight. There's a party of 16, a party of 10, and a party in the Village Vanguard tonight.
Anat and I have talked through tonight's program. Should be a good one!
Pianist Jason Lindner just arrived. He and Anat are talking about how to end the second set. They're ahead of everyone tonight.
The band's all here. Showtime in T minus 8 minutes.
We're live. Anat Cohen and her quartet (Jason Lindner, piano; Joe Martin, bass; Daniel Freedman, drums) are blasting into a modern arrangement of Fats Waller's "Jitterbug Waltz."
Anat quotes "Pop Goes the Weasel." Thad Jones would be proud. His quote of it from Count Basie's version of "April in Paris" is one for the ages. One more time!
Montuno, baby! Ernesto Lecuona's "Siboney," played with vigor. Anat's clarinet tone is the sound of unbridled optimism. It's refreshing.
This is such a difficult song to cover. If you're gonna tackle Sam Cooke's "A Change is Gonna Come," you better bring everything you have to this song. I believe Anat has done that.
"Washington Square Park" opens with Jason Lindner plucking the piano strings, which are covered with paper. It makes the piano sound like a berimbau, or some kind of African-based instrument. Very cool.
Anat switches to tenor sax.
That song went to a lot of places. All in Washington Square Park. Now, we're moving into the blues with Don't Let the Sun Catch You Cryin'. As an aside, I really love Taj Mahal's version...
Clsong out the set with the Brazilian Duke Ellington, Pixinguinha. His composition "Um A Zero." Tudo bem!
© 2008 WBGO
October 22, 2008. Posted by WBGO.
It's not quite enough to say that Anat Cohen has many interests in jazz. To start, she plays three instruments: clarinet and both soprano and tenor saxes. Then she plays them in various and sundry settings, including modern jazz, traditional ensembles, classical music and every type of Afro-Latin hybrid imaginable: Argentinian, Brazilian, pan-Caribbean and so on. And when Anat Cohen plays with her quartet, she funnels all of her interests into spirited original compositions. That group visited New York's Village Vanguard for a live performance, broadcast on air by WBGO and online at NPR Music.
As with her well-received new album Notes From the Village, Cohen stuck largely to her clarinet, which sounded alternately dark and warm or playful and sprightly. The quartet led off with a slew of 20th-century touchstones, all reworked as melodic modern jazz: Fats Waller's "Jitterbug Waltz," Ernesto Lecuona's "Siboney," Sam Cooke's "A Change Is Gonna Come." But, as always with Cohen, variety was the order of the night. She brought out both saxes as the evening went on, as the quartet referenced everything from African thumb piano to danceable rock grooves. With her were longtime collaborator Jason Lindner on piano (his paper in the strings creates the effect on "Washington Square Park"), spacious-sounding bassist Joe Martin and drummer Daniel Freedman, who seemed to serve up a different groove at every turn.
Born and raised in Israel, Cohen learned American jazz styles in Tel Aviv conservatories and high schools; she later fulfilled her military service mandate by playing tenor saxophone in the Israeli Air Force band. In 1996, she came to Boston to study at the esteemed Berklee College of Music; by the time she made the permanent move to New York, she was already hooked on the many different types of Latin rhythms she's since brought to prominence.
Over the last several years, Cohen's star has risen sharply in the jazz world. No doubt this has much to do with her prolific recorded output of late: In the last four years, she's released four albums as a leader, plus two records as a member of Choro Ensemble (dedicated to Brazilian music), a CD with the young collective Waverly Seven, and the second album from 3 Cohens — the Cohen siblings' band. Critics have remarked on both her diversity of styles and her proficiency in all of them.
"Each kind of music has so many different sides and elements that you can really go bigger and groovy and heavy, or delicate and more classical," Cohen told NPR's Liane Hansen in 2007. "And I'm not really sure what will be the next one. If it will be a crazy or delicate [project], I'll let you know as soon as I figure it out."
Cohen's new recording, Notes From the Village, captures her quartet (and guests) in a mix of fetching originals and keenly reworked classics. As for the CD's title, it alludes to Cohen's residence in New York's Greenwich Village — a short walk away from the Village Vanguard, where she made her debut in the summer of 2007.
© 2008 WBGO
October 21, 2008. Posted by Joshua Jackson.
Photo by Osnat Rom
You'll be hearing a lot about Anat Cohen on WBGO this week. Last year, she debuted at the Village Vanguard, the first female instrumental leader to do so. This week, her quartet takes the stage at the Vanguard to celebrate her recent release, Notes From the Village. We'll take you there. Later this week, you can also hear Anat Cohen's recent performance from the Kennedy Center on JazzSet with Dee Dee Bridgewater. We hope you get a chance to discover an exciting new voice in music.
So while you're waiting for all this excitement, listen to this recent conversation with Anat Cohen. You can also listen to what's on her iPod, arranged by entropy.
© 2008 WBGO