Anat Cohen at Miner Auditorium

Anat Cohen
Miner Auditorium
San Francisco, CA 
December 11, 2025 

The lobby of the SFJAZZ Center on Thursday night buzzed with the warm, affectionate energy of a family reunion. People of all ages embraced and caught up in the aisles, creating a communal atmosphere for a sold-out night that celebrated a major milestone: Anat Cohen's 50th Birthday Celebration. She delivered a master class in musical architecture, guiding the audience through a study of how an ensemble develops, breathes, and reshapes itself.

Cohen took the stage dressed in a flowing black top, leather slacks, high-heeled boots, and a colorful scarf, anchoring the performance in the physical world. Stomping her heel to mark the first measure, she launched into "The Night Owl," a piece she revealed during soundcheck had started as a solitary practice session. On stage, the internal visualization she described—hearing a full band in her head while playing solo—became reality. The "Quartetinho" (or "tiny quartet") formed around her, filling the sonic space with rich textures.

This opening sequence set the tone for the evening's focus on flexibility. They transitioned into "Paco," a tribute to flamenco virtuoso Paco de Lucía. In this part, the ensemble showcased the adaptability that Cohen values in her musicians. They managed the percussive elements of the style, blending jazz's fluidity with the driving rhythm of Spanish tradition. Vitor Gonçalves on piano and Tal Mashiach, shifting from bass to guitar, delivered solos that served as individual statements and structural support, reinforcing the composition's integrity.

The performance then expanded to a larger ensemble. The program moved to a piece titled "Trio," featuring Cohen, trombonist Nick Finzer, and guitarist Sheryl Bailey. It was then reconfigured into a quartet with Nadje Noordhuis on flugelhorn, Owen Broder on baritone sax, James Shipp on vibes, and Christopher Hoffman on cello. Adding the cello and baritone sax created a dark, resonant bottom end, producing a chamber-jazz sound that sharply contrasted the brightness of the previous trio.

These shifts were deliberate moves orchestrated by Oded Lev-Ari, the tentet's musical director and Cohen's longtime high school friend. Lev-Ari's arrangements served as a lens, refracting Cohen's unique voice into a spectrum of colors. The "Tutti" segment brought the entire tentet on stage, merging these small, separate groups into a powerful, unified force. The sound was rich and full, yet clarity remained crucial. Even at high volume, the distinctive tones of each instrument stayed recognizable within the mix.

For the third section of the concert, the stage was reset for an intimate interlude featuring special guest Marcello Gonçalves. Sitting on stools at center stage, the pair performed a unique set, starting with "Granados—Spanish Dance No. 2." Gonçalves, playing a seven-string guitar, provided a harmonic foundation that felt as broad and deep as an orchestra. His playing, rooted in the Brazilian traditions of choro and samba, locked in with Cohen's clarinet in a conversation of profound familiarity. They then continued with "Waiting For Amalia," a song Cohen composed while pregnant with her daughter. They ended this section with "America," from Leonard Bernstein's West Side Story. Cohen stood to emphasize the melody's rhythmic jaggedness, stomping her feet to drive the meter, transforming the Broadway standard into a complex, polyrhythmic statement.

Cohen often expressed her gratitude for performing with longtime fellow musicians and frequently stepped back from the spotlight to admire their artistry. Cohen effused, "It is really such a gift to be able to make music and converse inside music. I feel extremely grateful that I have had the opportunity to do that. And for my 50th, I want to be with beautiful people that I love to share the stage with."

The final act expanded the sonic palette into the digital and avant-garde realms. The full tentet returned for "Putty Boy Strut," a piece by electronic musician Flying Lotus. The original track is known for its glitchy, animated beat that mimics a video game stutter. Cohen's ensemble replicated this digital aesthetic with acoustic instruments, transforming the song into a Frank Zappa-style freak-out. Percussionist James Shipp crinkled a plastic sheet in front of the microphone to simulate digital static, while cellist Christopher Hoffman produced eerie bowing effects from his instrument. Guitarist Sheryl Bailey knelt at her pedalboard, manipulating delay and distortion to dissolve the melody before the full band reassembled to restore the original, clanky theme.

Cohen's recent experiences drove this adventurous spirit. During the soundcheck Q&A, she discussed a New York City residency, supported by a South Arts grant, during which the band worked with the visually impaired community. One of the musical outcomes was "Dance, Dance, Dance," a debut which provided a joyful contrast to the more cerebral experimentation of the Flying Lotus cover. Inspired by Benny Goodman's "Sing, Sing, Sing," the piece captured the energetic spirit of the swing era, ending the main set with a celebration of the clarinet's historic roots.

Setlist

 "The Night Owl," "Paco," "Trio," "Quartet," "Tutti," "Granados—Spanish Dance No. 2," "Waiting for Amalia," "America," "Valsa do Sul," "Putty Boy Strutt," "Tudo O Que Você Podia Ser," "Goodbye," "Dance, Dance, Dance."

Encore

 "Jimi."

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