The New Album:
Anat Cohen Quartetinho
Bloom

Anat Cohen’s newest release is Bloom, the second album by her foursome, Quartetinho (pronounced “quartet-CHIN-yo”). The band name is Portuguese for “little quartet,” although the players make a big, color-rich sound, each an ace on multiple instruments: Anat on various clarinets, Tal Mashiach on bass and guitar, Vitor Gonçalves on piano and accordion, and James Shipp on vibraphone and percussion. Bloom showcases compositions by each member of the band, as well as a lovely, lyrical take on Thelonious Monk’s “Trinkle, Tinkle” and an expansive arrangement of Paraguayan guitarist-composer Augustín Barrios Mangoré’s classic “La Catedral.”

Released on September 27, 2024, Bloom has garnered critical acclaim for its inventive compositions and the ensemble's cohesive interplay. The album features original pieces from each member, highlighting their diverse musical backgrounds and influences. Notable tracks include The Night Owl, a playful opener derived from one of Cohen's clarinet études, and Paco, a contemplative piece by Mashiach that blends introspection with flowing melody. Gonçalves contributes Tango Para Guillermo, a nod to Astor Piazzolla's tango nuevo style, while Shipp's Superheroes in the Gig Economy adds a dynamic, theatrical flair. The ensemble’s chemistry and versatility shine throughout the album, offering a rich tapestry of global sounds and jazz traditions.

Reflecting on the way Quartetinho inspires her, Anat says this band really seems to bring out the dedication to song in her playing, in everyone’s playing. She feels a lot of support from the group when playing melodies. There’s a deep respect in Quartetinho for melody and lyricism, as well as for the various traditions they explore, whether it’s jazz, samba, Israeli folk music, or the American songbook. At the same time, the musicians are fearless, sometimes pushing boundaries on stage. To her, it’s important to balance respect for these traditions with the chutzpah to say something personal, to be real. In this sense, she feels that the group is in tune with her various musical personalities, and together they bring out the best in each other. More than anything, she values how the group creates a space where risk-taking and vulnerability go hand in hand, allowing the music to unfold in the most honest and spontaneous way.

Thinking further about the cultural message “between the notes” of this music, she expresses that it would make her very happy if people listening to Bloom—either live or on record—take away the sense that “where there’s a will, there’s a way.” All of this takes real effort, she explains—mastering an art, engaging in a conversation, listening to each other, and doing what it takes to share something meaningful. It also takes effort from the audience, to be fully present in the moment, to be in tune with what’s happening on stage or with what someone put down on a record. In this day and age, with so much in the world that can be painful, she finds music to be the one place where she feels completely safe. This band, she says, makes her feel that everything is possible and accepted. It’s an experience to treasure, a journey to embrace, and she hopes people come along and experience Bloom the way the musicians do—as something positive, uniting, and joyful.