Anat Cohen Builds a Living Jazz Ensemble for Her 50th Birthday at SFJAZZ
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 after her trio: Vitor Gonçalves on piano, Tal Mashiach on upright bass, and James Shipp on vibraphone. Dressed in a flowing black top, leather slacks, high-heeled boots, and a colorful scarf, she anchored the performance in the physical world. Stomping her heel to mark the first measure, she then 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. Gonçalves on piano and 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 bassist Tal Mashiach. 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.
Cohen, her tentet, and Oded Lev-Ari, the tentet’s musical director. Photo: Steve Roby
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's really such a gift to be able to make music and converse inside music. I feel extremely grateful that I've 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.
Anat Cohen. Photo: Steve Roby
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.
The encore, "Jimi," paid tribute to Jimi Hendrix by incorporating the iconic riff from "Foxy Lady." It was a fittingly explosive ending for an artist whose stage presence is absolute. Throughout the evening, Cohen smoothly navigated the structural shifts between intimate duos and the orchestral strength of the Tentet, tying them together with her unique, expressive tone.
This 50th birthday celebration was less a retrospective and more a showcase of unmatched virtuosity—a reminder that Cohen remains one of the most vital, unifying forces in modern jazz, capable of transforming a large band and complex structural pieces into a tapestry of pure, communal joy.
As Cohen and her band exited the stage, the audience sang her “Happy Birthday” during the final standing ovation.
Program Notes
Date: Thursday, December 11, 2025
Venue: Miner Auditorium, SFJAZZ Center
Featured Artist: Anat Cohen (Clarinet, Tenor Saxophone)
Ensembles: Quartetinho, Anat Cohen Tentet
Musical Director: Oded Lev-Ari
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”
Listen to our interview with Anat Cohen here.
