(jazz, post-bop, modern) Anat Cohen - Notes from the Village - 2008, FLAC (tracks+.cue), lossless

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 24. August 2009, 21:53
Anat Cohen / Notes From The Village
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Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
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TOC of the extracted CD
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        6  | 40:17.18 |  5:42.40 |    181293    |   206982
        7  | 45:59.58 |  5:20.30 |    206983    |   231012
        8  | 51:20.13 |  9:04.68 |    231013    |   271880
Track  1
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Track  2
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Track  4
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Track  6
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Track  7
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Track  8
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All tracks accurately ripped
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End of status report

REM GENRE Jazz
REM DATE 2008
REM DISCID 6F0E2908
REM COMMENT "ExactAudioCopy v0.99pb4"
PERFORMER "Anat Cohen"
TITLE "Notes From The Village"
FILE "01 - Washington Square Park.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Washington Square Park"
    PERFORMER "Anat Cohen"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Until You're In Love Again"
    PERFORMER "Anat Cohen"
    INDEX 00 09:07:22
FILE "02 - Until You're In Love Again.wav" WAVE
    INDEX 01 00:00:00
  TRACK 03 AUDIO
    TITLE "Siboney"
    PERFORMER "Anat Cohen"
    INDEX 00 06:24:68
FILE "03 - Siboney.wav" WAVE
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "After The Rain"
    PERFORMER "Anat Cohen"
    INDEX 00 08:19:69
FILE "04 - After The Rain.wav" WAVE
    INDEX 01 00:00:00
  TRACK 05 AUDIO
    TITLE "J Blues"
    PERFORMER "Anat Cohen"
    INDEX 00 09:11:48
FILE "05 - J Blues.wav" WAVE
    INDEX 01 00:00:00
  TRACK 06 AUDIO
    TITLE "Lullaby for the Naive Ones"
    PERFORMER "Anat Cohen"
    INDEX 00 07:06:29
FILE "06 - Lullaby for the Naive Ones.wav" WAVE
    INDEX 01 00:00:00
  TRACK 07 AUDIO
    TITLE "A Change is Gonna Come"
    PERFORMER "Anat Cohen"
    INDEX 00 05:41:45
FILE "07 - A Change is Gonna Come.wav" WAVE
    INDEX 01 00:00:00
  TRACK 08 AUDIO
    TITLE "Jitterbug Waltz"
    PERFORMER "Anat Cohen"
    INDEX 00 05:19:43
FILE "08 - Jitterbug Waltz.wav" WAVE
    INDEX 01 00:00:00

One night in late October 2004 at Jazz At Lincoln Center’s Allen Room I became an instant Anat Cohen fan. The magnet that brought me to the venue was a rare appearance in New York by Hermeto Pascoal. I knew nothing about the opening group, Beat the Donkey led by percussionist Cyro Baptista, except its thought-provoking name. I was not prepared for the antic energy of the ensemble, dancing, singing and swinging. Then in the middle of this joyous maelstrom came forth the liquid sound of a clarinet played with dexterity and authentic feeling by a young, raven-haired woman whose body language conveyed how much she was into the music. When she later picked up a tenor sax and proceeded to lift it with another, equally effective dynamism it was, in effect, a one-two combination punch that knocked me out.
In June ‘05 I was at Zuni, a bar on the westside where Harry Allen and Joe Cohn held forth on Mondays with a quartet and other talented musicians came to jam. On this night Frank Wess walked in to make it two tenors and a young Russian alto Dmitri Baevsky added to the saxophonic mix. Enter Anat, this time toting a soprano on which she chimed into this wailing company without (literally) missing a beat.
These and subsequent listening experiences left me with the impression she was serving notice to the jazz world at large that a very special talent had arrived and was continuing to thrive. With the release of Anat’s two divers CDs, Noir and Poetica, more ears snapped to attention. As a clarinetist, she began to be prominently mentioned in various jazz polls and soon, deservedly, was winning them. She is a remarkable clarinetist but make no mistake, to whatever horn chosen she brings genuine knowledge of different genres, impeccable technique and a passion for playing that is in the sound of her instruments and her very presence.
Notes From The Village is a thoughtful mix of many different moods, sounds and types of material, some written and/or arranged by her: “Washington Square Park” moving from an African ethos to pastoral and back via Anat’s soprano, Gilad Hekselman’s guitar, Jason Lindner’s piano and keyboard and Daniel Freedman’s compelling drums; the mournful “Until You’re in Love Again,” its first phrase echoing Gordon Jenkins’ “Goodbye,” the closing theme for another significant clarinetist, Benny Goodman; Ernesto Lecuona’s iconic “Siboney,” delivered with its inherent beauty and rising fervor; “After the Rain,” arranged by Anat and Lindner, a paean to Coltrane transmitted in the rich voice of the bass clarinet; the infectious rhythm of the basic “J Blues” with effective solos from Lindner’s piano and Omer Avital’s bass flanking Anat’s several blue meditations; “Lullaby For the Naive Ones” where Anat’s solo, building in intensity along with the underpinning, brings to mind Miles on “Solea” in Sketches of Spain; the communion with Sam Cooke’s “A Change Is Gonna Come”; and the rhythmic liberties taken with ‘Fats’ Waller’s “Jitterbug Waltz,” staccato playfulness to bebopping lines (was that a wisp of “Hot House” and a quick quote of “Parker’s Mood” I heard?) with exuberant solos and Freedman’s (in Larry David’s words) “pretty, pretty good” propulsion.
We’re no longer in the golden ’50s when groups stayed and played together. Now the norm is for musicians to work in multiple bands in order to survive. The musicians here play in different groups but most often all or some are part of them. That’s one reason they are such a strong entity in The Village and elsewhere.
I’ve lived through the period when people praised female musicians with “She plays good for a chick.” (I don’t think anyone said this about Mary Lou Williams) and long enough to see a time when gender bias against the distaff side has dropped to where there are many talented women gaining recognition, some even to the point where they are being over-rated because of their gender.
Anat Cohen transcends all of the above. She is formidable. Long may she continue to enrich the music in myriad ways.