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Anat Cohen Tentet: Triple Helix (Anzic)

A review of the clarinetist-led group's second album

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Anat Cohen Tentet, Triple Helix
The cover of Triple Helix by the Anat Cohen Tentet

Few musical ploys are as riveting as intricacy, especially when the ensemble at hand is sizable. But without a wealth of eloquence in play, elaboration can be its own worst enemy, a knot of tangles void of emotion. Anat Cohen knows this, and though her Tentet’s second album boasts some truly formidable crossweaves, there’s seldom a moment when poise doesn’t carry the day.  

Much of the grace that guides these victories has to do with what the leader has deemed the group’s “flexible” nature. As with the Gil Evans-led ensemble on Sketches of Spain or Ellington’s troupe on “A Tone Parallel to Harlem,” listeners never hear the mechanics of the work at hand, just the resultant art floating through the air. This applies to all the tunes—from Astor Piazzolla’s “Milonga del Angel” to Stan Kenton’s “Lonesome Train”—but especially the program’s centerpiece, a Carnegie Hall and Chicago Symphony Center commission penned by Tentet musical director Oded Lev-Ari that gives the album its title. 

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Jim Macnie

Jim Macnie is a music writer who contributes to DownBeat and blogs at Lament For a Straight Line. He’s been working in digital media since since 2000, initially as’s Managing Editor and, currently, as a Senior Producer and Editor at Vevo. He enjoys Little Jimmie Dickens, Big Joe Turner and Medium Medium.