Cohen’s band Quartetinho (Portuguese for ‘little quartet’) already has one album to its name, and many years’ experience of the members playing together – particularly in her Tentet. So many things that other groups have to work to achieve seem to be present in this group’s DNA.

Notably this includes a first-rate control of dynamics, an almost imperceptible shift from composed sections to improvised passages, and a shared sense of form and structure. The opening ‘Night Owl’ (adapted from a clarinet exercise) takes its dynamic cues from the light and shade of Cohen’s clarinet, but even when she is not playing (as when the clarinet and guitar opening ushers in a vibes solo) her dynamic range dictates the overall sound.

Thelonious Monk’s ‘Trinkle Tinkle’ is a fresh interpretation, avoiding rhythmic bop and swing clichés, and in Gonçalves' piano solo, never copying Monk, but keeping a sense of his musical spirit hovering nearby. ‘Tango Para Guillermo’ is a long, slow build, its stately tempo staying constant, yet, without altering the underlying pace, the burst of instrumental activity towards the end seems to speed things up.

The highlight is the spacious, beautiful ‘La Catedral’ (composed by Augustín Barrios Mangoré) in which clarinet and guitar create a magical sense of space, and usher in sensitive and beautiful changes of texture. Good to hear a quartet that constantly tests its boundaries, but is unified by excellent collective musicianship.