Israeli-born Cohen (sister of trumpeter Avishai and saxophonist Yuval) is a highly visible presence on the New York scene. I've heard her play in drummer Sherrie Maricle's all-female Diva group as well as with David Ostwald's Louis Armstrong Centennial band. She's capable of fitting into edgier contexts and will then turn up in something that verges on revivalism. Here she fuses a number of influences in a compelling presentation, ranging from world music references to cleareyed swing, adding guest input from Gomez, Gordon (on two tracks) and D'Rivera (on four) to that of her regular quartet. Lindner's ‘Anat's Dance’ opens, its to-and-fro rhythm sparking plenty of vigorous, pure-sounding clarinet from Cohen, while Lindner builds a percussive pattern in his solo, teetering (and recovering) on the brink of chaos, as Freedman clatters on and on.

‘La Vie En Rose’ which follows is almost laughably different, as Gordon shows off his wah-wah chops (and vocalises in Satchmo fashion) in a dainty version of this old warhorse, with a bravura coda from Cohen, and not to be outdone, a high-note finish from the ever-playful trombonist. Yet more contrast comes with Freedman's ‘All Brothers’, described as in west African-style with its kora-like intro on prepared piano before it hits a dancing groove and Cohen's shrill soprano soars over the top. She replicates Artie Shaw's original solo on the moody ‘Nightmare’, leaving space for D‘Rivera to add his own keening variations. A Nascimento original (Gomez in his element) follows, Cohen on soprano before Lonnie Smith's ‘And the World Weeps’, with Cohen, raucous on tenor, Gordon (sounding ruder than is decent) and D'Rivera added.

Then it's Jobim's bossa, ‘Ohla, Maria’ before Cohen's shapely bassclarinet is heard on her own ‘Kick Off’, with ‘The Wedding’ (lovely tune) as a fervent closer, Cohen on tenor and Lindner perfect. Its a richly varied array of themes and treatments, with Cohen demonstrating a fine command of her instruments and plenty of originality.