A huge name in United States jazz circles, Israeli-born New York-based Anat Cohen has won “clarinetist of the year” 10 years running in the Jazz Journalists' Association Awards. She's also had two Grammy nominations and graced the cover of Downbeat. Yet she is not nearly as well known in the UK as her brother, the trumpeter Avishai Cohen. This album by her Tentet should help to redress that. It has as its centerpiece Odded Lev-Ari's concerto for her: ‘Triple Helix’, a 21-minute work in three movements that shows her virtuoso playing to great advantage, runs through a panoply of musical moods and justifies the investment of Carnegie Hall and Chicago's Symphony Center in commissioning it. The core of the new work is its opening movement, running half the length of the whole, and including some inventive accordion work from Gonçalves and a cello solo from Hoffman that almost sounds like an oud, with flexible bent notes and subtle pizzicato lines. Elsewhere, the album runs a neat course between the sombre re-imagining of Gene Roland's ‘Lonesome Train’ (written for Stan Kenton, but almost unrecognisable here) and the joyous boogaloo of Cohen's own ‘Footsteps & Smiles’. Cohen's strength is a lyrical beauty of tone and phrasing that shines on Piazzolla's ‘Milonga Del Angel’ or her own ballad ‘Miri’. Yet she has the firepower and range to astonish with her sheer control of the instrument, and the fearlessness with which she bends it to her will, particularly in the title piece. A thoroughly rewarding album, whose numerous moments of gentleness are counterbalanced by some fearsome atonality and frenetic energy.