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Having more than one notable jazz artist in a family isn't unusual, but it is a bit more rare for three related, talented jazz musicians to record together, whose surname isn't Marsalis. Israel natives Anat Cohen (clarinet and tenor sax), trumpeter Avishai Cohen, and soprano saxophonist Yuval Cohen are all siblings, while they are supported by a potent rhythm section consisting of pianist Aaron Goldberg, bassist Matt Penman, and drummer Gregory Hutchinson. Their spirited interpretation of Duke Ellington's early gem The Mooche (not The Mooch as shown on the cover) retains elements of the original arrangement with Anat's warm clarinet and Yuval's modern-sounding soprano. Their updated approach to Do You Know What It Means to Miss New Orleans has a distinctive modern touch and a rich reharmonization, with powerful ensembles by the Cohens. The Cohens also show off their skills as composers. Avishai penned the lush, moving Family, a beautiful ballad with a melancholy air, along with the imaginative With the Soul of the Greatest of Them All (dedicated to Charles Mingus), which opens with Penman's intense bass solo. Yuval wrote the intriguingly titled Blues for Dandi's Orange Bull Chasing an Old Sack, which has the flavor of early Mingus, with its walking bass and gradual increase in tempo. NEA Jazz Master Jon Hendricks, a young 89 years old at the time of the session, guests on two songs. He still excels as a scat singer in a deliberate setting of On the Sunny Side of the Street, while Roll 'Em Pete (the lively blues co-written by pianist Pete Johnson and blues shouter Joe Turner) is an all-around showcase for the band, with lively solos across the board and Hendricks' delightful vocal. It's quickly apparent that the 3 Cohens should have frequent family reunions in the studio. ~ Ken Dryden, Rovi
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A few things have changed since The Throne of the Third Heaven of the Nations' Millennium General Assembly's release, not the least of which is the addition of four new members to Le Loup's lineup (Christian Ervin, Michael Ferguson, Robby Sahm, and Jim Thomson). What was once a spare, introspective solo project has turned into a lush, outgoing group effort, and it results in Le Loup's most fully realized, not to mention celebratory, work to date. Sophisticated but not stuffy, ambitious but rarely self-indulgent, Family offers an example of the stuff that can go right on a second release. Family features some of Le Loup's most pop-oriented work to date, especially on a track like Beach Town -- a haunting, gritty deconstruction of a surf song. This isn't to say that Le Loup have compromised their tendency to experiment on this album -- far from it. Like The Throne, Family is rich with bells and whistles -- there's a lot of textured looping, overdubbed vocals, distortion, and reverb. The main difference here is in Family's generous array of organic instruments, particularly in the form of hand drums, tambourines, bells, handclaps, and rattles. Granted, there are times when this makes the album feel like a night at the drum circle (particularly at the end of Forgive Me), but for the most part it adds a warmth and glimmer to Le Loup's sound that was missing in their earlier work. Much of Family has a prayerful feel to it; there's a lot of chanting, especially on Go East (which, between the choir-like vocals and banjo flourishes, sounds practically Sufjan Stevens-esque). All the chanting and the organic instrumentation give Family a suggestion of the esoteric 1960s; the album's opening track, Saddle Mountain, has hints of the Incredible String Band and Pentangle. Family shows that Le Loup have really come into their own since the release of their 2007 debut. ~ Margaret Reges, Rovi
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