Following are some Anat Cohen quotes which we have in our database of Quotes of Anat Cohen.
My everyday life is not just walking around on clouds. But you have to give the really special things in life importance and not let the temporary things roll you off the road.
With cab drivers, I always say I'm from Brazil. I don't say I'm from Israel. It's happened more than once that someone is blaming me for the government's policy. And I say, 'Listen, I live here. I'm a musician. I don
When I play the clarinet, I am 100 percent myself. It is as if it is part of my body. I can play whatever I think. Let me just read a melody and make it as sweet as I can.
I focused on the saxophone ever since high school. It wasn't until my album 'Poetica,' which I recorded in 2006, that I went back to the clarinet. It felt like it was waiting for me!
We still have to overcome the notion that a clarinet squeaks. People need to remember what a beautiful instrument it is, including in popular music.
To me, music is a luminous experience. Whenever I'm immersed in it, life lights up for me, no matter what else is going on.
My younger brother Avishai was my first influence. He picked up the trumpet, and I listened to him. The way he played - with the half valves and the smears - made me want to play like him.
I prefer to solve conflict with kindness. That's my first approach. If that doesn't work, there's always the alternative. I'm from Israel. I can tell a person what I think if I have to!
Some old people, they remember that they used to play clarinet, and they remember the squeaks of the clarinet. But I don't play like that.
Clarinet is often associated with certain genres, like swing or folk music. I combine the old and new, using the clarinet as an expressive tool and not in one genre. I'm just happy that people are drawn to what I do.
I feel like sometimes I get even more goofy onstage than I am offstage. I'm not trying to make the music less than what it is. Even if it's hard for me and I have to think about a lot of details, it's none of the audience's business. I
Whether it's performing a concert with my quartet or sitting in with my peers, enjoying musical conversations at home with my brothers or hanging and playing choro with my friends - sharing moments in that bright space of music are the happiest times
There are a lot of Israeli musicians in New York because you want to grow and go onstage, and eventually you have to get out of Israel to do that because there aren't enough places to play.
I was focusing on sax while at Berklee, but then I started to play Brazilian choro and Colombian music. I was doing more folkloric stuff on the clarinet because it works better. Finally, I realized I was working more on the clarinet than the saxophone, an
Avishai my brother always says to the audience, 'If you weren't here, it would just be a rehearsal.' So it's important to me to acknowledge and engage them. I know that they are there for me, and I'm humbled by that.
My father knew classical music very well. Driving in the car, listening to the radio, he could name every composer, every movement, what piece it was. I was fascinated by the way he recognized who wrote what.
I have an ambivalent feeling about the Israeli army. Growing up in Tel Aviv, being involved in the arts, the last thing artists want to do is fight.
I have two brothers that are musicians. My older brother, Yuval, is a saxophone player. My younger brother, Avishai, is a trumpet player.
I think maybe the only time I think of being a woman… is being on the road and making sure my musicians are fed and they sleep. 'Are you OK? Do you need some water? Are you hungry? Can I get you a cookie?' I'm not sure all the men bandlea
There's always this joke that I say in Israel: people don't really have discussions; they just try to convince the other people that they are wrong or they are right - they just try to impose their opinion on the others. Sometimes I think it
Sometimes I get off stage, and I almost have no recollection of what happened. It's almost like a trance; it's very bizarre.
The best part about living in New York is that you are able to play with different people in different styles in the same week. It's really part of who I am as a musical person. I try to incorporate everything that I encounter.
The clarinet is not so dominant in Israeli music as it is in klezmer. I heard klezmer when I was growing up, but for some reason I avoided it. I listened to Louis Armstrong instead. But the sense of melody is the connection between jazz and klezmer.
I definitely see myself as an international musician. When I play, I respect the source of the music, whether it's Cuban, Brazilian or Israeli. I try to bring that to all of the music I play. Music has no borders and no flags.
Influences at home, including classical music, were not all specifically jazz, but the family radio was always on… So there was always some connection to American culture, to American music.
My father had lived in the States in the 1960s for a while and came to love American Songbook material. Even today, he sometimes recognizes singers that I never even heard of, which is beautiful and inspiring.
Boston was incredible. I had some of the best experiences of my life there at Berklee because I met a bunch of other people who were at the exact same stage in life and interest as me. There were American and international students all wrapped up in the B
My initial training was on the keyboard - mainly the great American songbook. In junior high, during the day, I was a classical clarinetist, but after school, I played New Orleans jazz and big-band music.