Anat Cohen (born 1975 in Tel Aviv) is a world-renowned clarinetist who blends jazz, Brazilian choro and samba, klezmer, and classical technique. She is noted for a warm, vocal tone, conversational phrasing, and improvisation rooted in deep listening, rhythmic play, and strong melodic storytelling on the clarinet.

Anat Cohen: Biography and Key Career Dates

Anat Cohen is an Israeli-born clarinetist and saxophonist who became one of the leading voices in modern jazz clarinet. Her sound combines traditional jazz language, Brazilian music, klezmer colors, and classical control. For clarinetists, her career offers a roadmap for blending strong fundamentals with a wide, global musical vocabulary.

Cohen was born in 1975 in Tel Aviv, Israel, into a musical family that also includes saxophonists Yuval Cohen and Avishai Cohen. Growing up, she heard Israeli popular music, Middle Eastern melodies, and American jazz recordings. This mix of sounds shaped her ear long before she chose the clarinet as her primary voice.

She began clarinet studies in the 1990s, first in Israeli youth bands and conservatories, then in the Israeli Air Force band. There she gained daily ensemble experience, reading charts, blending with brass and woodwinds, and learning to project a focused sound. That disciplined environment helped her develop the reliable tone and time that define her later jazz work.

In the late 1990s, Cohen moved to the United States to study at Berklee College of Music in Boston. At Berklee she immersed herself in bebop, swing, Afro-Cuban music, and Brazilian styles. Studying harmony, ear training, and ensemble playing gave her the tools to improvise fluently while keeping a clarinetist's attention to sound and articulation.

During the 2000s, Cohen rose to prominence on the New York jazz scene. She performed with Sherrie Maricle's Diva Jazz Orchestra, worked in Brazilian ensembles, and began leading her own groups. Her early albums highlighted her command of swing, modern jazz harmony, and Brazilian choro, quickly earning attention from critics and fellow musicians.

Key recordings such as “Poetica” (mid-2000s), “Notes From The Village,” and later projects with the Anat Cohen Tentet showed her growth as a bandleader and arranger. She became a regular presence at festivals like Newport Jazz Festival and Monterey Jazz Festival, where her clarinet sound stood out among mostly saxophone-dominated horn sections.

By the 2010s, Cohen was consistently ranked at the top of clarinet categories in critics and readers polls from publications such as DownBeat and JazzTimes. She continued to expand her palette, collaborating with Brazilian musicians, exploring choro and samba more deeply, and integrating klezmer and Middle Eastern modes into her improvisations.

Cohen's Israeli heritage surfaces in her use of modal inflections, ornamentation, and a vocal approach that often resembles cantorial or folk singing. For clarinetists, this shows how cultural background can enrich jazz phrasing without sacrificing swing or groove. Her career illustrates that a strong personal voice can grow from honoring both local roots and global influences.

Musical Influences: Jazz, Klezmer, Brazilian Choro and Samba

Cohen's clarinet jazz style sits at the crossroads of several traditions: classic American jazz, Brazilian choro and samba, klezmer, and Middle Eastern song. Understanding these influences helps clarinetists decode her phrasing, articulation, and rhythmic feel, then adapt those ideas into their own practice and performance.

Her jazz foundation draws from players like Benny Goodman, Artie Shaw, and Jimmy Giuffre, along with saxophonists such as John Coltrane and Sonny Rollins. You can hear this in her clear swing feel, strong eighth-note lines, and confident use of bebop language, especially on medium-up standards and blues forms.

Klezmer and Israeli folk elements appear in her use of pitch bends, slides, and expressive vibrato on sustained notes. She often shapes phrases to imitate a human voice, with sighing falls, small scoops into notes, and ornaments around key scale tones. These gestures give her solos a storytelling quality that feels both ancient and modern.

Brazilian choro is central to Cohen's sound. Choro clarinetists like Paulo Moura and modern Brazilian ensembles influence her articulation and time feel. In choro, the clarinet often plays agile, melodic lines with crisp tonguing and precise syncopation. Cohen adapts this into jazz contexts, making her phrasing both lyrical and rhythmically sharp.

Samba and bossa nova add another layer. In samba, she locks into the surdo and pandeiro patterns, placing accents slightly ahead or behind the beat to create forward motion. In bossa nova, her lines often float more gently, with softer articulation and more legato connections between notes, while still respecting the underlying two-bar rhythmic cell.

Middle Eastern and North African modes, such as Hijaz-like scales, appear in her melodic choices on certain tunes. She may emphasize augmented seconds, altered scale degrees, or drone-like pedal points. For clarinetists, this is a reminder to explore modes beyond major and minor, especially when working with world-fusion repertoire.

Classical training also shapes Cohen's control of tone and dynamics. Even when she plays raw, bluesy phrases, the underlying support, intonation, and finger clarity reflect years of etudes and orchestral excerpts. This balance of classical discipline and improvisational freedom is one of the hallmarks of her artistry.

For students, mapping these influences into listening lists is powerful. Pair Benny Goodman with Paulo Moura, Artie Shaw with Jacob do Bandolim, and classic klezmer recordings with modern Brazilian jazz. Hearing how Cohen sits between these worlds will guide your own experiments with articulation, vibrato, and rhythm.

Live Performance Traits and Audience Connection

Cohen's live performances highlight traits that go beyond notes: body language, eye contact, dynamic pacing, and how she shapes sets. Clarinetists who study her concerts can learn not only how to play better, but how to communicate more clearly with both bandmates and audiences in clubs and festival settings.

On stage, Cohen often stands close to the rhythm section, physically leaning into the groove. She moves with the pulse, which helps her internalize time and communicate rhythmic ideas. This relaxed, grounded posture supports steady breath and embouchure, especially in long, singing phrases over Brazilian grooves.

Audience connection is central to her approach. She frequently introduces tunes with short stories about composers, rhythms, or personal memories. These explanations frame the music and invite listeners into the world of choro, samba, or klezmer, even if they are hearing those styles for the first time.

In solos, she builds clear arcs: starting with simple motifs, then gradually expanding range, rhythm, and intensity. She often saves the highest notes and densest runs for later in the solo, which makes the journey feel logical and emotionally satisfying. Clarinetists can study these arcs to avoid peaking too early in improvisations.

Her interaction with other musicians is highly conversational. You will see her turn toward the drummer or bassist, echo a rhythmic figure, or respond to a pianist's voicing in real time. This call-and-response mindset keeps her improvisation grounded in the band's collective sound rather than isolated virtuosity.

Dynamic contrast is another key trait. Cohen can drop to a near whisper in the chalumeau register, then swell to a full, ringing upper-clarion phrase without losing control. Live, these contrasts grab audience attention more effectively than constant high volume. Practicing dynamic scales and long tones prepares you to use similar contrasts on stage.

She also manages set pacing strategically. Up-tempo choro or samba tunes alternate with ballads or medium swing pieces, giving listeners and players time to breathe. For bandleaders, this is a reminder to program sets that balance technical display with emotional variety, especially when clarinet is the primary melodic voice.

For clarinetists hoping to emulate her live impact, record your own gigs or rehearsals and evaluate: Do you move with the time? Do your solos tell a story? Are you listening as actively as you play? These questions align closely with the performance habits that make Cohen's concerts memorable.

Core Clarinet Techniques for Jazz: Tone, Embouchure, Breath and Dynamics

Cohen's sound starts with classic clarinet fundamentals: centered tone, flexible embouchure, efficient breath support, and nuanced dynamics. She then adapts those basics to jazz and Brazilian contexts. Understanding how clarinet anatomy and setup interact with these skills will help you build a similarly versatile sound.

The clarinet's barrel and bore shape affect response and color. A slightly shorter or different-taper barrel can brighten or darken the sound and adjust tuning. Cohen's warm but projecting tone suggests a setup that balances focus with resonance, supported by a mouthpiece and reed combination that allows both soft subtone and powerful fortissimo.

The mouthpiece, ligature, and reed form the vibration system. While specific brands are not always publicized, the principles are clear: a facing that is open enough for jazz flexibility but not so open that control is lost, and reeds that respond easily in soft dynamics yet stay stable in the altissimo. Many players experiment with medium-strength reeds and moderate tip openings to find this balance.

Embouchure in Cohen's style is firm at the corners but not rigid. The lower lip cushions the reed, with jaw pressure light enough to allow pitch bends and vibrato when desired. She avoids biting, which would thin the tone and limit dynamic range. Long tones with gentle pitch bends are an effective way to train this flexible embouchure.

Breath support is central to her singing lines. She uses low abdominal engagement to keep air steady through long phrases, especially in Brazilian ballads and lyrical choros. Practicing exhalation on a single note for 15 to 25 seconds, then gradually increasing duration, builds the control needed for her kind of sustained, expressive sound.

Dynamics in jazz clarinet require quick, controlled changes. Cohen often shapes a single phrase from piano to forte and back, matching the contour of the melody. Practice scales and arpeggios with crescendo up and decrescendo down, always keeping tone quality consistent. This prepares you to mirror her dynamic storytelling in solos.

Articulation is another key. Her attacks are clear but rarely harsh. In choro and samba, she uses a mix of light tonguing and legato slurs to keep lines dancing without sounding choppy. Exercises that alternate tongued and slurred groups, especially in dotted and syncopated patterns, will help you internalize this balance.

Finally, register balance is important. Cohen's chalumeau register is dark and full, her clarion bright but not shrill, and her altissimo controlled. Long-tone ladders that move slowly across the break, combined with octave and twelfth exercises, will stabilize these transitions so you can phrase freely across the full range.

Improvisation Approach: Listening, Phrasing and Conversation

Cohen's improvisation is built on deep listening, melodic clarity, and a conversational mindset. For clarinetists, her solos provide a model of how to combine strong jazz vocabulary with personal expression, without sacrificing groove or interaction with the band.

Listening is the foundation. Cohen often speaks about hearing the rhythm section and internalizing the song's form. During solos, she responds to bass lines, drum accents, and piano voicings. To emulate this, practice improvising while focusing your ears on one band member at a time, then switch focus mid-chorus to train flexible attention.

Her phrasing is highly melodic. She favors singable motifs that can be developed, rather than long streams of notes. You will hear her repeat and vary short ideas, change their rhythmic placement, or move them through different chord tones. This motivic development keeps solos coherent and memorable for listeners.

Rhythmic play is another hallmark. In Brazilian contexts, she often displaces phrases across bar lines, uses off-beat accents, and interacts with percussion patterns. In swing tunes, she alternates between laid-back, behind-the-beat phrases and more forward, driving lines. Practicing with a metronome on beats 2 and 4, or only on beat 2, can sharpen your sense of placement.

Cohen treats improvisation as conversation. She leaves space, reacts to other players, and allows ideas to breathe. Silence becomes part of the solo. To practice this, limit yourself to one or two short phrases per chorus, forcing yourself to listen between statements. Over time, gradually increase density while preserving that sense of dialogue.

Harmonic awareness is strong but never academic. She outlines chord changes clearly, often targeting guide tones like the 3rd and 7th, then adds color tones and chromatic approaches. Transcribing a chorus or two of her solos on standards will reveal how often she returns to these structural tones, even in complex lines.

Emotion and narrative drive her choices. On ballads, she may use more rubato, wider vibrato, and longer notes. On up-tempo choros, she keeps vibrato minimal and articulation crisp, letting rhythm carry the energy. Clarinetists should experiment with varying vibrato speed, note length, and dynamics to match the emotional character of each tune.

Finally, Cohen's improvisation shows that technical facility serves expression. She can execute fast runs and wide interval leaps, but she uses them sparingly, as climactic moments rather than constant display. When practicing technique, always connect exercises to musical shapes you might actually use in a solo.

Practicing Brazilian Rhythms on Clarinet: Choro, Samba and Bossa Nova Routines

Brazilian rhythms are central to Cohen's clarinet jazz identity. To approach her feel, clarinetists need specific routines for choro, samba, and bossa nova. These styles demand precise articulation, strong internal pulse, and a clear understanding of how clarinet lines sit inside the groove created by percussion and guitar.

Choro often features a 2/4 feel with syncopated melodies over a steady bass. Start by clapping or tapping the basic choro pattern while listening to recordings by groups like Trio Madeira Brasil. Then, play simple scales in 2/4, accenting off-beats and practicing short, repeated rhythmic cells that mirror typical choro motifs.

For clarinet, choro articulation should be light and agile. Practice major and minor scales in one and two octaves using patterns of two slurred, two tongued notes, then three slurred, one tongued. Keep the tongue close to the reed and avoid heavy attacks. Aim for clarity without stiffness, similar to how Cohen shapes fast melodic lines.

Samba has a strong, danceable pulse built from layered percussion. Begin by internalizing the surdo pattern (strong beat on 1, lighter on 2) and the syncopated pandeiro rhythm. Sing or clap these patterns before playing. Then, improvise simple two-bar phrases using only a few notes, aligning accents with or against the imaginary percussion.

Bossa nova is more relaxed, with a characteristic guitar pattern that alternates bass notes and syncopated chords. Practice long, legato lines over a bossa groove, focusing on smooth connections and subtle dynamic swells. Cohen's bossa solos often feel like extended vocal lines, so prioritize breath control and phrase length over speed.

One effective routine is to choose a standard or Brazilian tune and practice it in three stages: first, only the melody with metronome on beats 2 and 4; second, melody plus simple rhythmic embellishments; third, short improvised phrases that respect the original rhythmic character. This mirrors how Cohen honors song forms while adding her own voice.

Subdivision practice is critical. Use a metronome on half-notes or whole notes and count sixteenth-note subdivisions out loud while playing. This trains you to feel the smaller rhythmic grid that underlies Brazilian grooves, making your syncopations more accurate and confident.

Finally, record yourself playing along with Brazilian recordings. Compare your articulation, time feel, and dynamics to the clarinet, flute, or bandolim lines on the track. Adjust your approach until your sound locks into the groove as naturally as possible, much like Cohen's clarinet does in her Brazilian collaborations.

World-Fusion Strategies: Blending Klezmer, African Beats and New Orleans Styles

Cohen's world-fusion work shows how clarinet can move freely between klezmer, African-influenced rhythms, and New Orleans jazz. For clarinetists, this fusion is not random mixing but a thoughtful layering of modes, ornaments, and grooves that still respects each tradition's character.

In klezmer-influenced pieces, Cohen often uses expressive ornaments: turns, slides into notes, and small pitch inflections around key scale degrees. Practice simple melodies in harmonic minor and Freygish-like scales, adding slow, controlled slides and grace notes. Focus on singing quality, as if imitating a vocalist or violinist.

African beats enter through rhythmic layering and cross-rhythms. You might hear 3-over-2 or 6-over-4 patterns in the drums or piano. To internalize this, practice clapping a steady 4/4 pulse while playing or singing a 3-note pattern that repeats every three beats. Then, transfer similar ideas to clarinet lines, as Cohen often does in her more groove-oriented projects.

New Orleans styles contribute second-line rhythms and blues inflections. Study classic New Orleans clarinetists like Sidney Bechet and George Lewis to hear how they use scoops, growls, and loose, vocal phrasing. Cohen channels this spirit while maintaining her own cleaner, more modern tone, creating a bridge between eras.

Harmonically, world-fusion pieces may move between modal vamps and functional jazz progressions. Cohen navigates these by maintaining strong melodic direction, even when chords stay static. Practice improvising over a single chord or drone, focusing on mode exploration, then switch to a standard with clear changes to balance both skills.

Instrumentation also shapes fusion strategies. In ensembles with percussion from different traditions, Cohen often chooses registers and timbres that complement specific drums or strings. Clarinetists can experiment with chalumeau lines against low drums, or bright clarion phrases over cymbal textures, to find similar color matches.

To build your own fusion vocabulary, create short etudes that combine elements: a klezmer-style scale with samba rhythm, or a New Orleans-inspired blues phrase over a choro groove. Record and refine these experiments, always checking that the result feels musical rather than forced.

Studying Cohen's world-fusion projects will show that successful blending comes from deep respect and listening. Each tradition is learned on its own terms, then woven together through shared values like groove, melody, and emotional honesty.

Repertoire, Recordings and Transcription Targets

To internalize Anat Cohen's clarinet jazz style, you need specific repertoire and recording references. Targeted listening and transcription will give you concrete models of her tone, phrasing, and rhythmic feel in different settings, from intimate Brazilian ensembles to larger jazz groups.

Start with albums that highlight her clarinet voice across styles. Early leader records show her swing and bebop roots, while later projects with Brazilian focus reveal her deep choro and samba integration. Live recordings capture her audience connection and spontaneous interaction with bandmates, which are harder to sense on studio albums.

Choose a few tracks as primary transcription targets. Look for pieces that are not overly fast but still representative of her style. Medium-tempo choros, lyrical ballads, and moderate swing tunes offer manageable entry points. Transcribing even 8 to 16 bars can teach you a great deal about her note choices and rhythmic placement.

When transcribing, focus first on rhythm and contour rather than exact notes. Clap or tap the solo's rhythm, then sing it, before writing anything down. This mirrors how Cohen prioritizes rhythmic feel and melodic shape. Only after the rhythm is secure should you refine pitches and fingerings on the clarinet.

Use slow-down software to hear details of articulation and vibrato. Notice where she tongues lightly, where she slurs, and how she shapes long notes. Try to imitate these nuances exactly, even if it means practicing very short fragments repeatedly. This level of detail will gradually influence your own default phrasing.

Repertoire for performance study should include a mix of standards and Brazilian tunes. Learn classic choros, sambas, and bossas that Cohen favors, along with jazz standards she has recorded. Playing these tunes in jam sessions or small ensembles will help you apply her concepts in real musical situations.

As you build a set list, think like Cohen: alternate rhythmic, up-tempo pieces with more lyrical, spacious tunes. This will challenge you to use different aspects of your technique and expression, from agile articulation to sustained, vocal lines. Over time, your repertoire will naturally reflect a similar stylistic breadth.

Keep a transcription notebook where you store licks, phrases, and full choruses you have learned from Cohen's recordings. Revisit these regularly, transpose them to multiple keys, and adapt them to new harmonic contexts. This ongoing work will steadily align your improvisational language with the qualities you admire in her playing.

Workshop & Practice Routines: Concrete Exercises and Workshop Notes

Clarinetists often struggle to turn admiration for Anat Cohen into daily practice habits. A structured routine that addresses tone, rhythm, and style can bridge that gap. The following workshop-style plan offers concrete exercises you can adapt for individual practice or group sessions focused on Cohen's clarinet jazz approach.

Begin with a 10-minute tone and embouchure warmup. Play long tones from low E to high C, holding each note for 12 to 16 counts. Start at mezzo-piano, crescendo to forte, then decrescendo back, keeping the sound even. Add gentle pitch bends of a quarter-tone to train flexibility without losing core tone.

Next, spend 10 minutes on articulation and choro-style agility. Choose one scale per day and play in 2/4 at a moderate tempo. Use patterns like two slurred, two tongued, then three slurred, one tongued. Focus on light, precise tongue contact and clean finger coordination, aiming for the crisp clarity heard in Cohen's Brazilian lines.

Dedicate 10 to 15 minutes to Brazilian rhythm integration. Pick a simple choro or samba groove and practice playing only one or two notes while varying rhythms. Then, add short melodic fragments using 3 to 5 notes. This isolates rhythmic creativity from harmonic complexity, echoing how Cohen often builds solos from small, rhythmically strong cells.

For improvisation, choose a tune associated with Cohen's repertoire and work on motivic development. Improvise using only one short motif for an entire chorus, changing its rhythm, starting point, or direction. This mirrors her tendency to develop ideas rather than constantly introducing new material.

Include 5 to 10 minutes of transcription application. Take a phrase you have learned from a Cohen solo and practice it in all 12 keys, then adapt it to different harmonic contexts, such as ii-V-I progressions or modal vamps. This helps you internalize her language as flexible vocabulary rather than fixed quotes.

End with 5 minutes of free playing over a Brazilian groove or ballad, focusing on emotional connection rather than technical display. Ask yourself if your sound feels vocal and expressive, as Cohen's does, and whether your phrases breathe naturally. Recording this segment once a week will give you a clear sense of progress.

For group workshops, assign each participant a short Cohen phrase to present, then have the group improvise call-and-response variations. Rotate roles between soloist and accompanist, encouraging the same kind of active listening and interaction that defines Cohen's ensemble work.

Gaps, Maintenance & Troubleshooting for Clarinetists Emulating Cohen

Many resources on Anat Cohen focus on inspiration but skip practical troubleshooting. To move closer to her sound, clarinetists need clear guidance on equipment choices, daily maintenance, and fixes for common tone and response problems that can block expressive playing in jazz and Brazilian settings.

Start with basic instrument care. Swab the bore after every session to remove moisture and protect pads. Apply cork grease sparingly to tenons when assembly feels tight, but avoid overuse. Rotate at least 3 to 4 reeds, resting each for a day between uses, to maintain consistent response and reduce warping.

Inspect pads and corks regularly for leaks or damage, especially around the register key and throat tone area. Small leaks can cause unstable high notes and noisy register breaks, which make it hard to execute the smooth, vocal lines characteristic of Cohen's style. If you suspect leaks, consult a qualified technician promptly.

For thin tone, first check reed strength and facing compatibility. A reed that is too hard can choke the sound, while one that is too soft can sound fuzzy. Experiment within a narrow range of strengths and adjust reed placement slightly up or down on the mouthpiece to find a fuller core sound.

If the register break feels noisy or unreliable, practice slow slurs across the break using minimal finger motion and steady air. Long-tone exercises that move from throat A to clarion B, then up and down stepwise, will gradually smooth this transition. Cohen's fluid register shifts rely on this kind of foundational work.

Unstable high notes often result from insufficient air support or excessive jaw pressure. Focus on strong, continuous airflow from the diaphragm while relaxing the jaw slightly. Practice high-register long tones at soft dynamics first, then increase volume gradually, always aiming for the same warmth you have in the lower register.

Articulation issues in fast Brazilian passages can stem from heavy tonguing or tense fingers. Work at slower tempos with very light tongue contact, almost like saying “du” instead of “tu.” Gradually increase speed only when the tongue and fingers feel coordinated and relaxed, mirroring the effortless clarity heard in Cohen's choro playing.

Finally, recognize that equipment information in many sources is incomplete. Since specific brands may not be listed, focus on general characteristics: a mouthpiece that allows both soft subtone and strong projection, reeds that respond easily at varied dynamics, and a barrel that helps you center pitch without strain. Combine this with the maintenance and troubleshooting steps above to support your artistic goals.

Key Takeaways

Clarinetists studying Anat Cohen's jazz style can use these core points as a quick reference for practice and performance planning.

• Build a warm, vocal tone through flexible embouchure, steady breath support, and dynamic long-tone work across the full range.
• Internalize Brazilian choro, samba, and bossa nova rhythms with daily 15-minute groove routines focused on articulation, accents, and subdivision.
• Treat improvisation as conversation: listen deeply, develop short motifs, leave space, and respond to bandmates in real time.
• Use targeted transcriptions of Cohen's solos to absorb phrasing, articulation, and rhythmic feel, then transpose and adapt phrases to new contexts.
• Support expressive playing with consistent maintenance, reed rotation, and troubleshooting of tone, register breaks, and high-note stability.

FAQ

What is Anat Cohen clarinet jazz?

Anat Cohen clarinet jazz refers to the distinctive style of Israeli-born clarinetist Anat Cohen, who blends classic jazz language with Brazilian choro and samba, klezmer, and Middle Eastern influences. Her playing is known for a warm, vocal tone, conversational improvisation, and strong rhythmic integration with Brazilian and world-fusion grooves.

How does Anat Cohen incorporate Brazilian rhythms like choro and samba into her clarinet playing?

Cohen internalizes Brazilian rhythms by deeply studying choro and samba percussion patterns, then shaping clarinet lines that lock into those grooves. She uses light, agile articulation, precise syncopation, and clear off-beat accents, often building solos from small rhythmic cells that mirror guitar and percussion figures while maintaining strong melodic direction.

What clarinet techniques does Anat Cohen use for jazz improvisation?

Cohen relies on a flexible embouchure, steady breath support, and nuanced dynamics to create a vocal tone suited to jazz improvisation. She combines clear articulation, smooth register transitions, and motivic development with strong harmonic awareness, targeting guide tones and color notes while using rhythmic displacement and interaction with the rhythm section.

Which recordings and transcriptions are best to study Anat Cohen's style?

The most useful recordings to study include her Brazilian-focused albums and live performances where clarinet is featured prominently. Choose medium-tempo choros, sambas, and ballads as transcription targets, focusing on 8 to 16 bar segments. Analyze her tone, articulation, rhythmic placement, and motivic development, then transpose phrases to multiple keys.

How can I practice a warm, conversational tone like Anat Cohen?

To approach Cohen's warm, conversational tone, practice daily long tones with crescendos and decrescendos, gentle pitch bends, and careful embouchure flexibility. Combine this with lyrical scale and arpeggio work at varied dynamics, then apply the same sound concept to melodies and slow improvisations, always aiming for a vocal, singing quality in every register.