Fred Hersch, piano
Anat Cohen, clarinet

Saturday, August 10, 2013, 6:30 pm


The program will be announced from the stage.


Yamaha is the Official Piano of Maverick Concerts.
The C7 grand piano in the Maverick Concert Hall is a generous loan from Yamaha Artists Services.



Sunday, August 11, 4 pm

Trio Solisti

Music of Schubert, Britten, Copland, and Shostakovich

next week

Saturday, August 17, 6:30 pm

Steve Gorn,
bansuri flute,
with Samir Chatterjee, tabla, and special guest Sanjoy Bandopadhyay, sitar

Sunday, August 18, 4 pm

Borromeo String Quartet

Music of Bach, Beethoven, and Dvořák




An artist of unbounded imagination, ambition, and skill, Fred Hersch is, as Downbeat magazine aptly declared, “one of the small handful of brilliant musicians of his generation.” Proclaimed by Vanity Fair magazine “the most arrestingly innovative pianist in jazz over the last decade or so,” Hersch balances his internationally recognized instrumental skills with significant achievements as a composer, bandleader, and theatrical conceptualist, as well as remaining an in-demand collaborator with other noted bandleaders and vocalists. He was the first artist in the seventy-five-year history of New York*s legendary Village Vanguard to play weeklong engagements as a solo pianist. His second featured run is documented on the 2011 release, Alone at the Vanguard. This CD was nominated for two 2012 Grammy Awards—for Best Jazz Instrumental Album and for Best Jazz Improvised Solo (for his interpretation of Monk’s “Work”). Alone won the Coup de Coeur de l’Académie Charles Cros in France. Hersch placed fourth in the 2011 Downbeat Critic's Poll. His most recent trio CD, Whirl, found its way onto numerous 2010 best-recordings-of-the-year lists. His 2011 production My Coma Dreams, a full-evening work for eleven instruments, actor/singer, and animation/multimedia, was reviewed in The New York Times Magazine, which praised Hersch as“singular among the trailblazers of their art, a largely unsung innovator of this borderless, individualistic jazz—a jazz for the 21st century.“

In addition to his more than three dozen recordings as a leader/co-leader, his numerous awards include a 2003 Guggenheim Memorial Fellowship for composition and a Grammy nomination for Best Instrumental Composition, as well as two Grammy nominations for Best Jazz Instrumental Performance. Hersch has featured as either a solo performer or at the helm of various small ensembles, including his trio, a quintet, and his “Pocket Orchestra,” an unconventional lineup of piano, trumpet, voice, and percussion. Hersch is considered to be the most prolific and celebrated solo jazz pianist of his generation. In 2006, Palmetto released the solo CD Fred Hersch in Amsterdam: Live at the Bimhuis, and 2009 welcomed his eighth solo disc, Fred Hersch Plays Jobim, cited as one of the year’s top ten jazz releases by both NPR and The Wall Street Journal. Hersch was awarded Jazz Pianist of the Year 2011 by the Jazz Journalists Association.

Hersch’s career as a performer has been greatly enhanced by his composing activities, a vital part of nearly all of his live concerts and recordings. In 2003, Hersch created Leaves of Grass (Palmetto Records), a large-scale setting of Walt Whitman’s poetry for two voices and eight instruments. The work was presented in March 2005 in a sold-out performance at Zankel Hall at Carnegie Hall, as part of a six-city US tour. More than seventy of his jazz compositions have been recorded by Hersch and by numerous other artists.


Hersch has collaborated with many instrumentalists and vocalists throughout the worlds of jazz (Joe Henderson, Charlie Haden, Art Farmer, Stan Getz, and Bill Frisell); classical (Renée Fleming, Dawn Upshaw, and Christopher O’Riley); and Broadway (Audra McDonald). Long admired for his sympathetic work with singers, Hersch has joined with such notable jazz vocalists as Nancy King, Norma Winstone, and Kurt Elling. His duo CD, Da Vinci, with Italian clarinet virtuoso Nico Gori, came out on Bee Jazz in March 2012. He has received commissions from the Gilmore Keyboard Festival, the Doris Duke Foundation, the Miller Theatre at Columbia University, the Gramercy Trio, and the Brooklyn Youth Chorus. A disc of his through-composed works, Fred Hersch: Concert Music 2001-2006, has been released by Naxos Records; these works are published by Edition Peters.

He has been awarded a Rockefeller Fellowship, grants from Chamber Music America, the National Endowment for the Arts, and Meet the Composer, and seven composition residencies at the MacDowell Colony. In addition to a wide variety of National Public Radio programs including Fresh Air, Jazz Set, Studio 360, and Marian McPartland’s Piano Jazz, Hersch has also appeared on CBS Sunday Morning with Dr. Billy Taylor. A committed educator, Hersch has taught at The New School and the Manhattan School of Music, and conducted a professional training workshop for young musicians at the Weill Institute at Carnegie Hall in 2008. He is currently a visiting professor at Western Michigan University and is on the jazz studies faculty of the New England Conservatory.

A passionate spokesman and fund-raiser for AIDS services and education agencies since 1993, Hersch has produced and performed on four benefit recordings and in numerous concerts for charities, including Classical Action: Performing Arts Against AIDS, and Broadway Cares/Equity Fights AIDS. He has also been the keynote speaker and performer at international medical conferences in the United States and Europe.

Hersch’s influence has been widely felt on a new generation of jazz pianists, including former students Brad Mehldau and Ethan Iverson of The Bad Plus, and Jason Moran, who has said, “Fred at the piano is like LeBron James on the basketball court. He’s perfection.”




Clarinetist-saxophonist Anat Cohen has won hearts and minds the world over with her expressive virtuosity and delightful stage presence. Anat has been voted Clarinetist of the Year six years in a row by the Jazz Journalists Association, as well as 2012’s Multi-Reeds Player of the Year. That’s not to mention her topping of critics and readers polls in DownBeat magazine several years running.

Anat was born in Tel Aviv, Israel, and raised in a musical family. Jazz captured the youngster’s imagination, and she thrilled to recordings by Louis Armstrong and Sidney Bechet, Benny Goodman and Dexter Gordon, John Coltrane and Sonny Rollins. Anat began clarinet studies at age twelve and played jazz on clarinet for the first time in the Jaffa Conservatory’s Dixieland band. At sixteen, she joined the school’s big band and learned to play the tenor saxophone; it was this same year that Anat entered the prestigious Thelma Yellin High School for the Arts, where she majored in jazz. After graduation, she discharged her mandatory Israeli military service duty in 1993–95, playing tenor saxophone in the Israeli Air Force band.

Through the World Scholarship Tour, Anat was able to attend the Berklee College of Music in Boston, where she not only honed her jazz chops but expanded her musical horizons, developing a deep love and facility for various Latin music styles. During her Berklee years, Anat visited New York City during semester breaks, making a beeline for the West Village club Smalls to soak up a melting pot of jazz, contemporary grooves, and world music. Back in Boston, she played tenor saxophone in myriad contexts and bands, including Afro-Cuban, Argentinean, klezmer, contemporary Brazilian music, and classic Brazilian choro.

Moving to New York in 1999 after graduating from Berklee, Anat spent a decade touring with Sherrie Maricle’s all-woman big band, the Diva Jazz Orchestra; she also worked in such Brazilian groups as the Choro Ensemble and Duduka Da Fonseca’s Samba Jazz Quintet, and performed the music of Louis Armstrong with David Ostwald’s Gully Low Jazz Band.

Anat has won over the most knowing of jazz sages: Nat Hentoff praised her “bursting sound and infectious beat,” Dan Morgenstern her “gutsy, swinging” style, Ira Gitler her “liquid dexterity and authentic feeling,” and Gary Giddins her musicality “that bristles with invention.”

Establishing her own Anzic Records label in 2005, Anat kicked off her discography as a bandleader with Place & Time, a small-combo session of mostly original tunes that was named one of the year’s best debuts by All About Jazz. Her albums appeared on many year-end best-of-2007 lists, including those of JazzTimes, Slate, and Paste magazines.

In 2009, Anat became the first Israeli to headline at the Village Vanguard. In its glowing review, All About Jazz singled out the performance of “St. James Infirmary,” saying: “Cohen reaches a state of musical ecstasy. . . as her clarinet moans, sighs, soars, and wails with passion and emotion.”

Anat has also recorded three albums as part of the 3 Cohens Sextet with her brothers. The three siblings—with Anat the middle child to the elder Yuval and younger Avishai—toured the United States, Europe, Brazil, and Australia, and graced the cover of the January 2012 issue of DownBeat.

Anat collaborates regularly with one of her heroes, Cuban-American clarinetist-saxophonist Paquito D’Rivera, who introduced her onstage in the Jazz at Lincoln Center complex as “one of the greatest players ever of the clarinet.” She plays with George Wein’s Newport All-Stars and is a fixture on the New York scene at such clubs as Birdland. Anat has also appeared in New York at the Jazz Standard, Blue Note, Iridium, Joe’s Pub, and the Jazz Gallery, as well as other top clubs across the country and around the world. She has performed at Carnegie Hall, Lincoln Center, and Symphony Space in New York, as well as the Kennedy Center, Newark’s New Jersey Performing Arts Center, Boston’s Berklee Performance Center, the ORF-Kulturhaus in Vienna, and Belgrade’s Kolarac Hall in Serbia. Anat has played great jazz festivals the world over, including the JVC, Newport, Chicago, Monterey, New Orleans Jazz & Heritage, SF Jazz (San Francisco), Playboy (Los Angeles), Duke Ellington (Washington, DC), Montreal, Copenhagen, Jazz à Vienne, Umbria, North Sea (Netherlands), Tudo é Jazz (Brazil), Caesarea (Israel) and Zagreb Jazzarella festivals. Her performances have been broadcast internationally, including by WBGO, WFUV, WNYC and NPR in the United States and Radio Netherlands, ORF (Austrian Radio), SR (Swedish Radio), and Radio Bremen (Germany).

Anat says, “When I share music with people—other musicians or an audience—it always feels like a celebration to me.” And Nat Hentoff has observed, “Anat does what all authentic musicians do: She tells stories from her own experiences that are so deeply felt that they are very likely to connect listeners to their own dreams, desires, and longings.”