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Album of the week Marlbank, August 2025
“Ever wonder what the DNA double helix might sound like if it were music? The answer is Anat Fort’s The Dreamworld of Paul Motian”. Abe Goldstien, Papatamus Redux August 2025
Top August Jazz Releases August 2025 David R. Adler, JazzTimes
“Album della settimana”. Angelo Leonardi, All About Jazz March 2024
“The Limp” has a serpentine bass ostinato and a deceptively simple melody, suggesting a folk song. But Fort’s unpacking of the theme is precisely calibrated, at once delicate and determined. It’s a smart performance, and a good indication of what Colour is all about. Nate Chinen, Take Five
The Best Jazz on Bandcamp Dave Summer, Bandcamp Daily March 2023
“The Anat Fort Trio has been doing sterling creative work for all this time – a boon for all Israeli jazz fans”. March, 2019 Barry Davis, The Jerusalem Post
“For a jazz musician known internationally for her remarkable and picturesque piano playing, Anat Fort has a surprisingly slender discography”… Robert Ham, Downbeat magazine
“From the lively “Tirata Tiratata” to the poignant “Part,” from the churning “Free” to the somber “Goor Katan” and beyond, Colour evinces the continuous evolution of the Anat Fort Trio, providing ample proof of the group’s enlivening spirit and the warm hues that their sound provides.” Matt Micucci, Jazziz magazine
“In just two and a half minutes, “Tirata Tiratata” demonstrates the depth of Anat Fort’s talents as a pianist, and the synergetic range of her trio (Gary Wang on bass and Roland Schneider on drums), which is celebrating its 20th year together. Fort skids around the keyboard in quick, truncated lines, using jagged chords in […]
“Keine schlechten Referenzen, aber auch kein Kopieren, eher ein Verwenden der Teile zur Entwicklung eines ureigenen Stils. Das hat Kraft und Energie, ohne besonders laut zu sein, das hat Struktur und Logik, ohne die Freiheit der Improvisation wesentlich einzuschränken. Ein zu Recht heftig bejubelter Abend”. Christoph Haunschmid – Oberösterrechische Nachricht
“Her chords had the bright payoff of internal octaves as well as the acrid carp of dissonance. Altogether, the group was finding a new cooperative language, sometimes hitting a sputtering stride, sometimes avoiding cohesion altogether”. Giovanni Russonello, The NY Times
“…Fort came on board in 2007 with “A Long Story”… her subsequent recordings, lyrical and unpredictable, have reinforced her growing reputation.”
“Her most recent album, ‘Birdwatching’, on ECM, features the Italian clarinetist Gianluigi Trovesi; it’s a subtle triumph”
“The mark of good music performed well is that time manages to stand still, and yet the set felt too short. One encore was not enough, and everyone in attendance would gladly have stayed another hour.”
“Fort took off by means of no other wings than her own two hands, and held the entire scope of the performance in her eagle-eyed vision at every change. But really there was no need to watch this bird, because, even with eyes closed, she dove into every listener’s heart, true to soul and melodic […]
“This is one of the most understated ECM recordings of the year and it should be overlooked at your peril. Already a candidate for piano recording of the year”.
“The subtlety of Fort and Trovesi’s engagement was a marvel—the kind of connection where each player was capable of picking up on the slightest turn of phrase as a means of shifting the music’s direction, and the kind of interaction where nuanced surprises drove the music and where the connection shared by Fort and Trovesi […]
“She is as dewy-eyed as she is insinuating in ‘First Rays’ and lucid and focuses in the swirling patterns of ‘Song of the Phoenix,’ making you think that you can fall prey to the mystical charms of anything she plays on a dime.”
“One of the ten best jazz performances of 2014”