You'll Hear It: Full Album Deep Dives with Jazz Musicians - An Interview With Anat Cohen

Episode Date: October 17, 2022

Peter talks to Anat about her new record, recent shows, and life in general. You can find Anat's new album here!Want to follow Anat's tour schedule? You can find that here. Have a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open StudioLet us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Twitter | Instagram

What's up everybody? Peter Martin here on the pod today. We have a very special guest, none other than Anat Cohen. A friend of the pod, but she hasn't been on in a while. We had a great discussion just now. I think you guys are going to really enjoy this. We talked about her new record. Touring during the pandemic, after the pandemic, her artistry, her vision on her music and just a bunch of fun stuff. So sit back and enjoy a conversation with Anat Cohen. I want to see when Hugh Lorry participating in Fred Hirsch's clinic. That would be good. Hugh seems to be more partial to Adam. That's true. So far. Oh, I was very happy when I saw that tweet. Yeah, yeah.

So I guess we're starting the interview now, right? Let's go for it. No, no, I'm saying we just started it. Oh, we just started. All right. Welcome and not. Good to see you. Good to see you.

My friend. My friend, Peter Martin. I mean, I never know whether or not to think about you as my friend or one of my favorite artist because you're both and your many other things as well. But I'm such a fan of yours and such a friend and I love your music. I'm so excited about your new project and we're going to talk about that if that's cool. And I mean, you know, during the pandemic and way before your music has illuminated our household, especially when I was home a lot, because not just because we're friends, but because I love the music. And I, you know, I'm always saying like your creative output over the last

15 to 20 years, I think in terms of quality music and quantity, hitting that spot between those is unparalleled. I mean, we both know a lot of great artists that we work with, but no one has hit that high-level mark more than you have. So, honored to have you here. I'm going to cry. Please stop. No, it's facts. That's facts. Come on. Yeah. Come on. I, you know, I'm such a huge fan of yours. I love the way you play. I love your musicianship and I love everything you do educationally and just how free

you are as a person to be yourself. And the fact that you're a runner. Yes, well we have that we have shared the treadmills well two separate treadmills several times on the road before. That's true. That was before you were running marathoms though. That was that was when I was starting

up. But can we jump right to the new project? Sure. We'll work our way back as we need to. First of all, welcome to the You're already a friend of the pod. Everybody loves you on the pod. You jumped in a couple of weeks ago, and we were so excited when we realized that your schedule was lining up.

You're in town actually performing in just a few hours at the Sheldon Concert Hall with your quartet. I'm so looking forward to this performance. I've had it marked on my calendar for a while. Since I told you about it. Since you told me about it, exactly. No, I knew about it.

I just didn't know it was coming up this quick. But tell us about quartetino, your new record, your kind of new-ish group, although I know you've been playing with these great musicians for a while. But it's a new record, but it's also you're starting a tour tonight, I believe, kind of Midwestern and West Coast kind of thing. Right. So how's that?

Okay, so this band, it's called quartetino. Quartetino. Or Quattuccino, if you're really, I'm trying to say for the people that can imagine how it's written. It means little quartet. Right. Portuguese, right? Yeah, if you make something inio, you make it small. But it's nothing. But wouldn't a little quartet be like a trio or a duo?

potentially. But you know what? I thought about it because the guy is, okay, I'm going to start with saying the names of the guy. So I don't want to keep people in a suspense here. Yeah. So we have James Schip from Maryland. Yeah. From Columbia. Why you say it's so, so plainly Maryland? From Maryland. We can't all be from Tel Aviv. I'm sorry. On the Mediterranean. Because he's the American in the band, the American event. From Colombia. Was that like a tax situation you're required to have one? Yeah, one American. Well, no, I'm also an American citizen.

That's right. But we have a James Ship is an incredible musician. And he plays in the band. He plays vibraphone. He plays percussion. He plays some synths, some sounds. And he's a very, very creative person and that, unpredictable, which I love.

And then we have a Brazilian piano. player, accordion player, Vito Gonsalves. Vito Gonsalves, which is a swinging, grooving person and enjoy to work with. Wait, a swinging, grooving musician from Brazil? That's so hard to find, isn't it? Yes. You know, he's swinging for caramba. Okay.

And then we have an Israeli bass player, guitar player, Talmashir. He plays a seven-stream guitar. And so, and I play clarinet and bass clarinet in this band. And since they're all members of the tentettes, and that's how Quartetchino became because I was like, oh, it's like the big ensemble, and then a smaller version of the tentat. It's a Quaterchino, so little quartet,

that's where the name came from. And we've been playing together, obviously with the tentat, we've been playing together for a few years, but I always wanted to explore this chamber, because you can go different direction with this band. So you can either go almost like chamber jazz. Like we go with a vibraphon and accordion and the bass and the clarinet or the bass clarinet. Or then you can go to like the fender roads and the percussion and guitar.

And so there's a lot of like different sounds that instrumentation that you can get from this band. And they're also very open-minded musicians. so you can, you know, they're okay with going like more to the classical way and some through composed or written, you know, written scores and free, play completely free. Like, just experiment with sounds and the ambience of the room. So it's a lot of possibilities. And I just, I love this band and I'm proud of this project. And I'm excited to start a tour tonight.

We're going to be in the Midwest. We're going to go to Seattle. We go to East. Israel, we're going to go to all kinds of places. Midwest to the Middle East. Exactly. That's how we do it. So with the, you know, one thing that struck me about this particular, and I've heard you in many different situations, you know, different instrumentations, smaller, larger things

that we played together, of course. But what struck me about this particular instrumentation, it's a quartet, but it's not a traditional, like the main thing that kind of pulls it out of being a typical jazz quartet is the lack of drum set. There's a lot of percussion that comes in and out and is used in different ways. And I think it's such a refreshing kind of a sound because not only to me, you know, in terms of listening to the record and I'm so eager to hear it tonight, the, you don't miss the drum set, but it's also, we realize like how much that defines groups in a wonderful way in what

we do. I mean, be it, you know, a larger group or a piano trio. or anything, but when you don't have the drums, but you still have the percussion, it's a very different kind of thing. It opens up some different avenues, and I'm wondering, was that kind of intentional on your part, or did that kind of just come out of the personnel

when you wanted to break it down to these four? It's both. I mean, it's the instruments that the guys are playing, but also the idea of not having a drum set, a drummer per se. It gives opportunity for everyone in the band to be the drummer. And it's something that I love to explore, to be able to play the rhythm.

And sometimes when you don't have a drummer, you have more rhythmic responsibilities and more opportunities to be playful with the feeling the time and playing the time. And of course, the piano is a percussive instrument, the vibraphone is a percussion instrument, the guitar can, you know, there's a lot of, you know, I like to explore the percussive side

of playing when the music requires or asks for it. So it's nice to explore without the drummer. I mean, I like both. Well, but I've always felt that you're playing on the clarinet in particular, but you're a very groove-oriented player. Like, you're always getting right inside

whatever the groove is. And so I think the percussiveness is something that comes out in your playing very naturally. It's like such a great asset. And so having a little bit more space for that is really exciting. you know and well let's just

can we listen to a little bit? Sure. It'll make more sense than me talking about it. I'll be proving it. So this is, I love the whole album, but this is Louisiana and this is your tune, right? Yes. And so this is great because there's originals from, are there originals from everybody in the band?

Yeah, except the Vitor didn't, we didn't end up recording one of Vito's tunes. Oh, he's holding back? He was charging too much. He's holding for the next record. And then there's some great Brazilian coverage as well. But this is Louisiana by, Anach Cohen. Have you been to Louisiana?

Yeah. Yeah. Because you sound like you were born there on this track. But let's listen. I always hate to do this, but I want to talk to you some more about this. Sounds bad. You guys sound great on this. The recording, the audio quality, the immediacy of the instruments. It's really just a highly recommend this record. We'll have a link below, as we always do, to pick this up.

And it's on your own label, which is fantastic. But, I mean, that's what I was talking about. The playing obviously is stellar, but the recording quality, the way that you program these records, I've always been such a fan of that. And I wonder if you could talk specifically about this. You have a lot of like three minute, four minute, you know, I think the longest thing on here is eight minutes. But not even so much specific to how long they are. To me, you put together an album that's a story so well.

You know, the stuff that's longer is longer for a reason. Like those are really short solos. But they were very like filled with life and joy and like appropriate for the track. And especially if you listen to this record from beginning to end, which I highly recommend. Like once you get here, it makes sense, you know? And I feel like it's something that we don't talk about a lot. Maybe it's like if you've got it, you've just got it. But it would especially help some of the younger players that are trying to think about doing this.

Like how do you go about program? You know you can play, you know you got some good players, but how do you put together to make these cohesive statements? You know, there's a few ideas, a few thoughts that I keep in mind when I go in the studio. And I think when there's long solos, they have to have a reason to belong. And when you play a song like that, it's a blues. That is a fun groove. And yes, we could have each played five choruses or ten choruses, but I wanted to keep the essence

of the song. And so I chose to say, okay, just two choruses, each person, just to have, it's a very traditional way of like, okay, just two choruses and out. So, you know, try to say what you want to say in two choruses. And with this band, we definitely, we rehearsed a bunch. We started to rehearse this music right before the pandemic. We did our first official show in New York City at the Miller Theater on March 7th, 2020. And March 8th, they shut down the city. Yeah.

So we waited a couple of years until we got together again and revised the material so we everybody can sit on it for a second. But when we got into the studio we had all these ideas and all these songs and I wasn't even sure that everything that we recorded was going to make the the album. I was like let's record what we have and then see and I have to say that we're talking about sequencing for an album which is something that I was thinking about a lot and and and while I'm thinking about it, I'm thinking about it, I'm I kept thinking, but nobody listens to the full albums anymore. People listen to a song. So I'm like, is this a waste of time?

And that I couldn't decide on the sequence because this band has the kind of like more dense side and the more like chamber music, like kind of gentle. And so it was very hard to decide how to put it together. And I actually wrote the names of all the songs on little cards and I put them all in front of me And I start changing the order and sat there and try to imagine. And I say, well, what is this statement means and starting with?

And every, you know, the way you start an album, I think it's, it's, I mean, I could have started the album with kind of more rocking song. And then it's one statement. Then I decided, I chose to decide with kind of, you know, pretty free. It's free improvisation. Yeah. Very different. I'm like, okay, whoever is not up for the challenge, we're going to lose them in this first track. and then whoever wants to join the ride,

they're going to stick around and they're going to go other places. So it's kind of like, okay, if you're not serious, bye, see you later. That's so, I mean, I'm not surprised at all that there was that level of intentionality to it because the way, that's what the next time I wanted to ask you about is because you started with the Baroque-esque-free,

kind of like what some would see what could have been in the middle of the record where you would build up to that. And so as soon as I heard that, I was like, okay, she's saying something in terms of, I didn't feel like it was not so much like this is what this record's going to be because I knew it wasn't going to all be like that. But it was saying something in terms of like time to listen. Like this is a different, you know, not that we're not trying to listen to everything, but specifically like we're going to go on a journey here. This is just part of what that journey.

That's what it said to me. And that's, I mean, I'm projecting a little bit because then I went on and listened and I felt how it unfolded. But to me, that's a very exciting thing still about making an album and not just listening to a track. I mean, yeah, I can jump around and I do that and we'll have our favorite tracks and be like, oh, I love this solo. I love this thing they did all this part. That's fun too. But in terms of like, I find especially the first few times you can listen to a record,

because you can never have that first impression again because you've seen the movie. But a great movie, you want to see it again and then you want to go deeper. And there's a lot of really, you know, depth in here. So how are you going to start the concert tonight? That's what I should ask you. Do you look at that differently than in terms of programming an album? Yeah, I think it depends. Of course, it depends on the venue where we are.

And if we're in a club, it's one, maybe one way of starting. But in a concert hall, that way of starting with James' song, Baroque and Spirit is also. So it starts so mysterious and so it gets everybody to immediately to pay attention. So it's a way to grab the attention of the audience. Okay, I'll mark that down. I'll hold you to that tonight. We will be hearing that first or I will be leaving.

No problem. That's great, great, great. So how have you been back touring again, back traveling around the world? I mean, you've always been, you're a traveler at heart. So are you. Yeah, no, for sure. I mean, we've played together, but we've also seen each other all around the world. We've traveled together.

And I think that, you know, nobody gets to the point, certainly for as long as I've been doing this, but even for as long as you've been doing this, if you don't love beyond just the music, you know what I mean? But how have you found traveling in now kind of post-pan, are we post-panda? I guess we are. Whatever we're calling this period, you know. Just as just what I thought I was out. They pulled me right back in. The new period.

Because it seems like it's just not ending. There's another whole other thing going on. And actually, James just recovered from COVID. So he's just, I was like, oh, man, I'm glad you're done with it right before the tour. Well, that's what we like to do on the podcast. We like to announce different musicians' COVID status. So that's perfect. Oh, that's not something you're supposed to talk?

Of course we can. Oh. You're a band leader. You can do whatever you want. What I mean? Is this a six supposed to be a secret? No, no, not at all. No, it's a, I mean, hey, it's like if you managed to, if you managed to not get COVID for like,

like two and a half years during a pandemic. I know. I know. Well, I made it more than two years. The problem is you start to think, you know, he still has, you still have an echo. Look, we're talking about everybody. But it's like you start to think that you're special. Yeah. And so then when I did get it, I was like, I mean, I'm on a nine hour flight from Belgium to Chicago with my mask on and a woman's next to me like coughing the whole flight with no mask. And then they bring the food around and I'm like, well, I got to eat. So I take my mask off. But I'm thinking, oh, I'm so special. It's not going to happen to me. turns out it did because of that but anyway

no but I mean just in general like how are you finding the audiences I mean obviously the travel's different and stuff but people's embrace of the music are you finding like is it kind of letting are you jumping back in where we left off or is it a different kind of adjustment period you know I feel like we are the performers are adjusting

I mean now I'm a little bit more used to it and I can expand on that for a second but I But I feel like the audience is adjusting. And what I find, especially, you know, because we play in venues that, you know, sometimes some of the audience, it's older audience. And it was real traumatic for them. And then a lot of people are still just now starting to go out and go out to see shows. And I feel like, you know, not having the stage for me and saying, okay, could I live without it? What if I never go on stage anymore?

And I was like, because, you know, before the pandemic, it was never a question. That's what we do. That's what I live for. I love being on stage. I want to be, and I still love being on stage. But the pandemic kind of gave me this, what if I, what if it never comes back? And there's no live shows. And am I going to be okay.

And I'm like, okay, I am going to be okay. But it also got me much more appreciative of the fact that people invite me to play and give me a stage to perform and make music and communicate with people and this whole concept of shared experience between us musicians on stage and the musicians on stage and the audience and feeling something together which became such so much need during the pandemic it's it for me became so much more valuable so I go to places being like oh my God thank you for I'm so grateful to be able to be on stage and to share my music and I'll keep doing it until, you know, they don't want me anymore. Yeah, yeah.

We're going to keep wanting you for a long time, no doubt. But that's very prescient what you're saying just in terms of it sounds like you, I think we all, as artists, had to deal with like, yeah, what if things don't come back or if it's different or we just had that time to like take a breath. and really kind of think about and re-evaluate and see kind of where we were. I think we all felt like the music doesn't change the relationship, but we don't see each other. Everybody's like this pause period, so it's not like you, and I know you did a lot of playing. I want to talk about that just a little bit and practicing and stuff,

so it's not like your skills are going down. If anything, they might have got better even. But, I mean, I think that the relationship does change. You did some performances. There's two in particular that I'm thinking about. One was the tiny desk that you have. and Marcello did, and then you did an at-home concert for us at Open Studio, actually, that was some of the most beautiful playing that I heard.

You know, during this time where you got to hear people in sort of different situations, it's like, oh, I can't wait to see a knot when I go up to New York or when I'm at the Nice Jazz Festival, whatever. But now it's like, wait, she's in my living room live, but she's in Brazil in this intimate duo with this amazing guitarist, like, playing. Like, is this real or is it recorded? No, this is happening now halfway around the world. and it was stunning.

First of all, the playing was stunning. That's what was so amazing about it. But there was an intimacy there when you're like on our big TV with my good speakers in the living room and me and Kelly are sitting there. I had a little bottle of wine going, not a lot. But, you know, it was a very, like, you really,

I know it was different for all musicians. We all dealt with this as we needed to family and work. It was a crazy time for the whole world. But I felt like you, I could feel through the music, and we talked some during this period, but mostly just through your music, like you, if anything, deepened your relationship with your artistry, with your art, with your instrument and stuff. And I just, I would love to hear whatever thoughts you have about that period, playing in your apartment in Brazil, but it going around the world. Yeah, it's, you know, actually the way you say, the way you describe it right now, it's like, oh, wow, you're right, I was playing in Brazil, and you were listening to me in St. Louis, and we were sharing.

a moment. And actually in that show that we did for Open Studio, we played with Romero Lobambo and actually we played live I don't know how we did it, but we played the song that we played at the same time. Even with the latency, y'all pulled

the group together. And you know, it's kind of like I think that that side of like, of doing shows it was closer to the experience that we have when we go into the studio and record. because it's not the same experience as when you're on stage

and you're feeling everybody and you're like sharing the massive amount of sound comes from all the monitors. Everything in the studio is a little sterile. You're just, you're isolated with your headphones and you imagine that you're inside this massive amount of sound, but in reality, you're like under a magnifying glass of every little click of the instruments and every note that comes out is like,

well, everybody can hear everything, especially when after that you go to the console, and somebody just, I saw that your instrument, you're like, ooh. Right, super sterile. So being the pandemic was kind of like that. You suddenly had like, it was, oh, how do I sound? Yeah. Is this a song?

Hello? And it was interesting. You kind of had to, it kind of built a lot of, almost like trust. It's like, okay, I'm delivering the most honest performance I can deliver and I'm still maintaining my craft and trying to be, you know, because the craft, I mean, technique is one thing, but the connection that you have with the instrument, it's beyond the technique.

When you're an improvising musician, I feel like, yeah, you can play fast. Okay, great. But if you're not having this habit of playing with the instrument and the constant flow of ideas that you practice in kind of daily or at least every other day that you can actually get this machine oiled. When it comes moments to perform, you're preoccupied with things that take you away from the moment. So the moment is, you're no longer in the moment.

So you cannot improvise and you cannot create because you're preoccupied. So the idea of the pandemic was how to, let's not call it, I like to call it the quarantine time. Quarantine time. It's a little nicer. That you really, kind of had to not lose that connection with the flow

and actually the beautiful thing about education online was so inspiring and your open studio courses that I got to watch in your classes that you did and also you did the challenge that everyday practicing thing and little but every little things gave so much

hope and something to hold to and say okay I'm inspired because somebody else is doing it. So it gave us a whole other understanding our own struggles and dealing with them globally, which was really interesting. Yeah. And you realize, yeah, it's hard. It's hard for everybody.

Right, right. So it's, I don't know, I kind of went off the topic question. No, that's, I mean, that's your, you bring such a, even pre-quarantine pandemic period. You've always been not only a global ambassador for this music, jazz, and also for the clarinet and for your very specific, you know, specific artistry. But I always feel like in the jazz world, you're one of our global ambassador.

You know, you and Romero and like several Brazilian musicians, a few European music. I mean, American musicians are great. I know you're American too. That's what I'm saying. You're like, and your band is, you know, from three continents and stuff. But just even that, like, we don't have, we have a lot of great musicians all around the world. And that's been fun, I know, for both of us to meet them, not just the hotbeds like Brazil, of course, but even like Japan and Poland in different places. And you realize that, you know, Israel is definitely one of those places where it's a hotbed because everybody knows a lot of good players.

But there's that. But then there's the people like you that are really comfortable, you know, speaking several languages, having lived on several different continents, where you bring a global vision and kind of a global understanding of the world. world that goes beyond just music, but then you pull that back into our little world of jazz. That's why I said you're like one of the global ambassadors. You know, it's like Herbie Hancock, you, Romero, people that really, you know, Leonel, Leonel, you know, folks that are, that understand the world. I mean, we all do to a certainty, but we all know, like some musicians travel around the world, and it's like they haven't really, they're amazing players, but they don't

really go anywhere. Like, they're staying in the room, they're going to play, and that's, there's nothing wrong with that. It's just their thing is more like, I'm just going. going to play. I could be anywhere. But you tailor your music. I've seen you do this depending on where you are in the world. Like it's for that audience and stuff. And so, I mean, it doesn't mean you're playing Polish polos when you're in Polish. You're playing your music, but it's like, my people. Yeah, exactly. Our people. Our people. And, but I think that that, it's just a

very, it's a great spirit that's always actually been in part of the origins of this music, you know, in terms of like, you know, migrancy and these types of things, blues. You talk about St. Louis, right where we are. Scott Joplin Cuba, New Orleans. Yeah, Scott Joplin, you know, a quarter mile from here, was where he lived and, you know, the New Orleans music, talking about Louisiana, came up on the riverboats, got off,

ragtime and New Orleans. I mean, that whole thing, that was pre-Jazz. So, I mean, it's always been part of the music, so I think that that's just a cool kind of intersection that you bring as well still. So thank you for that. Thank you for saying all those things. And thank you, well, no, thank you for your words on Open Steel, and folks can leave this in the comments.

If you want, we're on the YouTube's now, by the way, too. Not live, we're not live, but this will be on the YouTube soon. Hold on YouTube, great. Let me, uh, huh. But you can leave in the comments, you know, Adam and I were just talking. The only thing missing right now, well, there's several things, but the main thing missing is in a not co-in course. So we're going to put you on the spot for that, because you've been telling me for years you're ready to come. I want to do it.

Okay. We'll discuss how we're going to make it. Can we get the paperwork? Can we get the, okay, well, we'll do that afterwards. No, I, it's going to happen. Good, good. Well, we're excited for it. We're excited.

You kind of already are on because you're featured on Fred Hirsch's brand new course. Duos is the art of the duo. And so you have some amazing performances there that really inspired his instruction on it, too, in terms of how to collaborate. There's three guest artists. Yourself, a wonderful vocalist, Gabrielle, whose last name is escaping me now. And, well, it's bass piano. And Drew Grass, right?

Yeah, Drew Grass, bass and piano, vocals, piano. You guys are all separate, but in duo. situations with Fred. And so we already consider you part of the family for that. I've always felt part of the family. And since I walked into the headquarters of Open Studio in your previous location, actually. That's right. That's right, right, right.

And I love what you're doing. I think it's incredible. And you guys, you know, you inspire. Well, if you're willing to stick around, we can actually get Adams off today. He's got a little vacation, but he doesn't need to come back. I have a new co-host. I don't know if you're willing to cancel your tour. we could do it remote, but do we need Adam anymore?

Yeah. We got a much smarter, better. We have a better, smarter, better looking co-host than Adam. We're going to edit this part out. No, we're not. We're going to leave it on. Yeah, Hugh Lurie's, I'm sorry, Hugh Lorry's favorite pianist in the world. Oh, fun fact about that before I let you, I know you've got to go to your sound check.

Hugh Lorry, full disclosure here. So those that didn't hear, Hugh Lorry gave us a big shout out. on Twitter the other day, Open Studio and Adam in particular. I guess Hugh Lory, okay, I had never heard of Hugh Lory until two days ago. I don't know how. You know, when I was younger, I used to pretend like I knew people. I don't know how. I've never seen the show, but there's a lot of things I haven't seen, but I've usually heard of them or I've seen it.

He's so amazing. I know. I'm like texting all my kids. Oh, yeah, Hugh Lurie, of course. Everybody knows him. So I'm looking forward to learning more about him, but he's a big fan of Adam in Open Studios. So anyway. I know, man.

Because open studio rocks, a few lorry's rocks, but Adam rocks. So it's good, man. It made me very happy when I saw that post that Adam did. Yeah. Well, he's definitely deserving it, as are you. So all the best wishes for the concert tonight,

for the tour coming up, for the new album, Cortetino. Everybody go out and check that out. And another thing like that I do is if you go and just go to, you know, any of a notch recordings on Spotify, I do it there because I'm lazy, but you can go wherever you get your music. but like I said that, you know, Anad is you are a purveyor of some of the best recorded music over the last 20 years.

So you really can just even go on random on Spotify and just you're going to be surprised with something great. Of course, you've collaborated with Fred Hirsch and many others too, but really mostly the stuff that you've headed up is the greatest stuff. So, you know. And then there's Artemis. You have to have you back to talk about Artemis. We're not even going to talk about that today. But I'm really happy that I got him in time to come and. and have a little chat with you and to be part of an incredible space,

where if you're in St. Louis, you've got to come over here. That's right. That's right, for sure. Well, thank you, Annette. Until next time. Until next time. What do we say? You say, you'll hear it. You'll hear it.

There you go. Say it again. Until next time. You'll hear it. That was good. We didn't rehearse that. See, it just happened. Thanks, Anad.