Paquito D’Rivera and Anat Cohen Wow Sold-Out Jazz Festival Crowd in Andorra

Paquito D’Rivera and Anat Cohen delivered a sold-out triumph at the 42nd International Jazz Festival Andorra Escaldes-Engordany on Saturday evening, captivating a full house at Prat del Roure with improvisational flair, Latin rhythms and cross-cultural tributes that earned a standing ovation.

The Cuban saxophonist and clarinetist led a quintet featuring the Israeli clarinetist as special guest, alongside pianist Alon Yavnai, vibraphonist Sebastian Laverde, bassist Oscar Stagnaro and drummer Mark Walker. D’Rivera, marking his return to Andorra since a 1986 appearance with a Dizzy Gillespie-formed orchestra, called the Principality a “singular” and “very beautiful” stop on his varied European tour. He expressed mock frustration onstage, joking that organisers had taken too long to invite him back and quipping he might have to stay lest they forget him again.

Ahead of the show, D’Rivera highlighted the performance as especially cherished because of Cohen, whom he chose after pianist Chucho Valdés withdrew due to health issues. He stressed improvisation as jazz’s essence—“one of the fundamental elements is that you don’t know what will happen”—while confirming he would alternate saxophone and clarinet, as fans expect. The artist hoped audiences would leave with smiles, carrying messages of love and culture.

The set opened with D’Rivera’s tribute to Chick Corea, “Chick,” followed by a rare Puerto Rican piece, “María Cervantes,” which he said might never be repeated. A Venezuelan waltz honoured earthquake victims, prompting early applause. D’Rivera then joked that research revealed Mozart’s “true” birthplace as New Orleans, launching into the clarinet concerto’s second movement before it morphed into “Hola don Pepito, hola don José” amid laughter.

Midway, Cohen shone with Brazilian-infused numbers including “Curumin,” “Mood Indigo” and “Chorinho pra elle.” D’Rivera praised her “tremendous mastery,” noting she proved “you don’t need to be Austrian to play Mozart” or embrace samba with authenticity. The finale brought their duet on Harlem-inspired “The Mooch” and D’Rivera’s samba “Para Brenda con amor,” dedicated to his wife—who he said once insisted he compose it. Before closing, he reflected sadly on global hatred and violence, contrasting it with music’s power to entertain and unite beyond politics, borders or flags.

Escaldes-Engordany culture councillor Valentí Closa welcomed D’Rivera’s participation, stressing culture’s essential role in tough times. The concert emerged as the festival’s standout draw, leaving the crowd on its feet.