"A virtuoso at conveying myriad colors" ... "The audience clearly was entranced ... flutist Jeffrey Cohan captivated young and old.” Cecelia Porter, The Washington Post, July 14, 2001

"Baroque flutist Jeffrey Cohan and harpsichordist George Shangrow give new meaning to the intimacy implicit in the genre of chamber music... They have forged not only an exquisitely subtle collaboration but also a common scholarly interpretation of how Bach would have had the music performed.

"They responded intuitively to each other's rhythmic elasticity and echoed each other's elaborate ornamentations with what sounded like spontaneous inspiration... Almost as impressive was the silent attentiveness that their musicmaking commanded.

"Bach may have been composing for a soft instrument with a very limited dynamic range, but the music he produced was exuberant, joyous and lyrical. It was these qualities that Cohan and Shangrow communicated..." Joan Reinthaler, The Washington Post, July 16, 2002

Jeffrey, who according to the New York Times can "play several superstar flutists one might name under the table", has received international acclaim both as a modern flutist and as one of the foremost specialists on transverse flutes from the renaissance through the early 19th century. He won the Erwin Bodky Award in Boston, and the highest prize awarded in the Flanders Festival International Concours Musica Antiqua for Ensembles in Brugge, Belgium with lutenist Stephen Stubbs. First Prize winner of the Olga Koussevitzky Young Artist Competition in New York and recipient of grants from the Martha Baird Rockefeller Fund for Music and the French Government, he has performed throughout Europe, the United States, Australia, New Zealand, and for the USIA Arts America Program in the South Pacific, South America, Turkey and Portugal

"The flute," according to Aristotle's Politics, "is not an instrument which has a good moral effect; it is too exciting." Exciting would certainly be an appropriate word to describe the playing of Jeffrey Cohan, soloist on Mozart's Concerto in G.

"The first movement cadenza displayed Cohan's extraordinary virtuosity and raised the question of whether he actually need to breathe. The tender second movement was a wonderful interlude of repose.