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| 5.200 Ft
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| 1. | Frograbbit
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| 2. | Máske I Overmorgen
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| 3. | How Does Water Flow
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| 4. | Outer Spokes Center Hole
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| 5. | Underground
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| 6. | Imaginary Lines
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| 7. | Black Bear
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| 8. | Jeg Gjorde Det I Forgárs
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| 9. | First New Koptor
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| 10. | Second New Koptor
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| 11. | Third New Koptor
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| 12. | Kobs Mejkr
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Jazz
Recorded: 2007, Brooklyn, NYC
Kevin Brow (d)
Eivind Opsvik (b), Jacob Sacks (p) and Rob Mosher (ss, engh)
Koptor is lead by Canadian drummer/composer and now Copenhagen resident Kevin Brow. This debut self-titled album has established Koptor as one of the most interesting new bands in Canada and one that is quickly becoming known on both sides of the Atlantic. The album features all original compositions by Brow, which are said to be - Intelligent compositions with a great base to improvise on and even if the groove is not simple there is always a constant flow.
The music is built upon openness, lyrical melodies, twisting grooves and improvisations that are propelled by Brow's lyrical drumming and the fiery playing of three of New York's most in demand young musicians pianist Jacob Sacks, bassist Eivind Opsvik and saxophonist Rob Mosher. Upon listening to this album one can get a sense of the known, unknown and the unexpected. The listener is both pulled in and challenged by a blend of simplicity and complexity that flows in a cascading and fluid nature.
"Koptor is the debut recording of Canadian-born, Copenhagen-based drummer Kevin Brow. Accompanied by a group of like-minded peers, including multi-reedist Rob Mosher, pianist Jacob Sacks and ubiquitous bassist Eivind Opsvik, Brow leads his quartet through a program of modern jazz originals that ripple with emotion.
Brow's nuanced writing expands in scope beyond conventional time signatures and traditional harmonies to embrace inside/outside sonorities and popular music conventions. His unadorned melodies, direct harmonies and fluctuating rhythms draw similarities to the populist writing of fellow band mates Eivind Opsvik and Jacob Sacks. Eschewing edgy post-modern aesthetics, these pieces explore a variety of subtle angles with an easygoing demeanor that avoids extremes in dynamics and genre in favor of a nuanced, highly focused approach.
The album's dozen tunes drift effortlessly from one to another, unfolding like an extended suite. Unified by an overriding melodic sensibility, the compositions veer from spry post bop ("Maske I Overmorgen" and "Outer Spokes Center Hole") and expansive tone poems ("How Does Water Flow" and "Jeg Gjorde Det I Forgars") to pointillist balladry ("Imaginary Lines"). Understated does not preclude passion however. "Underground" reveals a visceral side; the tune escalates from a bittersweet theme riding a languorous groove into a furious collective improvisation that climaxes with caterwauling frenzy.
The session culminates in the three part "New Koptor" suite, which further reinforces the album's cohesive sensibility with an excursion into subtle melodic variations and unexpected detours in tempo. Mosher's plangent horn cadences and Sacks' spare piano flourishes glide over Opsvik's resonant bass pulses as the leader unveils an array of percolating rhythms informed by simmering funk accents and soulful rock backbeats.
An impressive debut from an up and coming artist, Koptor is deceptive in its simplicity as it reveals myriad layers during repeated listens."
--- Troy Collins - All About Jazz |
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