Copper & Congress

Vocals by a siren/oracle, a perfect balance of bass and understated drumming comprise Copper and Congress’ sound and the trio of amazing musicians conjure magic on Fault Line.

There’s glorious, haunting sparseness – a sparseness that is just one element constituting the album’s many auditory seductions. There’s exquisite, measured tension and release that teeters and edges and splashes and dives into soulful, jazzy bliss. The moody album is beautifully recorded and produced and reflects the live performances with its dark, wry emotional pull. - Zocalo Magazine

A fusion of jazz, folk and hip-hop influences, Copper And Congress' new album "Fault Lines" is all about the groove.

The trio of Katie Haverly, on guitar, keyboards and vocals, Patrick Morris on bass and Julius Schlosburg on drums meld their distinct musical backgrounds into a powerful and emotional style. "Fault Lines" is a blend of slinky R&B, yearning ballads, down-tempo hip-hop, all driven by mesmerizing grooves that let each musician shine.

"The sound from the first record to this one is so different, but it honors our individual musical contributions more," Haverly says. "With this configuration, we're all equally passionate and committed to making music our lifestyle. I feel we're a family and we're very fortunate to have found each other. It's so pleasing to write together and to make this record as a labor of love."

Haverly and Morris met about two years ago, when they were both playing out in open-mic nights. Copper And Congress began soon after, originally as a four-piece, playing with more of a jazz and folk vibe. The band recorded its debut "The Leap Year" in 2012, with ex-members Corey Cottrell on guitar and Kai Lindstedt on drums, before Julius Schlosburg joined as the new drummer. It wasn't long until the trio found themselves locked in and feeding off one another, at rehearsal as well as during performances.

"We play differently now. We're inspired in the live setting because we continue to evolve," Schlosburg says.

In the past, Haverly would write melodies and vocals to present to Morris and Schlosburg, but now the group has moved to more collaborative songwriting, each coming up with pieces of a song to stitch together, letting creativity happen in the moment.

"I was never an improviser, ever," Haverly says. "Playing with these guys has opened me up to playing that way. We've all gotten comfortable improvising together. We have this collection of songs, but we don't ever play them the same way."

One resulting change is Haverly reaching less for her guitar and more for the keyboard, where she's more comfortable improvising. That's gone hand-in-hand with Copper And Congress developing a more groove-based sound.

"The three of us are getting in a deeper pocket together and working to be really tight," Haverly says. "Patrick and Julius have transformed my musical world. I'm a different musician than I was a year ago."

Now, the band collaborates on arrangements, chord progressions, beats, and even lyrics.

"Even lyrically, if Patrick writes a melody, I'll ask him what he's thinking about," Haverly says.

Whether it's an emotion, a sentiment, a memory, or even a color, Morris finds himself verbalizing more about a song than he thought he could.

"She has all these questions to worm and answer out of me that I couldn't articulate without those pokes and prods," Morris says.

Haverly is hesitant to unlock the secrets to "Fault Line" in print, instead preferring for listeners to come at the material with an open mind. Nonetheless, she says the album is very intentionally constructed and not just a collection of songs.

"On this record, there are a lot of relationships between songs, in the order, in their beginnings and endings," she says. "There's an arc to it that's important creatively to us. It's not just individual songs, there's a real story we're telling. There are some through lines, allusions within songs to each other."

Generally, the album deals with changes in people's lives, how challenges alter long-held truths and then continue to reverberate over time.

"For me, the 'Fault Line' title is about how a seismic event in your life can move and shift everything. You have to adapt and change and you learn so much through that shift," she says. "There are echoes on the record about how you do keep revisiting similar lessons in life, but every time you're wiser and more experienced."

The song "Déjà vu" illustrates this, leaving its own small echoes across other tracks, both musically and lyrically. Tucson MC Rey Murphy contributes rhymes that push the song in unexpected ways, further highlighting the daring versatility behind Copper And Congress.

Opening track "Decoy" is the song Copper And Congress has chosen for the album's introductory music video, a hypnotic slow-motion clip, mysterious and dream-like.

Copper And Congress started recording "Fault Line" in January, working in three-day bursts over several months with Chris Schultz and Craig Schumacher at WaveLab Studio to lock down the songs rather than rushing through the process.

"In the past, maybe because of money or time, I've settled. We took our time and we're really happy with everything. It captures this moment in time of who we are and it's a good representation of what we can do live," Haverly says.

"My approach and passion with music is very emotional. My interest is always in the story, the tone, the mood and how it makes the audience feel. We are really passionate about the performance and putting on shows that people will remember. We're giving a part of ourselves to the audience, so it's important we connect with people when we're playing." - Tucson Weekly

Tucson's Copper & Congress is a self-described "indie soul" trio of singer/guitarist/keyboardist Katie Haverly, bassist Patrick Morris, and drummer Julius Schlosburg.

"We formed in 2012," Haverly recalls. "We had a different drummer and guitar player. Patrick and I have been together since the beginning. Our guitar player quit and our drummer moved away, so we got Julius a year ago."

Copper & Congress' first album, The Leap Year (2012), was a somewhat transitional effort more indebted to singer-songwriter Americana, but this year's just-released Fault Line is where the trio finds its own voice, in a more rhythm-based style improbably influenced by the likes of mid-'90s trip hop of Portishead, Bjork, and Jamiroquai.

Haverly explains, "Patrick and I started to write together more and I think we kind of landed on our sound. We'd only been together for about three months when we recorded our first record. We all felt way more confident this time. The last record, I played guitar on almost everything but on this one I played a lot more keyboard. I feel like this one is a lot more groove based. That was the big shift. We're really exploring and celebrating that. ... These songs feel a little more sensual."

Her inclinations are correct: Tracks like "Deja Vu" and "Shy" feature an expansive and, well, trippy sound not present on the debut. The more intricate arrangements show a profound leap in the band's quality and soulfulness.

"We took a lot more time on this one and we went into Wavelab [Recording Studio] for four different recording sessions," the singer says. " We took a lot more time and produced this one ourselves -- all the instrumentation and arranging. We had a pretty clear idea what we wanted. It was exciting. ... We all played a lot of different instruments in the studio. It was an amazing and stressful experience.

"Honestly, this is first time in my life where I feel great about every song on a record I helped make. We didn't give up if we didn't like something; we went back and reworked it until we were happy with it."

Haverly points to one track in particular that Copper & Congress is proud of. "Red" may be Fault Line's highpoint -- a multi-section funk jam partially written on the fly.

"The song 'Red' was really exciting to record," she says. "It has two different parts; it has a real spacey ending. We improvised most of that ending in the studio, in the moment. We played all these different instruments that we hadn't played before. It was just really organic how it came together--very open.

"The three us come from really different backgrounds and the fact that we came together is really beautiful. Julius has a jazz background; Patrick comes from funk and hip-hop -- that's what he really loves. I come from a more singer-songwriter background. But we found this great middle ground." - Phoenix New Times

When former Capital Region resident Katie Haverly decamped for greener (?) pastures in Tucson, Ariz., she found something there besides a dry heat: She found a new band and a new direction.

Copper and Congress is more than merely a vehicle for Haverly. The musicians—featuring Corey Cottrell, Patrick Morris, and Kai Lindstedt, with able assistance from guests Jacob Valenzuela on trumpet and Joey Burns on cello—mesh organically on each cut, supporting Haverly’s passionate vocals with a subtle fire of their own. Looking at the band’s website, it appears that the group have undergone some personnel changes since this album’s release, making the documentation of this lineup all the more precious.

The Leap Year, Copper and Congress’ recording debut, features a more muscular sound than Haverly’s previous work. “Out of the Blue” features Patrick Morris’ sinewy bass, insinuating itself between strums from Haverly’s acoustic guitar. In the background, a vibraphone chimes and a muted trumpet snakes its way through the song’s chorus. “Better on the Page” is rhythmically rock-solid with a chunky mid-’90s alternative-rock vibe and some tasty fuzz guitar. Meanwhile, “Lucky” features a plaintive Sonny Boy Williamson-esque harp (that’s Sonny Boy II, aka Rice Miller, as opposed to John Lee “Sonny Boy” Williamson of Chicago for those playing along at home) and Morris’ vocal harmonies on the chorus.

Of course, Haverly’s voice is center stage: a husky whisper one minute, soaring majestically the next. Her music is clearly flourishing in the desert air. The band’s name is apt, their sound evoking the muted hues—reds, oranges, and browns—of the American Southwest. The Leap Year is an auspicious beginning for Copper and Congress. - Metroland

We are all seeking out stories. Maybe our deep connection to music is fueled by a endless search for the perfect soundtrack to our world. And with a life as diverse as this one, the perfect score will be as varied as the spice of life. Local band Copper and Congress have created a genre-crossing and emotionally-driven story in their debut album, The Leap Year. The album, which came out last month, is a shining example of the places that pop music can take us.

It is difficult to place the band’s sound under anything other than the large umbrella term- popular music. The ten tracks utilize everything from jazz, blues, country and rock to emote their story. They concurrently fit into many musical niches. When you combine the talent of these artists with the skillful work of Craig Schumacher at Wavelab Studios, you have a beautiful and memorable first album.

Their lyrics are refreshingly honest takes on love and they establish the desert as a setting early on. Vocalist and guitarist, Katie Haverly, excels in her ability to switch between musical styles to resonate emotions in the listener. In the first track, “Everything,” her dynamic voice blends well with Corey Cottrell’s lead guitar and backing vocals. The guitar work throughout is impressive with its diverse nods to various genres. I grasped the lyrics in complete understanding when Haverly sang:

Patrick Morris’s bass shines alongside the keyboard in the dreamy, “Be this.’ He aids the track’s haunting atmosphere. His beautiful bass line is a present strength during the album’s entirety. Drummer Kai Lindstedt proved to be critical to the edgier songs. Quickly pounding away on the catchy, “Jennifer,” and helping the building energy of, “Animal,” Lindstedt thunders his way through the music.

With the imagery of the desert in the lyrics, and their Tucson-inspired name, the band pays respects to our home town. The Leap Year’s homage to Tucson was made even clearer by the contributions of members from a most beloved band, Calexico. Skilled trumpeter Jacob Valenzuela adds his signature sound to tracks, “Out of the Blue,” “Strange and Unfamiliar,” and “Borderland.” The final track, “Towards the Sun,” features Joey Burns and his gorgeous cello.


Copper & Congress
It is almost impossible to pick one song off this album that sticks with me most. I found myself with almost every track stuck in my head at some point. Copper and Congress have created music that is relatable to all of us in its beautifully constructed truthfulness. The Leap Year is an album worthy of telling the tales of our lives out across the sun warmed desert. I can see the band becoming a prominent part of our music scene and taking their music to new places and genres. The Leap Year is available now at Itunes and on their website.
- Tempo Magazine

One listen to Tucson indie outfit Copper & Congress’ debut CD “The Leap Year” and you’ll be scratching your head trying to peg their genre.

The upstart band brings all of their musical influences to bear on the project, from hard rock to jazz and blues, to create an album that embraces everything we love about pop music.

Jazz and pop are co-conspirators on “Strange & Unfamiliar,” a pop-jazz tune with Patrick Morris’ gorgeous baselines. The song lets lead singer Katie Haverly shine, showcasing near virtuoso vocals with rich coloratura hues. You’ll tell yourself you hear some Sarah McLachlan circa early 1990s in there, and that’s a complement. But Haverly’s voice has more complexity and flexibility, going from jazz to blues to pure pop on “Everything,” a duet with guitarist Corey Cottrell.

She trades haunting vocal trills with rock-worthy hollers throughout “Animal,” a song that is equal parts contemporary jazz and hard rock. Drummer Kai Lindstedt could have turned the song into a screaming rocker but he had the wisdom to hold back to give the song just enough of a hard-rock edge.

There’s also a strong hint of rock on “Jennifer,” which closes with bluesy guitar rifts on the verge of u-turning into full-fledged rock solos. When you convince yourself the song is about to transform from its bluesy pop to all-out metal — that’s Lindstedt’s background — the guitar abruptly backs off and the focus is squarely on Haverly’s fresh pop vocals asking if there’s a baby in the back room and who is watching him?

A lot of this album, produced by Wavelab Studio guru Craig Schumacher, sounds like Copper & Congress is holding back, giving us just a taste of their potential. It’s going to be exciting seeing how far they can take it. - Caliente

Don't bother kicking yourself if you've never heard of Tucson's soon-to-be buzz band.

It's been together only a scant few months, but what the members of Copper & Congress have accomplished in that time is dizzying: They've gone from strangers to bandmates to recording artists on the eve of releasing their debut album.

Three of the four members - lead singer Katie Haverly, bass player Patrick Morris and drummer Kai Lindstedt - got together in January after meeting at open- mic nights. Guitarist Corey Cottrell joined a couple months ago.

After playing a handful of Tucson gigs, they launched a $12,000 online Kickstarter campaign - they raised the money in a month - to finance their debut album, which they recorded with über Tucson producer and sound man Craig Schumacher at his Wavelab Studio.

On Friday, Copper & Congress will perform a CD release party for the band's debut disc "The Leap Year," a 10-song introduction to the band's jazz-infused, bluesy indie pop.

"The album is really diverse. There's a really gritty blues song, a couple songs with hip-hop feel, some jazzy stuff, some straight pop stuff," says Morris, who at 21 is the youngest member of the band. "I think we have appeal for everyone. I just hope that we can really resonate … and connect with people."

How the band came together is a tale of chance meetings: Haverly, who grew up in Phoenix but spent the last several years in New York, first met Lindstedt, who hails from Flagstaff, at an open-mic night at Auld Dubliner last December. They hit it off and started playing together as a duo, until January. That's when they met Morris, who works as a stagehand at Centennial Hall, at an open mic at Sky Bar. They picked up Cottrell, originally from Canada, in the spring as they were about to go into the studio to record "The Leap Year."

But how this upstart band landed on Schumacher's doorstep is a tale of true moxie.

It all started when Haverly, 34, returned to Arizona last September. Her first night in Tucson was, by coincidence, the night Tucson's music community came together to support Schumacher's battle with cancer. They were holding a benefit in conjunction with the annual HoCo Festival at Hotel Congress. Many of the artists Schumacher had worked with over the years - including DeVotchKa, Richard Buckner, Calexico and Sergio Mendoza y La Orkesta - were performing in his honor.

Haverly, who had sung with a band in New York and knew of Schumacher by reputation, approached the producer after the show. She wanted to record with him, she said. What would it take?

Schumacher, renowned for giving young artists a chance, listened as Haverly recounted her experience and dreamed aloud about a music career.

He admits he initially thought she was one of those vanity artists, someone who wanted to record themselves just to say they did.

Until he heard her voice.

"She floored me; that girl can sing," he recalls. "She just came and she was sincere and honest and open. And as anyone with a pair of ears will hear, yeah, this is great. I want to work with this. … If I can help out a young band or a new band get a leg up in this business, why not?"

"I don't know what compelled me," Haverly says now. "I think I just had this dream of working with him. I loved all the records he made."

The members of Copper & Congress - their name borrows from Arizona's copper industry and Tucson's Hotel Congress and Congress Street, Morris says - come from divergent musical backgrounds. Morris is a jazz guy. Haverly is jazzy and bluesy, with a bit of Joni Mitchell and Sarah McLachlan to her vocals. Lindstedt, 24, is a metal rocker. The 36-year-old Cottrell has worked in pop and rock.

"You look at it and it doesn't look like it will work; it kind of worked," Schumacher says. "It came together really organically in a really nice way."

"It is literally my dream band," adds Haverly, who works a few part-time jobs including as a Pima County bike ambassador to promote bicycle riding. "I can't tell you how inspired I am and how talented every one of them is. I feel like our music crosses a wide range of genres. I love the stuff we are coming up with together. And we're writing a lot together. This is the first collaboration I've experienced and it's really exhilarating."

Morris likes to think of Copper & Congress as an experiment in fate.

"Eighty percent of the people you play with as a musician you don't click with," he explains. "It just kind of happened; nothing has been this easy in my life. It was just the right place at the right time. All the circumstances were in line." - Arizona Daily Star

I first became aware of Katie Haverly when she drew raves for her performance of Ryan Adams songs at last year's Great Cover-Up. She had just moved to Tucson from upstate New York three months prior, and had played in a series of bands for the previous 13 years.

Upon arriving in Tucson, she began attending open-mic nights, where she met Corey Cottrell (guitar, vocals), Patrick Morris (bass) and Kai Lindstedt (drums). In March, they named themselves Copper and Congress and began playing local gigs.

Via a Kickstarter campaign, they raised enough money from friends and family to record their first album with producer/mixer Craig Schumacher and engineer Chris Schultz at Wavelab Studio. That album, The Leap Year (self-released), will be feted with a release party this week at Plush.

It's an interesting album. It's not difficult to imagine Haverly as a traditional singer-songwriter, but The Leap Year places her songs in a fleshed-out band context, which changes things considerably. "Out of the Blue," for example, begins as a languid tune, if not quite a ballad; but as the song progresses, it builds slowly, with the band swelling into a huge sound, and Haverly and Cottrell repeating like a mantra, "We didn't know, we didn't know how."

There are echoes of jazz and folk all over the album, but the primary aesthetic is something like a jam-band that doesn't really jam. But the hallmarks of jam-band-ism—like guitar solos that are often clearly influenced by Jerry Garcia, and a bassist who often eschews typical bass lines for a busy style that sometimes carries the melody—are everywhere.

"Lucky" is a bluesy slow-burner in the style of Bonnie Raitt ("Our love's like a racehorse / that never gets tired") that benefits from some blues-harp-playing (likely courtesy of Schumacher). "Everything" is a duet by Haverly and Cottrell whose wordiness asks the question: What if Suzanne Vega collaborated with a jazzy jam band? (I'd be remiss if I didn't mention the playing, arrangement and production on that particular song, which gorgeously sets a mood similar to early Steve Winwood solo work.) Unlike a lot of similar CDs recorded in Tucson, the album largely avoids any overt Southwestern references, with the exception of "Borderland," which brings in mariachi trumpet courtesy of Calexico's Jacob Valenzuela at the tail end. That band's Joey Burns also contributes cello on the album's final track, "Towards the Sun," a beautiful if heartbreaking breakup ballad, which bears traces of Joni Mitchell's singer-songwriter period; by the end, the cello and pump organ swell to such heights that you know a storm is just around the corner.

Despite the fine playing and arrangements, the real star throughout The Leap Year is Haverly's voice, a supple instrument that is alluring no matter what she's singing. - Tucson Weekly