koptor

En anden musiker, der har været på rejse, er Kevin Brow, det har dog ikke bare været en musikalsk, men også en geografisk rejse. Trommeslageren, der oprindeligt kommer fra Canada, har slået sig ned i Danmark, hvor han er blevet en fast del af jazzmiljøet, og nu kommer så hans debut med projektet Koptor, der udgives på det prestigefyldte spanske selskab Fresh Sound New Talent. Koptor byder på tolv numre af Brow, der forener den eksperimenterende avantgardes passion og skæve harmonier med en imødekommende, lyrisk melodifornemmelse og en sans for det gode groove. Foruden kapelmesteren består bandet af Jacob Sacks (klaver), Eivind Opsvik (bas) og Rob Mosher (sopran sax, Engelsk horn). I numre som "Frograbbit" og "Underground" forenes snurrig rytmik og skæve melodier med Brows nuancerige spil og i balladen "Imaginary Lines" med de tyste, forvredne klaverakkorder læner bandet sig op ad Andrew Hills lyriske avantgardisme. Mest af alt er Koptor dog sig selv, og det er en berigelse at have en original musiker som Brow her i landet. Det siger vel også noget om jazzmiljøet, som det er lige nu i Danmark, at både traditionalister, modernister og avantgardister kan finde inspiration og krydse grænser såvel geografisk som musikalsk. - Geiger.dk (DENMARK)

Comentario: El batería canadiense afincado en Dinamarca Kevin Brow publica Koptor, dando así nombre a su proyecto, un cuarteto de saxo, piano, contrabajo y batería.

El proyecto está basado en composiciones propias del baterista, composiciones con un marcado carácter rítmico, y en general eludiendo la complejidad armónica, buscando especialmente la sorpresa en los arreglos y cambios de ritmo, y la interlocución entre los cuatro integrantes del cuarteto, en un entorno cargado de lirismo.

En este contexto la rítmica, protagonista, se muestra robusta, contundente y dinámica, esto último gracias a la capacidad de escucha y acentuación del líder del cuarteto, apoyado por el contrabajista noruego Eivind Opsvik, al que le gusta explotar las posibilidades melódicas de su instrumento, y a quien se puede escuchar en sus dos trabajos como líder y en un importante número de discos publicados por el sello Fresh Sound.

Subrayando el lirismo del disco se encuentran Rob Mosher, cuyas intervenciones al saxo alto y especialmente al corno inglés se funden con el resto del cuarteto, rozando el sonido camerístico; y el pianista Jacob Sacks, sin duda un hombre fundamental en la música del cuarteto, con intervenciones inteligentes y evitando alardes técnicos, lo que le permite estar siempre abierto a la interlocución con el resto del grupo.

El cuarteto llega a momentos brillantes, como en “Jeg Gjorde Det I Fogars” y “How Does Water Flow”, composiciones modales donde se lucen Sacks y Mosher, destacando también los cortos pasajes a modo de interludios que se suceden durante el disco.

Un disco que muestra un jazz aparentemente relajado, pero cargado de sorpresas, de interacción, de melodía. Y que, en contra de lo que se podría pensar por su sencillez armónica, se disfruta más con cada escucha.

Víctor Bobeche - Toma Jazz

Track Listing: Frograbbit; Maske I Overmorgen; How Does Water Flow; Outer Spokes Center Hole; Underground; Imaginary Lines; Black Bear; Jeg Gjorde Det I Forgars; First New Koptor; Second New Koptor; Third New Koptor; Kobs Mejkr.

Personnel: Kevin Brow: drums; Eivind Opsvik: bass; Jacob Sacks: piano; Rob Mosher: alto saxophone, English horn.

Style: Modern Jazz



Read more reviews of
Koptor
Koptor by Canadian drummer Kevin Brow is in some ways similar to film noir— at times overcast, others times bursts of vividness, flowing in music that is stylistically intriguing. But there is plenty of substance here with clarity and definition, imprinting music that incorporates detailed compositions and free invention.

Convincingly hip, thoughtfully astute, the music is the sound of modern jazz without its constraints—swing with and without the typical time signatures, unexpected solos in and out of the pocket and interlocking themes such as the "New Koptor" suite based upon Brow's geographical music influences from New York, Copenhagen, and Toronto.

With all original material Brow's music is expressed by an exceptional band, names synonymous with leadership in improvisational music: bassist Eivind Opsvik, pianist Jacob Sacks, and Rob Mosher on saxophone and English horn. Each brings something special to the table and serves up impressive performances—Sacks' free flight spiral on "How Does Water Flow," Mosher's evocative alto sax in the dramatic "Jeg Gjorde Det I Forgars," or Opsvik's glutinous and sinewy bass throughout each piece.

An accomplished technician, yet one with heart and fire, Brow's drumming is the recording's pulse, one that oscillates within various lively patterns. With deft scissoring he provides not only the backbeat but also complex rhythms in "Maske I Overmorgen." On "Outer Spokes Center Hole," he navigates dual movements between straight and oblique lines as the music reinvents itself. A spotlight shines on Brow's trap work on the curtain call of "Kobs Mejkr," an intricate and developing drum solo that is richly detailed with several qualities while the band gradually builds upon the tune's mysterious path.

A rhythmic sweet spot can be found in "Underground," a tune girded by Opsvik's uncomplicated bass and Brow's stealthy cadence that gives Mosher and Sacks the freedom to explore new ideas. It is that fine quality—the ability to become like elastic glue, stretching yet holding the music—that makes Brow a noteworthy drummer. - All About Jazz New York, Mark F. Turner

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. - All About Jazz New York, Troy Collins

Drummer Kevin Brow's Koptor features the aforementioned Sacks with Rob Mosher on soprano saxophone and oboe. Brow's tunes call to mind both of Keith Jarrett's quartets, which is in some ways a dream combination, benefitting from all the gentle lyricism of the European quartet while focusing on the more propulsive drive of the American band, as on "Second New Koptor" or "Underground". There is plenty of blowing room here but, nonetheless, the performances are always as much about highlighting Brow's wonderful writing as they are about the fiery improvisations it facilitates. - All about Jazz New York, Wilbur MacKenzie