Koptor: Fire Sink

Koptor (group)

Fire Sink (Fresh Sound New Talent; 2011)

Kevin Brow (drums)

Lotte Anker (sax)

Jeppe Skoobakke (bass)

Jacob Anderskov (piano)

I have to first thank fellow blogger, Maciej at Polish Jazz for turning me on to the Canadian/Danish quartet, Koptor. The group is quietly under the radar but have created two highly original and intriguing releases. Both have been on repeat in my household for weeks.

The compositions stem from the creative mind of drummer, Kevin Brow, who continues to gain notoriety both within his group as well as guest musician on records from Mikkel Plough and Bob Brough. With Koptor, Brow and his fellow musicians create a great balance between modern contemporary themes and free improvised organics.

Moving between dense and slight upbeat patterns, "21 Maaneder" features some intense lines from Skoobakke and Brow. All this is encircled by the terrific and melodic tone taken by Anderskov and Anker. It's a piece full of texture and staggered movements. Ankers playing is heartwarming and in some moments playful. 

There have been a few drummers this year that have impressed me with their compositional skills, and Brow is definitely one of them. "Intellectual Sex" is one of the great moments of Fire Sink. Revolving more around the Anderskov and Anker, Brow gives the group room to move quietly and improvise as need through this piece. Brow's performance is impressive because he layers his touches around the edges until the end where the group gives way to a very serious and enveloping solo that brings the group into an almost funky mood. Heated, powerful and inventive.

The group's European side comes to the fore on "Invisible Ikke." Anderskov plays the major role in the opening as he paints a lovely romantic picture for the listener. The majority of piece feels like a sonata but built on the freedom of movement. The rest of band join in to add to clear crisp constructive tones but the composition never leaves it peaceful origins.

"Fire Sink" has some great multi-layers. Anker really takes off on this piece. Her playing is forceful and improvising yet still inviting for the listener. At times you can sense a bit of Ornette or even Zorn floating through the notes. Brow, Skoobake and Anderskov play a perfect counterpoint Anker and manage to lay down a minimalistic groove if you can call it that.

Fire Sink is an impressive second effort from the four year old band Koptor. Koptor has quickly formed a group that is both richly creative and able to gravitate between improvised and straight ahead with ease. Fire Sink is excellent.

Levin & Daisy: The Flower & The Bear

Daniel Levin (cello)

Tim Daisy (percussion)

The Flower And The Bear (Relay Records; 2011)

Finishing off my unexpected week of duo recordings, I thought I would mention a fantastic album I just picked up a few weeks ago from Daniel Levin and Tim Daisy entitled The Flower And The Bear.


Levin has worked in a number of settings (trio, quartet, duo and ensemble), Daisy has done the same (most notably with, Klang, The Engines, The Vandermark 5 and his own Vox Arcana). They are highly creative forces on their own. Together, they have crafted an amazing duet record that is fun, raucous and inventive. 

The Flower And The Bear I have to assume relates to the two musicians themselves. Either way this is an album that shine with life and activity. Built on only five extended pieces, both musicians bristle with excitement. "Graystone" slowly builds on Levin's structured yet somehow improvised movements. These are matched with free flowing rhythm's from Daisy, until the two get midway into the piece and the wheels come flying off in beautiful rolling cacophony. 

"The Flower And The Bear" feels like a hunt for Chanukah gelt that turns out to be a creepy message from the under-world (that's the best way I could describe it). But really, its an adventure in improvisation. Percussion and cello are the perfect compliment in this setting because you can create a variety of sounds that are both rich, pure and beautiful. Daisy and Levin manage to do that with ease. "The Flower And The Bear" ventures into a scattered and diverse structures towards the end but somehow manages to keep the listener well focused. Levin and Daisy become one sound as the movement heads towards a calm conclusion.

"Steel Flags" may be the only track with a real structure, which is laid out in the beginning by Levin. At times Levin almost turns his instrument into a percussion piece. The unity that the two musicians display throughout this piece is spellbinding. It's intense but quietly affective. There are striking layers of tense beauty as well as repetitive patterns that construct the overall theme of the piece. It's engaging without being disarming. Wonderful stuff.

With The Flower And The Bear, both Daniel Levin and Tim Daisy effectively show they are at the top of a very small list of creative musicians within the free-improvisational structure of musicians. Highly Recommended.

Mike DiRubbo & Larry Willis

Mike DiRubbo (sax) / Larry Willis (piano)

Four Hands, One Heart (Kasanti Records; 2011)

Staying with the duet theme this week, Mike DiRubbo and Larry Willis deliver a magnificent collection of standards and a couple of originals that are warm and inventing on Four Hands, One Heart  (Kasanti). This is the first album on DiRubbo's own label and its a great way to begin.

Sweet and soft touches of Mike DiRubbo for me have a lot in common with the more comfortable but hard bop of Joe Henderson and Jackie McLean. Larry Willis for me has always had a delicate soul-influenced tone which blends perfectly to DiRubbo's rhythms. Willis has been able to move from both R&B, Rock and Jazz throughout his career. He can sometimes be compared as a soulful Harold Mabern or Kenny Barron. And when you listen to this stellar little record you might even be reminded of a recent release by the late Frank Morgan and John Hicks entitled Twogether (High Note).

On the opener, "Introspection", written by DiRubbo from his second album as leader Keep Steppin' (Criss Cross; 2001), the two maestros set a lovely free moving pattern; very little improvising, just focusing on the song structure. Not that different from the original but it does allow the listener to gently move into the realm of the album's main theme which is the unity between the two musicians. But it can also reflect the unity between friends, families, lovers and just the listener's connection to music in general.

"The Maji," a track written for Willis' Sanctuary (Mapleshade Records; 2003) album is completely stripped down from the quintet piece this was originally a part of. But the uptempo level has been dissected to a more insular tone between sax and piano to gives the song a real emotional impact the original doesn't deliver. Horace Silver's "Peace" maintains the same soulful energy of the original but makes a bolder impact thanks to DiRubbo taking over a combination of notes from Blue Mitchell (trumpet) and Junior Cook (sax). But it's Willis who shines here. He transforms Silver's passages into a deeper register that really leaves you hanging onto every note.

"Alone Together" makes for a beautiful closing number. A simple three chord pattern from Willis in the opening and a long sultry soliloquy from DiRubbo extends the piece with a stirring resonance that is both powerful and uplifting.

Four Hands, One Heart is a wonderful contemporary album that merges both the talent of a legendary pianist and the already accomplished and well respected saxophonist. This is great stuff that deserves everyone's ears...

Phil Woods & Bill Mays

Phil Woods (sax)

Bill Mays (piano)

Phil & Bill (Palmetto Records; 2011)

Two legends who don't really need a whole lot of introduction, Phil Woods has worked with almost everyone in jazz/pop including Tony Bennett, Bill Charlap, Hank Jones and even Steely Dan. He has a tone that has always brought to my mind Stan Getz.

Bill Mays has decorated his jubilant keys across a wide array of albums by artist, including his partnership with trumpeter, Marvin Stamm, drummer Matt Wilson, and his recent Trio recordings. But his big hands & soft tone is slightly reminiscent of Harold Mabern.

So when these two legends got together to record you had to know it would be a nice walk to bebop avenue. And its a walk you won't forget.

Listening to Phil & Bill, I get a strong and proud feeling similar to recent legendary duets in the recent years by Hank Jones & Charlie Haden, Hank Jones & Frank Wess and the Frank Morgan duet album from the nineties entitled, You Must Believe In Spring. There are sultry, romantic moments as well as classic hard driving numbers that give you a deeper appreciation for these two legends. In addition, you will scream to yourself, "Why they don't get the recognition they truly deserve?"

"Blues For Lopes" an early Woods number, is infectious. A bouncing rhythmic pace is set by Woods but is equally met by Mays with a few improvised moments adding a little bit of humor to the outing. It's fun challenge between the two and you will enjoy the atmosphere of every note. Soulful and sweet is how you will best describe the feeling after weeping under the soft tones of "Danielle." It moves softly but with an joyful nature circling inside. Lovely melodies from Woods all the way. He stretches notes at just the right time and allows Mays to come in and take things to a soft and delicate closing.

"Hank Jones" is a lovely tribute by Woods to the great pianist who just passed away last year. Woods and Mays' performance is beautiful with touches of Stan Getz and Oscar Peterson. This again rises with "The Best Thing For You Would Be Me". Soft and bubbly but with the intricate stops and twists to make you feel this one has been done in the club setting before and they just keep making it better and better with each version.

Phil & Bill is one of those records that you will automatically fall in love with at the end of the first tune. These are two great musicians still delivering a powerful and romantic impact after decades of service. It's contemporary and it opens a door to the beauty of jazz history. And it deserves to be heard by everyone. Highly Recommended.