Cornucopia
Peter Kogan
Self-released
Peter Kogan, principal timpanist
with the Minnesota Orchestra, is a great
example of a skilled percussionist who
happens to make his primary living as
a classical musician. Actually, Kogan
spent six years playing jazz and blues in
New York City and also played drumset
with the Honolulu Symphony. Not only
does Kogan play drumset on Cornucopia,
he also composed all of the tunes and
helped produce the CD.
After listening to the recording, it is
obvious he has a great knowledge of jazz
history, style awareness, and gets around
the drums with ease. The tunes vary in
instrumentation from a quartet to an
octet and include Kogan, Craig Hara,
Cornucopia
Peter Cogan
Self-released
Peter Kogan, principal timpanist
with the Minnesota Orchestra, is a great
example of a skilled percussionist who
happens to make his primary living as
a classical musician. Actually, Kogan
spent six years playing jazz and blues in
New York City and also played drumset
with the Honolulu Symphony. Not only
does Kogan play drumset on Cornucopia,
he also composed all of the tunes and
helped produce the CD.
After listening to the recording, it is
obvious he has a great knowledge of jazz
history, style awareness, and gets around
the drums with ease. The tunes vary in
instrumentation from a quartet to an
octet and include Kogan, Craig Hara,
percussion; Mary Louise Knutson, piano;
Tommy Barbarella, piano; Cory Wong,
guitar; Dave Williamson, bass; Charles
Lazurus, trumpet/flugelhorn; Brain
Grivna, alto sax/tenor sax; Kenny Holmen,
tenor sax, soprano sax; and Tom
Ashworth, trombone.
“Frenchy Dog,” is an energetic, bluesy
bop tune that the composer describes
as “out of the Monk/Parker/Gillespie
mold.” “Fats Is Beautiful,” is a waltz inpercussion; Mary Louise Knutson, piano;
Tommy Barbarella, piano; Cory Wong,
guitar; Dave Williamson, bass; Charles
Lazurus, trumpet/flugelhorn; Brain
Grivna, alto sax/tenor sax; Kenny Holmen,
tenor sax, soprano sax; and Tom
Ashworth, trombone.
“Frenchy Dog,” is an energetic, bluesy
bop tune that the composer describes
as “out of the Monk/Parker/Gillespie
mold.” “Fats Is Beautiful,” is a waltz intribute to Fats Waller. It is followed by
“Jones Jam,” a tune influenced by Wayne
Shorter’s recordings with Reggie Workman,
McCoy Tyner, and Elvin Jones.
It alternates between moderate swing
and West African 6/8 grooves. Kogun
calls the title cut, “Cornucopia,” a “pop
samba with harmonic influences from
Joe Sample and Stevie Wonder”—a good
description!
Keeping with the ever-changing pace
comes a tribute to Duke Ellington called
“Blue Duke,” followed by a slow 3/4
funk/fusion tune called “Blues for Mary
Lou,” referencing Mary Lou Williams.
The CD concludes with “Bags Check,”
dedicated to Milt Jackson, which alternates
between a straight-ahead blues
groove (kind of “down and dirty”) and a
double-time bop feel.
The recording contains an enjoyable,
versatile array of tunes, played by fine
musicians, and appears to be a showcase
of styles dear to Kogan’s heart. His
knowledge, skill, and passion for music
are evident. At times, the drumming on
the swing charts sounds more like big
band playing with big set-ups and hits—
almost like he is releasing all of that unspent
energy from counting all of those
measures of rest behind the timpani. (I
can relate!) Congratulations to Kogan on
a wonderful project.
—Susan Martin Tariq
Read more
Cornucopia
Peter Kogan
Self-released
Peter Kogan, principal timpanist
with the Minnesota Orchestra, is a great
example of a skilled percussionist who
happens to make his primary living as
a classical musician. Actually, Kogan
spent six years playing jazz and blues in
New York City and also played drumset
with the Honolulu Symphony. Not only
does Kogan play drumset on Cornucopia,
he also composed all of the tunes and
helped produce the CD.
After listening to the recording, it is
obvious he has a great knowledge of jazz
history, style awareness, and gets around
the drums with ease. The tunes vary in
instrumentation from a quartet to an
octet and include Kogan, Craig Hara,
Cornucopia
Peter Cogan
Self-released
Peter Kogan, principal timpanist
with the Minnesota Orchestra, is a great
example of a skilled percussionist who
happens to make his primary living as
a classical musician. Actually, Kogan
spent six years playing jazz and blues in
New York City and also played drumset
with the Honolulu Symphony. Not only
does Kogan play drumset on Cornucopia,
he also composed all of the tunes and
helped produce the CD.
After listening to the recording, it is
obvious he has a great knowledge of jazz
history, style awareness, and gets around
the drums with ease. The tunes vary in
instrumentation from a quartet to an
octet and include Kogan, Craig Hara,
percussion; Mary Louise Knutson, piano;
Tommy Barbarella, piano; Cory Wong,
guitar; Dave Williamson, bass; Charles
Lazurus, trumpet/flugelhorn; Brain
Grivna, alto sax/tenor sax; Kenny Holmen,
tenor sax, soprano sax; and Tom
Ashworth, trombone.
“Frenchy Dog,” is an energetic, bluesy
bop tune that the composer describes
as “out of the Monk/Parker/Gillespie
mold.” “Fats Is Beautiful,” is a waltz inpercussion; Mary Louise Knutson, piano;
Tommy Barbarella, piano; Cory Wong,
guitar; Dave Williamson, bass; Charles
Lazurus, trumpet/flugelhorn; Brain
Grivna, alto sax/tenor sax; Kenny Holmen,
tenor sax, soprano sax; and Tom
Ashworth, trombone.
“Frenchy Dog,” is an energetic, bluesy
bop tune that the composer describes
as “out of the Monk/Parker/Gillespie
mold.” “Fats Is Beautiful,” is a waltz intribute to Fats Waller. It is followed by
“Jones Jam,” a tune influenced by Wayne
Shorter’s recordings with Reggie Workman,
McCoy Tyner, and Elvin Jones.
It alternates between moderate swing
and West African 6/8 grooves. Kogun
calls the title cut, “Cornucopia,” a “pop
samba with harmonic influences from
Joe Sample and Stevie Wonder”—a good
description!
Keeping with the ever-changing pace
comes a tribute to Duke Ellington called
“Blue Duke,” followed by a slow 3/4
funk/fusion tune called “Blues for Mary
Lou,” referencing Mary Lou Williams.
The CD concludes with “Bags Check,”
dedicated to Milt Jackson, which alternates
between a straight-ahead blues
groove (kind of “down and dirty”) and a
double-time bop feel.
The recording contains an enjoyable,
versatile array of tunes, played by fine
musicians, and appears to be a showcase
of styles dear to Kogan’s heart. His
knowledge, skill, and passion for music
are evident. At times, the drumming on
the swing charts sounds more like big
band playing with big set-ups and hits—
almost like he is releasing all of that unspent
energy from counting all of those
measures of rest behind the timpani. (I
can relate!) Congratulations to Kogan on
a wonderful project.
—Susan Martin Tariq
PERCUSSIVE NOTES, September 2013
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