Peter Kogan

Biography
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Peter Kogan began musical studies at age six on the violin, added piano at age eight and drums at age ten. A year later he began serious study with Saul Goodman, timpanist of New York Philharmonic, who would continue to mentor him through high school and undergraduate study at Juilliard. He completed studies at the Cleveland Institute of Music under the tutelage of Cloyd Duff of the Cleveland Orchestra. He joined the Cleveland Orchestra under George Szell in 1969 as Section Percussion. Three years later he was appointed Principal Percussion and Associate Principal Timpani of the Pittsburgh Symphony.

In 1977 his passion for jazz blues and rock got the better of him, and he left the Pittsburgh Symphony to spend six years in New York City as a drum set player and composer. He backed up Blues legends Lightnin' Hopkins, Honey-Boy Edwards and Jimmy Whitherspoon, groups such as the Drifters and the Crystals, and Rock and Roll legend Bo Diddley. He also performed with the Larry Elgar big band and wrote for and performed with the fusion band, Scratch n' Sniff. His work in New York received recognition in a profile that appeared in Modern Drummer magazine. He joined the Honolulu Symphony as drum set player and timpanist in 1984, and joined the Minnesota Orchestra as principal timpani two years later.

Kogan is on the affiliate faculty of the University of Minnesota School of Music, is a member of the Symphonic Committee of the Percussive Arts Society, and designs and builds Klassischewienerpauken ™ (classical viennese timpani) for historically appropriate performances. His drums and restoration service can be seen at klassischewienerpauken.com

Kogan recently began performing jazz drums and composing again, and was heard around Minnesota with The Minnesota Orchestra Jazz Quartet. He retired from the Minnesota Orchestra on November 1, 2015, but continues as timpanist with the Saint Paul Chamber Orchestra on a regular basis. The Peter Kogan Quartet and Septet (THE MONSTERFUL WONDERBAND) are now performing regularly at clubs around the Twin Cities.

His CD of original jazz compositions - "Peter Kogan, CORNUCOPIA" - was released in 2013. His new CD of his latest tunes - "SOME MONSTERFUL WONDERTHING" - was released July 31, 2015. It was named one of the "Top 10 Jazz Albums of the Year" in the Minneapolis Star Tribune annual critics poll.

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PETER KOGAN'S MONSTERFUL WONDERBAND THE PETER KOGAN QUINTET THE GREEN ALBUM CORNUCOPIA SOME MONSTERFUL WONDERTHING Peter Kogan Drums JUST BEFORE MIDNIGHT a new CD released June, 2022

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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