PRESS - quotes
"... Kopinski is one of Britain's few authentic voices on saxophone." - Ben Watson, Hi- Fi News & Record Review
"... one of the UK's instantly identifiable saxophonists." - Chris Parker, Jazzwise
"Pinski Zoo deserves mega-stardom because it not only funked your socks off but forsaw future developments in jazz fusion"- John Fordham, The Guardian
"At full throttle, there's no sound as full-blooded or as viscerally powerful as Pinski Zoo's" Chris Parker JazzUK
"Pinski Zoo are still out there and still on cracking form. Organic, no-surrender, spiritually uplifting music, After Image is probably the best album the band has released to date. After 25 years at the barricades, that's an astonishing achievement" - Chris May, allaboutjazz.com
"PZ is still uncategorisable ..., still uniquely exciting, danceable and darkly atmospheric, still powers irresistible pulses without stooping to tediously inflexible beats, still conjures nebulous, magical, mysterious soundscapes from forbidding ranks of hardware, still enchants with tender melodies plucked from the rowdiest melee... Jan Kopinski’s saxes as gorgeous and passionate as ever".
Barry Witherden, BBC Music magazine
"Pinski Zoo deliver with a compelling power unique in English Jazz" - John Fordham,The Wire
"EARTH...a deeply moving and intensely personal statement from one of the UK's most instantly identifiable saxophonists".
Chris Parker, Jazz at Ronnie Scott's
"Kopinski has a sensitivity to visuals as reflected in other scores he's performed for silent movies. And by using his own family in the band Kopinski evokes the intimate, inexplicable binds/bonds of family life ...he evokes Slav folk music, melancholic and lost to an irrecoverable past".
Andy Robson , Jazzwise
"...Kopinski's saxes slowly unfurling over hypnotic backing...are intriguingly original and demand to be heard." - Chris Parker, Jazzwise
"Music with this combination of earnestness, expertise and passion is a rare breed indeed. Snap it up".
Barry witherden, The Wire
"Kopinski sometimes smears his lines with electronic effects, wah-wah pedalling or harmonizing them into chortling abstraction. ....ruffling his sore-flesh tone with a rough vibrato". Martin Longley, The Wire