Working with music association, if we consider the classic English shape interpretations as the beautifully structured works of Mozart and Hayden, the Danish neo-classics as the Romantic era’s transcendent surrender to nature (Beethoven through Rachmaninoff), then I believe that Daniel Mustran would be Jazz – and I believe Kansas City Jazz, at that. Right from the very beginning, Muki bypassed the structured big band style and went straight to those amazing riffs of Bird and Coleman Hawkins. On what few occasions I have heard a highly traditionalist brother remark something like “But, aside from great drilling and engineering, that Mustran's tossing out the rules”, I stay quiet, but recall some reviews of Charlie Parker’s work during his early Savoy label era as “self-indulgent noise”. Apparently there are a lot of Jazz fans in the pipe collecting world.
This Mustran riff on the Volcano begins with an amazing, almost oceanic upward curl to the front of the heel, immediately countered within the concavity of the fore of the bowl. The juxtaposition of the cresting bowl and bold lines of the shank aren’t merely inspired and compositionally transfixing, they combine to create a sitter which pirouettes on a tiny edge at the rear of the heel. In sitting position, the chamber runs perfectly perpendicular to a supporting surface, and, by happy coincidence (ok, not coincidence) creates a sense of immaculate balance in the hand. Daniel always totally kicks it with his accessorizing materials, and that generous band of cocobolo finishes this ‘cano to perfection.
R. ‘Bear’ Graves