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2 x CD |
| 6.912 Ft
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| 1. CD tartalma: |
| 1. | Aardedonker/Pitch Dark
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| 2. | Blijheid/Happiness
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| 3. | Chachachtig/Chachacharay
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| 4. | Duel/Duel
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| 5. | Elektriciteit/Electricity
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| 6. | Fluks/Fast
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| 7. | Gekkie/Silly
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| 8. | Hoogtevrees/Fear of Heights
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| 9. | Improvidatie /Improvisation
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| 10. | Jazzz/Jazzz
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| 11. | Kuratele/Guardianship
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| 12. | Luiluierluist/Lazylaxierlaziest
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| 13. | Mars/March
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| 2. CD tartalma: |
| 1. | Noisettes/Noisettes
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| 2. | Onderkant/Bottom
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| 3. | Piekje/Peak
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| 4. | Quickstep/Quikstep
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| 5. | Rustig/Calm
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| 6. | Singing/Singing
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| 7. | Tristano/Tristan
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| 8. | Ultra/Ultra
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| 9. | Violet/Violet
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| 10. | Welpjes/Cubs
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| 11. | X/X
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| 12. | Ijlings/In Great Haste
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| 13. | Zwoerdspek/Bacon-Rind
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Jazz / Modern Creative, Neo-Bop, Modal Music, Experimental Big Band
Frank Nielander (ss), Bart van der Putten (as), Frans Vermeerssen (ts), Rutger van Otterloo (bars), Eric Vloeimans (trp), Eric Boeren (crnt), Wolter Wierbos (trb), Hans Sparla (trb), Peter Haex (tenortuba), Patrick Votrian (basstuba),Michiel Braam (piano), Wilbert de Joode (double bass), Joop van Erven (drums)
Dutch jazz composer Michiel Braam has kept his "bik bent" (big band) afloat for more than 15 years, using an ever-changing lineup of the finest players in the Dutch jazz world (here including Wilbert de Joode and Walter Wierbos). Braam has an unusual compositional language for his large band; his only relatives are Anthony Braxton and Boston's Mark Harvey. Having used this as his chosen form of expression in the big-band context for such a long time, and on each recording, offering fragments of its articulation, on XYZ Braam has done the unthinkable -- with help from Dutch radio -- and recorded all of his "speaking voices" on a double-CD set, all offered as manifestations of the 26 letters of the alphabet. What is glorious about this opportunity is that Braam not only is allowed to exercise his compositional chops in a systematic way, but also given the manner of this organization, he is allowed to reveal all of his sources of inspiration with equal clarity. Over two CDs Braam's bik bent offers us glimpses of Ellington, Waller, Tristano, Beethoven, Wagner, Monk, Basie, Mingus, Kenton, Biederbecke, and so on, filtered through his creative imagination and usage. Ellington's ghost is evoked in full on "Duel" as a way of making sense of Dutch beerhall music. First the crap and then the art is how it comes out, with the oompah-oompah giving way to a searing blues which features the two trumpets dueling for domination of the idiom in their solos. Elsewhere on "Onderkant" amid the loose swing and interwoven bop construct, de Joode and Patric Votrian on bass tuba lock horns for a series of eight note solos! Perhaps no piece is more telling than "Tristano," whose source is obvious. Here saxophonist Frank Nielander and Braam himself offer the complex workings of bop harmony and counterpoint as a framework to showcase the vanguard lyricism developed by Mingus in the '60s on a model Tristano himself composed in the '50s! Agility is the word best used for Braam's musical tongues, they shift, spit, and sprint into one another on a dime's turn and careen joyously without regard for the limits of any one tradition while celebrating and respecting them all. Of the Europeans, only Franz Koglmann, Alexander von Schlippenbach, and Misha Mengelberg are capable of composing for large ensembles with such versatility and elegance. ~ Thom Jurek, All Music Guide
Michiel Braam
Decades Active: '90s, '00s
Born: 05/17/1964, Nijmegen, The Netherlands
Genre: Jazz
Styles: Avant-Garde Jazz, Experimental Big Band, Improvisation, Free Jazz, Modal Music, Modern Creative, Jazz-Rock
Moods: Ambitious, Complex, Intense, Sophisticated, Volatile, Exuberant, Whimsical
The prize-winning pianist and big-band leader Michiel Braam has largely escaped notice in the States, but in Holland he is a major figure who leads an outstanding band that he calls Bik Bent Braam and that has made considerable waves; and he is an original jazz pianist, too. Having performed with many leading European jazz improvisers, Braam has forged an innovative approach as a composer and arranger, and he infuses his group writing with an Ellingtonian aura that absorbs a large slice of 20th century popular music, from Sousa marches to swing to the most modern free and avant-garde elements. There is a remarkable attention to detail in his large scale works that manifests itself in highly inventive, twisted melodies, and complex harmonies, not to mention humor, with which he creates new ways of interpreting a venerable tradition. His piano playing, too, combines a healthy respect for the past with forays into modern abstraction. Braam has appeared often on Dutch, Belgian, and German television and radio, and his big band has been the subject of a television documentary. He is the recipient of two major Dutch awards: the Podium Prize (1988), an award that he describes as "the most important Dutch encouragement award," and the Boy Edgar Prize (1996-1997), which he calls "the oldest and most important jazz award in the Netherlands." Braam's big band and solo piano work are reasonably well documented on disc, but can be difficult to find as they are generally available only on small Dutch labels. Braam's recorded works are well worth seeking out, though, as he has produced some outstanding and even unusual compositions for large ensemble that incorporate a myriad of influences.
---Steven Loewy, All Music Guide |
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