WILLEM BREUKER KOLLEKTIEF – Driebergen - Zeist (LP-1983)

Label: BV Haast Records – BVHAAST 050

Format: Vinyl, LP / Country: Netherlands / Released: 1983

Style: Contemporary Jazz, Free Improvisation

Recorded at Sound Push Studio's, Blaricum the Netherlands, Sept. 12th./13th. 1983.

All arrangements by Willem Breuker

Cover design / Photos by – Reinko Kuiper

Mixed September 15th 1983

Engineer by – Jan Schumman

A1 - Wolkbreuk III ............................................................................ 5:54

A2 - No Wave Samba ...................................................................... 6:06

A3 - Benares. (From Mahagonny) ................................................... 3:50

        Composed By – Kurt Weill

A4 - What? ....................................................................................... 4:59

A5 - Lied Van De Zware Toffe Jongens /

        Pirate Jenny (From Three Penny Opera) ................................. 2:24

        Composed By – Kurt Weill, Vocals – Dick Swidde

B1 - Driebergen – Zeist .................................................................... 9:56

B2 - Dance Of The Knights (From Romeo And Juliet) ..................... 3:55

        Composed By – Serge Prokofiev

B3 - Creole Call Love ....................................................................... 6:30

        Clarinet – Michiel de Ruyter, Composed By – Duke Ellington

Willem Breuker – saxophone, clarinet

André Goudbeek – clarinet, saxophone

Maarten van Norden – saxophone, clarinet

Bernard Hunnekink – trombone

Garrett List – trombone

Andy Altenfelder – trumpet

Boy Raaymakers – trumpet

Henk de Jonge – piano, synthesizer

Arjen Gorter – double bass

Robbie Verdurmen – drums, percussion

 Willem Breuker / Maarten van Norden

 Arjen Gorter / Robbie Verdurmen

Boy Raaymakers / Bernard Hunnekink

Driebergen-Zeist is one of two or three albums released by Breuker's Kollektief in the early- to mid-'80s that represent this band at the absolute peak of its considerable powers. At this point, all the energy that had been a central part of the group since its inception in 1974 combined seamlessly with Breuker's elaborate and complex compositional skills to produce music unlike anyone else's at that time or since. It was a music both experimental and surprisingly accessible, connecting disparate points between 20th century classical music, street songs, and avant-garde jazz, all soldered firmly together by Breuker's devilish sense of humor. Much of the album is given over to covers, all of them performed superbly. Breuker's long-time affinity for Kurt Weill is made clear both in the version of "Benares" (from Mahagonny) and, utterly wonderfully, in his "Pirate Jenny," featuring vocals and new lyrics by the gruff, elderly Dutch actor/singer Dick Swidde, who growls and sputters his way through hilariously. There's also a lovely and straight reading of Prokofiev's Dance of the Knights (from Romeo and Juliet) and a creamy, adoring rendition of Ellington's "Creole Love Call" with guest clarinetist Michiel de Ruyter. Many a "traditional" jazz band could take a lesson from this heartfelt performance. Breuker's own cleverly titled composition "What?" comes about as close as possible to duplicating "Take the 'A' Train" without ever quite getting there -- a bravura demonstration indeed. But the real highlight of this LP is the title piece. Ten minutes long and apparently through-composed, "Driebergen-Zeist" sounds like some otherworldly melding of Ellington, Gershwin, and Carl Stalling as themes collide, disappear, and arise from nowhere, each more gorgeous than the last, and are undermined by false starts, fake endings, and composed "mistakes" (the latter including a delightful section where drummer Rob Verdurmen makes several "wrong" entrances). It's an astonishing work and illustrative of what this ensemble was capable of at its best.

Very highly recommended.

If you find it, buy this album!

WILLEM BREUKER KOLLEKTIEF – The European Scene: Donaueschingen Music Festival 1975 (LP/1977)

Label: MPS Records – 68.168

Format: Vinyl, LP / Country: Germany / Released: 1977

Style: Free Jazz, Free Improvisation

Recorded on 19. October 1975 live at the Donaueschingen Music Festival.

Producer, Recorded By [Recording Director] – Joachim Ernst Berendt

Photography – Wim Riemens

A1 - Ouverture 'La Plagiata' . . . 6:20

A2 – Streaming . . . 5:25

A3 - Luiermuziek . . . 4:48

A4 - Logical . . . 5:59

B1 - PLO-March . . . 5:10

B2 - Trauermusik Aus 'Keetje Tippel' . . . 5:38

B3 - Szenenwechsel-Musik Aus 'La Plagiata' . . . 6:18

B4 - Riette . . . 4:22

B5 - Nietzsche Aan Te Doen . . . 1:15

        (Nichts Dran Zu Ändern / Aus: 'Anthologie')

Willem Breuker: saxophones & clarinets

Bob Driessen: alto saxophone

Maarten van Norden: tenor saxophone

Ronald Snijders: flute

Boy Raaijmakers: trumpet

Willem van Manen: trombone

Bernhard Hunnekink: trombone

Jan Wolff: French horn

Leo Cuypers: piano

Arjen Gorter: double bass

Rob Verdurmen: drums

Photos: Wim Riemens 

Many of the pioneers of "free music" are from the Netherlands. In 1966, pianist Misha Mengelberg founds eg whole avant-garde, the ICP Orchestra with Willem Breuker will be part at the beginning. Eight years later, in 1974, he founded his own ensemble, the "Willem Breuker Kollektief." Dutch clarinetist and an important contribution to the development of European jazz is beginning to stand out from the all-powerful American model. Gradually, the old continent jazzmen discover their own identity.

Two aspects in particular distinguish the Willem Breuker Kollektief of others-seem: a subversive humor rooted in the second component of its policy clear music-ment, namely a true critique of society. Willem Breuker and reconnect all in this with the compositions of Hanns Eisler apparently popular, but careful listening reveals a true complexity. Not to mention "Parade" Erik Satie whose diverse building styles inspired probably the model for the musical concept of Willem Breuker. Pop music and circus music is also obvious references, although shaken by the Kollektief who had eleven members in its infancy, they take almost anarchic accents.

The sharp Kollektief of concerts, with real set in the 70s in particular theatricality is definitely political street theater in vogue at that time and many works that Willem Breuker then composes for film and theater. However, behind the wild arrangements changing at breakneck speed behind the musical satire often tinged with sarcasm styles, pierces through a bitter seriousness Kollektief which denounces social inequities. His trilogy ("Hunger", "Thirst" and "Misery") is a prime example. Willem Breuker and his musicians will meet the white circus clowns, characters sad white makeup enhanced with a tear.

This very serious game with art declined to infinity hide an enigmatic humor, Willem Breuker Kollektief has practiced at the Donaueschingen Music Festival Concert in 1975 published later under the ambitious title "The European Scene "and met-known musicians such Maarten van Norden (saxophone), Boy Raaymakers (trumpet), Willem van Maanen (trombone), Leo Cuypers (piano), Arjen Gorter (bass) and Rob Verdurmen (drums). All have remained loyal for decades to Willem Breuker. During this concert ovation, deliberate mix of satirical entertainment and seriousness, it followed its "PLO March "music to the civil war in Lebanon answer a moving musi-that funeral. Between these contrasts, as a link in some way, Willem Breuker weaves excerpts from the music of burlesque drama "The plagiata" which plays an essential role also in other legendary concert at the Festival Kollektief Total Music Meeting in 1975 Berlin. Prokofiev and Shostakovich at home in the classical record, the works of Willem Breuker leave a furious burst laughing with the emergency fail reason.  _  (Text: Reinhard Kager)

NOTE:

I apologize to everyone, I did not know that the album WBK - 'Live in Berlin' re available in digital form. You can get it via 'destination out' at a very affordable price:

http://destination-out.bandcamp.com/

I ask for understanding. Regards. Vitko

If you find it, buy this album!

WILLEM BREUKER KOLLEKTIEF – Willem Breuker Kollektief On Tour (1977)

Label: BV Haast Records – BVHAAST 020

Format: Vinyl, LP / Country: Netherlands / Released: 1977

Style: Free Jazz, Free Improvisation

Recorded live at Rouen-University, Rouen, France on March 3, 1977.

Concert Production – Gérard Terronès, Michel Jules

Photography By – John Prins

Recorded By – Guy Bunel, Marc Debeauvais

A1 - Husse I . . . 5:00

        (Tenor Saxophone [Solo] – Willem Breuker)

A2 - Antelope Cobbler . . . 11:27

         (Alto Sax [Solo] – Bob Driessen, Tenor Sax [Solo] – Maarten van Norden)

A3 - Brassquartet . . .1:32

A4 - Hullie & Zullie . . . 3:42

B1 - Waaht . . . 3:25

         (Trumpet [Solo] – Boy Raaymakers)

B2 - Potsdamer Stomp . . . 5:40

         (Tenor Sax [Solo] – Maarten van Norden, Trombone [Solo] – Bernard   Hunnekink)

B3 - Husse II . . . 2:33

         (French Horn [Solo] – Jan Wolff)

B4 - Husse III . . . 5:24

          (Trombone [Solo] – Willem van Manen)

B5 - Florida . . . 2:19

Alto Saxophone, Clarinet [E-flat] – Bob Driessen

Bass – Arjen Gorter

Composed By, Arranged By, Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Clarinet [E-flat] – Willem Breuker

Drums – Rob Verdurmen

French Horn – Jan Wolff

Tenor Saxophone – Maarten van Norden

Trombone – Bernard Hunnekink

Trombone, Producer – Willem van Manen

Trumpet – Boy Raaymakers

Interesting photos of the band standing stiffly with their instruments around. (Photo: John Prins)

Jan Wolff, Rob Verdurmen, Willem van Manen, Maarten van Norden, Willem Breuker, Boy Raaymakers, Arjen Gorter, Lodewijk de Boer, Bernard Hummekink, Rob Driessen, Ronald Snijders.

Photo: Joop Souverijn

A live recording from Rouen, France, On Tour, representation of the Kollektief in the late '70s. Several of Breuker's regular touchstones are covered, including tight, rhythmic crowd-pleasers like "Hullie & Zullie" and "Florida," more expansive, jazzier pieces like "Antelope Cobbler," and bits of hilarity, here a mock country & western called "Potsdamer Stomp." the Kollektief always featured some of the finest soloists around and, among others, altoist Bob Driessen, trumpeter Boy Raaymakers, and trombonist Willem van Manen deliver the goods here.

_ By Brian Olewnick

(A slightly muffled recording quality), It's good, but not clear.

If you find it, buy this album!

KEES HAZEVOET QUARTET – Pleasure (1970) Re-2004

Label: Atavistic – UMS/ALP234CD
Series: Unheard Music Series –
Format: CD, Album, Reissue; Country: US - Released: 2004
Style: Free Jazz, Free Improvisation
Recorded on September 6, 1970 in the auditorium of Stedelijk Museum, Amsterdam
Design [Cover] – Fred R. Willemse
Engineer – Alwin Mulder
Photography By – Andries L. Hazevoet
Producer – Kees Hazevoet, Tony Schreuder
Reissue Producer, Liner Notes – John Corbett

 

It's no surprise that most free jazz fans haven't heard Pleasure. The 1970 debut from pianist/clarinetist Kees Hazevoet and his quartet was originally released in the Netherlands as a tiny edition of 250 copies replete with silk-screened covers. It may have been the first offering from Hazevoet under his own name, but by the time of Pleasure's release he was already deeply entrenched in the European free improvisation scene. On Pleasure he's joined by two fellow countrymen: alto saxophonist Kris Wanders and bassist Arjen Gorter, both of whom had been playing with Hazevoet as part of his working group. Joining them here is legendary South African drummer Louis Moholo, best known for his work with fellow South African ex-pat Chris McGregor and the Brotherhood of Breath. The album starts with "Moving Lady," with its humble bass intro soon joined by clarinet and alto for a melancholy melody that is quickly swept away by Moholo's stuttering toms and crashing cymbals. "What Happens" is a more tentative dialog that finds its foundation in Hazevoet's enigmatic piano riffs -- tiny patterns that swirl around the other players before fading away, only to return with heavy chord clusters. It's a brooding style that serves the quartet well, and while there are remarkable solos here, it's the group interaction that makes Pleasure stand out. "All There," the 20-minute album closer, is centered on the spiraling interplay between Hazevoet on piano and Wanders on sax. Toward the end of the piece, Hazevoet switches to clarinet for a frantic mantra that drives Wanders' alto to higher heights before easing the proceedings back to a reverent earthbound finish. This is the second Hazevoet date to be reissued by Atavistic (the first was the excellent Unlawful Noise by Haazz & Company) and a third, Calling Down the Flevo Spirit with Han Bennink, is already planned. Hazevoet may not have the name recognition of his Dutch peers, largely due to his retirement from music just as the Netherlands scene was getting some of its due, but Pleasure's reappearance after such a lengthy stay in obscurity proves that you can't keep a good record down. Here's to more albums like Pleasure and players like Kees Hazevoet getting the attention they deserve.

_ Review by WADE KERGAN



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WILLEM BREUKER KOLLEKTIEF – In Holland (2LP-1981)

Label: BV Haast Records – BVHAAST 041/042
Format: 2 × Vinyl, LP, Album; Country: Netherlands - Released: 1981
Style: Free Jazz, Free Improvisation

Recorded at M.C.R. Studio Amersfoort, Holland, April 21th, 22th and May 6th 1981

Composed By – Henk de Jonge (tracks: C2), Unico Wilhelm graaf van Wassenaer (tracks: D1a-d), Willem Breuker (tracks: A1 to B5, D2), Willem van Manen (tracks: C1)
Cover Draving By – Ariane Gscheidle

Simply put, this is the finest album ever released by the Willem Breuker Kollektief as a jazz tentet (as opposed to the repertory ensemble they later became). In Holland contains the most creative orchestrations, and the most thrilling solo work by the Kollektief, and ranks among the best jazz albums of the '80s. Two of the songs here ("Tango Superior/Interruptie" and "To Be With Louis P.") were released on the compilation disk The Parrot, but the remainder were only available on vinyl as of 2001. 

The first record of this two-LP set is essentially designed as a suite, beginning with a powerful overture, and continuing on through an uproarious tango featuring a comically frustrated Breuker on alto, a drunkenly careening showcase for the brilliant trumpeter Boy Raaymakers, a loving homage to Prokofiev, and a fleeting reference to Wagner. Altoist Bob Driessen soloing never sounded better, and the driving bass work of the invaluable Arjen Gorter causes one's jaw to drop. Next comes "To Be With Louis P.," a surging R&B number with Breuker in the hilarious role of sleazy lounge singer who nonetheless matches Maarten van Norden's wondrous tenor sax shouting note for note. 

The second LP consists of four compositions, including a concertino by an obscure 17th century Swiss composer, and a ferocious reel called "Hopsa, Hopsa" that builds up, morphs, and goes bananas. It's an album highlight, featuring a breathtaking performance by WBK, and composed by the newcomer (who'd stick around) pianist Henk de Jonge. Also included is one of Breuker's most beautiful and moving compositions, "Marche Funèbre" (from his musical production De Vuyle Wasch, or 'Dirty Laundry'), whose themes are at once rich, somber, romantic, and inspired. Though the group lost quite a bit of freshness after the mid-'80s, In Holland qualifies as an extraordinary record by one of the most creative and enjoyable jazz ensembles to have emerged from Europe.

_ Review by BRIAN OLEWNICK



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