© - Steven A. Cerra, copyright protected; all
rights reserved.
Although we have
only met via the Internet, I feel as though I have always “known” Eric Ineke.
Eric is a Jazz
drummer who lives in Holland and works there primarily, although given the relatively close
proximity of things on the Continent, he has performed in other European venues
as well.
You can find our
earlier features on Eric’s drumming by going here and
our review of his autobiography as told to saxophonist Dave Liebman by clicking on Eric Ineke: The Ultimate Sideman.
The reason why I
feel a strong affinity to Eric is basically because we share similar values
about Jazz drumming.
These values are
based around the primary notion of playing impeccable time that is alive with a
sense of urgency and which pushes and prods the soloist to his fullest possible
expression.
Another way of
putting it is that whatever the context, Jazz has to swing.
Everything that
the drummer is laying down back there has to drive the music forward, create a
sense of urgency in the other musicians and encapsulate the performance in an
atmosphere of energy and excitement.
The most recent
example of Eric’s drumming at work can be found on a recently issued CD that
was recorded in April of this year in Holland and released on Maxanter as High
Slide Low Blow – The Rik van den Bergh/Bart van Lier 5tet [MAX 75990].
Rik on baritone
sax and Bart on trombone are joined by Edgar van Asselt on piano, Marius Beets
on bass and Eric on drums.
In recent years,
Marius has become quite an impresario on behalf of Jazz in Holland serving as a
producer, player and recording engineers on many Dutch Jazz recordings in
addition to working with his pianist brother Peter in a fine Jazz trio and both
Peter and his tenor saxophonist brother Alexander in the Beets Brothers Band.
I first heard Rik
on his CD Reserge [Maxanter MAX 75373], a tribute to the late Serge
Chaloff who inspired so many of today’s baritone saxophonists and later as a
member of the Rotterdam Jazz Orchestra.
Bart van Lier has
been a mainstay of The Netherlands’ famous Metropole Orkest for many years and
he is the co-leader along with Ilya Reijngoud of one of my favorite two
trombone CD’s - Memories of the Future [VSOP 991072].
From every
perspective, Rik and Bart’s new CD is a sheer delight from beginning to end:
eleven [11] beautifully played and perfectly paced tracks; outstanding
musicianship; clearly recorded and mastered music; engaging tunes comprised of five
Jazz standards intermixed with six originals [three each by van Asselt and
Beets, who also recorded and mastered the disc]; interesting solos all blended
around a cookin’ rhythm section.
Bart gets the solo
spotlight on Polka Dots and Moonbeams on
which he plays muted trombone accompanied only by Marius on bass guitar while
Rik brings back memories of the man who started it all on Jazz baritone sax –
Harry Carney – with his eloquent ballad feature on Billy Strayhorn’s Chelsea Bridge .
Straight-ahead
Jazz your thing? The opening track by Edgar van Asselt, a unison line entitled Early Bird, will have you boppin’ and
burnin’ with charging solos by Rik, Edgar, Marius and Eric booting everyone
along from the drum chair. As should be the case, the lead track sets the tone
for the entire recording.
The next cut – Exotic Vibes – is an original by Marius
with shades of Benny Golson’s Killer Joe
and Blues March reflected in this
vamp-based, medium tempo tune on which everyone gets loose. It’s the kind of
tune that’s great to open a set with so that all the players can get into a
relaxed groove.
Body Works – Marius’ homage to Body and Soul – follows in a looping, bossa nova beat with a
beautifully harmonized melody by Rik and Bart that is set against a
countermelody laid down by Edgar and Marius.
Joe Henderson’s Jazz
standard Step Lightly is up next and
that’s what everyone does as a result of the tune’s mellow groove which is
beautifully underscored by the fact that Marius takes the first solo on bass,
followed by Edgar on piano, Rik on bari and Bart on ‘bone. If you think about it, the solo sequence is
exactly the reverse of the ordering that usually takes place.
Also on tap are
refreshingly different version of Thad Jones’ Three and One, two more originals by Edgar - Vox Populi and Profectus – another of Marius’ marvelous melodic
modifications – It Could Happen to All of
Us [based on Jimmy van Heusen’s It
Could Happen to You] with the late baritone saxophonist Ronnie Ross and Chris Pyne's Sue’s Blues closing things out [I would
imagine that Rik may have had something to do with bringing this rarely heard
tune to the recording date].
Here’s what Hans
Mantel, bassist, musicologist, producer/host of Jazz programs on radio and
television, had to say about the music in his Introduction.
“The jazz quintet
format with baritone sax and trombone has not been a very common one in jazz.
There were a few successful groups in the late forties and throughout the
fifties with the baritone - trombone combination, such as the Curtis Fuller
and Tate Houston Quintet, the Gerry Mulligan/ Bob Brookmeyer group and the
"Pepper-Knepper Quintet" with Pepper Adams on baritone sax and
trombonist Jimmy Knepper.
To the casual
listener it could be tempting to think that these bottom feeders among the
horns can only produce the most rudimentary of solos by musicians lumbering
away on these big, clumsy instruments while the real virtuosity and technical
fireworks are left to alto saxophones and trumpets. Nothing could be further
from the truth, as is abundantly clear to anyone who has devoted some serious
listening to the great jazz musicians that play these instruments. Besides,
it's not about technique for technique's sake. It's only about the music and
with that comes a sound that the musicians want to project.
This is where the
baritone/trombone combination comes into its own. There is a sonority in that
sound that is unique. Unique in itself and in combination with the rhythm
section. This CD demonstrates that once again and in an admirable way.
Rik van den Bergh
has become a prominent voice on the baritone in recent years. He hails from The Hague , the city that has always produced the
very best straight ahead, hard-driving jazz musicians in The Netherlands. While
forward looking, he has thoroughly absorbed the tradition of the baritone
saxophone in jazz and the influence of the great Pepper Adams in clear in his
playing.
Trombonist Bart
van Lier is one of a handful of best jazz trombonists in the world and among
colleagues everywhere his name is mentioned with reverence and for good reason.
He has worked with the greatest names in the music and as far as his command of
the instrument goes, Bart has set a new standard. He's one of a kind.
The seasoned
rhythm section also has The Hague written all over it. Pianist Edgar van
Asselt is a very versatile musician with a deep love for all things groovy and
he was the perfect choice for this band. Over the last twenty years Marius
Beets has become one of the most sought after Dutch bassists. His musical
empathy, command of the instrument and his ability to always get down to the
nitty-gritty explain why he is one of the busiest bassists in the country.
The list of jazz
greats that veteran drummer Eric Ineke has worked with is too long to mention.
He is one of the most accomplished European side-men and his playing reflects
that. His huge experience of five decades and musical scope are an invaluable
addition to the sound of this band.
The tastefully
selected repertoire for this CD consists of craftily reworked standards, a few
beautiful ballads and some originals. What more do you need? The music swings
and it sounds organic and natural in the hands of these accomplished musicians.
It's beauty and intensity combined. But make no mistake; this band packs a
punch.”
Not to quibble
with Professor Mantel’s assessment of the number of ‘bone-bari combinations as
the ones he notes are certainly principal among them, but thanks to the
knowledge of a chat group to which I am a member, the following combinations of
this unusual front-line instrumentation should also be noted [although in many
case, these are one-off pairings]. ‘Bone player first and then bari :
- Miff Mole and
Jack Washington
- Bob Brookmeyer
and Jimmy Giuffre
- Bob Brookmeyer and Gerry Mulligan
- Bob Brookmeyer and Gerry Mulligan
- Bill Harris and
Jack Nimitz
- Eddie Bert and
Gil Melle
- Urbie Green and
Gil Melle
- Bill Watrous and
Nick Brignola
- Herbie
Harper/Bob Enevoldsen and Bob Gordon
- Wycliffe Gordon
and Joe Temperley
- Julian Priester
and Charles Davis
- Frank Rosolino
and Tony Scott
- Jimmy Knepper
and Tony Scott
- Ake Persson and
Lars Gullin
- Eje Thelin and
Lars Gullin
- Roy Williams and
John Barnes
- Mark Nightingale
and Andy Panayi
- J.J. Johnston and Leo Parker
- Curtis Fuller and Pepper Adams
- Curtis Fuller and Cecil Payne
- Jimmy Knepper and Gary Smulyan
- Maynard Ferguson [vtb] and Bruce Johnstone
- J.J. Johnston and Leo Parker
- Curtis Fuller and Pepper Adams
- Curtis Fuller and Cecil Payne
- Jimmy Knepper and Gary Smulyan
- Maynard Ferguson [vtb] and Bruce Johnstone
Order information for the CD is available at www.maxanter.com.
Hi Steve
ReplyDeletewhere is Brookmeyer / Mulligan?
Willie
Hi Willie:
ReplyDeleteMulligan/Brookmeyer is listed at the beginning of Hans Mantel's insert notes along with Pepper/Knepper and Curtis Fuller - Tate Houston.
I didn't want to duplicate in the list of amended 'bone-bari combinations.
Kind regards,
Steve
Chris Pyne and Ronnie Ross (Sue's Blues)
ReplyDelete