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press & reviews
Close Enough
Altoist Paul van Kemenade with: Ernst Reijeseger, Ray
Anderson, Han Bennink, Cappella Pratensis, Frank Möbus,
El Periquin, Ernst Glerum, Serigne Gueye, Borderhopping,
Angelo Verploegen, Louk Boudesteijn, Wiro Mahieu.
* * * * * Downbeat (USA) july 2011
Ever heard a jazz CD open with Gregorian chant? A
composition involving a Renaissance vocal ensemble,
flamenco guitar, Senegalese percussion and jazz quartet
also has to be a first.
Further listening reveals rich variety and surprising
homogeneity, driven with deep conviction from the leader,
already confirming this as one of my albums of the year.
Dutch saxophonist Paul van Kemenade’s expressive alto
and bluesy feel betray a likely debt to David Sanborn and
Maceo Parker but might also have been distilled from Bunky
Green, Johnny Hodges or Amsterdam-based saxophonist
Michael Moore.
Clawing for precedents ends there, since this is a unique
record. Contexts are ingenious, from three horns plus bass,
to duo with cello, to big-shot quintet with Ray Anderson,
Ernst Glerum and Han Bennink. The latter plays snare with
brushes, contributing to an overall chamber-like vibe.
Collaborations with Angelo Verploegen and Louk Boudesteijn
suggest a regular band given the perfect tonal overlay,
bassist Wiro Mahieu as a fine counterweight. The leaders’s
‘Close Enough’ and ‘It is never too late’ whiff of
rhapsodic ballads and detour into peculiar polyphonic
places, the former fragmenting into spacious abstraction.
His alto darts and dives luxuriously, a rainbow feathered
bird of paradise riding to the stratosphere. Speaking of
birds, ‘Cuckoo’ with Ernst Reijseger plucking and
strumming cello and guffawing like a tipsy woodchopper, is
brilliant and hilarious. Despite the alto’s distinct
pump in the mix, there is a great sensitivity to dynamics
and a lovely hover betwixt classical, composition and
improv.
(Michael Jackson)
Cadence Magazine (USA) (july-aug-sept 2011)
Dutch altoist Paul van Kemenade's Close Enough is
subtitled In Different Settings and, true to his word, he
performs with five different ensembles, including, on
three tracks, a duo with cellist Reijseger. The opening
"Fantasy Colours" has a Renaissance-style vocal
ensemble plus a flamenco guitarist and a Senegalese
percussionist augmenting the basic piano, bass, flugelhorn,
trombone, and alto instrumentation. Those latter four
instruments constitute the sole instrumentation on three
tunes and a quintet of piano, bass, drums, alto and bass
clarinet do so on another one. The title track is the only
one that employs Van Kemenade's regular Jazz quintet with
trombonist Anderson, drummer Bennink, guitarist Mobis, and
bassist Glerum.
Van Kemenade provided all the compositions except two by
Reijseger and one by the bass clarinetist Koltermann. Most
of the expertly crafted and interesting pieces are clearly
instrumental in nature, with "Fantasy Colours,"
its lyrics from Psalm 147, being an obvious exception.
Also, the lyrical "Close Enough" might itself
serve as a fitting vehicle for a singer. The leader's
biographical material speaks of the variety of elements
typically blended into his music-European improvised music,
Jazz, Pop, and African, Spanish, and Classical music. The
classical influence on this album is most evident in
Reijseger's "Gathering for Alto and Cello,"
which sounds almost like a recital piece, albeit with a
Jazz tone and inflections on alto. But for the most
part, the recording's emphasis is on Jazz with a little
bit of Free playing mixed in with a lot of Hard Bop/ Post
Bop improvising. All the solos are excellent, but the
leader is spotlighted most often and plays extremely well.
On "Close Enough" he projects the kind of quiet
intensity and expressiveness typical of the late Charlie
Mariano. In fact, his surefooted, emotional playing evokes
Mariano again on Koterman's "Vormarz," which
also features a well-constructed bass clarinet chorus by
its composer.
(David Franklin)
www.goddeau.com
(B) augustus 2011
Altsaxofonist Van Kemenade is een veteraan van de
Nederlandse scene die al veel wateren doorzwommen heeft.
Close Enough laat een geslaagde staalkaart horen van ’s
mans opmerkelijke vermogen om ongewone bezettingen bij
elkaar te brengen. Dat viel ook in het buitenland op, want
zelfs het gerenommeerde jazzblad Downbeat kende het album
de perfecte score van vijf sterren toe. Het grappige is
dat de gemiddelde luisteraar bij het opzetten van de cd
waarschijnlijk even het gevoel zal hebben dat er iets niet
klopt. “Fantasy Colours” gaat immers van start met het
vocale ensemble Cappella Pratensis, dat gespecialiseerd is
in polyfone muziek uit de renaissance. En plots maakt het
deel uit van een nonchalant swingend geheel, met een
Senegalese percussionist (Serigne Gueye), een
flamencogitarist (El Periquin) en Van Kemenades Three
Horns And A Bass, met daarin trombonist Louk Boudesteijn,
bugelspeler Angelo Verploegen en bassist Wiro Mahieu. Die
combinatie van blazers, percussie en drie stemmen werkt
betoverend; het resultaat is een zinnelijk samengaan van
religieuze ingetogenheid en aardse groove, en een
genre-overspannende tour de force die nergens artificieel
klinkt. Het is om voor de hand liggende redenen ook de
meest opvallende compositie op het album, omdat de rest
strikt instrumentaal is en ingespeeld wordt met
instrumenten die meer eigen zijn aan de jazz. Zo zijn er
nog drie na elkaar geplaatste stukken van Three Horns And
A Bass, die laten horen dat Van Kemenade met hen beschikt
over een enorm potentieel. Geven ze nu eens, à la het
World Saxophone Quartet, de indruk dat je een compleet
swingorkest hoort, met bruisende, ongedwongen thema’s,
dan wordt even later resoluut de blues opgezocht of pakken
ze, zoals in “Cool Man, Coleman Part 1 & 2”, uit
met resultaten die nu eens filmisch meeslepend klinken, en
dan weer dartel dansend. Van Kemenade houdt er ook een
aantal kwintetten op na, waarvan er hier twee aan bod
komen. Z’n internationaal Quintet -- met de Amerikaanse
trombonist Ray Anderson, de Duitse gitarist Frank Möbus
en de Nederlandse ritmesectie van Ernst Glerum (bas) en
Han Bennink (drums) -- laat in het titelnummer een
verrassend laidback stukje jazz horen, met een
middensectie waarin even alle regels overboord gegooid
worden en plaats gemaakt wordt voor ‘kleine’ geluidjes
(prachtig om te horen wat die Anderson uit z’n
instrument haalt!), zonder dat het verzandt in een
tegendraads potje moeilijkdoenerij. Met het Duitse kwintet
Borderhopping gaat het er opnieuw iets exotischer aan toe,
al zorgt de basklarinet van Eckard Koltermann voor een
toets kamermuziek.
Kwadratuur.be (B) may 2011
The constant factor altosaxophonist Van Kemenade has a
nice and smooth sound and writes well structured
compositions. Small bends in his altosound reveal a
weakness for soul-jazz à la Cannonball Adderley without
being bogged down in sympathetic posturing. One of the
largest and most significant ensembles on the cd is a
group with Van Kemenade’s ‘Three horns and bass’,
flamenco guitarist El Periquín, Serigne Gueye, the
Senegalese percussionist, pianist Rein Godefroy and
Renaissance ensemble Cappella Pratensis and this
remarkable collaboration sound so natural.
The same high qualities in ‘Three Horns and a bass’ .
His compositions seem obvious change from New Orleans to
funk, Miles Davis and Mingus cool pocket big band
arrangements. The tempo and mood changes natural; the
harmonies and sound is wonderfully creamy; the interaction
and movement of the quartet impressive. Sophisticated
duets with cellist Ernst Reijseger and Van Kemenade's
international quintet with American trombonist Ray
Anderson, shines with a subtle brushing Han Bennink.
(Koen van Meel)
Jazznytt Magazine (Norway) Jan Granlie 04 2011
Paul Van Kemenade, raise your hands if you know him.
Just as I thought. No, not many hands to see.
According to the biography he is born in 1957 in
Nederland. In 1977 he started his own ensembles, and
played in ensembles such as Contraband, Vaalbleek, Podium
Trio, and many more. He is an alto saxophonist of the
straight Kind and he did a lot of recordings in Holland
since his debut in 1979. He has been playing with the
Contraband, Berlin Contemporary Jazz Orchestra, African
percussionists, the bass player Jamaladeen Tacuma, the
pianist Aki Takase, the saxophonist David Murray, trumpet
player Kenny Wheeler plus a lot of other benchmark artists
from the “wooden clog country”.Those who thought that
the mad jazz from the Netherlands was passé, have to
think twice after listen to these two records a few times.Because
with “Close Enough” and “Who is in charge”
the alto saxophonist Paul Van Kemenade proves that
there still is a little life left in the jazz that was
ravaging Europe more than 10-15 years ago. On “Close
Enough” that was recorded in December 2010 he put
together a bunch of songs that deviate and variate as the
blessed Per Borthen carried at his time. It all started
with “Fantasy Colours” with a renaissance ensemble, a
flamingo guitarist, a Senegalese percussionist and a bunch
of happy people from Holland. Funny and extremely original.
After that we meet the alto saxophonist together with the
trombone- thug Ray Anderson, the sharp drum-maestro Han
Bennink, electric guitarist Frank Möbus, bass player
Ernst Glerum in an imaginative titeltrack, before we get
the compositions for three horns and bass, three duets
with the cellist Ernst Reijseger, before it all ends with
bas-clarinetist Eckhard Koltermanns “Vormärz” in
beautiful company with the pianist Stevko Busch, drum
player Achim Krämer and bass player Benjamin Trawinsky.
“Close Enough” is a kind of collective moment where he
cooperates with different formations throughout the
record. I think that the most interesting is when he in
almost ten minutes, together with Ray Anderson plays over
Han Benninks drums. That song is worth the price, but the
other songs are not too bad either. It swings infernally
in between and shows that there still is a lot going on in
the Dutch jazz world. Thank you very much!
* * * * Jazzism (NL) march/april 2011
Powerful compositions; the renaissance singers is a
musical find; amazing, music that spans two continents and
six centuries; Three horns and a bass sound like a pocket
big band and sounds fine and exudes intimacy and
tranquility. The saxophonist himself on an Introspective
path.
(Eddy Determeyer)
Draaiomjeoren.nl (NL ) february 2011
Unique formations such as a combination with
renaissance singers-jazz-flamenco-african percussion and a
group with three horns and a bass , sound tight with well
written arrangements. Great duo with cellist Ernst
Reijsger. This album is a very diverse range of Van
Kemenade's musical intentions, which seem to be limitless.
We hear a variety of groups, the alto saxophone of Van
Kemenade in a vibrant and prominent role. Paul van
Kemenade is - witness this CD - Dutch most original modern
jazzaltist.
(Jacques Los)
Jazzenzo.nl (NL) february 2011
The CD with totally different ensembles excels in
accuracy and diversity, with a striking and impressive
result.
(Rinus van der Heijden)
* * * * Parool (NL) january 2011
The vocal ensemble Cappella Pratentis sing psalm 147:1
Lauda Jerusalem. Then there is African percussionist
Serigne Gueye and then, yes, Paul van Kemenade on alto
saxophone. The style of his first composition Fantasy
Colors is even more hybride as a flamenco guitarist strike
its strings and a nice jazz lick on a double bass and a
jazzquartet are playing at the same time. In a magical way
the musicians represent a new continent. Van Kemenade
loves change and has an impressive musical vocabulary. He
plays in his familiar nice and smooth manner in extremely
different styles and instrumentations. The title track ‘Close
Enough’ played by Van Kemenade’s international quintet
with drummer Han Bennink, guitarist Frank Möbus, bassist
Ernst Glerum and trombonist Ray Anderson reminds me of a
child who learns to walk with falling and rising every
time. The album is produced in a fantastic way by Van
Kemenade. What a wonderful warm, intimate sound.
(Maartje den Breejen)
Jazzflits (NL) january 2011
The CD "Close Enough" is a festive musical
kaleidoscope including a special opening of "Fantasy
Colours", a Van Kemenade Renaissance vocal
composition - flamenco- jazz - and African percussion. The
title song "Close Enough" with his international
quintet is a nice track and the combination with three
horns and bass are all typical Van Kemenade compositions.
Inventive duo with cellist Ernst Reijseger.
(Hessel Fluitman)
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Interview Van Kemenade in German Jazzthetik
November 2010 by Henning Bolte
» Read the interview (pdf)
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Duet Busch / Van Kemenade: Contemplation
On Songs, Russian Chants, Miniatures
Stevko Busch – p, whistling (tk 15)
Paul van Kemenade – as
April 2010 DNL2010, 16 tks / 47 mins
Marc Hoogma (NL), by email:
The CD is wonderful. I've never heard Paul play like
that before.
Regards, Marc
http://www.jazzpodium.com/pivot/entry.php?id=1035
31 July 2010 - 16:48 (NL)
Paul van den Belt for JazzPodium.com
Rating: * * * * *
...on Contemplation Van Kemenade plays like a young god.
.. a great intensity that almost feels religious.
...they hit the mark.
...it can actually put you in a contemplative mood.
In brief, it's richly varied, and it never becomes
dull or tiresome.
.. a lot of talent. Both men have got it, and it
shows too. Van Kemenade in particular pulls out all the
stops. From lyrical and melodic, to screaming and ecstatic.
Occasionally, his sax sounds almost like a flute, and then
later like a babbling brook. And all without histrionics,
and deeply sincere. Or, as the English like to say, a 'heartfelt
performance'.
... enigmatic, but intensely fascinating five
Contemplations
... delightful abundance ...
An album that grows on you the more you play it. (Or
is it that you grow on the album?)
Volkskrant (NL) 10/06/2010
http://extra.volkskrant.nl/select/music/artikel.php?Id=3218
Intimate and reflective * * * *
By Frank van Herk
... a real duet album.
Busch's accompaniment strongly influences the course and
the atmosphere of the sixteen, mostly short pieces.
..his touch and phrasing are more under-cooled than
swinging, which makes for a nice contrast with the often
preaching, blues-drenched sax
Most of the album is intimate and reflective, the
passionate saxophonist showing his reflective side, but 'For
Russia' fortunately offers a real party element.
Belorussia
http://www.nestor.minsk.by/jz/cd/2010/07/0500.html
by: Leonid Auskern
Two pieces ... are based on the works of famous Russian
composers Glazunov and Taneyev. If there is no doubt that
these compositions are jazz in nature, and close to the
Avant-garde, they are composed with highest regard to the
original and are unlikely to meet the objections of the
strictest adherence to Orthodox canons.
Busch and Van Kemenade convincingly demonstrate that the
jazz language can speak any theme and any trend if
dedicated and talented people are involved.
.... get thoroughly absorbed if you need the
meditative calm.
....an inspirational, highly skilful alto saxophone
performance by Paul Van Kemenade.
... deep philosophical content.
Finland
http://webmagx.jazzrytmit.com/index.php/
kaikki-arvostelut/1577-stevko-busch-paul-van-kemenade
3 JULY 2010
... the duet’s playing is purposeful and effective.
Paul van Kemenade’s alto saxophone plays keenly and
beautifully, brilliantly linked to Stevko Busch’s subtle
piano playing. The pieces on the disc are generally very
short, integrating South African rhythms with the
liturgical melodies of Russian Orthodox Church.
At times the passionate roar of Kemenade’s alto and
Busch’s fury on the keyboard has Taylor-like aspects.
Some of the pieces are very slow, soulful and minimalist,
creating an ambience of spiritual tranquillity.
...moments of great intensity when Paul van Kemenade gets
carried away and tears abruptly into his alto with great
strength at high tones.
This is alternative music combining basic harmonic jazz
rhythms with skilful playing.
Jazzenzo (NL) 18/06/2010
http://www.jazzenzo.nl/pivot/entry.php?id=2967
by: Rinus van der Heijden
.. a special CD.
...works like a charm.
It's a unique take!
They have found a form where there is not only space
for thoughtful music, but where joy and exuberance can
also bask in glory. When performing duets, a sense of
timing and feeling for your partner are of course of
paramount importance. When this happens in an atmosphere
of contemplation, you get a kind of musical philosophy.
... the musicians explore their deepest thoughts and
expose their most vulnerable side in some intricate
miniatures.
...diversity of attitude in which both piano and
saxophone are played.
.. the serious listener will be drawn into the
depths, where the skill of both musicians has settled and
where emotions are hooked together like the carriages of a
train.
http://www.jazzflits.nl
(NL) NO. 140, 28 JUNE 2010
by: Herman te Loo
'Contemplation', the title of this CD says a lot.
Pianist Stevko Busch and alto saxophonist Paul van
Kemenade are lost together in thoughtful musings.
Van Kemenade fans, in particular, will be surprised
because I've rarely heard him play so modestly. Herein
lies the power of Busch, because he chose the material.
Besides his own compositions, we are also treated to
chants from the Russian Orthodox church, and these of
course create a rather ethereal, pensive mood. The
performances given by Busch and Van Kemenade mean that
their pieces fit perfectly with the two pieces by pianist
Dollar Brand / Abdullah Ibrahim (who also always uses
ecclesiastical melodies in his music).
Sophisticated music, where every note seems to count,
and the two musicians co-exist in complete harmony.
http://www.jazzpress.org
(NL) 19/06/2010
by: Hans Schulte
No machine-gun-speed solos, no super-fast octave leaps,
but contemplative play
... the music is not polished or sugary. It does get under
your skin, though.
"Draaiomjeooren" (NL)
concert review about "Borderhopping" in Bimhuis,
Amsterdam, Feb. 2007
"...the Duet's playing is intense and impressive.
The beautiful and sharp tone of the alto saxophone and the
delicate accompaniment of Stevko Busch made this part the
climax of the concert."
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Two horns and a bass
Paul van Kemenade duos, trios, quintets
December 2008
The Wire ( UK ): Van Kemenade with his slightly raw,
honey-and pepper sound which lends itself to both outside
and more conventional repertory performance. An essential
lyric player. Exquisite.
Jazzman ( FR ): * * * * * (choc de mars 2009) Duos,
trios, quintet et un "all star" (sur le DVD en
bonus) d'un des plus brillants saxophonistes européens au
jour d'aujourd'hui. Un total bonheur de jazz. De vraies
compositions rappelant des classiques des fifties .Pour
autant, le traitement est celui d'un saxophonist alto
actuel dont le son évoque autant Cannonball que John Zorn.
Un classicism plongeant ses raciness chez Benny Carter ou
Johnny Hodges et qui aurait entendu Ornette comme Rudresh
Mahanthappa.
Cadence (USA): Alto saxophonist Paul Van Kemenade
begins his session, Two Horns and a Bass, with a display
of gorgeous sound. He has the kind of tone that could
carry an entire album of ballads. But he's not inclined to
limit himself. Van Kemenade shows while he can play sweet,
echoing even Saint Johnny "Lily Pons" Hodges
himself, he can be tart and biting as well. On the closing
"In a Sentimental Mood" (a video of the
performance is included on the second CD), the saxophonist
covers that entire range in a majestic performance. A
sighing, crying high-toned spot from Ray Anderson and a
spidery guitar solo from Frank Mobus to complement the
leader's spot. It's a fitting finale to a fine session.
Jazzthetik ( BRD ): * * * * Fließenden übergängen von
scharf intonierter Attacke, pointierter Verzögerung und
wunderbarer sonorer Wendbarkeit bis hin zum leisen
Flüstern.Van Kemenade ist der No-nonsense- Mann, der die
erforderliche Sensibilität besitzt und die Nuance kennt.
Jazzpodium (BRD): Spannender Gedankenaustausch,
einer der vielseitigen Saxophonkünstler.
Jazzmozaiek (B): Wederom een schitterend album.
Van Kemenade heeft iets te vertellen.
Deze prachtige miniatuurtjes dragen een heel eigen sfeer
en getuigen van een zeer typische Van Kemenade-stijl: een
eigen taal en geluid en straight to the point. Een
bloedmooie 'In a sentimental mood.
Kwadratuur.be (B): Zondermeer een Van Kemenade-cd
met steeds dat typische, sappige geluid.Trio is
wondermooi; harmonisch vol, soms verwijzend naar de
arrangeerkunsten van Gil Evans.
Jazzrytmit (FIN): Hollannin parhaat luomistyössä,
mutta tyypillisiä hälyääniä esittää vain Van
Kemenade saksofonilla ja lyhyitä jaksoya.
Jazzism (NL): * * * * * Van Kemenade verkeert in alle
stukken in uitstekende vorm.
Volkskrant (NL): * * * * bloedmooi en teder. Intens
vet glijdende altsaxsound. Van Kemenade speelt of zijn
leven ervan af hangt en tegelijk straalt zijn spel een
weldadige rust uit.
Parool (NL): * * * * Crème de la crème van de
Nederlandse jazzscene; sierlijke, romantische en
fonkelende composities van Van Kemenade. Mooi!
Jazzflits.nl : Wat een schoonheid!
Jazzenzo.nl : Bijzonder album, veelzijdige
composities en dito uitvoering.
Jazzpress.org (NL): Indrukwekkende cd.
De Stem (NL): Prachtige opnamen; Van Kemenade is
gewoon verdomd goed.
Friesch Dagblad (NL): Voorbeeldig; 'In a sentimental
mood' is van onvergetelijke schoonheid.
NTB (NL): Boeiende instrumentale interacties; mooie
bloemlezing!
Draaiomjeoren.nl : Van Kemenade is een van die zeldzame
altsaxofonisten met een volvet geluid dat ergens tussen
Johnny Hodges en Earl Bostic in zit.
Jazzmagazine.nl : Iedere toon een eigen gewicht en
heldere logica; hij maakt het luisteren tot een lust.
Buma magazine : Van Kemenade weet je altijd te raken
en bespeelt de altsax naar keuze van diep ronkend naar een
subtiel fluitje. Het zit allemaal in zijn bagage.
Concert reviews: Two horns and a bass ( dec. 2008/march
2009 )
Brabants Dagblad (NL): Jazzfestival zestiende
Stranger than Paranoia start met openbaring.
Indrukwekkend. Enkele juweeltjes van stukken. (concert 24
dec. 2008)
Jazzpodium.nl : duo met Fraanje, trio met Vloeimans
en Mahieu en eigen quintet: parels.
Composities die naar adem deden snakken. Bijna onmenselijk
mooi van stemming. Verbluffend samenspel Vloeimans en Van
Kemenade. Splinternieuwe stukken voor zijn quintet. (24
dec. 2008)
Jazzenzo.nl : Spectaculaire opening van het 16 e
Stranger than Paranoia festival met mini-concerten van Van
Kemenade in verschillende bezettingen: adembenemend ! (
concert 24 dec. 2008)
Jazzpodium.nl : Diversiteit als belangrijkste
constante. Subliem samenklinkende blazers Van Kemenade en
Vloeimans. Mahieu rotsvast. Voorbeeldig trombonewerk van
Ray Anderson en intense solo's van Van Kemenade. (concert
1 maart 2009)
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Paul van Kemenade and guests: No Way Station
October 2007
Cadence (USA): The vivid creativity of writing struck
me immediately: the title track (No Way Station) uses
seven instruments in such varied, shifting ways that they
at times sound like two small groups going in parallel but
contrasting directions, sometimes like a shouting big band
over funk-driven rhythms. It is a change from the usual
ensemble-soloist format, and it hints at everything from
Parker and Gil Evans back to New Orleans street music. On
the duets between Van Kemenade and pianists Busch or
Braam, the leader suggests that he would have fit into a
gospel group or a Ray Charles big band. Intense and
sometimes rough, his playing hints at a fierce version of
Phil Woods. Occasionally Van Kemenade's lines are
repetitive in the manner of Steve Reich, but he never
stays stuck in one groove. The closing three selections
are explorations of the possibilities for Jazz soloists
and strings: they are alluring but not sweet, intriguing
without being aggressively dissonant.Thrilling.
Jazzmozaiek (B): * * * * * ( top cd ) Een juweeltje, een
beklijvend werkstuk dat ons door de nachtelijke straten
laat dwalen van Buenos Aires, New York of….Tilburg
misschien?
Brabants Dagblad (NL): Er zijn weinig
altsaxofonisten in Nederland die zo lekker kunnen grommen
op hun instrument als Paul van Kemenade. Zijn rauwe geluid
en tegelijk lyriche spel.
Muziekpodia.nl: Vereenzelvigd met zijn sax;
diversiteit aan muziekstukken. Fenomenaal poject en
durabel visitekaartje.
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Mexi Cosy
Van Kemenade Quintet & Faku - Mnisi - Khoza -
Mndebele - Linx
June 2006
Cape Times (SA): This Dutch-SA collaboration glues
together European and American jazz improvisations with
warm-blooded South African music.
Volkskrant (NL): * * * * Altsaxofonist Paul van
Kemenade zou niet misstaan hebben in een van de
vulkanische groepen van Charles Mingus, vanwege zijn
passie, de hoogst persoonlijke 'kreet' in zijn spel, de
meedogenloze swing en het bluesgevoel. Ook als componist
is hij verwant aan de bassist, met zijn suite-achtige
stukken vol tempowisselingen en sterke melodieën. De cd
van de Tilburger begint dan ook met een hommage aan Mingus.
De andere bepalende factor op Mexi Cosy is de
Zuid-Afrikaanse jazz, vertegenwoordigd door een aantal
prominente musici uit dat land. De twee invloeden vloeien
natuurlijk in elkaar over, want naast hartstocht bevat de
muziek uit de townships, net als die van Mingus, veel
asymmetrisch huppelende maatsoorten en een flinke scheut
gospel. Dat is vooral te horen in de krachtige uithalen
van Sonti Mndebele, die op twee nummers zingt. De andere
gastvocalist, David Linx, zorgt voor een wat
experimenteler intermezzo. Van Kemenade speelt zondag op
het North Sea Jazz Festival.
Zam (Zuidelijk Afrika) magazine: Een aangename mix
van Europese jazz en ogenblikkelijk herkenbare
Zuid-Afrikaanse composities.
NRC Handelsblad (NL): * * * * Gevarieerd en prikkels
van buiten blijven inspirerend.
Slagwerkkrant (NL): Bijzonder fraai geluid;
harmonisch fraaie en slim gearrangeerde mix van jazz ,
bossa, funk,pop en Afrikaanse muziek.
Jazzenzo.nl / Brabants Dagblad: Van Kemenade met
zijn muzikale Afrikaanse broeders Feya Faku, Sydney Mnisi,
Sonti Mndebele en Bheki Khoza met wie het kwintet sinds
1994 samenwerkt, is de brug tussen westerse
geïmproviseerde muziek en (Zuid)Afrikaanse lyriek en
ritmiek wederom geslagen. Hoewel ook deze cd schijf
voortdurend verrast. De ritmische wisselingen, de lyrische
mijmeringen en voluptueuze groepsuit-barstingen, het
gedegen samenspel van de Afrikanen en de prachtig
improviserende stem van Sonti Mndebele markeren een nieuw
hoofdstuk in de historie van het Paul van Kemenade Quintet.
Over vier maanden 25 jaar aan het front!
Draaiomjeoren.nl : Een knappe prestatie van de
Tilburgse bandleider, altsaxofonist, organisator en Boy
Edgar Prijswinnaar.
Jazzflits.nl : Exotische productie, meeslepende
Afrikaanse invloeden, Van Kemenade's authentieke
altsaxsound bepaalt onophoudelijk het groepsgeluid.
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