News | Concertzender | Classical, Jazz, World and more
Search for:
spinner

arrow left
arrow right
spinner
Vocal Jazz – On the Shelf
Saturday, December 13th, 2025, 6:00 PM – Vocal Jazz. Jazz singer and programme maker Ineke Heijliger fills her final broadcast of the year with songs “that were still on the shelf.” She switches between America and the Netherlands, and thus between English, Dutch, and… Yiddish! Interest and quality are—as always in Vocal Jazz—the constant factors within a wide range of styles. Mirjam van Dam This vocalist (born 1970, pictured) works in many rooms of the music and theatre building. After studying at the Academy of Cabaret and the conservatories of Hilversum, Amsterdam, and Utrecht, she is active in the genres of jazz, pop, chanson, cabaret, and musical theater. Three pieces from her album Yiddish Jazz (2023). 1. Tey Far Tsvey is the “cozy” opening. The title may not ring a bell, but after a few bars it’s clear which standard it is. The Latin-dance opening shifts to swing after the first chorus, with Yiddish replaced by English. 2. Ovntlid (Evening Song) crosses the jazz boundary. It’s a Yiddish verse song. Melancholy in a minor key. “Quiet evening, dark gold, I sit with a glass of wine…” 3. Who’s Yehoodi is the positive, cheerful conclusion to this section. —————————- Kenny Barron Newly released is the album “Songbook” by 82-year-old pianist Kenny Barron. The cover features his name and the title. The fact that several vocalists are featured is not mentioned. It’s Barron’s first recording with singers. “Illusion” creates a sharp contrast with Van Dam’s previous piece. Its extremely slow tempo and meditative atmosphere are the main features. The singer is Cameroonian-American Ekep Nkwelle. “Minor Blues Redux” is indeed a blues in a minor key. Faster tempo – sung by American Catherine Russell (born 1956). Spacious piano solo in the middle section. ————————————— And also: Gerlo Hesselink Quartet/Flora de Geus Two pieces from the album Meant for You 2, released in 2024: Boom (Boom) and Geluk, nog meer Geluk (Happiness, even more Happiness). Singer Flora de Geus sings without lyrics. Lyric-less singing, using the voice as a wind instrument – we already find it in 19th-century classical music. Continued in the 20th century. And in jazz: Nelly Frijda with Boys Big Band (composed), and scat (improvisation). Prepare to be surprised! —————————————- Mirjam van Dam She opened this program, and she also closes it; after Yiddish and English, in a third language. Does Dutch-language vocal jazz exist? Absolutely. Think of Rita Reys, “Sun in Scheveningen”: “Ice cream, soda, tonic / In a lounge chair I sunbathe / on the beach.” (YouTube) Mirjam van Dam – 187 Dutch songs! Waltz in the Night, a delightfully rotating three-quarter time. CD Luister Eens, swinging Dutch songs – with composer/pianist Lex Jasper. Full programme and line-ups in the Programme Guide . Vocal Jazz – Ineke Heijliger
Piet Noordijk, 1932-2011(2)
Saturday, December 6th, 2025, 8:00 PM – Behind the Dikes. For altoist Piet Noordijk, Charlie Parker was the undisputed number one. But Parker had to share that place of honor with… Frank Sinatra! Volkskrant journalist Frank van Herk certainly didn’t anticipate that comparison in his 1997 interview with Noordijk. Noordijk: “What is number one in jazz music? Timing, exactly. There are very few jazz musicians with Frank Sinatra’s timing.” After studying clarinet at the Rotterdam Conservatory in the 1950s, which he completed with honors, Noordijk played in nightclubs and the Hilversum broadcasting studios, among other places. He is lead altoist with orchestras such as the Skymasters, the Metropole Orchestra, and the Boy’s Big Band. In the mid-1960s, he fronted the renowned Misha Mengelberg/Piet Noordijk Quartet, which became one of the most talked-about combos in Dutch jazz history. He played with some of the greatest Americans: Ben Webster, Nina Simone, Dexter Gordon, and Wynton Marsalis. The string of collaborations is endless, the list of albums and CD recordings infinite. A comprehensive article about the Mengelberg/Noordijk Quartet, written by Ben Zwanink (also the author of this News Report), appeared in Jazz Bulletin magazine. From it, the following quote about Noordijk: “Piet is an over-energetic, high-voltage bop alto player with an unerring intuition for constructing long solos. His musical flow of ideas can be traced back to a familiar bebop source, but this never leads to a string of standardized formulas. Speaking a dynamic musical language, he always tells his own story, never the same thing twice.” Playlist: Album: A Tribute To Rogier I Remember Rogier Why Do I Love You Piet Salto Album: New Quintet What Is This Thing Called Love Goodbye Frankie And Johnny Album: Pete’s Groove Pete’s Groove Pete’s Hit In 2007, alto saxophonist Piet Noordijk celebrated both his seventy-fifth and sixtieth birthdays at the BIMhuis in Amsterdam. Noordijk celebrated this joyous occasion with his bands Pete’s Groove, the Misha Mengelberg/Piet Noordijk Quartet, and the Piet Noordijk Boptet. Top Dutch jazz musicians, including Jack van Poll, Martijn van Iterson, Misha Mengelberg, Ruud Jacobs, Han Bennink, and Rik Mol, joined him on stage. (AD) Album: Jubilee concert: Live at the Bimhuis Amsterdam Ballad Medley (Mona Lisa – You Don’t Know What Love Is – But Beautiful – Embraceable You) ———————————————— For more information, see De Gids. This is the second—and final—programme about Piet Noordijk. Klik for the first programme. Behind the Dikes – Hajé Nordbeck
In Memoriam Reggae legend Jimmy Cliff
Last week, Jimmy Cliff, the Jamaican ska, rocksteady, and reggae musician who introduced reggae to the general public, passed away. Jimmy Cliff (1944-2025) began his musical career in the early 1960s, in Jamaica during the emerging ska and rocksteady scene. At a young age, he scored his first ska hits, such as “Hurricane Hattie.” As the music evolved into reggae, he blended his songs with soul and rhythm & blues, helping to popularize the music beyond Jamaica. He became best known for classics like “Wonderful World,” “Beautiful People,” “Many Rivers to Cross,” and “I Can See Clearly Now,” songs that also appealed to pop music fans—and thus a very wide audience. According to Jimmy, the development of reggae coincided with developments in Jamaica. Jamaicans sensed the potential of independence, and ska responded to this, with an uptempo beat full of energy and movement. It echoed the sentiment: “We are here, we exist, listen to us.” Rocksteady suited the next phase: the calm after the storm. The music slowed down. With rocksteady, the music became more “steady” with a rocking beat. During this phase, Jamaicans began to look more inward. And then came the reggae wave, the wave of awareness of Jamaica’s African heritage through Rastafari. This self-awareness called for a new music. Jimmy Cliff called reggae the marriage of rhythm and message. For several months now, Concertzender has been broadcasting the reggae programme Irie Riddims, by programme producer Geert de Vos. You can find a new episode Hier next week, and you can listen to the first episodes again.
Spinner
close
To use this functionality . If you don't have an account yet, register first.

Create your account

Forgot Password?

Don't have an account yet? Registreer dan hier.

Change password