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NEW: CDs of JORRIT DIJKSTRA distributed by oaksmus!

Dutch saxophonist and composer Jorrit Dijkstra (1966) has been an active member of Amsterdam’s vivid jazz and improvisation scene since 1985, before moving to Boston early 2002. His music shows strong influences from the American and European improvisation traditions, as well as from ethnic, contemporary classical and electronic music. The critical press compares his clear, flexible sound and lyrical improvisation to Ornette Coleman, Paul Desmond and John Zorn, showing the broad spectrum of his saxophone style. Besides the alto saxophone, he plays soprano saxophone, Lyricon, clarinet, and tin whistles, and uses electronics such as loop and delay machines, a pitch shifter and an analog modular synthesizer to process his saxophone sounds live on stage.
read more at www.jorritdijkstra.com

 

 

 

Sequence
Jorrit Dijkstra + John Hollenbeck

1. bubble wig / 2. iron skin / 3. pollen gamut / 4. dub machine / 5. whistle baby / 6. rubber mitten / 7. breath attack / 8. neuron ringer / 9. grizzly scrap / 10. junior electro / 11. micro slope

 

Jorrit Dijkstra – alto saxophone, lyricon, analog electronics, tin whistles, music box
John Hollenbeck – drums, percussion, autoharp, kalimba

Recorded on November 12, 2004 and May 18, 2005 by Jamie Saft at Frank Booth Studio

total duration: 65:38

item no.: TT559-035
retail price € 13,90

John Hollenbeck and Jorrit Dijkstra have been playing duets on and off since 1998. They investigate the minuscule details within the sonic palette of their instruments by “zooming in” to a whole new world of sonic textures. With the help of some analog electronics, they place their sounds under an imaginary microscope, to orchestrate the overtones, micro-beats, wind flows, clicking of the pads, impact of the stick on the drumhead, and subtone effects, without losing their strong sense of melody and groove. They also share an interest in improvising with multiple-tempo layerings, melodic cells, cut and paste methods, extended techniques and integrating uncommon (analog) instruments. Their music shows influences from Ornette Coleman, Steve Lacy, György Ligeti, and Conlon Nancarrow, as well as minimalists like Morton Feldman, Ryoji Ikeda, Brian Eno and the Clicks and Cuts movement.

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30 micro-stems
Jorrit Dijkstra solo

1. contrapunt #5 / 2. 30 micro-stems / 3. koot / 4. residence / 5. faster than my shadow / 6. old roman road / 7. contrapunt #8 / 8. hickory / 9. linea recta / 10. mind the gaps / 11. transducer (contrapunt #14) / 12. carpet

 

 

Jorrit Dijkstra – alto saxophone, lyricon, electronics
Recorded in Amsterdam on April 12, April 14 and September 28, 2001 by Dirk Hooglandt.

total duration: 64:30


item no.: TT559-014
retail price € 13,90

A rich record of very complex solo performances, using live processing of Dijkstra’s own playing alto sax and lyricon – you will hardly believe that there really are no overdubs!

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Sound-Lee ! plays the music of Lee Konitz
Guus Janssen/Jorrit Dijkstra/Raoul van der Weide/Wim Janssen

1. Progression / 2. Hi Beck / 3. Palo-Alto / 4. Near-Lee / 5. Ablution / 6. Kary’s Trance / 7. Ice Cream Konitz


 

 

Guus Janssen – piano, Jorrit Dijkstra – alto saxophone, Raoul van der Weide – bass, Wim Janssen - drums
Recorded at BIMhuis Amsterdam on June 23, 2001 by Dick Lucas

total duration: 70:08

item no.: GG 021
retail price: € 13,90

Lee Konitz’ music expertly performed by masters of the Dutch avant-garde, not at all lacking humour. Listening to this CD is a real pleasure!

The avant-garde side of Dutch altoist Jorrit Dijkstra was heard to fine effect on his recent Songlines album Humming, featuring his live processed saxophone with Canadian group Talking Pictures. His Sound-Lee! project at the Bimhuis might seem, in contrast, more like straight-ahead jazz. But this was no “repertory band”- Dijkstra is re-invigorating a still neglected but vital tradition in modern jazz. The phenomenal Dutch master Guus Janssen on piano meant nothing could be taken for granted, and brothers Wim on drums and Raoul van der Weide on bass completed a totally empathetic line-up.
As you’d expect from the Tristano connection, Konitz’s pieces are based on the chords of standard songs. As he explained to me afterwards, Dijkstra got acquainted with them in the 80s, and the project has been on the cards for several years. The altoist admires Konitz’s intuitive approach to improvising, with its rejection of pattern-playing and licks, and that comes across in his own thoughtfull, cool style. Janssen is a great Tristano fan but they concentrated on Konitz because Tristanos compositions have been played much more often. Warne Marsh’s pieces, which are "even more bizarre sometimes" Dijkstra reckons, may be the next venture.
Mr Konitz is very fussy about the interpretation of Tristano compositions and no doubt his own too, and I hope the young altoist had learned the lines properly, though since most of these are unfamiliar I couldn’t say. Certainly the interpretations were totally individual, the original standards often unrecognisable. “Strike Up The Band” came through on “Palo Alto”, and “Too Marvellous For Words” on “Sound-Lee!”, but “One Note Samba” was totally subverted by “Near-Lee”. “Ice Cream Konitz” (“Perdido”) was fast and busy. On “Subconscious Lee” (“What Is This Thing Called Love”), Konitz’s most wellknown composition, Wim Janssen’s beautifully melodic drum solo followed the theme’s contours.
Guus Janssen often picked up and toyed with Tristano mannerisms- the block-chord style, baroque contrapuntal references, and straight-eighth lines. On “Palo Alto” he delighted us with a long stride piano solo, and “Hi Beck” showed echoes of Herbie Nichols. He uses the full resources and breadth of the keyboard, with ideas exchanged between the hands; the left hand rarely just comps. Also included in the gig were a couple of Janssen’s own delightful, witty compositions, and the clarity and coherence of his lines reflect a composer’s vision. A common and totally justified reaction to Janssen’s earlier performance with the project was “I didn’t know you played jazz so well, you should do it more often”. This enthralling gig was being recorded for Netherlands radio- hopefully some enlightened record label will take an option on it.
JazzReview, 2003

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HUMMING
Talking Pictures and Jorrit Dijkstra

1. Curve Belt / 2. Humming / 3. Scarab/Plant/XJ / 4. Barcode / 5. Deaf Cat Lane / 6. Call Me in a Minute


 

 

Jorrit Dijkstra – alto saxophone, electronics, Ron Samworth – guitar, electronics, Peggy Lee – cello, Bill Clark – trumpet, Dylan van der Schyff – drums, electronics

Recorded on July 4, 5 & 10, 2000 by Shawn Pierce at Blue Wave, Vancouver

otal duration: 55:56

item no.: SGL 15233
retail price: € 13,90


Amsterdam meets Vancouver: a lyrical, tough, dreamlike set by adepts at extending jazz and improvisation into the realm of electronics.

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