"Our subcultural shit-music": Dutch jazz, representation, and cultural politics Rusch, L.

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1 UvA-DARE (Digital Academic Repository) Our subcultural shit-music: Dutch jazz, representation, and cultural politics Rusch, L. Link to publication Citation for published version (APA): Rusch, L. (2016). Our subcultural shit-music: Dutch jazz, representation, and cultural politics General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam ( Download date: 30 Dec 2018

2 4.& Piep$piep$knor&and&wooden&shoe&timing :&On&Dutch&jazz&criticism& Inthesummerof1966,theeighthandlasteditionoftheinternationaljazzfestivalinthe BelgiancityofComblainHLaHTourtookplace,alargeopenHairfestivalknownasthe EuropeanNewportFestival headliningamericanstarssuchasstangetz,benny GoodmanandAnitaO DayandfeaturingatotaloffortyHonegroupsfromtwelve countries,includingfivefromthenetherlands:theleddywesseltrio;thefranzkamp HammondTrio,RobertvanLeeuwenQuintet,MagnoliaJazzGroup;MudfieldSkiffle Group. 326 TheGermangroupledbyvibraphoneplayerGuntherHampelalsoincludeda Dutchmusician;theyoungreedplayerBreuker,whoonemonthearlierhadprovokeda scandalinthenetherlandswiththeperformanceofhis Litanyforthe14 th ofjuly,1966 atthecompetitionoftheloosdrechtjazzfestival(seechapterone)andwhohadjust returnedfromplayingatthecarthagojazzfestivalintunisia.themixedlinehupofjazz andbeatgroupstargetedatyoungaudiences,attractedapproximatelytwentyhfive thousandvisitors mostlyyouth beatniks whospentthedaydrinkingbeerandeating friesandsausages. 327 AmongthelistenerswasagroupofyoungDutchfriends,students oftheuniversityofamsterdamthatcelebratedtheendoftheacademicyearwithatrip tothefestival. 328 Unlikethebeatniks,thesestudents PéHawinkels(1942),Peter Smids(1942),BertVuijsje(1942) wouldallbecomepartofwhatvuijsjecalls hetclubje ( thegang ),agroupofstudentsstronglycommittedtothecaseofjazz. 329 TogetherwiththeslightlyoldercriticsArendJanHeermavanVossandRuudKuyper thegroupreportedonthefestivalindailynewspapers,weeklymagazinesand specializedjazzmagazines PéHawinkels, Comblain66, De-Nieuwe-Linie,August13,1966, See,forexample,BenDull, Jazzenbeatinpoelvanmodder, Het-Parool,August8,1966,5.Pé Hawinkelsestimatedthenumberofvisitorsaround25.000,PéHawinkels, Comblain66, De-Nieuwe-Linie, August13,1966,17.KuypergivesandelaboratedescriptionoftheaudienceinRuudKuyper, Regenen waterigejazzopeeninternationaalfestival, Nieuwe-Rotterdamse-Courant,August9,1966,5. 328BertVuijsje,conversation,26August Journalistsassociatedwiththegroupincludethefollowingjournalists,includingthenewpapersthey reportedto:(martinschouten,algemeen-handelsblad;péhawinkels,de-nieuwe-linie;bertvuijsje,vrij- Nederland;PeterSmids,De-Groene-Amsterdammer;SimonKorteweg,Het-Parool;RudyKoopmans,De- Volkskrant). 330Diversemediareportedontheevent,includingtheAmsterdamHbaseddailyHet-Parool,theNieuwe- Rotterdamse-Courant,progressiveweeklymagazinesDe-Groene-AmsterdammerandDe-Nieuwe-Linie,and thespecializedjazzmagazinejazzwereld. 118

3 AlthoughjazzcriticsoccasionallyaddressedthelackoffemalemusicianswithinDutch jazz,jazzcriticismremainedlargelyaboy sclub. 331 InhisstudyofJazzwereld,Vande LeurobserveshowtheJazzwereldwas largelywrittenand,judgedbytheletterssentto theeditor,readbymen, illustratingthemarginalizationofwomenwithindutchjazz life.thisisdemonstratedbyhawinkels,who,inhisreviewoftheenglishsingerjulie Driscoll,notesthatthediscussionamongthejazzcriticspresent gotstuckonthe questionwhetherornotshewaswearingbra(shewasn t), addingthat, another noteworthypersonalitywasmissbelgium,because [h]erbehindwasnotasfat[asthe oneofthealsopresentwalloniantelevisionstarjeanclaudetrouot],butattractedthe attentionanyway,asitwascoveredwithatrousersembroideredwithgoldthread. 332 Criticizingtheextensiveprogramforitsmanyinsignificanthighlights,Hawinkels furtherobserveshowthefestivalresultedinan amorphousmass of Dixielandand mainstream, capitalistsongs and semihexperimentaltryhouts, 333 whilekuypernotes thatbreukerwas theonlydutchperformerofthelatestjazzthatwefindcredibleatthe moment. 334 Althoughevidentlytouchedbytheexuberanceofmaleyouth,thereviews giveasenseofthesociologisthpoliticalapproachtowritingandthedrivetopromotethe latestjazzinfavorofwhattheyconsidered commercialized modernjazzand lousy beat. 335 ThischapterexplorestheroleofDutchjazzcriticisminthedevelopmentofpostwarjazz inthenetherlands,andmorespecifically,toitsroleindutchjazz sshiftawayfrom Americanmodelsofplayingjazz.Whowerethesemediatorsandpromotersofjazzand whatargumentsdidtheyusetovalidateandlegitimizetheirobservations?howdid 331Similarly,VandeLeurobserveshowJazzwereld-journalistseitherignoredwomen,ordownplayed theirrolebyfocusingontheirappearancesratherthantheirmusicalachievements,vandeleur, ImprovisatorenversusclichéHmachines, 33H Hawinkels, Comblain66, 17. InComblainbaandeinelkgevalEddyBoyd,naïefglimlachendzoalsdat betaamd,dewegvoorder&bhklanken:deengelsesteampackets,metzangvanjuliedriscoll,e[e]n jongedame,bijdediscussieoverwiermeritesdeverzameldenederlandsejazzhenbluesscribentenbleven stekenindevraagofzenueenb.h.droegofniet(zedroegergeen),werdenzelfsalhierendaarkrachtig toegejuicht. EenanderevermeldenswaardigepersoonlijkheidbehoordemisschienaanMissBelgië.Haar achterwerkwasnietzodik[alsdatvandeaanwezigewaalsetelevisiesterjeanclaudetrouot],maartrok tochdeaandacht,gestokenalshetwasineengeheelgouddradenpantalon. 333Ibid. 334RuudKuyper, Regenenwaterigejazzopeeninternationaalfestival, Nieuwe-Rotterdamse-Courant, August9,1966,5. Breuker dievorigeweekheeftgespeeldophetcarthagojazzfestivalintunesië is voorlopigdeenigenederlandsevertolkervandeallernieuwstejazzideeëninwiewijwelwillengeloven. 335Hawinkels, Comblain66,

4 criticspositionjazzagainstthebackdropofthefragmentationintodifferentjazzscenes, theprofessionalizationandinstitutionalizationofjazzpractices,theemancipationfrom Americanjazzpractices,andthedecliningaudiencesasaconsequenceofchanges withinteenageculture?toanswerthesequestions,thischaptercriticallyengageswith thewritingsofsomeoftheleadingdutchjazzcriticsofthe1960sand1970s(rudy Koopmans,BertVuijsje,MichieldeRuyter,RuudKuyper,amongothers)andexamines theirworkinconnectionwiththeirestheticalandpoliticalbeliefs. AsJohnGennarihaspointedoutsobeautifullyinhisBlowin -Hot-and-Cool-(2006),jazz criticsplayaformativeroleinculturallifebymediatingtherelationshipbetweenthe musiciansandtheaudiences notmerelyaswriters,butinmanycasesasproducers, broadcasters,concertorganizers,andpublicintellectualsaswell. 336 Byprocessesof selectionandevaluation inbothaestheticandethicalterms criticswerecrucialin shapingjazznarratives,consistingofmusicalterminology,musicians,styles,labels, associations,andimagerythataltogetherserveasafluid,vital,albeitoftenproblematic, frameofreference.announcements,reports,andreviewsinnewspapersandpopular musicmagazinesareparticularlyimportantinstudyingthedevelopmentsofjazzinthe Netherlands,astheygiveinsightintothesocialHculturalcontext,thestatus,andthe receptionofjazzasperceivedbythegeneralpublic.whilethesesourcesplacejazzina broadersociohculturalperspective,jazzbooksandspecializedmagazines most notablyjazzwereld-(1965h1973),roaring-(1969h2000),rhythm-and-blues-(1959h1991) andjazz/press contributetotheunderstandingoftheincreasinglyspecializedjazz discourseamongjazzdevotees.afurtherinvestigationofpiephpiephknor-andother languagehspecificterminologynotonlyrevealstheincreasingdesiretounderstandjazz withinlocalsettings,butalsotheimplicit andexplicit ideologiesthatinformedthese writings. Primitive&exoticism& TheintimatebondbetweenjazzandDutchcriticismgoesbackto1919,when jazz, also spelled yasz or jasz, begantoappearinadvertisementsandannouncementsand 336JohnGennari,Blowin -Hot-and-Cool:-Jazz-and-its-Critics-(Chicago/London:UniversityofChicagoPress, 2006). 120

5 newspapersinthenetherlands.competitionindutchleisurelifewasfierceduringthe prosperousyearsafterwwi,forcingcasinos,varietytheatres,anddancingschoolsto lookfornoveltiesandnewattractions.insearchforthelatestdancetrends, entertainmententrepreneurssuchasmaxvangelder(1973h1943)andjeanlouis Pisuisse(1880H1927)advertisedragtimes,pickers,rockers,peaces,andotherdance fads. 337 TogetherwithmembersoftheImperialSocietyofDanceTeachers,jazzbecame thenewbritishhamericancrowdhpullerindutchleisurelife.enthusiastsandopponents discussedtheartisticandethicalqualitiesofjazzincolumns,articlesandletterstothe editor.therotterdamsch-nieuwsbladin1919,forexample,observedhow TheJazz Bandconsistsofoneormorenegroes;abanjoplayer,afewpeoplemakingasmuch noiseaspossibleoncupperpans,someplayingtherinkelbom(atypeoftambourine), whileothersareplayingthecastanets,apijper,afewbellemannen(autohmobilehooters) andsomesirens. 338 Whileenthusiastspraisedtherhythmicqualityanduseof dissonantchords,opponentsfearedtheloudnoisinessofthemusicandthephysicality ofthedance.theseopponentstypicallydismissedthejazzcrazeasimmoralandas somethingfortheuncivilized: ThatIndiansandNegroesdance,Icanunderstand. Aren twetryingtocivilizethesepeoplefromhere?now,thatsaysitall. 339 Moreover,thesewrittenmediacontributedsignificantlytothenotionofjazzasan exoticformofentertainment,byplacingjazzwithinasettingofvisual,nonhtextual imagery.forexample,in1926 twoyearsafteritfirstpublishedapictureofafrench jazzband theillustratedweeklysocietymagazinehet-leven-introducedtheir readershiptoanewworldofjazzbymeansofblackandwhitephotographs.oneofthe picturespublishedinhet-levenshowstheoriginalramblers,adutch jazzydance orchestra initiatedbybandleadertheoudenmasman,whichwouldbecomeoneofthe longesthlastingjazzorchestrasinthenetherlands. 340 Theformalsettingandpositioning oftheorchestra smembers malemusiciansinuniformsuits,withstripedties,neat hairhcuts,polishedshoesandapolitesmile isonlyoneofthemanyimagesthat 337 DanslesseninBeslotenKring, Nieuwe-Rotterdamsche-Courant,November19,1919, DeJazzBand, Nieuwe-Rotterdamsche-Courant,July14,1919: Unknownauthor, DedansHwaanzin, Limburgs-Dagblad,September18,1920,10. Indianenennegers dansen,kanikmijbegrijpen.steltmenvanhieruitnietpogingeninhetwerkomdiemenschente beschaven?datzegtimmersgenoeg. 340Het-Leven-waspublishedbetween1906and1941. Dancecabaret, Nieuwe-Rotterdamsche-Courant, October28,1926,

6 becamepartofthestandardvisualrepertoireofjazz.asthemainplatformsfor promotinganddiscussingjazz,writtenmediathusplayedareflectiveandgenerative roleinthedevelopmentofjazzculture,presentingjazzasanexoticandprimitiveblackh Americanentertainmentformthatwasvaluedmostlyforitsrhythmicqualities. 341 Thediscussionsaboutthevalueofjazzcontinuedduringthe1930s,inspecialsections onjazzinthenewspapers,jazzmagazinede-jazzwereld,andotherpublications.early jazzcritics,mostlyyoung,middlehclassmenwhohadtakenupwritingasahobby,not onlyactivelypromotedthemusicintheirwriting,butalsoplayedadecisiveroleinthe furtherorganizationofjazzlife.in1931,thesixteenhyearoldsaxophonistand bandleaderbenbakema,aliasreddebroy(1916h1969),foundedde-jazzwereld-(1931h 1940),thefirstDutchmagazinepublishedbetween1931H1940thatwassolely dedicatedtojazz.setouttoinformitsreadersaboutjazzconcerts,thelatest gramophones,andlectures,themagazinealsopromotedthefurtherdisseminationof jazzbyorganizingannualjazzcompetitions.moreover,from1933themagazine functionedastheofficialplatformofthenederlandsehotclub-(dutchhotclub,nhc) thatwasinitiatedthatsameyearbyeddycrommelin(1914h1982),anamateur drummerwhoworkedasadutchsalesrepresentativeandproducerforthebritish DeccaRecords.InordertostimulatethedisseminationofjazzintheNetherlands,the NHCorganizedlectures,concerts,anddiscussionsonjazzandactivelysought cooperationwithbroadcastingcompaniesandwiththeinternationalrecordindustry.in addition,in1936,de-jazzwereld-wasresponsibleforpublishingtheworld sfirstknown photobookonjazz. 342 De-Jazzwereldjournalistsoutspokenlypromotedtheirviewofjazzasanessentially AfricanHAmericanmusicalpractice,differentiatingthe real and pure hotjazz of LouisArmstrong,DukeEllington,andotherblackAmericanmusiciansfromthe commercialized and tasteless dancemusicoftheirwhite,ofteneuropean counterparts. 343 Similarly,separatingthe hotdancemusic ofswingbandssuchasthe 341From1925,thedailyHet-Vaderland-publishedaspecialsectiononjazzcalledDe-Elfde-Muze( The EleventhMuse ),addedin1934withthesectionuit-de-wereld-van-de-jazz-( FromtheWorldofJazz ). 342Unknowneditor,FotoHalbum-van-de-Jazzwereld(DenHaag:Moorman'sPeriodiekePers,1936[1939]). 343J.B.vanPraag,RonaldD.Roberts, Red Debbie, AvantHgarde, De-Jazzwereld4(April,1932):2. 122

7 CasaLomaOrchestrafromtheseriousjazzofEllington sband,acolumnistofthedaily paperhet-vaderland-wrotein1934that, [n]otalljazzisart;alargepartisentertainmentmusic,althoughofan exceptionallyhighlevelbecauseitrequiresasenseof feeling totruly understandthemusic.inthe Art categoryonlysomeclassicsofellington, Carterandafewinstrumentalimprovisations,remain.(BennyC. Newrhythm,Het-Vaderland,1934,10) 344 AmongthemostprominentprewarbooksonDutchjazzwasthe1939Jazzmuziek:- Inleiding-tot-de-volksmuziek-der-noordHamerikaanse-negers-(Jazz:Introductionofthe NorthHAmericanNegroeFolkMusic)byWillG.GilbertandC.Poustochkine,a publicationcontainingwrittenoutblueshschemes,chaptersonswingand improvisation. 345 Praisedforits technicaldetails, excellentbibliography andforits welldocumentedwriting,thebookwasreprintedin1947and1957andtranslatedin Swedish(Jazzmusik),illustratingtheinternationalappealthebookheldtoreaders. 346 Altogether,theseandotherwritingswerebasedonfirmideologicalandesthetical beliefs,reinforcingthenotionsofjazzasanessentiallyafricanhamericanand froma Dutchperspective thereforeexoticpractice.moreover,thesewritingsdemonstrated thedualistnatureofjazz,whichfromitsearliestdaysinthenetherlandsmeandered betweenthestatusofahighandalowart. Postwar&jazz&writing& PostwartheNetherlandssawanincreasinglyprofessionalizedandspecializedbodyof jazzwriting,whichinformeditsreadershipthroughnewspapers,monthlyjournals, books,andspecializedjazzmagazines.popularmusicmagazinessuchastuney-tunes- 344BennyC.Newrhythm, UitdewereldvanJazz:Hetkarakterderjazzmuziek, Het-Vaderland,October9, 1934,10. Alleenkunnenwenietzeggendatallejazzkunstis;eengrootgedeelteislouter amusementsmuziek,hoewelvaneenzeergoedgehalte;zeeischtsomsheelwat feeling omhaarte kunnenbegrijpen.onderderubriek Kunst vallenslechtsenkeleclassicsvanellington,ietsvancarteren tenslotteeenigegoedgeslaagdeinstrumentaleimprovisaties. 345WillG.Gilbert[WillemHenriAdriaanSteenselvanderAa]andConstantinPoustochkine,Jazzmuziek.- Inleiding-tot-de-volksmuziek-der-NoordHAmerikaansche-negers-(DenHaag:Kruseman,1939). 346HanSchulte, HonderdjaarNederlandstaligejazzliteratuur, invaneyle,ed.,jazz-&-geïmproviseerde- Muziek,

8 andmuziek-express-focusedonthepopularmusiciansofthedayininterviews,record reviews,mainstories,andlyrics.also,muziek-express-introducedwhatwouldbecome theprimarydecorationofteenagerooms:thepopstarposter.editedbyradiohdeejay, journalistandardentsupporterof lightswingmusic SkipVoogd,themonthlyTuney- Tunesaveragedacirculationoftwentythousandcopies. 347 InJanuary1955,Muziek- Express-wasinitiatedbyPaulAcket,aTuney-Tunes-contributorandpublisherwho duringthe1960sdevelopedintooneoftheleadingjazzimpresarios.withawide readership,peakingin1974at375thousandperissue,themagazineremainedthe largestyouthmagazineuntilhalfwaythe1970sandwaspublisheduntildecember Duringthe1960sTuneyandMuziek-Expresincreasinglycoveredpopandrock artists.whilethosemagazinesinitiallyfocusedonbothamericananddutch entertainmentmusic,includingpopulardutchjazzgroupssuchastheskymasters,the Ramblers,theDutchSwingCollegeBand,beatandpopgroupsincreasinglybecamethe headlinesofthemagazines.aspointedoutinchapterone,thedecreasingcoverageof jazzinpopularmusicmagazinessignaledthejazz shiftfromapopularmusicgenrefor theyouth,toasubculture.however,afterpaulacketsoldmuziek-expresstogetherwith thepopfotomagazinetopublishervnu,heusedhisprofittostartthenorthseajazz Festivalin1976.Thus,whileMuziek-Expreshadlostitsinterestinjazz,themusic magazine ssuccessintermsofsalenumbersfascinatinglyfedintothepromotionofjazz inthenetherlands. 349 Nevertheless,popmusicincreasinglyreplacedjazzinpopular musicmagazines,whichrespondedtotheincreasingdemandforpopmusicbya growinggroupofteenagers. Althoughduringthe1960sjazzcouldstillbeconsideredpartofpopularmusicculture (seechapterone),rockandrollandbeatmusicbegantoreplacejazzastheprimary musicfortheyouth. Jazzbackinthosedays[inthefifties]hadadifferentfunctionthan now, jazzjournalistruudkuyperobservedin1967, thismusicsymbolizesthe resistanceoftheyouthagainstoldergenerations;peoplebackthensaidexactlythe 347Tuney-Tuneswaspublishedfrom1944until1966,whenPaulAcketrenameditPopfototounderlineits newfocusonthelatestpopmusic. 348Righart,De-eindeloze-jaren-zestig, Ibid. 124

9 samethingsaboutjazzastheysaynowaboutbeatmusic. 350 Whilethereadershipof Tuney-TunesandMuziek-Expresshadincludedteenagers,itwasnotuntilthelate1950s thatmediabegantoaimdirectlyandexclusivelyatthisnewlyemerginggroup.thefirst magazineinitiatedbyteenagersthemselveswas-twen,publishedbetweennovember 1960untilMay1961,whenitwasrenamedTaboe.ThetwentyHsevenyearoldAndré vanderlouwandalmartjepkemainitiatedthemagazine,modeledafteragerman magazineofthesamename.likeitsgermancounterpart,themagazineaimedat teenagersfromapproximatelysixteenyearsandup,usingtheslangofyounger educatedreadersanddiscussedmusic,fashion,drugs,andsocialhpoliticalthemes concerningthehousingshortageandthemonarchy. 351 ThemagazineTwen,incontrast focusedonjazzratherthanrockandroll,withregularcolumnsbytheyoungwriter RemcoCampertandartisticportraitsbyphotographerEdvanderElsken. 352 Vander Elsken scoursehgrainedblackandwhitephotographsofamericanartistssuchella Fitzgerald,ChetBaker,DizzyGillespie,andtheaudiencesduringthelegendary nachtconcerten-(nightconcerts)atthecapital sconcertgebouw,capturedthespiritof theyoungteenagersinsuitsandties. 353 Publicationsonjazzthatappearedbetweenthelate1940sandthemidH1960sfocused mostlyonthehistoryofjazz.withtellingtitlessuchasjazz:-van-oerwoudrhythme-tot- Hollywoodsymphonie(Jazz:FromJungleRhythmtoHollywoodSymphony,1949),these historiestypicallybeginthestoryofjazzintheseventeenthcenturywiththesettlingof AfricanslavesintheUnitedStates,establishingworksongs,spiritualsandthebluesas themainpillarsofjazzandrelyingonkeymusiciansandgroupstoillustratethemusic s evolutionfromblues,ragtimeandspiritualstothe purejazz ofneworleansand Chicago. 354 HansdeVaal,authorofthe1949Jazz,wasajournalistinterestedin Americanculturewhointerviewedseveralcontemporarywriters(ElliottStein,Carson 350Kuyper,Over-Jazz,24. Dejazzhadtoen[indejarenvijftig]immerseenanderefunctiedannu.Deze muziekwaseenvandesymbolenvanhetverzetvandejeugdtegendeouderegeneratie;erwerdtoen precieszoovergesprokenengeschrevenalsdelaatstejarenoverdebeatmuziek. 351Righart,De-eindeloze-jaren-zestig, Ibid. 353EdvanderElsken,Jazz(Amsterdam:DeBezigeBij,1959). 354See,forexample,HansdeVaal,Jazz:-Van-oerwoudrhythme-tot-Hollywoodsymphonie-(Amsterdam:Jacob vankampen,1949);adriaanheerkens,jazz:-het-wezen-en-de-geschiedenis(baarn:boschenkeuning, 1955);RolftenKate,ed.,Zes-over-jazz:-Kaleidoscoop-van-een-deels-miskende,-deels-overschatte-muze (Zaandijk:Heynis,1958);TondeJoode,Jazz-onder-het-mes(Amsterdam:TenBrink,1962). 125

10 MacCullers,AlfredChester,CharlesWright,amongothers)fortheAmsterdamHbased literarymagazinelitterair-paspoort.-locatingwhathereferstoas purejazz atthe heartofneworleansandchicago,devaalalignshimselfwiththeamericanvernacular proseoframseyjr.andch.smiths Jazzmen(1939),worksthattelltheAmericanstory as,inthewordsofgennari, anepicfulloflargerhthanhlifeheroesandunforgettable placesthatcoheredintoanewnationalmythology, whilelocating theholygrailofjazz authenticityinneworleansstreetparades,southhsideschicagosaloons,andharlem rentparties. 355 WhileDeVaalaimedatan objectivestudyofthenatureandessenceof themusic, meantfor allthosewhoareinterestedintheproblemofjazz, hisbookis basicallyapassionatepleaforthe zuiverejazzmuziek (purejazz). 356 Moreover, distinguishingthe purejazz of NorthAmericanNegroes fromwhatheconsiders jazz sinferiorderivativesof commercialswing, dancemusicand degeneratedreh Bop, DeVaal shistoryisexemplaryinitstendencytoexplainjazzintermsofracialand geographicalbinaries,reinforcingessentialistideasof therealjazz asafricanh Americanandresultinginanevolutionist,essentialistandmusicstylisticexplanationof jazz. DeVaalisalsotheauthoroftheearliestknownbooksectiononjazzintheNetherlands, ashortthreehpagechapteronjazzandswinginthenetherlandsthatcouldequallybe understoodasapleaforthe purejazz fromtheunitedstates.lamentingthescarce accesstojazzandswingviaamerican,english,anddutchradiobroadcastsand expensivegramophones,devaalarguesformoreamericanjazzonradioandin magazines.indoingso,hefiercelycriticizesthemusicofthefourleadingdutchjazz orchestrasofthetime,thedutchswingcollegeband,theskymasters,theramblers,and themetropoleorkest,mostlyfornotplaying therealthing, orforhavingsolditssoul tothecommercializedswing. TheDutchSwingCollegeBand sescapeofswing, DeVaal states, doesn tmeanthatwhattheyplaycanbecalledjazz. The CharlieBarnett type ofmusicplayedbythe unsurpassedradioorchestra theskymastersremainsswing 355Gennari,Blowin -Hot-and-Cool, HansDeVaalisarelativelyunknownwriter.SomeofhisworkispublishedinFransdeBruynandJaap Romeyn,ed., Vandaag5:NieuwWerkvanNederlandseenVlaamseSchrijvers, inliterair-akkoord:-een- Keuze-uit-de-Bijdragen-Verschenen-in-de-ZuidHen-Noordnederlandse-Letterkundige-Tijdschriften-van-het-Jaar- 1956,ed.byPierreH.Dubois,HubertvanHerreweghen,KarelJonckheereandGarmtStuiveling(Utrecht: Bruna,1958). 126

11 nonetheless, whilethe sillysongsandteenybopperlovetunes bythe oncepopular Ramblers can tevenbeconsidereddancemusic. DeVaal,however,heldhopeforthe MetropoleOrkest,ledbyDavidGijsbert Dolf vanderlinden.accordingtothewriter theorchestrashowed greatpotential, ifitwouldonlyconcentrateontheworksof AmericanandEnglishcomposerssuchasAaronCopland,FerdeGrofé,RobertRussell Bennett,PercyGrainger,WilliamGrantStill,andEricCoates. 357 JazzjournalistTondeJoodein1962Jazz-onder-het-Mes-(Jazzundertheknife)similarly portraysjazzinthenetherlandsanditsneighboringcountriesasinferiortoamerican jazz.inhisattempttopositiondutchjazzagainstbothamericanandothereuropean jazz,heobserves: [O]fcourse,noteverythingfromacrosstheAtlantic[is]ofasuperior quality,buteventhosewhoplayrathermediocre,technicallytowerabovetheleading figuresfromeuropeancountries. 358 Notwithstandingthiscriticism,DeJoodeis enthusiasticaboutdutchplayerssuchaswesselilcken,ritareys,pimandruudjacobs, Bill Overgaauw,andtheyoungandupcomingpianistsRobMadnaandLouisvanDijk, whomhepraisesforplayingwitha hearthwarmingquality andforhavingearneda reputationthat extendswellbeyondthebordersofthenetherlands. 359 Besidesthese modernjazzmusicians,dejoodecomplimentstraditionalistgroupssuchasthedutch SwingCollegeBand,theRivertownDixielandBandandtheNewOrleansSevenfor attempting intheirownway to keepthejazzfireburning. 360 DeJoode sworkisinteresting,becauseheisoneofthefewdutchjazzcriticsintheearly 1960sthatengageswithacomparative,albeitverygeneralizingstudyofdifferent Europeanjazzpractices.ReferringtoChrisBarberandotherrevivalisttraditionaljazz fromtheuk,heobserveshowtheenglishsituationismuchmore limited thanthe Dutch,notingthat ingeneralonecouldsaythattheenglishmanrefusestoengagewith posth1940sjazzstyles. 361 France,accordingtotheJoode,is theonlycountrythat 357HansdeVaal,Jazz:-Van-oerwoudrhythme-tot-Hollywoodsymphonie-(Amsterdam:JacobvanKampen, 1949). 358DeJoode,Jazz-onder-het-mes,129. Natuurlijkwaslangnietalles,watvanoverdeOceaankwam,van superieurekwaliteit,maaropvallendwastochdatamerikanen,dieslechtsmiddelmatigspellietenhoren, technischnogeenaanzienlijkaantalcentimetersuitstakenbovendetopfigurenvandeeuropeselanden. 359Ibid.,129H Ibid.,131H Ibid.,132H

12 duringtheinterwarhyearshasaffectedthedevelopmentofjazzinamericaandabroad, referringtohuguespanassié,sidneybechet,andthehotclubthefrance,while modern jazzthrives inscandinaviancountriesandinposthwargermany,wherehanskoller, AlbertMangelsdorff,andKurtEdelhagencontributedtowhathecallsa vividjazzh cult. 362 InanintriguingtenHpagechapter Jazzmode,snobismeendoop ( Jazzfashion, snobbism,anddope ),DeJoodefurthercriticizestheyoungjazzlistenersfromEurope, arguingforamorecriticalengagementwithjazz.recallingmilesdavis remarkthat In Europetheydigeverythingyoudo,eventhewrongnotes, DeJoodeportraysthe Europeanlistenersasuncritical,rebellioussnobs. [Itisthisrebelliousaspectofjazz ] thatmakestheyouthwanttocopyjazzmusicians,inthewaytheydress,butalso luckilynottoooften intheuseofnarcotics. 363 Whiletheseandotherwritingsonjazzuntil1960sappearedonlyoccasionallyandwere predominantlywrittenbyenthusiastsonanonhprofitbasis,jazzprofessionalsduring thisperiodweremainlyactiveonradio.oneofitsmostinfluentialexponentswas MichieldeRuyter(1926H1994),whowasactiveasaneditorofprogramssuchasAVRO s JazzSocieteit(1952H1958),RadioJazzMagazine(1961H1972).Likewise,record producerandallegedlythefirstdeejayondutchradio, Pete Felleman(1921H2000) from1947presentedswing-&-sweet,-from-hollywood-&-52 nd -Street-(later-LP-Parade)for VARAradioandUSA-CabaretonHilversumI. 364 However,midH1960sanewgroupof jazzjournalistsemergedthatusedwrittenmediaasthemainplatformfordiscussing jazz. 365 Theymanifestedthemselvesbyinitiatingspecializedjazzmagazinessuchas Jazzwereld, - Jazz/Press,bywritingcolumnsindailynewspapersandpopularmusic magazinessuchasoor,-andbypublishingbooks Ibid.,129H Ibid.,121. Hetisvooreengrootdeeleenzelfdeopstandigheid,diezoveeljongeremensenin verschillendedingenjazzmusicidoetnahapen,inkledingenzovoorts,maarook hoewelgelukkigminder veelvuldig inhetgebruikvanverdovendemiddelen. 364PeteisanaliasofJaapAlbertLouisSidney. 365MichieldeRuyterproducedRadio-Jazz-MagazinetogetherwithAadBosandKeesSchoonenberg. 366JournalistsassociatedwithJazzwereldRudyKoopmans,PéHawinkels,HansDulfer,TedSzantó, MichieldeRuyter,PeterSmids,MartinSchouten,SimonKorteweg,GezinusWolters,FrankVisser,Arend JanHeermavanVoss,andBertVuijsje.SpecializedjazzmagazinesthathaveappearedintheNetherlands includede-jazzwereld(scheveningen,augustus1931hnovember1940);rhythme(eindhoven,october 1949HSeptember1961);Jazzwereld(Hilversum,July1965HJune1973);Muziekkrant-Oor(Amsterdam, 1971onwards);True-Note(September1973HOctober1974)Key-Notes:-Musical-Life-in-the-Netherlands- 128

13 Ideologies&and&opinions& In1967journalistRuudKuypercompiledthebookOver-Jazz(OnJazz),whichdiscussed jazzfromavarietyofangles:dutchjazz;theroleofjazzcriticism;jazzasaformof low/highart;thedifferencebetweenjazzandbeat;newdirectionsinjazz;theblues; andjazzaudiences. 367 WiththeexceptionofKuyper(1937H1999)andeditorforthe Haagse-PostTrinoFlothuis,allcontributors(PéHawinkels,BertVuijsje,TrinoFlothuis, PeterSmids,ArendJanHeermavanVossandMartinSchouten)werecollegestudents bornbetween1932and1942.inhisintroductiontothebookkuyperexplicitlyputshis workinthetraditionofamericansociologistandjazzcriticmarshallw.stearns.as notedintheintroductiontothischapter,thesewereallyoungandeagerstudentsthat setouttochallengejazzdiscourseinthenetherlands.thesejournalistsnotonly discussedjazzinmostofdutchnewspapers,theyalsowroteforandinitiated specializedmagazinessuchasjazz/pressandjazzwereld.moreover,asjurymembersof significantjazzcompetitionssuchasthewesselilckenaward,theycontributed significantlytothepromotionanddisseminationofjazzinthenetherlands.thebook- Over-Jazz-notonlyshowedthewriters ambitions,butwasatthesametimereflectiveof, inthewordsofgennari,the academicovertones thatpostwarjazzdiscoursebeganto takeon. 368 Incontrasttoevolutionistandessentialistjazznarratives ofearlierjazzhistoriesinthe Netherlands,thisgenerationofjournalistsadvocatedanindependentandcritical reflectionofjazz. 369 [J]azzwritingshouldbebasedonathoroughknowledgeoffacts andbackgrounds, formerjazzwereld-editorvuijsjenotedin1983,adding, thepurpose ofameetingbetweenajournalistandamusicianisnottohanghout,drinkboozeand smokecannabis,buttorecordsignificantandreliablestatementsbytheinterviewee. 370 (Amsterdam,1975H1977),Jazz-/Press(Almelo,September1975HSeptember1978);Jazz-Nu(Tilburg, 1978H2000);Philharmonic(PeteFelleman). 367Between1972and1980BertVuijsjepublished JazzNieuws, abimonthlycolumnonjazzinoor. Vuijsjecontinuedtopublishinthepopularmusicmagazineuntil VanEyle,ed.,Jazz-&-Geïmproviseerde-Muziek, VandeLeur, ImprovisatorenversusclichéHmachines, 30H BertVuijsje,Jazzportretten:-Van-Ben-Webster-tot-Wynton-Marsalis(Amsterdam:VanGennep,1983),7. Gedegenkennisvanfeitenenachtergronden datwasonzeopvattingvanjazzjournalistiek:nietde(al dannietalcoholischeofcannabische)verbroederingtussenmuzikantenschrijverdienthetdoelvande ontmoetingtezijn,maarhetvastleggenvanbelangwekkendeenbetrouwbareuitsprakenvande geïnterviewde. 129

14 TheinitiationofJazzwereldinJuly1965wasadirectresponsetoRhythme,themonthly magazinefor modernmusic publishedbetween1949and1961.themagazine promotedjazzasa happymusic andwasthereforedismissedbyvuijsjeasthe youth traumaofawholegenerationofjazzfans. 371 In1973,inthelasteditionofJazzwereld, chiefeditorbertvuijsjerecalledthattheyhadstartedthemagazineinjuly1965with threegoals: Firstofall,wesharedtheconvictionthatitshouldbepossibletowrite differentlyaboutjazzthanrhythme...second,wefelttheurgetoinform thejazzaudienceaboutthe newthing asitwascalledayearafterthe OctoberRevolutioninJazz andamonthaftertherecordingof [Coltrane s]ascension.andthird althoughinitiallyaonehmancrusade ofarendjanheermavanvoss weweredrivenbythefactthattherewas afascinating,inthenetherlandshardlyknownmusic,the blues. (Bert Vuijsje, Afscheid:DelaatsteJazzwereld, Jazzwereld,43May/June1973, 3) 372 IncontrasttotheprewarDe-Jazzwereld-andRhythme,criticsofJazzwereldpositioned jazzasahighartworthyofseriousattention,criticalanalysisandphilosophicaldebate. Consequently,Jazzwereld-journaliststendedtoignoremusiciansandgroups(Dutch SwingCollege,PimJacobs,RitaReys)whosoughttoentertaintheiraudiences, dismissingthemforhaving fallenintothetrapofcommercialism. 373 Assuchittookon amuchmoreradicalstancethan,forexample,theamericandown-beat,whichserved themusicindustryaswellasconsumersofjazz BertVuijsje, Afscheid:DelaatsteJazzwereld, Jazzwereld,43May/June1973,3. 372TheJazzwereld-discontinuedin1973,wheneditorBertVuijsjeconsidereditnolongerusefulto continuethemagazinebecauseof toohighproductioncosts andageneral musicalmalaise injazz. Zoalsikeropterugkijk,gingJazzwereldinjuli1965vanstartmeteendrievoudigeboodschap.Teneerste deovertuigingdathetmogelijkmoestzijnopeenanderemanieroverjazzteschrijvendaninrhythme (1949H 61,jeugdtraumavaneenhelegeneratiejazzfans)gebruikelijkwas.Tentweedededrangomhet jazzpubliektevertellendaterietsnieuwstehorenwas:thenewthing zoalsdattoen,hetjaarna The OctoberRevolutioninJazz eneenmaandnadeopnamevan[coltranes]ascensionheette.entenderde, maardatwasaanvankelijkeenvolstrekteeenmanshondernemingvanarendjanheermavanvoss,de wetenschapdatereenfascinerende,innederlandhoegenaamdnietbekendemuziekbestond,de blues. 373VandeLeur, ImprovisatorenversusclichéHmachines, Ibid.,

15 Similarly,theJazz/Press,abimonthly noncommercial jazzpaper,promotedthemusic asseriousformofart,albeitinalessoutspokenwaythanjazzwereld.-fromseptember 1975,a collectiveofeditors,designersandaphotographer workedonjazz/press,a bimonthly noncommercial jazzpaperwiththeaimof providingacompleteoverview ofthecurrentjazzactivitiesinthenetherlands. 375 ThemagazinecirculatedwithfiftyH threehundredcopies,ofwhichfivethousandwenttofortyhfivejazzclubsthroughout thecountry,andevenneededtocreateawaitinglistbecauseoftheincreasing demand. 376 Besidesinformingitsreadershiponthelatestjazz,Jazz/Press-alsodedicated itselftothefightagainstthe discrimination inthepublicfundingsystem,- ThegovernmentalfundingoftheNederlandse-Opera[DutchOpera] amountstomillions.operagezelschap-forum,coveringtheeasternand northernpartofthenetherlands,onitselfreceives4millionguilders annualfunding,inadditionto4millionguildersofprovincialandlocal funding.theannualfundingofdutchjazzorganizationsissignificantly smaller,lessthanhalfamillion!thepercentageofoperalistenersinthe Netherlandsispracticallythesameasthepercentageofjazzlisteners:app. 1,5%.Jazz/Pressobviouslywantstoendthisdiscrimination(Editorial, RuimerSubsidiebeleid, Jazz/Press2[1975],1H2) 377 Furthermore,Jazz/Presssetouttocriticallyfollowthepositionofjazzwithintheradio broadcastingnetwork( Hilversum4 )anditsplaceintheplannednationalarchivefor recordings. 378 Thejournalists drivetowardsamorepoliticallyengagedformofwritingresultedin analysisandreflectionsofteninthechargedlanguageofthe1960sand1970s. 375Editorial, RuimerSubsidiebeleid, Jazz/Press2(1975):1H2.Themagazinewaspublishedbetween 1975H1978,from1976itreceivedgovernmentalsupportintermsofstructuralsubsidy. 376Ibid., DesubsidieaandeNed.Operabedraagtvelemiljoenen.AlleenalOperagezelschapForum,datOostHen NoordNederlandbestrijktkrijgtperjaar4miljoenregeringssubsidieplus4miljoenprovincialeen gemeentelijkesubsidie,desubsidieaandenederlandsejazzorganisatiesisjaarlijksbeduidendminder daneenhalfmiljoen!hetpercentageoperaliefhebbersisinnederlandnagenoeggelijkaanhetpercentage jazzliefhebbers:beidenca.1,5%.jazz/presswilduidelijkeeneindemakenaandezediscriminerende situatie. 378Editorial, RuimerSubsidiebeleid, Jazz/Press2(1975):1H2. 131

16 Reflectiveofthesociallyaware,MarxistwritingsofAmericanjazzcriticssuchasFrank Kofsky describedbytheaforementionedgennarias theardentchampionofblack culturalnationalism, 379 A.B.Spellmanandothers,thesecriticsattempted,forthefirst time,towriteasociohculturaljazznarrative,stressingeconomicandpoliticalchangeas crucialfactorstowhattheyconsideredthe jazzrevolutionofthe1960s. Arguablythe mostpoliticallyoutspokenjazzcriticwasrudykoopmans(1932h1983),aprofessional De-Groene-Amsterdammer)andmusicmagazines(Jazzwereld,Oor,-Jazz/Press,-Key-Notes). Graduatedinsociology,andinthe1970sworkingasalecturerattheuniversityof Amsterdam,KoopmanspublishedseveralbooksonavantHgardeartformsandtheir sociohpoliticalcontext.moreover,bothaschairmanofsjnandcohfounderoftheicph label,hewasactivelyinvolvedinthefurtherprofessionalizationofjazzinthe sociologistwhopublishedregularlyonjazzindailypapers(devolkskrant,-haagse-post,- Netherlands.FollowingKofsky spremisethatfreejazzisaclassstruggle,his1977jazz:- Improvisatie-en-organisatie-van-een-groeiende-minderheid-containsDutchtranslationsof articlesbya.b.spellmannandfrankkofsky.because musiciansshouldhavethelast word, thelastthirdofthebookisdedicatedtoaseriesofreprintedinterviewswith sixteenmusicians,alldutchwiththeexceptionofpeterbrötzmann,davidmurray,olu Dara,PhillipWilsonandDerekBailey. 380 Inhis1977book,Koopmansexplainshissociologicalviewonunderstandingjazz, statingthat, itisimpossibletogaininsightintojazzwhenonelimitshimselftothe product:themusic.togaininsightinthemusic-ofjazz,istogaininsightin theworldofjazz,whichisfarfromanisolatedarea. Jazzmusiciansare notpartoftheestablishment,noraretheirviews.incontrary,jazz musiciansareaminorityineveryrespect...thisisalsothecaseinthe Netherlands.Itbecomesapparentintherewards,theworkingconditions, jazz spositionwithinculturalpolicyandmedianetworks,thewayitis 379Gennari,Blowin -Hot-and-Cool, Koopmans Jazz(1977)containsinterviewswithHansDulfer,MishaMengelberg(2),ArjenGorter,Han Bennink(2),MaartenvanRegterenAltena,KeesHazevoet,TheoLoevendie,WillemBreuker(2),Tristan Honsinger,Mr.Slim,LeoCuypers,PeterBrötzmann,DavidMurray,OluDara,PhillipWilson,andDerek Bailey. 132

17 treatedbyrecordcompaniesandthewayjazzis(not)integratedinto educationalsystems. Thecorruption[ofjazz]takesplacethrough corruptedpublictasteandimposedbycommercialmassmedialikeradio andtelevision,recordcompanies,thebusinessindustry,commercialized artinstitutions,etcetera.successfulmusiciansareimmediatelytaken hostagebytheseinstitutions,whichhasanegativeeffectontheirartistic achievements.(rudykoopmans,jazz:-improvisatie-en-organisatie-van-eengroeiende-minderheid[amsterdam:sua,1977],8h9) 381 Altogether,whileaimingforacritical,inHdepthexaminationofjazz,reflectingtheidea thatjazzwasaseriousartform,the1960sgenerationofjazzcriticsalsoexplicitly propagatedthemoreexperimentalformsofarts,condemningandthereforelargely ignoringwhattheyconsideredcorruptedtypesofmusic. 382 Thus,thesejournalistsnot onlyadvocatedamoreengagedandcriticalreflectionofjazz,but,bydoingso, contributedtotherepositioningofjazzasaseriousartform,awayfromentertainment andcommercialism. Musiciansgenerallyfeltambivalentabouttheroleofjazzcritics.Onetheonehand musiciansdependedonthemediaasapromotionaltool.whileimprovisingmusicians ofthesimilarage,mostnotablywillembreuker,knewverywellhowtousethemedia inordertoreceiveattentionforhismusic,noteverymusicianfeltcomfortablewiththe unconditionalsupportbysomejournalists.drummerpierrecourbois,forexample, remainedhesitantaboutthelavishpraisehereceivedfromsongwriter,poet,translator andjazzwereld-contributorpéhawinkels. Péwentoverboardoccasionally.Hewasone 381 Dieheersendeideeën,dieheersendemuziekechterdringenwelvoortdurendindejazzmuziekbinnen. Ditiswatmenverloederingvandejazzkannoemen.Dieverloederingkomtbinnenviaverschillende maatschappelijkekanalen:viaeenverloederdepubliekesmaak,viadekommerciëleopzetvan massamediazoalsradioentelevisie,viademachtvandeplatenproducerendemaatschappijen,viade invloedvanhetbedrijfslevenengecommercialiseerdekunstinstitutenophetonderwijs,enzovoort. Jazzmusicidieeenbeetjepublieksucceshebbenwordenalsnelindewurggreepvandebemiddelende institutengenomenwaarnahetbergafwaartsgaatmethunprestaties. 382BertVuijsje, Afscheid:DelaatsteJazzwereld, Jazzwereld,43May/June1973,3. 133

18 ofmybiggestfans.evenifihadplayedthedrumsupsidedownwithacircularsaw,he stillwouldhavelikedit.andthat snogood,either. 383 Canonizing&Dutch&jazz& Duringthe1970s,journalistsandmusiciansincreasinglycametorecognizeimprovised musicasadistinctivelydutchjazzpractice.alongthelinesofthecanonization processesdescribedsoeloquentlybyscottdeveauxinhiswidelyacclaimed Constructingthejazztradition, Dutchjazzjournalistsincreasinglyattemptedto capturethestoryofdutchjazzintoasingularnarrative,stressingitsparticularities ratherthansimilaritieswiththedominantamericanjazznarrative.theirwriting reflectedthegrowingawarenessofdutchjazzmusicians,whoduringthisperiodbegan tounderstandtheirmusicinrelationtotheirlocalrootsinamoreoutspokenway although,onehastoadd,mostmusiciansdidnotthinkoftheirmusicintermsof nationalidentity. 384 HanBenninkandWillemBreukerwereamongthemostoutspoken aboutusingtheirownrootsinordertocreateaculturalidentity.ina1973interview BenninkrecalledhowBreukerandhesharedabackgroundinAmericanmusicand developeditintowhathecalledthe ZeeburgerdijkHmuziek, amusicwithits own specifictiming, namedafterthestreetwherebreukerwasbornandraised.likewise, reedplayerbreukerina1973interviewrecalledmeetinganotherdutchmusicianin Libya: ThisguywasallbusyimitatingOscarPeterson.InLibya!SoIsay: Man, you reoutofyourmind!whatonearthareyoutryingtoachieveby playingoscarpetersoninlibya?thatmakesabsolutelynosenseatall! Youhavetocheckoutyourownshit,fromhere.Seewhatyoucandowith that SeeKustersandSchulz,Pierre-Courbois,19. Pésloegwatmijbetreftsomseenbeetjedoornaarde anderekant.hijwaseenvanmijngrootstefans.alhadikachterstevorenopm nkopmeteencirkelzaag achterdedrumsgezeten,danhadhijhetnogmooigevonden.endatiseigenlijkooknietgoed. 384WaltervandeLeurobservesasimilartendencyinJazzwereld.VandeLeur, Improvisatorenversus clichéhmachines, 36H InMarch1967theDutchairlinesKLMinvitedtheMengelbergQuartettoperformatapartyofstaff membersoftheklmandthedutchembassyintripoli,libya.bytheendof1966theoriginalquartetof Mengelbergaddedafifthmember,WillemBreuker.Vuijsje,De-nieuwe-jazz,157.Althoughtheoriginal quartetincludedpietnoordijkonaltosaxophone,apparentlybreukertookoverthistime.buzelin,willem- Breuker,19. WewareneensinLibiëendaarontmoettenweookeenjazzHmuzikant.Nou,diewas 134

19 Reflectingthisgrowingawarenessandthedesiretocreateamusicalidentityoftheir own,musiciansmoreoutspokenlyandmoreconfidentlyseparatedtheirmusicfromthe AmericanandEuropean.Bennink,muchtohislaterregret,notedina1970interview that [t]hereisnosuchthingasanamericanavanthgarde.also,thereisnoeuropean scene,thereisonlyadutchscene.believeme,it strue,thebestmusicofthemoment canbeheardinthenetherlands. 386 IreadsomewherethatpeopleorganizejazzHtrips fromthenetherlandstotheunitedstates Well,thatisabsoluteludicrous.Thetripsgo thewrongdirection.theyshouldorganizefortheamericanstocomeoverhere! 387 Similarly,KoopmansinthelastissueofJazzwereld-observeshow weshouldcherish improvisedmusic becauseitis perhapsthefirstmusicinthenetherlandswitha distinctcharacter. However,whiletheseandsimilarcommentssignaledagrowing Dutchculturalidentity. 388 The1977publicationofVuijsje sarticle HoegrootisdeHollandseschool? (Howbigis senseofselfhawareness,musiciansnorwritersinthefirsthalfofthe1970sexplicitlypositionedthemusicalavanthgardeasdistinctivelydutch,orasrelatedtoaspecific thedutchschool?)andkoopmans historicaloverviewofdutchjazzinjazz:- Improvisatie-en-Organisatie-van-een-Groeiende-Minderheid-( Jazz:Improvisationand OrganizationofaGrowingMinority, 1977)aretheearliestexamplesofcritics attempts toconnecttheworkofimprovisingmusicianstoitslocalcontext.-however,while VuijsjeinhisexplorationoftheDutchschoolconfidentlycreditstheindependentjazz labelicpforcreatinganinfluxofsmall,independentlabels,heremainsreluctantto ontzettenddrukbezigmetoscarpetersonnatespelen.inlibië!ikzeg,man,jebentnietgoedbijjehóófd. WatwiljeingodsnaaminLibiëmetOscarPeterson?Datslaathelemaalnergensop!Jemoeteenbeetje naarjeeigentroepkijkenhier.omdaarwatuittehalen. Meijer, Ikmaakmuziekvooriedereen,maar waaromvindtiedereenhetzoafgrijselijk?, RudyKoopmansandBertVuijsje, HanBennink: Shepp,Sanders,Ayler,Murray,hetisomtehuilen, Jazzwereld-30(July1970):19. IkhebgelezendaternujazzHreizengeorganiseerdwordenvanNederland naaramerika.nou,datisvolslagenoverbodig,voormijtenminste.dereizengaandeverkeerdekantop. ErzoudenreizengeorganiseerdmoetenwordenvoordeAmerikanenhiernaartoe.!. 387RudyKoopmansandBertVuijsje, HanBennink: Shepp,Sanders,Ayler,Murray,hetisomtehuilen, Jazzwereld-30(July1970):19.Originaltext: IkhebgelezendaternujazzHreizengeorganiseerdworden vannederlandnaaramerika.nou,datisvolslagenoverbodig,voormijtenminste.dereizengaande verkeerdekantop.erzoudenreizengeorganiseerdmoetenwordenvoordeamerikanenhiernaartoe.!. 388RudyKoopmans,Jazzwereld-43(May/June,1977):15H16. WellichtdeeerstemuziekinNederlanddie eenspecifiekkaraktervertoont.[ ]Daarommoethetprilleplantjevanonzegeïmproviseerdemuziek liefderijkgekoesterdworden. 135

20 answerthequestionwhetherthemusicalimpactofimprovisedmusichasextended beyondtheworksofindividualssuchaswillembreuker,leocuypers,misha MengelbergandHanBennink,praisingbothcouplesfortheiruniqueduoHplaying AmoreelaborateanddefinitiveaccountcomesfromthesameyearfromRudy Koopmans,whosehistoricaloverviewofDutchjazzcanbeseenasthefirstattemptto canonizejazzinthenetherlandsintoasingulardutchjazznarrative.stressing economicandpoliticalchange bothnationalandinternational ascrucialfactorsto whatheconsideredthejazzrevolutionofthe1960s,hestates, themusicthathastaken shapefrom1968specificallyinourcountry,hasbecomeknownas aktuele geïmproviseerdemuziek [contemporaryimprovisedmusic].thismeansthatonenot onlyimprovisesaccordingtotherulesofjazz,butthatanymaterialcanbeusedto improviseon.obviously,theelementofimprovisationderivesfromjazz,whichremains themainbackgroundofthesemusicians Koopmansisthefirsttoengagewiththemusicians localrootsandknowledgeofother musicaltraditions,consideringitcrucialfactorsthathaveshapedthisnewmusic: ReedplayerWillemBreukerassertsthatthemusicofhisearlychildhood yearsinamsterdamhoostwerejustasimportant[asjazz]:barrelorgans, carillons,mandolinensemblesandbrassbands.reedplayerloevendie hasbecomeincreasinglyawareofhiskinkerbuurthpast:brassbandsand churchbells.atthesametimehehasbecomepartoftheturkishmusic tradition,feelingcloserwithturkishfolksingersthanwithbluessingers. PianistMishaMengelbergonesnotedthathismeetingwithJohnCageand TheloniousMonkwascrucial,butlateracknowledgedhowhecomesfrom amuchbroadertraditionthatincludesschubert,herbienicholsaswellas Fluxus.HanBenninkexploresawiderangeoffolkmusic,firstofallfrom Africa,butalsofromotherareas.Inaddition,hedoesn thesitatetopick upthepopulartraditionofthemusicalsaw.bassplayermaarten RegterenvanAltenaoccupieshimselfwiththeminimalmusicofTerry 389BertVuijsje, HoegrootisdeHollandseschool? Muziekkrant-Oor6/7(April1977):30H Koopmans,Jazz,

21 Riley,Spanishrevolutionarymusic,tonameafew.PianoplayerKees HazevoetengageswiththemusicofthePygmies. (Koopmans,Jazz, 159) 391 BesidesthegrowingpoliticalconsciousnessofDutchmusicians,journalistssawthe AmericandevelopmentsinjazzasanimportantreasonforthedepartureofAmerican modelsofplayingjazz.koopmansmarkstheendofthe1960sastheabsolutebreaking point,asheobserveshow Athreefoldrupturetookplaceduringtheseyears:a departurefromamericanjazz(asaresultofalackofsignificantjazzintheu.s.andthe deathofjohncoltrane),adeparturefromtheworldofdanceandentertainment,anda departurefromthebroadcastingsystem. 392 Vuijsje,ayearlater,similarlyobserves changingeconomicandpoliticconditionsascrucialfactorsintheestablishmentof Dutchjazz.HementionsthedecliningavantHgardesceneinNewYorkandtheemerging sociohpoliticalawarenessofdutchimprovisingmusiciansasvitalfortheestablishment ofdutchimprovisedmusic. Forthefirsttimeinjazzhistory, Vuijsjeobserves, the greatexemplarymusiciansfromnewyorkseemedtogetsooffhtrack,thatitwaseasy fortheeuropeanmusicianstofreethemselvesfromtheamericanhegemony. 393 The establishmentofdutchjazzassuggestedbykoopmansandvuijsjeshouldbe understoodaspartofaniterativeprocess;itisnotonlybornoutofsocial,culturaland 391 Demuziek,zoalsdiesinds1968inonslandspecifiekgestaltekrijgt,wordtveelalaangeduidals aktuelegeïmproviseerdemuziek. Daarmeewordtaangegevendatnietlangeralleenopjazzmatigewijze wordtgeïmproviseerdopjazzmateriaal,maardatgeïmproviseerdwordtopallerleimateriaal.het elementimprovisatieisnatuurlijkafkomstiguitdejazz,diedebelangrijksteachtergrondvandemusici blijftvormen.rietblazerwillembreukersteltvastdatvoorhemdemuziekdieinzijnjongejarenin AmsterdamHOosthoordeevenzeermeespeelt:draaiorgels,carillons,mandolineHensemblesen harmonieorkesten.rietblazerloevendieverklaartdathijzichsteedsmeerbewustisgewordenvanzijn KinkerbuurtHverleden:fanfareHklokkenenkerkklokken.Tegelijkertijdweethijzichookdeelvande Turksemuziekwereld.MeteenTurksevolkszangerheefthijeennauwererelatiedanmeteenblueszanger. PianistMishaMengelbergsteldeeensdatvoorhemdekennismakingmetJohnCageenTheloniousMonk doorslaggevendwas,maarlatergeefthijerzichrekenschapvandathijvoortbouwtopeenveelbreder historischmateriaal,datzowelschubert,herbienichols,alsdeervaringenmetfluxusomvat.slagwerker HanBenninkputuiteenbreedarsenaalvanvolksmuziek,indeeersteplaatsuitAfrikaendaarnaastuit anderegebieden.daarbijschroomthijniet,depopulairetraditievandezingendezaagweeroptenemen. BassistMaartenvanRegterenAltenahoudtzichbezigmetminimalmusicvanTerryRileyenmetSpaane revolutiemuziek,ommaareenseengreeptedoen.pianistkeeshazevoetisondermeerbezigmetde muziekvandepygmeeën. 392Koopmans,Jazz,10.Inher1978doctoralthesisonDutchworkshops,musicologistEvaBoumanwrote athreehpagesectiononposthwardevelopmentsofjazzinthenetherlands,focusingprimaryon educationalpracticesinjazz.sheisoneofthefewauthorswhoinherworkaddressestheroleofwomen indutchjazz. 393Vuijsje,De-nieuwe-jazz,146H

22 politicalchangebutalsoinformssocial,culturalandpoliticalchange.thecategory Dutchjazz isthereforecrucialtoclaimasenseofdistinctidentityinordertosecure thefundsandinfrastructuralchangesthatihaveidentifiedearlierinchapterthree. Dutch-jazz-narrative- Mostcriticsmaintainthe classic styleofhistoriographicalwriting.koopmansinhis historiographicalwritingmaintainsaclassical,evolutionaryviewonhistoryinwhichhe periodicallydividesthehistoryofdutchjazzinsuccessivestylisticgenres. 394 This becomesevidentbytheuseofsentencessuchas: Or, BlackpowerenteredtheConcertgebouwwithaMaxRoach sgroupin 1964( estheticsasprotest ).AlittlelateraltoplayerEricDolphyplayed herewithmengelberg sgroup,almostcrossingtheboundariesofbop. AlbertAyler squartetinthenewseasonpermanentlychanged[jazz s] course.(koopmans,jazz,157) AlsointheNetherlandswesawhowmusicianswhostartedplayingbop, changedwestcoastduringthe1950s,switchingovertohardhboparound 1965.(Koopmans,Jazz,-156H7) 395 Implicitly,KoopmansdismissesthevalueofmodernjazzmusiciansafterWesselIlcken s death,atleastsuggestingacausalconnectionbetweentheemergenceanddeathof Dutchjazz.InKoopmans view,theincreasingincorporationofjazzmusiciansinto radiohorchestrassignaledthedeathofdutchjazzasthebroadcastingsystemhasfailed toactivelystimulatecontemporarymusicinthenetherlands: AfterIlcken sdeaththe identityofdutchjazzfadedaway.[ ]Musicians,includingRitaRaysandtheJacobs brothers,increasinglyassimilatedintothesystemofradiohorchestrasofhilversum, 394SimilarobservationshavebeenmadeinVandeLeur sstudyofjazzwereld.vandeleur, ImprovisatorenversusclichéHmachines,30H BlackpowerwandeldehetConcertgebouwbinnenmetdegroepvanMaxRoachin1964( schoonheid alsprotest )EvenlaterkwamaltistEricDolphyhierspelenmetdegroepvanMengelberg:degrensvan debopwerdbijnaoverschreden.inhetseizoenkwamhetkwartetvanalbertaylernaarnederland, waarmeedebakensdefinitiefverzetwerden. 395 OokinNederlandhebbenwebijverscheidenemusici kunnenzienhoezealsboppersbegonnen,inhetbeginvandejarenvijftigwesthcoastgingenspelen,om rondom1956overteschakelenophardhbop. 138