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

Transcription

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: 03 Apr 2019

2 1.&Community,&scenes&and&narratives& In1978,journalistsandmusiciansassociatedwiththeStichtingJazzintheNetherlands (FoundationforJazzintheNetherlands,fromhereon:SJN)andtheJazz/Pressmagazine publishedjazz-&-geïmproviseerde-muziek-in-nederland,a companiontothedutchjazz world. 39 Thebook,editedbyWimvanEyle,servedinthefirstplaceasaplatformto informjazzprofessionalsandenthusiastsaboutvenues,labels,magazines,recordstores andpeopleactiveinthefieldofjazz.also,thebookcontainsanumberofshorthistoric narratives,includingthehistoriesoftraditionaljazzinthenetherlands;jazzbetween 1945H1965;jazzandimprovisedmusicbetween1965H1978;thehistoryofthe FoundationofJazzintheNetherlands;jazzontheradio;Dutchjazzandrelatedmusic; Belgianjazz;Dutchjazzrecords;and100years(!)ofDutchjazzwritingbetween1877H 1977.Thisway,thecompilerssoughttochroniclewhattheyconsideredthe unique story ofdutchjazz,astorythat neededtobecaptured beforethefirstgenerationof Dutchjazzmusiciansceasedtoexist. ThepublicationoftheCompanion-followedfromandreflectedtheincreasing institutionalizationandprofessionalizationofdutchjazzcultureduringthe1970sand theoptimismfeltamongdutchjazzenthusiasts.in1974,forexample,thebimhuis namedafterthe1971foundingofanimprovisingmusicians union openeditsdoors, thefirstdutchconcerthallespeciallydesignatedforjazzandimprovisedmusic.two yearslater,jazzcriticandimpresariopaulacketorganizedthefirsteditionofwhat wouldbecometheinternationallyrenownednorthseajazzfestival.thatsameyear, conservatoriesinthenetherlandsbegantoincludejazzintheircurricula.inhis forewordtothecompanion,prominentjazzpromoterandradiohostmichielderuyter assertsthat, JazzintheNetherlandsshowsanupwardtrend, observinganincreaseof venues,festivals,labels,radioprogramsandliteraturefeaturingjazz.however, symbolicallythemostimportant eventfortherecognitionofdutchjazzonthe internationalstageandimprovisedmusic,wasaccordingtoderuyter,thevisitof a NewYorker, whohadtraveledacrosstheatlanticespeciallytoattendaconcertbyone 39WimvanEyle,ed.,Jazz-&-Geïmproviseerde-Muziek:-Handboek-voor-de-Nederlandse-Jazzwereld- (Antwerpen:HetSpectrum,1978),6. 17

3 ofdutchleadingimprovisedmusicensembles,thewillembreukerkollektief. Indeed, DeRuyterrecalls, in1977thefirstamerican[fan]cameovertothenetherlandsto hearwhat sgoingonoverhere. 40 Altogether,DeRuyter sobservations,thetoneofthe articles,andthecompanionitselfsignaledanincreasingselfhawarenessandoptimism amongmusiciansandjournalistsaboutdutchjazzanditssignificanceonthe internationalstage. Jazz-&-Geïmproviseerde-Muziek-in-Nederlandwasthefirstcompaniontoexpressan outspokendesireamongdutchjazzjournalistsandmusicianstomanifestthemselvesas partofalocaljazzandimprovisedmusiccommunity acommunityofprofessionals.it followedtheexampleofsimilarpublicationsthathadappearedearlierinbelgium, Scandinavia,England,Germany,SwitzerlandandtheUnitedStates.Theeditorsasserted withconfidencethat, ItwasabouttimethattheNetherlandstoopresenteditsown whoiswho injazz. 41 TogetherwithmarketresearchbureauInter/view,theeditors compiled746shortbiographieswiththecontactdetailsofmusicians(89percent)and nonhmusicianssuchasprogrammers,promoters,andphotographers.thelist officially presented themembersofthebim,theunionforimprovisingmusiciansthathadbeen foundedin1971withthepurposeof providingthegovernmentwitharecognizable supportgroupforjazz. 42 Moreover,theCompanionpresentedjazzintheNetherlands asanimportantpartof culturalhistory withasignificantpastandanexciting presence. WhileJazz-&-Geïmproviseerde-Muziek-in-Nederland-presentsthe1970sjazzand improvisedmusiccommunityinthenetherlandsasahomogeneous,evenharmonious whole,thebiographies whichinmostcaseshadbeenprovidedbythejazz professionalsthemselves suggestamuchmorecomplexsociohculturalpractice.in 40Ibid.,7. 41VanEyle,ed.,Jazz-&-Geïmproviseerde-Muziek,6. 42Thehandbook spresentationofthe professional Dutchjazzandimprovisedmusiccommunityisvery optimistic,asonlyahandfulofthelistedjazzprofessionalsmadeafulltimelivingfromjazz.ina1978 study,fransvanleeuwencalculatedthatthegrossnationalincomeforjazzasgeneratedbyticketsales, subsidiesandadditionalfundingwouldallowforapproximatelyonehundredmusicianstoearntheir incomebyplayingjazz.hisestimationofthetotaljazzcommunityamountedto300jazzandimprovising musicians,consistingof181bimhmembersand120 activenonhmembers. FransvanLeeuwen,Defluit endeduit(deel4hslot),jazz/press53/54(1978):33. 18

4 termsofethnicbackground,forexample,themusiciansshowedquiteadiversity.with almost10percentofitsmembersbornoutsidethenetherlands,jazzandimprovised musicrepresentedtwentyhonedifferentnationalities.ofthese,sixteenjazzmusicians camefromtheunitedstatesandresidedinthenetherlandspermanently,or,incaseof saxophonistsdonbyas,colemanhawkinsandbenwebster,stayedinthenetherlands onatemporarybasis.byfarthelargestnumberofthemusicianslistedwhowerenot borninthenetherlandscamefromtheformerdutchcoloniesindonesia(24),surinam (5)andCuracao(1). 43 Theethnicbackgroundofthemusiciansnotonlyrevealsthe country scolonialpast,butalsounderlinesthenotionofjazzasatransnationalpractice thatencapsulatesandembodiesmultiplemusicaltraditions;amusicthatshouldbe understoodas,inthewordsofe.tayloratkins, aharbingerofwhatwenowcall globalization. 44 Afurtherstudyofthebiographiesshowshow1970sjazzand improvisedmusicinthenetherlandsalsorepresentedamusicallyandstylistically diverseandmalehdominatedspaceofculturalactivity.thecategoriesusedbythe musicianstodefinetheirmusicillustratehowthelabel jazzandimprovisedmusic coveredawiderangeofmusicalstylesandgenres.whilemostmusiciansused conventionaljazzstylestolabeltheirmusic( Dixieland, swing, bop, free improvisedmusic, rockjazz ),thealternatives( moderndixieland, musictheatre, people smusic, honeststyle, musicinfluencedbyafricanfolkmusicandjapanese classicalmusic, amongothers)atthesametimeindicatedthemusicians uneasewith labelsthatconfinedtheircreativeworkintoprescriptivepigeonholes.theabsenceof womenonthelistisparticularlystriking.nolessthan4percentoftheentriesareon 43Indonesia(24),U.S.A.(16),Belgium(5),Surinam(5),Germany(3),France(2),Russia(2),U.K.(2), BritishGuyana,Curaçao,Denmark,Ghana,Greece,India,Monaco,Austria,SouthHAfrica,Switzerland, Venezuela,Zambia.PhotographerRicod Rozario scountryofbirth,india,isnotmentioned. Indonesia(24):RobAgerbeek,HansAssenderp,GéBakker,RichardDaniëls,NedleyElstak,FredGilhuys, EdgardeHaas,JuulvanHogezand,VictorKaihatu,EricKrans,MaxLim,TheoUdenMasman,Charlie Nanlohy,FrankNoya,NippyNoya,BobvanOven,BabsPronk,RobPronk,RuudPronk,BasSchop,Lu Ssanet,AartSteffelaar,FlipWillemse,PeterYpma;U.S.A.(16):JoeAlbany,DonByas,JohnnyDunn,Frank Grasso,CharlieGreen,BurtonGreene,RosaKing,JohnnyGriffin,ColemanHawkins,TristanHonsinger, FreddieJohnson,BenWebster,WilburLittle,SandyMosse,IrvRochlin,GlennSpearman;Canada:Alan Laurillard;Belgium(5):MonDevoghelaere,FredvanHove,BertPage,JeanRobert,MarcelThielemans; Surinam(5):TeddyCotton,KidDynamite,WimEssed,RonaldSnijders,HennyVonk;Germany(3):Toto Blanke,ThijsChanowski,EddyMarron;France(2):JeanHPierrePerroud,HansVligvanderSijs;Russia(2): MishaMengelberg,JaschaTrabsky;U.K.(2):WallyShorts,WilliamNelson;BritishGuyana:Mr.Slim; Curaçao:TonyNahar;Denemarken:BørgeRing;Ghana:CabKaye;Greece:ConstantinPoustochkine;India: Ricod Rozario;Monaco:YvonFadd;Austria:MonikavanderZwart;SouthHAfrica:SeanBergin; Switzerland:TomBraaksma;Venezuela:HeinvanderGaag;Zambia:MichaelBaird. 44Atkins,Jazz-Planet,xiii. 19

5 women:seventeenvocalists,teninstrumentalists,twopromotersandonejournalist. Altogetherthelistshowshow,asafullHfledgedmemberoftheculturallandscape,the fieldofjazzandimprovisedmusicprovidesanexcellentsiteforthestudyofsocioh culturalissues,suchasculturalexchange,race,class,ethnicity,nationalityandgender. ThischapterengageswiththefurtherdevelopmentofDutchnarrativesinjazzand focusesonthesociohculturalbinariesthatarecreatedandreinforcedbymembersofthe Dutchjazzcommunitythemselves.Itexploresthemainsubgenresinjazz(traditional jazz,modernjazz,andimprovisedmusic)usedbymusiciansandotherprofessionals duringthe1960sand1970sinthenetherlandsandjuxtaposestheirmaindifferencesin termsofrepresentatives,music,aestheticsandsociohpoliticalviews.furthermore,it engageswiththesohcalledrichtingenstrijd,abattlethatarosemidh1960sbetweenthe sohcalledmodernjazzmusiciansandtheemerginggroupofamsterdamhbased improvisingmusicians,andwhichdevelopedintooneofthetropesthroughwhichthe storyofdutchjazzcontinuestobetold.thisworkisindialoguewithwhatarthistorian TerrySmithhascalledthe simultaneityofantinomies andthe coexistenceofvery distinctsensesoftime,ofwhatitistoexistnow,tobeinplace,andtoact,inrelationto imaginedhistoriesandpossiblefutures. 45 AlthoughSmith stopicisquitedifferent exploringtheissueofcontemporaneityinthediversityofpresenthdayartandculture hisapproachisusefulasitoffersamoreinclusivemodelonartsandculture,whichnot onlycentersaroundarelativelysmallgroupofrevolutionaryavanthgardistsbutwhich alsoengageswithmoreconservativevoicesandevolutionaryprocessesofmusical change.smith smodelcontributestotheunderstandingofthecomplexityofartisticand culturalchangebothintimeandplace.ratherthansimplifyingmusicalpracticesinto stylisticcategories,thischapterexposestheideologicalandpoliticalimplicationsof categorizationandcanonizationprocesses,demonstratingthecomplexityofmeaningh makinginthemusicalrealm. Mydistinctionbetweenthreesubculturesislooselybasedontheworksofsociologist WimKnulst,whoin1970exploredthepotentialofearninganincomebyplayingjazzin 45TerrySmith, Introduction:TheContemporaneityQuestion, inantinomies-of-art-and-culture:- Modernity,-Postmodernity,-Contemporaneity,ed.TerrySmith,OkwuiEnwezorandNancyCondee(Duke UniversityPress,2009),vi. 20

6 thenetherlandsandwhoinvestigatedtheorganizationalstructuresneededforaviable jazzculture. 46 CommissionedbytheBoekmanfoundation,astudycenterforarts, cultureandrelatedpolicy,inhisstudyknulstdistinguishesthree clusters thatcould beseparatedintermsofsocioheconomicbackgroundsandgeographicalcentersof activity.thefirstclusterconsistsoffortyheightmusicianswholargelyearnedtheir incomebyplayinginradioorchestrasactiveintherecordandtelevisionstudioslocated inthecityofhilversum.thesecond,mostclearhcutclustercenteredaroundeleven AmsterdamHbased improvisingmusicians, includingmembersoftheinstant ComposersPool,andotheravantHgardemusicians.Third,Knulstidentifiedaremaining groupofmusiciansintheeasternpartofthecountrywhointermsofprofessional organizationlargelyconnectedtothefirstcluster,andwhichforthatreasoniwill considerasbelongingtothesamegroup.inadditiontoknulst scategorization,iwill startwithabriefintroductionoftraditionalistjazz.knulst ssurveylargelyignoresthe Dixielandscene,whichwaslargelyamateurHbasedandperhapsforthatreasonfellout ofthesurvey saimtoinvestigatetheviabilityofearninganincomebyplayingjazz. Jazz&audiences& Inthelate1950sandearly1960s,radio,televisionandmagazinesincreasingly respondedtowhatculturalhistorianhansrigharthaslabeledthe hedonistic and commercialized teenagerculture ofthesixties. 47 Teenagersduringthistimewere increasinglydrawntoamericanizedformsofpopularculture,andtherockandbeat musicofbillhaley,elvispresley,thebeatles,andtherollingstones. 48 Thisnewgroup ofteenagersseparatedthemselvesfromothergenerationsbymeansofmusic,fashion, beautymagazinesandother lifestyle andcouldthereforebetargetedcommercially. RadioprogrammersattractedyounglistenerswithanincreasingofferofDutchradio broadcastsexclusivelydedicatedtopopmusic.whileteenagersinitiallyturnedtothe EnglishHlanguageprogramsbroadcastbyRadioLuxemburgforthelatestrock-and-roll, 46WimKnulst,Jazz-anno-1970(Amsterdam:Boekmanstichting,1972). 47Righart,De-eindeloze-jaren-zestig,-162.AVRO(A.V.R.O.)andVARAareabbreviationsofrespectively AlgemeneVerenigingRadioOmroep (GeneralBroadcastingAssociation)and VerenigdeArbeiders RadioAmateurs (Workers AssocationofRadioMakers).From1957,theV.A.R.A.wasnolongerofficially spelledasanabbreviation,butasvarainstead. 48HansRighartwroteextensivelyontheemergenceofsoHcalled teenagercultuur inthenetherlands, HansRighart,De-eindeloze-jaren-zestig(1995).OnecouldquestionwhetherjazzintheNetherlandswas everapopularmusicwithalargeaudience. 21

7 theyweredrawntodutchbroadcastswithclearhcuttitlessuchastijd-voor-teenagers (Timeforteenagers,1959H1970),Tussen-10+-en-20H-(Between10+and20H,1962H1970) andgrammofoonmuziek-voor-de-teenagers-(gramophonemusicforteenagers). 49 Similarly,theupcomingmediumoftelevisionseizeduponthisnewteenagermarket.A younggenerationofprogrammersfortheliberalprotestantradiobroadcastingvpro committedthemselvestomoreprogressiveandexperimentalformsoftelevision making,whichchallengedtraditionalcodesofbehaviorrelatedtosexuality. 50 The controversialtelevisionserieshoepla,forexample,reachedtheinternationalheadlines in1967asthefirstdutchtelevisionprogramtoshowanakedwoman:twentyhoneyear oldvisualartistandfluxushrepresentativephilbloom.theeventledtodebatesinthe HouseofRepresentatives,illustratingthegrowingconcernoftheestablishedgeneration fortheyoungandrebelliousteensandwhattheysawastheirrepugnantidealsofsexual liberation. Althoughjazzcouldbeconsideredpartofthisnewteenagerculture thechrisbarber Band,DutchSwingCollegeBand,PapaBlue svikingjazzbandandotherrevivalistjazz groupscontinuedtomakethepopchartsthroughoutthe1960s rockandrollandbeat largelypushedjazzasideastheyouth sprimarymusic. 51 Thedeclininginterestinjazz affectedthemusicscene,asthenumberofjazzclubvisitorsdropped,forcingjazz associationsandjazzclubstoclosetheirdoors.theamsterdamjazzclubsheherazade discontinueditsjazzactivitiesin1962aftertheclubchangedownership.thepress lamentedthelossofthis Meccaofmodernjazz, whichovertheyearsdevelopedinto oneofthecountry s leadingjazzcenters. 52 TheSheherazadeoweditsleadingposition 49 Jubileumvantussen10+en20H:JosBrinkshonderdste, Friese-Koerier,March30,1965,2. 50TheVPROwasoriginallyspelledV.P.R.O.,whichisanabbreviationofVrijzinnigProtestantseRadio Omroep(LiberalProtestantRadioBroadcasting).Tounderlinethenewdirectionandtomoveawayfrom theoriginalreligiousconnotations,thenamewaschangedfromv.p.r.o.intovpro.currentlythe statutorynameisomroepverenigingvpro(broadcastingassociationvpro). 51ThisinformationisbasedonthechartsprovidedfromJune1958bypopularmusicmagazineMuziek- Express,publishedbetweenJanuary1956andDecember1989.Thehitchartsthatappearedinthe Netherlandsduringthe1960sweretypicallybasedonrecordsalesasprovidedbyrecordstores.In1951, programmergerderoosinitiatedthekrohhitparade,thefirstpopchartsinthenetherlandsbasedon recordsales.thepopularityofthemuziek-expresschartdecreasedduringthe1960s,asothermagazines andradioprograms(tijd-voor-teenagers,top-10,parool-top-10,veronica-top-40)startedtheirownhit lists. 52InJune1950the modernmusicmagazine RhythmeannouncesaconcertbytheorchestraofJoop KorzeliusattheSheherazade. CeesSlinger: Wegaanuitelkaar, TheDiamondFivezoektanderhome, 22

8 particularlytotheclub shousecombothediamondfive,whichfrom1958attracted modernjazzfansandmusiciansthroughjamsessions.inaddition,theyaccompanied visitingamericansoloistssuchaskennydrew,donaldbyrdandjohnnygriffin. 53 Likewise,jazzmagazineRhythme-sawteenagersandothercommercialmarketgroups asthemainreasonforitsdiscontinuation.inseptember1961, thenetherlands only jazzperiodical Rhythme,announcedthat, themagazine scirculationcannotevenbegin tocompetewithmagazinesaimedatfamilies,womenor teenagers [emphasisadded] (forafurtherdiscussionofjazzwriting,seechapterfour). 54 However,jazznotonlylostaudiences,butatthesametimereachednewaudiences throughradiobroadcasts,jazzmagazinesandtheemergingmediumoftelevision.from 1955onwards,jazzmusiciansandenthusiastslistenedtotheVoice-of-America-Jazz-Hour, theamericanmusicprogramonlongwaveradiopresentedbywillisconover,who presentedthelatestjazzrecords.aftermidnight,listenersthroughouteuropefiddled withthedialoftheirshortwaveradiostofindtheopeningnotesof Takethe A Train, followedbyadark,slowvoiceannouncing, TimeforJazz WillisConoverin WashingtonD.C.withtheVoiceofAmericaJazzHour. Amongthoselistenerswasthe youngdrummerhanbennink,wholiststheprogramasanimportantsourceof inspirationduringhisearlycareer. 55 Jazzalsofeaturedinspecialprogramsmadefor Dutchradio,startingwithVARA sromance-in-jazz( )presentedbyreedplayer andcomposertheoloevendie,andfollowedbythephoneticallyspelleddzjess-zien- ( ),thetitlereferringbothto seeingjazz (zien-means tosee )andto jazz scene (zienisroughlypronouncedas scene ). 56 Whilenewteenageculturesunquestionablyeffectedthefurtherdevelopmentofjazz, noteveryonesharedtheviewthatjazzwaslosingpotentialyounglistenerstobeatand Het-Vrije-Volk,12February1962,15; GévanToorenburgwonmuziekoorlog, De-Tijd,21July1962,41. TweemaalRitaReysindeMaasstad, Het-Vrije-Volk,December21,1959,4. 53 ExclusiefoptredenvanJohnnyGriffin, De-Telegraaf,March3,1963,9; JazzHpianistKennyDrewin Zade, De-Telegraaf,April17,1963,9; DonaldByrd, De-Telegraaf,November11,1963,7. 54AntonKopandSkipVoogd, FarewellBlues, Rhythme144,September1961,3. 55VandenBerg,Han-Bennink,38. 56TheprogramwasairedbytheDutchChristianRadioAssociationNCRV(NederlandseChristelijkeRadio Vereniging,whichwaspartofapubliclyfundedbroadcastingsystemthatwassubdividedaccordingto religiousbeliefs,reflectingasocietaldivisionknownasverzuiling-(pillarization). 23

9 rockandroll. Idon tbelievethatthepartingof[thesheherazadeandthediamondfive] istheresultofadeclininginterestinjazz, bandleaderandpianistofthediamondfive CeesSlingerinsistedin1962, It samatteroftaste.jazzfansnowadaysratherlistento OrnetteColemanandJohnColtrane. 57 Slinger sobservationnotonlyrespondedtoand consequentlyreinforcedthecommonviewthat1960sjazzincreasinglylost(potential) youngaudiencestorock,beatandotherpopularmusic,italsosignalshowchanges withinthesubcultureofjazzduringthe1960screatedshiftsintermsofaudiences, soundandlocation.slinger sideathatsheherazade sclosurewascausedbyan increasinginterestamongjazzfansforthelatestjazzratherthanfor(other)popular music,impliesafascinatingcorrelationbetweentaste,sociohculturalchangeandplace, asthesejazzfansliterallydistancedthemselvesfromtheplacesthathadcometo representthemusic andthepeople ofbygonedays. Whichjazzstyles,then,cametorepresenttheoldjazzandthenewjazz,whoassociated withthesestyles,andonwhichplatformsdidtheirstoriesunfold?thefollowing paragraphsengagewiththeimplicationsoftraditionaljazz,modernjazzand improvisedmusic,threeofthemaincategoriesusedtodifferentiatejazzduringthemidh 1960sand1970s,andwhichcanbedistinguishedintermsofmusicalstyle, representatives,culturalvaluesandgeographicalcenter. Traditionalists- Aspartofabroaderinternationalrevivalistmovement,traditionalistjazzbands blossomedinthenetherlandsduringthe1950sand1960s.groupssuchasthe DixielandPipers,theDownTownJazzBandandJanBurgers NewOrleansSyncopaters fellbackontheprewarjazzidioms,employingvariationsonthestandardlinehupof clarinet,trumpet,saxophone,trombone,banjo,piano,bass,anddrums. 58 Amongthe mostprominentdixielandbandsinthenetherlandswasthedutchswingcollegeband (DSCB,alsoknownastheOrchestraoftheDutchSwingCollege),whichhaditsoriginsas thehousebandofthejazzsocietybythesamenameinthehague.ledbyreedplayer 57 CeesSlinger: Wegaanuitelkaar, TheDiamondFivezoekanderhome, Het-Vrije-Volk,12February 1962,15. 58Termsusedtodescribethisgenre,include ouderejazz, Dixieland,alsoreferredtoas traditional, swing, oldstyle, and revival prevailedduring1950sthenetherlands. 24

10 PeterSchilperoort,thebandbeganafterthewarbyplayingEllingtonHrelatedrepertoire andfrom1947developedintooneofeuropeanleadingrevivalorchestras. 59 However, despitetheband sinternationalsuccessintermsofpublicattention,theinternational pressinitiallyrespondedwithlukewarmenthusiasmtotheband smusic.in1960the BritishJazz-Journal-dismissedtheDSCB salbumjazz-class-(philipsp08045l,1960)as depressinglysuburban, addingthat, somethingismissinghere,anyway,andwhatis leftwillappealonlytothemostcasualdixielandhwhilehshavingrecordbuyer. 60 Similarly,in1962AmericanDown-Beat-journalistGilbertE.ErskinecreditedDixie-Gone- Dutch-(PhilipsPHS600H010,1962)-with-3.5outof5stars,consideringtherecord decent butwitha lackoforiginality. 61 Notwithstandingthesenegativereviews,the DSCBfrom1960onwardsperformedprofessionallyonstagesacrosstheworld,andwas oneofthefewdutchtraditionalistjazzgroupswhosememberswereabletomakea livingplayingjazz. 62 Overtheyears,DixielandintheNetherlandsdevelopedintoarelativelyindependent scene,withitsownnetworkofmusicians,audiences,venues,festivals,andmagazines. From1963,Doctor-Jazz,-a-bimonthlymagazinefor devoteesandcollectorsofclassic jazz,bluesandrelatedmusic, becametheprimaryspaceforsharinginformationon earlyjazz.besidesprovidinginformationonconcerts,songlyricsandchords, discographies,recordsandreissues,theeditorsreissuedhistoricalrecordingsandheld regularmeetingsundertheappropriatenameof reunions. 63 Thetraditionalists relativelyisolatedpositionbecameevidentfromaratherunfortunatecommunication betweendoctor-jazz-editorj.nijlandandthesjnontheassociation splanstoinitiatea jazzlibrary.inthejuly1966edition,nijlandrespondedtotheincreasingdemand amonghisreadershiptobeinformedabouttheseplansandremarkedangrilythat, [f]romthefactthatthisassociationnever-[underlineintheoriginal]invitedus,we drewtheconclusionthat[thesjn]neverintendedtocooperatewithdoctor-jazz. Nijland sresponsetypifiedtheseparationbetweenthemoretraditionalistjazzfansand 59RudyKoopmans,Jazz:-Improvisatie-en-organisatie-van-een-groeiende-minderheid(Amsterdam:SUA, 1977),15. 60T.S., RecordReviews, Jazz-Journal,September1960,31. 61GilbertM.Erskine, RecordReviews, Down-Beat,August30,1962,24H25. 62RudyKoopmans,Jazz, InFormoreinformationonthecurrentDutchtraditionalistjazzscene,seewww.doctorjazz.nl 25

11 thosedrawntootherjazzstyles.withthe1971initiationofthebredajazzfestivalas supportedbylocalauthoritiesandthelocal RoaringTwentiesClub,thesoutherntown ofbredabecameoneofthemusic smaincenters;ageographicalseparationthatfurther underlinedthescene srelativeindependentpositioncomparedtoothersubgenresin jazz. 64 Modernists- Otherthantheprewarjazzaestheticsoftraditionalistjazzmusicians,modernjazz representedanewgenerationofjazzmusicianswhoemergedduringthe1950s. 65 AmongthemostprominentjazzgroupsactiveintheHaguewastheRobPronkBoptet,a sextetthatinitsoriginallinehupconsistedofpianistandtrumpetplayerrobpronk,the trumpetplayingbrothersack(arie)andjerry(gerard)vanrooyen,tenorsaxophonist AndréBlok,bassplayerHansTananddrummerJanOpgenhaefen.Activefromthelate 1940s,thegroupconsistedmostlyofconservatoryHtrainedmusicianswhopickedupthe bebopidiomlisteningtorecords,orduringvisitstonewyork(pronk,vanrooyen brothers).thediamondfive,theaforementionedhousebandoftheamsterdam SheherazadegainedfurtherrecognitionthroughradiobroadcastsonSaturdayevening forthevara. 66 Intermsofmusicalapproach,thesemusicianspredominantlymodeledthemselvesafter thesmallgroupstyleofpostwaramerican modernjazz musicians,performinga repertoirefirmlybasedinthetraditionoftheamericansongbook. 67 Whilethe 64Koopmans,Jazz, Musiciansassociatedwithmodernjazz,includeLouisvanDijk(1941),pi;FransElsen(1934H2011),pi; WesselIlcken(1923H1957),dr;PimJacobs(1934H1996),pi;RuudJacobs(b.1938),b;RobMadna(1931H 2003),pi;PietNoordijk(1832H2011),as CharlieParker sfierce( felle )nervousheir; 65 WimOvergaauw (1929H1995),gi;RobPronk(1928H2012),pi;RitaReys(1924H2013),vc;AckvanRooyen(b.1930),tp; JerryvanRooyen( );HermanSchoonderwalt(1931H1997),as/bs;CeesSlinger(1929H2007),pi; PeterYpma(1942H2013),dr. 66Asaresultofthe1961installmentofthe freesaturday thebroadcastsmovedtosaturdaymorning. VARApastprogramma saanbijvrijezaterdag, Het-Vrije-Volk,5September1961,6.Toavoidgetting mixedupwiththepopularsingingduothebluediamonds,thediamondsin1959,changeditsnameinto thediamondfive.throughouttheyears,thelinehupremainedunchanged,withtheexceptionof1961, whenjacquesscholsreplaceddickvandercapellenonbass.onthenightsthediamondfiveperformed atthesheherazade,theclubwasrenamedthediamondfiveclub.althoughthebandofficially discontinuedin1964,theyregularlygottogetherintheyearsafter. 67Modernmusicianshavebeenlabeledunderdiversenames,suchas modernemusici, ( Naareen structuurplanvoordejazzmuziek 1971); studiomusici and swingmusici (Knulst1972); jazzos ( JazzplanZwolle,1970); mainstream (Oudejans1987)and boppers (Kuyper1967). 26

12 aforementionedsheherazadeinamsterdamandthe jazzhmondays innightclubde WieckinRotterdamformedvitalmeetingpointsformodernjazz,TheHague,wasbest knownforitsbebopplayers.asjournalistruudkuyperobservedin1967, Around1950agoodfewyoungmusiciansfromTheHaguebecame obsessedwiththesoundsofcharlieparker,dizzygillespie,george Shearing(yes,indeed!),MilesDavis,TaddDameron,andothers,whose musicenteredourcountryonthefastbutfragile78rpmrecords.these modernists or boppers hangaroundadanceinstitutethatwillalways beassociatedwiththehaguemodernjazz:gaillardhjorissenonthelaan vanmeerdervoort[meerdervoortlane].(ruudkuyper,over-jazz [Amsterdam:DeArbeiderspers,1967],19) 68 NotonlydidthesemusiciansmusicallyfollowtheAmericanexample,italsoshowedin thewaytheypresentedthemselvesorinthewaytheywerepresentedbytheirrecord companies,usingimagerywithclearreferencestothemajoramericanjazzlabelsof thattime.dutchmodernjazzappealedtorecordcompanies,asitsamerican connotationcreatedanurbanfeelofcosmopolitanismandfreedomthatconnectedto themodernistspiritofpostwaryouth.thisspiritresonatesinthelinernotesofthe threehpartseriesoflp sjazz-behind-the-dikes(philips, ),anotherprime exampleofdutchmodernjazz.radiomakerandproduceroftherecordseriesmichiel deruyterwrites: ThisrecordisthefirstofitskindtopresentsomeofourgreatestDutch jazzmenunderidealconditions,inotherwords,intheirowncombo sand playingthemusicoftheirownchoice.theywereallowedcomplete freedom,sothattheywerenotforcedtoconsiderthecommercialaspects thewholetime,anelementwhichfrequentlyleavesitsmarkonthe performancesofmanyafinejazzartist.thisrecord,therefore,contains 68 Iniedergevalwarenertegen1950nogalwatjongemusiciuitDenHaagindebangeraaktvande geluidenvancharlieparker,dizzygillespie,georgeshearing(jazeker!),milesdavis,tadddamerone.a., wiermuziekmondjesmaatonslandbinnenkwamopevensneldraaiendealsbreekbare78htoerenplaten. De modernisten of boppers concentreerdenzichinhetdansinstituutdatvooreeuwigverbondenzal blijvenmetdehaagsemodernejazz:gaillardhjorissenaandelaanvanmeerdervoort. 27

13 nothingbutstraightforwardmodernjazz[originalinenglish].(michielde Ruyter,linernotes,Jazz-Behind-the-Dikes[Philips,1955]) 69 AlthoughDeRuyterrepresentstheseriesasaworkoffreedom,awayfromthe commercialmarket,commercialinterestsdidplayapartintheprocess,asphilips sub labelphonogramwasinaracetogetthefirstdutchmodernjazzout,aracetheyonly justwon.ayearafterphilips release,thecompetingrecordcompanybovemalaunched Jazz-From-Holland-(Bovema,1956),againwithPronk,Madna,Ilckenandthebrothers VanRooyen. Similartotherecordcompanies,concertpromotersusedtheAmericanexampleastheir maintoolformarketingjazz.onapril15,1952,theamericanimpresarionormangranz introducedthedutchaudiencesattheamsterdamconcertgebouwtojazz-at-the- Philharmonic,atourfeaturingAmerica sgreatestjazzmusicianssuchasellafitzgerald, MaxRoach,LesterYoung,FlipPhilips,RoyEldridge,OscarPeterson,IrvingAshbyand RayBrown.Granz concertattheconcertgebouwdevelopedintothenachtconcerten,a seriesofnightconcertsthatcontinueduntil1976,andwhichgainedsomewhatofa legendarystatusbecauseoftheirmidnighthourstart,theyoungaudiencesandthe liberaldrugpolicy. 70 FollowingtheexampleoftheJazzatthePhilharmonicseries,Dutch impresariopaulacketinitiatedjazz-at-the-kurhaus,asimilarinitiativefeaturingdutch jazzmusicians.on1august1953,acket s hotandcool programclimaxedwithabattle betweenthedixielandpipersandthemodernist JazzattheKurhausHformation with altosaxophonisttonyvos,tenorsaxophonist Skymaster SanderSprong,pianistFrans VinkanddrummerTonyNüsser.Muchtothesurpriseofareporterofthedaily Telegraaf,theDixielandPipers gainedamassivevictory. 71 TherecordingsofJazz-atthe-Kurhaus,recordedliveattheRembrandtTheaterinEindhoven(Jazz-at-the-Kurhaus, Omega33H1and3302,1953),becameknownasthe firstdutchmodernjazzrecord, 69MusiciansontherecordincludedWesselIlcken,dr;RitaReys,vcl;TonyVos,as;StidoAlström,pi;Frans Elsen,pi;andRobMadna,pi. 70BobdeGroot,anardentvisitoroftheconcertsduringhiscollegedays,rememberedvividlyhowa tolerantdrugspolicyattheconcertgebouwallowedtheyoungcrowdtosmokecannabis,whichfilledthe concerthallwithathicksmokeandheavysmells.discussionwithauthor,may29, JazzattheKurhaus, Telegraaf,August4,1953,4. 28

14 featuringsomeofthemostprominentdutchmodernjazzmusicians. 72 Liketheconcert program,therecordingwaslargelymodeledaftergranz examplewhichjournalist RuudKuypersthereforelabeledasa straightimitationofnormangranz circus. 73 Modernjazzmusiciansduringthe1960sdominatedtheprofessionaljazzscene,holding theprimepositionsinbroadcastingorchestrasanddoingmostofthestudiowork. Whileamateurjazzmusiciansgenerallyperformedtheirmusic typicallydixielandor bop injazzclubs,whichpaidlittletonothing,thesemusiciansincreasinglyfound employmentintheentertainmentindustry.untiltheendofthe1950s,paidjobs includedcabaretshows,smallensembleperformancesforamericanmusicians stationedatmilitarybasesinoccupiedwestgermany,andstudioworkforradio orchestrasbasedinthebroadcastingstudiosinhilversum.thevanrooyenbrothers, forexample,inthelate1940sperformedwiththecabaretshowthesnip-en-snap-revue, tocontinueinthe1950sinprofessionalradioanddanceorchestras,theramblers (1926H1964),theMetropoleOrkest(from1945),theSkymasters(1946H1991),andthe KRODansorkest(1946H1964).Inaddition,bandssuchasTheDiamondFiveearneda livingbyperforminginjazzclubsandconcertshalls,oftenaccompanyingamerican guestsoloists.onlyfew,however,wereabletomakealivingplayingjazz.tenor saxophonistrudibrinkrecalledthesepoorcircumstances: ItookeverychanceIgot,justtopaytherent.Studiojobscanbereally tedious.you rehiredtorecordafewnotesandconsequentlyleavethe studiowiththefeelingthatyouhaven tdoneanything.itstartstoget interestingwhenyou reaskedasasoloist.theotherdayiplayedwiththe MetropoleOrkestforthreedays[ ]Atleastthenyougettoworkwith skilledmusicians.oncommercialdanceevenings,isometimesendup 72Therecordfeaturedthefollowingmusicians:NedleyElstak,tp;TonyVos,as;JosvanHeuverzwijn,Toon vanvlietandandréblok,ts;hansvanassenderp,tb;robbiepauwels,gi;hankwood,b;franselsen,pi; andtonynüsser,dr. 73Kuyper,Over-Jazz,24. DeeerstegrammofoonplaatdievandeNederlandsemodernejazzisgemaakt, wasdanookeenlijnrechteimitatievandeplaatdieinamerikawarenverschenenvande stal (ookwel: het circus )vannormangranz. 29

15 withabunchofbotchers,youwouldn tbelieve.(rudibrink,jazzjaarboek- 6[Amsterdam:VanGennep,1987],106) 74 Dominatingthefieldsofradioandtelevision,modernjazzmusicianswerelargely responsibleformakingamericanjazzvisibletothemainstreampublicinthe1960s. TheverysetupofthepioneeringtelevisionseriesDzjess-Zien,whichranweeklyon nationaltelevisionfrom1964to1966,wasexemplaryfortheattemptsofmodernjazz musicianstoalignthemselveswiththegreatamericanjazztradition.looselymodeled afterralphj.gleason s Jazzcasual, apublictelevisionseriesonjazzandbluesthatran from1960h1968,theproducer,pianistandhostpimjacobsweeklyinvited(american) soloiststoperformliveathisshow.duringthese30hminutebroadcastsjacobs accompaniedhisgueststogetherwithhistrioplusvocalist andspouse RitaReys. Theshowisrevealing,asitdemonstrateshowmodernjazzmusiciansnotonlyeducated generalaudiencesinhowtolistentoandunderstandjazz,butalsofueledtheideaof jazzasanamericanartformthatwasbothexoticandintellectualatthesametime.this becomesevidentfromthefirstbroadcast,whichfeaturedamericantenorsaxophonist JohnnyGriffinandtheyoungandupcomingDutchdrummerHanBennink.After introducingthemusicians,pimjacobsexplainstotheviewerthe rulesofjazz improvisation. HestartsoffbyplayingthemelodylineofaDutchchildrensong, Toen onzemopeenmopjewas (Whenourdogwasstillapuppy),successivelyaddingabass lineandchordswhilenotingduringthelatterthat, Wecouldevenconsidercallingita chord-scheme. AftersyncopatingthemelodyandaddingswingHfeel,hecontinuesto demonstratethe rules ofjazzimprovisationbyplayingavariationonthemelodyline. Inaddition,beforeheinvitesGriffintothestage,Jacobswarnstheaudienceforwhathe callsthe strange,junglehlikebodymovementsandcries oftheafricanhamerican musician,explaining twice thatthesemovementsarenotmeantasashowhoff, 74JeroendeValk, DerootsvanRudiBrink, in-jazzjaarboek-6,ed.erikvandenbergandfrankvan Dixhoorn(Amsterdam:VanGennep,1987):106. Ikmoestallesaanpakken,gewoonomdehuurte kunnenbetalen.datstudiowerkissomsheelonbevredigend,jewordtingehuurdomopbandeveneen paarnoteninteblazenenjegaatweernaarhuismethetgevoeldatjenietsgedaanhebt.interessanter wordthetalsjewordtgevraagdalssolist[ ]OnlangsspeeldeikdriedagenmethetMetropoleHorkest[ ]. Danwerkjeiniedergevalmetbehoorlijkemuzikanten.Indieechtecommerciëlegroepjes,waarmeeje daneendansavondjemoetverzorgen,zatiksomsopgescheeptmeteenstelletjebeunhazen,dathoudje nietvoormogelijk. 30

16 statingthat itisallpartofwhojohnnygriffinis. BypointingoutGriffin s idiosyncrasies,jacobsremarksfedintotheexoticappealjazz andblackmusicians( it ispartofwhotheyare ) heldtothedutchaudience,whileatthesametime reinforcingtheideaofjazzasanintellectualpursuit( notmeantasashowhoff ),askill thatcanbetaught,andwhichthereforeexceededthestatusofsheerentertainment. Themodernjazzmusicians selfhappointedroleasgatekeepersofanintellectualart formsignifiedthedepartureofjazzasyouthculturetowardsanestablishedartformfor connoisseurs.inhis1978essayonthesociohculturalpositionofdutchjazzmusicians, sociologistfransvanleeuwenassertshowtheroleofmodernjazzchanged dramaticallyduringthe1960s: WhilethemusicoftheModernJazzQuartet,forexample,initiallykept listenersbreathlessinconcerthalls,itcametoserveprimarilyas backgroundmusicfortelevisiondocumentariesondutchpolder landscapesorasintermissionmusicplayedduringasignalinterruptionof thetelevision.somethingsimilarhappenedinthenetherlandstothe musicofpimjacobsandritareys,which,muchtotheirownrelief,found abetterplacethansmokyjazzclubsanddraughtyyouthcenters. (Van Leeuwen, Defluitendeduit[deel1], -Jazz/Press-47[1978],16) 75 Thenotionof(modern)jazzasanintellectualpursuitisunderlinedbyfilmssuchasJazzand-Poetry-(1964),-ashortfourteenHminutedocumentarybyDutchfilmmakerLouisvan Gasterenfeaturing-thePietKuitersModernJazzGroupwithpianistPietKuiters,alto saxophonisthermanschoonderwalt,bassplayerruudjacobs,drummerceesseeand theamericanjazzpoetted thehipster JoansandDutchpoetSimonVinkenoog. 76 The openingsceneshowsanimagetypicalformodernjazz:asmallcomboplayingcharlie 75 Hield[demuziekvanhetModernJazzQuartet]bijvoorbeeldaanvankelijkeenademloospubliekinde concertzaalgevangen,latergingdievooraldienstdoenalsachtergrondmuziekbijtvhdocumentairesover polderlandschappenenalspauzehmuziekbijbeeldstoringen.voorwatnederlandbetreftkunnenwe denkenaandemuziekvanpimjacobsenritareys,diezicherbijherhalingverheugdoveruitlietendatze voorhunmuziekbetereonderkomenshaddengevondendanrokerigejazzclubsentochtigejeugdhonken. 76JazzandPoetry,directedbyLouisvanGasteren(1964)16mm,14min.[TheAmericanpoetTedJoans readshispoem JazzisMyReligion, accompaniedbypietkuiters,pi;andhermanschoonderwalt,as; RuudJacobs,b;andCeesSee,dr.] 31

17 Parker sclassicblues Now sthetime inadark,smokyplacefullofyoungsterswearing suits,ties,darkhornhrimmedglasseswhodrinkbeerandwinewhilethoughtfully listeningtothemusic.althoughtwocouplescanbeseendancing,theimageillustrates howmodernjazzwasperceivedasanintellectualexertionthatisbestenjoyedwith youreyesclosed,adrinkinonehand,acigaretteintheother,tappingalongwithyour foot.theintellectualaspectofjazzisunderlinedbythefactthatthesetsalternatewith Joansreadingtwopoems.AfterremarkingthathowtheDutchswing eventhough you renotwearingklompen[woodenshoes] andaftertakinghisshadesoff( Ialways taketheglassesoffforthephotographers,soiwon tlookliketherestofthem. ),Joans reads Jazzismyreligion, whichisaccompaniedbyaslowblues.afterhefinishes, Joanssmilinglysummonsthelistenerstostopclapping( No,noman,youkeepyour clapstoyourself.idon tneedthat. ),whichisfollowedbyasecondroundofapplause andlaughter.theunderlyingmessagehereisthatjazzandpoetryisseriousbusiness, anintellectualpursuitthatshouldnotbedisturbedbyapplauseorothergestures belongingtoentertainment.thepresencevangasteren scamera saddstothissenseof urgency,tothesensethatsomethingvitalishappeninghere. - Improvised-music- Whileuntilthe1960s,jazzmusiciansofdifferentgenerationsregularlyplayedtogether, mostnotablyinthepopularmodernstylebigbandofboyedgar( ) aband thatwasactivebetween1960and1971andwhichwasespeciallycreditedforits exceptionalsaxophonesection generationsbegantodivergeduringthisperiod. 77 InAmsterdam,theDutchcapitalofcounterculturalactivity,aparticularscenedeveloped aroundkeymusicianssuchasreedplayerandbandleaderwillembreuker( ), drummerhanbennink(b.1942),andpianistmishamengelberg(b.1935);all experiencedjazzplayerswhosoughtfornewwaysofmakingmusicandwhowereno longersatisfiedwithwhattheysawastherigidbebopidiomasimposedbyconventional combohstylegroupsandbigbands. 78 AsjazzjournalistBertVuijsjeobservedin1963, 77TheoriginallineHupofBoyEdgar sbandconsistedoftinusbruijn( ),PietNoordijk( ),TheoLoevendie(b.1930),HermanSchoonderwalt( ),ToonvanVliet( ),and HarryVerbeke( ). 78BenninkandMengelberghadabebopstylequartetwithaltosaxophoneplayerPietNoordijkandbass playerroblangereisthatregularlyaccompaniedamericanjazzmusicians.mostfamouswastheir performancewithmultihinstrumentalistericdolphyonlast-date(1964),whichwastobecomedolphy s 32

18 Untilrecently,mostEuropeanschosetoimitate.AlsointheNetherlands wesawhowdifferentmusiciansstartedasboppers,begantoplaywesth coastduringthe1950sandthenchangedtohardhboparound1956. Consequently,concertsbyDutchjazzmusicianswereoftentedious,even useless,consideringthemanyconcertsbygreatamericanmusicians. However,theHollandJazzconcertthattookplacerecentlyatthe AmsterdamConcertgebouwshowedhowexcitingthingshavestartedto happenindutchjazz.somesoloistsseemtohavefoundaway[ ]of expressingtheirownpersonalitieswithrespecttothepioneeringworkof thegreatestmusicians.especiallythemoreexperimentalandavanthgarde musicians[suchasthemengelbergquartetwithaltoplayerpietnoordijk, bassplayerarendnijenhuisandhanbennink]attractedparticular attention.(bertvuijsje,vrij-nederland,-1963) 79 RatherthanimitatingAmericanjazz,thesemusiciansbegantousetheimprovisatory idiomborrowedfromjazzinsearchfortheirownmusicalidentity,mostnotably throughaneclecticpracticeofcollectiveimprovisation.thefoundingofflexiblecrossh genreensembles,suchastheinstantcomposerspool(icp,1967),thetheoloevendie Consort(1968),theVolharding(1971),andtheWillemBreukerKollektief(WBK,1972) offeredimprovisingmusiciansbothanescapefromthehierarchicalorganizationofbig lastrecordedsession(kleijwegt2006).therecordingtookplacewithaliveaudienceon2june1964in thevarastudioinhilversumandincludedjacquesscholsonbass.breukerlearnedthejazzidiomby playingsaxophoneinboyedgar sbigbandandinloevendie sfamosworkshops(koopmans,jazz,14). 79BertVuijsje,Vrij-Nederland,-1963inKoopmans,156H7. TotvoorkortkozendemeesteEuropeanen voordenavolging.ookinnederlandhebbenwebijverschillendemusicikunnenzienhoezealsboppers begonnen,inhetbeginvandejarenvijftigwesthcoastgingenspelen,omrondom1956overteschakelen ophardhbop.koncertendoornederlandsejazzmusiciwarendanookveelaleentaaieenzelfsoverbodige gelegenheid.geziendevelekoncertendooramerikaansetophmusici.hethollandjazzconcertdat onlangsinhetamsterdamseconcertgebouwwerdgegeven,toondeechteraandaterdelaatstejaren verheugendeontwikkelingenindevaderlandsejazzhebbenplaatsgevonden.eenvoorlopignogkleine groepvanvooraanstaandesolistenheeftdeenigmogelijkeuitweguithetdilemmagevonden.zonderaan hetpionierswerkvandezeergrotenvoorbijtegaanblijkenzetochinstaatdeeigenpersoonlijkheid vollediginhunspeltelatendoorklinken vooraldemusicidiezichmetdeavanthgardistische experimentenbezighoudenvielenop[hetmengelbergkwartetmetaltistpietnoordijk,bassistarend NijenhuisenHanBennink]. 33

19 bandsandcombos,aswellasnewpossibilitiesofmusicalexpression. 80 Seekingfor crosshgenreandinterdisciplinarycollaborations,improvisingmusiciansconnectedto theinternationalfreejazzmovementaswellaswithlocalmusicalcultures. Consequently,jazzandWesternartmusicintheNetherlandsduringthe1970s intertwined,bothsocialandmusically,resultinginacrosshgenrecollaborationinthe Netherlandsthatgenerated,facilitatedanddirectedsocialandmusicalchangeswithin musicohculturallandscapeinthenetherlands.byexploringtheimprovisingmusicians musicalbackgroundsandcollaborations,thefollowingparagraphsgiveinsightintothe musicalcharacteristicsassociatedwithdutchimprovisedmusic. Whileimprovisingmusicianshavebecomeknownforcreatingadistinctlocalsoundin jazz(seeintroductionandchapterthree)andforradicallychangingthejazzscene, theirplayingremainedfirmlyrootedintheamericanjazzidiom.forexample, AmsterdammusicianstrumpeterNedleyElstakandsaxophonistTheoLoevendiemoved, inthewordsofrudykoopmans alongmodernistlines,butdidn tcareastrawabout theboporthodoxy asthey touredthroughturkeyandheraldedagenerationthat modeledthemselvestoamuchlesserextentaftertheamericanjazzmusic. 81 Drummer HanBennink,whoovertheyearswastransformedfromasuitHwearingmodernjazz musicianintooneofthekeyfiguresofdutchimprovisedmusic,startedbyplayinginthe styleofkennyclarke,percyheathandraybrown,musicianshegotacquaintedwith throughdutch modern bassplayerruudjacobs. 82 Bennink,sonofaprofessional drummerandmusician,wasanautodidactwhonotoriously andtohisfather s regrets nevermasteredsighthreading,anecessaryskillfortheprofessionalmusician 80Thelistedimprovisingmusicianscollaboratedinthefollowingensembles:DeVolharding(Breuker,Van Manen,Driessen),theICP(Breuker,VanManen,Gorter),theTheoLoevendieConsort(VanManen, Cuypers,Gorter,Driessen)andtheWBK(Breuker,VanManen,Cuypers,Gorter,Driessen). 81Koopmans,Jazz,155H57. Ookindezeperiode[Jarenvijftig?]kwamentweeAmsterdamsemusicinaar voren,trompettistnedleyelstakensaxofonisttheoloevendie,diezichwelopmodernistischvlak bewogen,maarzichweiniggelegenlietenliggenaandebophorthodoxie.zijgingengeruimetijdop tourneedoorturkije,envormdendevoorbodevaneengeneratiejazzmusici,diezichminderexklusief doordeamerikaansejazzmuzieklieteninspireren. EvenlaterkwamaltistEricDolphyhierspelenmetde groepvanmengelberg:degrensvandebopwerdbijnaoverschreden.inhetseizoen64/65kwamhet kwartetvanalbertaylernaarnederland,waarmeedebakensdefinitiefverzetwerden,alreageerdende meestenederlandsemusicinognegatief. 82VandenBerg,Han-Bennink,39. Opschoolmaaktenwelijstjes:kiesjevoorPercyHeathofvoorPaul Chambersopbas?Danwordthetalmoeilijk.KiesjevoorMelLewisofShellyManneopdrums?Buddy RichofGeneKrupa?( )PercyHeathenKennyClarke,datwasdeultimate-rhythm-sectionvoorjongens uithetgooi. 34

20 hisfatherenvisionedhimtobe. 83 Breuker,whostartedplayingtheclarinetattwelveat thevolksmuziekschool(people smusicschool)inamsterdamandcontinuedona borrowedtenorsaxophoneandaclarinetfromthebrassbandtuindorpoostzaan, learnedtoplayjazzbyplayingwiththemodernjazzquartetofmengelberg.ina1965 interviewbreukerexplainedhowfromanearlyagehefelttheurgetoexperimentand openupwaysofplayingjazz: Icanplaybop,butIdon treallyfeelcomfortablewithit.parkerdoesn t meanthatmuchtome,ihavealwaysverymuchenjoyedhisplaying,butit isnotasourceofinspiration.ihavealwaysbeeninspiredbypianists, LennieTristanofollowedbyChetBaker spianistdicktwardzikand currently,ofcourse,ceciltaylor.icouldnotthinkofabetterexample. (Vuijsje,De-nieuwe-jazz,149) 84 Intheearly1960s,thefirstexplorationsintofreeimprovisationintheNetherlands developedwithintheconventionalsettingsofjazzcombosandworkshops.inspiredby OrnetteColeman sideaofplaying freeofpreconception, 85 drummerpierrecourbois(b. 1940)formedtheOriginalDutchFreeJazzGroup(1961),allegedlythefirstDutchgroup toexperimentwithfreeimprovisation. 86 Duringhis1965engagementwiththeGerman GunterHampelquintetintheParisianBlueNote,Courboistriedtoopenupsongformsby adhlibextensionsofeachbarofthetune.hereferstothistechniqueas fermateplay, a 83Ibid.,31H [BertVuijsje]Ishetmogelijkfreejazztespelenzonderdatjejeeerstinouderejazzvormenhebt verdiept?breuker:degeloofikniet,jemoettenslottewetenwatjeoverboordzet.jezietvaakknapen, dienemenhuntoetermeeendiegaandangewoonwatstaanblazen.nouja,jedruktmaarwatinener komtgeluiduitdatding,datmoetdanfreejazzzijn.maardatisnatuurlijkhelemaalgeenfreejazz,die gastenvallennatwee,drienummerstochdoordemand.hetgaatomdeinstellingdiejetegenoverde muziekhebt.ikvoelalvanafmijnzestiendejaardatikmuziekindezerichtingmoetmaken.ikkanwel bopmuziekspelen,maarikvoelmeereigenlijknietinthuis.parkerheeftmenooitzoveelvreselijkveel gezegd,ikhebhetaltijdwelverschrikkelijkfijngevondenwathijdeed,maarikgaernietvanuit.ikben altijdvanpianistenuitgegaan,vroegervanlennietristano,latervandicktwardzikdiebijchetbakerzat entegenwoordiguiteraardvanceciltaylor.ikkengewoongeenbetervoorbeeld. 85AlynShipton,A-New-History-of-Jazz(LondonandNewYork:Continuum,2007[2001]),572H76. 86KustersandSchulz,Pierre-Courbois,13.TheOriginalDutchFreeJazzGroup(ODFJG)isalsoreferredto asthefreejazzgroupororiginaldutchfreejazzquartet.theoriginallinehupoftheodfjgconsistedof MaartenBeckers(Bakker)ontenorsaxophone,PeterKrijnenonbass,PietHeinVeeningonbassand PierreCourboisondrums.ThegroupshouldnotbeconfusedwiththeFreeMusicQuartetthatCourbois formedaround

21 termcoinedbytheband spianistalexandervonschlippenbach. 87 Courbois gradual developmentfromconventionalsolowithaccompanimenttocollective,free improvisationtypifiedtheprogressamongtheearlygenerationoffreejazzmusiciansin thenetherlands.herecalls: Thenextstepwastoletgoofindividualimprovisationandmoveonto groupimprovisation:playingalltogether,ridingrightovereachotherand doingitloud! Wedidn twanttorehearseanymoreeither.whatwe wantedwasacompleteunpreparedness,toclamberontothestageand, withnoarrangementsbeforehand,juststartplaying.(pierrecourboisin KustersandSchulz,Pierre-Courbois,112) 88 Duringtheirvisitsin1964and1965,AmericanmusicianssuchasEricDolphy,Albert AylerandOrnetteColemanintroducedDutchaudiencesonalargerscaletoideasoffree improvisationandextendedsounds. Apivotalmomentintheestablishmentofimprovisedmusicwasthecontroversial performanceofbreuker s Litanyforthe14 th ofjune,1966 atthefinalsofthe LoosdrechtJazzConcours(LoosdrechtJazzCompetition)inJuly ThelargelypreH composedperformanceconsistedofaneighteenhpieceorchestracastingupawallof musicalchaosagainstwhichsingersofievanlierrecitednewspaperreports.assuch,it commentedonthedramaticriotsinamsterdamthathadfollowedthesuspiciousdeath, onthe13 th ofjune,ofaprotestingconstructionworker. 90 WithitsunconventionallineHup andsocialhpoliticaltheme,theperformancewasunprecedentedatafestivalthatwasused toslottingparticipatingmusiciansintopigeonholecategorieslike Dixieland or modern 87Ibid., Devolgendestapwashetloslatenvandeindividueleimprovisatieendeopkomstvande groepsimprovisatie:allemaaltegelijk,dwarsdoorelkaarheenenhard Wewildenooknietmeer repeteren.watwewildenwastotaalonvoorbereidenzonderafsprakenhetpodiumopklimmenen beginnentespelen. 89ThecompetitionwaspartoftheLoosdrechtJazzFestival,whichwasorganizedannuallyfrom1958and continuedundervariousnamesuntil1989.numerousstudiestakethiseventasacrucialmomentin developmentofdutchjazzandimprovisedmusic,includingbertvuijsje,de-nieuwe-jazz:-twintiginterviews(baarn:boschenkeuning,1978);adlington,composing-dissent. 90TheriotsinJune1966becameknownastheBouwvakkersoproer(ConstructionWorkersRevolt)and thetelegraafhrellen(telegraafhriots),referringtotheheadquartersofthedailypaperofthesamename, infrontofwhichtheseriotstookplace. 36

22 jazz andassuchitspreaddiscordamongthemembersofthejury. 91 Thepiece combinestheaestheticsofcontemporarymusicwithjazzidioms,usinglargelypreh composedmaterial,graphicscorescombinedwithimprovisation,andperformedbya mixedgroupofclassicallytrainedandjazzmusiciansandisthereforegenerallymarked asoneoftheearliestexamplesofdutchimprovisedmusic. Illustrativeofhisawarenessoftheprovocativeaspectsofhisperformance,Breuker gavespecificattentiontothevisualaspects,dividingtheensembleoverthreestages. Twoyearsearlier,in1965,Breukerdiscussedthisideaofaddingtheatricalelementsto thepracticeofjazz,whichhesawasasolutiontotheproblemofdecreasingaudiences: Ibelieve80percentofthelistenersjustsittheretappingtheirfootand noddingtheirhead.perhaps20percentreallyenjoythemselvesandgoes homesatisfied.forthose80percentweneedtoaddavisualaspecttothe stage,akindofmusictheatre.thatway,themusicalstuffismorelikelyto godownaswell.iambusyworkingoutplansinthatdirection.( )If audiencesarelookingatfourmusicians,thosemusiciansneedtoadd somethingtomaketheperformancecomplete.otherwiseyoumightas wellrecorditandplaythetapeinfrontoftheaudience.(willembreuker, Jazzwereld3,November1965) 92 Altogether, Litany canbeseenasanearlyattempttoreformulateconventionsinjazz andconsequently(reh)envisionjazzasapoliticallyengagedformofavanthgardeart.the acceptancein1966ofjazzgroupattheprestigioushollandfestivalfurthersignalled jazz sshiftingstatusfromentertainmenttoarespectedformofart LoesRusch, CommonGround:1970sImprovisedMusicasPartofaCrossHGenreDutchEnsemble Culture, in JazzCollectives:History,Theory,Practice, ed.nicholasgebhardt,specialissue,jazz-research- Journal5.1/5.2(2011):123H Ikgeloofdattachtigprocentvanhetpubliekerzitommetdevoetmeetestampenenmethethoofdte knikken.misschientwintigprocentheefterietsaan,gaatnaarhuismethetgevoelvanikhebeentoffe middaggehad.ermoetvoordietachtigprocentietsvisueelsophetpodiumgebrachtworden,eensoort muzikaaltheater.dankunnendiemuzikaledingenerookmakkelijkeringaan.ikbenaldrukbezigmet ietsindierichting. Seealso,Vuijsje,De-nieuwe-jazz,150H1. 93In1966theHollandFestivalfeaturedthequintetofGermantrombonistAlbertMangelsdorff,DutchPim Jacob striowithsingerritareys,themengelbergquartetandboyedgar sbigband(down-beat8 [September1966],43). 37