"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: 03 Apr 2019

2 3.&State&arts&funding&and&the&cultural&politics&of&selfHorganization& The1965AntibesJazzFestivalintheFrenchJuanHLesHPins,theluxuriousmeetingplace oftherichandfamousatthemediterraneancoted Azur,wasaneventfeaturingthe famousjazzartistsofthetime,includingthejohncoltranequartet,marionwilliamsand hergospelgroup,ninasimone,andthewoodyhermanherd.withatotalattendance ofanestimatedeighteenthousandpeopleandaneightythousanddollarbudget,the festival ssixthedition consolidated, accordingtotheamericanbillboardmagazine, theevent spositionasthemostimportantjazzmanifestationineurope. 226 While takingnoticeofthesebigamericannames,dutchjournalistshighlightedarather different,moremodestperformancethatopenedthesaturdayeveningprogramatthe city splacedugould;the DutchallHstarbigband ofboyedgar.thebandperformed arrangementsoftheestablishedamericanjazzrepertoiresuchasellington s InMy Solitude, and Summertime performedtogetherwithdutchactressandguesthvocalist NellyFrijda.TheDutchpressmadethemostoftheperformance,praisingthehourHlong concertandthecheeringcrowdthat keptonshoutingforanencore,evenafterallthe instrumentswerepacked. 227 Likewise,theypraisedtheband sversionof Summertime which,inboyedgar sversionwas strippedfromgershwin sromantic presumptions. 228 Earlier,journalistshaddramaticallyannouncedthelastradio appearancebeforedepartureastheband safscheidsconcert-(farewellconcert). 229 The concert sbroadcastonprimetimetelevisioninthenetherlands,fridaynightat8.45 pm,furtherillustratedthesignificanceoftheconcertasamajorachievementinthe developmentofdutchjazz. 230 BesidesasanillustrationoftheinternationalambitionsofDutchjazz,themedia highlightedtheeventbecauseofanotherreason;the1965tourofboy sbigbandwas 226 AntibesJazzFestProvesPoint, Billboard,-August14,1965, BoyEdgarheeftsuccesinJuanHLesHPins, De-Telegraaf,June26,1965,7; BoysBigBandBlinktuitop jazzfestival, Het-Vrije-Volk,June26,1965,2; BoyEdgars bigband hadsuccesophetfestival, Nieuwsblad-van-het-Noorden,August6,1965,13. MeerdaneenuurspeeldeBoy s BigBand vooreen enthousiastpublic,datzelfsnadatdeinstrumentenwareningepaktnogomeentoegiftbleefroepen. 228 Boy sbigbandblinktuitopjazzfestival, Het-Vrije-Volk,-June26,1965,2....datindeEdgarHopvatting dewatvalseromantiekvangershwinheeftafgeschud. 229 Afscheidsconcert Boy sbigband, Nieuwsblad-van-het-Noorden,July19,1965, Boy sbigbandinantibes, Friese-Koerier,June23,1965,2. 86

3 thefirsttoreceiveadirectsubsidyofthedutchgovernment.thebandreceivedeight thousandguildersfromtheministryofcultuur,recreatieenmaatschappelijkwerk- ( CulturalAffairs,RecreationandSocialwork, CRM)totraveltoandperformatthe prestigiousfestival. 231 Inaddition,theVARA,atelevisionHandradiobroadcasting associationfundedbythedutchgovernment,budgetedanothertwothousandguilders forthedirectorandproducernicoknappertojointheleadingfrenchdirectorjean ChristopherAverty,whorecordedtheconcertfortheFrenchbroadcastingassociation ORTF. 232 DeclaringthattheDutchgovernmentnow officiallyacknowledged theband s accomplishments,thepressusedtheconcertasevidencetosupporttheideathatthe authoritieshadfinallybeguntoacceptjazzasaseriousformofart. 233 It sagreattimeforjazzinthenetherlands, MishaMengelbergobservedina1966 localpaper, Localartistsproducemorerecords;theministryofCultureandother institutionsgrantsubsidies;thereisanimportantannual(money)awardoftheprins BernhardFonds;andslowlyeveryonestartstorecognizethevalueofjazz,includingthe educationalinstitutions. 234 In1978,FransvanLeeuwen,whowroteextensivelyonthe socioheconomicstatusofdutchimprovisingmusicians,calledthefirst1965funding crucialinwhatheconsideredthe emancipation ofdutchimprovisedmusicfrom Americanjazz. 235 ComparingtheconcertwiththefirstU.S.StateDepartmentsponsored jazztourwithdizzygillespiein1956andrichardnixon spresentationofthe PresidentialMedalofFreedomtoDukeEllingtonin1969,theDutchjazzcriticobserved howtheeventlandmarkedtheintertwiningofjazzandpoliticsinthenetherlands.for VanLeeuwentheseeventsdemonstratedthefruitfulcontributionofthegovernmentto thefurtherrecognitionofjazz.althoughwehaveseeninthefirstchapterhowjazzin thenetherlandsinthe1960sdevelopedintoaseeminglymarginalmusicalsubculture, losingitsstatusasamainstreampopularmusicgenreinfavorofpopgroups,themusic 231PreviousdelegatestothefestivalincludedthePimJacobstriowithRitaReys(1960),theDiamondFive (1961),theLouisvanDijkHCarlSchulzequartet(1962),andtheJacquesvanPolltriowithLeddyWessels (1964).UnlikeBoyEdgard sbigband,thesegroupsdidnotreceiveanyfundingfromthegovernment. 232 BoyEdgars bigband hadsuccesophetfestival, Nieuwsblad-van-het-NoordenAugust6,1965, Boy sbigbandnaarjuanhleshpinsmètsubsidie, De-Tijd,June18,1965, Gastenophetfeest, De-Tijd,July8,1966,5. HetiseengunstigetijdvoorjazzinNederland:Er wordenméérplatengemaaktvaneigenmensen,hetministerievancultuurentalvaninstellingen verlenensubsidies,eriseenjaarlijksegrote(geld)prijsvanhetprinsbernhardfondsenlangzaammaar zekergaatmenoveraldewaardevandejazzinzien,ookbijhetonderwijs. 235FransvanLeeuwen,Defluitendeduit(deel2),Jazz/Press49(1978b):12H14. 87

4 (anditsrepresentatives)playedasurprisinglysignificantroleinthenetherlands culturaldebatesthroughoutthesecondhalfofthetwentiethcentury. Inthischapter,IengagewiththeintertwiningbetweenculturalpolicyHmakingand improvisedmusicpracticeinthenetherlands,andstudyhowimprovisedmusicians usedcollectivemusichmakingtomediatetheirestheticalandsociohpoliticalagendas. Whatexactlywastheinvolvementofnationalandlocalauthoritiesinthedevelopment ofjazz?whatargumentsdidtheyusetolegitimizetheincreasingpublicspendingon artsotherthantheoperaandsymphonyorchestras?whatwastheroleofjazz musiciansandjournalistsintheestablishmentofstructuralfundingforjazzinthe Netherlands?Isthereanysignificanceinpolicyintermsofinternational(ratherthan) nationaltours?andinwhatwaysdidchangesinculturalpolicyinfluencethe establishmentofjazzandimprovisedmusicinthenetherlands?thischapterdealswith thepositionofjazzinthedebatesaroundculturalpolicymaking.itstudiesthepolitical debatesfromavarietyofangles,respectively;thechangesinpositionofthegovernment towardstheartsasreflectedbychangesinpolicyhmaking;theroleofimprovising musiciansinthesedebates;andtheeffectsofchangesinculturalpolicyhmakingonthe furtherdevelopmentofjazzinthenetherlands.bystudyingtheinterrelationbetween politicalandculturalchange,thischapterexposestheculturalpoliticsbehindjazzand improvisedmusicinthenetherlands. The&principle&of&Cultuurspreiding+ Inthecourseofthe1960s,theDutchauthoritiesshowedanincreasinginterestinmusic practicesbeyondthosebelongingtothesymphonyorchestras.afterwwii,the government sattitudetowardstheartsandculturebecameintimatelylinkedwithsocial welfaredesign.asthenetherlandsdevelopedintoawelfarestate,theauthorities increasinglyexpressedadesireforamoreparticipatoryanddemocraticorganizationof thearts,adesirethatwasmotivatedbythenineteenthcenturymoralistviewonthearts asaneducationaltoolthatcouldservetoemancipatetheworkingclass. Itcanno longerbe,thattheareaoftheartsandculturesolelybelongtotheprivileged, MP WillemsoftheAntiHRevolutionairenPartij-(AntiHRevolutionaryParty,ARP)pleadedin 1950intheHouseofRepresentatives: Allranksofsocietyshouldbeabletohavetheir 88

5 share.thegovernmentshoulddeterminetocontinuouslystrengthentheconnection betweentheartsandthepeople. 236 Onewaytorealizethismoreparticipatoryanddemocraticculturalpolicywasthrough theprincipleofcultuurspreiding,-ageographicaldistributionofartandcultural institutionsfromthecitiesinthewesttoallareasofthenetherlands. 237 Therewas broad,crosshpartyagreementontheideaofcultuurspreiding.willems viewwonthe supportoftheliberal,centerhrightpeople spartyforfreedomanddemocracy(vvd), whichdeclaredthat,inthewordsofmpzegeringhadders,the governmentneedsto introducetheircitizenstoartsandculture,beginningwiththeyouth.itshoulddevelop artcenters decentralized andpermitlocalauthoritiestofinanciallysupportregional orchestrasandtheatrecompanies. 238 TheinitiationofaRaadvoordeKunst(National ArtsCouncil)on6July1956 replacingtheprovisionalartscouncilinstalledin1947 officiallyacknowledgedthisnewgovernmentalresponsibilityforthearts,which,inthe wordsofthatevening spolygoonnewsreelbroadcast,wereof greatimportanceforthe mentalandphysicalwelfareofalldutchcitizens. 239 Theartsfellunderthe responsibilityoftheministryofonderwijs,cultuurenwetenschap-(education,cultural AffairsandScience,OCW),whichunderlinedthearts educationalvalue. 240 Byactivelystimulatingadecentralizeddistributionofthearts,thegovernment contributedtothedevelopmentofanextensiveculturalinfrastructurethatincluded festivals,artscommittees,conservatories,musicschoolsandorchestras.thenewpolicy stimulatedtheincreaseofsystemofregionalandprovincialorchestrasandwascarried outonnational,provincial,andlocallevels,andthroughprivatefunds,suchastheprins 236 KunstencultuurindeTweedeKamer:Pleidooienvoorgedecentraliseerdekunstcentra, streekorkestenenstreektoneelgezelschappen, Nieuwsblad-van-het-Noorden,September23,1950,9. 237ForanoverviewofculturalpolicyintheNetherlands,seeRoelPots,-Cultuur,-koningen-en-democraten:- Overheid-en-cultuur-in-Nederland(Nijmegen:SUN,2000). 238 KunstencultuurindeTweedeKamer:Pleidooienvoorgedecentraliseerdekunstcentra, streekorkestenenstreektoneelgezelschappen, Nieuwsblad-van-het-Noorden,September23,1950,9. De overheidmoetdebevolkinginaanrakingbrengenmetkunstencultuurendaarmedebijdejeugd beginnen.ermoetenkunstcentrazijn,gedecentraliseerd,endekleinegemeentenmoetensubsidiemogen gevenaanstreekorkestenenstreektoneelgezelschappen. 239 MinisterCalsinstalleertRaadvoordeKunst, PolygoonHProfilti,NederlandsInstituutvoorBeelden Geluid,accessedNovember28,2014, 240TheartsdepartmentremainedunderOCWuntil1965,whenitwasintegratedinthenewministryof Cultuur,RecreatieenMaatschappelijkWerk(Culture,RecreationandSocialWork,CRM). 89

6 BernhardFonds. 241.ExceptforDrentheandZeeland,alltheprovincesestablishedtheir ownphilharmonicorchestras,someofwhichwererenamedtoreflectitsnewprovincial focus. 242 Fourorchestras theconcertgebouworkest,theresidentieorkest,the RotterdamsPhilharmonischOrkestandtheAmsterdamsPhilharmonischOrkest were expectedtooperateonanationalandinternationallevel.further,thesystemincluded fiveradioorchestras:theradiophilharmonischorkest,theomroeporkest,theradio KamerOrkest,thePromenadeOrkestandtheMetropoleOrkest,lateronaddedbythe NationaleBalletorkest(1965)andtheGewestelijkOrkest(1968).Altogether,the numberoforchestrasgrewfromsixteenin1955totwentyhoneby1976.thatyear,an estimated78.7millionguildersofthenationalartsbudget,wenttosymphony orchestras,creatingjobsforapproximately1,550fullhtimemusicians.thisbudget consistedoffundingbythelocal(38.4),provincial(11.7)andnational(28.6) authorities. 243 Directlylinkedtothepolicyofcultuurspreidingwastheinitiationofassociationssuchas JeugdenMuziekNederland-(YouthandMusictheNetherlands,JM). 244 TheJMwas foundedasamemberorganizationofthejeunessesmusicalesinternational,an association-thatwasfoundedinbrusselson17july1945withthemissionof encouraging youngpeopletodevelopthroughmusicacrossallboundaries. The government spolicyofcultuurspreidingstimulatedthejmtodevelopintoanational networkoflocalandprovincialdepartments.whilemostdepartmentssetamore traditionalcourse,focusingonclassicalmusic,thedepartmentsofamsterdamandthe provinceofzeeland(jmz)provedparticularlyvitalinthesupportandpromotionofjazz andexperimentalmusic.theimpactofpublicfundingontheperformanceof improvisedmusicwillbediscussedmorefullyinchaptersix. Theinterlinkingofthegovernmentandtheartswasfurtherstimulatedbyaneconomic growthofrespectivelyanaverageof4.2percentinthe1950sand5.5percentinthe 241TweedeKamerderStatenHGeneraal, NotaOrkestenbestel, 1976.MinisterievanOnderwijs,Cultuur enwetenschappen,cultuurbeleid-in-nederland(denhaag:sdu,2002). 242Foranoverviewoftheseorchestras,seeSamamaandVanLingen,-Nederlandse-muziek-in-de-20Hsteeeuw, TweedeKamerderStatenHGeneraal, NotaOrkestenbestel, 1976,8and TheJMiscurrentlyactiveunderthenameofJeugd-en-Muziek-Holland. 90

7 1960s,allowingthegovernmenttospendmoremoneyonsports,cultureandarts. 245 Consequently,duringthe1960sand1970s,thefederalspendingincreasedfrom0.04to 0.06percentoftheGNP,peakingin1975witha140.8millionguilders(seetable1).As RubinoffobservesinherstudyoftheEarlyMusicmovementintheNetherlands: Inthe1970s,inthewakeoftheartisticandpoliticalturmoilofthe1960s, thedutchwelfarestateexpandedexponentially,andsotoodidspending ontheartsandartseducation.thiswasespeciallythecaseunderthe leadershipofprimeministerjoopdenuyl,who,asheadofthelabour Party,heldofficefrom1973to1977:hiscabinetwasthemostsocially progressiveindutchpoliticalhistory.accordingtotheministryof Education,Culture,andScience,overallfederalspendingonthearts increasedastronomicallyduringthisperiod,from28millionguildersin 1965to61.4millionguildersin1970,andtoapeakof140.8million guildersby1975.(rubinoff,crackingthedutchearlymusicmovement, 9) Localbudgetsforthedevelopmentofculturalinfrastructuresandfacilitiesgrewrapidly aswell.from1947onwards,thelocalauthorities spendingontheartswereaveragely twiceaslargeasthenationalartsbudget,moneythatwenttoperformancevenues, museums,libraries,musicschools,andcreativecenters. 246 Theprincipleofcultuurspreidingandthewillingnessofgovernmentsofdifferent politicalpositionstofacilitateculturalrenewallegitimizedashiftintheartsbudgetthat allowedforanincreasedspendingonexperimentalformsofart,althoughitremaineda pittanceincomparisontothemoneythatwenttotheclassicalorchestras.asnoted earlier,thesubsidieswereinitiallygivenonanincidentalbasis,bymeansoftravel grantsandmoneytosupportconcertseries.ina1967bill,thegovernmentproposeda furtherstimulationofeigentijdse-muziek(contemporarymusic)andscheppende-kunst- (creativearts)byraisingthefinancialsupportofcontemporarymusicensemblesand 245 Parlementenpolitiek:CijferscabinetHDenUyls(1973H1977), accessednovember28,2014, 246Pots,Cultuur,koningen-en-democraten,

8 theirrelatedinstitutions,donemus,gaudeamus,kunstenbedrijf(artandcompany) andthenederlandsekunststichting(dutchartfoundation).thatsameyear,theword jazz appearedforthefirsttimeinthestatebudget: Intheareaofjazz,thepublic performanceofthe workshop conductedbyboyedgarandtheoloevendieduringthe HollandFestivalhasattractedparticularattention,asdidtheperformanceofagroupof jazzmusicianscenteredaroundmishamengelberg. 247 Thegovernmentbegantosupportjazzandimprovisedmusic,initiallybymeansof individualtravelgrants,moneytosupportconcertseriesandotherincidentalgrants. Likewise,thenationalauthoritiesinJuly1966supportedtheMishaMengelberg/Piet NoordijkquartettoparticipateattherenownedNewportJazzFestivalintheUnited States.ThetotalcostsofthisfourHdaytripamountedtotwelvethousandguilders.The MinistryofCRMsupportedthetourwithfourthousandguilders,inadditiontogrants fromnonhprofitorganizationstheprinsbernhardfonds,thebumacultuurfondsand thefentenerhvanvlissingenfonds.thesegrantsallowedthequartettoopenthe SundayeveningofthefestivalwithahalfHhourset. 248 Between1965and1970Willem Breuker,theTheoLoevendieConsort,theNederlandsJazzOrkestandtheInstant ComposersPoolreceivedrespectivelysix,nine,sixteenandtwelvethousandguildersto supportaconcertseriesinthenetherlands. 249 Altogether,thegovernmentannually investedatotalsumofaboutsixtyhtwothousandguildersinjazzandimprovisedmusic between1965h Inadditiontothegeneralartsbudget,CRMministerMargaKlompé,asof1970, reservedmoneytostimulateculturalexperiments.klompé,memberofthecatholic partykvpandin1956thefirstfemaleministerofthenetherlands,allocatedthe subsidiesaccordingtotheadviceofthenationalartscouncil.again,thepolicyof 247TweedeKamerderStatenHGeneraal, Rijksbegrotingvoorhetdienstjaar1968:HoofdstukXVIHCultuur, RecreatieenMaatschappelijkWerk, 1967,4. Ophetgebiedvandejazzheefteen workshop onder leidingvanboyedgarentheoloevendie,welkeuitmonddeineenopenbaaroptredentijdenshetholland Festival,sterkdeaandachtgetrokken,evenalsb.v.hetoptredenvaneengroepjazzHmusicirondMisha Mengelberg. 248 MisjaMengelbergnaarjazzfestivalvanNewport, De-Tijd,June24,1966,4; KwartetMisja MengelbergnaarNewport, Het-Vrije-VolkJune24,1966, Rapportwerkgroepgeïmproviseerdemuziek, BEVEM,1970,appendixII. 250FormoredetailsonpublicspendingonjazzintheNetherlands,seeJazzwereld,Juli1966,

9 cultuurspreidingplayedaroleinthedistributionofthismoney,aspartofthearts fundingwasawardedundertheconditionthatiswasspentinareasotherthanthe urbanizedrandstad.whilemostmusicianswelcomedtheideaofequallydistributing theartsbudgetthroughoutthecountry,itwasalsometwithresistance.breuker,for example,recalledunhappilyhow [thecommonlineofthoughtwas]itismore importanttoplayfortwomenandadoginacrumbonthemap,thantogiveaconcert inthecityforpeoplewhowereactuallyinterested. 251 Inthe1970s,atleast60percent ofthejazzfundingbylocalauthoritiescamefromthethreebiggestcitiesinthe Netherlands;Amsterdam,RotterdamandTheHague. 252 Togetherthisaddedupto1.5 millionguildersoffederalspendingonjazzandimprovisedmusic,anamountthat sharplycontrasted withthe100millionguilderssubsidythatwenttotheatre. 253 Thus, despitetheauthorities interest,theseandabovefiguresunderlinehowjazzremained bothanunderpaidandpredominantlyurbanaffair. Countercultural&activism& RecallinghowBoyEdgarregularlyvisitedtheCRMdepartmenttoconvincetheministry tofinanciallysupporthisband,vanleeuwenassertedin1978that, eveniftheofficialsfobbedhimoffwithsomecashjusttogetridofhim,it createdaprecedent,astheyacknowledgedimprovisedmusicasanart formworthfunding.fromthenon,musiciansapplyingforfundingcould refertothisacknowledgement.it safactthatmanyjazzmusicianswho followedboyedgar sexampleoftenleftthecrmwithmoneyintheir pockets.(vanleeuwen, Defluitendeduit[deel3], 21) FransvanLeeuwen,Defluitendeduit(deel3),Jazz/Press51(1978c):21H24. DatjeinLutjebroek voordrieboerenspeelde,wastienkeerbelangrijker,dandatjeinutrechteengoedkonsertgafvoorechte belangstellenden.ditwasdetendensindiejaren. 252VanLeeuwen,Defluitendeduit(deel4Hslot),32.Thelocalauthoritiesaddedanother800thousand guilders,ofwhich500thousandguildersfromthe bigthree (Amsterdam,RotterdamandTheHague).Of TheHague sbudgetof186thousandguilders,90percentwenttothethreehdayinternationalnorthsea JazzFestival.VanLeeuwen,Defluitendeduit(deel4Hslot), Ibid. 254 Zelfsindiendeambtenarenopdatministerietoenhebbengedacht: Geefdiemandiepaarcenten, danzijnwevanhetgezeuraf, dannogschiepenzijneenprecedent,indiezindatzijdegeïmproviseerde muziekerkendenalseensubsidiabele,duswaardevollekunstuiting,opwelkeerkenningandere muzikantenzichkondenberoepenbijhunaanvragenomsubsidie FeitisdatinhetvoetspoorvanBoy 93

10 VanLeeuwen sanecdotenotonlyillustrateshowgovernmentinstitutionsandjazz increasinglyinterconnected,italsorevealshowthemusiciansthemselvesinitiatedthe involvementofthegovernmentinthefurtherpromotionoftheirmusic.in1967,the InstantComposersPool(ICP)figuredamongthefirstattemptsbymusicianstoorganize themselvesmusicallyaswellaspolitically.themusiciansoftheicpregularlydiscussed planstogaingovernmentalfunding,aswellastoestablishaunionforimprovising musiciansandacenterforimprovisedmusic. 255 Reflectingthemusicians idealsofselfh controlanddemocratization,theicporganizedtheirowntours,succeededingetting individualgroupfundingfromnationalandlocalauthoritiesandproducedandsold theirownrecords(twelvelp sinsixyears).inaddition,improvisingmusicianstook controlovertheirworkbycreatingtheirownindependentlyproducedlabels,suchas ICPandBreuker sbvhaast.however,theseattemptswerefarfromisolatedincidents, butfittedinwiththe1960scounterculturalmovementandtheattemptstobreakaway fromtherulingorder. 256 Artiststypicallynolongertriedtocreatechangesfromwithin thesystemandthroughofficialchannels,butincreasinglypursuedthemthroughpublic protestsanddebates. AmongthemostprominentandhistoricallycitedeventsinmusicwasthesoHcalled Notenkrakersactie(Notecrackers Action)of17November1969,whenconservatory students,composers,musicians,andotherartistsdisruptedaconcertofthe ConcertgebouwOrchestra. 257 Thegrouprailedagainstwhattheyfeltwasthe conservativeprogrammingandinsistedona democratization oftheconcertgebouw s artisticmanagement.theprotestswereinstigatedbyaquintetofyoungmenknownas De-Vijf-(TheFive),allofthemKeesvanBaaren scompositionstudentsattheroyal EdgarvelejazzmuzikantendewegnaarCRMwistentevindenendaarveelalnietmetlegehanden vandaankwamen. 255JanRensen,Jazz/Press43(1977): Igiveamoredetailedaccountofthemusicalandpoliticalcollaborationbetweenartistsfromdifferent musicalfieldsincommonground:1970simprovisedmusicaspartofacrosshgenredutchensemble Culture,inJazzCollectives:History,Theory,Practice,ed.NicholasGebhardt,specialissue,Jazz-Research- Journal5.1/5.2(2011):123H ForadetailedaccountoftheNotenkrakersactie,seePeterPeters,DeNotenkrakersendepolitiek: Geëmancipeerdearbeidersendissonanten,inMens-en-Melodie4911/12(1994):610H617;Samamaand VanLingen,-Nederlandse-muziek-in-de-20Hste-eeuw;Rubinoff,CrackingtheDutchEarlyMusicMovement, 3H22. 94

11 ConservatoryinTheHague;LouisAndriessen,ReinbertdeLeeuw,MishaMengelberg, PeterSchat,andJanvanVlijmen.ForasocioHculturalunderstandingoftheevent,itis perhapsthetermnotenkraker-initselfthatismostrevealing.asidefromthepunonthe titleoftchaikofsky sfamousballet(indutch,notenmeansbothnutsandmusicalnotes), kraken-(tocrack,ortosquat)indutchreferstothecontemporarysquatters movement activeinthecapitalandtheirsemihlegalambitiontoreclaimemptybuildingsfor housing.inthisway,throughthesphereofart,thenotenkrakersmeanttoreclaimwhat theysawasahollowedhoutanddecrepitmusic-forpublicuse,anactionthatfittedin withtherestofcounterculturalmovementsand happenings inamsterdamatthat time. 258 ThecallforrenewalanddemocratizationofDutchconcertlifewasfueledbythefact that,despitetheincidentalfunding,thegovernmentsupportuntilthe1970sremained predominantlyreservedforsymphonyorchestrasandoperacompanies.in1966,for example,overfourhfifths(81percent)ofthetotalnationalartsbudgetformusicwentto symphonyorchestras,whiletenyearslater,theallocationwasstillmorethanhalfofthe budget. 259 Focusingprimarilyonnineteenthcenturyrepertoireandlargeorchestras, thispolicyreflectedaratherlimitedandtraditionalistviewofwhatkindofartswould servethemasses.breuker,amongothers,fiercelycriticizedthistraditionalistviewheld bythegovernmentandopposedtheideaofhighartasaneducationaltoolforthe masses.displayinghislowhclass,socialistbackground,breukerdespisedthenotionofa governmentenforcingthe bourgeois withideasof ArtwithacapitalA, addingthat theideathattheartofthenineteenthcentury,theconcertgebouworkest,andallthat shit,shouldbemadeaccessibleforeverytom,dickandharryisamistake,because Tom,DickandHarryshouldinthefirstplacebemadeawareoftheirownsituation.And thiscallsfortheirownmusic,notbeethoven ForanaccountofsocioHculturalchangesinthe1960s,seeJamesKennedyandSimoneKennedyH Doornbos,Nieuw-Babylon-in-aanbouw:-Nederland-in-de-jaren-zestig-[BuildingNewBabylon:Cultural ChangeintheNetherlandsduringthe1960s](Amsterdametc.:Boom,1995). 259SannieHoogervorst, Kwaliteitofspreiding:Orkestenenoverheid1900H1990, InWaar-bemoei-je-jemee.-75-jaar-belangenstrijd-van-de-vereniging-Het-Concertgebouworkest,ed.JohanGiskesetal. (Zutphen:WalburgPers,1991):172H IschaMeijer, Ikmaakmuziekvooriedereen,maarwaaromvindtiedereenhetzoafgrijselijk?, Haagse-Post(October13,1973):72. DeKunstvoordebourgeois.Dekunstuitdevorigeeeuw,het ConcertgebouwOrkest,aldieellendemeer,diemoetenwetoegankelijkmakenvoorJanMetDePet.En 95

12 Thepersuasivecollaborativeactionsfromwithinartisticfieldsonlypartlyresultedin thedesiredchangeandthedissatisfactionremainedpersistentthroughoutthe1970s. Breuker,ina1973interview,showedhisfrustrationswiththeestablishment,accusing themusicpromotersofignoringdutchjazzandimprovisedmusic: Onecan thelpnoticingthatothertypesofmusic,liketheselittlesubh divisionsofsymphonyorchestrasandintuitionssuchasgaudeamus,have smalleraudiences,butneverthelessreceivegovernmentalsupport.with thegovernmentyoualwaysenduptalkingtopeoplewhoeitherhatethe musicordon tknowit.duringourlastmeetingatthecrmoffice,the officialshadn tevenreadourreport.(meijer, Ikmaakmuziekvoor iedereen,maarwaaromvindtiedereenhetzoafgrijselijk? : 68H77) 261 In1975,thenewlyestablishedjazzmagazineJazz/Presspropagatedamoreequal treatmentoftheartsbythegovernmentandexplicitlyexpresseditsdesireto stopthe discrimination againstjazzandimprovisedmusic.comparingjazzwithopera,the magazine-pointedouthow,whileequivalentinaudiencesize(around1.5percentofthe totalofconcerthgoers)asignificantlylargerpartofthemusicbudgetwenttoopera. Accordingtotheirfigures,theoperacompanyForum,whichwasprimarilyactiveinthe desolatenortheasternpartofthenetherlands,alonereceivedeightmillionguildersof national,provincialandlocalfunding,whilethetotalgovernmentalspendingonjazz waslessthanhalfamillion. Whysubsidizetheoperaorchestrasandthephilharmonic orchestrasandignoretheimprovisingcombosandorchestras? Jazz/PresscriticHan Schulteaskedhimself,expressinghisdiscontentwithcurrentartpolicyHmaking. 262 datvindikeendrogreden,wantjanmetdepetmoetindeeersteplaatsopzijneigensituatiegedrukt wordenendaarhoortookzijneigenmuziekbij,daarhoortgeenbeethovenbij. 261 Endanmerkjedatanderesoortenmuziek,dieeigenlijkineenkleinerepublieksbelangstellingstaan dandeonze,gaudeamusendatsoortinstituten,clubjesdiezichafscheidenvansymfoniehorkestenen zo datdiewélinaanmerkingkomenvoorsteunvandeoverheid.jekomtlangzamerhandineen overlegsituatiemetdeoverheidendankomjeterechtbijmensendiemuziekhatenofnietkennen.het laatstegesprekopcrmmetbeleidsambtenaren toenbleekdatzeonsjazzhrapportnognooitgelezen hadden. 262HanSchulte, Jazz/PressvraagtsubsidiebijCRM, Jazz/Press-1(September17,1975):2. Waarom wordenweldeoperahorkestenendephilharmonischeorkestengesubsidieerdennietdeimproviserende combo senorkesten? 96

13 WhiletheNotenkraktersactieandsimilarprotestsareoftenexplainedintermsof revolutionaryacts,theideaofaradicalbreakwiththepastshouldbeunderstoodin termsof1960srhetoricthanasaanactualdiscontinuation.thisisunderlinedbythe factthatearliercontemporarycomposershadattemptedtorestructurethedutch musicallandscape,proposingsimilarideas.in1964,composertondeleeuwwas amongthefirsttoraiseawarenessofwhathefeltwasthe urgentsituation within Dutchconcertlife.InhisopenlettertothedailynewspaperAlgemeen-Handelsblad,he criticizedthesohcalledorkestenbestel,ortheinfrastructureofestablishedmusical institutions,forfocusingonahistoricallyandgeographicallytoonarrowmusicalfield andwhichhethereforeconsidereditunfitforthemoreprogressive,experimentalmusic oftheavanthgarde. 263 Rather,anticipatingtheideaofaflexibleensemble,DeLeeuw proposedasohcalled mobileensemble asamoredemocraticalternativetothe traditionalorchestras.so,whiledeleeuwpresentssimilarsolutionstothelackofspace forexperimentalmusic,hisideasareusuallynotunderstoodintermsofradicalismor revolution.indeed,theidealofcounterculturalmovementsworking outside thestatus quocanbeseenasconstructedandidealizedand,asiwilldemonstrateinthefollowing paragraphs,aspartofadeliberatestrategytogainfurtherrecognitioninthecultural field. Strategies& Duringthe1970s,counterculturalactivismbegantoaffecttheDutchmusicallandscape, asmusiciansfurtherunitedandorganizedthemselves.theestablishmentofthe associationbewegingvoordevernieuwingvandemuziekpraktijk-(movementforthe RenewalofMusicalPractice,orBEVEM),inMay1970wasimportant,inthatits activitieswere tolaythefoundationhstoneforthedutchensembleculture. 264 Thegoal ofthebevemwasthe radicalanddemocraticrenewalofmusicallife anditsmembers soughtto unitecomposersandperformersinthestruggletorealizetheprinciplesof workers controlandselfhdeterminationinthemusicalfield. 265 Thesupportamong composersandmusicianswassignificant.seventycomposers,performers,andgroups, 263TondeLeeuw, Detoestandisurgent, Algemeen-Handelsblad,October24, Adlington, OrganizingLabor, Ibid. 97

14 signedacalltoameetingon14march,includingthejazzplayersandimprovising musiciansboyedgar,giliusvanbergeijk,mishamengelbergandtheoloevendie. Intheyearofitsinitiation,theBEVEMsetupaspecialworkinggrouptoinvestigatethe socialheconomicsituationofimprovisingmusicians.thissohcalledworkgroup GeïmproviseerdeMuziek(consistingofvocalistAnnBurton,pianistLoekDikker,and theaforementionedbreuker,loevendie,vanmanen,andmengelberg)in1970 publishedareportbasedonasurveyamongmusicians,whichsignaledthepoor economicstatusofjazzmusiciansinthenetherlands. 266 While13percentearnedmore thanhalfoftheirincomeinimprovisedmusic,only6percentofthemusiciansheard madealivingjustbyplaying.also,thereportmentionedthepoorstatusofjazzatthe conservatoriesand,exceptforincidentalcoursesandworkshops,alackofeducational institutionstostimulateafurtherdevelopmentofthejazzandimprovisedmusicinthe Netherlands.Toimprovethecircumstancesfortheimprovisingmusicians,theworking groupsuggestedtosupportindividualmusicianswithgrants,afundingsystemthatwas commoninthefieldofauthors.further,itproposedtoadjusttheexistingtraining programsatconservatoriesbyaddingbothextracurricularcoursesforclassicalmusic studentsaswellasfullhfledgedprogramsinimprovisedmusic(seechaptertwo). Definingimprovisedmusicas themusicmadebyinstrumentalists,vocalistsand composerswhoconnecttotraditionofjazz,consequentiallyexcludingthe improvisationalpracticesofnewmusicandpopmusic, thebevemworkinggroupwas amongthefirsttoidentifyimprovisingmusiciansasaseparatesocialgroupthatfaced itsownsetofspecificproblems. 267 Whilethe1967reportbytheSJNhadnotedhowthe mediafailedtoacknowledgejazzasadistinctmusicalpractice,thebevemworking groupexplicitlynotedthatjazz,inordertoachievethenecessaryattentionand recognitionfromtheauthorities,neededtobeseparatedfromitsconnotationwithlight entertainmentandrepositionedasahigherartformthatwasvaluedequallyto 266 HerdrukJazzplan1970, SJN/BIM,1973,4H Rapportwerkgroepgeïmproviseerdemuziek, BEVEM,1970. Alsinditrapportwordtgesproken overgeïmproviseerde(g.m.)wordthiermeebedoelddemuziekdiegemaaktwordtdoordezichalofniet jazzhmusicusnoemendeinstrumentalisten,vocalistenencomponistendiebijdejazzhtraditieaansluiten. Metbuitensluitingdusvandienieuwemuziekenpopmuziekwaarinimprovisatieeenrolspeelt. 98

15 ArjenGorter,Breuker sdoublehbassplayerfrom1975onwards,observedina1978 interviewthat, Europeanconcertmusic. 268 Toillustratetheimpactofthenotionofjazzasamusicof lightentertainmentandreproduction,thereportpointedoutthecommonpracticein radioandtelevisionassociationstopayimprovisingmusiciansonlyforplayingthe scorewhileignoringthemusician screativeinput,resultinginanunfairpayment system. 269 Toenabletheinstitutionstoevaluateimprovisedmusiconitsownmerits, stressingimprovisedmusic s essentiallycreativenature, theworkinggroupproposed afurtherrecognitionofimprovisedmusicasaseparateand autonomous music category.followingthebevem sreport,therepositioningandrevaluationofjazzfrom moreentertainmenttoahigherformofartimpactedonthejazzplanswrittenduring the1970s.thesjnin1970,forexample,emphasizedthestatusofjazzasanautonomekunstvorm-(autonomousartform)andconsidereditsperceivedassociationswithlight entertainmentasanobstructiontofurtherdevelopment: 270 The[poor]statusofjazzwithinthemusicalestablishmenthindersa furtherexplorationofthepossibilitiesofjazzmusic.inouropinion,jazz and pop aretoooftentarredwiththesamebrushbythepress,onradio andtelevisionandwithingovernmentpolicies.yetjazz especiallyits latestdevelopments takesupaspecific,nonhcommercialpositionwithin ourculture.(herdrukjazzplan1970, SJN/BIM,1973,4H5) In1979,theSJNchangeditsnameintoSJIN,anabbreviationofStichting-Jazz-en-Geïmproviseerde- Muziek-in-Nederland-(FoundationforJazzandImprovisedMusicintheNetherlands).TheSJIN discontinuedin1997asaresultoftheinstallmentofanewplanforthearts,calledthekunstenplan-(the ArtsPlan). 269 Rapportwerkgroepgeïmproviseerdemuziek, BEVEM, Jazzpolicyplansinthe1970sand1980sregularlyappearedtobeliterallycopiedfromexistingjazz historieswithoutfurtherreference.forexample,bothjazz-plan-zwolle-(1973)andjazz-in-zuidhholland (1987)usedKnulst sjazz-anno-(1972)asthebasisfortheirhistoricaloverviewsofjazzinthe Netherlands. JazzplanZwolle, (Zwolle:StichtingJazzZwolle,October1973). 271 Destatus,diejazzHmuziekbinnenhetbestelheeft,(blijkt)remmendtewerkenopeenvolwaardige ontplooiingvanzijnmogelijkheden.onzesinzienstenonrechtewordenjazzen pop inpers,radio,tven overheidsbeleidaltevaakoveréénboeggegooid.jazz enzekerdenieuwsteuitingendaarvan neemt echterbinnendekultuureenduidelijkeniethcommerciëlepositiein. 99

16 [t]osolvethesepoliticalissues,wehavetoremindthemusiciansoftheir socialvaluesandbesidesweneedtoestablisharecognitionand validationofourmusicthatisequalto contemporary classicalmusic, allowingjazztomovebeyonditsstatusofdancehandentertainmentmusic. 65) 272 TheSJN sreferralto especiallythelatestdevelopments underlinestheimprovising musicians effortstodistancethemselvesbothfromwhattheygenerallyconsideredthe moldyfigsofearlyjazzandthecommercialismofmodernjazz.bycallingtheworkof representativesofmoretraditionalistjazzstyles commercial, theyimplicitly denouncedtheothersas sellhouts whocompromisedtheirartisticintegritybyletting themarketplacecallthetune.thisway,thebevemreportandotherplansillustrated howjazzandimprovisingmusiciansincreasinglyfelthinderedbywhattheyconsidered animageproblemofjazz.moreover,itreflectedagrowingawarenessamongmusicians oftheimplicitvaluesandpowersofrepresentation,andtheneedtocreateadistinct musicalgroupthatcouldbeseparated,musicallyandsocially,fromothermusical practices. (FrançoisBuzelinandJeanBuzelin,Willem-Breuker:-Maker-vanmensenmuziek,trans.MarcoNakken(Zutphen:WalbergPers,1994), SelfHorganization- TheBEVEMreportnotonlyexpressedagrowingdesireamongimprovisingmusicians fortheirpracticetobejudgedonitsown,butalsolegitimatedafurtherorganizationof improvisedmusicintoadistinctivepressuregroup.atthesametime,thebevem workinggroupalsofelthesitantabouttheinstitutionalizationofimprovisedmusic, fearingalossofautonomyandsharingskepticismaboutformingagroupofwhat seemedlikeirreconcilablepersonalities.vanmanen,forexample,doubtedwhether improvisingmusicianswouldsucceedincreatingwhathecalleda powerfullobby group, because thereisjusttoomuchindividualismandcompetitionandalackof 272 Omdepolitiekeproblemendiezichvoordoenoptekunnenlossenmoetenwedemusicilatenzien waarhungemeenschappelijkebelangligtendaarnaastmoetenwestrevennaardeerkenningvanonze muziekophetzelfdeniveaualsde moderne klassiekemuziek,zodatdejazznietdestatushoudtvan danshenamusementsmuziek. 100

17 communicationbetweenthedifferentstyles. 273 Thesedoubts,however,didnotkeepthe improvisingmusiciansfromcontinuingtheprocessesofsettingupaninfrastructurefor jazzandimprovisedmusic. Whileduringthe1960s,improvisingmusicianscollaboratedwiththeircontemporaries inordertomakethemselvesheard,theyincreasinglyfelttheneedtodistinguish themselvesasaseparatemusiccategory.inconnection,themusiciansrealizedtheneed fortheirownorganizationalplatforms,venues,andaudiences,resultinginthe FoundationforJazzintheNetherlands,thefirstattempttostructurallyimprovethe positionof(exclusively)jazzmusiciansinthenetherlands.thefoundationoriginated fromthe1963establishmentofadutchjazzaward,thewesselilckenprijs,namedafter oneofthenetherlandsfamed1950sjazzdrummers. 274 Awardees Dutchjazz musicianswho contributedsignificantlytodevelopmentofjazz receivedtwo thousandguilderscommissionedbytheprinsbernhardfonds,addedwitharadio broadcastwiththewinner smusicandasculpturebythedutchvisualartistandwriter JanWolkers,bothprovidedbytheradioHandtelevisionbroadcastingassociation VARA. 275 Thesponsors requestforanofficialbodythroughwhichtheycouldmake theirdonationsresultedon13august1965intheofficialinstallmentofthesjn.the originalboardconsistedoffourteenjazzenthusiasts,includingthejournalistsben Bunders(chairman),HarmMobach(treasurer),PietKoster,RudNiemans,theyoung andupcomingbertvuijsje,andradiomakermichielderuyter,whoaspiredto support jazzpracticesandtoencouragealljazzhrelatedactivitiesinthenetherlands. 276 The centralargumentfortheprinsbernhardfondstolegitimatizespendingonjazzwas foundintheideathatjazzwasaseriousartformthatneededfinancialsupportfromthe 273WillemvanManen, Pannenvoordejazz, -Jazzwereld31(September1970):17. Omdatikeen krachtigepressiehgroepindevormvaneen bondvoorjazzhmusici nietvandegrondziekomen. Daarvoorishetindividualismetegrootendebroodnijdnogtegrootendekommunikatietussende diversestijlenteverzoek.hetgrootsteprobleemblijfthoealdiegoedbedoeldeendoordachteplannenbij demachthebbendeinstantiesaanslaanzodaterwerkelijkietsvanterechtkomt. 274Inthefirstyears,theWessel-Ilcken-PrijswasalsoreferredtoastheGrote-Jazz-Prijs(theGrandJazz Award). 275Theawardwaspresentedannuallyuntil1975,whenthePrinsBernhardFondsdiscontinuedits financialsupport.willemvanmanen, DegeschiedenisvandestichtingJazzinNederland, VanEyle,ed., Jazz-&-Geïmproviseerde-Muziek,22....doormuzikaalHkreatievearbeidinhetjazzvoorafgaandeaande juryhbenoemingeenbijdrageaandejazzheeftgeleverddiealsdebelangrijkstekanwordenbeschouwd. 276VanLeeuwen, Defluitendeduit(deel2), debeoefeningvanjazzinNederlandtebevorderen enalleactiviteitenopjazzgebiedtestimuleren. 101

18 authorities. Thefundingisgrantedbecausejazzisnotyetofficiallyrecognizedasanart form, areporterwroteinalocalnewspaperin1965, resultinginalackof governmentalsubsidieswithinthisfield. 277 Thisway,asapromotionaltoolforDutch jazzratherthanasaneconomicboostfortheindividualmusician,thewesselilcken Prijscontributedtothemusic sperceptionalshiftawayfromlightentertainment. The awardhasspeededuptheprocessofformalrecognitionofjazzasanautonomousart form, thenetherlandsnationalpressagencyanpreportedin1965, thisisfurther demonstratedbythecrmgrantthatallowedboy sbigbandtotraveltothe internationaljazzfestivalinjuanhleshpins. 278 AlthoughthemaingoalremainedtheannualpresentationoftheWesselIlckenPrijs,the SJNinthefirstyearsexpandeditsactivitiesbyrealizingajazzlibrary,issuingtravelling grantsfortalentedmusiciansandofferingsupportforjazzresearch.throughthesjn s agency,thejazzhartassociationreceivedfundingfromtheamsterdamauthoritiesto organizejazzconcertsinamsterdam;thecrmsupportedamonthlyconcertseriesin AmsterdambytheHobbyOrkest;andtheCRMsuppliedtravelgrantsforfestivalsand jazzcoursesabroad,includingthe1965travelgrantthatallowedboyedgar sbigband tothetraveltotheantibes. 279 In1966,thefoundationalsocollectedoverathousand jazzbooksthatfoundaplaceatthemusicologydepartmentofutrecht.inaddition,the SJNpresentedtworeportstogaininsightintothespecificproblemsofjazzinthe Netherlandsandtoformulatesolutions.IntheJazzonRadioandT.V.report,for example,theassociationsignaledthelackofmediaattentionforjazzinthenetherlands, incomparisontotheinternationaldisplayofjazzandtonationaldisplayofothermusic genres.in1969,thesjndrewuparathersketchyplanproposingstructuralfundingof jazzbyfinanciallysupportingjazzvenues,schoolconcertsandjazzonradioand television,andbyissuing(travel)grantsandotherfundingtomusicians. 280 Further,the 277 PrinsBernhardHfondsschenkttweemillevoorJazzHprijs, De-Tijd,May25,1965,6. Bijdetoekenning vandezesubsidieheeftmeegespeelddatdejazzalskunstvormnognietofficieelwordterkend,waardoor dezesectorvandemuziekvanoverheidswegenietvoorsubsidiesinaanmerkingkomt. 278Friese-Koerier,August14,1965,2. Deinstellingvandezeprijsheeftdeofficiëleerkenningvandejazz alszelfstandigekunstvormversneld.ditblijkto.a.uithettoekennenvaneensubsidievoordereisvan BoyEdgarsBigBandnaarhetinternationalejazzfestivalinJuanHlesHPinsdoorhetministerievan Recreatie,CultuurenMaatschappelijkWerk. 279VanLeeuwen, Defluitendeduit(deel2), 12H NaareenStructuurplanvoordeJazzmuziekinNederland SJN,1969.MentionedinWillemvanManen, DegeschiedenisvandestichtingJazzinNederland, invaneyle,ed.,jazz-&-geïmproviseerde-muziek,

19 organizationcontributedtotheinternationalnetworkofjazzorganizations,most notablybybecomingpartoftheeuropeanjazzfederationinvenicein1967. Nevertheless,intheirattemptstostructurallyengagewiththesupportofjazzactivities inthenetherlands,thesjntimeandagainwasconfrontedwithproblemsofalackof funding,hinderingthefurtherrealizationoftheirgoals. AsaresultoftheSJN slimitedsuccess,dissatisfactiongrewamongjazzmusicians,who demandedamoreactivepromotionofjazzandimprovisedmusicinthenetherlands. Followingtheradicalcourseofcounterculturalactions,demonstrationsandsitHins, musiciansdecidedtotakeoverthesjn.on3november1970 onlysixmonthsafterthe foundationofthebevem theicpmusiciansbreuker,vanmanen,peterbenninkand MaartenvanRegterenAltenaallegedlybrokeintoaboardmeetingoftheSJNinthe townofalphenaandenrijn,duringaninfamouseventthatbecameknownasthe Overval-(raid).InkeepingwiththeBEVEM sadagioofpublichcontrolanddesireforthe fulldemocratizationofmusicallife,themusiciansinsistedonactivelytakingpartinthe organizationofthesjn.likethenotenkrakersactie,thesohcalledraidisusually explainedintermsofradicalism.however,otherreadingsarepossible.florisschuiling, forexample,presentsviewsoftheinitialsjnboardmembermichielderuyter,whosaid theleadershipwasmoreorlessgivenupasopposedtotakeninviolent,revolutionary way. 281 Inthisview,theserhetoricscanalsobeunderstoodaspartofaconstructedand romanticizedimageoftheimprovisingmusicianasthe revolutionaryrebel. AsamoredecisivemodelandanalternativetotheSJN,themusiciansreferredto activitiesofthestichtingjazzwerkgroepamsterdam(sjwa),alocalworkinggroupfor jazzinamsterdam.fromseptember1969,thesjwa,undertheguidanceofjazz promoterheinvanwarmerdamandorganplayerherbertnoord,distributedaweekly jazzcalendarandactivelypromotedthedistributionandproductionofindependent Dutchjazzlabels.ModelledaftertheSJWA,themusiciansproposedasmallSJNboard, withmusiciansholdingthemajority. 282 AlthoughtheoriginalSJNboardconsideredthe critiqueoutofproportion,theydidagreewiththeinstallmentof yetanother 281FlorisSchuiling,Animate-Structures, VanLeeuwen, Defluitendeduit(deel2),

20 workinggroupofthefourmusiciansaddedbythreeboardmembers:rudykoopmans, HeinvanWarmerdamandJaapdeRijke.On21December,onlysevenweeksafterthe raid,theworkinggroupreplacedtheoriginalsjnhboard.duringthisrenowned Overname-(takeHover)themusiciansandotherjazzenthusiastspresentappointed Koopmans,VanWarmerdamandDeRijkeasrespectivelythenewchairman,secretary andtreasurer. ThenewSJNHboard smainmissionwastoacquirestructuralfinancialsupportfromthe government,withthegoalof improvingthestatusof livejazz. Inordertoachieve this,theboarddevelopedthestructuurplanvoorjazzinnederland-(structuralplanfor JazzintheNetherlands,fromhereon:Structuurplan),afiveHpartplanmeantto structurallysupportawidevarietyofjazzactivities,coveringthecostsofrehearsals, performances,educationandadministrativework. 283 BreukerandVanManenwrotethe plantogetherwithjaaproberts,ajazzenthusiastwhoworkedfortheministryof CRM. 284 Incontrasttothe1969plan,theStructuurplannotonlysignaledthepoorstatus ofjazzinthenetherlands,butalsoconsistedofadetailedfinancialandstructuralplan toimprovethissituation.budgetedataround1.3millionguilders,itreservedmost moneyforthesohcalledpoolplan(poolplan)andpodiumplan-(venueplan).the Poolplan,budgetedat guilders,enabledmusicianstorehearseonaregular basisinflexiblegroupsettings,consequentlyofferinganalternativetothecommon practiceofsupportingfixedgroups.thepodiumplan-proposedextrafinancialsupport forvenuesinneedofadditionalfundingtocoverconcertcosts. 285 Aneducationalplan encompassedthedevelopmentandorganizationofworkshopsandschoolconcerts.in addition,theplanproposedthesupportofindividualprojects,includingcomposition commissions,studygrants,andinterdisciplinarycollaborations.also,theplanbudgeted foracoordinatingsecretariat. 286 InkeepingwiththeStructuurplan,theSJNwould receiveanddistributeallsubsidiesforjazzprovidedbythecityofamsterdamandthe ministryofcrm.inmay1971,thesjnpresentedthestructuurplantotheministryof 283VanLeeuwen, Defluitendeduit(deel2), Buzelin,Willem-Breuker, VanLeeuwen, Defluitendeduit(deel4Hslot), HerdrukJazzplan1970, SJN/BIM,1973,4H5. 104

21 CRM.TheapprovaloftheplandependedontheNationalArtsCouncil,whoseadvice playedadecisiveroleinthecrm sdecisionhmakingprocess. AlthoughtheNationalArtsCouncilgavesympatheticconsiderationtotheideaof structuralfundingofjazz,itconsideredthesjn,asaninstitutionwithoutamembership, unfitforcarryingouttheplan.inresponsetothiscritique,thesjn,sixmonthslater, establishedaunionforimprovisingmusicians(beroepsverenigingvanimproviserende Musici,orBIM).Theofficialinstallmenttookplaceon22November1971,duringa meetingattheamsterdamtheatredebrakkegrond.theboardconsistedofmusicians only;mishamengelberg(chairman),pianistloekdikker,saxophonistpeterbennink, bassplayer/vocalist/poethennyvonkandbassplayerarnolddooyeweerd.initsfirst fewyears,thebim smembershipgrewrapidly,amountingto170inmay1977and181 in Thismembership,forthefirsttime,officiallyidentifiedjazzandimprovising musiciansasadistinctmusicalcommunity.moreover,asapriorconditionforthe NationalArtsCouncil spositiveadvice,thebimmembershipwascrucialforthe governmenttostarttheirfinancialsupport. TogaincontrolonprocessesofpoliticaldecisionHmaking,theBIMsecureditselfaplace insomeofthecountry smostimportantculturehpoliticalbodies.itjoinedthefederatie Kunstenaarsverenigingen(FederationofArtists Associations)andsentrepresentatives tojointhenationalartscouncil,theamsterdamartscouncilanddifferentcommittees ofthefederationofartists Associations. 288 ThemusicdepartmentoftheAmsterdam ArtCouncilwaschairedbycomposerHconductorReinbertdeLeeuw,andhadas additionalmembersvanmanen,whorepresentedthebim,breuker,onbehalfofthe GenootschapvanNederlandseComponisten(DutchComposersSociety)anddelegates oftheamsterdamsphilharmonischorkest,theconcertgebouworkest,andthe NederlandsBlazersEnsemble.Inaddition,theBIMaccomplishedaminimumfeeof150 guildersgrossperconcertpermusician.eventhoughopportunitiesforjazzmusicians wereimproving,thebimmembersstillfelttheneedfortheirownstage.threeyears 287VanLeeuwen, Defluitendeduit(deel4Hslot), TheFederatieKunstenaarsverenigingen,initiatedin1946,wasoneofthefoundingfathersoftheRaad voordekunst.theinitiatorssawthecollaborationbetweenthearts unionsandthegovernmentasthe keytosuccessfora thrivingculturallife. Seealso,WillemvanManen, Degeschiedenisvandestichting JazzinNederland, invaneyle,ed.,jazz-&-geïmproviseerde-muziek,

22 aftertheestablishmentofthebim,themunicipalityofferedfreeuseofaformer furnitureshowroomattheoudeschansinamsterdam. 289 On1October1974,thesoH calledbimhuisopeneditsdoors,housingaconcertvenue,theofficesofthebimandthe SJN,and,from1980theDutchJazzArchivefoundedbyBreuker,WimvanEyle,PimGras andhermanopenneerandharrycoster. Paradoxically,themusiciansthattenyearsearlierhadfoughtonthebarricadesfor freedom,selfhcontrol,andagainsttheestablishedauthorities,nowbegantosecuretheir placewithinboards,councils,andcommittees.tromboneplayerwillemvanmanen,for example,showedanextraordinaryenthusiasminlobbyingforthesupportof improvisedmusic.duringthe1970s,vanmanenjoinedthefollowinginstitutionsand functionsonanational,provincialandlocallevel:generalsecretaryanddeputy chairmanofthesjn;committeememberofthenationalboardofjeugdenmuziek Nederland;memberof-theadvisoryboardofBuma 290,theDutchcopyrightorganization formusicauthors;memberofthecultureleraadzuidhholland,theprovincialarts counciloftheprovinceofzuidhholland;bimhrepresentativeoftheamsterdamse Kunstraad(AmsterdamArtCouncil);treasureroftheBimhuismanagementStibemos; andcommitteememberofthefondsvoorscheppendetoonkunst-(fundforthe CreativePerformingArts). 291 Otherswhohadtheirfingersdeepintheorganization werearjengorterandwillembreuker.fromthefoundingin1974until2005,gorter wasinvolvedintheorganizationbehindthebimhuis.fortwelveyearshewasaboard memberofthebimandforsixyearshewasamemberoftheraadvoordekunst. Likewise,BreukerwasanactivememberoftheSJNandtheBIMduringthe1970s.His longlistoforganizationalactivitiesincludedboardmembershipsoftheamsterdamarts Council,ofJeugdandMuziekNederland(YouthandMusictheNetherlands),forwhich hewenttotheannualinternationalmeetinginstockholmin1975,andvereniginghet Schoolconcert(AssociationSchoolConcert). 292 Ina1973interview,Breuker commentedontheselobbyactivitieswithhischaracteristicsenseofdrama, 289AccordingtoBreuker sbiography,boththemunicipalityandthenationalgovernmentcontributedto payingtherentofthebuildingwaspaidby.buzelin,willem-breuker, BumaisanabbreviationofBureau-voor-MuziekHAuteursrechten. 291VanEyle,ed.,Jazz-&-Geïmproviseerde-Muziek, Buzelin,Willem-Breuker,

23 complainingthatitwas Terribleanddisgusting,butnecessary. 293 Notallimprovising musicianssharedbreukerandvanmanen sdrivetochangeculturallifeintermsof politicsandorganization.pianistandcomposerleocuypers,forexample,prided himselfforhislackofinvolvementinorganizational,political,andforthatmatter, educationalactivities. Iwasseriouslyinvolvedinmymuse,ifIwasn tbusymaking music, Cuypersjokinglyremarked,reinforcingromanticistnotionsoftheartist slife. 294 However,muchastheDutchimprovisingmusicianspreachedanantiH establishmentarianstance,theyfullyunderstoodthatiftheculturallandscapewereto change,theyhadtocompromisetheseidealsbycollaboratingwiththeestablishment. Asanactivecontactorganizationmediatingbetweenthegovernmentandthejazzfield, thesjn,supportedbythebimandwiththebimhuisasitheadquarters,becamethefirst institutiontodrawupandcarryoutnationalpolicyplansforjazzinthenetherlands Theactualroledivisionwithintheseorganizationwasratherobscure.Afterits foundation,thebimtookoverthediscussionwiththecrmontherealizationofthe Structuurplan,whiletheSJNcarriedonasanadvisorybodytotheBIM. 295 Theinitial plantochangethesjnhboardbacktononhmusicianstosecureitsautonomywasnot carriedout.tocomplicatethingsevenfurther,thebiminstalledasohcalled programmaraad,anadvisorycommitteeconsistingforthelargerpartofmusicianswho advisedonthedistributionofthefunding. Subversion- Mostintriguingly,subvertingtheauthoritiesbecameaconscioustacticinordertogain (financial)recognitionfromthesesameauthorities.ina1981interviewwithgérard RouyinJazz-Magazine,Mengelbergrecollectedhow weregularlyvisitedtheministry andjustkeptannoyingthem. 296 Butthestrategicuseof(selfH)representationis 293Meijer, Ikmaakmuziekvooriedereen,maarwaaromvindtiedereenhetzoafgrijselijk?, 75. Vreselijk,walgelijk,maarikvinddathetmoet. 294LeoCuypers,interviewbyauthor,September19,2013. Ikwasernstigmetdemuzebezig,alsikalniet metdemuziekbezigwas. 295Jazzwereldreportedregularlyonthesedebates,SeeforexampleJohnMüller, JazzinNederland1971: eendocumentaireoverplannen,subsidiesenhaatennijd, Jazzwereld-36(November/December1971): 18H GérardRouy, MishaMengelberg: commedeschiensdegarde, Jazz-Magazine295(March1981):