PRESS KIT O.A.P. RECORDS · PDF filedescribed in this Press Kit. for the near future O.a.P....

P R E S S K I TO.A.P. R E C O R D S 2009

3

Preface 1

About the producer 2

About O.A.P. Records 3

M A u R i t s R O e s

e s s e n t i A l e l e M e n t s 4

R u b e n s A M A M A

H O t A R u 6

t H i n k t A n k

P e k D e k 8

n i n A e b b e n H O u t

W H e n W e k i s s 1 0

O R i O n e n s e M b l e

t O u c H e D b y O R i O n , A W O n D e R f u l W O R l D 1 2

M A R z i O s c H O l t e n

M O t H e R l A n D 1 4

A n k A k O z i e l

t A l e s O f t H e f O R e s t 1 6

t R Æ b e n

n O R D i c P R O j e c t 1 8

c O M P A s i ó n

s A l M u É R A 2 0

y v O n n e s M e e t s

u n D e R A c l O u D 2 2

tracklist 24

contact 25

P r e f a c eI was pleasantly surprised when Barry Olthof called to tell me he planned to start a new label for Jazz and World Music. another label? aren’t there enough? No. Never. especially today when the big record companies and the laws of the big numbers rule, too often resulting in riskless music. and the more while the initiator of such a new label is very much a musician himself. a drummer, and a sound engineer, teaching his trade at the prestigious royal conservatory in The Hague, Barry Olthof is all ears, and the first cD’s he presents on his new O.a.P.-label demonstrate so.

Barry above all wants to build a platform for young musicians he considers talented and adventurous. With the sensitive musical poetry of Maurits roes, the strikingly structured music of ruben Samama c.s. and the infectu-ous drive and composing skills of Guy Nikkels’ Thinktank one could not wish a more promising start. These O.a.P. records cD’s prove that jazz will be alive and kicking, whatever they say, for ages to come.

Bert Jansma

Bert Jansma is a former art

critic of algemeen Dagblad, Het

Binnenhof/Persunie, Haagsche

courant and a free lance jazz

journalist contributing to radio

West, (Jazz op West), Sonic

wood & brass magazine, the

Bulletin of the NJa (Dutch Jazz

archive).

4 5

a B O u T O . a . P . r e c O r D SProducer, sound engineer and drummer Barry Olthof started O.a.P. records in 2007, the youngest international record label focussing on Jazz and World Music. O.a.P. records distinguishes itself through a direct, transparent and refined sound. The atmosphere and the tension of the music com-bined with the concentration of the musicians are reflected in the recordings. The productions are artistic, self-willed and timeless.

The international artists contracted by O.a.P. records distinguish them-selves through extraordinary talent and a high ambition. They mastered the art of playing together and have an individual recognisable sound. furthermore young talent is offered a chance to prove themselves at O.a.P. records.

The recording process is done with the utmost care. With that O.a.P. re-cords takes on the challenge to approach the reality as closely as possible. The aim is to give the listener the feeling of being present at the performance of the piece, music for the enthusiast.

T H e f u T u r e

from 2007 till 2009 O.a.P. records produced the cD’s as described in this Press Kit. for the near future O.a.P. records will keep on producing high quality recordings, not only in the Jazz field but also in the World Music.

The following projects will be released in the year 2009:

Summer 2009Sintiromarus

fall 2009Marc Bischoff

fall 2009Teddy charles & Walter Wolff Trio ‘Live’

http://www.oaprecords.com

a B O u T T H e P r O D u c e rrecording producer and sound engineer Barry Olthof has been responsible for the realization and recording of many cD albums, resulting in an extensive set of recordings in various musical styles.

Barry Olthof had already been working as a recording engineer for many years through Olthof audio Productions. He is a talented musician who began playing jazz-drums professionally an early age. at the royal conserva-tory in The Hague he studied music registration and Jazz drums, graduating cum laude in both with masters degrees. Since 2001, he has worked as a professor of music recording and engineering at the royal conservatory in The Hague. In 2007 Barry Olthof started O.a.P. records as a logical step in his musical career.

Through his experience and studies Barry Olthof became an expert in recording techniques. He possesses a wide knowledge of the timbre of microphones, preamplifiers, effects and recording systems. Barry Olthof has specific concepts about sounds with a remarkable feeling for acoustics and balance.

Barry Olthof stands for a direct, transparent, and open sound, best described as american, inspired by rudy van Gelder, James farber and Patrick Smith. Barry places great value on approaching the project from one vision fitting all artistic expressions to the chosen style.

http://www.olthofaudioproductions.com

Barry Olthof

Producer, engineer, Jazz drummer

http://www.oaprecords.com/

http://www.olthofaudioproductions.com/

6 7

cat. Nr.: OaPr701

eaN-code: 978-90-78686-01-9

Bertus distribution Nr: D41234

release date: September 2007

ƒ & © O.a.P. records 2007

all rights reserved.

Produced by O.a.P. records. Producer and engi-

neer: Barry Olthof. assistant engineer: fred de

Neef. Graphic Design: Wim Wepster. Photogra-

phy: Kitty van Delft. Liner notes: Marc van roon.

recordings made by Olthof audio Productions at

The fieldwork Studio, Schoten, Belgium. Mixed

and mastered at O.a.P. studio, The Hague, The

Netherlands.

Today I had the pleasure of listening to pianist and composer Maurits roes first album as a leader. I imme diately fell in love with the charming melody and arran gement of the opening song; the Hungarian folksong. The wonderful contrast of the melody played in unison by bass and piano with that colorful re-harmonization is enchanting. The solos clearly introduce the listener to the high level of creative musicianship. This cD takes us on a journey through a varied landscape of rich sounds, impressionistic colors and fascinating rhythms – all the way to the surprising version of coltrane’s ‘Impressions’.

With bass player andor Horvath and drummer emanuel Donadelli, roes has created a musical family that could succes sfully travel the road of Jazz and improvised music for many years to come. The playing and musicianship on this debut cD is very mature, rich and, as they say, separates the boys from the men. It is a rare treat to hear a young talented pianist present himself in such a polished manner and with brilliant sound and technique. There are spontaneous sketches of sound combined with tra-ditional forms of music and it’s all performed with great taste and respect for the repertoire. The choice of songs, the exiting interplay, the wonderful arran-gements and the surprising interpretations make this cD an enjoyable and inspiring adventure for the listener.

Marc van roon

http://www.myspace.com/mauritsroes

M a u r I T S r O e S T r I Oe S S e N T I a L e L e M e N T S

Maurits roesPiano

andor HorvathDouble Bass

emanuel DonadelliDrums

The first word that came to mind when hearing the debut cD of the Maurits roes trio was: poetry. Music and notes like the words of a poet searching for what is unnameable and sometimes touching it. from the haunting melancholy of a Hungarian folksong to the pointillistic beginnings of ‘Puppets’, eventually getting into a jazzdrive. a dreamy romantic feel as one of the essential elements in their musical journey.

Bert Jansma

http://www.myspace.com/mauritsroes

8 9

Produced by O.a.P. records. Producer and

engineer: Barry Olthof. first assistant engineer:

fred de Neef. Second assistant engineer:

Mendel Pool. Graphic Design: Wim Wepster.

Photography: Ji-hyun Hong. Liner notes: Hein

Van de Geyn. recordings made by Olthof audio

Productions at e-sound Studio 1, Weesp, The

Netherlands. Mixed and mastered at O.a.P.

studio, The Hague, The Netherlands.

cat. Nr.: OAPR702

eaN-code: 978-90-78686-02-6

Bertus distribution Nr.: D41229




Music, played by great instrumentalists might mean nothing; music played by strong individualists might be empty; music played by great musicians might lack coherence… in fact, music is not about instrumental level, it is not about individuality or musicianship. Music, and surely improvised music, is about togetherness, about listening, about give-and-take. Music is first of all a human emotion.

I knew this group was going to record, and since they are all such accom-plished musicians and instrumentalist I expected a good recording, with some nice, perhaps slightly immature music, perhaps a bit lacking in coher-ence or artistic clarity. But I was positively shocked when ruben gave me a copy of the master. Oh, yes, everybody plays well, very well, and yes every-body has a strong individual colour; and yes, these are fine young musicians; but… the music is so very strong. The compositions are remarkably fresh, highly original; the concept of the whole recording is very coherent, the level of interaction, the group sound, the dynamics, the sense of adventure, the energy… all these elements are on a very high level indeed.

Gentlemen: chapeau for this wonderful hour of music. You did more than impress me: you touched me.

Hein Van de Geyn

http://www.rubensamama.com

r u B e N S a M a M aH O T a r u

alexandra GrimalTenorsax

Kalevi LouhivuoriTrumpet, flügelhorn

Michal VanoucekPiano

ruben SamamaDouble bass

Marc LohrDrums

What a surprisingly versatile and strong band bass player ruben Samama brought together here for his debut cD! There is really a lot to be discovered and enjoyed in this dynamic album: the inescapable structures of the arrangements, the exciting and frenetic movement of ‘Ji’, the touching way a classic like Gordon Jenkins’ ‘Goodbye’ is handled, the inspired and to-the-point soloing, this is a band with a sound of its own. What young cats? This is jazz from and for grown ups.

Bert Jansma

http://www.rubensamama.com/

10 11

cat. Nr: OAPR703

eaN-code: 978-90-78686-03-3





Produced by O.a.P. records. Producer &

engineer: Barry Olthof. first assistant engineer:

andy Valkenburg. Second assistant engineer:

Mendel Pool. Liner notes: Bert Jansma. Quote:

Philip catherine. Graphic Design: Wim Wepster.

Photography: Thomas Hoffmanne. recordings

made by Olthof audio Productions at e-sound

Studio 1, Weesp, The Netherlands. Mixed and

mastered at O.a.P. studio, The Hague, The

Netherlands.

It always is a surprise when musicians each of whom you’ve heard before in various bands or during widely divergent jam-sessions, suddenly happen to form a band together. and when I say band, I really mean band. as is the case with Thinktank and their first cD effort Pek Dek. They sound very close, like they’ve been working a lot together before, like they know each other musically inside out. Maybe that’s one of the reasons why you loose the feeling the music on their debut cD Pek Dek was recorded in a studio and, instead, get and enjoy the sensation of a live performance.

after listening two or three times to Thinktank’s Pek Dek I had that same old feeling when I listened to a inspiring night of jazz in a concerthall or on any stage. Glad it happened, thankful that this way of making music is still possible, blending individuals together in a team effort without losing their idiosyncracies and ownness, finding each other in one common language for very individual voices. That’s what jazz is all about.

Bert Jansma

T H I N K T a N KP e K D e K

Guy NikkelsGuitar

rein GodefroyPiano

Hendrik VanattenhovenDouble bass

David BarkerDrums

Thinktank was founded at the royal conservatory of The Hague and consists of four musicians whose music can be considered as versatile as it is adventurous and is based upon traditional Jazz as well as more contemporary elements of western popular music. even though the compositions have been written or arranged by individual band members, the interaction is the most important aspect of the band’s music, giving it a typical ‘working band’ feel.

all graduates of the conservatory, each one of them is currently working as a freelance artist in the field of Jazz, fusion and World Music to name but a few styles. Guy Nikkels has worked with Michael Brecker, Kenny Werner and John ruocco. rein Godefroy plays in various bands like Panchito (latin jazz) and the Paul Van Kemenade Quintet. He has also played with Benjamin Herman, eef albers en Simon rigter. Hendrik Vanattenhoven played with Kenny Wheeler and Wynton Marsalis and is a frequently asked bassplayer in Holland as well as in his native country Belgium. David Barker has toured with the european Youth Jazz Orchestra and has also played with Michael Brecker, Kurt rosenwinkel and Dutch artists such as rob van Kreeveld and eef albers. Pek Dek is their debut album on the O.a.P records label and is bound to turn some heads.

http://www.myspace.com/thinktankjazz

http://www.myspace.com/thinktankjazz

12 13

cat. Nr: OAPR704

eaN-code: 978-90-79333-02-8


release date: february 2008



Produced by O.a.P. records. Producers: Barry

Olthof & Menno de Boer. Graphic Design &

Photography: eunice Lieveld. recordings made

by Olthof audio Productions at The fieldwork

Studio, Schoten, Belgium. Mixed at The field-

work Studio, Schoten, Belgium. recording &

Mix engineer: Barry Olthof. Mastered at electric

city Mastering, Bruxelles, Belgium. Mastering

engineer: alan Ward

In many ways, singer Nina ebbenhout embodies twenty-first century musicianship: combining an open-minded and contem-porary approach with educated craftsmanship and a thorough knowledge of tradition.

Nina’s working band also contributed substantially to the general vibe and sound of the recording. They form a tight unit, swinging cohesively and sparingly throughout the album, thereby giving the featured soloists plenty of room to shine. “I was lucky to find some of the nation’s best instrumental-ists willing to participate. They really added a lot of extra flavor.” and indeed, many flavors are to be savored on this album, which dishes out jazz and pop, up-tempo grooves and ballads in almost equal servings. Of course, the thing that glues it all together is Nina’s clear voice, sometimes softly whispering, sometimes joyfully laughing, but always captivating and capable of seducing the listener over and over again. all in all, ‘When we kiss’ is a mature and solid debut album of an artist who can be qualified as ‘contemporary-yet-timeless’.

http://www.ninasound.com

N I N a e B B e N H O u TW H e N W e K I S S

Nina ebbenhout Vocals

Menno de BoerPiano, effects & arrangements

andy ValkenburgDouble bass

Barry OlthofDrums

Singer Nina ebbenhout presents herself on her debut album ‘When we kiss’ in a surprising and confident way. The album title (taken from one of the two own compositions she includes) speaks of a feeling of romance in her vision of life and music. a look at the other songs she chose confirms that: ‘cry me a river’, ‘close to you’, ‘Devil may care’, ‘Here’s that rainy day’. There are even more classics from the american songbook here, sung by many, always different, and Nina ebbenhout adds with poise and confidence her very own, emotional vocal approach.

featuring: Susanne alt alto &

Soprano sax, rené ten cate Vibes,

Jeen rabs Guitar, Kees Kamphuis

Trumpet, David Lukács Tenor sax &

clarinet, Gino rosa Percussion

http://www.ninasound.com/

14 15

cat. Nr: OAPR801

eaN-code: 978-90-79333-01-1

Bertus distribution Nr: e13406

release date: May 2008



Produced by O.a.P. records. Producer and

engineer: Barry Olthof. Graphic Design: Wim

Wepster. Photography: Diederik Leutscher.



and mastered at O.a.P. Studio, The Hague, The

Netherlands.

Leonard Leutscher studied piano and music theory with Gerard Hengeveld and Jan van Dijk at the Koninklijk conservatorium in The Hague and with Thom Bollen in Zwolle (the Netherlands). for some years he was affiliated with the conservatory of Zwolle as teacher of music theory. at the moment he is part of the Orion ensemble, while presiding over teaching several courses at the Instituut for Kunstzinnige Vorming in emmen, and for ‘Het Luisterrijk’ in utrecht.

carla Schrijner studied cello at the Koninklijk conservatorium in The Hague with Jean Decroos. She took courses with Paul Tortelier and Boris Perga-menschikov. for years she was a member of the The Brabants Orkest (the Netherlands). at present, carla Schrijner is cellist in the rotterdams Phil-harmonisch Orkest, the rotterdams Kamerorkest and the Orion ensemble.

Pauline Terlouw studied violin with Wolfram König. for years she was member of the Gustav Klimt Quartett. currently she performs with the Orion ensemble. She is also violist in the Metropole Orchestra and concertmaster of the Pierre d’Or ensemble. In 2005 she became a member of the Dutch String Trio and also co-founded ‘Het Luisterrijk’ in utrecht.

O r I O N e N S e M B L eT O u c H e D B Y O r I O N , a W O N D e r f u L W O r L D

Pauline Terlouw Violin

carla Schrijnercello

Leonard LeutscherPiano

a cD with music from a mysterious world, varied in style, unlimited as for time and country. Timeless music people will always feel attracted to, in all sorts of forms. The Orion ensemble derives its name from the mythological figure Orion, the seeker for beauty and ultimate love, who, according to tradition, was eventually immortalized in a particular constel-lation in the sky.

The Orion ensemble arranged all kinds of highlights for the strength of the classical piano-trio: violin, cello and piano, resulting in this cD. a melan-choly world full of music in which Glenn Miller, Sergej rachmaninoff, astor Piazzolla and John Williams excel side by side. The common factor in these compositions is melancholy, a positive sadness which may arise from the wonder and awe one feels for nature, for a human life, for beautiful music, for art in general.

Bert Jansma

http://www.orionensemble.net

http://www.orionensemble.net/

16 17

cat. Nr: OAPR802

eaN-code: 978-90-78686-05-7


release date: June 2008



Produced by O.a.P. records. Producer & engi-

neer: Barry Olthof. assistant engineer: Mendel

Pool. Graphic Design: Wim Wepster.

Photography: carla Schoo. recordings made by

Olthof audio Productions at e-sound Studio 1,

Weesp, The Netherlands,Mixed and mastered at

O.a.P. Studio, The Hague, The Netherlands,

On this very first recording of Marzio he presents himself as jazz guitarist with a broad approach to jazz. Both in his compositions and improvisations I have associations with different generations of jazz guitar masters like Pat Metheny, Jim Hall, John Scofield and Jimmy raney, but also clearly the influence of what else has been going on in pop music for the last 20-30 years.

You can hear fusion, jazzrock, pop and bebop combined with the warmth of an acoustic group coming to-gether in what you could call an acoustic-fusion group.

That’s what I like about this album; it’s definitely music from this time. furthermore, nothing but big compliments to the other musicians, great soloing, great groove. This band deserves the chance to musically connect even more by getting a lot of playing op-portunities.

Jesse van ruller

M a r Z I O S c H O L T e NM O T H e r L a N D

randal corsenPiano

floris van der VlugtTenor & Soprano sax

Marzio ScholtenGuitar

Bob roosDrums

Lucas DolsDouble bass

It is not often that a young jazzmusician, on his debut cD, presents himself with as much musical ripeness as guitar-player Marzio Scholten does on his ‘Motherland’. In the first place there are the eight own compositions, each of them well wrought and elaborated with a different atmosphere and colouring. The broad emotional canvas is the most remarkable thing in Marzio Scholten’s debut. as a soloist he is a strikingly strong storyteller, with a subtle feel for melody, who can handle pure poetry (‘On the first day of spring’), melancholy (‘The end of an era’) as well as a delicious today-groove (‘300 Miles’).

No surprise that starguitarplayer Jesse van ruller, in his liner notes for ‘Motherland’, notes influences from Pat Metheny as well as John Scofield and Jimmy raney. This is serious young jazz of today, sensitive, beautiful and intense. By an excellent quartet in which Scholten offers equal chances for all of the musicians and beautifully phrases lines together with reedman floris van der Vlugt.

Bert Jansma

http://www.marzioscholten.com

http://www.marzioscholten.com/

18 19

cat. Nr: OAPR803

eaN-code: 978-90-78686-07-1


release date: November 2008




neer: Barry Olthof. Graphic Design: Monomon-

nik. Photography: Karolina Koziel. recordings

made by Olthof audio Productions at The field-

work Studio, Schoten, Belgium.

Mixed and mastered at O.a.P. Studio, The

Hague, The Netherlands.

One of my very first thoughts upon hearing this album was that this music in anka Koziel’s debut cD is the answer to the question about how modern vocal Jazz evolving on an inter-national level these days.

One of my heroes, Bill Strickland, once wrote that Jazz teaches you how to sing the song of your life. although at the time that I am writing these words I have yet to have met anka Koziel, I get the feeling of having gotten a tiny glimpse of her soul through her music. One of the most important qualities of a well-made album is how the artist takes you on his or her own personal adventure from the first to the last track. anka’s way of expressing herself – whether in english, Polish, or just singing and adeptly scatting melodies – speaks to you in the way a storyteller would. She weaves her melodies into the music so well that you never get the impression of that it’s simply a singer with accompaniment underneath.

Deborah J. carter

a N K a K O Z I e LT a L e S O f T H e f O r e S T

anka Koziel Vocals, Harmonizer, Whistling

Michal VanoucekPiano

Brice SonianoDouble Bass

Oriol rocaDrums

What is possible in jazz can be heard in the debut cD of anka Koziel. The young Polish singer (who studied at the royal conservatory, the Hague) goes back to the songs she grew up with. Her jazz versions of two songs of compatriot chopin with texts by the poet S.Witwicki, three Polish folksongs, her own ‘Spring Night’ inspired by fauré’s ‘clair de lune’ and her ‘forest tale’, with its instrumental suggestion of mysterious sounds of woods, fit together wonderfully.

romantic with pep; as well wild and high-spirited as dreamily enjoying the poetry: The force of spring, a very earthy ‘red berry blues’ (czerwone jagody) up to the funnily jumpy ‘Goldfish’ (Zlota rybka). ‘The face I love’, the only standard (M.Valle and r.Gilbert) fits like a glove with its first line ‘Just think of things like daffodils and peaceful sheep on clovered hills’. Koziels well-wrought arrangements guarantee the harmonious marriage of all these elements. Her international trio (Brice Soniano, bass, Oriol roca, drums, Michal Vanoucek, piano) gets ample room for perfect counteraction with a beautiful role for the Slovak pianist.

Bert Jansma

http://www.ankakoziel.com

http://www.ankakoziel.com/

20 21

cat. Nr: OAPR804

eaN-code: 978-90-78686-06-4


release date: November 2008




engineer: Barry Olthof. Graphic Design: Wim

Wepster. Photography: Marcel Kentin. record-

ings made by Olthof audio Productions at The

fieldwork Studio, Schoten, Belgium.



To Træben – half Nordic itself – the use of the Nordic melan-choly sound is a fond return to their own back-yard. Guitarist Jens Larsen and saxophone player Søren Ballegaard are both Danish by birth and grew up with the Nordic musical tradition. Thorsten Grau (Germany) and Olaf Meijer (The Netherlands) accompany them in this playground with the familiarity of fre-quent playmates in the neighborhood – as indeed they are.

The group first came together in various constellations at the royal conservatory in The Hague, The Netherlands in the late 90’s. Jazz being the common denominator, they have explored most musical territories together, both ethnically and temporally speaking, leaving few stones unturned in the process. Naturally, the Nordic sound has played its part in these sessions and creates a natural ‘backdrop’ to the group.

The Nordic Project is throughout a beautiful, natural and playful experience. Beautiful in its frailty, natural in its honesty and playful without laughing itself to death. In short – this is the sound of pure happiness.

Johanne Harnqvist

T r Æ B e NN O r D I c P r O J e c T

Søren BallegaardTenor & Soprano Saxophone

Jens LarsenGuitar

Olaf MeijerDouble Bass

Thorsten GrauDrums

The Nordic Project by the quartet Træben adds a surpris-ing and sensitive sound to the jazz idiom. Træben consists of young jazzmusicians (some of them originating from Scandina-via) who met at the the royal conservatory of The Hague. for their debut cD they combined ‘traditionals’ from Scandinavia (so-called ‘viser’) with a remarkable choice of four songs by the late cornelis Vreewijk, the Dutch troubadour, who had a few hits in his land of birth and is famous in Sweden and Den-mark as a poet.

The Traeben quartet does not use his texts, but takes advantage of his melodies for beautiful, softly melancholic excursions into the jazz area. The fine balance of their jazz-drive and the tunefullness of the folk ‘viser’ sets this debut cD apart. crisp when in its swinging gear (as in Vreeswijks ‘Horosko-pvisa’), making one’s heart melt in its ballads. Traeben brings a warm, new sound, strong in its vulnerability. a quartet with equal room for the individual voices without the subtle, stilistic unity getting lost. With a graceful har-mony, tersely supported by the rhythm, of bass and guitar or saxophone, that makes a difference.

Bert Jansma

http://www.traeben.com

http://www.traeben.com/

22 23

cat. Nr: OAPR805

eaN-code: 978-90-78686-08-8




Produced by O.a.P. records. Producers: Barry

Olthof & Paul Weiling. engineer: Barry Olthof.

Graphic Design: Wim Wepster. Photography:

Kitty van Delft, Leo erken, Ton Maas, Barry

Olthof. recordings made by Olthof audio Produc-

tions at The fieldwork Studio, Schoten, Belgium.



compasiónfive musicians and composers sharing their passion (pasión) for flamenco rhythm (compás) and Jazz improvisation to create a new and exciting musi-cal expression preserving the feel and traditions of both genres. salmuera a liquid preparation of salt and spices used for preserving.

Listening to this cD, I got the association that this group can ‘play’ Salmuera’. Beautiful own compositions and traditionals (salt), mixed with falsetas, improvisations, strong compasses, free melodies and a characteristic voice (spices).

every piece has his own recipe. Of course mainly because of the different compasses but also because of every individual musician who found an origi-nal way to add something to the performance of the music. Maybe ‘Salm-uera’ can be(come) an example in the world of sharing Jazz and flamenco.

Niko Langenhuijsen

http://www.myspace.com/vayacompasion

c O M P a S I ó NS a L M u e r a

carlos Denia Morenoflamenco vocals

John fillmoreflamenco guitar

antal SteixnerPercussion kit

Steven Kampermanclarinet, alto saxophone

Paul Weilingalto- & Soprano saxophone

compasión brings a combination of flamenco and improvised music. The musicians are inspired by traditional forms as well as newly composed material. elements of Jazz and flamenco make a unity, or a contrast. The versatility of antal Steixners percussion links flamenco vocalist carlos Denia Moreno, guitarist John fillmore and reed players Steven Kamperman and Paul Weiling together. Stirred-up rhythms (compás) and passion (pasión) for improvisation lead to a spectacular meet-ing of cultures.

Bert Jansma

http://www.myspace.com/vayacompasion

24 25

cat. Nr: OAPR901

eaN-code: 978-90-78686-09-5

Bertus distribution Nr: f04517




neer: Barry Olthof. Graphic Design: Monomon-

nik. Photography: Wiep van apeldoorn



and mastered at O.a.P. Studio, The Hague, The

Netherlands, December 2008

Timing, phrasing, improvising and story telling. Toying with songs, including your own. This singer simply can’t stay away from it. after her MSc in architecture and three years work-ing as an architect, she changed her profession to music and started her education at the royal conservatory in The Hague, Netherlands. She graduated her masters with honors and distinction for ‘great musical artistry and originality’, but not before she won 1st price ‘audience award’ in the Dutch Jazz Vocalist competition 2005.

Yvonne Smeets surprises you; her crispy clear voice seasoned with an oc-casional touch of huskiness, seems to be made for the jazz originals on this cD. Melodies with unpredictable turnings are her natural domain. On song and with exquisite timing she sings, as in a skilful interpretation of Black Nile, written by jazz giant Wayne Shorter. Beautifully languid, she performs Of Smiles remembered (Kind folk) by that great trumpet player Kenny Wheeler. Her groovy band, featuring Maciej Domaradzki, emanuel Donadelli and a great soloist guitar player Jens Larsen, makes for a perfect fit.

Soesja citroen

http://www.yvonnesmeets.nl

Y V O N N e S M e e T Su N D e r a c L O u D

Yvonne SmeetsVocals

Jens LarsenGuitar

Maciej DomaradzkiDouble Bass

emanuel DonadelliDrums & Percussion

Special guest

Tilmar JuniusPiano (tracks 5, 10 & 15)

It is very easy to, like me, take a few years to think about your debut cD. But eventually I just did it; I put together a selection of songs from my favorite composers, in different styles. compositions by Wayne Shorter, Kenny Wheeler and Dave Holland, jazz-heroes, Kate Bush, my youth idol, Tom Jobim and Guinga, flagbearers of the wonderful Brazilian music. and I included a few pieces of my own, because I enjoy so much to create music, melodies, lyrics and arrangements.

Yvonne Smeets

http://www.yvonnesmeets.nl/

26 27

cat. Nr: OaPr902

eaN-code: 978-90-78686-10-1

Bertus distribution nr: f49990




engineer: Barry Olthof. Graphic Design: Mono-

monnink. Photography: Marcel van Helvoort.


The fieldwork Studio, Schoten, Belgium.



Marc designed an unusual trio format, which invites us to get to know a quite different side of this young pianist who gradu-ated at the rotterdam codarts conservatory cum laude after which he rapidly built a solid reputation as one of europe’s best latin players arrangers and producers.

for this project the pianist chose the challenging combination of bass guitar and a set of world percussion instruments brilliantly handled by Iranian drum wizard afra Mussawisade.

‘Later Is Too Late’ is an intriguing album and immediately captivates the listener by its lyrical, introspective character that will come as a surprise to those familiar with Marc’s Latin side. Very strong points are the highly original grooves laid down by the bass/percussion team. Special mention must be made of the outstanding use of percussion colors which are not just added values but which form an essential and integral part of the groove.

Jan Laurens Hartong

http://www.marcbischoff.comhttp://www.myspace.com/marcbischoff

M a r c B I S c H O f f L a T e r I S T O O L a T e

Marc BischoffPiano & effects

reno Stebaelectric bass, fretless bass

afra MussawisadePercussion kit, Percussion

On his cD ‘Later is Too Late’ pianist Pianist Marc Bischoff surprises with a very personal interpretation of the piano trio format. Bischoff already made his name in latin jazz, here he opens new perspectives in eleven own compositions.

Intriguing themes, varying from the pure melodious and lyrical (‘Waltz for a rainy day’, his pianosolo ‘Silent conversation’) to crispy grooves (‘u-turn’), all rhythmically rock-solid. With a subtle use of effects on the grand piano and a tinge of latin, sometimes just showing through, in one composition dominat-ing (‘Black Jack’).

The antillian bass guitar player (both electric and fretless) reno Steba and the Iranian percussion wizard afra Mussawisade respond in a rather unique way on Bischoffs debut cd as a leader. This is not a case of just a gifted piano player and his two accompanists, here we have three equally virtuoso voices, supporting each other and together exploring the spaces of improvisation. Packed with expression, exciting, melodious and introspective. a musical journey with a very own heartbeat and an amazing wealth of variations in sound.

New release

http://www.marcbischoff.com/

http://www.myspace.com/marcbischoff

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c O N T a c TO.a.P. records

P.O. Box 77

2501 cB The Hague

The Netherlands

[email protected]

www.oaprecords.com

T/f +31 (0) 70-3634791

for Promotional use Onlyƒ & © O.a.P. records 2009all rights reserved.

a u D I O T r a c K L I S T

MaurITS rOeS TrIO eSSeNTI aL eLeMeNTS 1 Kis Kece La’nyom 5.23

Hungarian folksong arranged by andor Horvath

ruBeN SaMaMa HOTaru 2 Scherzo 8.39

allegramente from Sextet, opus 55 comp. Leo Samama / arr. ruben Samama

THINKTaNK PeK DeK 3 Pek dek 5.33

rein Godefroy

NINa eBBeNHOuT WHeN We KISS 4 cry me a river 6.02

arthur Hamilton

OrION eNSeMBLe TOucHeD BY OrION, a WONDerfuL WOrLD 5 What a wonderful world 2.57

Bob Thiele / George Weiss

MarZIO ScHOLTeN MOTHerLaND 6 Motherland 8.46

Marzio Scholten

aNKa KOZIeL TaLeS Of THe fOreST 7 Wiosna (Spring) 5.18

f. chopin / S. Witwicki /arr. a.Koziel

TrÆBeN NOrDIc PrOJecT 8 cecilia Lind 5.30

cornelis Vreeswijk text / american traditional

cOMPaSIóN SaLMuera 9 Solano (bulerías) 5.06

Paul Weiling / traditional

YVONNe SMeeTS uNDer a cLOuD 10 under a cloud 4.47

Yvonne Smeets

Marc BIScHOff LaTer IS TOO LaTe 11 The Shrine 7.11

Marc Bischoff

P R E S S K I TO.A.P. R E C O R D S 2009

O . a . P . r e c O r D SP.O. Box 77

2501 cB The Hague

The Netherlands

[email protected]

www.oaprecords.com

T/f +31 (0) 70-3634791

mailto://[email protected]

http://www.oaprecords.com/

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