Michiel Braam Albums (13)
'Change This Song'
Release Date 1/1/2006
Tracks 10
Label Bik Bent Braam
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What The Critics Say
Anagrams and Dutch jazz are a perfect fit. The Dutch have figured out unique methods for taking elements of jazz history from stride through the avant-garde and reconfiguring them into forms that are new and exciting yet leave nothing out. Pianist, composer, and bandleader Michiel Braam is an exemplar of this approach, and the 2005 CD Change This Song by Trio BraamDeJoodeVatcher uses its music and even its song titles to suggest how the best Dutch jazz can endlessly reveal new meanings amidst the familiar. Change This Song includes ten pieces, and each song title -- e.g., "Songs Each Night," "Can Ghosts Neigh?," "Nightsong Aches" -- is an anagram of the album title. Moreover, according to Braam's website, the live Change This Song set list includes a total of 18 pieces that are reordered spontaneously at any given concert depending upon the circumstances of the moment. (And of course, a CD in shuffle-play mode can introduce a similar element into your home listening environment.) Of course, this type of spontaneity is central to jazz and certainly wasn't invented by the Dutch, but the jumbled titles do suggest aspects that are unique to Dutch jazz before you even pop the disc into your CD player. And true to form, once the disc is spinning you can hear Braam's individual influences mixing together while something new and of a singular piece emerges, charting a path that is both "avant-garde" and instantly engaging and accessible. One is immediately struck by the tunefulness of Braam's music, and the predominance of melody as the springboard for improvisation. The sprightly opener, "Angsts, Once High," sounds like it could be a classic Monk tune, with its wide interval leap in the melody and off-kilter phrasing as the leader's piano, Wilbert de Joode's gut-stringed chamber bass, and Michael Vatcher's drums almost immediately begin a stop-and-start dialogue that circles around the empty space where the composer's strong melody has left a mental imprint. To bring Monk-like phrasing fully into the 21st century and perhaps introduce another angle to the music-shuffling theme, the trio briefly locks into a rhythm suggesting a skipping CD player. "Hotch as Ginseng" flirts with boogie-woogie and introduces a short melodic phrase that unexpectedly becomes an ostinato bridge into a slow-motion fragmented recapitulation of the theme. The snappy "Songs Each Night," less than four minutes long, reveals Braam's ability to squeeze improvisations betwixt and between his catchy melodies in a compact package utterly free of extended-form indulgence, while the longer ballad-tempo "Can Ghosts Neigh?" provides an opportunity for de Joode to state the composer's classic-sounding melody with lovely arco technique. The extraordinary Vatcher is ramshackle and his playing filled with subtle subversions throughout the disc; listen as Braam anchors one of the album's few rhythmic vamps in "Congesting Hash" and Vatcher skitters about. From start to finish, Vatcher is able to find a space for a snare hit that attacks just where it should but rarely exactly where you would anticipate. In a sense, Michiel Braam's phrasing is not as willfully eccentric as that of Misha Mengelberg (who obviously has had his own share of subversions going on with drummer Han Bennink for decades), but when Braam decides to nail the groove, Vatcher is often there to pull it in another direction altogether (or sometimes, as in a moment of walking bassline while Braam and Vatcher explode with angular fragmentation on the closing "High Agons Scent," it is de Joode who holds the rhythmic foundation). And just when you think you've got the trio's modus operandi figured out, along comes the perfectly titled "Nightsong Aches," a somber, minor-keyed circular chord progression in search of harmonic resolution -- it is elegant, darkly beautiful, and quietly moving, standing in its own solitary and moody universe. On Change This Song, Michiel Braam and his trio members don't view the jazz continuum as a linear progression from point A to point Z. Everything can be used, and everything counts, in their anagrammatic take on Dutch jazz (or would that be "Chad Zutz"?), a scrambled history lesson knitted together by strong melodicism and a singular sense of purpose. [Perhaps to prove that his themes and melodies are strong enough to fit in nearly every context, Michiel Braam also released a companion volume to Change This Song entitled Hosting Changes -- yet another anagram! -- featuring most of the same compositions in jazz-rock versions and the leader on an electric Wurlitzer 200A instead of grand piano, supported by Pieter Douma on "semi-acoustic" bass and Dirk-Peter Kölsch on drums. Braam makes his case beautifully.] ~ Dave Lynch, All Music Guide
'Hosting Changes'
Release Date 1/1/2005
Tracks 9
Label Bik Bent Braam
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What The Critics Say
One might surmise that in the jazz, rock, and R&B worlds the Fender Rhodes would beat the Wurlitzer in an electric piano popularity contest, although songs like Cannonball Adderley's "Mercy, Mercy, Mercy" (with composer Joe Zawinul at the keyboard), Ray Charles' "What'd I Say," and Steely Dan's "Do It Again," among many others, would have lost a good deal of their character had they featured the Rhodes instead of the Wurli. Dutch pianist, composer, and bandleader Michiel Braam happens to be a Wurlitzer fan, and according to his website even sold his Rhodes (not that he was playing it much) in favor of a Wurlitzer 200A when one became available. The fact that Braam plays any sort of electric keyboard might come as a surprise, since jazz pianists with his level of mastery often tend to berate instruments that must be plugged into a wall socket to make an audible sound. But Braam, despite Dutch jazz credentials comparable to those of Misha Mengelberg, has a rather pop-friendly streak and, as Hosting Changes proves, doesn't shrink from the pleasures of an electrified groove, either. Hosting Changes is an intriguing release not only because of this atypical setting for the leader of the Bik Bent Braam big band, the Bentje Braam quartet, and Trio BraamDeJoodeVatcher -- but also because it is a companion piece to the latter trio's Change This Song CD, and in fact includes many of the same tunes, with names that are all anagrams of the Change This Song album title (and in fact, "Hosting Changes" is an anagram of "Change This Song" as well). With these tunes and this instrumentation it would seem nearly impossible for Braam, "semi-acoustic" bassist Pieter Douma, and drummer/percussionist Dirk-Peter Kölsch to resist a jazz-rock-funk feeling, and so the band slips into a groove and joyfully rolls with it through a good portion of the disc. The album is not groove-happy from start to finish, however, as the Wurlitzer is capable of producing a wide range of timbres and textures, evoking far more than a get-funky vibe, and Braam is just the man to coax a plethora of sounds from the instrument with Douma and Kölsch in able support. On "Can Ghosts Neigh?," Braam pounds the keys into submission with an overdriven attack but then segues into a middle section that dissolves with a shimmering wash of vibrato while somehow never losing track of the lovely melody. And the bonus track of "Nightsong Aches" is a vehicle not only for Braam but also Kölsch and especially a reverb-heavy Douma to conjure forth some spacy and ethereal aural imagery. When the trio members do lock in together, as on "Congesting Hash," the contrast to the acoustic Change This Song strongly asserts itself -- on the acoustic trio disc Braam, bassist Wilbert de Joode, and drummer Michael Vatcher are telepathic in their collective explorations and the improvisations are logical extensions of Braam's melodies, but rather than nail the groove, Trio BraamDeJoodeVatcher delight in more free-form dialogues. And yet there is considerable appeal to the Wurli Trio's approach on Hosting Changes -- as well as some presumed accessibility for ears more accustomed to electrified jazz, rock, and funk than the acoustic avant-garde -- proving most of all that Michiel Braam's classic-sounding tunes are wonderful jazz vehicles whether powered by electrical current or played on instruments with no need for an AC outlet. ~ Dave Lynch, All Music Guide
'Michiel vs Braam'
Release Date 1/1/2004
Tracks 9
Label Bik Bent Braam
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What The Critics Say
If anyone needs proof of the vitality of Dutch jazz, he (or she) needs look no further than Bik Bent Braam, the remarkable big band led by the brilliant composer and pianist Michiel Braam. Growing Pains is a two-CD set that captures two live performances, one at the famed Bimhuis, the other at De Werf Brugge. The 13-piece band features a splendid collection of players, including trombonist Wolter Wierbos, saxophonist/ clarinetist Frank Gratkowski, and cornetist Eric Boeren, so the level of improvisation is unquestionably superb. So are the compositions and arrangements by Braam, which take this to a rare level of performance. Braam's plethora of sounds reaches back to early to mid-20th century popular jazz, and quickly segues to the extremes of the avant-garde. But, the results rarely seem haphazard or showy. "Bonsai Michiel 5" showcases the leader's progressive talents on piano, while the simple, though heavily syncopated melody shows influences as diverse as early Carla Bley. The frenetic "Bonsai Frans 5" is almost cartoon-ish, with some fine soloing from Frans Vermeerssen on tenor sax, bolstered by the tuba player. "Bonsai Bart 5" has the stamp of Abdullah Ibrahim, while "Bonsai Peter 4" and "Bonsai Jan Willem Intro" show what an impressive improviser Braam can be on piano. "Bonsai Jan Willem Theme" might have come from the pen of 1950s Neal Hefti, and the sax solos incorporate elements of traditional big band swing, though they stretch out amid a backdrop of offbeat, eventually dissonant sounds from the ensemble. Often the tracks meld into one another, marked only for convenience. For those attracted to adventurous, eclectic arrangements that span the spectrum from swing to free jazz, performed by extraordinary musicians, this one is a winner. ~ Steven Loewy, All Music Guide
'Bik Bent Braam Goes Bonsai'
Release Date 1/1/2002
Tracks 14
Label Bik Bent
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What The Critics Say
Further evidence of the extraordinarily creative mind of composer/pianist Michiel Braam, Goes Bonsai engages the 13-piece Bik Bent Braam (Braam Big Band) in an unusual strategy that combines improvisation and composition. Braam selects bandmembers to improvise the beginning of each of his compositions, and the players are then responsible for setting such elements as dynamics and tempo, after which the entire band participates in the process. It the sort of daring concept that leads to innovative results when it works but by its nature cannot be expected to hit a home run each time. While Braam's Ellingtonian compositional talents rival the best anywhere, he is more dependent here on the skills of his players. Some, like the underrated saxophonist Bart Van der Putten, cornetist Eric Boeren, and Braam himself (on piano) are consistently splendid. The astonishing breadth of the music impresses, reaching back to the closing John Sousa-tinged "You" and incorporating influences from the entire 20th century to the present, including modern free jazz. Unfortunately, the packaging makes it difficult to identify all the bandmembers, and the individual soloists are not listed by track. While this is not Braam's most accomplished work, it is still an important recording and filled with pleasures -- another example of the vibrant Dutch scene at the turn of the 21st century. ~ Steven Loewy, All Music Guide
What The Critics Say
What does the color "orange" sound like? How about "olive"? Or "lavender"? If you can imagine trying to describe these colors and more to someone who has only seen the world in black-and-white, you may have an inkling about what it might be like to describe them musically. The phenomenal Dutch bandleader and pianist Michiel Braam takes his cue from spoken word guru Ken Nordine's well-known recording of vocal interpretations of 34 colors, from seeds he developed in commercials for the Fuller Paint Company. Of course, the piano trio's interpretations (as with Nordine's vocals) are highly subjective, and one person's take on "mauve" may sound like another's view of "russet," but that is not really the point. Braam knows as well as any that trying to associate a track with a particular color is largely idiosyncratic. What he does is to use the colors as starting points for his quirky compositions for trio. And what a trio it is! With the tastefully intrusive Michael Vatcher thrusting forward on percussion and the enigmatic Wilbert de Joode sliding up and down and around on string bass, Braam takes the listener on a journey through dark and light, with crushing enthusiasm and a subtle touch that translate his big-band compositions to a more intimate level. Whether composing for the seeming innocuousness of "beige" or the ambiguities of "grey," Braam is a master of crafty erudition. The results rival his best big-band works, with a sublime diversified spirit that inspires as it impresses. ~ Steven Loewy, All Music Guide
What The Critics Say
The clever, resourceful, and just plain fun Michiel Braam does it again, this time with his 13-piece Bik Bent Braam, which for this recording focuses on bringing to life mostly older tunes. Braam understands the jazz tradition, and can re-orchestrate Ellington's "Mood Indigo," for example, in a way that is both respectful and original, not to mention forward-looking. Braam's band includes some of the cream of the Dutch avant-garde, including cornetist Eric Boeren, bassist Wilbert De Joode, trombonist Wolter Wierbos, and alto saxophonist Bart van der Putten. Everyone takes turns soloing, often in styles not customarily associated with these freestyle radicals. Braam is no neo-conservative, though. His arrangements incorporate the pulsating beats of decades past, and often for sustained periods. But, he also is right at home with modern post-modern harmonies, and the way he combines them is what makes his music spin with delight. The recognizable themes ("Pink Panther" and "The Man I Love") give it all a solid base, from which Braam works his magic. ~ Steven Loewy, All Music Guide
'Het XIJZ der Bik Bent Braam ("Bik Bent Braam's XYZ")'
Release Date 1/1/1996
Tracks 26
Label BVHaast
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What The Critics Say
Dutch jazz composer Michiel Braam has kept his "bik bent" (big band) afloat for more than 15 years, using an ever-changing lineup of the finest players in the Dutch jazz world (here including Wilbert de Joode and Walter Wierbos). Braam has an unusual compositional language for his large band; his only relatives are Anthony Braxton and Boston's Mark Harvey. Having used this as his chosen form of expression in the big-band context for such a long time, and on each recording, offering fragments of its articulation, on XYZ Braam has done the unthinkable -- with help from Dutch radio -- and recorded all of his "speaking voices" on a double-CD set, all offered as manifestations of the 26 letters of the alphabet. What is glorious about this opportunity is that Braam not only is allowed to exercise his compositional chops in a systematic way, but also given the manner of this organization, he is allowed to reveal all of his sources of inspiration with equal clarity. Over two CDs Braam's bik bent offers us glimpses of Ellington, Waller, Tristano, Beethoven, Wagner, Monk, Basie, Mingus, Kenton, Biederbecke, and so on, filtered through his creative imagination and usage. Ellington's ghost is evoked in full on "Duel" as a way of making sense of Dutch beerhall music. First the crap and then the art is how it comes out, with the oompah-oompah giving way to a searing blues which features the two trumpets dueling for domination of the idiom in their solos. Elsewhere on "Onderkant" amid the loose swing and interwoven bop construct, de Joode and Patric Votrian on bass tuba lock horns for a series of eight note solos! Perhaps no piece is more telling than "Tristano," whose source is obvious. Here saxophonist Frank Nielander and Braam himself offer the complex workings of bop harmony and counterpoint as a framework to showcase the vanguard lyricism developed by Mingus in the '60s on a model Tristano himself composed in the '50s! Agility is the word best used for Braam's musical tongues, they shift, spit, and sprint into one another on a dime's turn and careen joyously without regard for the limits of any one tradition while celebrating and respecting them all. Of the Europeans, only Franz Koglmann, Alexander von Schlippenbach, and Misha Mengelberg are capable of composing for large ensembles with such versatility and elegance. ~ Thom Jurek, All Music Guide
What The Critics Say
If Duke Ellington were alive in the 1990s, it would not be difficult to imagine him composing and arranging music like this. As with the Duke, Michiel Braam is a talented pianist, but his real forte is making the orchestra (in this case a stellar 13-piece conglomeration) an extension of himself. With such stalwarts as trumpeter Eric Boeren, trombonist Wolter Wierbos, and alto saxophonist Bart van der Putten, the all-Dutch group blows hot and cold, incorporating styles from swing to avant-garde in a romp of considerable artistic merit. Braam's original renditions of "Clarabell" and "Howdy Doody" (no relation to the theme song) are not only humorous (in the tradition of vintage Carla Bley), but magnificently performed. Tuba players Peter Haex and Patrick Votrian and bassist Wilbert de Joode add a solid bottom to a stunning recording. ~ Steven Loewy, All Music Guide
