I was very surprised to see a review of my concert in the Dutch national newspaper NRC. The title: ‘Hallucinating effects in meantone tuning’, by Joep Stapel. See below for translation.
The core of the blues is the blue note, the third which is major nor minor, but which floats somewhere in between. This moaning blue note doesn’t exist on the piano and doesn’t fit the equal tempered octave. Actually, all blues is microtonal.
The project MicroBlues of jazz guitarist Melle Weijters extends beyond this. He plays his own compositions and adaptations of standards in meantone tuning (with a pure seventh) or in 31-tone tuning on a fretless guitar*. This gives a hallucinating effect.
The concert of Weijters with composer/keyboardist Guus Janssen was the first of a series of sunday morning concerts around the Fokker-organ which dates from 1950. Since its renovation in 2009, it is housed in de Small Hall of the Muziekgebouw. The piece Stuitervariaties (Bouncingvariations), a theatrical piece for ping ponging Wii-controllers based on chords from organ designer Fokker, proved that the organ can now be controlled digitally.
The concert had a messy start, with a lack of synchronisation between both players and sometimes seemed to be too much in its experimental phase.
Numerous beautiful moments however point to an exciting future. Like Mean Monk, Weijters’s fantasy about jazz giant Thelonious Monk who would crawl behind an old church organ in meantone tuning, with a hilarious pedal solo by Janssen. In Downhome Blues, Weijters played a beautiful century old acoustic guitar from the Mississippidelta, with 10 retuned sympathetic strings.
I am happy to announce that I will be playing a concert at the Huygens-Fokker Foundation (Centre for Microtonal Music) on September 28 together with Guus Janssen.
The point of focus during the concert ‘MicroBlues’ is improvised music within the meantone and 31-tone tuning system. Guus Janssen and Melle Weijters jointly explore what kind of new opportunities these systems offers for improvised music, especially the blues. As a regular performer on the Fokker organ musician and leading composer Guus Janssen has already ample experience with ‘light music’ on this 31-tone organ. Jazz Guitarist Melle Weijters dedicated many years to fretless and microtonal guitars and is a specialist in this field. The varied styles of improvisation and themes are supported by the use of the latest computer technologies that will lead to a surprising result.
I’ve received a question about the availability of my (non-microtonal) jazz CD’s from the past and, yes, they are still available. Please contact me if you are interested in any of the three titles below.
The Italian reprint of the CD Making Choices (entitled ‘Rubber Duck’) is also available on iTunes and so is Winterslag.
Review from ‘Making Choices’: The Antwerp-based trumpet player and his collaborators acknowledge the influence of John Zorn’s Masada in their use of transposed ethnic elements in the modern jazz language, but insist on the original compositions, specially written for the band by its members. As we mentioned, the tongue spoken is modern jazz, with some rock/noisy elements brought by the guitar of Melle Weijters, whose solo playing is quite alien to the jazz tradition.
Click play to hear a sample of my recorded solos on these albums!
Well, here it is, my first track on the Lucid Movinguitar. In this improvisation, I use a non-octave scale called Bohlen-Pierce, which is a 13-part equal division of the perfect twelfth (octave+fifth) which happens to be well approximated by the 41-tone system.
On January 3rd, the Huygens-Fokker Foundation participated in an event organised by Lost & Found. Next to my short introduction to the 31-tone Fokker-organ, there was the performance of the composition ‘Forma’, by Danny de Graan. Please visit this page to take a look at the other contributions as well as some beautiful photographs of this event!
Out of curiosity and as part of my study of the 31-tone equal temperament I created these renditions with a software instrument.
The enharmonic vocal compositions of Nicola Vicentino are historical curiosities, in which the sixteenth-century quest for expansion of tonal resources reached its limits. Although they inspired several other attempts at introducing the enharmonic genus into musical compositions, they are unique in their highly personal interpretation of this genus, and the consistency and boldness with which this interpretation is applied. This edition collects four pieces (three of them incomplete, unfortunately), which were included in Vicentino’s treatise L’antica musica ridotta alla moderna prattica (Rome 1555). One is on Latin text, three on Italian.
Dear Neil, here’s the integral recording of our set in Freiburg. No cuts and no edits; just ran it through some mastering plugins. I am so glad we got the opportunity to do this and I’m sure we’ll be able to do it again. Here, there, anywhere. Anytime!
My first act as artistic collaborator at the Huygens-Fokker Foundation is the production of the upcoming concert, Laboratonium:
In our ‘Laboratonium’, young talented composers will put both the musical and technical possibilities of the Fokker-organ to the test. They search for new sounds in the rich palette of microtones and they combine it with the organ’s state-of-the-art computer technology if necessary.
Solo works for Ere Lievonen will be juxtaposed with pieces performed by laptops and there will be duets between them, too!
Besides the obligatory organizing on the productional side, there was also some real musical organizing to do. We were in contact with German electronic musician Felix Kubin who recently finished a player piano piece commissioned by Luis from Care in the Community-record label. What’s the similarity between a player piano and a microtonal organ? The organ has been equipped with computer technology which makes it possible to play from a MIDI-file: a digital piano roll! It was my job to prepare his piece (originally composed in 12-equal temperament) for the concert.