MicroBlues – first impressions and a review!

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.

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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 actually played on a 31-tone guitar (MW)

Downhome Blues
Downhome Blues