Saturday, March 7, 8:00 PM – Behind the Dikes. Victor Kaihatu (1939-2014), of Moluccan descent, was musically active in many, even widely divergent, genres. From Indo-rock and Krontjong to avant-garde jazz—Willem Breuker, Misha Mengelberg—with a broad range of bebop in between. Vocalist Martine Bijl and the pop group George Baker Selection also utilized Kaihatu’s talents. This hour explores some of this broad spectrum. Little Green Bag This song by the George Baker Selection (1969) skyrocketed to international charts. Several covers followed, including ones by singer Tom Jones and the group The Ventures. Filmmaker Quentin Tarantino used the piece in his film Reservoir Dogs. Kaihatu’s punchy bass line is the opening. Tari-Serimpi Performed by the Krontjong Ensemble Victor Kaihatu. Toots Thielemans: Live On April 4, 1974, harmonica player/guitarist Toots Thielemans performed at the Boerenhofstede in Laren. Alongside him: Rob Franken (keyboards), Joop Scholten (guitar), drummer Evert Overweg, and Kaihatu. The recording of the concert reveals a free and virtuoso Thielemans, giving a warm, swinging performance to an enthusiastic audience. The theme of “There Is No Greater Love” reveals Toots’ enthusiasm—he takes off in the opening chorus, and in no time the quintet is up and running. The ballad “The Summer of ’42” creates a shift in mood. Kaihatu is sublime in his free rhythms, as well as his interpretation of Toots’s long, sustained notes. Beboppin’ (1983) Also a quintet lineup: Ferdinand Povel, tenor sax; Wim Overgaauw, guitar; Frans Elsen, piano; Ruud Pronk, drums; Kaihatu. Deception is a “cheerful” opening. The song’s B section features characteristic whole-tone piano runs. Povel begins his solo with a Monk quote. I’m Old Fashioned Nobody Else But Me Conglomeration The album Conglomeration was released in 1978. A trio, with Nedley Elstak on piano and drummer Martin van Duynhoven. “Chamber jazz.” The three musicians are fully engaged with each other. The piano takes the lead—the other two instruments follow, reacting. “Groupiness” at its finest. Two pieces: Vico (with room for a long bass solo), and Conglomeration. And, oh yes… you’ll also hear three pieces by V.S.O.P.: Very Superior Old Pals. More information about Kaihatu in The Guide. Behind the Dikes – Hajé Nordbeck As bassist in the historic Mengelberg-Noordijk Quartet in the late 1960s, Kaihatu would sometimes lay his bass flat on the floor and treat it in an “unconventional” way. Three guesses as to who put him up to it… Feedback sturen

Dutch jazz pianist Jan Huydts passed away on Friday at the age of 89. Huydts was considered one of the most prominent pianists in post-war Dutch jazz. He founded the Jan Huydts Trio in the 1950s and performed with it both domestically and internationally. He was also the pianist with the Schoonderwalt Quartet. At Berlin’s Blue Note Jazz Club, he accompanied international jazz greats such as Dexter Gordon, Johnny Griffin, and Donald Byrd. In doing so, he played a key role in the exchange between American and European jazz musicians in the 1960s. As a pianist, Huydts also accompanied cabaret artists such as Toon Hermans, Wim Zonneveld, and Jasperina de Jong. Jan Huydts is a regular guest on Worldofjazz and the Concertzender, appearing on programmes such as Behind the Dikes and Basement Sessions.. In  Concertpodium you can experience the concert we recorded in 2000, with Jan Huydts, Jan Menu on baritone sax, Jan Voogd on bass and Gijs Dijkhuizen on drums.

Pocket Concerts (20) – Ilja Reijngoud & Ed Verhoeff

Saturday, February 21, 2026, 17:00 CET – House of Hard Bop. We’ll be beginning with Jackie McLean’s Demon’s Dance which was recorded in 1967 (see the previous broadcast and the previous News item). The second half of this hour is dedicated to McCoy Tyner/Joe Henderson’s Forces of Nature: Live at Slugs, from 1966. Definitely not music for any time of the day – the absolute opposite of muzak. be prepared for a wild, spouting barrel of musical atomic energy! JackDeJohnette: “Everybody really played like there was no tomorrow.” Zev Feldman (producer): “This (…) album has been one of the most exciting projects I’ve ever been involved with.” Joe Lovano admitted that while listening to it, “he just had to turn it off and catch his breath because of its white-hot intensity.”