Pocket Concerts (35) Jesse van Ruller & Maarten Hogenhuis From the studios of Concertzender / World of Jazz: Pocket Concerts. In this edition: Jesse van Ruller & Maarten Hogenhuis. Guitarist Jesse van Ruller and saxophonist Maarten Hogenhuis bring together two generations of Dutch jazz. Van Ruller is a key figure in the Dutch jazz scene and an internationally acclaimed guitarist. In 1995, he won the prestigious Thelonious Monk International Jazz Guitar Competition, becoming the first European to receive this honor. He has collaborated with artists such as Roy Hargrove, Joe Lovano, Christian McBride, and Peter Erskine, and has released numerous albums as both a bandleader and a sideman. His album *Catch!* was nominated for an Edison Award. Maarten Hogenhuis belongs to a younger generation of leading Dutch jazz musicians. He is known for his work with the power-jazz group BRUUT!, his own trio and quartet, and collaborations with artists such as Benjamin Herman and Anton Goudsmit, as well as Pete Philly & Perquisite. In 2012, he won the Best Soloist award at the Dutch Jazz Competition. A year later, he won the Keep an Eye International Jazz Award for Best Soloist and Best Band, followed by the Laren Singer Jazz Award in 2014. The duo released their first collaborative album, *Spirits High*, in 2021. Their second album, *Follow the Sound*, builds upon their shared musical language, featuring compositions developed jointly and influences that extend far beyond traditional jazz. — SETLIST Wonderwinkel (J. van Ruller / M. Hogenhuis) A Matter of Perspective (J. van Ruller / M. Hogenhuis) Rumbone (M. Mengelberg) — Digging the Archives Tideline (J. van Ruller) — * Digging the Archives Misha Mengelberg (1935–2017) was one of the most influential figures in Dutch improvised jazz. As a pianist, composer, and co-founder of the Instant Composers Pool, he helped shape a distinctly Dutch approach to free improvisation. His composition *Rumbone* combines a playful, rhythmic character with his signature sense of surprise and openness. In *Digging the Archives*, the piece is performed anew by a fresh generation of musicians, connecting Mengelberg’s musical legacy with the present day. — MUSICIANS Jesse van Ruller — guitar Maarten Hogenhuis — alto saxophone Discover all our Pocket Concerts here !

Pocket Concerts (32): Dareyn From the studios of the Concertzender / World of Jazz: Pocket Concerts. In this edition: Dareyn. Dareyn is an ensemble where four distinctive musical voices come together, united by a shared passion for exploration, improvisation, and storytelling. Drawing inspiration from traditions spanning diverse cultures while simultaneously embracing contemporary expression, the quartet creates a sound that is both intimate and adventurous. The ensemble features Emine Bostancı on *kemenche*; her expressive playing is deeply rooted in the rich musical heritage of the Eastern Mediterranean. Pianist Franz von Chossy contributes a lyrical and harmonically versatile approach, shaped by jazz, classical music, and influences from various musical traditions. Clarinetist Alex Simu adds warmth, virtuosity, and a unique musical perspective, effortlessly bridging different genres. Percussionist Vinsent Planjer completes the ensemble with an inventive rhythmic language that offers both subtle textures and dynamic energy. — SETLIST Loud Whispers (F. von Chossy) Echoes of Granada (E. Bostanci) Ghost Secrets (E. Bostanci) Guus’un Bisikleti / Guus’s Bicycle (Th. Loevendie) — Digging the Archives: *Guus’un Bisikleti* was composed by Theo Loevendie (b. 1930), a musician who knows better than anyone how to bridge the gap between different musical genres. This piece is dedicated to pianist Guus Janssen and was first recorded for the album *Inspirations* (1995), which also features kemenche player İhsan Özgen. — MUSICIANS Emine Bostancı – kemenche, vocals Franz von Chossy – piano Alex Simu –clarinet, bass clarinet Vinsent Planjer – percussion Discover all our Pocket Concerts here !

Pocket Concerts (31) Alexander Beets Quartet

Graduating jazz students and alumni can register for the 2027 edition of the jazz competition *The Records*, organized by the Keep an Eye Foundation. Aanmelden is open until November 1st. From the entries, a professional jury will select seven finalists (via a blind selection process) to perform live at TivoliVredenburg on January 28th, 2027. A new, independent jury will then select the three winners of *The Records*. Each winner receives a complete album production package worth €10,000. Additionally, they are offered a tour of prestigious venues and festivals, in collaboration with the Association of Dutch Jazz Venues and Jazz Festivals (VNJJ). Previous winners of *The Records* include: Woodcraft, Loek van den Berg Quintet, Daan Kluwer Quintet, Flatland Prayer, NOHMI, Ludvig Søndergaard Sekstet, Anaphora Trio, Micheal Murray’s Colourfield, NAUSYQA, Dutch Mountain Tribe, Ronny deCarlo, Federico Calcagno Octet, Ambergris, Nefertiti, Önder, Mo van der Does Motet, Marta Arpini, Lucas Santana 5tet, Guy Salamon Group, SMANDEM, Idema/Serierse Quartet, and the Tijs Klaassen Quartet.

Saturday 19th September 2026, 5:00 PM – House of Hard Bop. In the spring of 1960, Coltrane left the Miles Davis Quintet to strike out on his own. We follow him on this journey. In 1960, Atlantic Records produced three albums: *My Favorite Things*, *Coltrane Jazz*, and *Coltrane Plays the Blues*. In his new quartet, he was surrounded by pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones. Tyner and Jones would remain with him for years. And alongside the leadership role and the lineup, there was yet another new factor: the soprano saxophone! Earlier that year (1960), while in Paris with the Miles Davis Quintet, Coltrane had been given a soprano saxophone as a gift—by Davis. (Foresight?) The instrument—rarely played in jazz at the time, yet possessing a unique tonal character and set of possibilities—immediately intrigued him. Months of study and experimentation followed, including on stage. By the time he entered the studio in October, he was fully prepared. My Favorite Things Coltrane had already been playing the album’s title track—a song from the Rodgers & Hammerstein musical *The Sound of Music*—for months, a practice he continued even after this recording. The melody remained intact, but the chords gave way to modally colored harmonies over a continuous tonic note of E. This was a radical departure that dismantled the piece’s traditional “form.” The constant repetition created a “meditative” atmosphere—a foundation upon which Coltrane could explore his new ideas regarding melodic improvisation. This 14-minute track turned the LP into both an artistic and a commercial success. As Coltrane himself said of *My Favorite Things*: “My favorite piece of all those I have recorded.” Ev’ry Time We Say Goodbye This composition by Cole Porter is also a standard from the Great American Songbook. A cooling-down period after the previous track. A slow tempo. And bassist Steve Davis, following the repeated E of the previous piece, can once again map out his paths through the chord progression. Summertime Indeed—every track on this album is a standard. The last two are by Gershwin. Yet, right from the first four bars, we hear Coltrane’s own twist: augmented chords and the corresponding whole-tone scale. It sounds ethereal and dreamy, while generating tension. These elements keep recurring within the cyclical form. Coltrane is on tenor sax here. Drummer Elvin Jones steps into the foreground significantly on this track. Displaying his characteristic style—which he would develop further later on—he also takes a solo turn. An engaging interplay between drums and bass follows. But Not for Me Here, too, we hear unconventional harmonies in the opening bars. And even a distinctive, idiosyncratic note within the theme itself… ————————– Village Blues An original Coltrane composition from the album *Coltrane Jazz*. Melodically, the piece is simple—the blues form takes the lead. ————————- Coltrane Plays the Blues This is not a concept album, but a collection of blues tracks compiled by Atlantic. “Blues to Bechet” is dedicated to soprano saxophonist Sidney Bechet (1897–1959). It features a trio lineup without piano, placing a sharper spotlight on the horn player—here on soprano sax. He alternates short, simple phrases with rhythmic bursts in the upper register. Bassist Steve Davis remains unshakeable in his four-to-the-bar pulse; drummer Elvin Jones moves and accents, gradually increasing the volume towards the end. There is a surprising moment of unison between bass and sax in the closing phrase. After the previous track, “Mr. Syms” demonstrates the variety possible within the blues genre. Coltrane sticks with his soprano – pianist McCoy Tyner is back on board. House of Hard Bop – Eric Ineke