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March 21st, 2026, 5:00 PM – House of Hard Bop. At an early age, Belgian guitarist René Thomas was inspired by gypsy guitarist Django Reinhardt, as well as bebop guitarist Jimmy Raney. In Belgium, he regularly played with tenor saxophonist Bobby Jaspar and saxophonist Jacques Pelzer. In the early 1950s, he became a familiar face in the Parisian jazz scene. In 1956, he moved to North America—Bobby Jaspar had already preceded him. In New York, Thomas worked with Sonny Rollins, Miles Davis, and others from the premier league. Back in Paris (1962), we see Thomas in the company of Chet Baker, Kenny Clarke, and Stan Getz. Fellow musicians were aware of Thomas’s qualities early on. Initially a musician’s musician, he eventually acquired a growing audience. In 1960, Thomas made his recording debut as a leader in New York with the album Guitar Groove (Jazzland label). He had previously worked in recording studios—with Sonny Rollins (Big Brass), among others—but Guitar Groove firmly established his reputation. In the quintet, we hear J.R. Monterose (tenor), Hod O’Brien (piano), Teddy Kotick (bass), and Albert “Tootie” Heath on drums. You will hear the complete album: four standards and three compositions by Monterose. Variation in the pieces: not only in composition—form, character, tempo—but also in the ‘division of roles’: Who takes the first solo, Piano sometimes joins in later, then accompanies the guitar solo, Quartet setup, without sax, Trio, without sax and piano (and virtually inaudible percussion). Drummer Albert “Tootie” Heath opens the first piece with an intro solo, gets plenty of room with trading fours/eights, and remains strongly present. Pianist Hod O’Brien is really doing a lot of filling in the gaps, with his comping behind the soloists… Spontaneous Effect (JR Monterose) Ruby my Dear (Thelonious Monk) Like Someone in Love (Jimmy Van Heusen) MTC (JR Monterose) Milestones (Miles Davis) How Long has This been Going On (George Gershwin) Green Street Scene (JR Monterose) —————————————————— Eddy Louiss (1941-2015) started in the 1960s as a singer in Les Double Six – a high-profile vocal group that sang ‘bebop’ in a virtuoso manner. In addition to their close harmony texture, the individual musicians were extremely adept at singing bop improvisations, whether or not accompanied by lyrics articulated at top speed. But Louiss turned to the Hammond organ, on which he developed his own style compared to the usual suspects on that instrument. In 1968, Louiss was in Studio Davout in Paris. Beside him were René Thomas and drummer Kenny Clarke. The album Eddy Louiss Trio would not be released until five years later. Nardis (Miles Davis) The opening, two high organ notes, immediately draws attention. And by the end of the first eight bars—in which the others respond, and drummer Clarke also plays along rhythmically with the theme—we are completely immersed. With the onset of the organ solo, the energy takes a step back, and the focus shifts to the improvisation. The balance between solo and guitar accompaniment is dynamically well-balanced. That balance remains when Thomas takes over the solo. Louiss is also a master of beautiful bass lines! Drummer Clarke, parallel to the organist, gradually moves further forward, culminating in an eight-on-eight, and then a four-on-four dialogue. The now high energy level is maintained in the concluding theme. Blue Tempo (René Thomas) A long intro, ending in a – also harmonically – ‘search’ for a beginning. Then Clarke sets an up-tempo, and off they go. There is hardly a theme. Thomas is immediately immersed in his improvisation. The modal composition has a 32-measure form: 2 times 8 measures based on a single tone scale. Followed by 8 measures with a different scale, after which the first tone scale returns for 8 measures. (Compositions with a similar form: Impressions by John Coltrane and So What by Miles Davis.) This modal principle creates a different experience than pieces with a song form based on rapid harmonic changes. Don’t miss the transition from guitar solo to organ solo at 3’30”. It seems like a coordinated effort. “Hard-driving organ jazz,” wrote a critic. And that is exactly what it is. ———————— In June 1970, tenor saxophonist Stan Getz was in Paris with his wife Monica to attend a tennis match. In the evening, Getz stopped by the Blue Note, a club where he had played several times. “I walked in and my mouth fell open.” On stage: organist Eddy Louiss, René Thomas, and drummer Bernard Lubat. What made Getz’s mouth fall open? You will hear that in the next episode of House of Hard Bop – Eric Ineke

Pocket Concerts (21) with Bennink / Baas / van Gelder In this new Pocket Concerts video, we proudly welcome the brand-new Boy Edgar Prize winner, guitarist Reinier Baas, along with saxophonist Ben van Gelder and the legendary drummer Han Bennink. Reinier is one of the most exciting young voices in contemporary jazz. He has released 11 albums as a leader or co-leader and has won major awards, including two Edison Awards for his albums “Mostly Improvised Instrumental Indie Music” and “Reinier Baas vs. Princess Discombobulatrix.” On March 25th, he will receive the Boy Edgar Prize, the most prestigious Dutch award for jazz and improvised music. This recognition recognizes his creativity and impact not only on the Dutch jazz scene but also far beyond. Reinier and saxophonist Ben van Gelder have been playing together for years and have built a strong musical connection, which is evident in their duo and trio performances. They have performed throughout Europe and far beyond, sometimes accompanied by Han Bennink, one of the most influential Dutch drummers of all time! In this pocket concert, you can enjoy their tight interplay and spontaneous energy in an intimate setting. A great example of modern jazz in action. SETLIST Cycles (B. van Gelder) Hypochristmutreefuzz (M. Mengelberg)*Digging the Archives Aquatics (B. van Gelder) Eronel (T. Monk) Smile (C. Chaplin) White Horse (B. van Gelder) *Digging the Archives Guitarist Reinier Baas performs a composition by Micha Mengelberg (1935-2017) to honor one of the most imaginative figures in Dutch jazz history. Mengelberg’s music combines playfulness, freedom, and deep musical intelligence. By reinterpreting this piece, Baas connects past and present, bringing Mengelberg’s adventurous spirit to a new audience while celebrating the rich heritage of the Dutch improvised music scene.

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