... But all good things must come to an end: final thoughts!
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The Ploctones were one of the last acts to perform in the Thursday night schedule at the Melkweg.
A reliable source had identified the band as a 'must-see' at Dutch Jazz and World Meeting 2010, noting that the guitarist Anton Guidsmit was particularly interesting ('crazy' was the exact label, which always sets the alarm bells a-ringing).
Once the sizeable audience was assembled in the main auditorium, the MC introduced them as 'the four-headed monster' which put me on my mettle (a four-way 'crazy'?).
The band's set was not unentertaining although the guitarist's tendency to grimace wildly while soloing was one of those cosmetic novelties which can be irritating. There was some debate between those of us in attendance about the title of one song which I heard as a particularly offensive word but, hey, they're crazy man.
Either way, The Ploctones were clearly a favourite of the jazz audience who gave them a standing ovation.
Judge for yourself with this rendition of their tribute to themselves: 'Muchahos':
<p>The Ploctones: Muchachos from Paul Long on Vimeo.</p>
A hop, skip and a jump away from Arifa at the Welkweg, is the Sugar Factory (literally, a hop, skip and jump!) but at complete opposite ends of the musical spectrum in terms of sound, was my last band of the night Knalpot.
I have to declare right at the start that I loved this band. I'd never heard of them, but as soon as I set foot in the Sugar Factory, it felt 'right'. Very atmospheric lighting and an intimate feel set the tone. Described as a two man orchestra, Knalpot took to the stage, one drummer, one guitarist, both wearing what looked like hats made from old vinyl lps. The music, I guess was a cross between, Sigur Ros, Audrey and Jonnesu 1886 (sic). Pounding, rhythmic drums, rock lead guitar but...with live samples and loops, an array of distortion pedals and effect boxes all greating a great noise from the two muisicians. I loved it how they would have to play the drums and guitar one handed as they used the other hand to set off the samples and loops etc.Find out and listen to more Knalpot music here: http://www.myspace.com/knalpot and here: http://www.last.fm/music/Knalpot
Walter van de Leur introduced the project and later talked about the project's Dutuch Real Book, while Loes Rusch introduced the study of Dutch jazz she will be conducting by looking at how jazz in 1960s Holland has been represented.
You can find out more at the project website: http://www.rhythmchanges.net
The trio play what I am sure will be often called meditative music. Certainly the band talk about themselves as playing in a way that is “in the moment” and “honest”. Certainly they produce a mostly placid, delicate, nuanced jazz sound that encourages the listener to shut one’s eyes and let the shifting waves lap one after another. This is certainly a music which evolves from the subtle interaction between the musical gestures of each musician.
The band is a traditional piano trio featuring Harmen Fraanje on a open fronted upright piano, Clemens van der Feen bowing and plucking the bass, Flin van Hemmen with stick in right hand and brush in left on percussion. It’s no surprise that ex-pat American and Nederlands resident Michael Moore has played with the trio as an extended Avalonia Quartet.
