Tag Archives: James Falzone

Dutch Jazzmagazine review by Henning Bolte

CF 127The Flatlands Collective – Maatjes (CF 127)
*** ½
Boston, Chicago, San Francisco, Lissabon en (herinnerd) Amsterdam. The Flatlands Collective is de groep van saxofonist Jorrit Dijkstra die zelf in Boston resideert. Dijkstra heeft al weer een tijdje dit zesmans-kollektief als working band met bekende spelers uit de Chicago-scene waaronder Jeb Bishop en Fred Lohberg-Holm die zijn composities speelt en vrij improviseert. Clean Feed is een interessant en zeer actief label uit Lissabon, gevestigd vlak bij de Cais do Sodré in de Rua do Alecrim  aan de rand van de wijk Chiado. In de winkel Trem Azul (de blauwe tram rijdt er langs) vinden ook concerten plaats. Zo ontstaat een net waarin de negen haringen van dit album terecht gekomen zijn. Dijkstra haalt zijn inspiratie uit schilderijen van Vermeer, het platte Hollands landschap, symfonische misthoorns in San Francisco, Westcoast minimal music en het druilerige Hollandse weer. Grappig genoeg is Druil een zeer geagiteerd en drijvend Mingusachtig stuk waarin een paar etherische druilige vlagen hangen. Dijkstra heeft een voorliefde voor deze waterige klankvlaktes en brengt die in velerlei variaties ten gehore. Het kollektief is een laboratorium waar nieuwe klanken uitgevonden en beproefd worden, fraaie heldere lijnen doorkruist worden door vreemde klankgevaartes en aangespoeld spul. Alle elementen komen mooi samen in het drijvende en huppelende Maatjes 2 en in de bijna koraalachtig cirkelende Scirocco Song.

Dijkstra heeft dit jaar de Northsea compositieopdracht gekregen. Vrijdag 10 juli speelt hij zijn compositie op het Rotterdamse festival met een Amerikaans-Nederlandse groep (met o.a. tenorist Tony Malaby).

Cadence Magazine review by Jerome Wilson

CF 127The Flatlands Collective – Maatjes (CF 127)
Flatlands Collective is a culturally blended group that definitely has its own feel. Leader Jorrit Djikstra is a Dutch musician who moved to Chicago some years ago and created this band with some of the local talent, a few of whom are recognizable as part of the Hal Russell – Ken Vandermark extended family. There is a playfulness in this music that reflects both the humor of the Dutch scene and the experimentation of the Chicago one. Highlights include a seductive serpentine alto, clarinet, and cello melody on “Mission Rocker,” modern classical sonorities on “Micro Mood” and “In D Flat Minor” broken up by old-timey drum soloing and honking abstractions, a resonant drone led by Bishop and Lonberg-Holm on “Partially Overdone” and sly Arabian exotica on “Scirocco Song” featuring Bishop’s slashing trombone and twinkling electronics. There are also a couple of trio improvisations, one an alternately cranky and rhapsodic piece for clarinet, bass, and trombone, the other a wheezing disturbance laid down by cello, drums, and Djikstra’s alto and electronics. There is definite fun and life in the Flatlands Collective’s genre mismatching.
©Cadence Magazine 2009 www.cadencebuilding.com

Jazz.pt review by Antonio Branco

CF 127The Flatlands Collective – Maatjes (CF 127)
Quando, em 2002 se mudou para Boston, o saxofonista e manipulador de electrónicas holandês Jorrit Dijkstra já era um nome com créditos firmados na cena do jazz mais aventuroso e da música improvisada no seu país natal. Desde então, tem mantido estreitas colaborações com músicos norte-americanos. No caso presente do Flatlands Collective chama a si nomes cimeiros da cena de Chicago: James Falzone, Jeb Bishop, Fred Lonberg-Holm, Jason Roebke e Frank Rosaly. Apesar de claramente marcada pelo idioma do jazz, a visão musical de Dijkstra incorpora elementos muito diversos, que vão da referida tradição jazzística à música improvisada contemporânea, passando por correntes mais minimalistas e pelas electrónicas. Dijkstra é um devoto do lyricon, um instrumento de sopro electrónico dos anos 1970, cujas potencialidades continua a utilizar com bom gosto. O músico e compositor holandês mostra-se um cuidadoso arquitecto sonoro, dispondo as pedras num interplay pouco convencional. As simbioses instrumentais – aqui mais ásperas ali contemplativas – revelam-se através da sobreposição de camadas sonoras, da exploração da alargada paleta de recursos tímbricos ou de jogos contrapontísticos. Em “Mission Rocker” entrelaçam-se serpentes sonoras. Graciosa nos seus uníssonos e motivos melódicos, “Micro Mood” é uma jóia. “Partially Overdone” e “In D Flat Minor” são dominadas pelas texturas criadas pelo lyricon, pelo contrabaixo e pelo violoncelo (acolitado por uma panóplia de pedais de efeitos) e por uma percussão de relojoaria, sobre as quais pairam os sopros. Peça muito interessante é “Druil”, que, a dado passo, evolui para territórios épico-swingantes. “Maatjes 2” é uma peça de contornos mais coloridos que termina de forma belíssima. Mais fantasmagórica e sombria é “Phil´s Tesora”. Muito bom.

Time Out Lisboa review by Jose Carlos Fernandes

CF 127Flatlands Collective – Maatjes (CF 127)
*****

Música plana (mas nada chata)

As terras planas parecem excitar a imaginação dos músicos de jazz, a julgar por estes testemunhos vindos da Bélgica e de um holandês emigrado no Midwest

Jorrit Dijkstra (saxofone, sintetizador) nasceu a norte das campinas flamengas que geraram a FES, mas trocou as planuras neerlandesas pelas planuras do Illinois. Em Chicago reuniu um sexteto com os mais estimulantes nomes do jazz local, nomeadamente o trombonista Jeb Bishop e o violoncelista Fred Lonberg-Holm, que baptizou como Flatlands Collective. Maatjes é tudo menos monótono: “Druil” é um retrato daqueles dias de “céu tão baixo que até os canais se perdem” (cito outra vez Brel), “Phil’s Tesora”, caloroso e enérgico, é o seu reverso, “Partially Overdone” é o equivalente sonoro de um banco de nevoeiro, “The Gate” é uma fanfarra para sirenes de nevoeiro, “In D Flat Minor” é uma incursão minimal-repetitiva com sax preparado, cuja agitação mecânica desacelera progressivamente e desagua num final lírico e tranquilo. A lista das faixas na contracapa está toda trocada, o que faz com que o que se ouve não corresponda às notas de Dijkstra para o CD, o que obriga a algum trabalho detectivesco para fazer coincidir as faixas com os seus nomes reais.

Temporary Fault review by Massimo Ricci

Clean Feed 1
A few words about ten less recent chapters from the ongoing (hopefully for long) saga of Pedro Costa’s label. Other titles will be gathered in a future instalment.

Clean Feed Cherry Picking

FIGHT THE BIG BULL – Dying Will Be Easy (CF 108 )
Under this name acts a reasonably bloodthirsty nonet led by guitarist Matt White, the composer of all the tunes. The instrumentation comprise two trombones (Reggie Pace, Bryan Hooten), clarinet (Adrian Sandi), tenor sax (J.C. Kuhl), trumpet (Bob Miller), percussion (Brian Jones), trap kit (Pinson Chanselle) and bass (Cameron Ralston). Given that the CD lasts slightly in excess of 31 minutes, the level of charged dynamics and overall energies that it transmits is noteworthy. Clearly stated themes get rapidly embittered in distorted fury, vapours of past influences gathered and shaken up into original recipes for a fresh kind of alternative dancing. Orchestrations that hint to big band enthusiasms and New Orleans-tinged business leave room for the instrumentalists to releases copious doses of vociferous rage, yet there’s also space for looking at atmospheres that are more reminiscent of a strip club than a jazz club. The mechanisms of lucidity don’t seem to be always in full control, but the somewhat disorderly conduct held by the ensemble is a plus, liberating the music from the sub-structural obviousness that this brand of projects frequently implies. The nervous sort of gaiety that characterizes substantial chunks of the compositions is exactly what defines their distinctiveness. Play loud and get slapped hard.

PAULO CURADO E O LUGAR DA DESORDEM – The Bird, The Breeze And Mr. Filiano (CF 113)
As the record’s name implies, the presence of double bassist Ken Filiano amidst leader Paulo Curado (alto sax, flute) and Bruno Pedroso (drums) is rather exemplary, classiness and sobriety always at the forefront either as accompanist or soloist, an extreme musicality symbolizing the cornerstone of his style, which is a pleasure to listen at any time. The Portuguese comrades are definitely not lesser musicians, though: this is a typical specimen of trio that might have risked to sound as a mellifluous disaster on CD and instead comes out of the speakers as a splendid kinship, the music walking at brisk paces without stumbling for a moment. Curado is a neat executor on both instruments, playing lines that result perfectly intelligible wherever he decides to go, perennial precision and clever sleights of hand never informed by excessive meticulousness. Pedroso’s wrists allow him excursions in several regions of drumming, including those which border with total freedom, yet he manages to emerge as the driving propitiator of impartially functional rhythmic designs at all times. Played with earnestness and elegance at once, these pieces appear like unprejudiced attempts to avoid that kind of pre-digested organization which gives jazz a glossy patina of unresponsive pointlessness.

JORGE LIMA BARRETO – Zul Zelub (CF 111)
The theory of “unrealized energy”, of which we find a meticulous description on the album’s sleeve notes, is at the basis of these 75 minutes of improvisations by pianist Jorge Lima Barreto. The length of the CD is, in truth, one of its limits but this notwithstanding some of the ideas that the sole protagonist performs are fascinating enough to release an overall sufficiently positive judgement. In “Zul”, which alternates not always lucid free forms to comparatively peaceful dissertations, the instrument is constantly intertwined with the emanations of a shortwave radio; this continuous presence defines the piece both positively and negatively, alternating moments of experimental intrigue to sections where there seems to be a little bit of confusion. The second half “Zelub” is much better, especially as Barreto’s more effective, less redundant playing is accompanied by four parallel recordings of natural and environmental sounds, including beautiful birds and other similarly engrossing presences. At times, for inexplicable reasons, I was reminded of Joachim Kühn in certain electro-acoustic partnerships on CMP. Still, despite a degree of heaviness mainly in the first part of the record, this is undoubtedly sincere music to appraise without acting as overly critical detractors.

TETTERAPADEQU – And The Missing R (CF 120)
A group formed by two Italians (tenor saxophonist Daniele Martini and pianist Giovanni Di Domenico) and a Portuguese rhythm section consisting of Gonçalo Almeida on double bass and João Lobo on drums, the name being an anagram – minus an “r”, hence the title – of a club named De Patter Quartet in The Hague, Holland, where the four conservatory students used to play together after the lessons. Where technical preparation of the musicians and instantaneous (and often ironic) creativity meet depends on the different circumstances that the music presents. Barely sketched ideas, adventurous sensitivity, a few grimaces and fully fledged compositions, the whole under a stylistic banner whose colours are mainly taken from jazz, but also from other kinds of immediate intuition, several moments characterized by intense silences and melancholic touches for good measure. Now tangentially intelligent, now more respectful of traditions, this record shows the artists’ will to do their best to maintain an optimistically untarnished approach to interplay; they sound dedicated, detached and having fun at once. The result is an extremely satisfying album, its moods and inclinations not in need to overwhelm the listener. Remarkable and, at the end of the day, successful in not giving us the chance of an accurate classification.

THE FLATLANDS COLLECTIVE – Maatjes (CF 127)
A Dutch word that means “mates” also defines a typical local delicacy, of which the musicians who play in the CD grew fond during a stay in Amsterdam. The exchange of musical experiences – Chicago versus The Netherlands – is at the basis of this album featuring virtual leader Jorrit Dijkstra (alto sax, lyricon, analog synth), James Falzone (clarinet), Jeb Bishop (trombone), Fred Lonberg-Holm (cello, analog electronics), Jason Roebke (bass) and Frank Rosaly (drums, percussion). The compositions, mostly credited to Boston-resident Dijkstra, are visibly distinguished by a rather synchronized approach, the artists following a basic compositional scheme comprising a number of places for individual expression but always in the name of an orchestral result that often sounds regimented, only at times slightly more audacious. In general, the players do not seem to be looking too hard for alternative routes: once a suggestion is delineated, they develop a few instant propositions without putting excessive quantities of juvenile delinquency in there, wearing an “everything-under-control” mask whatever the proposition may be (among the declared influences, minimalist mavericks Terry Riley and LaMonte Young; still, curb your enthusiasm if you think to find anything even remotely similar to that music). This somewhat scarcely flexible application of colours and codes limits the sparkle factor of the pieces, which remain flawlessly elegant examples of semi-improvised concepts partially subjugated to a collective format, the whole impeccably executed yet unquestionably cold to these ears.

RIDD QUARTET – Fiction Avalanche (CF 121)
Reuben Radding (double bass), Jon Irabagon (sax), Kris Davis (piano), Jeff Davis (drums), RIDD combine different types of situations and moods, ranging from the sober elegance of rarefied tunes where the piano dictates the behavioural rules of a jazz that follows – at least in part – the tradition without sounding démodé (the preferred facet of the group by this writer) to more oblique exemplifications of dissonant freedom, often interesting, at times a little tortuous, in general destined not to remain in the memory (this needs the opening of a discussion panel; how many records of contemporary jazz are in effect “destined to remain in the memory”, if not vaguely? Next time). The players, whose nimbleness is beyond debate, approach the material with the right balance of clever diplomacy and regulated sixth sense, rarely exalting the fuming aspects of improvisation in favour of a controlled attitude which sounds very welcome. Radding and Irabagon complement their reciprocal finesse splendidly, literate contrapuntal parallelisms calling attention also when the tune does not necessarily require it. Jeff Davis is the most discreet figure of the quartet, humility at the service of the collective yet extremely precise and reliable, a teaching for certain drummers who would have better served themselves by becoming wailing guitarists instead of banging our ears off the head. Still, the real pleasures frequently come courtesy of Kris Davis, improvisational intelligence on a par with her abilities as a refined interlocutor, chordal hues and sparkling arpeggios always noticeable at the forefront of the mix even in the less intelligible sections.

STEVE ADAMS TRIO – Surface Tension (CF 131)
Adams is a member of ROVA, in front of which a knowledgeable listener could even think of genuflecting – enough said. In this record he plays sopranino, alto, tenor and baritone plus bass flute, flanked by Ken Filiano on bass and Scott Amendola on drums. I’m usually kind-hearted towards instrumentalists belonging to the same rank of these three men, provided that clichés and formulas are left out of the equation which, we’re happy to report, is exactly what happens here. This is as fresh a jazz as a herbal antiperspirant: the music, entirely written by Adams, literally breathes, whatever the sort of proposition he presents. Inspired improvisations sounding like well-rehearsed charts, clever swinging, intense soliloquies and considerate interplay with just a pinch of disenchantment: everything is executed with congruence, the musicians’ intents perfectly aligned in a punctilious search for different solutions. While Filiano performs according to his customary instrumental stature, alternating dissonant bopping and arco-tinged sensitive shrewdness, and Amendola acts as a clear-headed rhythmic propeller gifted with remarkable clarity of vision, the leader is obviously a master of the game, the relationship with the mechanics of blowing air into tubes fuelled by a refined sense of suggestiveness and proportional technical monstrosity which makes us appreciate the sheer sound of any note that he emits, with a personal preference for the splendidly evocative considerations on the flute in tracks such as the gorgeous “ninth” (thus called by yours truly because the CD contains ten chapters, but the cover and the press release indicate only eight titles). A flawless example of creative interaction in a trio, a veritable clinic for many aspiring leaders who don’t have a clue about where they want to go.

JOHN O’GALLAGHER TRIO – Dirty Hands (CF 132)
The spectacular audio quality of the recording is extremely helpful in highlighting the instrumental adroitness of alto saxophonist O’Gallagher and his comrades, bassist Masa Kamaguchi and drummer Jeff Williams. People who sound like they’ve been playing together forever, recorded in studio during a pause in a series of concerts and clinics in Braga, Portugal in 2007 which made their spiritual and technical fusion complete. It’s great when, while listening to an album, one can literally penetrate the essence of each instrument (which comes naturally easier when the sources are not too numerous). This happens time and again while we “concentrate on the concentration” demonstrated by the artists all over the course of this disc, which alternates mathematic precision, committed ardour and permanent imaginativeness in a noteworthy recipe, the sounds typical of this format in a way separated, clarified and amplified to express a unique mental picture. This perfect intelligibility is what attributes to the whole a positive mark: without sounding by any means conciliatory – quite the contrary, it is full of acute corners and razor-blade sharpness – this music is also capable of touching the soul at least in part, leaving ample room for reflection and air to breathe for the brain, never overwhelmed by what ignorant analysts often define “urgency” and instead is just inability to listen, which in my book determines a loss of the right to be called “musicians”. O’Gallagher, Kamaguchi and Williams are excellent listeners and the record is, accordingly, brilliant.

DARREN JOHNSTON – The Edge Of The Forest (CF 133)
Remarkable compositions and skilled arrangements designed to create the perfect setting for solos played with zest and exhuding joy to perform. This pretty much sums up the near-perfection of this CD, among my overall favourites in this batch, which gives back copious doses of almost physical pleasure spin after spin – a rare characteristic even in technically superior, high-level releases. Trumpeter and composer Johnston, who has worked among others with Fred Frith and Myra Melford, is aided by Ben Goldberg (clarinet), Sheldon Brown (tenor sax, bass clarinet), Devin Hoff (upright bass), Smith Dobson V (drums) and, exclusively in “Foggy”, by accordionist Rob Reich. A response to the pedestrian attitude of those combos based upon the “nonexistent-theme-thrown-away-before-inconclusive-blowouts” modus operandi, the pieces are constructed with architectural extensiveness, a plurality of diverse keys to open the doors of never-invasive, ever-articulate ramifications leading the group into territories explored with Zappa-esque tightness in uncompromising perseverance, at the same time lightening up the connotations of otherwise unsurprising redundancies. Not for a minute we experience that feel of imminent catastrophe which often underscores excessive freedom, destroying the good intentions that a tune might show: the music flows with the head on its shoulders, the players walking surefooted amidst potential turmoil maintaining rationality and brilliance, and ends exactly where it had to, its latent coldness replaced by a formidable musicality which makes us completely forget about the meaning of “lackadaisical”. A disciplined yet spirited album: if you have to pick just a few in this tentet, this is one of them.
http://temporaryfault.blogspot.com/2009/06/clean-feed-cherry-picking.html

Jazzword review by Ken Waxman

CF 127The Flatlands Collective – Maatjes (CF 127)
Tone Dialing – Rigop Me (Evil Rabbit ER 07)

Two complementary – and exemplary – looks at the compositional and improvisational skills of Jorrit Dijkstra, a transatlantic musician who frequently works with musicians both in his native Holland and the United States.

Now based in the Boston area, Dijkstra’s partners on Rigop Me are Dutch guitarist Paul Pallesen – in whose Bite the Gnatze, the saxophonist also plays – and Berlin-based, Melbourne-born drummer Steve Heather. Curiously enough, all the other members of The Flatlands Collective are Chicagoans – trombonist Jeb Bishop, clarinetist James Falzone, cellist Fred Lonberg-Holm, bassist Jason Roebke and drummer Frank Rosaly – all part of that city’s explosion of now not-so-young improv talent. On Maatjes Lonberg-Holm also plays electronics, while Dijkstra plays lyricon and analog electronics as well as alto saxophone. However the sax is left in its case on Rigop Me as Dijkstra only works out on lyricon, loop machine and analog electronics.

Many of the tracks on that CD are built upon shattering electronic blasts that loop and pulse into a constant processed drone, leavened by clinks, flanges and claw-hammer banjo-like picks from the guitarist. Sometimes the timbres from each instrument are undifferentiated; other times sound(s) can be properly attributed. There are intermittent drags and bounces from cymbal, nerve beats from drum sticks and distorted downward runs from a potentially unplugged electric guitar. Most of the time, however, these textures are shrouded in part by flat-line static and crackling, as pinball-like smacks and celesta-type pings cumulate to waft across the full broadband spectrum..

Two divergent examples of this appear on “Fezex Me” and “Rigop Me”. Although eschewing the rock-star-like reverb he shows off elsewhere, the former is a Pallesen showcase. Here, his single-string picking and intense arpeggios are magnified with whirling e-bow pressure, as whooshes and crunches gradually move to the foreground as space-satellite signaling and quivering pulses fill all the remaining space. Eventually a combination of slurred string fingering and mouth-slapping, probably lyricon quacks lead to a diminuendo fade.

In contrast, “Rigop Me” is a group effort that reveals surprising lyricism among the guitarist’s rasgueado, Dijkstra’s slide whistle-like shrills and restrained drum beats. Moving from anadante to adagio, the broken chords linger and expand underlining seemingly random snare drum beats with stretched pitch velocity. Finally the piece reaches a climax of ring-modulator-like clangs and undulating pitch adjustments.

Minimizing the electronic interface and doubling the number of players Maatjes – named for Dutch raw herring, a popular street snack – was recorded nearly two years later in 2008, following a European tour by the sextet. Building on this momentum, the program is mostly made up of Dijkstra’s compositions whose arrangements emphasize the formalized and programmatic. Group improvisations, “In D Flat Minor” especially, provide the exceptions, with that tune traveling through the peaks and valley of interchangeable riffs. Stuffed into it are lower-pitched saxophone tonguing, double-gaited swing from both string players and quasi oomph-pah-pah from the trombonist.

Bishop’s plunger tones and cries from the reed section chromatically balance a track like “Mission Rocker” so that the higher-pitched voices meld into pedal-point bends from bowed bass and cello. Shifting to an adagio section, Falzone’s liquid stop-starts take centre stage, as blustery ‘bone brays plus Rosaly’s drum rolls and pops hold the bottom.

In contrast, despite double-timed ruffs and beats from the drummer “Micro Mood” emphasizes a more formal, Europeanized lilt with cello sweeps and trombone pumps The contrapuntal melody breaks apart – and aided by synthesizer twists – turns and pulses back again upon itself. Furthermore,”Phil’s Tesora” is filled with bow-snapping sul ponticello lines from Lonberg-Holm, tension-building ostinato from Roebke and rappelling rim shots and bounces fragment the narrative enough so that the popping notes from the horns don’t control the tune. The weather further clears up with reed-biting clarinet blasts, braying trombone grace notes and background hissing and fluttering synthesizer reverb.

Dijkstra’s multi-faceted contrapuntal structure is best expressed on the climatic “Sirocco Song” as contralto clarinet provides strident contrast to the other horns. Then, after Bishop tongues fragments of the intricate melody, the cellist sounds a tremolo version of the same pattern. The lyricon’s warbling trill is seconded by clarinet chirps until the vector shifts to a horn trio. Finally, as Rosaly’s clipping rim shots and press rolls maintain the beat, an echoing finale is constructed out of a smooth clarinet obbligato and thick trombone mutterings.

Inventively transatlantic, Dijkstra’s music can be appreciated whether it suggests the flatlands of the Netherlands or Illinois.
http://www.jazzword.com/review/126776

Jazz’n’More review by Jürg Solothurnmann

CF 127THE FLATLAND COLLECTIVE – Maatjes  (CF 127)
Note: 4

Glissandi von Posaune, Cello und Synthesizer am Anfang, auf die in Medium Rock eine atonale Unisono-Bäserlinie gesetzt wird. Daran schliessen sich ganz andere Teile wie ein Dolphy-nahes Altsaxsolo. Mikrotonalität mischt sich mit Jazz nach Mingus. Der holländische Avantgarde-Jazzer Dijkstra hat sich 2002 in den USA etabliert und hier fünf Exponenten der neuen Chicagoer Avantgarde zusammengeholt, ihrerseits vom europäischen Eklektizismus. Zu seinem facettenreichen Saxophonspiel addiert Dijkstra Jazz der 50er Jahre, Free Jazz und auch Elektronik, und diese beeinflusst wiederum die akustischen Sounds. Speziell ist die Verwendung des Lyricons. Divertimento-artig kombiniert Dijkstra Einflüsse aus der europäischen Free Music, Neuen Musik und pulsierendem Minimalismus Reichs und Rileys mit Ideen amerikanischer Komponisten wie Tenney, stark geprägt von Klangfarben und Geräusch. „Partially Overdone“ ist etwa ein einziger grosser Pedalton, dessen Dramatik allein durch Obertöne, Beimischungen und Lautstärke bestimmt ist. Dosiert auskomponierte Passagen kippen in turbulente Kollektivimprovisationen über, starke Gesten und Grooves interagieren mit Statischem und „nebulösen“ Teilen. Die Solisten haben etwas zu sagen und gehen mit den paradoxen Szenarien sicher, ja resolut um. Und immer wieder, wenn geräuschhaft hart zur Sache gegangen worden ist, kommen in den 10 Stücken Momente, wo sich das Ohr erholen kann. Am Schluss wird noch holländische Folklore mit Sun Ra gekreuzt…