Vanaf de tweede helft van 2021 slaan A NEW WAVE OF JAZZ  en jazzclub PLUSETAGE de handen in elkaar met een nieuwe reeks van concerten die zal lopen naast de reguliere programmatie van PlusEtage, de jazzclub is sinds 1972 gevestigd in het pittoresk grensdorp Baarle Nassau (Nederland).  Een reeks concerten volledig gewijd aan de vrije improvisatie, avantgarde en de experimentele tak van de free jazz, zoals het label dit dan ook ademt.

Deze muziekstijlen komen vooral live tot hun recht en voor A New Wave Of Jazz biedt PlusEtage juist deze mogelijkheid.  Het intimistisch karakter van de zaal en de vrije mindset van PlusEtage gaan een perfecte tandem vormen met de eigenzinnigheid van het label en hun sterke motiviatie om deze segmenten van de Jazz meer uit te lichten.  

Tweemaandelijks zullen zij samen u een reeks van fascinerende, sterke en unieke concerten brengen.

Kijk gerust eens op de website van PlusEtage. De premiere van hun samenwerking vindt plaats op vrijdag 22 oktober 2021 met het trio MARTINA VERHOEVEN/GEORGE HADOW/PATRICK DE GROOTE.

From October 2021 on, A NEW WAVE OF JAZZ and jazz club PLUSETAGE join forces with a new series of concerts that will run alongside the regular PlusEtage events, since 1972 located in the mesmerizing bordertown of Baarle-Nassau (Netherlands). A series of concerts, curated by the label, completely devoted to free improvisation, avant-garde and free jazz.

This kind of music lives and breathes on stage and so the intimistic character of the venue and the free mindset of PlusEtage forms a perfect tandem with the idiosyncrasy of the label and their strong motivation to shed more light on these segments of Jazz.

These concerts will take place bi-monthly at the end of that month. The take-off is set on Friday October 22nd, 2021 with the MARTINA VERHOEVEN/GEORGE HADOW/PATRICK DE GROOTE trio. Check out the PlusEtage website.

Last Saturday drummer GEORGE HADOW and DIRK SERRIES played a duo concert at a mesmerizing little chapel in Bocholt (Belgium), organised by JAZZBLAZZT. Here’s a beautiful photo taken by Jurgen Moortgat. Check out their initial 2016 debut duo album ‘Outermission’ on UK’s Raw Tonk Records.

Here’s a new episode of our JOURNAL radioshow for KOOL KAST, which aired yesterday and this morning. Re-listenable at your own convenience on Mixcloud and here below. JOURNAL is our label’s audio diary and features music from our backcatalogue and forthcoming releases, this episode focuses on TONUS, RUBICON QUARTET, COLIN WEBSTER & ANDREW LISLE and SETT. The albums can be purchased over here. Enjoy.

Through the eye of photographer Linde Van Syngel, here are some extra photos from that magical quartet (PATRICK DE GROOTE, ONNO GOVAERT, DIRK SERRIES, MARTINA VERHOEVEN) concert last Friday at KAAP in Oostende (Belgium).

Canada’s JAZZWORD just reviewed our release of ALAN WILKINSON & DIRK SERRIES ‘One In The Eye‘ double disc, courtesy of critic KEN WAXMAN.

“Recorded in Anderlecht Belgian and London, the Wilkinson/Serries session approaches tandem improvising at varied lengths. The Anderlecht studio meeting is divided into seven mid-sized tracks, while the live London gig sprawls over two extended challenges. Every manner of extended techniques tried out by Wilkinson as he moves among alto and baritone saxophones and bass clarinet with triple tonguing, reed biters, lowing, doits, timbral squawks, clarion sniffles and vocal speaking-in-tongues projected from the horns’ body tubes. Meanwhile Serries hard strums and frails complement the expositions, whether they’re quietly distant or over-the-top emphatic. Although a couple of the other tracks suggest that Wilkinson is referencing contrafacts or quotes from other melodies, “Hand over Fist” stands out as the most assured and diverse program. As writhing baritone sax lines and rhythm guitar-like crunches intersect, the piece swells and shakes until it’s further torqued with cuckoo-clock-like chiming from Wilkinson. Guitar power chording keeps the narrative horizontal as the saxophonist’s playing becomes more fragmented, accelerating to squealing and shattering multiphonics. Bypassing the saxophonist’s descent into lowing reed tones and Bedlam-like verbalized crying through the horn, Serries paced frails centre the dual communication. With other tunes based on how chalumeau clarinet tones mellowing from pig snorts to molasses smoothness (“In the Here and Now”); or how smacks against the guitar body’s wood and repeated string vibrations can relax what starts as a honking, whistling and screaming reed tone examination (“The Stings of the Flesh In the Long Run’) almost every reed-string paradigm appears to be exposed. That’s why the session can be fruitfully concluded as reed snorts and vocal retches fade alongside the concentrated power of strummed strings.”