Major League Edgar van Asselt

• 1 Checkin' The Vibes 05:42
• 2 Harlem Sunday 07:59
• 3 Song For Suzanne 08:22
• 4 For This Moment 07:35
• 5 Dial B For Blue 06:02
• 6 Tango Triste 07:08
• 7 Why Walk If You Can Waltz? 05:12
• 8 The Queenstown Shuffle 06:07
• 9 Waltz For Wayne 07:26
• 10 The Rhythm Thing 05:55
• Total Runtime 01:07:28

Info zu Major League

Produzent, Komponist und Pianist Edgar van Asselt entstaubt mit der digitalen Veröffentlichung von Major League auf Bandcamp ein Juwel aus dem Jahr 1997. Ursprünglich nur auf CD erhältlich, zeigt dieser Soul-Jazz-Schatz van Asselts Gespür als Komponist und Bandleader. Das Album enthält zehn Originaltitel, die Einflüsse aus Soul-Jazz, Gospel, Blues und Weltmusik nahtlos miteinander vermischen. Es ist eine funkige Hommage an Legenden wie Cannonball Adderley und Les McCann und bringt gleichzeitig van Asselts einzigartige musikalische Vision zum Ausdruck.

Edgar van Asselt, Klavier, Kompositionen
Ruud Breuls, Trompete
Miguel Martinez, Saxophon
Rudy Vley, Bass
Wim Kegel, Schlagzeug

Zur Info: wir bieten dieses Album in der nativen Abtastrate von 44.1 kHz, 24-Bit an. Die uns zur Verfügung gestellte 48 kHz-Version wurde hochgerechnet und bietet keinen hörbaren Mehrwert!

Edgar van Asselt
DIY, on-the-fly, just-gotta-try guy. Words that come to mind about the versatile mindset of pianist, composer, producer and cultural entrepreneur Edgar van Asselt.

‘My first musical childhood memory was actually ‘Love is All’, I just loved the vibe of that song, especially the singing frog appealed to me’, Edgar says. Growing up in a musical family, he started playing accordion, which his father also played. He soon traded the accordeon for the piano. Edgar continued: ‘I was kind of attracted to more blues type of music and my dad taught me some basic chord changes, so I started to figure out stuff behind the piano’.

By renting LP’s at the local library he gradually began discovering more and more music. ‘The first time I heard Bill Evans I was really mesmerised’ he says. The discovery continued, but (at his fathers instigation) he decided to go to business school first. After shortcutting the curriculum he graduated with a Bachelor degree in Applied Economics in three years (‘I was bored’, Edgar confesses), after which he dedicated himself to music.

He enrolled in the jazz department from the Royal Conservatory in The Hague, where he studied with topnotch Dutch pianists as Rob van Kreeveld and Frans Elsen. His main piano heroes were Bud Powell, Wynton Kelly and Bill Evans. ‘The piano department was really revolving around the jazz tradition, and I learned a lot in terms of harmony and voicings. Barry Harris used to come over every year to turn the jazz department over in a bebop pressure cooker’, Edgar explains.

Edgar loved learning about the jazz language, and also kept his ears open for a lot of other influences. ‘I started to discover latin music when I got to play with Surinam and Caribbean bands. It taught me a great deal about rhythm and the whole dance tradition in those cultures. In a way it opened the doors to my affection for Cuban, Brazilian and Tango music. I also began to write and arrange in those particular styles, I thought it was very interesting’, Edgar remembers.

Already during his studies he started organising his own gigs and concert series. A friend told him he should talk to the director of the Mercure Hotel, which got him a jazz concert series that lasted for two seasons. He was able to ask his favourite musicians and learned a great deal about organising. ‘Organising your own work is a double edged sword: you have to invest a ton of time and energy, and what you get in return is that you have the freedom to organise things your way and not being dependent on others’, Edgar explains.

Being exposed to all kinds of musical influences inspired him to develop his own ideas and he started composing himself. Inspired by listening to souljazz and ‘groovy’ music like Les McCann, and more latin-oriented music, Edgar wrote ten songs. He recorded them with a quintet he called ‘Major League’ which released his first album ‘Checking the Vibes’, in 1997. Adding two horns to the line-up made the sound of the band ‘danceable, colourful, groovy and catchy’ according to various reviews.

In 1998, he made a trip to New York to take lessons from Fred Hersch, Kenny Werner and Sal Mosca. He also visited the weekly workshops that Barry Harris gave at Rod Baltimore’s Brass Shop. At one of the workshops he met ex-jazz messenger c. They got to talk a lot about jazz harmony and started jamming at Dave’s house. ‘I liked the explorative attitude that David had’, says Edgar. ‘He was always into discovering new things and expanding his knowledge. Plus he had a great sense of humour.’

In 2002, Edgar invited David to do a tour in Holland and during a week-long gig in a club in Amsterdam, the band got noticed by the A&R manager of Munich records. They were offered to record their first record called ‘Penpals’. Both David and Edgar contributed material and they added some standard to the repertoire. The record got really good reviews and this resulted in more touring and a gig at the North Sea Jazz Festival in 2004.

Between 2005-2010, Edgar was also a member of ‘the Young Sinatras’, a small bigband with vocalist Paul van Kessel in the frontline. The band played extensively in Holland and abroad and was a popular act in clubs and on festivals. The band was moving from being primarily a Sinatra tribute band to a more modern sounding band. This transition was marked by the release of the ‘This Day’ album in 2008. The album had covers of pop songs, a few jazz standards and some original compositions, one of them being ‘Harlem Walk’ by Edgar. ...

Dieses Album enthält kein Booklet