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Warm to the Touch

Vinsent Planjer

Warm to the Touch

Price: € 17.95
Format: CD
Label: Kepera Records
UPC: 0608917472721
Catnr: KEPERA 74727
Release date: 19 April 2024
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Label
Kepera Records
UPC
0608917472721
Catalogue number
KEPERA 74727
Release date
19 April 2024

"... Many previously overheard shades between meditative internalization and exuberant joy of playing, between tenderness and gripping coarseness, between subtle wit and artistic seriousness can be presented here in their natural state..."

jazzfun, 21-4-2024
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Artist(s)
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About the album

WARM TO THE TOUCH is the recorded result of my labor-of-love-project that is all about creating connections between my percussion instruments and as many other instruments as possible. In order to create a strong sense of closeness and intimacy, these connections are made with one, and sometimes two, instruments at a time, so each track is either a duet or a trio. My musical partners in this adventure are nothing short of the top players in Dutch classical music and jazz. This high level of skill is essential because the compositions are challenging, both technically and in terms of musical choices. The performance of music in the unusual combination of percussion and melodic instrument has no standard approach. What’s more, I have insisted on some degree of improvisational input from each musical partner, which for some is not within their natural comfort zone. The result is a collection of eight highly diverse pieces, showcasing a broad range of interests and inspirations.

Throughout my career as a performing musician, I have focused on using percussion to evoke a multitude of moods and emotions, from meditative to exuberant, tender to aggressive, humorous to dead serious. The underlying idea is the belief that (non-melodic) percussion can communicate the entire spectrum of musical experiences.

There is an element of emancipatory drive in this, as percussion is often still seen as support/ accompaniment/embellishment rather than the core of the music itself. A powerful illustration of this is the audience comment I received recently after a concert: “the way you play percussion, it’s truly an instrument.” This drive for emancipation is also a significant reason for choosing very small ensembles; this immediately makes it clear that the players are equal communication partners. Because, ultimately, communication is what matters most in the performance of these pieces.

In my compositions, as a writing percussionist, I also have a point to make. The pieces explore all expressive possibilities of percussion, from aesthetically melodic to groove-driven rhythmic elements, always looking for a meaningful synergy with the other player’s instrument. This synergy often involves playing the instruments in rhythmic unison, creating an entirely new overall sound. If at times the listener has difficulty distinguishing the individual instruments, then I consider this a job well done. The inspiration for the compositions comes from various sources: a lot of Shostakovich, but also Messiaen, Debussy, Berio— the form of a series of solo compositions for all instruments, as in the case of Luciano Berio’s Sequenzas, is a strong inspiration. Persian classical music, Jazz, Pink Floyd, and the American Drum Line group Carolina Crown also contribute to my diverse palette of inspirations.

I have set myself the task of creating a set of musical pieces that bring out the best in the instruments but also showcase some unexpected qualities of those instruments. And of course, rhythm plays an important role, specifically in two ways. First, there is the pursuit of rhythmic aesthetics; beautiful rhythmic sections can be found in the pieces. So, not ‘interesting’ or ‘propulsive’ or ‘exciting,’ but ‘beautiful.’ Typically, this form of rhythm occurs at a distinctly primitive level in Western classical music, so there is still much to be gained. Second, there is groove (the propulsive element). Groove never happens in the notes, only in the performance, and is a rarity in Western classical music. I feel I have succeeded in getting classical musicians to truly get into the groove on this recording.

Whether I am playing or writing, I always feel a strong link between music-making and storytelling, so I try to give the pieces a sense of narrative, like the unfolding of a plot. In some of the tracks on this album the narrativity is very clear (at least, to me), but of course I gladly leave it to the listener to interpret this in their own way.
WARM TO THE TOUCH ist das Ergebnis meiner Arbeit an einem Projekt, bei dem es darum geht, Verbindungen zwischen meinen Perkussionsinstrumenten und so vielen anderen Instrumenten wie möglich herzustellen. Um ein starkes Gefühl von Nähe und Intimität zu erzeugen, werden diese Verbindungen mit jeweils einem, manchmal auch zwei Instrumenten hergestellt, so dass jeder Track entweder ein Duett oder ein Trio ist. Meine musikalischen Partner in diesem Abenteuer sind die besten Musiker der niederländischen klassischen Musik und des Jazz. Dieses hohe Niveau ist unabdingbar, denn die Kompositionen sind sowohl technisch als auch in Bezug auf die musikalische Auswahl anspruchsvoll. Für die Aufführung von Musik in der ungewöhnlichen Kombination von Schlagzeug und Melodieinstrument gibt es keinen Standardansatz. Außerdem habe ich darauf bestanden, dass jeder musikalische Partner ein gewisses Maß an Improvisationen beisteuert, was für einige nicht zu ihren natürlichen Fähigkeiten gehört. Das Ergebnis ist eine Sammlung von acht sehr unterschiedlichen Stücken, die ein breites Spektrum an Interessen und Inspirationen widerspiegeln.

Während meiner gesamten Laufbahn als Musiker habe ich mich darauf konzentriert, mit Schlagzeug eine Vielzahl von Stimmungen und Emotionen hervorzurufen, von meditativ bis überschwänglich, von zärtlich bis aggressiv, von humorvoll bis todernst. Dahinter steht die Überzeugung, dass (nicht-melodische) Perkussion das gesamte Spektrum musikalischer Erfahrungen vermitteln kann.

Darin liegt ein emanzipatorisches Element, denn Schlagzeug wird oft noch als Unterstützung/Begleitung/Verzierung und nicht als Kern der Musik selbst gesehen. Eine aussagekräftige Illustration dafür ist der Kommentar des Publikums, den ich kürzlich nach einem Konzert erhielt: "So wie Sie Schlagzeug spielen, ist es wirklich ein Instrument". Dieses Streben nach Emanzipation ist auch ein wesentlicher Grund für die Wahl sehr kleiner Ensembles, denn dadurch wird sofort klar, dass die Spieler gleichberechtigte Kommunikationspartner sind. Denn letztlich ist die Kommunikation das Wichtigste bei der Aufführung dieser Stücke.

In meinen Kompositionen habe ich als schreibender Schlagzeuger auch ein Anliegen. Die Stücke erforschen alle Ausdrucksmöglichkeiten des Schlagzeugs, von ästhetisch-melodischen bis hin zu groovebetonten rhythmischen Elementen, immer auf der Suche nach einer sinnvollen Synergie mit dem Instrument des anderen Spielers. Diese Synergie beinhaltet oft, dass die Instrumente im rhythmischen Gleichklang gespielt werden, wodurch ein völlig neuer Gesamtklang entsteht. Wenn der Zuhörer manchmal Schwierigkeiten hat, die einzelnen Instrumente zu unterscheiden, dann betrachte ich das als gut gemachte Arbeit. Die Anregungen für die Kompositionen kommen aus verschiedenen Quellen: viel Schostakowitsch, aber auch Messiaen, Debussy, Berio - die Form einer Serie von Solokompositionen für alle Instrumente, wie im Fall von Luciano Berios Sequenzas, ist eine starke Inspiration. Klassische persische Musik, Jazz, Pink Floyd und die amerikanische Drum-Line-Gruppe Carolina Crown tragen ebenfalls zu meiner vielfältigen Inspirationspalette bei.

Ich habe es mir zur Aufgabe gemacht, eine Reihe von Musikstücken zu schaffen, die das Beste aus den Instrumenten herausholen, aber auch einige unerwartete Qualitäten dieser Instrumente zur Geltung bringen. Und natürlich spielt der Rhythmus eine wichtige Rolle, und zwar in zweierlei Hinsicht. Erstens geht es um die rhythmische Ästhetik; in den Stücken finden sich schöne rhythmische Abschnitte. Also nicht 'interessant' oder 'treibend' oder 'aufregend', sondern 'schön'. Typischerweise kommt diese Form des Rhythmus in der westlichen klassischen Musik auf einem ausgesprochen primitiven Niveau vor, es gibt also noch viel zu gewinnen. Zweitens gibt es den Groove (das treibende Element). Der Groove kommt nie in den Noten vor, sondern nur in der Darbietung, und ist in der westlichen klassischen Musik eine Seltenheit. Ich habe das Gefühl, dass es mir gelungen ist, klassische Musiker dazu zu bringen, bei dieser Aufnahme wirklich in den Groove zu kommen.

Ob ich nun spiele oder schreibe, ich fühle immer eine starke Verbindung zwischen dem Musizieren und dem Erzählen von Geschichten, also versuche ich, den Stücken einen Sinn für die Erzählung zu geben, wie die Entfaltung einer Handlung. Bei einigen Stücken auf diesem Album ist die Erzählweise sehr klar (zumindest für mich), aber natürlich überlasse ich es gerne dem Hörer, dies auf seine eigene Weise zu interpretieren.

Artist(s)

Vinsent Planjer (drums)

Jazz drummer VINSENT PLANJER graduated from the Royal Conservatory in 2001. His final exam stood out because it only consisted of his own compositions. Since then, he has turned into a highly sought after accompanist of jazz soloists at the Dutch music venues and festivals. He is also increasingly involved in producing, developing and organizing artistic endeavours. He plays an important role in the concert series of The Hague Ethospheric Orchestra, which has been performing with the absolute top of the national jazz for the last couple of seasons. | BROADENING HIS PLAYING FIELD As a member of the Rembrandt Frerichs Trio, Planjer has developed into a leading exponent on his instrument, to be seen at many music venues in...
more
Jazz drummer VINSENT PLANJER graduated from the Royal Conservatory in 2001. His final exam stood out because it only consisted of his own compositions. Since then, he has turned into a highly sought after accompanist of jazz soloists at the Dutch music venues and festivals. He is also increasingly involved in producing, developing and organizing artistic endeavours. He plays an important role in the concert series of The Hague Ethospheric Orchestra, which has been performing with the absolute top of the national jazz for the last couple of seasons. | BROADENING HIS PLAYING FIELD As a member of the Rembrandt Frerichs Trio, Planjer has developed into a leading exponent on his instrument, to be seen at many music venues in the Netherlands and far beyond. His sound is appreciated for its sophistication and at times melodic approach. As a co-project owner of The Contemporary Fortepiano, in which members of the Rembrandt Frerichs Trio use historical instruments, he paves the way for broadening his playing field. Planjer plays the self-designed and built whisperkit. With this line-up, Planjer is increasingly seen at classical music venues and festivals.

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Liza Ferschtman (violin)

Dutch violinist Liza Ferschtman is known for her passionate performances, interesting programs and communicative qualities on stage. She is equally at home on the concert stage with concertos, chamber music, recitals and solo works. In 2006 she received the highest accolade awarded to a musician in the Netherlands, the Dutch Music Prize. Born into a family of Russian musicians, Liza Ferschtman was constantly surrounded by music. One of her earliest major influences was the violinist Philipp Hirschhorn, a close family friend. She received her formal training from Herman Krebbers at the Amsterdam Conservatory, Ida Kavafian at the Curtis Institute in Philadelphia and David Takeno in London. In recent years Liza Ferschtman has performed with all significant Dutch Orchestras, including the Royal Concertgebouw and...
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Dutch violinist Liza Ferschtman is known for her passionate performances, interesting programs and communicative qualities on stage. She is equally at home on the concert stage with concertos, chamber music, recitals and solo works. In 2006 she received the highest accolade awarded to a musician in the Netherlands, the Dutch Music Prize.
Born into a family of Russian musicians, Liza Ferschtman was constantly surrounded by music.
One of her earliest major influences was the violinist Philipp Hirschhorn, a close family friend. She received her formal training from Herman Krebbers at the Amsterdam Conservatory, Ida Kavafian at the Curtis Institute in Philadelphia and David Takeno in London.
In recent years Liza Ferschtman has performed with all significant Dutch Orchestras, including the Royal Concertgebouw and the Rotterdam Philhamonic. She has been soloist of the Orchestre National de Belgique, European Union Youth Orchestra, Yomiuri Nippon Orchestra, Malaysian Philharmonic, Schleswig-Holstein Festival Orchestra, Bremen Philharmonic, Radio Symphony Orchestra of Prague, Malmö Symphony, and Bergen Philharmonic. Conductors she has worked with include Stephan Blunier, Frans Bruggen, Christoph von Dohnanyi, Claus Peter Flor, Neeme Järvi, Yakov Kreizberg, Zdenek Macal, Jun Maerkl, Gianandrea Noseda, Marc Soustrot, Leonard Slatkin, Thomas Sondergard, Karl-Heinz Steffens, Mario Venzago and Jaap van Zweden.
An avid chamber musician, Ms. Ferschtman has collaborated regularly with artists such as Inon Barnatan, Jonathan Biss, Nobuko Imai, Elisabeth Leonskaja, Enrico Pace, Christian Poltera, Lars Anders Tomter and Alisa Weilerstein. In addition to appearances at numerous international Chamber Music festivals, she has performed at venues such as the Alice Tully Hall in New York, the Library of Congress in Washington, Wigmore Hall in London, the Brahms Saal at the Vienna Musikverein, as well the Concertgebouw in Amsterdam.
Liza Ferschtman has been the artistic director of the Delft Chamber Music Festival since 2007, one of the reputable festivals in Europe. During her tenure the festival has become widely known for adventurous programming with dynamic performances by artists from around the globe.
Highlights in the past season were the performance of the complete solo works by Bach in Amsterdam and a concert tour to Budapest, Amsterdam, New York and Montréal with the Budapest Festival Orchestra. Playing under the baton of Iván Fischer, Ms. Ferschtman received outstanding reviews for her rendition of Bernstein's "Serenade" with this orchestra.
During the current season Liza Ferschtman is scheduled to make her debuts with the BBC National Orchestra of Wales and the London Philharmonic Orchestra, the Philharmonic Orchestra of Essen, the Staatskapelle Weimar and the Flanders Symphony Orchestra. She will perform chamber music at the Liederhalle in Stuttgart and the Beethoven Haus in Bonn and will be present in the Netherlands with several recitals.
Ms. Ferschtman's recording of the Beethoven Concerto and Romances was received with great critical acclaim, as well as her other recordings with concertos by Dvorak, Röntgen, solo works by Bach and Ysaye, (STRAD CD choice of the month), and duo works by Beethoven and Schubert. Her next CD will be solo works by Bach, Biber, Bartok and Berio (Challenge Classics).

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Tony Overwater (bass)

TONY OVERWATER is one of the most notable Dutch bass players. He is a versatile musician, composer, soloist, band leader and supervisor in the Netherlands and far beyond. He graduated with honors from the Royal Conservatory in The Hague. He won the VPRO / Boy Edgar Prize, the Podium Prize, and an Edison. He worked with extraordinary musicians, including Karin Hammar, Yuri Honing, Pat Metheny, David Murray, Paolo Fresu, Eric Vloeimans and many others. Overwater is also known as an expert organizer. During his time at the conservatory, he founded the Jazz in Motion Foundation and the accompanying record label. | DIFFERENT FORMATIONS Overwater shares his passion for jazz, Arabic music and baroque music with the other members of the...
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TONY OVERWATER is one of the most notable Dutch bass players. He is a versatile musician, composer, soloist, band leader and supervisor in the Netherlands and far beyond. He graduated with honors from the Royal Conservatory in The Hague. He won the VPRO / Boy Edgar Prize, the Podium Prize, and an Edison. He worked with extraordinary musicians, including Karin Hammar, Yuri Honing, Pat Metheny, David Murray, Paolo Fresu, Eric Vloeimans and many others. Overwater is also known as an expert organizer. During his time at the conservatory, he founded the Jazz in Motion Foundation and the accompanying record label. | DIFFERENT FORMATIONS Overwater shares his passion for jazz, Arabic music and baroque music with the other members of the Rembrandt Frerichs Trio. With this trio, he began playing the violone; a 6-string bass instrument from the Baroque era, predecessor of the double bass. Overwater has been playing with the trio Jungle Boldie for over twenty years, with Maarten Ornstein on reeds and drummer Wim Kegel. This close formation formed the basis for a number of original projects, such as Far East Revisited with the Calefax Reed Quintet and the CD ‘OP’ with Ack van Rooyen and Ernst Reijseger, which received an Edison. Inspired by working with Lebanese singer Rima Khcheich, Tony Overwater developed a new style of playing on the double bass, incorporating the techniques and scales of Arabic music into a unique style. Working with various other bands and musicians, they form a much sought after attraction at festivals in the Middle East and Europe. Music for children has always had a special place in the heart of Overwater. He sees it as his mission to bring jazz and acoustic music of quality to the attention of kids. After the project Kikker Swingt! (Frog Swings!) with Max Velthuijs, he developed various other music shows together with singer-songwriter Lotte van Dijck. | PROJECT ORGANIZATION AND DOCUMENTARY MUSIC Being an architect’s son, Tony Overwater has a fascination for the visual aspects of music. In addition to writing music for various films, documentaries and dance shows, he and Joshua Samson initiated the ‘Guarder of the Key’ Project. A location-based concert, taking place on a set day of the month. Each time the performance is held at a different, secret, location and always with a different guest. The interaction between architecture, environment, music, musicians and the audience makes this special small-scale project a unique experience. Overwater recorded the music for the documentary Om de Oude Wereldzee about Abraham Kuyper, combining his expertise and affinity with Arabic music and classical European music.


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Rembrandt Frerichs (piano)

REMBRANDT FRERICHS is a Dutch pianist and composer. As a student, he received a scholarship from the Excelling Young Musicians Fund, to study at the New York Conservatory. He graduated with honors from the jazz department of the Royal Conservatory in The Hague. | INFLUENCES He debuted at the North Sea Jazz Festival aged 22, and worked with saxophonist Michael Brecker, who said about him, “This guy sounds great!” Rembrandt plays in various of his own ensembles, such as the Rembrandt Frerichs Trio and Levantasy. His sound is characterized by influences of Arabic music and baroque music, which stand next to the American jazz tradition. His special style and use of instruments has not remained unnoticed: in 2016 the Foundation...
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REMBRANDT FRERICHS is a Dutch pianist and composer. As a student, he received a scholarship from the Excelling Young Musicians Fund, to study at the New York Conservatory. He graduated with honors from the jazz department of the Royal Conservatory in The Hague. | INFLUENCES He debuted at the North Sea Jazz Festival aged 22, and worked with saxophonist Michael Brecker, who said about him, “This guy sounds great!” Rembrandt plays in various of his own ensembles, such as the Rembrandt Frerichs Trio and Levantasy. His sound is characterized by influences of Arabic music and baroque music, which stand next to the American jazz tradition. His special style and use of instruments has not remained unnoticed: in 2016 the Foundation of the Performing Arts had a fortepiano made specially for Frerichs, which he currently uses for various projects. MUSICIAN, TEACHER & ARTISTIC LEADER Frerichs teaches jazz piano as a main subject at the Tilburg Conservatory, and works as a guest lecturer at the conservatories of Amsterdam, Rotterdam and Utrecht. He is also artistic leader of several cultural fora, such as the Rabo Jazz Festival (Oud-Beijerland), the Waterfront Jazz Club (Almere) and the Regentenkamer (The Hague). | RECOMMENDATIONS His debut CD Self Portrait (2007) was nominated for an Edison Award and was ‘Album of the Week’ on London Jazz Radio. In 2010, Rembrandt Frerichs played in the legendary jazz club Birdland in New York, together with, amongst others, trumpet player Michael Varekamp. That same year, the NRC Handelsblad wrote about him: “Rembrandt makes the story of jazz a richer one”.

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Hermine Deurloo (saxophone)

Hermine Deurloo is an internationally known jazz chromatic harmonica player from Amsterdam. Hermine Deurloo studied saxophone at the Amsterdam Conservatory. At the same time, she taught herself to play the harmonica. She primarily plays jazz but occasionally performs with classical or pop bands. She has performed all over the world and with musicians such as Tony Scherr, Han Bennink, Willem Breuker Kollektief, The Schonberg Ensemble, Candy Dulfer, The Metropole Orchestra. In October 2012, her latest CD, 'Glass Fish' is released by Challenge Records, where Hermine is accompanied by some of the best of the Dutch jazz scene: Tony Overwater, Jesse van Ruller, and Joshua Samson. Previous CD's released by Hermine are 'Crazy Clock' (2005), recorded in New York with...
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Hermine Deurloo is an internationally known jazz chromatic harmonica player from Amsterdam.
Hermine Deurloo studied saxophone at the Amsterdam Conservatory. At the same time, she taught herself to play the harmonica. She primarily plays jazz but occasionally performs with classical or pop bands. She has performed all over the world and with musicians such as Tony Scherr, Han Bennink, Willem Breuker Kollektief, The Schonberg Ensemble, Candy Dulfer, The Metropole Orchestra. In October 2012, her latest CD, "Glass Fish" is released by Challenge Records, where Hermine is accompanied by some of the best of the Dutch jazz scene: Tony Overwater, Jesse van Ruller, and Joshua Samson. Previous CD's released by Hermine are "Crazy Clock" (2005), recorded in New York with producer/guitarist/singer Tony Scherr, who plays with Bill Frisell and Norah Jones; "Soundbite" (2006), produced by Reinder van Zalk from Earforce; "Live in de Tor" (2007) with musicians Jan Wessels, Peter Nieuwerf and Ruud Ouwehand. Hermine played music for many films like recently for the Los Angeles based filmcomposer Austin Wintory, for a film of Amin Matalqua. She's also been a guest solist on many CD's and played with a variety of groups, such as Bennie Sings and The Rigidly Righteous. Hermine has appeared on TV several times, in prime time programs such as "De Wereld Draait Door" and "Klokhuis". In 2011, Hermine was interviewed for the daily news item on RAI 3 in Italy.

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Benjamin Glorieux (cello)

Benjamin Glorieux is a cellist, conductor and composer. As a youngster, and before realizing that he would become a professional musician, he composed 'songs' for a theatre-group he was a member of, worked with choreographers and actors of his hometown as an improvising cellist, and spent hours and hours in his room during private jam-sessions, instead of studying for school or practicing his cello. Now, supported by a solid studying parcours in Brussels, Genève, Köln and the Chapelle Queen Elisabeth, nothing has changed. Instead the love for composers and compositions, the search for sounds and existing or unknown repertoire has only grown to a degree that has made old and contemporary classical music Benjamin's most inspiring incentive. For example, he plays Debussy on gut-strings,...
more
Benjamin Glorieux is a cellist, conductor and composer. As a youngster, and before realizing that he would become a professional musician, he composed 'songs' for a theatre-group he was a member of, worked with choreographers and actors of his hometown as an improvising cellist, and spent hours and hours in his room during private jam-sessions, instead of studying for school or practicing his cello. Now, supported by a solid studying parcours in Brussels, Genève, Köln and the Chapelle Queen Elisabeth, nothing has changed. Instead the love for composers and compositions, the search for sounds and existing or unknown repertoire has only grown to a degree that has made old and contemporary classical music Benjamin's most inspiring incentive. For example, he plays Debussy on gut-strings, performs Brian Ferneyhough's Time and Motion Study with electronics of the 70's, gives regular concerts of the cycle of Bach cello Suites and is a musical partner of jazz-groups such as Rembrandt Frerichs Trio. As a pedagogue, he works regularly with MATRIX Leuven and was invited by Koninklijk Conservatorium Antwerpen as a cello-teacher for specialization in contemporary repertoire.

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Teus Nobel (trumpet)

Tatiana Koleva (marimba)

Ties Mellema (saxophone)

Composer(s)

Vinsent Planjer (drums)

Jazz drummer VINSENT PLANJER graduated from the Royal Conservatory in 2001. His final exam stood out because it only consisted of his own compositions. Since then, he has turned into a highly sought after accompanist of jazz soloists at the Dutch music venues and festivals. He is also increasingly involved in producing, developing and organizing artistic endeavours. He plays an important role in the concert series of The Hague Ethospheric Orchestra, which has been performing with the absolute top of the national jazz for the last couple of seasons. | BROADENING HIS PLAYING FIELD As a member of the Rembrandt Frerichs Trio, Planjer has developed into a leading exponent on his instrument, to be seen at many music venues in...
more
Jazz drummer VINSENT PLANJER graduated from the Royal Conservatory in 2001. His final exam stood out because it only consisted of his own compositions. Since then, he has turned into a highly sought after accompanist of jazz soloists at the Dutch music venues and festivals. He is also increasingly involved in producing, developing and organizing artistic endeavours. He plays an important role in the concert series of The Hague Ethospheric Orchestra, which has been performing with the absolute top of the national jazz for the last couple of seasons. | BROADENING HIS PLAYING FIELD As a member of the Rembrandt Frerichs Trio, Planjer has developed into a leading exponent on his instrument, to be seen at many music venues in the Netherlands and far beyond. His sound is appreciated for its sophistication and at times melodic approach. As a co-project owner of The Contemporary Fortepiano, in which members of the Rembrandt Frerichs Trio use historical instruments, he paves the way for broadening his playing field. Planjer plays the self-designed and built whisperkit. With this line-up, Planjer is increasingly seen at classical music venues and festivals.

less

Press

... Many previously overheard shades between meditative internalization and exuberant joy of playing, between tenderness and gripping coarseness, between subtle wit and artistic seriousness can be presented here in their natural state...
jazzfun, 21-4-2024

... Vinsent Planjer uses a variety of approaches to connect music, insturments and percussion in this laboratory of innovative ideas...
radiorec, 07-5-2024

Music as an art of the here and now, with a surprise behind every barline. And don't forget humor. It's hilarious what a well-aimed roll or tap can do.
De Volkskrant, 18-4-2024

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