Blue Lines Sextet (English)

'Good music should be round and must have everything life has; it has animals, it has people, it has events, it has politics, it has religion, everything' - Steve Lacy

* The BLUE LINES SEXTET  presents a dynamic mix of 'throbbing’ swing, nomadic neo-lyricism, sonic investigations, crunchy harmonies, urban sounds and improvisations according to unwritten laws. Also phonic fantasies, warm ballads, vibrating melodies and interim scores are used in a situational manner.

Says the Blue Lines Trio, which is the basis of the Sextet. In 2012, Raoul van der Weide (contrabass, crackle box, sound objects) formed this trio with George Hadow (drums) and Michiel Scheen (piano). After completing their debut CD in 2014 (Casco 002), they now expanded their lineup with three versatile, unique and alert musicians Ada Rave, Bart Maris and Wolter Wierbos.

Press quotes on the CD ‘Live at the BIMHuis’ (2017): “… there is a touch of genius about this CD … a highly individual and inventive album … exceptionally modest musicians, who don’t seem to realise how good they are …  versatile switching between structure and freedom, with profound knowledge of the tradition … they constantly test the elasticity of the material … supportive arrangements and crackling improvisational interaction … attentive and resourceful personalities … they prioritize the collective result, with compact, clear and to the point improvisations … the simmering version of Haden’s ‘Silence’ features hypnotic work of the horns … they continuously follow each other closely and are engaged in a spirited dialogue ... the constant quest of the sextet for optimum interplay can be labelled as a true success … “

Also as for the trio, Scheen writes most of the compositions and arrangements, work that internationally has been called “post-Monk, post- Mengelberg, even”. 

For decades, Maris, Scheen, Van der Weide and Wierbos worked within leading formations in improvised music. For example with Maarten Altena, Guus Janssen, Misha Mengelberg, Paul Termos and many international ensembles. Ada Rave and George Hadow are examples of a new generation of improvisers who recently enrich the Netherlands’ music scene.

Ada Rave/sopranosax & tenorsax, clarinet + preparations
Bart Maris/trumpet, pocket trumpet, cornet, bugel
Wolter Wierbos/trombone
Michiel Scheen/piano, compositions, arrangements
Raoul van der Weide/contrabass, crackle box, sound-objects, compositions
George Hadow/drumsms

Look here for a concert of the Blue Lines Sextet at the Pletterij in Haarlem on February, Saturday 16th, 2019.


* AGENDA

2019 
Saturday, February 16 - Blue Lines Sextet - de Pletterij, Haarlem - 20:30hrs
Sunday February 17 - Blue Lines Sextet - BIMhuis, Amsterdam - 20:30hrs
Wednesday February 20 - Blue Lines Sextet - Stichting Jazz in Groningen, Brouwerij Martinus, Groningen - 20:30hrs

2017
April 22 - Blue Lines Sextet - CD launchparty - Splendor, Amsterdam - 20:30u

2016
January 2 - Blue Lines Sextet - Bimhuis, Amsterdam - 20:30u
February 20 - Blue Lines Sextet - Plusetage, Baarle Nassau - 20:30u



* LINKS
Here the livestream audio from the concert at the BIMhuis at Januaru 2nd, 2016. 
And here the Bandcamp-site of  Blue Lines with also the CD "The Blue Lines Sextet - Live at the BIMhuis".


* CONTACT
Send Raoul an email.
Send Michiel an email.
Send George an email.



* REVIEWS 

Guy Peters - www.enola.be

While the majority of concert halls and theaters are still closed, the Bimhuis understands that this is the ideal time to put on live music. So, on to Amsterdam, where an XL version of the Dutch Blue Lines Trio was waiting for us in the New Year's concert in 2016 .

The Bimhuis is also the place where pianist Michiel Scheen, bassist Raoul van der Weide and drummer George Hadow recorded their debut record in 2014. That album offered a very successful combination of lyricism with barbs, dribbling improvisations, slightly crooked swing, Monk-like interventions and of course a little humor. Dutch through and through, yet again with its own face. So, we should be curious how the band would sound with additional people as Bart Maris (trumpet), a heavily pregnant Ada Rave (tenor sax ) and Wolter Wierbos (trombone).

The answer came quickly: the character had been preserved, but the sound was richer. The Blue Lines Trio may not (yet) be such a well known name, it is now indeed a well-oiled formation in which the three musicians with personality engage in an extensive work experience. Drummer George Hadow - still only 23 years old! – stands out, and certainly is not inferior to his more experienced colleagues. He plays light and swinging where it should, with a slightly anarchic Bennink key where possible, and is a crucial link in the closeness of the trio.

It also ensured that the horn players were actually placed in a luxury position, which they used to the max especially in the more open second set. With extensive solo time, extended techniques and ever-changing sub-groups they could comment on trio, but also cross, thicken or assume the role of a sometimes wrenching and transverse interlocutor. The concert, lasting for a total of more than 100 generous minutes, excelled in variety and constantly moving relationships, in which nobody really was dominant, but where everyone's contribution was equal.

So it was striking that the two sets differed quite strongly. The first contained more composed material, and therefore was more compact and accessible. For example the crashing and stumbling piece as "Solid ", with its flashy, bop-like patches and start/stop dynamics, with powerful digressions, fast runs, swift swing came all over you in a bouncing, salutary gulp. From “Mood Indo", an amusing twist of the Ellington classic, the emphasis lay more on partial fractions and was peaked by a quartet with Rave as an excellent, ripping soloist.

A highlight: a precious version of Charlie Haden's "Silence", with widely spread sound-effects from soloist Maris, counterpointed by isolated and desolate harmonies by Scheen, which led to moments of stunning melancholy. The shuffling conjunction of horns - with again, of course, a host of distinctive sounds from Wierbos - caused a barely suppressed emotion. And before you knew it, the first set ended and you found yourself experiencing tumbling teamwork, freely and loose musicianship, but with a diverse consistency as an underlying principle.

The second set had a different nature. The contours of the pieces blurred, influences were less emphasized and the balance shifted slightly more towards improvisation, the free game domain. Compositions were not announced, they just trotted around each other. A lighthearted bossa was connected to New Orleans influences by Maris, in a series of impulsive moments. A "who does what? "- moment occurred and the voltage disappeared, but in the end, the meandering route led to new creative solutions.

Van der Weide de-tuned the strings of his contrabass to a heavy, ominous growl, put stuff between the strings, used dishes, a bow and his familiar ‘crackle box’. An eccentric color range, but no gratuitous freak show. The musicians played with too much focus to lose their path. Nice ripping sections alternated with lyrical themes, the trio was challenged by the horns and ultimately the usually cautious playing Scheen went into a powerful, almost bombastic surging euphoria; to then disappear into the belly of the piano while his companions explored just as eagerly. It led to the clever final of a versatile and tasty menu which was rightly greeted very enthusiastically by the nicely filled concert hall. 
Overall, an excellent start to the year for band, BIMhuis and visitors.


Andrew Hamilton - The Wire

Live at the Bimhuis is very Dutch in ethos. That implies an anarchistic, irreverent, absurdist wit, improvisational freedom, and theatrical presentation – something to do with the Netherlands being (along with Britain) the 17th century home of liberty.
There's a touch of genius about thise highly individual and inventive album. A lot of compositions and arrangements are made by pianist Michiel Scheen. It's not surprising you've not heard of him – he hides his light under a bushel, and during the last decade, disappeared from the scene altogether for three years. Scheen isn't just a musician's musician – he's a musician's musician's musician. He studied with Misha Mengelberg at Amsterdam's Sweelinck Conservatory, and his work has been described as "post-Monk, post-Mengelberg".  Replacing Guus Janssen in the Maarten Altena Octet, he joined the Blue Lines Trio in 2012 with founder Raoul van de Weide (bass) and George Hadow (drums). It was the resourceful bassist who got Scheen “out of the shadows” that year.

"I think up musical sketches that lead to improvisations, and George and Raoul make it a gesamtwerk [complete work]", Scheen comments. That leads us to an essential factor in their music – structure against freedom. Often plangent, groove-based thematic material is juxtaposed with passages or tracks of free improvisation. 

For Live at the BIMhuis the Trio becomes a Sextet, with Ada Rave (tenor saxophone), Bart Maris (trumpets) and Wolter Wierbos (trombone). Scheen wrote six tracks – the remainder are free improvisations, plus two jazz standards by Haden and Mingus.

They interpret Haden’s “Silence”, one of his most intriguing creations, not quite with the usual stately melancholy – there is a hint of the absurd in the wavering vibrato. Mingus's "Goodbye Pork Pie Hat" – his tribute to Lester Young - also gets a maverick interpretation, with the theme stated only at the end.

These are exceptionally modest musicians. I'm not sure they realise how good they are. 


Jacques Los - weblog Draaiomjeoren

In addition to the 540-545 improvisations, the Blue Lines Sextet's CD consists of compositions by Michiel Scheen, 'Goodbye Pork Pie Hat' by Charles Mingus and 'Silence' by Charlie Haden. The last two are (coincidentally?) bassists.
From the first track, entitled 'Chop', the concept is presented: a continuous, compact, cautious and accurate collective improvisation. Only rarely that concept is interrupted by melodic interplay in the compositions of Haden, Mingus and a single piece of Scheen.
Free jazz characteristics are prominent and dominant on this CD: free solo improvisations and ditto collective passages. The serene 'Silence' however, features trumpeter Bart Maris, who solos subdued and mourning. Then saxophonist Ada Rave and trombonist Wolter Wierbos, together with Maris, jointly conclude the lamentation. Interaction is essential in the group's concept and, based on mostly concise musical information, both the horns and the rhythm section - pianist Michiel Scheen, bassist Raoul van der Weide and drummer George Hadow - display extreme concentration and open ears.

Both in the compositions of Scheen and the six improvisations, the collective approach to improvisation is a constant quest of the sextet for ‘perfect’ interplay. The team proves to be quite successful in that. The musicians' capabilities provide a strong collaboration.
Scheen’s composition 'Stumble' is an exception, in which the subtle and spatial conjunction of the ensemble is replaced by violent and powerful musical interruptions. The name says it, right?


Brian Marley - London Jazz News

Although jazz is a language spoken internationally, regional variations abound. Here we have Dutch, known for its theatrical elements, a tendency to subject musical structure and form to loving abuse, and, of course, humour. That’s not to say it’s not a serious undertaking.

Raoul van der Weide (double bass, crackle box, found objects), George Hadow (drums) and Michiel Scheen (piano) comprise the Blue Lines Trio which, on Live at the Bimhuis, is augmented by Ada Rave (saxophones, clarinet) Bart Maris (trumpets, cornet, bugle) and Wolter Wierbos (trombone).

Apart from two pieces from jazz repertory – Silence by Charlie Haden and Goodbye Pork Pie Hat by Charles Mingus, the theme of which is sneaked up on from behind artfully woven thickets of free improvisation – all compositions are by Scheen, and they tend to be collected into small suites with sequentially numbered improvisations. Four of these pieces – Solid, Idols, Stumble and Sigh) can also be found on the trio’s 2014 recording.

Scheen’s playing contains elements of Guus Janssen and the late Misha Mengelberg, both of whom drew inspiration from Thelonious Monk’s jabbing style of pianism and his love of a well-placed dissonance to spice up the music, but he’s his own man, a superb improviser who never overplays his hand.

In fact, a certain pithiness is characteristic of 'Live at the Bimhuis'. Of the reed and horn players in the sextet, the fruity tone and exuberant exclamations of Wolter Wierbos stand out, but, quite frankly, they all shine brightly.

Herman te Loo - Jazzflits

Over a year ago, the Blue Lines Trio invited three guests to a performance at the Bimhuis. The recently released CD 'Live At The Bimhuis' proves that it was a tremendous plan. The debut album of the Blue Lines Trio from 2014 made clear that pianist Michiel Scheen, as the main composer/arranger of the two ensembles, shows much more musical expressiveness than the amount of his concert appearances would suggest. With subtle drummer George Hadow and bassist Raoul van der Weide (founder of the Blue Lines Trio and one of the key figures of the Amsterdam improv scene), they forme a tasteful, intelligent and imaginative trio.

The addition of trumpeter Bart Maris, trombonist Wolter Wierbos and saxophonist Ada Rave yields more than a trio with guests. Scheen wrote some clever compositions for this new combination. In addition, the music tastes like the work of Dutch impro composers such as Guus Janssen, Maarten Altena and Paul Termos.

The opening track, 'Chop', could have easily been made by Janssen. But Scheen is too willful to be just a pure follower of the above three. In the roaring 'Solid' he takes his hat off to Charles Mingus, returning later in a reinterpretation of "Goodbye Pork Pie Hat". Among the compositions of the  pianist (and the wonderful 'Silence' by Charlie Haden) six improvisations are sandwiched in.

It is even more clear why the Trio specifically chose these musicians: each with a completely unique, recognizable sound, but especially inclined to prioritize the collective result. The improvisations (each with a number) are compact, clear and to the point.

Ken Waxman - Jazzword.com

Although the CD was recorded in Amsterdam, only half the band is Dutch: leader and chief composer pianist Michael Scheen, trombonist Wolter Wierbos and bassist Raoul van der Weide. Drummer George Hadow is British, trumpeter Bart Maris Belgian and saxophonist Ada Rave Argentinean.

Ranging over 14 tracks at a live gig, the Blue Lines Sextet makes a demarcation between six improvisations and the compositions, an equal number of which are composed by the pianist. More asides than full-fledged sequences, the designated improvisations are most notable for providing showcases for Maris’ graceful trumpet grooves. More substantial, Scheen’s compositions are dramatic and dynamic, making full use of multi-layer concepts available from about four generations of improvisers. Both melancholy and multiphonic, “Idols” for instance mixes a vague soundtrack-like feel with solos from Wierbos, Rave and Maris before suddenly stopping, as from a theatrical cue. Driven by piano fills, “Groove” is just that as far as the rhythm section is concerned, although the horn parts are more outside. Featuring brassy growls, honking reed outbursts and Wierbos’ plunger work, the piece is kept upright through constant, capacious piano chording.

Balancing the more outré motifs with stacked horn lines which take on jam-session extensions on some tracks, the Blue Lines offer a broad range, but seem to lack focus a bit. The creations are also unstructured enough, so that on “Stumble” for example, fluent altissimo cries from the reedist can be completed by cascading piano chords which appear to be half theatrical and half-burlesque and presage the subsequent improvisation. While the concluding “Sigh” may be low-energy on purpose, its mainstream-orientation not only completes the set, but relates back to ideas expressed in the introductory “Chop”.

Overall this CD can be heard to note how skillfully a sextet can be deployed.


Bruce Lee Gallanter - Downtown Music Gallery

The Blue Lines Sextet is a collective, based on the Blue Lines Trio, that bassist Raoul van der Weide founded in 2012. Pianist Michiel Scheen is the main contributor of compositions and arrangements. I know of Mr. Scheen from the work he has done with Maarten Altena and Butch Morris. Longtime ICP trombonist, Wolter Wierbos, is another busy player who has worked with many: Available Jelly, Sean Bergin and Frank Gratkowski. Trumpeter Bart Maris has worked with 1000 (3 CDs) and prog bands: Univers Zero and Blast. Even the two rhythm team members (George Hadow on drums and Van der Weide) are relatively familiar having both worked by American-born, Amsterdam-based saxist John Dikeman.
Michiel Scheen wrote half of the fourteen pieces here, the rest of which are improvs plus a couple of striking covers by Charles Mingus and Charlie Haden. It is often hard to tell the written pieces from the group improvs since both seem to move in unexpected ways. Each time we get a grip on a certain fixed point or charted section, the sextet erupt. Mr. Scheen has written some interesting music here which often starts one way then suddenly switches direction.

There is a haunting, simmering version of Charlie Haden’s “Silence”, which features some hypnotic horn work from all three frontline brass and reed players. Whether playing charts or not, you can tell that this sextet’s members are listening closely and engaging in tight, spirited dialogue. The version of Mingus’ classic “Goodbye Pork Pie Hat”, is stretched out with selective free sections added, adding some mystery to what we think will happen with this familiar song.

What I like most about this disc is the seamless way that most of the pieces unfold, impossible to tell the written from the unwritten segments.