Article
Freedom, flexibility and an aversion to boredom: these are the pillars on which the music of pianist and composer Michiel Braam rests. As a kid he listened to symphonic rock on pirate Radio Veronica and to the hardrock of local hero, guitarist Eddie Van Halen. He is now one of the most productive band leaders on the Dutch jazz scene. His mission: make his role as leader as inconspicuous as possible. As a pianist Michiel Braam combines exceptional virtuosity with a playful unpredictability. 'I'm a child of the zap culture, I get bored quickly. If I know what's coming beforehand it's no fun any more.' Important influences are pianists Cecil Taylor, Thelonius Monk and Lenny Tristano, who like Braam moved outside the mainstream while building on the jazz tradition. Braam's infectious dynamic and percussive style is strictly his own. His unexpected, sometimes comic meanderings are never abstract or obtuse, but always rooted in the material. Braam takes you on a wild and surprising journey, but makes sure that you don't get lost. In his role as composer and bandleader Michiel Braam attempts to apply his open playing style to bigger ensembles. He is constantly looking for greater musical freedom. His Trio BraamdeJoodeVatcher has little in common with the traditional piano trio. The musicians are totally equal: bass player and drummer have just as much influence on the direction of the improvisations as the pianist. The 13 piece Bik Bent Braam - for whom Braam is always writing new material - can scarcely be compared with a conventional big band. Braam's material can be introduced by the band members at will, combined or adjusted. Each concert is totally improvised yet totally accessible. Musicians such as Duke Ellington and Charles Mingus serve as inspiration in Braam's striving for an homogenous and personal orchestral sound. Michiel Braam: 'My music isn't about me, it's about the musicians who play it.' Michiel Braam (Nijmegen, the Netherlands, 1964) graduated from the College for the Arts in Arnhem in 1987. He is now coordinator of the Jazz Department there. He founded Bik Bent Braam and Bentje Braam in 1986 and Trio BraamdeJoodeVatcher in 1989. Together with Frans Vermeerssen he leads the sextet All Ears, featuring, among others, Frank Gratowski and Herb Robertson. Michiel Braam has worked with the European Danzón Orchestra, John Engels Flextet, Peggy Larson Band, Globe Orchestra and Bo's Art Trio. Musical collaborators include Louis Sclavis, George Lewis, Benjamin Herman, Theo Jörgensmann, Han Bennink, Michael Moore, Ab Baars, Conrad and Johannes Bauer and Steve Arguelles. He was awarded the Podiumprize for young talented musicians in 1988. In 1997 he received the Netherlands' most important jazz prize: the Boy Edgar Prize
Freedom, flexibility and an aversion to boredom: these are the pillars on which the music of pianist and composer Michiel Braam rests. As a kid he listened to symphonic rock on pirate Radio Veronica and to the hardrock of local hero, guitarist Eddie Van Halen. He is now one of the most productive band leaders on the Dutch jazz scene. His mission: make his role as leader as inconspicuous as possible. As a pianist Michiel Braam combines exceptional virtuosity with a playful unpredictability. 'I'm a child of the zap culture, I get bored quickly. If I know what's coming beforehand it's no fun any more.' Important influences are pianists Cecil Taylor, Thelonius Monk and Lenny Tristano, who like Braam moved outside the mainstream while building on the jazz tradition. Braam's infectious dynamic and percussive style is strictly his own. His unexpected, sometimes comic meanderings are never abstract or obtuse, but always rooted in the material. Braam takes you on a wild and surprising journey, but makes sure that you don't get lost. In his role as composer and bandleader Michiel Braam attempts to apply his open playing style to bigger ensembles. He is constantly looking for greater musical freedom. His Trio BraamdeJoodeVatcher has little in common with the traditional piano trio. The musicians are totally equal: bass player and drummer have just as much influence on the direction of the improvisations as the pianist. The 13 piece Bik Bent Braam - for whom Braam is always writing new material - can scarcely be compared with a conventional big band. Braam's material can be introduced by the band members at will, combined or adjusted. Each concert is totally improvised yet totally accessible. Musicians such as Duke Ellington and Charles Mingus serve as inspiration in Braam's striving for an homogenous and personal orchestral sound. Michiel Braam: 'My music isn't about me, it's about the musicians who play it.' Michiel Braam (Nijmegen, the Netherlands, 1964) graduated from the College for the Arts in Arnhem in 1987. He is now coordinator of the Jazz Department there. He founded Bik Bent Braam and Bentje Braam in 1986 and Trio BraamdeJoodeVatcher in 1989. Together with Frans Vermeerssen he leads the sextet All Ears, featuring, among others, Frank Gratowski and Herb Robertson. Michiel Braam has worked with the European Danzón Orchestra, John Engels Flextet, Peggy Larson Band, Globe Orchestra and Bo's Art Trio. Musical collaborators include Louis Sclavis, George Lewis, Benjamin Herman, Theo Jörgensmann, Han Bennink, Michael Moore, Ab Baars, Conrad and Johannes Bauer and Steve Arguelles. He was awarded the Podiumprize for young talented musicians in 1988. In 1997 he received the Netherlands' most important jazz prize: the Boy Edgar Prize
Data
Born: Nijmegen, The Netherlands, May 17, 1964
Educational: Canisius College 1984 / Conservatory ArtEZ 1988
First concerts: 1978.
Discography: go to Shop
Born: Nijmegen, The Netherlands, May 17, 1964
Educational: Canisius College 1984 / Conservatory ArtEZ 1988
First concerts: 1978.
Discography: go to Shop
Work as pianist
Solo Braam (1974) / Koeltrio (1985) / Fortunato's (1985-1987) / Bentje Braam first edition (1986-1994) / Bik Bent Braam (1986) / Musictheatregroup Spelbeeld (1986-1990) / Two Penguins In The Desert (1987-1997) / European Danzón Orchestra (1988-1997) and - Trio (1995-1997) / Frans Vermeerssen Quartet (1991) / John Engels Flextet (1994-1995) / Peggy Larson Band (1994-1995) / Trio BraamDeJoodeVatcher (1989) / The Four Burrs (1995-1996) / Bentje Braam second edition (1995) / Septet Braam (1995-1996) / Michiel Braam's Wurli Trio (2006) / Nopera (2007)
Ad Hoc with a.o. Han Bennink, Ab Baars, Bernard Berkhout, Jarmo Hoogendijk, Michael Moore, George Lewis, Larry Fishkind, Theo Jörgensmann, Horst Grabosh, Louis Sclavis, Conrad Bauer, Johannes Bauer, Aladar Pege, Iain Ballamy, Martin France, Steve Argüelles, Oren Marshall.
Worked throughout Europe, Indonesia, Uganda, USA, Canada.
Solo Braam (1974) / Koeltrio (1985) / Fortunato's (1985-1987) / Bentje Braam first edition (1986-1994) / Bik Bent Braam (1986) / Musictheatregroup Spelbeeld (1986-1990) / Two Penguins In The Desert (1987-1997) / European Danzón Orchestra (1988-1997) and - Trio (1995-1997) / Frans Vermeerssen Quartet (1991) / John Engels Flextet (1994-1995) / Peggy Larson Band (1994-1995) / Trio BraamDeJoodeVatcher (1989) / The Four Burrs (1995-1996) / Bentje Braam second edition (1995) / Septet Braam (1995-1996) / Michiel Braam's Wurli Trio (2006) / Nopera (2007)
Ad Hoc with a.o. Han Bennink, Ab Baars, Bernard Berkhout, Jarmo Hoogendijk, Michael Moore, George Lewis, Larry Fishkind, Theo Jörgensmann, Horst Grabosh, Louis Sclavis, Conrad Bauer, Johannes Bauer, Aladar Pege, Iain Ballamy, Martin France, Steve Argüelles, Oren Marshall.
Worked throughout Europe, Indonesia, Uganda, USA, Canada.
Work as composer
Chronological, between brackets commissionair and year of publication.
De Parkeermeterfabriek for Big Band (Music Meeting 1986) - De AABA suite for Big Band (Gelderland 1986) - Fortunato's amp; Ontspoord for music theatre (Hof 1986/87) - Zebees, Stuk voor piano amp; ensemble and Annoyed Art for Ereprijs (1986 / 1987 / 1988) - De Straat for choir amp; impro-sextet (Ijselfestival 1987) - Achtervolging for 4 marimba's (Michi marimba 4tet 1987) - De asbak raakt vol, maar de lekken zijn gedicht for bassclarinet (Hein Peijnenburg 1988) - Koeien en beesten for 4 clarinets and piano (NOS 1988) - Eet smakelijk!, Wat heb je zelf in de hand? en Met Gemengde gevoelens for Bentje Braam (1988/1989/1990) - Metamorfose for piano (Musictheatre Spelbeeld 1989) - Het wrede bestaan van een triangelaar for Big Band (1989) - Zazatjboem for bassclarinet amp; percussion (Tandem 1990) - Het voorchrift for 12 musicians (W.I.M. 1990) - Opera 'Pias en Akki' for 2 keyboards (Deventer 1991) - Mozart of zoiets for 14 exprovisors en 4 improvisors ( 1991) - Frslt for Orchestra (Volharding 1992) - 9 Stukken for Bentje Braam plus 4 clarinets (Kunsthuis 13 Velp 1992) - Inktvis for Kladderadatsch (Fanfare vd eerste liefdesnacht 1992) - Sopraantje, an operette for Zang amp; 11 musicians (Hoge School vd Kunsten Arnhem 1993) - Flexitunes for John Engels Flextet (1993) - Levend Blauw for bassclarinet amp; piano (1993) - Blues in Effe Denken for altosax (1994) - Piccolo for Kladderadatsch (Gentse Feesten België 1994) - Neem 7, geef 8, dan 5 for Bik Bent Braam (Bimhuis 1994) - Second Coolbook for Bentje Braam (Birmingham Jazz Engeland 1995) - Het XYZ der BBB for Bik Bent Braam (1995) - Brasilia (arrangement after Loevendie) for Nieuw Ensemble (1995) - Getijden for Septet Braam (NPS Klap op de Vuurpijl 1995) - Jungle Book Suite for Septet Braam (1996) - De toestand, de moord en de achtervolging for Xenakis stringquartet (CNM Middelburg 1997) - Een potje Gershwinnen (arr after Gershwin) for Calefax reedquintet plus Denise Jannah (Calefax 1997) - Verzoeknummers for Bik Bent Braam (1997) - The Hobbit for Calefax plus piano (NPS 1998) - Zwart Wit for Bik Bent Braam (1998) - Tivoccatajanssen (spreek snel uit) for piano (Ivo Janssen 1998) - Worms is Back for piano (Marcel Worms 1998) - Alle 13 goed!! for Bik Bent Braam (1999) - The Hotbooklet for Bentje Braam (1999) Jazzine Jansen for violin (Gaudeamus 1999) - Globe Orchestra for Stg Andere Muziek (1999) - Kwertie for male vocal quartet (Mezzo Macho 2000) - Opbouwende kritiek for 2 turnlyres and accoordion (Appelation Controlee 2000) - Flexplain for Bentje Braam (2000) - Colors for Trio BraamDeJoodeVatcher (2001) - Bik Bent Braam Goes Bonsai (2002) - Foamy Wife Hum for All Ears (2003) - Growing Pains for Bik Bent Braam (2003) - Change This Song for Trio (2004) - 13 Concertos for Bik Bent Braam (2005) - Nopera for 3 singers, trio and stringquartet (2006) - Extremen for Bik Bent Braam (2007).
Several of these compositions are recorded for the albums mentioned in the Shop page and other records by the commissionairs.
Chronological, between brackets commissionair and year of publication.
De Parkeermeterfabriek for Big Band (Music Meeting 1986) - De AABA suite for Big Band (Gelderland 1986) - Fortunato's amp; Ontspoord for music theatre (Hof 1986/87) - Zebees, Stuk voor piano amp; ensemble and Annoyed Art for Ereprijs (1986 / 1987 / 1988) - De Straat for choir amp; impro-sextet (Ijselfestival 1987) - Achtervolging for 4 marimba's (Michi marimba 4tet 1987) - De asbak raakt vol, maar de lekken zijn gedicht for bassclarinet (Hein Peijnenburg 1988) - Koeien en beesten for 4 clarinets and piano (NOS 1988) - Eet smakelijk!, Wat heb je zelf in de hand? en Met Gemengde gevoelens for Bentje Braam (1988/1989/1990) - Metamorfose for piano (Musictheatre Spelbeeld 1989) - Het wrede bestaan van een triangelaar for Big Band (1989) - Zazatjboem for bassclarinet amp; percussion (Tandem 1990) - Het voorchrift for 12 musicians (W.I.M. 1990) - Opera 'Pias en Akki' for 2 keyboards (Deventer 1991) - Mozart of zoiets for 14 exprovisors en 4 improvisors ( 1991) - Frslt for Orchestra (Volharding 1992) - 9 Stukken for Bentje Braam plus 4 clarinets (Kunsthuis 13 Velp 1992) - Inktvis for Kladderadatsch (Fanfare vd eerste liefdesnacht 1992) - Sopraantje, an operette for Zang amp; 11 musicians (Hoge School vd Kunsten Arnhem 1993) - Flexitunes for John Engels Flextet (1993) - Levend Blauw for bassclarinet amp; piano (1993) - Blues in Effe Denken for altosax (1994) - Piccolo for Kladderadatsch (Gentse Feesten België 1994) - Neem 7, geef 8, dan 5 for Bik Bent Braam (Bimhuis 1994) - Second Coolbook for Bentje Braam (Birmingham Jazz Engeland 1995) - Het XYZ der BBB for Bik Bent Braam (1995) - Brasilia (arrangement after Loevendie) for Nieuw Ensemble (1995) - Getijden for Septet Braam (NPS Klap op de Vuurpijl 1995) - Jungle Book Suite for Septet Braam (1996) - De toestand, de moord en de achtervolging for Xenakis stringquartet (CNM Middelburg 1997) - Een potje Gershwinnen (arr after Gershwin) for Calefax reedquintet plus Denise Jannah (Calefax 1997) - Verzoeknummers for Bik Bent Braam (1997) - The Hobbit for Calefax plus piano (NPS 1998) - Zwart Wit for Bik Bent Braam (1998) - Tivoccatajanssen (spreek snel uit) for piano (Ivo Janssen 1998) - Worms is Back for piano (Marcel Worms 1998) - Alle 13 goed!! for Bik Bent Braam (1999) - The Hotbooklet for Bentje Braam (1999) Jazzine Jansen for violin (Gaudeamus 1999) - Globe Orchestra for Stg Andere Muziek (1999) - Kwertie for male vocal quartet (Mezzo Macho 2000) - Opbouwende kritiek for 2 turnlyres and accoordion (Appelation Controlee 2000) - Flexplain for Bentje Braam (2000) - Colors for Trio BraamDeJoodeVatcher (2001) - Bik Bent Braam Goes Bonsai (2002) - Foamy Wife Hum for All Ears (2003) - Growing Pains for Bik Bent Braam (2003) - Change This Song for Trio (2004) - 13 Concertos for Bik Bent Braam (2005) - Nopera for 3 singers, trio and stringquartet (2006) - Extremen for Bik Bent Braam (2007).
Several of these compositions are recorded for the albums mentioned in the Shop page and other records by the commissionairs.
Radio and television
Many appearances for Dutch, German and Belgium broadcasting in several formations; Selected by Dutch radio to take part in the EBU-jazz-festival in Sweden (1987); Several appearances for NOS and VPRO-television (Solo, Bentje Braam en Bik Bent Braam, Frans Vermeerssen Quintet, European Danzón Orchestra); Dutch contribution to European Jazz season EBU 1996 and 1998, both broadcast Europe-wide. A documentary by film-producer Wijnand Honig and cineast Ger Poppelaars and NPS Television on Braam and his work with Bik Bent Braam is broadcast. Concerts, rehearsals and interviews were filmed.
Many appearances for Dutch, German and Belgium broadcasting in several formations; Selected by Dutch radio to take part in the EBU-jazz-festival in Sweden (1987); Several appearances for NOS and VPRO-television (Solo, Bentje Braam en Bik Bent Braam, Frans Vermeerssen Quintet, European Danzón Orchestra); Dutch contribution to European Jazz season EBU 1996 and 1998, both broadcast Europe-wide. A documentary by film-producer Wijnand Honig and cineast Ger Poppelaars and NPS Television on Braam and his work with Bik Bent Braam is broadcast. Concerts, rehearsals and interviews were filmed.
Work as teacher
Head of the Jazz amp; Pop department at the ArtEZ School Of Music, and the Master Programme New Dutch Swing
Head of the Jazz amp; Pop department at the ArtEZ School Of Music, and the Master Programme New Dutch Swing
Awards
Podiumprijs 1988
In 1988 Michiel Braam won the most important Dutch encouragement-award, The Podium Prize. From the jury-remarks:
Braam's record is seen by the jury as being striking and impressive and is the base of the nomination concerning the Podium Prize 1988. It appeals to the jury that Braam moves in the developing and performance of contemporary free forms of jazz and improvisational music; that he does not avoid traditional forms and does not reproduce those forms, but absorbs and integrates them; that he makes a stand against the current ruling thought on splitting musical forms and musicians and that he wants to stop the enemy thinking in Dutch jazz; that he is from within that vision on jazz- and improvisational music also working in other art forms such as theatre. It strikes the jury that because of his attitude and knowledge (personality) Braam radiates a natural leadership that is recognised and accepted, without placing himself in the foreground constantly; that he stimulates fellow musicians and gives others room to demonstrate themselves; that he makes no definite distinction between amateur and professional musicians. 'When Braam plays', a fan remarks, 'he is going to the bottom, lets himself go but is always co-operative to his fellow musicians'. 'He drives up the whole band'. 'Every time he is capable of creating another sphere, which I don't always understand, but every time find fascinating and surprising'. That is what Braam means in an interview when he says that a musician must be capable of transmitting emotions to fellow-musicians and the audience. That is what appeals to the jury when a musician not only says those things, but also can do it, does do it and is it. That is important if you not only want to confront the audience, but also fascinate it with new developments in jazz and improvised music. His playing is bursting of energy, he is a piano lion in the true sense.
Boy Edgar Prijs 1996-1997
After winning the Podium Prize in 1988, Michiel Braam is now winner of the oldest and most important jazz award in the Netherlands, the Boy Edgar Prize 1996-1997, named after the famous Dutch Big Band leader. The award consists of a plastic piece of art by Jan Wolkers and 25.000 Dutch Guilders. The jury remarked:
Within the Dutch jazz and improvised music Braam has a stimulating role. He leads several groups varying widely in character and composition. Besides that he is a musician that considers himself not exclusively to be attached to one of the trends in jazz. Apparently without difficulty he joins elements out of the jazz history to contemporary music. He leads several ensembles and he plays solo concerts. In his groups musicians with very diverse backgrounds and ages participate. He is an excellent composer and arranger. His compositions show expertise and originality. The instrumentalist Michiel Braam time after time shows himself to be a virtuoso pianist and uses his talents as improviser to the fullest. His improvisations are always fresh as well as original. In 1988 Michiel Braam won the encouragement award in the Netherlands, the Podium Prize. Then, as now, the jury spoke highly of his abilities as composer, pianist and bandleader. Now, nine years later, his talents have taken him where he ought to be within the field of Dutch jazz and improvised music; to the absolute top.
Podiumprijs 1988
In 1988 Michiel Braam won the most important Dutch encouragement-award, The Podium Prize. From the jury-remarks:
Braam's record is seen by the jury as being striking and impressive and is the base of the nomination concerning the Podium Prize 1988. It appeals to the jury that Braam moves in the developing and performance of contemporary free forms of jazz and improvisational music; that he does not avoid traditional forms and does not reproduce those forms, but absorbs and integrates them; that he makes a stand against the current ruling thought on splitting musical forms and musicians and that he wants to stop the enemy thinking in Dutch jazz; that he is from within that vision on jazz- and improvisational music also working in other art forms such as theatre. It strikes the jury that because of his attitude and knowledge (personality) Braam radiates a natural leadership that is recognised and accepted, without placing himself in the foreground constantly; that he stimulates fellow musicians and gives others room to demonstrate themselves; that he makes no definite distinction between amateur and professional musicians. 'When Braam plays', a fan remarks, 'he is going to the bottom, lets himself go but is always co-operative to his fellow musicians'. 'He drives up the whole band'. 'Every time he is capable of creating another sphere, which I don't always understand, but every time find fascinating and surprising'. That is what Braam means in an interview when he says that a musician must be capable of transmitting emotions to fellow-musicians and the audience. That is what appeals to the jury when a musician not only says those things, but also can do it, does do it and is it. That is important if you not only want to confront the audience, but also fascinate it with new developments in jazz and improvised music. His playing is bursting of energy, he is a piano lion in the true sense.
Boy Edgar Prijs 1996-1997
After winning the Podium Prize in 1988, Michiel Braam is now winner of the oldest and most important jazz award in the Netherlands, the Boy Edgar Prize 1996-1997, named after the famous Dutch Big Band leader. The award consists of a plastic piece of art by Jan Wolkers and 25.000 Dutch Guilders. The jury remarked:
Within the Dutch jazz and improvised music Braam has a stimulating role. He leads several groups varying widely in character and composition. Besides that he is a musician that considers himself not exclusively to be attached to one of the trends in jazz. Apparently without difficulty he joins elements out of the jazz history to contemporary music. He leads several ensembles and he plays solo concerts. In his groups musicians with very diverse backgrounds and ages participate. He is an excellent composer and arranger. His compositions show expertise and originality. The instrumentalist Michiel Braam time after time shows himself to be a virtuoso pianist and uses his talents as improviser to the fullest. His improvisations are always fresh as well as original. In 1988 Michiel Braam won the encouragement award in the Netherlands, the Podium Prize. Then, as now, the jury spoke highly of his abilities as composer, pianist and bandleader. Now, nine years later, his talents have taken him where he ought to be within the field of Dutch jazz and improvised music; to the absolute top.