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Act 2

Eric Vloeimans' Oliver's Cinema

Act 2

Format: CD
Label: V-Flow
UPC: 0608917470123
Catnr: VF 01
Release date: 10 April 2015
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1 CD
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Label
V-Flow
UPC
0608917470123
Catalogue number
VF 01
Release date
10 April 2015
Streaming
Streaming links

"[..]Vloeimans has added both classical and folkloric elements to his jazz. His trio sounds flexible, adventurous and intimate." "

Friesch Dagblad, 04-7-2015
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Artist(s)
Composer(s)
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About the album

Welcome to Oliver’s Cinema. Please find a seat and make yourself comfortable; Act 2 is about to start.

We’re happy you could join us—tonight’s feature will be a memorable experience that will fire the imagination visually and emotionally as deeply and with as much pull as it does with music. Each performance will offer an evocative blend of sentiment, mood and melody. Expect a distinct, emotional clarity to these virtual landscapes with a minimum of clutter and distraction, and an intriguing range of musical flavors. Some will hear jazz as the primary note, many will mark a variety of classical and folkloric ideas passing through lime welcome visitors, finding a comfortable place within these performances. All will recognize a refreshing originality to Oliver’s Cinema that remains long after the listening, a retinal after-image for the ears and the heart that will stay with you long after the closing credits.

Oliver’s Cinema is a sonic adventure of lasting resonance, a cross-cultural concept, and a trio of unlikely instrumentation. It is a band that suggests a veritable world of sound with nothing more than trumpet, cello and accordion, an ingenuous blend of timbre and texture. The music of Oliver’s Cinema is so naturally effective that it seems to ask why no one has thought of this combination before.

Eric Vloeimans is the classically trained, jazz-infused trumpeter whose penchant for long tones, unhurried lyricism and sudden, vocal-like phrasing imbue his playing with a seasoned wisdom that defi es his years. In his native Holland, he is respected for his recordings and work on film soundtracks, and is celebrated for unusual collaborative projects that convincingly explore the overlap of classical and improvisational music. Anagrammatically and conceptually, he is the leader of Oliver’s Cinema, and as the name suggests, Vloeimans favors interior visualizations with a balance of whimsy and solemnity that serves as this trio’s musical signature. (Often, the cinematic is directly referenced, as here on Act 2 with their pensive treatment of Nino Rota’s 1968 theme from Romeo and Juliet.)

For Oliver’s Cinema, Vloeimans reached across borders—recruiting German cellist Jörg Brinkmann and Belgian accordionist Tuur Florizoone—and formed a team of surprising collusion. Each are melodic masters in their own right; each has learned to expand their musicality with a vocabulary of patience and surprise, light and shade. One measure of their compatibility is the unforced precision of the group’s “rhythm section”— Vloeimans’ tempo shifts, Brinkmann’s pizzicato patterns, Florizoone’s thumb-slaps on the accordion frame. Another can be found in the sonic handoffs from one instrument to the next: a sustained note on the cello echoed by the haunting, string-like sigh from the top end of the accordion; the accordion’s breathy runs replicated on the trumpet.

Act 2 is the second outing for Oliver’s Cinema, an album of performances that are conversations as much as compositions—conversations shared by three old friends sitting around in the fading glow of the evening, friends who know each other almost too well. Their discussions have that ethereal, all-knowing quality and require a soul-stilling level of attention that is worth the time invested and emotional engagement.

So sit back, let go of the day, and enjoy the musical images that are about to flow. Oliver’s Cinema welcomes you. Don’t forget to turn off your phone too—you won’t want to be interrupted.

Ashley Kahn, Grammy winner and author of A Love Supreme: The Story Of John Coltrane’s Signature Album, and other titles on music
Welkom in Oliver’s Cinema. Zoek een stoel en maak het je gemakkelijk; De tweede acte gaat zo beginnen.

​We zijn blij dat je kon komen – de hoofdfilm van vanavond wordt een gedenkwaardige ervaring die visueel en emotioneel de fantasie zal prikkelen, even diep en meeslepend als de muziek. Iedere scène biedt je een evocatief mengsel van sentiment, sfeer en melodie. Je kunt een duidelijke, emotionele helderheid verwachten in deze virtuele landschappen, met een minimum aan overbodigheden en afl eidingen, en een intrigerend scala aan muzikale smaken. Sommigen zullen jazz horen als de voornaamste toon, velen zullen een variatie aan klassieke en folkloristische ideeën opmerken die voorbijtrekken als welkome bezoekers, en een comfortabele plek vinden binnen deze scènes. Iedereen zal in Oliver’s Cinema een verfrissende originaliteit herkennen die doorzingt tot lang na de beluistering, een nabeeld op het netvlies van de oren en het hart dat je zal bijblijven tot lang na de eindaftiteling.

Oliver’s Cinema is een avontuur in geluid met een blijvende resonantie, een intercultureel concept, en een trio met een onverwachte bezetting. Dit is een groep die een complete wereld suggereert met niets meer dan een trompet, een cello en een accordeon, een vernuftige melange van timbre en textuur. De muziek van Oliver’s Cinema is zo vanzelfsprekend effectief dat ze de vraag lijkt op te roepen waarom niemand eerder aan deze combinatie gedacht heeft.

Eric Vloeimans is de klassiek opgeleide, door jazz bezielde trompettist wiens voorliefde voor lange tonen, rustige lyriek en plotselinge zangerige frasering zijn spel doortrekt van een gerijpte wijsheid die zijn leeftijd ontstijgt. In zijn geboorteland Nederland wordt hij gerespecteerd om zijn plaatopnamen en filmmuziek, en gevierd vanwege zijn ongebruikelijke collaboratieve projecten die op overtuigende manier de overlappende terreinen van klassieke en geïmproviseerde muziek verkennen. Wat het anagram en het concept betreft is hij de leider van Oliver’s Cinema, en zoals de naam aangeeft, houdt Vloeimans van innerlijke visualisaties met gelijke delen speelsheid en ernst, die de muzikale signatuur van dit trio vormen. (Vaak wordt er rechtstreeks verwezen naar het cinematische, zoals hier op Act 2 met hun mijmerende bewerking van Nino Rota’s thema voor Romeo and Juliet uit 1968.)

Voor Oliver’s Cinema heeft Vloeimans voorbij de grenzen gekeken – door de Duitse cellist Jörg Brinkmann en de Belgische accordeonist Tuur Florizoone te rekruteren – en een team gevormd met een verrassend sterke verstandhouding. Elk lid is zelf al een meester van de melodie; elk lid heeft geleerd zijn muzikaliteit te verbreden met een vocabulaire van geduld en verrassing, licht en donker. Hoe goed ze bij elkaar passen blijkt onder andere uit de natuurlijke precisie van de ‘ritmesectie’ – de tempowisselingen van Vloeimans, Brinkmann’s pizzicato patronen, de klappen van Florizoone’s duim op de kast van de accordeon. Een ander voorbeeld zijn de geluiden die de instrumenten aan elkaar doorgeven: een lang doorzingende toon op de cello, weerkaatst door de spookachtige zucht uit het hoge register van de accordeon, die wel gestreken lijkt; de luchtige loopjes op de accordeon, gekopieerd door de trompet.

Act 2 is het tweede uitstapje van Oliver’s Cinema, een album met stukken die evenzeer conversaties zijn als composities – conversaties gedeeld door drie oude vrienden die bij elkaar zitten in de wegstervende gloed van de avond, vrienden die elkaar bijna te goed kennen. Hun discussies hebben dat ongrijpbare, alwetende karakter, en vereisen een zielsbedarende graad van aandacht die de geïnvesteerde tijd en emotionele betrokkenheid beloont.
Oliver's Cinema ist ein Klangabenteuer, ein interkulturelles Projekt und ein Trio von ungewöhnlicher Besetzung. Es ist eine Band, die eine solide klangliche Welt mit lediglich einer Trompete, einem Cello und einem Akkordeon erschafft. Ihre Musik ist so natürlich effektiv, dass man sich fragt, warum niemand zuvor eine solche Kombination gewagt hat.

Act 2 ist die zweite Veröffentlichung der Band, ein Album voller Performances die ebenso Konversationen wie Kompositionen sind, Konversationen dreier alter Freunde, die sich beinahe zu gut kennen. Ihre Diskussionen haben eine ätherische, allwissende Qualität und erfordern ein seelenberuhigendes Maß an Aufmerksamkeit, das die Zeit und das emotionale Engagement mehr als wert ist.

Lehnen Sie sich zurück, lassen Sie den Tag hinter sich, und genießen die musikalischen Bilder, die Sie bald umfließen werden. Und vergessen Sie nicht, Ihr Telefon auszuschalten.
Un voyage sensible entre rêverie et nostalgie

Eric Vloeimans est un trompettiste néerlandais. Il a rencontré l’accordéoniste Tuur Florizoone et le violoncelliste Jörg Brinkmann. A trois, ils proposent un répertoire de musiques de film. Cinema Paradiso et Rosemary’s Baby, mais aussi des musiques que chacun a composées pour d’autres films. C’est beau, nostalgique, rêveur. Ça nous fait voyager en esprit et ça éveille des sensations agréables. Anecdote : Oliver’s Cinema est l’anagramme d’Eric Vloeimans.

Artist(s)

Eric Vloeimans

Eric Vloeimans (Huizen, 1963) is an improvising trumpeter and composer who regards the term ‘jazz’ as too limiting to describe his music. His work is characterized by melodic and lyrical power, and a distinctive, individual sound that is called velvety or whispering in the more subdued pieces. From 2006/2007 Eric Vloeimans has been active with two much-praised formations: the chamber jazz trio Fugimundi (Anton Goudsmit guitar, Harmen Fraanje piano) and the electric band Gatecrash, in which rock and funk elements can be traced (Jeroen van Vliet keyboards, Gulli Gudmundsson bass, Jasper van Hulten drums). With the latter group, he employs electronic effects in his trumpet playing for the first time. In addition, he continues to develop other projects, such as the band...
more
Eric Vloeimans (Huizen, 1963) is an improvising trumpeter and composer who regards the term ‘jazz’ as too limiting to describe his music. His work is characterized by melodic and lyrical power, and a distinctive, individual sound that is called velvety or whispering in the more subdued pieces.
From 2006/2007 Eric Vloeimans has been active with two much-praised formations: the chamber jazz trio Fugimundi (Anton Goudsmit guitar, Harmen Fraanje piano) and the electric band Gatecrash, in which rock and funk elements can be traced (Jeroen van Vliet keyboards, Gulli Gudmundsson bass, Jasper van Hulten drums). With the latter group, he employs electronic effects in his trumpet playing for the first time.
In addition, he continues to develop other projects, such as the band Oliver’s Cinema with accordion player Tuur Florizoone and cellist Jörg Brinkmann (CD available from August 2013, and a US tour in October 2014)) , and a duo with pianist Florian Weber, with a CD release : Live at the Concertgebouw in 2011.
His broad range of interests has led Vloeimans to collaborate with artists from other musical worlds. In the pop music area, these include Fay Lovsky, Doe Maar, Spinvis, Jan Akkerman and trumpeter Kyteman (Colin Benders). Where world music is concerned, Vloeimans was involved in projects with flamenco guitarist Eric Vaarzon Morel, Latin pianist Ramon Valle, and the fado-inspired Pessoa of Fernando Lameirinhas.
Vloeimans has performed as a soloist with classical ensembles such as the Matangi Quartet, the Calefax Reed Quintet, the Metropole Orchestra, the Gelderland Orchestra, the Limburg Symphony Orchestra, the Holland Baroque Society, the Rotterdam Philharmonic Orchestra and the Royal Concertgebouw Orchestra.
2011 saw the premiere of his first trumpet concerto, Evensong, with the Limburg Symphony Orchestra, orchestrated by Martin Fondse, and recorded for CD with the Netherlands Symphony Orchestra.
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Tuur Florizoone

Although in the Low Countries the accordion is often still associated with corniness and banal hi-jinx, in other cultures it has been a fully respected instrument with a great expressive range for many years. Especially in the hands of a composer and improviser with imagination and taste, such as one of Belgium’s most beloved musicians, Tuur Florizoone. This has everything to do with his broad knowledge and interests, his charisma and tangible joy in performing, and his gift for touching the heart of the music as well as that of the listeners. Florizoone (1978) has had classical piano lessons and studied jazz piano and composition at the conservatory. He gained some of his practical experience in Brazil, such as at the...
more
Although in the Low Countries the accordion is often still associated with corniness and banal hi-jinx, in other cultures it has been a fully respected instrument with a great expressive range for many years. Especially in the hands of a composer and improviser with imagination and taste, such as one of Belgium’s most beloved musicians, Tuur Florizoone. This has everything to do with his broad knowledge and interests, his charisma and tangible joy in performing, and his gift for touching the heart of the music as well as that of the listeners.
Florizoone (1978) has had classical piano lessons and studied jazz piano and composition at the conservatory. He gained some of his practical experience in Brazil, such as at the workshops of the great percussionist Nana Vasconcelos, and by accompanying circus, dance and theatre shows. He collaborated with heavyweights from the worlds of jazz (Philip Catherine, Garrett List), pop music (Stijn Meuris, Thé Lau), classical music (Claron McFadden, the Brussels Philharmonic) and the folk and world music scene (Luka Bloom, Carlos Nuñes). He demonstrated his mastery of mood and atmosphere, based on simple, directly appealing material, in film soundtracks such as Aanrijding in Moscou – which won him the public prize at the WORLD SOUNDTRACK AWARDS 2008 – and L’Amour des Moules. As an improviser, he’s at his best in open situations with a lot of freedom and interaction, like in the group Tricycle, the collective trio Massot/Florizoone/Horbaczewski, and in a duo with diatonic accordionist Didier Laloy.

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Jörg Brinkmann

Young, classically trained string players with big, wide open ears have greatly enriched Dutch improvised music in the past years. One of them is the German cellist Jörg Brinkmann (1976), who has studied at the Arnhem conservatory. Just like the members of the ZAPP! string quartet, whom he frequently plays with, he get his inspiration from anywhere; for him the ‘jazz’ label is also too limiting. Brinkmann is equally capable of making essential contributions to pop bands, theatre orchestras or chamber music ensembles. Building on the technical innovations of improvising jazz musicians, he can deploy his cello as a (rhythm) guitar, or as a bass that lays down funk accents or swings in four-four time. When he colors the sound...
more
Young, classically trained string players with big, wide open ears have greatly enriched Dutch improvised music in the past years. One of them is the German cellist Jörg Brinkmann (1976), who has studied at the Arnhem conservatory. Just like the members of the ZAPP! string quartet, whom he frequently plays with, he get his inspiration from anywhere; for him the ‘jazz’ label is also too limiting. Brinkmann is equally capable of making essential contributions to pop bands, theatre orchestras or chamber music ensembles. Building on the technical innovations of improvising jazz musicians, he can deploy his cello as a (rhythm) guitar, or as a bass that lays down funk accents or swings in four-four time. When he colors the sound of his instrument with electronics, it’s done in a subtle and tasteful way. In his playing and his compositions a perfect fusion takes place of structure and personal variations, of cleanly bowed lyricism and lively rhythms, in which he doesn’t shy away from unusual time signatures either.
His musical character is faithfully expressed in his own trio with pianist Oliver Maas and percussionist Dirk-Peter Kölsch, with whom he recorded the album Ha! for ACT. In addition, he’s worked with Martin Fondse’s Starvinsky Orkestar, Michiel Braam’s Bik Bent Braam and many other adventurous jazz soloists.

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Composer(s)

Press

[..]Vloeimans has added both classical and folkloric elements to his jazz. His trio sounds flexible, adventurous and intimate." 
Friesch Dagblad, 04-7-2015

"Cinematic, compelling and once again a sunny sequel to Oliver's Cinema from 2013. More private, often melancholic tuned compositions of trumpet, cello and accordion."  
NRC Handelsblad, 01-6-2015

"... a bunch of open, easy accessible pieces that seem to have a conversation."
Jazzthing, 01-6-2015

"Vloeimans does what he can do best; letting his sensitive music nesting deep in your soul. The last note of this piece is truly breathtaking." 
Jazzflits, 26-5-2015

"The possibilities of this trio are far from being closed."
De Volkskrant, 20-5-2015

"Oliver's Cinema continues to renew itself and keeps on suprising the listener."
Jazzenzo, 19-5-2015

"Who listens even sharper, hears how ingenious the three meet together and with how much joy for adventure there is played."   
Limburgs Dagblad, 07-5-2015

"[..]Vloeimans has added both classical and folkloric elements to his jazz. His trio sounds flexible, adventurous and intimate."
Friesch Dagblad

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