On January 10th, a unique musical event will take place at Splendor in Amsterdam, serving as the kickoff for the upcoming film Ijdel Licht, a project by artist Pedro Bakker that delves into the post-war years of the renowned Dutch poet Lucebert. For this occasion, I have the honor of composing the film’s music, bringing together a vibrant mix of contemporary and jazz-influenced sounds to complement the film’s exploration of Lucebert’s artistic legacy.

The concert promises to be an exciting journey through multiple musical landscapes, featuring a talented ensemble of musicians who bring both technical mastery and a deep sense of improvisational creativity. Among them is the young and gifted saxophonist Lucas Bakker, whose expressive playing has already captured the attention of audiences and critics alike. Alongside him, the extraordinary drummer Kobe Bakker provides a rhythmic foundation that is both dynamic and nuanced, while trumpeter Loet van der Lee adds lyrical and vibrant textures. The ensemble is rounded out by bassist River Adomeit, whose warm and inventive lines anchor the harmonic and rhythmic interplay.

The program for the evening will feature a combination of original compositions and reinterpretations of jazz standards, creating a rich dialogue between tradition and innovation. Some of Lucas Bakker’s own works will be presented, showcasing his distinctive voice and compositional flair. The concert will also include my pieces Oord and Visser van Ma Yuan, the latter being a new composition inspired by one of Lucebert’s poems. In Visser van Ma Yuan, I sought to translate the imagery, rhythm, and intensity of Lucebert’s words into a musical landscape, crafting a work that both honors the poet’s legacy and brings it into conversation with contemporary sounds and improvisation.

This event is not just a concert, it is a meeting point of film, poetry, and music, where each discipline amplifies the others. By blending composed and improvised elements, the performance aims to reflect the spirit of Lucebert’s post-war era: a period of experimentation, intensity, and cultural renewal. Audiences can expect moments of intimacy and reflection, as well as bursts of energetic interplay, as the musicians navigate the intersection of narrative, sound, and emotion.

Splendor’s stage will transform into a space where history, art, and contemporary music intersect, inviting listeners to experience Lucebert’s world in a multisensory way. Whether you are drawn to the avant-garde, to jazz, or simply to compelling live music, the concert on January 10th promises an evening of discovery and inspiration. By attending, you will not only hear the sounds that will eventually accompany Ijdel Licht on screen but also witness the creative process in a live, spontaneous setting.

Join us for this special evening, where music and poetry come together to illuminate a formative period in Dutch artistic history and celebrate the enduring impact of Lucebert’s work.

On Thursday, April 9 at 8:00 PM, eBraam will perform its long-awaited first concert in a new line-up at BReBL in Nijmegen. Following the reactivation of this band in 2025, pianist and composer Michiel Braam presents an energetic and adventurous program together with top bassist and founding member Pieter Douma, renowned saxophonist Frank Nielander, and young star drummer Bouke Hofma.

eBraam originated from the Wurli Trio and evolved into a group where electronics, jazz improvisation, and idiosyncratic compositions converge. The music is strongly groove-oriented, with an open approach in which stylistic boundaries blur and rhythm and spontaneous interaction play a central role. After a period of silence, eBraam returns with a renewed dynamic: fresh, sharp, and direct.

During the concert, the focus will be primarily on music from the eBraam albums, featuring pieces rich in electronic textures, melodic lines, and rhythmic surprises. In addition, several other works will be performed that highlight the versatility of eBraam’s oeuvre, ranging from accessible and danceable to experimental and unpredictable.

This evening promises to be an immersive listening experience in which composition and improvisation continually challenge one another.

eBraam live at BReBL: a new sound with a solid groove.

On February 22, LUX in Nijmegen will host a special concert celebrating the 70th birthday of guitar player and composer Bas Andriessen. The evening is conceived not only as a tribute to his music, but also as a recognition of his wider and lasting influence on the Dutch musical landscape. I am very pleased to be taking part in this concert as one of the performers.

While Bas Andriessen is widely known as a composer with a distinctive and idiosyncratic voice, his importance extends far beyond his own compositions. For decades, he has been an attentive observer, documentarian, and advocate of adventurous music in the Netherlands. Through his work as a music journalist, filmmaker, and archivist, Andriessen has played a crucial role in shaping how this music has been heard, understood, and remembered.

As a journalist, Andriessen has written with clarity, curiosity, and an uncommon openness toward musical practices that often exist at the margins of the mainstream. His writing does not seek to impose rigid hierarchies or definitive judgments, but instead creates space for artists and ideas to speak for themselves. In doing so, he has helped articulate a broader, more inclusive narrative of contemporary and experimental music in the Netherlands, one that values diversity of approach, context, and intention.

Equally significant is his work as a filmmaker. Over the years, Andriessen has created an extensive body of films documenting composers, performers, ensembles, and scenes that might otherwise have gone unrecorded. These films are more than simple portraits or concert documents. They capture working processes, rehearsals, conversations, and moments of hesitation or discovery, the fragile, human side of music-making that rarely finds its way into official histories. For many musicians, these films constitute some of the most vivid and honest records of their artistic lives.

Perhaps most quietly, but no less importantly, Andriessen has acted as an archivist of Dutch adventurous music. His long-term commitment to collecting, preserving, and contextualizing materials, scores, recordings, interviews, films, and ephemera, has resulted in a body of work that functions as a living memory of a musical culture. At a time when much contemporary music risks disappearing almost as soon as it is made, this archival impulse represents an act of care and responsibility toward future listeners, researchers, and musicians.

This concert reflects that multifaceted role. It is not merely a celebration of a composer turning seventy, but an acknowledgment of someone who has consistently created connections: between musicians, between generations, and between past and present. Many of the performers involved have been part of the musical ecosystem that Andriessen has documented, supported, or illuminated through his various activities. The evening therefore carries a strong sense of shared history and mutual recognition.

For me personally, performing in this context adds a particular resonance. To play music in celebration of someone who has so actively listened to, looked at, and thought about the work of others is a reminder of how deeply interconnected our musical lives are. Performance, documentation, reflection, and preservation are not separate domains, but parts of the same ongoing conversation.

LUX Nijmegen offers an ideal setting for this event. With its commitment to contemporary culture and interdisciplinary exchange, it provides a space where music can be experienced attentively and in dialogue with its broader context. The intimacy of the venue supports the spirit of the evening: focused, engaged, and personal.

I warmly invite you to join us at LUX in Nijmegen on February 22 for this special celebration. I look forward to sharing the stage with fellow musicians, honoring Bas Andriessen’s 70th birthday, and celebrating not only his music, but his enduring contribution to the life and memory of adventurous music in the Netherlands.

Wish You Were Here by Pink Too and ¡Oye Mambo! premiered September 7 this fall. We’re editing film material now and are to book both in a double program, to be performed in 2024. Keep an eye on the calendar!

Along with mouthwatering vocalist Vera Westera, Penguins Too is currently working on their own version of the legendary Pink Floyd album "Wish You Were Here" for concerts to be performed 2023-2024. The three meet regularly in Beek to explore what could be a great rendition of this wonderful music. Rehearsals are in development, keep an eye on our calendar!

We are exploring the music of the great Puerto Rican pianist Noro Morales with a new quintet. In this new group Michiel performs together with double bassist Gerard Schoren and no less than three wonderful percussion players: Martin Gort, Vera and André Groen. In the last century Noro was a great example for many Latin musicians and was called the Duke Ellington of Latin music, also because he had a large orchestra. Much of that wonderful repertoire is now being recreated by this quintet. Rehearsals started, stay tuned! To be booked for the 2023-2024 season.

Michiel Braam and Frank Nielander will not only perform at your favorite venue, they will also roll up their sleeves in the culinary field. On top of playing pieces by famous musicians, they take the favorite snacks of these greats with them! And, obviously, a matching glass of wine if desired. How about "Sonny Rollins' vegetable stew". Or Dave Brubeck's "low carb Barbecue Patties and Sauce"? Charlie Parker's "Kansas city chicken wings"? Get them juices work! Just sit back and relax.

How to do it? You ask us to run! From the list provided by us, choose the musicians you would like to be surprised with, played and served by Penguins Too in their famous inimitable way. Curious? Please contact us for more information.

In 1995 Braam wrote "The XYZ of Bik Bent Braam" for the large band he founded in 1986 and which was a working band until 2013. The program consisted of 26 pieces, one for each letter of the alphabet and was then considered Michiel's provisional masterpiece. The reviews spoke of "a perfect balance between the classic big band idiom and a more contemporary sound", "Braam's compositions are among the most fascinating that Dutch jazz has to offer", "Braam is entitled to a full-time jazz ensemble", "stunningly beautiful", "spectacular", "on top of all insubordination, all pieces contain a small melodic pearl", "particularly spiritual", "belongs to the best jazz recorded in 1996, wherever in the world", "not arrogant or sarcastic, but with infectious kindness", "Braam brings out the best in the musicians", "the most adventurous Dutch jazz around", "This is Jazz as dada, where the music’s hysterical edge conveys an air of unrelenting slapstick". Many reviewers referred to Duke Ellington as a main source of inspiration for orchestra and compositions. The program was presented in two tours and played 3 times over a few years in a sold out Bimhuis. One of those concerts was recorded and released in 1996 at Willem Breuker’s BVHaast label. Later that same year, Bik Bent Braam received a structural subsidy and Michiel was awarded the Boy Edgar Prize.

After 25 years, and many concerts with various bands and in various styles, Braam arranged a sort of Latin version under the title "El XYZ de Son Bent Braam". In the jubilee year 2020, the new arrangement will be performed in a line-up of top musicians from the Dutch jazz and Latin scenes. Around Braam's trio Nos Otrobanda (with Aty de Windt, baby bass and André Groen, percussion) that specializes in Antillean music, extra percussionists (Martin Gort and new talent Danny Rombout), brass players (Angelo Verploegen and the upcoming Joël Botma, trumpet, Ilja Reijngoud and the young phenomenon Efe Erdem, trombone) and saxophonists (Bart van der Putten, Efraim Trujillo, Frank Nielander and emerging star Jesse Schilderink) have gathered. The arrangement contains the styles mambo, bolero, cha-cha, montuno, merengue, calypso, son, rumba, bembé, boogaloo, mozambique, samba, afro, danzón and is suitable for listeners and dancers.

The program contains the parts Apagado, Bienestar, Chachachando, Duelo, Electricidad, Fugazmente, Guasón, Hipsifobia, Improvisación, Jazzz, Kuratela, Lentomaslentomáslento, Marcha, Noisettes, Obeso, Pico, Quickstep, Reposadamente, Solfear, Tristano, Ultra, Violeta, Wolfitas, X, Yate, Zafio and will be presented in 2 versions, with the parts following each other seamlessly. A 100-minutes version with a break between M and N, and in a special 75-minutes festival cut without a break.

The first two concerts, at Stranger than Paranoia festival, in December 2019, were recorded for an album issue. Son Bent Braam will do a release concert during this year's Music Meeting, June 1st. Go to our shop page to hear samples of all tunes and order your copy, or click here to go through the 26 parts in just over two minutes.

September 2019, a new album, "Live at JazzCase", by Reeds & Deeds was released. This sextet specializes in the music of Roland Kirk. Visit the Reeds & Deeds review page to see the first reviews. Visit our shop page to hear samples of the album.

January 2018, a new album, "Crime", by Penguins Too was released. The duo formerly known as "Two Penguins In The Desert" was founded in 1987 to play at Frank's and Michiel's finals at the conservatory, more specifically to play the Lennie Tristano tune "Wow". The cooperation felt very comfortable and the duo continued to play for 16 years, specializing in cool jazz and the "hotter" bebop tunes, resulting in its first album "Jazzs". After a sabbatical between 2003 and 2017, the duo currently focusses on music written for or associated with crime films and television series, such as the twelve tone music from the 1974 movie "The Taking Of Pelham One Two Three", Ennio Morricone's music from the television series "La Piovra", the main title of "Narcos", Duke Ellington's "Anatomy of a Murder". All these pieces, plus a Chopin prelude, a Misha tune and several duo improvisations will be issued as a suite. Visit our shop page to hear samples of the mentioned tracks.

October 13th Nos Otrobanda's first album, The Curaçao Experience, arrived. 18 tunes were recorded at ACEC Apeldoorn, where we could, thanks to the friendly cooperation of orkest de ereprijs, use a fine recording space for three days. The album is a typical DIY product; we recorded the music ourselves with some advice from Rein Sprong, we did the art work on our own, using a band photo and beautiful macro picture as front image by Marjan Smejsters and some final advice from Pascale Companjen and were along the process of learning the tunes helped in several ways by Joop Halman and the Palm Music Foundation. Joop has also written the liner notes, which you can find below.

We are yet to plan the release concerts, but one of them is already set: December 18 we will play the Uterelease Concert and present the album in a concert at the very same place where it was recorded. We would be glad to welcome you! Free entrance!

Check out the Nos Otrobanda pages for more info and samples of the music.

The Liner Notes

Otrobanda: the cradle of the Curaçaoan waltz, danza, mazurka and tumba.

It is in colorful Otrobanda where elements of European, African, Caribbean and Latin American cultures influenced each other and where Curaçao’s music culture emerged in the mid-19th century. Since then It manifested itself lively in the streets and squares and in the houses in Otrobanda. A home party in Otrobanda was unimaginable without the playing of music and dancing. 

Jan Gerard (Gerry) Palm (1831-1906) is generally considered the father of the Curaçaoan waltzes, mazurkas, danzas and tumbas. He is also the patriarch of the musical Palm dynasty which includes composers such as Rudolf Palm (1880-1950), Jacobo Palm (1887-1982), Toni Palm (1885-1962), Albert Palm (1903-1958) and Edgar Palm (1905-1998).  All the members of this musical family were born and lived in Otrobanda.

By his piano performances and the recording of numerous LPs and CDs, maestro Edgar Palm succeeded in keeping the rich musical heritage of his family alive. Two of Edgar Palm’s albums, ‘Otrobanda’ and ‘Music of the Netherlands Antilles’, have inspired jazz pianist Michiel Braam to start to work on a new musical journey. He transcribed all the tunes of both albums and  formed with Antillean bassist Aty de Windt and percussionist André Groen their trio ‘Nos Otrobanda’. On this journey, Michiel also discovered something special that he has in common with Edgar Palm: although with a time span difference of some decades, he and Edgar Palm had the same music teacher, Rudi Feenstra.

Nos Otrobanda succeeded in creating an authentic, vivid and catchy performance of Curaçao’s music. This CD may be considered as a most welcome and creative addition to the variety of interpretations of Antillean music.

Joop Halman

Chairman of the Palm Music Foundation

THE AYE, a stage show adapted from Ana Isabel Ordonez's internationally acclaimed book, THE EXTRAORDINARY LOVE STORY OF AYE AYE AND FEDOR, was performed to celebrate the 85th birthday of Nobel Peace Laureate Monseigneur Archbishop Desmond Tutu as a part of the Sixth Annual Desmond TutuInternational Peace Conference in Cape Town on 7 October.

THE AYE is a dance theatre extravaganza that depicts a beautiful love story between two endangered animals: Aye Aye, a lemur, Fedor, and a white lion. Each defines the term "opposites attract" in a fantastic universe called the Musical Forest. While Aye Aye was free to run wild and enjoy the forest, Fedor was stuck in a zoo. The two meet while he is in captivity. They strike up a friendship that helps them both make some important discoveries and launches them on a journey to places they never thought they would go. Inspired by her love for Fedor, Aye Aye helps the animals at the zoo, who have had a difficult time in captivity, to escape and reunite in the Magical Forest where they are finally free, allowed to celebrate who they are. A happy ending is in store for everyone, thanks to the courage and quick thinking of Aye Aye and Fedor. Aye Aye and Fedor's journey is a great example of friendship and cooperation between friends who on the surface seem to be very different from one another, but who have similar goals and a desire to share their lives together.

The world premiere of the dance theatre adaptation in South Africa will feature a fantastic set, a jazz-rock score by Michiel Braam, inspired choreography by Sifiso Kweyama and mischievous masks handmade in South Africa by La Carla Masks. The magical show will bring together a sparkling fusion of music (in a definitive recording by eBraam which includes drummer Dirk-Peter Kölsch, guitarists Pieter Douma and Jörg Lehnardt and harpist Ulrike von Meier), dance (by Jazzart Dance Theatre) and amusing narration (by New York based singer Dean Bowman). THE AYE was performed by Jazzart Dance Theater company dancers Adam Malebo and Tracey September, joined by Abdul-Aaghier Isaacs, Amber Jodie Andrews, Darion Adams, Gabriella Dirkse, Ilze Williams, Keenun Wales, Luyanda Mdingi, Lynette du Plessis, Mandisi Ngcwayi, Paxton-Alice Simons, Siphosethu Gojo, Tanzley Jooste, Thandiwe Mqokeli and Vuyolwethu Nompetsheni.

An album with both music and Dean Bowman's narration as well as an album with longer instrumental version of the composition only are available at Amazon.

Click here for The Music & Narration version or here for The Music only version.

Last December I played a solo set at Opus Jazz Club in Budapest, which was organized by Budapest Music Center. The set was recorded and now issued under the title "Gloomy Sunday" on the BMC label.

For me, doing a solo concert doesn’t involve any preparation in terms of a set-list or anything concrete about pieces I will be playing. I simply start and see where everything leads me to.

At this concert, I made an exception to this custom. Not only would it be nice to play one of the many famous Hungarian compositions in Budapest, but also the very night of the concert, students of the ArtEZ University of the Arts, where I am head of Jazz & Pop, organized a concert in remembrance of our student Robin Cornelissen who had died exactly two years earlier. I had played ”Gloomy Sunday” at his funeral and playing it in the Opus Jazz Club connected me to Robin, as well as to the great Hungarian music tradition.

Check out the webshop for details, samples of all 10 tunes inclusive.

Beginning July Nos Otrobanda will, one and a half year after its premiere concert and hopefully 20 degrees warmer, finally make real recordings of 21 songs the trio is playing at the moment. We'll make an album with those recordings. The album will be including (in alphabetical order) Ana Maria/Antillana, Azucena/Otrobanda, Canto De Los Angeles, Casino, Cocktail De Sjon Jan, Dandie, Eliza, Erani ta Malu, Ina, La India, La Inspiración, Lo Bello, Manina, Maria Cecilia, Mosaico de Tumbas 2, Ramillete Venezolano, Sabrosita, Sorpresa Inesperada, Teleraña, Tumba Cocktail y Salza 1 and Winy.

We issued the first album of our duo Olanda In Due, with Bo Van de Graaf on saxes. Including tunes by musicians such as Guiseppe Verdi, Nico Haak and Billie Holiday. Recorded live at the NovaraJazz Festival this summer.

Click here to find out how to order and hear samples of the tunes.

February 5, 2015, at BReBL, Nijmegen, this trio played its first concert. You can check out several tunes of that concert on SoundCloud.

In this brand-new band I play together with bass player Aty de Windt and latin percussionist André Groen. With Nos Otrobanda we concentrate on Antillean music, especially waltzes. I hear this music for like 26 years now and all of those years I wanted to do something with the music myself. It took me this long to grasp the nettle. I transcribed the music from 2 elpees of Curaçao pianist Edgar Palm and we are also very grateful to Joop Halman of the Palm Music Foundation for his contributions. I find especially the constant danceable friction between binary and ternary rhythm in this music very intriguing.This year (Bas Andriessen filmed our somewhat ill at ease first rehearsal) we worked on the material, in which process Aty not only provided a relaxed swing in his role as our bass player but also learned us about the essentials of Antillean music. It has been quite some time ago since I played Latin-American music. We must go way back to 1997, when I played, after being a member of that band for eight years, my last gig with the European Danzón Orchestra. It is truly delicious to play Latin music again, this time with Nos Otrobanda.

Welcome to our new website! About 10 times faster now, and working not only on competers but also on tablets, telephones and so forth. Info, reviews, concert dates, photos, videos, music samples, a shop, news items and how to contact us is all included. Thanks to Sjors of &Braam Super Sexy Web Development!