RT 9343 (2012)


Jan Klare's 1000
(shoe)

Jan Klare – reeds
Bart Maris – trumpet
Wilbert de Joode – bass
Michael Vatcher – drums


Sole 2:41
Vamp 2:01
Outsole 1:11
Welt 5:01
Insole 4:45
Heel 7:40
Midsole 5:28
Lining 2:58
Tongue 4:34
Backstay 2:51
Quarter 3:12
Laces 8:45

all compositions by Jan Klare, except "Sole", "Outsole", "Welt" and "Tongue" which are improvisations.

Recorded at Studio Odéon 120, Bruxelles on May 5, 2011

Many years ago I heard a quote (I can´t remember by which musician), that made a lasting impression on me. I don´t remember it literally, but it encapsulated the artitst´s desire to create something as valuable and useful to the listener as for example the work of a shoemaker, a craftsman. 

Every so often this thought comes to mind -  how could I work on music, so it would become as palpable as an object, made from such as leather or wood?
During mixdown of this CD, I converted working names for tunes to more “proper” titles, as is my routine at this stage. Here it occured to me, that the music of "1000" expresses this inner urge, to create a sonic sculpture, music that can almost be touched!

We don’t aim for a defined product when we play in this group, but to me the acoustic results gain a tangible quality - it’s as if, for real, I could reach out and grasp the sounds, take them for a walk with me.    

Jan Klare, december 2011

 

 

 

All About Jazz - Jerry D'Souza

Inspiration can come from unexpected sources. For reed player Jan Klare, it sprung from the words of a musician who churned in him the desire to create music that was as palpable as an object made of leather or wood. Palpability can be physical as well as organic and if Klare was looking for the latter, he has accomplished it splendidly on this recording.

In keeping with his desire and his vision, Klare moulds a tangible portrait of a (Shoe). He could have as well done it with just a single stylistic impulse but he imbibes different approaches for an absorbing experience. He wrote all but four tracks, which are improvisations, that this worthy band brings front and center.

Improvisation is the group's strong point and it ramps interest right from the time it starts building "Sole." A communion of ideas bonded by free invention rises over an electrifying undercurrent as brass unfurls in unruly and trenchant waves over skittering drums and rumbling bass. The band certainly does not waste any time grabbing attention.

A melodic and frisky air is set up on "Vamp" by Klare (on saxophone) and Bart Maris before the trumpeter shifts into bop mode as Wilber de Joode sets up a walking bass line and drummer Michael Vatcher adds a host of colors and consonances. Klare frees the boundaries in a burst of robust ideas before he and Maris come together for a smooth coda.

The creativity of the band continues to be a hallmark as its members play off each other and go out on individual excursions that are shaped by nuggets of surprise. This is not unexpected given the pedigree of the musicians who have long made vital contributions to the cause of jazz and improvised music.

By the time the group wraps things up on "Laces"—a relaxed tune that nonetheless has eddying pools of brass that jut out into the open and then scamper back, with some deep-hued bowing and textured accents on the drums—it has made that palpable impact.


 

Stuart Kremsky, cadence |apr-may-jun 2010

Thanks to four strong individual sounds with definite ideas about the way improvisations work, the music both moves forward and holds your interest. The spaciousness of the band’s interactions allows each instrument to be heard as an equal voice in the proceedings. Maris’ quizzical trumpet, Klare’s blustery saxes, de Joode’s aggressive and physical bass playing, and Vatcher’s ultra-dynamic approach to the proceedings make for one finely balanced and continually surprising ensemble. Definitely recommended.


Bruce Lee Gallanter, Downtown Music Gallery

This is the third album for Bart Maris' 1000 quartet which features: Jan Klare on reeds (alto sax, bass clarinet & flute from what I can tell); Bart Maris on trumpet; Wilbert de Jood one bass and Michael Vatcher on drums. This band is called 1000 (thousand) because it was born in 2004 in a series of concerts called 1000 years of jazz , because 1000 is a strong number and because it is as digital as can be. Although I am not very familiar with either frontline horn player, the rhythm team mates do get around: Wilbert DeJoode can be found on more than two discs with Ab Baars, Cor Fuhler, Ig Henneman and Michel Braam. US born, Amsterdam-based drummer, Michael Vatcher has recorded more than three dozen discs with Michael Moore, Trio Braame and 4 Walls. Most of the pieces here written by Mr. Klare who is the leader of this quartet, the rest (four) are group improvisations. 1000 have a tightly wound group sound, listening and responding quickly. The instrumentation is similar to the original Ornette quartet and they seem to be influenced at times. The group improvs are short and do a good job of balancing the diverse written material. I like the way "Welt" starts off slowly and then switches directions and tempos with unexpected results. The construction of each written piece is different giving the quartet challenges to play through. Sometimes Mr. Klare will write some bent harmonies for both horns as well as having them complete each other's odd lines. 1000 is/are a consistently interesting quartet that keep evolving and getting better with each release.


DAVID CRISTOL - Jazz Magazine février 2013

 

Jan Klare a joué avec Harry Beckett. Bobby Prevlte, Luc EX et ofldé dans le WDR Big Band. Autrement dit, dans tous les contextes, sous tous les drapeaux. Il a œuvré pour la danse, le théâtre, mené les formations Yoo are so me et The Dorf, sans négliger la musique électronique. Après "unplayable" et "Played", voici le troisième album de son groupe 1000. L'objectif est cette fois la confection 'une "sculpture sonore", à la manière d'un artisan faisant naître une entité palpable à partir d'un matériau donné. Un cordonnier avec du cuir et de la ficelle par exemple. Chacun des douze titres est un emprunt au vocabulaire de la chaussure: Out-sole, Insole, Lining, Laces ... La frontière est mince entre les morceaux composés et ceux qui ne le sont pas: Heel est écrit, mais semble improvisé. On songe au quartet Masada, et à celui d'Ornette Coleman: influences libératrices plutôt qu'écrasantes. Outre une instrumentation et des agencements évoquant ces prédécesseurs - brusques détours rythmiques, mouvements chaotiques, unissons mélodiques, brèves incises en solo, 1000 convoque aussi leur esprit. Très vifs les musiciens jouent des contrastes avec gourmandise, alternent les passages sciemment désordonnés et les trajectoires concertées. Des lignes sinueuses volètent de toutes parts, refusent capricieusement de s'accorder, mais des émulsions subites adviennent, avant que les différents éléments ne s'effilochent à nouveau. Les compositions arborent une tonalité enjouée, légère, qui rend l'ensemble accessible sans pour autant rogner sur l'exigence.