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Kris Defoort invites

Saturday 14 August 2021 / 18.30-19.45u.

Kris Defoort – piano
Wolter Wierbos – trombone
Han Bennink – drums

Doors of this festival day open at 14.00h. This is a seated concert day.
Ticket price is 44 euro. Child tickets are available at 8 euro (see conditions).
Your ticket gives you access to all concerts of this festival day.

22h30 - 00h00 - John Zorn / Laurie Anderson / Laura Cromwell
20h30 - 21h45 - MiXMONK
18h30 - 19h45 - Kris Defoort invites
16h30 - 17h45 - Reservoir Ghosts // Malaby-Dumoulin-Ber
14h45 - 15h45 - John Ghost

Improvisation is the basis and the strength in Kris Defoort’s work. Both in his jazz formations and in his masterly operas, improvisation is often the way to compositional perfection.
In recent years we have seen him in the good company of his trio (with Lander Gyselinck and Nicolas Thys) working with Josse De Pauw. Last year, the trio played in its ‘pure form’ at Jazz Middelheim, a concert that made a serious impression.
Just before his ‘Opus Magnum’, ‘The Time of Our Singing’, premieres on 14 September in De Munt, we invited him for a unique carte blanche. He did not have to hesitate for long and invited two other great masters of improvisation: Han Bennink and Wolter Wierbos.

Han Bennink is without a doubt one of the most intriguing drummers on the planet. We can only agree with what The Guardian once said: ‘Everybody should, before they die, see Han Bennink’.
His first drum kit was a kitchen chair. In the sixties, he accompanied American jazz stars like Sonny Rollins, Ben Webster, Wes Montgomery and Eric Dolphy. As a soloist and co-founder of the ICP Orchestra (1967-now) Bennink played an important role in the development of European improvised music. With Willem Breuker, Misha Mengelberg and Wim T. Schippers he performed in a large number of comic music-theatre productions.

For trombonist Wolter Wierbos it’s all about fluidity: of tone and time, of line and strategy and setting. It has been said that he can sound like a whole Ellington trombone section, from muted ya-yas to beautiful melody-statements, to dark shades in the corners. He improvises free-associative solo concerts that point to even more possibilities to explore. Even in composed music, he can improvise – perhaps coming up with a better trombone line than the one written for him. No wonder he has been a key figure in Misha Mengelberg’s ICP Orchestra for 30 years, where the players always rearrange the melodies. But he will always play a role if the harmonies depend on it.

These three gentlemen, each with a richly varied musical career, have already committed a “pas de deux” among themselves. This time, for the first time, it will be a TRIO conversation, dancing and unpredictable like a whirlwind.