https://youtube.com/playlist?list=OLAK5uy_mxi-dTIt5BQKCPr-KNt9yiUX8c87TUTcA

muzycy:
Vinsent Planjer - Drums, Percussion
Remy van Kesteren - Harp
Tony Overwater - Bass
Hermine Deurloo - Saxophone
Rembrandt Frerichs - Piano
Dominic Seldis - Bass
Tatiana Koleva - Marimba
Celia Garcia-Garcia - Piano
Benjamin Glorieux - Cello
Ties Mellema - Saxophone
Liza Ferschtman - Violin
Teus Nobel - Trumpet

Editor's info
WARM TO THE TOUCH is the recorded result of my labor-of-love-project that is all about creating connections between my percussion instruments and as many other instruments as possible. In order to create a strong sense of closeness and intimacy, these connections are made with one, and sometimes two, instruments at a time, so each track is either a duet or a trio. My musical partners in this adventure are nothing short of the top players in Dutch classical music and jazz. This high level of skill is essential because the compositions are challenging, both technically and in terms of musical choices. The performance of music in the unusual combination of percussion and melodic instrument has no standard approach. What’s more, I have insisted on some degree of improvisational input from each musical partner, which for some is not within their natural comfort zone. The result is a collection of eight highly diverse pieces, showcasing a broad range of interests and inspirations.
Throughout my career as a performing musician, I have focused on using percussion to evoke a multitude of moods and emotions, from meditative to exuberant, tender to aggressive, humorous to dead serious. The underlying idea is the belief that (non-melodic) percussion can communicate the entire spectrum of musical experiences.
There is an element of emancipatory drive in this, as percussion is often still seen as support/ accompaniment/embellishment rather than the core of the music itself. A powerful illustration of this is the audience comment I received recently after a concert: “the way you play percussion, it’s truly an instrument.” This drive for emancipation is also a significant reason for choosing very small ensembles; this immediately makes it clear that the players are equal communication partners. Because, ultimately, communication is what matters most in the performance of these pieces.
In my compositions, as a writing.......
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