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Recordings
Now available:
'Stompin' On Main Street'
Bram Wijnands and His Majestic Seven Barry Springer: Trumpet Dan Thomas: Alto Hal Melia: Tenor Mark Cohick: Tenor, Baritone Lucky Wesley: Bass Tommy Ruskin: Drums Bram Wijnands: Piano, Vocals, Arrangements
'Kansas City Swings' (for this CD, please email by clicking here)
Bram Wijnands and His Majestic seven.
Steve Patke: Clarinet, Soprano, Alto Dan Thomas: Alto Rick Rieger: Alto, Clarinet, Tenor Tim Doherty: Tenor Hal Melia: Tenor, Baritone Lucky Wesley: Bass Tommy Ruskin: Drums Bram Wijnands: Piano, Celeste, Vocals, all arrangements Liner Notes for 'Kansas City Swings' by Bobby Watson Bram Wijnands is a modern day renaissance man. He works with wood, he's a recording engineer, (part of "Kansas City Swings" was recorded at his home and part of it at UMKC, the University of Missouri in Kansas City). He arranges and composes, he also repairs and plays upright bass, sings, plays the drums and accordion, tunes and repairs and finally, plays an amazing stride piano every Friday and Saturday night at the Majestic Steak House in downtown Kansas City Missouri. On those magical Fridays and Saturdays, if one is fortunate enough to be in his presence, one will have the chance to experience pure unadulterated swing-style music with a deep Kansas City flavor. And, you will also hear and experience one of the most impressive and dazzling displays of stride piano in the world and, to top it off, this man was born in the Netherlands! That's Holland for you locals. In July 1991, Bram arrived in town for a one-week sell-out gig at the now defunct City Lights Jazz Club with the late Richard Ross. Very soon after, the buzz started all over town about his remarkably fresh and hard-driving swing and enthusiastic style of delivery. Kansas City was hooked, and Bram was hooked on Kansas City. He made several trips back and forth between Holland and Kansas City and by 1994, he had completely settled in Kansas City. After a Carnegie Hall concert in 1998, he received a proclamation from Mayor Emmanuel Cleaver's office stating him as Kansas City's Ambassador of Swing and making April the 6th "Bram Wijnands Day" in Kansas City. Not bad for a boy from Holland! Also during this time span, Bram formed a six-piece ensemble that eventually became the seven-piece "Majestic Seven" for which he composes and arranges in an authentic 40's swing style culminating in their debut CD that you now hold in your hands. Bram Wijnands has always been nuts about swing music. Even as a child, when he watched American musicals and jazz concerts that were broadcast showing Louis Armstrong and Duke Ellington on the BBC received in Holland, and heard many of the classic standards of the twentieth century, it immediately struck him right then and there. "When I was a child, some of my favorite movies were the "Glenn Miller story" and "Stormy Weather". My parents would always let me stay up at night to finish watching. Then, when I would get up the next morning, I would go to the piano and try to duplicate what I had heard. I would lie up at night trying to visualize the harmonies that I had heard in the bands on the piano. In fact, it was in "Stormy Weather" where I first heard and saw Fats Waller play the piano, and he inspired me to play stride piano". And play stride piano he does! The first thing that strikes anyone listening to Bram's music is that his style of playing is not contrived. He hears, sleeps, eats, and dreams of his music in this way. Having performed with Bram on innumerous occasions and settings, I can personally attest to the feeling that I get from playing the authentic and honest swing-style of music that Bram regularly and consistently serves up, and the effect that it has on his audiences; and in these days and times, this is truly a rare treat for this writer. His energy and delivery is absolutely infectious! "That music, (swing), has always made me feel happy, it's an up-beat kind of music; and it still always makes me feel good". Bram always liked the richness that comes with the block harmonization of a melody. With a harmony needed for every note of the melody. "You have to do a lot of thinking to make it work," observes Bram. "This is definitely period music, and that is my intention. It is not intended to be "progressive". I see a lot of parallels between the swing era in the US and the baroque period in Europe. Both styles are highly ornamented and complicated in its nature. I feel that the swing period was and is an important stage of development in the history of jazz, and since jazz is America's classical music, each period of it's history holds something special and magical". And indeed, listening to this CD brings feelings that are both special and magical. Bram goes on to say, "I enjoy all styles of music and can play many styles myself, but this is something that is close to my heart and I am really strong in this style of musical expression. I think it is a shame that previous styles are looked on as old. You have to remember that when this music was being created the people creating it were all young men and women". Indeed listening to "The Majestic Seven" makes one want to grab the nearest partner and hit the dance floor. This dance component of Bram's music is something that has been all but lost in today's jazz music. After all, jazz was the popular dance music of the youth of America back in the 1930s and 40s.. Another quality of Bram's music is the romanticism that is felt in his music; with the block chords, and the dramatic, (not the dark side), and the emotions that it brings out of the audience and the performers who play it. The first track on "Kansas City Swings", written and arranged by Bram and entitled "Always and Forever, Body Heart and Soul" to this writer, evokes the vision of a couple that are madly in love, walking hand in hand through the park on beautiful afternoon. The "Majestic Seven" takes the listener back to a time when life wasn't as complicated and people had more time to stop and appreciate the beauty of life. What's wrong with that? For "Kansas City Swings", Bram has assembled a group of the top Kansas City musicians dedicated to bringing back the authenticity in swing music, especially the music with a Kansas City type of feel. You will notice that Bram uses a style of writing that was very common in the swing era, meaning the use of "block" harmony or a more open voicing of it. He also composed seven of the sixteen selections heard on this project. In this smaller group setting, his arranging techniques create a bigger sound which helps carry over the music. His wonderful selection of musicians helps to create a rompin' rhythm section and honkin' horns with great solos that are a lot of fun to listen to. Ultimately this could be a concert/festival band. The band has already performed at the Topeka jazz festival and the Kansas City Jazz Ambassador's club crawl. Bram concludes, "It is my hope is to tour Europe and the US with this music". I will conclude by simply referring to the second track on this wonderful CD, "It Don't Mean a Thing if it ain't got that Swing" and stating that it was true then and it's still true now, and, "Kansas City Swings" indeed. Enjoy! Bobby Watson, Kansas City, October 31, 2004
CD Review Jam Magazine Bram Wijnands and his Majestic Seven Personnel: Steve Patke, clarinet, soprano sax; Dan Thomas, alto sax; Tim Doherty, tenor wax; Rick Rieger, tenor and alto sax, clarinet; Hal Melia, tenor and baritone sax; Lucky Wesley, bass; Tommy Ruskin, drums; Bram Wijnands, piano, vocals, arrangements. Tracks: Always and Forever, Body Heart and Soul; It Don't Mean a Thing; Tenderness; Fancy Meeting You; Ding Dong Baby; Jumpin' at the Woodside; There's a Small Hotel; The Beret and the Hatpin; Ma Brunette Belle; Almond Eyes and Chico; Corner Pocket; Star Sapphire; Down for the Count; Broadway Boogie; Teardrops From My Tears; Honeysuckle Rose. Bram Wijnands latest CD is a tribute to the small group swing music of the 1940's, with some 1930's and 1950's touches thrown in. Backed by a first-rate Kansas City ensemble, it will have you tapping your feet. He pays homage to Benny Goodman with his own "The Beret and the Hatpin", and to Count Basie with the Ernie Wilkins tune, "Corner Pocket", and Basie's own "Jumpin' at the Woodside" and "Down for the Count". "Fancy Meeting You" is another in the Basie bag, with Bram's piano straight from the Count's spare, swinging style. Both the 1940's solo and riff-based Basie style and the more arranged 1950's Basie music are on display here. Ruth Brown's "Teardrops From My Eyes" shows just how close early R&B was to jazz. Bram takes the vocal chorus here, as he does throughout. His voice is typical of the vocals of the period. His version of "There's a Small Hotel" is another example of Bram's ability to evoke the vocals so typical on small group swing sessions of that era. In addition to Bram's arrangements, his original compositions are a highlight, all of high quality and fitting into the genre. The arrangements typically have a clarinet or soprano sax lead, and the Hal Melia baritone sax provides a great bottom, especially "Always and Forever". And note "Honeysuckle Rose", where Bram reworks the melody; it's not until you get to the bridge that the Fats Waller classic emerges. On "Always and Forever, Body Heart and Soul", you might think you were at a speakeasy at closing time. On "Almond Eyes and Chico", one might think of jitterbugging to the swinging beat. On "Broadway Boogie" Bram gets to really stretch out, and with the group riffing in the background, makes you want it to go on for while. "Tenderness" is a pretty ballad by Bram, with a standout clarinet solo. Of course, the soloists stand out throughout. Steve Patke's soprano is a highlight on "Jumpin' at the Woodside", as is Hal Melia's boppish baritone on "Almond Eyes and Chico". This recording reminds me of the Widespread Jazz Orchestra, a New York-based small group swing band that was popular in the late 1970's and early 1980's. Like that band, the group here sounds like they had a great time recording this, and I'll bet that enjoyment will carry over to the listener. Don Merker
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