Michiel Borstlap
Coffee and Jazz

So, even with "Coffee and Jazz", just like with the already mentioned "Gramercy Park" and "Body Acoustic" (see "reviews"), we are on the levels of pianistic excellence. The reference to Jarrett's trio, by now an institution in the global jazz scene, would be even more evident here, if it weren't for Stefen Lievestro's bass, powerful and metronomic, less introspective and more bold, compared to Gary Peacock, the stable impressionist pillar of the Jarrettian trio. Here Lievestro clearly demonstrates his similarity, also due to geographical proximity, with the late Niels Pedersen, from whom he inherited both the formidable micrometric sense of timing and the ability to execute absolutely fluid and singable lines, although very articulated in solos, without neglecting the primary role of support.

Pascal Vermeer is nevertheless a "drum meister" and fellow of creativity, dynamics and vigor unmistakably De Johnettian. However, this should not be considered in a derogatory sense, on the contrary: here one looks with one eye at Jarrett and with the other (I might dare say from above) at the early Brad Mehldau, perhaps less "bulged and presumptuous" than today. "Sunday at the Village Vanguard" by Bill Evans and the related chapter II, "Waltz for Debbie" were recorded at the famous venue, also known for being a kind of small wedge which, because of this, allowed for a total communion between Evans, his peers, and the audience (perhaps even excessive, since sometimes Bill had to get up and unexpectedly let Scott La Faro perform a bass solo to let the waiter through, when he had to serve the table located at the apex! For the record: Scott would disappear late Monday night in a car accident returning home). I mention this little fragment because Michiel declares in the liner notes that Coffee and Jazz is "... a tiny spot in Amsterdam where one can enjoy excellent coffee and taste exquisite Indonesian cuisine..." and that he evidently uses it as a gym, when he's not wandering the globe. This allows him to grow the trio, sharpen the antennas and the claws.

Another characteristic of the little band is having developed lately (and this is obvious) a significant sense of collective interpretative dynamics in presenting the pieces. The album's program, recorded right after the North Sea Jazz Festival in the summer of 2004, (and superbly curated in terms of sound, perhaps a bit less on the ghost track) includes seven official tracks and, indeed, a hidden ghost at the end of track 7, which is none other than a rough and breathtaking variant of the piece "Gramercy Park". Highly recommended to those who love extremely high-quality jazz, "no-compromises".