Hendrik Lasure and Seppe Gebruers continue to surprise: Lasure presents Het Wiel as intimate as it is surprising & Gebruers plays standards on two pianos with a quarter-tone difference. Hearing is believing!
Hendrik Lasure: Het Wiel (releaseconcert)
Hendrik Lasure created a furor with Casper Van De Velde as schntzl while still in school, and since then he has left his mark in theatre (see collaborations Moving Ballads and Change Of Plans with Femke Gyselinck, among others) and with bands like Bombataz (see BRAND! 2022) and the An Pierlé Quartet. His trajectory testifies to a personal view of music, constantly playing out elements of jazz, pop and contemporary music in different proportions.
In the meantime, Lasure has yet another surprise in store with Het Wiel, a singer-songwriter album with which he resolutely places himself in the tradition of Flemish cabaret, even giving references such as Jules De Corte and Boudewijn De Groot. Once again, it is striking how intimate the results are. He sings in Dutch, his version of Dutch, without embellishment or virtuosity. And he did so not only in the company of producer Koen Gisen, by now a trusted partner, but also of family members. It was the ideal setting for songs that came to them through memories of his childhood. And so the former prodigy of Belgian jazz suddenly created a widely acclaimed and intensely personal musical diary that is now brought to the stage. Come and listen for yourself.
tickets: € 16/14/10/3
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Hendrik Lasure zang, gitaar, piano | Michaël Lamirov viool, gitaar, zang | Soet Kempeneer contrabas | Thomas Jillings klarinet, toetsen
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Seppe Gebruers twee piano’s met kwarttoon verschil
Seppe Gebruers: Playing with Standards (releaseconcert)
About a decade ago, the young Seppe Gebruers invaded the Belgian jazz and improvisation scene through the collective Ifa y Xango and Antiduo, a collaboration with master Erik Vermeulen. Since then, Gebruers has become one of the most fascinating (research) explorers in our musical landscape, a musician for whom adventure is second nature, and who consistently brings surprising perspectives, not only turning expectations upside down, but reminding the listener that hearing and listening are not the same thing.
Gebruers has been working for some time with two pianos whose tuning differs by a quarter tone. In this way, he sensitively expands the possibilities of the classical Western approach.... For this concert he set to work with "standards," the monuments of jazz history, often chiseled in stone. Note there especially the "playing with" that replaces the "plays. In Gebruers' hands, playing music becomes playing with music, a game that moreover goes both ways. Not only does the performer make choices, but the material also impacts the performer. Gebruers' music is full of riddles, paradoxes and perhaps some alienation, but open yourself up to his vision and you will discover a wondrous view of music and what it can (also) mean.
