Lyrical alto saxophonist and canny jazz entrepreneur Tom van der Zaal thought big and cooked up an album with strings. “It’s taken three good years of my life. I wanted everything to be top-notch.”

He hovers over an espresso at Jazz Coffee & Wines on the beautiful Noordeinde street in The Hague. Quite the opposite of Jakarta. A gusty wind comes down from the North Sea. Its residential grandeur warms your bones. The city that seats the national government is the home base of Van der Zaal, a well-groomed, vivacious fellow with a healthy blush on his cheeks. Bon vivant. Go-getter. Having arrived at the second phase of his career, not a young lion anymore, Van der Zaal is out there to compete and cook up new strategies. He’s serious about the definition of ‘new’ and gains traction after his well-received Time Will Tell album from 2019, which featured ace guitarist Peter Bernstein.

His next ‘phase’ involves Sketchbook Of Dreams, which adds a couple of rearrangements of compositions from Time Will Tell to new material that was specifically written for this inspired ‘with strings’ project. “A lot of ideas come up at night. It seems that creativity is inspired by darkness. When I get an idea at night, I get up out of bed and write it down or sing a melody in my phone, even if it’s only four bars. It may be a starting point for something to work on the coming day. They’re like sketches.”

An all-consuming affair. One doesn’t put together a string album overnight. Van der Zaal is much akin to a quarterback that takes up the extra tasks of coach, agent and personal trainer. “This kind of project usually involves a team of approximately eight people. I’ve almost done everything myself. Preparation, arranging, budgeting. I’m quite ambitious and don’t care whether it takes sixteen hours a day. It turned out to be a very good occupation for me during the pandemic. It kept me busy and in fine mental health. And I knew that I had some good thing going on once the restrictions were abandoned. At least, after all this work a good response is what I’m hoping for!”

“It basically comes down to an expansion of all kinds of capabilities. Both business-wise and artistically. Musically, it has been quite challenging. Writing charts and arranging is not something that you just do on the side. I really dug into the practice day and night. Obviously, I’m familiar with the great ‘with strings’ records of Charlie Parker, Clifford Brown, Frank Sinatra. But I wanted to make my own kind of album. I listened a lot to the treatments of classical pieces by Bill Evans and threw myself into the string quartets of Ravel and Mahler. I am very much influenced by their movements and intervals.”

“Even still, I’ve got a lot to learn and look forward to work more often in this vein in the future. It really fits my style like a glove. I’m a lyrical saxophonist and match well with the warmth of strings. 50% of what I do is sound, so I really need to take care of it! That’s why I’m also a gear geek. I ordered one of those famous Ribbon microphones that amplified the tone of guys like Cannonball Adderley. But it got stuck at customs. I had to use another mic. It’s probably undiscernible but things like this keep bothering me. Still, it turned out beautifully.”

You oughta take Sketchbook Of Dreams to your second date. You won’t take no for an answer. Put it on. The flickering of candle flames heightens the intensity of melancholia. The streetlights wink languorously to the lamp post. The piano is tipsy, telling corny jokes. It’s a lush affair, to say the least. Bordeaux wine-red strings embrace the tender but punchy alto saxophone of Van der Zaal. The palette ranges from Coltrane-ish drama to sweet-tart balladry. The great Dutch pianist Rob van Bavel accompanies beautifully and embellishes the intriguing movements of Dance Of Hope And Prospect. Van der Zaal rebounds from his chair. “Rob is a giant. Every time I hear him play I keep thinking that Holland is blessed to have a guy like this in its ranks. We specifically wrote Dance Of Hope And Prospect for Rob.

A subtle Latin feel is predominant throughout the album. “Our bassist Matthias Nicolaiewski is Brazilian. I keep asking him for new music, the things that almost nobody is familiar with out here in the West. That’s how we came up with Luiza from the legendary Antônio Jobim, one of his lesser-known tunes. It’s one of the most beautiful melodies ever and suits the range of the alto sax perfectly.”

Van der Zaal hired the Grammy Award-winning engineer Dave Darlington to look at the scores. He specifically wrote string introductions so that he may switch between performances with quintet or orchestra and tease audiences with radio edits on Spotify. He considers a vinyl release and is planning performances in Brazil, Indonesia, the illustrious Ronnie Scott’s in London. A man with a plan. “There’s an idea behind all aspects of the album. In general, I have reached the age that I don’t need to make miles any more like a youngster playing for a couple of bucks in bars. I do enjoy playing, of course, but I’m more conscious of what I’d like to achieve.”

He has come a long way from the boy that grew up in the home of a saxophone-playing father, who passed on his musical genes and business acumen. “I grew up with a strong sense of the tradition and listened to Benny Carter, Johnny Hodges, Louis Armstrong, Bix Beiderbecke. My father had a job but he played alto saxophone and clarinet. He has great ears and intuition. I have been lucky, because he took me to rehearsals and concerts when I was just a little kid. I studied with Simon Rigter and David Lukasz when I was 16. Around that time I went to my first afterparty at North Sea Jazz, taken by the sleeve by Wynton Marsalis, soaking everything up until 10 in the morning. That was when the jazz bug really got to me.”

North Sea Jazz has moved to Rotterdam. The jazz life of The Hague is close to his heart. For four years now, Van der Zaal and singer-songwriter Toine Scholten have organized the Jazz En Route festival, performances in various places along The Hague’s elegant avenues. “It’s mainstream but we look for a connection with postmodern stuff. We’re not aiming for a new North Sea Jazz. But I have noticed that there is a certain nostalgic feeling among musicians, certainly Americans. They miss that special vibe. Jesse Davis said that one of our places gave him that old North Sea feeling for the first time in twenty-five years. He was talking about our spot at the Indigo Hotel. You wander through a kind of speakeasy bar, then a cocktail bar, until you’re in a great jazz room. It’s a really cool experience.”

Van der Zaal washes away his last espresso with a small glass of water. He smiles, tired but fulfilled. “Once the sound of the last notes has died from the December festival, the organization for next year starts. It is a very time-consuming affair. It’s somewhat like Sketchbook Of Dreams. ‘All or nothing at all’, so to speak.”