Steve Nelson Trio A Common Language (Daybreak 2024)


Doing a Double Nelson.

Steve Nelson Trio - A Common Language


Steve Nelson (vibraphone), Joris Teepe (bass), Eric Ineke (drums)


on October 23, 2023 at De Smederij, Zeist


as Daybreak 802/3 in 2024

Track listing

Bag’s Groove
Softly, As In A Morning Sunrise
Body And Soul
I Hear A Rhapsody
My Shining Hour
I Thought About You
Star Eyes
Oh, Lady Be Good
Embraceable You
Well, You Needn’t
Up Jumped Spring
Lover Man
I Remember April
Satin Doll

“There’s no telling what we’ll play in the second set,” bystanders overheard bassist Joris Teepe say at the CD-release concert of A Common Language by the Steve Nelson Trio at De Pletterij in Haarlem on April 1. Among others, it turned out, they played a lush version of ‘Round Midnight and a gritty jump blues take on Frankie And Johnny, both made up on the spot and not presented on the American vibraphonist’s first album on the Daybreak imprint of Timeless Records.

Steve Nelson, preeminent 69-year-old vibraphonist and past associate of Dave Holland and Mulgrew Miller, is an invitee of ‘Dutch New Yorker’ Teepe, who as artistic advisor of the Prins Claus Conservatory of Groningen regularly brings his American connections to his home country. The trio is completed by veteran drummer Eric Ineke, pinnacle of Dutch jazz that played with a who’s who in jazz from Dexter Gordon to Jimmy Raney and Eric Alexander to Tineke Postma.

On stage, the quiet and reserved Nelson says: “I like to play with everybody, young and old, but with these guys… (sighs). They are so experienced and know exactly what they are doing.” And then some. It is quite a team, full of interaction and balanced energy. Especially from playing a bit more together the last few years than in the past, the Teepe/Ineke tandem has become particularly tight-knit and flexible, Teepe’s way of making the music breathe quite phenomenal and Ineke’s succinct questioning-and-answering typically steady, dynamic and vivid.

All this is in evidence on the appropriately titled 2CD-set A Common Language. Fifteen standards, no less, and Nelson must have felt like a kid in a candy store, relishing the various melodies and changes of iconic tunes, and like a counterfeit passenger on a magic carpet, enjoying the ride with his top-rate colleagues from the Low-Lands. Whether it’s Bag’s Groove of Nelson’s iconic precursor Milt Jackson, De Paul/Raye’s Star Eyes, two standard ballads Embraceable You and Lover Man, or swing anthem Oh, Lady Be Good, Nelson is on a constantly creative level, pouring out vivacious and flowing lines like a tap dancer that’s swinging in the rainy streets of Storyville.

This set, indeed, is a city of versatile stories. Relentless trio drive marks Softly, As In A Morning Sunrise, while I Thought About You moves ever-so-slowly in a good groove, a version that is kickstarted by a gorgeous introduction on the vibraphone and finds Nelson in a pensive mood, as it were, in deep thought like Socrates on a rock on the Olympus. The slapping rockabilly bass of Teepe spurs on Monk’s Well, You Needn’t, which also includes one of Teepe’s finest solo spots.

It may not be, as stated in the liner notes, the first-ever album of vibraphone, bass and drums – rare as it is, at least there’s Khan Jamal’s 1986 Steeplechase album The Traveler that has explored this territory before. But it is an undeniable truth, as Ria Wigt from Timeless Records pointed out on stage at De Pletterij, that A Common Language is one of the best career efforts of the number one vibes player of his generation, with more than a little help from his exceptional Dutch friends.

Steve Nelson Trio

Lieb & The Ultimate Sideman


In 2012, Dutch drummer Eric Ineke and saxophonist and flautist David Liebman compiled The Ultimate Sideman, a historical narrative and a discussion of Ineke’s experiences with jazz giants and unsung heroes and Dutch luminaries since the late 1960’s. It was published by Pincio and has come up for sale again at the Dutch Jazz Archive.

A sought-after accompanist, Ineke played with hundreds of visiting jazz artists and fellow Dutchmen including Dexter Gordon, Johnny Griffin, Hank Mobley, Clifford Jordan, Lucky Thompson, Eddie “Lockjaw” Davis, Frank Foster, Joe Henderson, Harold Land, Dizzy Gillespie, Woody Shaw, Clark Terry, Harry “Sweets” Edison, Red Rodney, Jimmy Raney, René Thomas, Piet Noordijk, Charles McPherson, Frank Morgan, Barry Harris, Duke Jordan, Tete Montoliu, Rein de Graaff, Rob Agerbeek, Dave Pike, Ronnie Cuber, Pepper Adams, Curtis Fuller, Buddy DeFranco, Toots Thielemans, Eddie Daniels, Sam Most, Doug Webb, Wynton Marsalis, Jarmo Hoogendijk, Eric Alexander, Grant Stewart, Gaël Horellou, Tineke Postma and Jesse Davis. Etcetera.

In the 1960’s and 1970’s, visiting Americans looked for the closest thing to real jazz around Europe and most of the time were coupled with Ineke, who has natural swing and amazing historical knowledge of drums and the history of jazz. He’s the ultimate sideman. On many occasions, until recently, he accompanied legends and contemporary jazz artists as part of the trio of semi-retired pianist Rein de Graaff featuring bassists Henk Haverhoek/Koos Serierse/Marius Beets. At the age of 76, he is alive and kicking, mentor to myriad young local and international lions and tireless and beloved ambassador of classic/mainstream jazz. He leads the hard bop group Eric Ineke JazzXpress.

In a way, The Ultimate Sideman is autobiography, the story of a jazz musician who, from the passion for Max Roach, Elvin Jones, Philly Joe Jones, Shelly Manne, Billy Higgins, among others, developed a style that suited his personality and who grew into a master drummer from adapting to various styles. He’s a cat that one evening played with Phil Woods, the other with Lee Konitz, George Coleman and Ben Webster, Freddie Hubbard and Chet Baker. A great challenge to meet.

During the course of his story and discussion, Ineke recurrently says, “As a drummer, you have to take care of that, otherwise…” He knew all about the time of the players, the sound, the timbre, the dynamics. And if necessary, Ineke did a lot of homework before the gig. True professional.

Though Ineke and Liebman had jammed together in Pescara, Italy in 1973, they finally befriended in the early 1990’s, when they met through The International Association of Schools of Jazz, which was founded by Liebman in 1987. They played together on albums on the Daybreak subsidiary of Challenge Records. As the website of the famous Miles Davis and Elvin Jones-alumnus states, “Eric was and still is THE man for putting a great straightahead rhythm section together for visiting artists in that part of Europe.” Very true. What’s more, the records with Liebman demonstrate that he is an exceptional and spontaneous interactor in a challenging environment. It shouldn’t be surprising, since he also worked with avant-leaning groups as the Rein de Graaff/Dick Vennik Quartet and Free Fair in the 1970s and 1980s. (Note: Ineke also flawlessly connects with the other extreme, occasionally sitting in with dixie and swing bands in café Murphy’s Law in his hometown The Hague)

The “Lieb” albums also feature bassist Marius Beets and, on separate albums, saxophonist and clarinetist John Ruocco, guitarist Jesse van Ruller and pianist Marc van Roon. Is Seeing Believing features guitarist Ricardo Pinheiro, among others. Top-rate, expressive albums. About time for another musical meeting between Lieb and The Ultimate Sideman, don’t you think?

Eric Ineke & David Liebman

Find The Ultimate Sideman at Nederlands Jazz Archief here.

Eric Ineke - The Ultimate Sideman

Enrico LeNoci Common Ground (ZenneZ 2023)


Young LeNoci modernizes that good ol’ jazz guitar style in his own fashion.

Enrico LeNoci - Common Ground


Enrico LeNoci (guitar), Pietro Mirabassi (tenor saxophone), Arno Krijger (drums), Eric Ineke (drums)


in 2022 at De Smederij, Zeist


as ZenneZ 2023013 in 2023

Track listing

Pied Fries
Arjun’s Blues
In The House
Common Ground
Night Fears
Small Changes

Guitar players are an endearingly wacky lot. They are crazy about their iconic wooden toy, which replaced the saxophone as the lead instrument of popular music in the fifties and never looked back. I remember John Scofield telling me that he regarded himself as a guitarist first and foremost. (“My roots are the blues and Cream, I didn’t start off with bebop.”)

Enrico LeNoci, whom fellow Italian jazzers may soon dub “il nostre uomo a Den Haag”, is a guitarist that oozes the jazz feeling from the golden age of mainstream jazz. At the same time though, there is ample evidence of a passion for blues and blues rock. His debut album features veteran drummer Eric Ineke, mentor of generations of Hague students, penultimate sideman that played with Dexter Gordon, Johnny Griffin and Chet Baker, among countless others. Ace organist Arno Krijger and tenor saxophonist Pietro Mirabasi complete the line-up.

Sprightly hard bop tunes are marked by the juicy sax of Mirabassi and sassy playing by LeNoci. In The House is sweet as honey, a string of melody lines that are as charming as the solos are enchanting. It has LeNoci replacing sassiness for tender and thoughtful romanticizing. Keys is comprised of fluid lines that bite each other’s tails, as if one hears Jimmy Raney working on a tune with Atilla Zoller, discussing various keys. The beautifully paced solo by Krijger steals the show. Here’s a band that fluently shifts through lanes, not least because of chauffeur Eric Ineke, either burning rubber or honking horns to keep everybody on his toes or gently cruising the crew back home.

Sleazily bended notes, tad of Sco’, pinch of Robben Ford even. These are facets of Arjun’s Blues and Night Fears. They won’t earn LeNoci a place in the Blues Hall of Fame but are fine additions of a promising real jazz debut.

Enrico LeNoci

Find Common Ground here.

This spring also finds LeNoci releasing his trio album Electric Nuts.

Ferdinand Povel and the Rob Madna Trio Live at Café Hopper (Daybreak/Challenge 2007)


Dutch luminaries conquered Café Hopper in Antwerp.

Ferdinand Povel - Live At Café Hopper


Ferdinand Povel (tenor saxophone), Rob Madna (piano), Marius Beets (bass), Eric Ineke (drums)


on May 31, 2000 at Café Hopper, Antwerp


as DBCHR75370 in 2007

Track listing

Sleepless City
How Deep Is The Ocean
Will You Still Be Mine
Stella By Starlight
The Touch Of Your Lips
The Theme

As good as some concerts in big halls are and as good as the recorded evidence on wax sounds, there’s nothing like the atmosphere of the small club or café. Three Deuces. Birdland. Half Note Café. Lenny’s On The Turnpike. The Front Room. Boomers. And still going strong: Montmartre in Kopenhagen, Smalls in NYC. Over here in the Low-Lands there were places like Sheherazade in Amsterdam, B14 in Rotterdam, Persepolis in Utrecht, Pepijn in The Hague, Nick Vollebregt’s Jazzcafé in Laren. Way back when, the region was scattered with little spots that programmed jazz. Most of the places have disappeared. But there are some great new spots and some of the oldies are still around. De Tor in Enschede, Porgy & Bess in Terneuzen, Mahogany Hall in Edam, Paradox in Tilburg, Dizzy in Rotterdam, De Twee Spieghels in Leiden. When you hear a fluff or the choking of a valve you also witness the twitching eyebrow of the saxophonist and the chuckle of the drummer. You see the sweat running down the bassist’s neck. It’s live and lively.

Café Hopper in Antwerp, Belgium is a warhorse in existence since 1991. The beloved founder, bassist Mary Hehuat, sadly passed away last year. His sons had already more or less taken over business for a couple of years. Let’s hope that the place will continue their jazz programming. Between Low-Land icons as Toots Thielemans and local heroes, the little stage housed Lee Konitz, Nat Adderley, Wynton Marsalis and Brad Meldhau. In 2000, Hopper had typically booked a top-rate crew and presented tenor saxophonist Ferdinand Povel and the trio of pianist Rob Madna featuring bassist Marius Beets and drummer Eric Ineke. Not conscious about all Ineke’s enormous output, the release was pointed out to me recently by the latter tireless ambassador of hard bop, prominent mentor of young national and international lions and lionesses at conservatories around the world.

“Ferdinand was on top of his form’”, said Ineke.

Check. On fire.

Let’s for once resist the temptation to start the discourse which explains that not everything from the United States is pure gold and that Europe, after initial startup problems, spawned a pool of major-league players in the 1950s-70s, whose excellence often surprised American legends and pros, who on rare occasions even were outstripped in the act of improvisation. Let’s totally set aside the fact that Europe learned jazz from the homeland and its implied minority complex and see if a piece of jazz is hip or not whether it’s from America, Finland or Korea or black, white or yellow.

Today’s listening pleasure is from The Netherlands and plainly outstanding. Povel came up in the late 1960’s and developed into one of the prime Dutch saxophonists. He spent many years in the big bands of Peter Herbolzheimer and The Skymasters and was guest soloist in prime national and international big bands but also freelanced with the likes of Maynard Ferguson, Philly Joe Jones, Dusko Goykovich and John Marshall. Madna (1931-2003) was one of the earliest high-level modern jazz pianists in the country in the 1950s and played with Phil Woods, Lucky Thompson and Freddie Hubbard. Ineke got on a roll in the late 1960s and 1970s as accompanist of Dexter Gordon and Johnny Griffin, among countless others. All have been influential mentors and teachers. Up to 2000, they had played and recorded with each other for decades, followed in their footsteps by ‘young’ bassist Marius Beets, who accompanied numerous artists with the Rein de Graaff Trio and is part of hard bop outfit The Eric Ineke Xpress.

They perform the boppish Madna tunes Sleepless City and Choctaw, and the standards How Deep Is The Ocean, Will You Still Be Mine, The Touch Of Your Lips and Stella By Starlight. Their rapport is evident and it all swings so smoothly like meandering rivers through the Alp valleys yet propulsive like a Lear jet. Close your eyes and listen to the tenor saxophonist and his long stories, brimming with ideas, never repeating himself but instead weaving one beautiful and logical line after another, bossy and soulful. His beat is slightly and pleasantly idiosyncratic, his sound is solid, burnished and punchy. Though he’s never roaring, there is in his playing a compelling urgency that challenges his rhythm section to come up with inventive goods. Above all, he’s controlled and graceful and particularly shines throughout Sleepless City and How Deep Is The Ocean.

Madna takes center stage with a sizzling rendition of Will You Still Be Mine. His refined restyling of Stella By Starlight is very enticing and underlined by subtle cymbal shadings by Ineke, who sets up a kind of floating time while locking in tightly with Beets at the same time. The tension builds, reflecting a great symphonic theme, that’s Stella by starlight and not a dream…

To boot, the sound is resonant and clear, courtesy of one Stephan van Wylick and this allows us to fully experience the typical pleasure of live barroom jazz. Just one night. But multiply and you have a life full of the real thing.

Ferdinand Povel

Live At Café Hopper is reissued on the Japanese Ultra-Vybe label.

Recommended listening:

Ferdinand Povel – Beboppin’ (Limetree 1983); YouTube link here.
Rob Madna – I Got It Bad And That Ain’t Good (Omega 1977, featuring Eric Ineke); YouTube link here.
The Eric Ineke XPress – Dexternity: The Music Of Dexter Gordon (Daybreak 2016)

Listen to Good Bait, another good one by Povel with Rein de Graaff, Marius Beets, Eric Ineke and Pete Christlieb below on Spotify.

Eric Ineke Swingin’ Boppin’ And Burnin’ (Daybreak 2022)


Ultimate sideman and hard bop ambassador Eric Ineke can’t and won’t stop swingin’, boppin’ and burnin’.

Eric Ineke - Swingin' Boppin' And Burnin'


Eric Ineke (drums) and Rein de Graaff, Koos Serierse, Marius Beets, Jimmy Raney, Doug Raney, Ben Webster, Maynard Ferguson, Frans Elsen, John Marshall, Etta Jones, Houston Person, Pepper Adams, Piet Noordijk and others.




Daybreak 801 in 2022

Track listing

Hersey Bar
I Thought About You
Easy Living
Thou Swell
Eric’s Blues
The Theme

Rarely if ever have I heard such a quiet drum solo as the one that Eric Ineke played at his 70th Birthday Bash at Bimhuis, Amsterdam five years ago. It was quieter than soft winds through your hair. That was a festive occasion with buoyant bop and hard bop. Hence, Ineke’s contrasting, hushed and exceptionally skilled performance was all the more exciting.

The Dutch veteran that played with everybody from Dizzy Gillespie to Johnny Griffin and Dexter Gordon, is not the stereotypical drum soloist. Although he occasionally takes center stage, Ineke prefers concise statements and the interactive trading of eights and fours – if called by the spirit, twos. Typically, Ineke is a supportive and propulsive drummer that links Philly Joe to Elvin Jones and the big picture – wrenching every inch of soul from his bandmates that they’ve got – is his core business.

In honor of his 75th birthday, which again was celebrated at Bimhuis in April, Daybreak has released Swingin’ Boppin’ And Burnin’. It’s a compilation that compares well to Ineke’s 70th Birthday CD Let There Be Life, Love And Laughter: Eric Ineke Meets The Tenor Players and a feast of hard-swinging and subtle mainstream jazz recognition. Honestly, where else can you find such a diversity of characteristic soloists? Surprisingly, this diversity and timeline of 1968-2007 is not in any way confusing, certainly due to bassist/remastering engineer Marius Beets’s resonant and consistent sound concept.

Most of all, Ineke is the tie that binds the unique stylings of Jimmy Raney, Ben Webster, Maynard Ferguson and Pepper Adams, among others. Exceptionally alert and gifted with far-reaching songbook and drum historic knowledge, Ineke pretty much always finds the groove that fits the particular soloist, which coupled with a congenial and enthusiastic personality has made him one of Europe’s ideal drumming accompanists since the late 1960’s. For those in the know, it is no surprise to find extremes as Ineke’s subtle and driving brush work on pianist Frans Elsen’s version of Thou Swell and the explosive Art Blakey stylings of his band The JazzXPress’s intense Jotosko.

A couple of standout moments are Ben Webster’s (and, lest we forget, hot damn, Tete Montoliu’s) fervent ride through the anthemic stereotypical set closer The Theme and Jimmy Raney’s harmonically astute handling of Hersey Bar. The way Eric and his band kick the commonly understated Scott Hamilton into increasingly higher gears on Tangerine and trumpeter John Marshall’s sweet and sour handling of the beautiful ballad Easy Living further justify the conclusion that the pairing of Ineke and his closest musical associate, pianist Rein de Graaff, is one of the all-time great European modern jazz partnerships. The duo and its crackerjack contemporary and famous long-gone companions are like a shoal of dolphins that in a completely natural way continue its jumpin’ and jivin’ journey in and on the undercurrents and waves of the ocean.

This excellent compilation is awarded him warmly. Who knows what 80 will bring.

Eric Ineke

Find Swingin’ Boppin’ & Burnin’ here.

Septet Frans Elsen Norway (NJA 2021)


Dutch mainstreamers turned out to be top-notch fusion funkateers.

Septet Frans Elsen - Norway


Frans Elsen (Fender Rhodes), Eddie Engels (trumpet), Piet Noordijk (alto saxophone), Ferdinand Povel (tenor saxophone, flute 5-10), Wim Overgaauw (guitar), Rob Langereis (bass), Victor Kaihatu (bass 5-12), Eric Ineke (drums), Wim van der Beek (percussion)


in Hilversum, Loosdrecht and The Hague in 1972/73


as NJA 2101 in 2021

Track listing

Ringebu II
Ringebu I
Skåbu (live)
Otta (live)

At one time during the course of Norway, a session by the Septet Frans Elsen that was retrieved from the vaults by the Dutch Jazz Archive, these Dutch mainstays seem to have found themselves in a zone. It’s during their live rendition of the glowing Skåbu that a dark, brooding intensity reaches boiling point, the moody figures of Fender Rhodes player Frans Elsen leading the way and soloists Piet Noordijk, Eddie Engels and Wim Overgaauw having their sparkling say. Noordijk incorporates his fiery and lean bop lines into the fusion package, Engels plays expressive space blues and Overgaauw finds the intriguing middle ground between Sonny Sharrock and Phil Upchurch. Boiling point is partly reached by drummer Eric Ineke’s progressively intense and accentuated groove.

Frans Elsen was on the scene since the mid-1950’s, a splendid and authoritative bebop pianist but under the radar internationally. Elsen, who had amazing knowledge of jazz piano history, was one of the founders of Dutch jazz education and, feared but loved and influential on next generations, taught at varying conservatories. In the early 1970’s, Elsen was inspired by the Mwandishi band of Herbie Hancock and purchased a Fender Rhodes keyboard. His jazz funk and fusion septet was in existence till the early 1980’s.

Elsen had traveled to Norway and inspired by the surroundings written tunes which titles signified little villages in the region. By no means fluffy or floaty, his conveyance of mysterious and bucolic landscapes is grounded in strong melodies and terse rhythms. The attention of grooves like Harpefoss, Skåbu and Ringebu is held by Noordijk, who is like a bear cat, leaping this and that way and emitting the occasional screech and roar and Engels, whose fluency between registers and fire in semi-modal-funk surroundings is remarkable. AH-Mooh is Latin Nordic jazz funk, a lively contradiction in terms that is resolved excellently by the flute work of Ferdinand Povel. Throughout, Elsen proves to be a balanced Fender Rhodes player, contributing supple lines, staccato figures and decorative chords. Quite surprising, although Noordijk and bassist Rob Langereis had been part of burgeoning improv maverick Misha Mengelberg’s group and young Ineke had experienced jazz rock surroundings, how these mainstream stalwarts adapt so effortlessly to contemporary surroundings.

As a rule, the typically studious Dutch Jazz Archive produced a classy package (including liner notes by Eric Ineke) and Norway sounds clear and fresh thus should attract contemporary audiences, not least with the live recordings that climax with Otta, an Ornette Coleman-ish romp that has all soloists having serious fun and Engels kick starting his solo with a braggadocious entrance. Later on in his career, when Elsen had intensified his return to bebop piano, he referred to Norway as a youthful indiscretion. Safely said, a solid fusion imprudence.

Find Norway on the website of Nederlands Jazz Archief here.

Check out this performance at Loosdrecht in 1972 on YouTube here.

Double Dutch Delight


You get these bands from the past, when one mentions them to the other, the eyes of both jazz fans start to glow like coals on the barbecue. The Ben van de Dungen/Jarmo Hoogendijk Quintet was that kind of band. In the mid-1980’s, jazz could use a bit of spice and tenor saxophonist Ben van den Dungen and trumpeter Jarmo Hoogendijk had the right ingredients. The quintet further featured pianist Rob van Bavel. Initial bassist Anton Drukker and drummer Dré Pallemaerts were followed-up by Harry Emmery and Eric Ineke, who were there until the end in 2004.

This band was belching up vitamins. While contemporaries The Houdini’s (also a kind of ‘glow eye’ band) focused on no-nonsense hard bop, the Ben van den Dungen/Jarmo Hoogendijk Quintet veered towards progressive post-bop, the kind that was kick started by John Coltrane and McCoy Tyner and further developed by Joe Henderson, Woody Shaw, Clifford Jordan, Wayne Shorter, Freddie Hubbard, Cedar Walton etc. The contrast between the buoyant Hoogendijk and driving but more introspective Van den Dungen was one of the band’s main assets. Another asset was the fact that all members were strong personalities. The young Rob van Bavel, nowadays one of the great European pianists, was a very dynamic player. Drummer Eric Ineke was a middle-aged veteran who had played with a who’s who of classic jazz including Dizzy Gillespie, Dexter Gordon and Johnny Griffin and had a distinct, explosive and subtle style that incorporated Elvin Jones, Tony Williams, Billy Higgins, Louis Hayes etc.

Not only did the quintet duly revive the scene and influence the next generation, it also left its mark as a superb booking machine. Van den Dungen and Hoogendijk managed themselves and hung on the phone longer than the average call center employee from Their energetic DIY spirit resulted in a busy schedule in the region and internationally, climaxing with successful tours with Cindy Blackman and in Canada.

Eventually, Hoogendijk, also known for cooperations with Rein de Graaff, Charles McPherson, J.J. Johnson, Teddy Edwards, Afro-Cuban band Nueva Manteca and many others, unfortunately had to give up playing because of embouchure problems in 2004, a real loss for jazz. Since, Hoogendijk has been an influential teacher at the conservatory of Rotterdam. Van den Dungen has always been very active, both in small hard bop ensembles and world music-oriented big bands as Nueva Manteca and Tango Extremo. He recently released Live At Lux & Tivoli, a Coltrane tribute that features old pal Eric Ineke.

Last week Ben van den Dungen posted a YouTube link on Facebook from his late quintet, footage from the North Sea Jazz Festival in 1996, see here. It’s a great example of the quintet’s flair, virtuosity and contagious energy. It complements older footage from the same date, see here.

The Ben van den Dungen & Jarmo Hoogendijk Quintet was the cream of the crop and these guys were on par with the so-called new heroes of Neo-Bop from the USA like Terence Blanchard, Roy Hargrove, Branford Marsalis, James Carter, Wallace Roney et al. During their existence, the Ben van den Dungen & Jarmo Hoogendijk Quintet released four records, starting with 1987’s Heart Of The Matter and ending with 1995’s Double Dutch.