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The music of saxophonist and composer Jorrit Dijkstra draws from the jazz tradition in spirit and sound, but has crossed stylistic and cultural borders in order to express a strong, evolving personal vision. He spent his formative years in Amsterdam's vibrant improvisation community, playing jazz, free improvisation, contemporary opera, and African, Celtic and Balkan music. Since moving to the United States in 2002, Dijkstra has deepened his affinity with the experimental forces of American music, while staying in touch with his Dutch musical roots.
Dijkstra's current projects include his Flatlands Collective, with leading Chicago improvisers, and an electro-acoustic duo with New York drummer/composer John Hollenbeck. In his solo saxophone project, he incorporates an array of electronic effect devices to process his saxophone improvisations live on stage. Dijkstra's use of analog electronics – including the Lyricon, a vintage electronic wind instrument from the seventies – extends his already flexible saxophone style into an idiosyncratic mix of cool jazz, free improvisation, and electronic minimalism.
Dijkstra has released eight of his own CDs and has performed at North Sea Jazz Festival, Vancouver Jazz Festival, Rome's Festival Controindicazioni, New York City's Tonic, the Chicago Cultural Center, ICA Boston, BIMhuis Amsterdam, and Stadtgarten Cologne. His work has won him a Fulbright grant, a prestigious Podium Prize for jazz musicians in the Netherlands, and composition commissions for ensembles and theatre companies around the world. Jorrit Dijkstra studied improvisation and composition with Misha Mengelberg, Steve Coleman, Steve Lacy and Lee Hyla, and he has taught at the Conservatory in Arnhem, New England Conservatory, and University of Massachusetts Dartmouth.
“He takes his audiences on a quirky, energetic, captivating journey through a world of sound and emotion… Jorrit Dijkstra has already distinguished himself as a man to watch. A highly accomplished musician, he is a cerebral improviser who nevertheless plays with warmth and rhythmic excitement.”
Kevin Lowenthal, The Boston Globe
“The most compelling feature are the melodies… that allow for delicious textures that sound at once modern and very nostalgic."
Andrey Henkin, www.allaboutjazz.com
“Dijkstra hears the stylistic diversity within the networks that link his cohorts, and gives it space not just to breathe, but also occasionally to snort, howl and laugh riotously. Still, the music has a discernable Dutch tinge, which is alternately audacious and austere.”
Bill Shoemaker, Downbeat
Born in Athens, Greece in 1962. Prior to moving to the U.S. in 1985, performed in small jazz groups while pursuing a degree in Economics. Earned BM and MM degrees in music from Boston's New England Conservatory while studying with Paul Bley, Jimmy Giuffre, George Russell, Dave Holland and Joe Maneri (composition) among others. Studied and performed extensively the music of Thelonious Monk and Lennie Tristano and in 1991 compiled a collection of all of Monk's compositions.
In the last twenty years mostly led or co-led groups whose recordings have often been voted into reviewers' top-10 lists in magazines such as Coda, Cadence, Jazz Times and Jazziz. Performed and recorded with Mat Maneri, Joe Maneri, Ken Vandermark, Tony Malaby, Michael Formanek, John Lockwood, Randy Peterson and Guillermo Gregorio among many others. Numerous performances at festivals and clubs in Europe and the United States. Recordings appear on labels such as Leo Records, Hat Art, Clean Feed, Nuscope, Boxholder, Okkadisk, Cadence, Accurate, Leo Lab, Ayler and HatOLOGY among others.
In the nineties worked closely with violinist Mat Maneri producing several recordings on Leo Records mostly in duo format, but also featuring Tony Malaby, Michael Formanek, Joe Maneri, John Lockwood and Randy Peterson. During the same time also co-led a group featuring much of the Tristano repertoire and originals with which two CDs were made and a trip to Europe in 1997 as well. Also, in 1998 released first trio CD "Heart And Sack" to wide critical acclaim (among others it was featured on National Public Radio's program Fresh Air).
In the past couple of years toured and recorded in duo format with Ken Vandermark (there is also a 2001 trio CD with Vandermark and McBride) and also with Guillermo Gregorio (with whom there are two previous HatArt collaborations). Performed recently with Dave Rempis, Josh Abrams, Jeff Parker, Jeb Bishop, Tim Daisy, Jason Stein, Mike Reed, Josh Berman, Keefe Jackson, Nori Tanaka, Daniel Levin, Frank Rosaly, Charlie Kohlase, Luther Gray, Jef Charland, Forbes Graham, Matt Langley, Jeff Galindo, Charles Waters and the TILT Brass band.
Just recorded a new quintet album featuring all original compositions and arrangements after working on the material for over a year and presenting it in concerts in Chicago and Boston. Also recently started working with a new trio featuring Daniel Levin and Curt Newton. The latest CDs are "Free Advice" (Clean Feed) and "Betwixt" (hatOLOGY), both with Curt Newton and Nate McBride.
"Over the course of nearly 20 years and approximately that many recordings, Karayorgis has established himself as one of the singular, and significant, pianists of his generation."
Art Lange
" ... by this stage, Karayorgis has developed a powerful piano language of his own and this is its definitive statement to date."
The Penguin Guide To Jazz Recordings, (8th Edition) in reference to solo piano CD "Seventeen Pieces" (2004).
Boston-based drummer and percussionist Curt Newton has been playing uncompromising original music since 1986. A highly versatile ensemble player and soloist, he integrates innovative sounds and extended techniques with the jazz and rock drumset traditions. He has worked with Ken Vandermark, Joe Morris, Nate McBride, Pandelis Karayorgis, Charlie Kohlhase, and Debris; performed across the United States, Canada, and Europe; and appears on CDs released by leading independent labels like Okkadisk, Boxholder, Soul Note, Music and Arts, Buzz, and Rastascan.
"Newton dazzles...he exhibited breathtaking restraint, breaking down time with a subtle hand, tapping out painterly splashes of sound... A large reserve of free floating power."
Peter Margasak, Chicago Reader
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