Elastiek (2015)

Poppin' Chops:

Koen Kaptijn: trombone
Jeroen Kimman: pedal steel guitar



Not for office hours this one. This is the result of a research grant where i got to explore the spacier possibilities of the pedal steel guitar. Also kind of trying to make the trombone and pedal steel into one weird gliding instrument. And for some reason i felt it needed 'tape': celebrated a lonely 2015 New Year by recording the fireworks from my balcony. I used it here unedited, coincidences can be wonderful.
Titlebit (2015)

Michiel van Dijk : tenor sax & flute
Jeroen Kimman: pedal steel guitar, percussion, bass




For an upcoming project... little demo.
The Family Tapes (2008)

Alfredo Genovesi: guitar
Raphael Vanoli: guitar
Jasper Stadhouders: guitar
Mark Morse: guitar
Jeroen Kimman: guitar

http://www.subdist.com/familytapes/

Almost forgot about this, a guitar-quintet with some of my finest guitar colleagues. Back in 2008 this was. Just improv, no effect pedals.


Swing Low Sweet Chariot (2015) (Wallace Willis)

Sleep Gunner:

Mark Morse: guitar
Jeroen Kimman: guitar





I Love You Best Of All (2015) (Charlie & Ira Louvin)


Cointreau Elegance (bessen)  (2014)

Anna voor de Wind : clarinet
Koen Kaptijn: trombone
Gerri Jaeger: drums
Jeroen Kimman: guitar




Recorded a little demo with what hopefully will be a 'real band' one day, when we have ze time. Right now we have a baby. (2015 update: now ze others are having a baby)


Feels  (2014)




Have a feeling we heard this before. Yes! But this is the best arrangement so far.


Nummeke 9  (2014)




From one brilliant man to another.
Brown's Ferry Blues (2014) (Alton and Rabon Delmore)



Sleep Gunner:

Mark Morse : guitar
Jeroen Kimman: guitar

Do You Live What You Preach (2014) (Ira and Charlie Louvin)

To ze moon (2013)




Eefje de Visser: vocals
Peter Jessen: lapsteel bass
Koen Kaptijn: trombone(s)
Nora Fischer: back-up vocal
Jeroen Kimman: pedal steel guitar, MPC, harmonium

33 1/3 Collective: video (animation)

Anyway, this music was made for a 15 minute pilot that the Rosa Ensemble did on the Dutch Opera Days, in the hopes of raising enough money to make a full on music/theater-show somewhere next year. I think we might have managed that. (note: 'they' did manage it, but since then i dropped out of the project as well as the ensemble for reasons that will remain discretely unmentioned)

The strange premise for this project is/was that it's supposed to somehow be about Joseph Stalin: not terribly easy to come up with a refreshing take on the subject; one seems to agree about the fact he wasn't a very nice man.
Nicely surprising though is that young Joseph used to be a quite prolific poet in his youth.
So the above song is my attempt to turn one of his poems into a -somewhat- catchy tune, which was quite of a puzzle cuz his poetry don't rhyme yo.

here's some more music from this project:

Be full of blossom (2013)



Eefje de Visser: vox
Nora Fischer: vox
Daniel Cross: MPC
Peter Jessen: bassguitar
Jeroen Kimman: pedal steel guitar
33 1/3 Collective: sound effects





A collage of Stalin-poetry this one. Not too unholy an act: again, it's not that old Joseph deserves too much slack, plus, all his rather bland poetry is quite interchangeable in its patriotic floral romantisism.

ok, one more:

Pedalbone (2013)


Koen Kaptijn: trombone
Jeroen Kimman: pedal steel guitar

For this entire project i chose to play the pedal steel guitar, forcing me to learn to play the damn thing just a fraction better, it is a crazymaking instrument, a multi-tasking monster.
But it's fun to try and get some non-country, more abstract sounds out of it. This ditty is a first attempt to a hopefully future project in which i'd like to focus on combining the perks that the pedal steel might have in common with the trombone, or rather, multiple trombones: a fully elastic sustainy gold-brassy microtonal cosmos. Not actually sure this all makes sense...
Gonna lay down my old guitar (Alton and Rabon Delmore) (2013)

Sleep Gunner:

Mark Morse: guitar
Jeroen Kimman: guitar So here i start leaking some of Sleep Gunner's new album 'Plays The Louvin Brothers Songbook Vol. 1'. Recorded in summer 2012, it took us a damn long time to edit it, mix it, master it, eh... finish it. Now different incarnations of the promo-cd are flying around the globe looking for a label to release it. Who knows if it ever will be released properly or if it'll become some mysterious hidden bootleg thingy. Anyway, we're quite proud of the whole album. I'm spilling 2 tracks here... The song here above is a typical guitar-noodle take that we've been playing since quite some time now.
Below is my first serious attempt at playing the pedal steel guitar, which i bought 2 months before recording this song. It is about the greatest instrument i can imagine, if it wasn't for the fact that it's so damn hard to play/understand. There's also a little talk-box-through-pedal-steel going on -a hommage to this superb Pete Drake video which basically destroyed my last defense line to buying the instrument-.
Lastly, this track features the only overdub on the album, which was done by my favorite drummer Morten J. Olsen. It all needed some more flesh...

I love you best of all (Ira and Charlie Louvin) (2013)

Sleep Gunner:

Mark Morse: guitar
Jeroen Kimman: pedal steel guitar, talk box
+ special guest Morten J. Olsen: drums

Landscape of Dutch Folk Music (2012)

Rosa Ensemble:
Koen Kaptijn: trombone
Ainhoa Miranda: clarinets
Peter Jessen: double bass
Jeroen Kimman: guitar, composition


Getting older distinctly feels as getting slower, so i was kind of surprised to realize that 2012 has probably been my most productive year ever in terms of output. Make mental note: nice one.

I composed 6 tunes for Rosa Ensemble's production 'Landscape of Dutch Folk Music (part 2)' last year. (and so did Floris van Bergeijk and Wilbert Bulsink, they made great music for this, alongside images by visual artist Mike Rijnierse)
This project was driven by the observation of being busy with American folk music since years, and liking the raw 'folkness' of making music. But something always nags a bit, since it's not your own 'natural' roots that you're fucking with. Holland seems to lack a strong culture in rural 'uncultivated' music.

So the idea was to create a fake Dutch musical anthology so to say. For good and worse. Variation and good fun being vital.
Well, here's a vision on the Netherlands:


Sourcingsperspectief (2012)


Koen Kaptijn: trombone
Ainhoa Miranda: voice, clarinet
Peter Jessen: double bass
Jeroen Kimman: guitar, vocoder





At a tiny lowpoint i found myself surfing on job-offer sites. Shit gets really creepy there. Copy-pasted lyrics proved inspirational though.




Contra-Elegance (2012)



Koen Kaptijn: trombone
Ainhoa Miranda: clarinet
Peter Jessen: double bass
Jeroen Kimman: guitar



Medieval Dutch dance music that might explain the special kind of physical coordination still visible today.




Oeteldonk (2012)



Koen Kaptijn: trombone
Ainhoa Miranda: clarinet
Peter Jessen: double bass
Jeroen Kimman: guitar

The only track of this set that somehow stayed close to the true spirit of the project: finding your inner folkie.
Since my youth was spent in carnaval country, i still get happy from all kinds of spastic swing. Coming to terms with that here.




Purmerend (2012)



Koen Kaptijn: trombone
Ainhoa Miranda: double bass clarinet
Peter Jessen: double bass
Jeroen Kimman: guitar





The feeling of being woken up in the morning by drilling, screaming, hammering, sanding, whistling, etc, and knowing you're most likely fucked for weeks.
(Also related to Dutch spring and summer.)




Hoezee (2012)



Koen Kaptijn: trombone
Ainhoa Miranda: clarinet
Peter Jessen: double bass
Jeroen Kimman: guitar


Shock und awe: people uniting to be happy about the monarchy.
To be honest, this was largely composed 10 years ago. It's eh.. jazz?





VOC Mentaliteit (2012)




Koen Kaptijn: trombone
Ainhoa Miranda: double bass clarinet
Peter Jessen: double bass
Jeroen Kimman: guitar, fuzzpiano overdub






The VOC from the other perspective: ships appearing on the horizon. A certain sense of doom.
Hibernate (2010)

Brown vs Brown:

Gerri Jaeger: drums
Viljam Nybacka: bass
Dirk Bruinsma: alto sax
Jeroen Kimman: guitar






I had nearly forgotten this tune when it came up in shuffle recently. One of the last things i wrote for this band before we split up, we never seriously recorded it. But i have some swell memories of the last tour we did, playing this and other stuff that will most likely live happily ever after in oblivion-land.
Hearing it back, i tend to miss playing with this wicked rhythm section...

Biking Drunk (2012)

Rosa Ensemble:

Stephanie Pan: vox, cymbal
Esther Mugambi: vox
Daniel Cross: footpump
Peter Jessen: double bass
Wilbert Bulsink: harmonium
Jeroen Kimman: harmonium
La Fugitive (2008)

Roomtone:


Sandor Caron - electronics
Gerri Jaeger - drums
Jelte van Andel - upright bass
Jasper Stadhouders - guitar
Jeroen Kimman - guitar







I think it was back around 2001, when i still had seas of time (these days i only have lots), that i read Marcel Proust's 'A la recherche du temps perdu', which, as you might know, is a massive read since it was basically his life's work. It consists of 7 books. Actually i had so much time that i also spent way too much of it composing music inspired by it. 7 pieces. Half of those i never even used for anything, nor do i remember what that music was like really. Recently i tried to find the scores again, but they seem to have dissapeared.
Some of these pieces though i have played a few times in different constellations/bands.
This one is based on his book 'La Fugitive' which is in many ways about tormenting jealousy, a feeling i knew all too well back in those days. So i remember setting out to compose the most tormenting thing i could come up with.
There's 2 versions that i like for different reasons. The first one is a demo recording that i made with my band in 2008. It sort of breathes nicely.
The other one is a demo version that i did by myself back in 2001, which despite of the very plastic synth and electric drumset, i might even slightly prefer. It is a bit pointier and probably i was living the torment more. Oh youth...

La Fugitive (2001)

Jeroen Kimman - guitars, bass, synth, electric drumset  


  
Feels  (2011)

Ainhoa Miranda: clarinet
Marleen Wester: violin
Jeroen Kimman: guitars, percussion, MPC




This is the first song of 7 that make up a set so to say. All these songs are meant to be sung, so all of them should be considered merely a demo. This particular one really sounds like one, i did a bit of a bad job mixing it but choose to leave it. It's maybe the 5th version or something (see below for a Marky Morse vocal one), and doesn't want to pretend it's the ultimate.

The term 'Feels' supposedly is what Brian Wilson in his good ol' days used to call the music he was making. I like that. Also very much because of the music he made. If Moby or Metallica would call their songs 'feels' it could have a smaller impact.

Also, 'Feels' is possibly my favourite Animal Collective album, and them i like too...

If those 2 things have anything to do with each other, or, this song with those 2: i don't know.

3 Weeks  (2012)


Jeroen Kimman: guitars, synth, MPC, melodica









This blog was once created as a sort of external backup for all the old stuff that i made. If anyone hears it it's nice, but anyway it's out of my system when it can all live by itself online; like some (oh corny me) message in ze bottle. Sometimes an old tune of mine appears in the shuffle and then i might think it's not too bad and throw it on here.
But to be posting a whole new set of recently made things here now, and be able to type '(2012)' feels rather nice for a change. Too much rehashing can make you cynical.

Airco Cultus (2012)

Jeroen Kimman: guitars, plastic toy drums, synth




Sometimes things happen in a certain way, then things are said, and etc. etc.
Then a title appears.
Freebee (2012)


Jeroen Kimman: guitars, plastic toy drums, synths, pedal steel 




This thing is over 9 minutes, which isn't what i conceptually promised myself, but ok. It's hard to explain.



Hoping that you're hoping (Louvin Brothers) (2012)


Sleep Gunner:


Mark Morse: guitar
Jeroen Kimman: guitar





It's been a while since the last Sleep Gunner update; last we bloggin' folk heard is that them was on some indeterminate break, but the SG came back on a rampage: 5 lovely shows, 4 new recordings, and countless Belgian yuppie bears later, it'd be time for ze update one reckons...

Put me on the trail to Carolina
(Delmore Brothers) (2012)

Sleep Gunner:


Mark Morse: guitar
Jeroen Kimman: guitar
The first one to love you
(Helen Carter) (2012)

Sleep Gunner:


Mark Morse: guitar
Jeroen Kimman: guitar
You're learning
(Louvin Brothers) (2012)

Sleep Gunner:


Mark Morse: guitar
Jeroen Kimman: guitar









In 19  (2012)


Jeroen Kimman: guitars, MPC, synth, pedal steel guitar

 


'In 19' was always a working-title that i got attached to over time for its semi-pretentious Terry-Riley-esque ring.
And yes, the rhythm is in 19, when not in 5.
Also part of this new series of songs-to-be-played-by-a-yet-inexisting-band/frightfully-stressful-composition-commission-that-was-way-overdue.
One of the underlying personal concepts for all these songs was to strive for simplicity. (again)
When i finally wrote down this 'instinctive' riff i'd been playing for a while, it turned out to be... in fucking 19.
Which made the rest of the composing for this song into hell i can say.
The melody i redid about 4 times, getting back to it every few months or so. That was hell too. In the end i'm still not so sure about it, it could be that the pedal steel guitar makes everything work, even if one can't play it for shit.
Desktop Dweller (2012)


Jeroen Kimman: guitars, MPC, synths, banjo





Yes that's my dog. Not my sheep though. As the title might suggest there's not too much to say about this song, personal-content wise.

What i can say is that it's part of a string of new ditties that i made recently, most of which i will be planting on this blog in the near future. Which doesnt make much sense to mention here since those other songs will soon appear above this one, but ok.
They are all songs that were made with the intention to form a new band to actually play them at some point. And hopefully a band that contains at least one singer, so i can stop putting all these synth- banjo- and newly-aquired-very-unmastered pedal-steel-melodic attempts in. These very lovable and singable melodies were made with a human voice in mind.

Very much in demo-version thus.



If you can't make it there,..  (2011)

Ainhoa Miranda: clarinet
Marleen Wester: violin
Jeroen Kimman: guitars, MPC


Around christmas 2010 life seemed to be going swell for me, since i had purchased a ticket to New York where i'd be spending the holidays. I have a good friend who's lucky to own a 3-story brownstone in Manhattan, and i'd be having the first floor to myself for 2 weeks. Furthermore, a whole little to-do list was planned by this friend: on arrival we'd go to Meredith Monk's party, i'd sit along with the Bang-on-a-Can ensemble's rehearsals, meet a ton of prolific musicians, more parties, etc. etc.
Nice.
Having arrived at the airport in the morning, banjo packed, in general good spirits, freshly shaven and way in time, -after standing in line for an hour the very friendly airport-personnel informed me that i had not filled out this certain form where one claims to not be a criminal, drug-addict and what-not. I would never have expected that 2 years later i would have forgotten the name of this form, but i did.
Let's just say that it seems the American Government finds this form to be quite important, since my lacking to fill it out in time caused my ticket, trip and holiday to be canceled. Yes, i arrived back home 3 hours later, and never made it there. (thank God the friendly staff informed me that at least i could get a partial refund on the ticket of 290 bucks. 2 months later they transferred 10 (!) euro to my account: it turned out that first 3 different companies had to charge their administration fee of a combined total of 280.)

Anyway, when i got back home i decided -before entering a quite depressed period 3 days later- to be all-Buddha about it and at least write a song. Which would be this thingy.

I thought that the immediate Sinatra-comment from my friend Tom was priceless enough to account for a title.


Unconsidered

My Friend Mark asked me if i shouldn't consider putting some pretty random 'unconsidered' guitar impro noodles on this blog which isn't really a blog, rather a back-up folder.
Normally i wouldn't have considered putting these very unworked things up but since A: nobody but Marks checks this blog anyway, B: the master himself proved that the unconsidered can be a marvellous thing (http://morsanek.blogspot.com/), and C: i happened to just have been recording some mindless guitar-noodles on the day that he mentioned that idea: one could say: why the hell not?

So there we go: a few guitar-prep ideas that usually get re-worked into 'song' months or years later. Be warned: the stupidity-noodle-filter is turned off.

Unconsidered trickery (2012)

There's a hook somewhere in here...

Around Happiness (2012)




Hopefully there's a song somewhere in here.


Solo-impro in some gallery (2011)


As usual with the live-impro gigs: one should have been there... in case one wonders about the kitschy modality i'd like to mention that there were quite some girls present so there you go.
Set Camp (2011)

Rosa Ensemble:
Stephanie Pan: vocals
Esther Mugambi: vocals, lyrics
Daniel Cross: percussion
Peter Jessen: double bass
Laurens de Boer: wurlitzer
Jeroen Kimman: guitar, sneaky overdubs



This is a song that i wrote for the latest Rosa show about Wilbert Bulsink's and Geert Glas's'ss 5-month bike-trip through Europe. Composing alongside Wibert for it, his sizeable composing skills intimidated me into trying to go for the simple and naive, fitting my personality. Even if putting someone else's lyrics to music, and having that music still be a coherent song, is really far from simple for me.
Gonna lay down my old guitar (Anton Delmore) (2011)

Sleep Gunner:

Mark Morse: guitar
Jeroen Kimman: guitar


Currently on yet another undefined break with Sleep Gunner, i'll post the latest batch of recordings, in the hopes that there'll be more to come in the future.

Stuff wás getting a bit loonier in the end:

Alabama (Eddie Hill) (2011)



And for even more outrageous:

Satan's Jeweled Crown (Edgar L. Edens/Louvin Brothers) (2011)




Flashback (2006)


Seamus Cater: harmonica
Morten J. Olsen: drums
Jeroen Kimman: banjo





Recently this came up in the shuffle. I still like it for its ambiguity on many levels. It was made years ago for a dance-piece by eternal muse H.B. Firestone.

Feels (2011)


Mark Morse: vocals & lyrics
Jeroen Kimman: guitars, mpc, percussion



My music doesn't get more 'demo' than this one. Still i felt like sharing it. It's one of the songs that i've been writing this year, hopefully soon it can all culminate in a new band, one that doesn't play instrumental complexity epics of 8 minutes, but good old songs (with singing and stuff) that might finally attract some female audience and bring lots of fortune.

I'll record a better version soon (where i'll give up the unholy-and-way-too-busy idea to write for 3 guitars), but still i like this one for it's melancholic mood, which is largely to Mark's credit. I really like his singing experiment, even if he surprisingly sounds like Sting.

And thanks to Mara for helping out with the lyrics.

For Jason, Mark, and Joe (2008)




Brown vs Brown:

Viljam Nybacka: bass, vocals
Gerri Jaeger: drums
Dirk Bruinsma: alto and baritone sax
Jeroen Kimman: guitar, banjo, vocals, recorders, thumb piano, harmonium


It's been around a year ago now since Brown vs Brown broke up, and 2 years since this track got released on the Cuneiform label, so i guess it's ok to let this track go public: this 'blog' is kind of a private thing anyway...
The last show we played with this band was in the south of France; it took us about 3 days to get there, hang out, play a show, and drive home. The whole experience was a bit unexpectedly magical, and we did a good job at suppressing all the possible melancholy and nostalgia that would come with the notion of being on the road together for the very last time. In a way it was so much fun that i think we would expect some reunion to happen in the future. Nowadays i doubt that it ever will: it's quite amazing how everyone started focusing on quite completely different kinds of music, and it seems there's no real need to go back to the macho-kind of ballsy complexity we were into once. Apart from the music, i do sometimes miss the togetherness we used to have as a band, and the brilliantly good times when we went on tour a few times a year.

This track is pretty over the top... It was inspired by a new year's eve party that i spent in Atlanta, Georgia in 2007. My girlfriend's friends Jason, Mark and Joe had a band called the Danny Family and most of that night was spent in their brilliantly set up garage (2 full fridges) where we played country covers for many hours. It was very refreshing to be playing for fun without too many pretentions, although i did get my soloing ass slapped hard by another friend who joined in, some guy who was born into a 3 generations bluegrass family, playing with an unbelievable twang and feel. But that was allright. Since then i've been practising what i think to remember of that guy's chops (it's blurry though). I would say that this trip really kickstarted my love for country music.

Of course this song has little to do with country music apart from me playing some contrived banjo. Nowadays i also find it way too long, i would try to make the same point in 3 minutes instead of 9. Sorry, 10. The label asked us to make the track go over the 10 minute mark so they could ask more money for selling the downloadable album (never quite understood the workings of that). It's the only reason why i play all those instruments; i had a few days to come up with a 1-minute intro and i grabbed everything i could find to make it.

The lyrics were actually inspired by the whole trip to the USA. Since they're a bit inaudible, i'll include them:

here
fly
there
drive
sis
mom
dad
wine
drive
friends
jam
nice
cold
drive
warm
gramps
drive
cler-
mont
best
fly
home
nice




Sheep for Poesco (2004) (Caron/Kimman)


Sandor Caron: electronics
Maarten Visser: soprano sax
Jeroen Kimman: guitars, rhodes







Until a few years ago (although nothing dramatic happened), almost all of my music wouldn't take audible life until the point that my lifelong/hometown friend Sandor Caron would mix it. And extract it from my rather archaic recording-machine, something i couldn't do myself anyway.
I would like to be able to say that i learned a lot from all those many many hours i sat next to him trying to be of any constructive help apart from occasionally belting out volume level commands. But i doubt i was ever of much help, and indeed since a few years my music seems to never sound that good no more. Sandor has special ears.
Not only for sound, also for music. He took a little indefinite break from making music himself, many years ago, which is slightly heartbreaking a thing, since he's one of the few people that made me believe mixing live players with electronics can actually work.

Where the dedication for this blog-post might go to Sandor, the dedication for this track does not.
Poesco was the border-collie puppy we tried to adopt back in 2004. For mysteriously emotional and intuitive reasons it didn't work out. Let me not really get into it.
But, dog-lovers that we are in this household, we made sure it got re-adopted by a German family that was said to own sheep, and a place in the countryside. That concept worked for me.

I tried to translate my guilt and melancholy into this song. Eh.. Sandor made beats and stuff; not sure he shared all those deep feelings...
Ah yes, Poesco was actually named after Sandor ('s nickname), so ze circle is round.