Gustavo Corrales Romero and Ramón Valle play Ignacio Cervantes' Los muñecos
Encore after the live concert at the (then) Camuz Theatre (now Het Veur Theater) in Leidschendam, The Netherlands on 7 June 2012:
‘LATIN AMERICAN CLASSIC AND JAZZ BY TWO CUBAN MASTER PIANISTS’
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Classical and contemporary Latin American specialist Gustavo Corrales Romero and Ramón Valle ‘The other face of Cuban jazz’, both of Cuban origin, joined forces for an evening of Latin American sounds on the piano.
For a further taste of this collaboration, also see the other video clips of the evening:
Gustavo Corrales Romero and Ramón Valle play with Ernesto Lecuona's Danza Negra
Gustavo Corrales Romero plays Marlos Nobre's Frevo
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CREDITS
Organization, production, more information:
KyG Productions
Website Ramón Valle
Venue
Het Veur Theater
Video production (sound, recording, editing):
VMX Entertainment
.
Geal IJssalon Fanielje - Veur Theater Gemeentebelangen 12-3-14
Peter van Ewijk zkt Contact in Leidschendam
Kom zeker kijken, want:
In Contact neemt Peter van Ewijk je mee de ruimte in. Via de Voyager satellieten en de Gouden Plaat rechtstreeks naar België en zijn jeugd aldaar. Een cabaretvoorstelling over alleen spelen, Kruistocht in Spijkerbroek en de Drake vergelijking, die je overigens perfect kunt gebruiken om de hoeveelheid potentiële paringspartners in je omgeving uit te rekenen. Over groetjes in 56 verschillende talen, de klimaatcrisis, Elvis Presley en de glorieuze terugkeer naar Nederland.
Kortom, absurde wetenswaardigheden, grote ongein en lekkere muziek.
Peter van Ewijk won met Lankmoed de publieksprijs Cameretten. Dit is zijn eerste solo-voorstelling en potverdomme wat voor één!
vrijdag 15 februari 2019 in het Veur Theater te Leidschendam
kaartjes via
Gustavo Corrales Romero and Ramón Valle play with Ernesto Lecuona's Danza Negra
Live performance during the concert at the (then) Camuz Theatre (now Het Veur Theater) in Leidschendam, The Netherlands on 7 June 2012:
‘LATIN AMERICAN CLASSIC AND JAZZ BY TWO CUBAN MASTER PIANISTS’
Classical and contemporary Latin American specialist Gustavo Corrales Romero and Ramón Valle ‘The other face of Cuban jazz’, both of Cuban origin, joined forces for an evening of Latin American sounds on the piano.
Classically trained Gustavo Corrales Romero provided a taste of the fascinating world of classical and contemporary Latin American composers, also drawing from the repertoire of his latest CD 'FRESCO' (launched end of 2011) and his concert series ‘EXOTICALLY CLASSIC', however with a program specially designed for the evening for optimal interaction with jazz pianist Ramón Valle, together to offer to the audience an attractive package of Latin American classical and jazz music.
Valle responded to the pieces presented by Corrales with the great original improvisation that so characterizes him. In addition, Valle played his own compositions with reference to his most recent album 'FLASHES FROM HOLLAND’ (launched March 2012) and earlier works. Although the influence of his classical background and especially of the triumvirate Jarrett-Corea-Hancock can be heard, the remarkable thing about Valle's music is his ability to weld these diverse influences to create a unique style that eludes traditional categories.
Corrales and Valle have both gone the path of Cuban education for the piano, which means that from their 7th year they essentially received dual education: regular on the one hand, the other in the field of music. Being from different parts of the country (Guantánamo and Holguin), they met each other in the musical circuit in Havana, then went their separate ways, later to meet each other in the Netherlands, where Valle arrived about 7 years before Corrales.
A combination concert seemed only logical given the various binding factors: the partly common background; the Latin American folkloric musical traditions that form the basis of the classical, contemporary and jazz music played on the evening and a shared desire to put this music in the spotlight. Both men bring a charisma and expressiveness to their performances, usually warmly welcomed by audiences (this evening was no exception), and a typical Cuban charm also felt when not sitting at the piano. Finally, the relationship between Corrales and Valle is characterized by mutual professional appreciation, respect and friendship.
_____________________________________________
CREDITS
Organization, production, more information:
KyG Productions
Website Ramón Valle
Venue
Het Veur Theater
Video production (sound, recording, editing):
VMX Entertainment
.
Sarah Smith - I Need To Know (Live in Holland)
Sarah Smith acoustic duo.
LIVE @ Het Veur Theater, Leidschendam, NL on Jan 11th, 2014
I Need To Know written and performed by Sarah Smith and Pat Anthony
Video by Karin Meißner
sarahsmithmusic.com
Gustavo Corrales Romero plays Marlos Nobre's Frevo
Live performance during the concert at the (then) Camuz Theatre (now Het Veur Theater) in Leidschendam, The Netherlands on 7 June 2012:
‘LATIN AMERICAN CLASSIC AND JAZZ BY TWO CUBAN MASTER PIANISTS’
_____________________________________________
Classical and contemporary Latin American specialist Gustavo Corrales Romero and Ramón Valle ‘The other face of Cuban jazz’, both of Cuban origin, joined forces for an evening of Latin American sounds on the piano.
For a taste of this collaboration, also see the other video clips of the evening:
Gustavo Corrales Romero and Ramón Valle play with Ernesto Lecuona's Danza Negra
Gustavo Corrales Romero and Ramón Valle play Ignacio Cervantes' Los muñecos
_____________________________________________
CREDITS
Organization, production, more information:
KyG Productions
Website Ramón Valle
Venue
Het Veur Theater
Video production (sound, recording, editing):
VMX Entertainment
.
Sébastiaan - Nu en dan (officiële videoclip)
De officiële videoclip is nu uit!
Sébastiaan - Nu en dan
provided to Youtube by PLUS Productions
irsc code: NLB9C1900001
Single te downloaden via o.a. zazell.nl en Spotify.
Videoproductie: Zosh!Media
Montage/Concept: Sébastiaan
Camera: Winfried Ballhaus
Runner: Owen van Putten
Balletdanseres: Quinty
Facebook: facebook.com/sebastiaan.singer
Instagram: Instagram.com/sebastiaansingersongwriter
Met dank aan:
BeJo & OwJa
Het Veur Theater, Leidschendam/Oscar van Schijndel
Diana Meijer Dance & Showbizz Academy/Diana Meijer
Volkers - Minder dan meer live @ Veur Theater MIH live with Alexander & 003
Tijdens de show die Alexander & 003 gaf in Het Veur Theater speelde ook de groep Volkers hun eerste single Minder dan meer.
Ad fundum obladie oblada
Den bosch 12-11-2011
Farbod Was Hier: Leidschendam
Vandaag tijdens 'Farbod Was Hier' bezoeken we Leidschendam. Want op 20 september speel ik mijn cabaretvoorstelling ’Vers van de Pers’ in Theater Het Veur. En het leek mij tof om alvast kennis te maken met de plek en mensen.
Dus kom je uit de buurt van Leidschendam? Check snel de video en bestel je kaartjes hieronder. Oja, like, deel en abonneer je op mijn kanaal.
Info over de show:
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Tickets:
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Speellijst andere steden:
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Camera: Jeroen de Wijs
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Management: Grappige Zaken
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- info@grappigezaken.nl
Presentatie, montage, muziek: Farbod Moghaddam
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Haleluhja I Just Love Him So
Hi-res: CD:
''Her style is bluesy and intimate with a sexy voice that's sweet as dark tupelo honey, and her interpretations are unerring. this intimate effort is one of the best and best-sounding jazz vocal albums to come along in many a day.''
I've seldom heard recordings that were so successful in both performance and sound aspects.''
quotes from Rad Bennett's review in the audiophile SoundStage! Magazine.
Check out Carmen's new audiophile Studio Master Download from the Sound Liaison label'.
Format: 24-bit/96kHz WAW(download)
I've been among the prophets saying that high-resolution downloads are the future of audiophile music sales. Surely it will benefit the majors to make high-quality downloads a first choice rather than an MP3 extra, but I believe that individual artists can benefit as well. Most new-to-the-scene performers have little money for middlemen and disc manufacture, yet can get things together for the Internet.
Frans de Rond and Peter Bjørnild have taken this approach with Sound Liaison, producing recordings available only in 24-bit/96kHz downloads that mirror the master recording. And man, are they ever sweet. I've seldom heard recordings that were so successful in both performance and sound aspects.
De Rond hails from the Netherlands, where he studied double bass at The Royal Conservatory in The Hague while concurrently studying recording techniques. Bjørnild also studied double bass, moving to the Netherlands to continue studies at The Hague. Since graduating, he has played almost every type of music, from classical to jazz. Together de Rond and Bjørnild bring two pairs of golden ears to their label. Bjørnild claims that, a recording should be as realistic and beautiful sounding as possible. As if, when closing your eyes, you find yourself in the best seat in the hall.
The partners discovered a fine recording hall (Studio-Eleven, Hilversum) and set out to record amazing musicians in this great acoustic place in front of live audiences. It's a daring feat; one take and no place to hide, but the abilities of the musicians involved make it seem easy. I chose to talk about the first album by Carmen Gomes Inc. It was a tough choice because all of the three current albums were worthy of review.
Carmen Gomes has won many awards in the Netherlands and surrounding areas. Like so many new European singers, she sings in English -- excellent English, I might add. She's formed a group called Carmen Gomes Inc., with Folker Tettero on guitar, Peter Bjørnild on double bass, and Marcel van Engelen on drums. Her style is bluesy and intimate with a sexy voice that's sweet as dark tupelo honey, and her interpretations are unerring. The musicians play to her and to each other, and the ensemble is so tight that the four musicians breathe and move as one.
There are some standards on the set that knocked me over with their fresh approach. Any singer can misplace a few accents and rhythms and come up with something that's original, but perhaps also uneasy and a little strange. Not Gomes, who has taken the songs to their bones and then restructured them to suit her style. Thus Fever doesn't sound like a cover of Peggy Lee; it sounds like a brand new take on a familiar song. You emerge from hearing it not thinking it's better or lesser than Lee's version, but that it's a valid new interpretation that could have come first.
The same approach works on Angel Eyes, You Don't Know What Love Is, and I'm on Fire. Most of the rest, including the title song, Oblivion, Time Will Tell, Gasoa Blue, and The Sea, are Gomes originals that fit right in with the standards. The recording achieves exactly what Bjørnild set out as his goal. It can provide the best seat in your listening room. Go to the Sound Liaison site, listen to a few samples, download an album, and see if you don't agree that this intimate effort is one of the best and best-sounding jazz vocal albums to come along in many a day. By the way, the small audience applauds enthusiastically enough after the last chords of a song die away, but the attendees never interrupt or make themselves known while a song is going on. No doubt they were completely mesmerized into silence, as was I.
Be sure to listen to: On Dock of the Bay, Gomes creates a languid, bluesy version that is a little bit reminiscent of Bobbie Gentry while still coming across as quite original. It'll cast a spell over you.
. . . Rad Bennett
radb@soundstagenetwork.comradb@soundstagenetwork.com
Carmen Gomes Inc. 'On the Roof'
Beautiful concert 'On the Roof' september 20th 2013!
Carmen Gomes- voc
Folker Tettero- gtr
Peter Bjørnild- doublebass
Marcel van Engelen- drs
'On the Roof' is an annual series of open air concerts located on Johan van Hasseltweg 39, Amsterdam-Noord, powered by EBF Productions and Deep bv
Do I Move You
Hi-res: CD:
''Her style is bluesy and intimate with a sexy voice that's sweet as dark tupelo honey, and her interpretations are unerring. this intimate effort is one of the best and best-sounding jazz vocal albums to come along in many a day.''
I've seldom heard recordings that were so successful in both performance and sound aspects.''
quotes from Rad Bennett's review in the audiophile SoundStage! Magazine.
Check out Carmen's new audiophile Studio Master Download from the Sound Liaison label'.
Format: 24-bit/96kHz WAW(download)
I've been among the prophets saying that high-resolution downloads are the future of audiophile music sales. Surely it will benefit the majors to make high-quality downloads a first choice rather than an MP3 extra, but I believe that individual artists can benefit as well. Most new-to-the-scene performers have little money for middlemen and disc manufacture, yet can get things together for the Internet.
Frans de Rond and Peter Bjørnild have taken this approach with Sound Liaison, producing recordings available only in 24-bit/96kHz downloads that mirror the master recording. And man, are they ever sweet. I've seldom heard recordings that were so successful in both performance and sound aspects.
De Rond hails from the Netherlands, where he studied double bass at The Royal Conservatory in The Hague while concurrently studying recording techniques. Bjørnild also studied double bass, moving to the Netherlands to continue studies at The Hague. Since graduating, he has played almost every type of music, from classical to jazz. Together de Rond and Bjørnild bring two pairs of golden ears to their label. Bjørnild claims that, a recording should be as realistic and beautiful sounding as possible. As if, when closing your eyes, you find yourself in the best seat in the hall.
The partners discovered a fine recording hall (Studio-Eleven, Hilversum) and set out to record amazing musicians in this great acoustic place in front of live audiences. It's a daring feat; one take and no place to hide, but the abilities of the musicians involved make it seem easy. I chose to talk about the first album by Carmen Gomes Inc. It was a tough choice because all of the three current albums were worthy of review.
Carmen Gomes has won many awards in the Netherlands and surrounding areas. Like so many new European singers, she sings in English -- excellent English, I might add. She's formed a group called Carmen Gomes Inc., with Folker Tettero on guitar, Peter Bjørnild on double bass, and Marcel van Engelen on drums. Her style is bluesy and intimate with a sexy voice that's sweet as dark tupelo honey, and her interpretations are unerring. The musicians play to her and to each other, and the ensemble is so tight that the four musicians breathe and move as one.
There are some standards on the set that knocked me over with their fresh approach. Any singer can misplace a few accents and rhythms and come up with something that's original, but perhaps also uneasy and a little strange. Not Gomes, who has taken the songs to their bones and then restructured them to suit her style. Thus Fever doesn't sound like a cover of Peggy Lee; it sounds like a brand new take on a familiar song. You emerge from hearing it not thinking it's better or lesser than Lee's version, but that it's a valid new interpretation that could have come first.
The same approach works on Angel Eyes, You Don't Know What Love Is, and I'm on Fire. Most of the rest, including the title song, Oblivion, Time Will Tell, Gasoa Blue, and The Sea, are Gomes originals that fit right in with the standards. The recording achieves exactly what Bjørnild set out as his goal. It can provide the best seat in your listening room. Go to the Sound Liaison site, listen to a few samples, download an album, and see if you don't agree that this intimate effort is one of the best and best-sounding jazz vocal albums to come along in many a day. By the way, the small audience applauds enthusiastically enough after the last chords of a song die away, but the attendees never interrupt or make themselves known while a song is going on. No doubt they were completely mesmerized into silence, as was I.
Be sure to listen to: On Dock of the Bay, Gomes creates a languid, bluesy version that is a little bit reminiscent of Bobbie Gentry while still coming across as quite original. It'll cast a spell over you.
. . . Rad Bennett
radb@soundstagenetwork.comradb@soundstagenetwork.com
Belangrijke waarschuwing voor iedereen in Leidschendam!
De nieuwe voorstelling van Marc de Hond gaat over het overwinnen van angsten. Te zien op 7 januari 2017 in het Veur Theater in Leidschendam.
Reserveer via:
Volledige landelijke speellijst: marcdehond.nl/speellijst
MARLOS NOBRE, Frevo para piano, Gustavo Corrales Romero
MARLOS NOBRE, FREVO for Piano
Gustavo Corrales Romero
Live performance during the concert at the (then) Camuz Theatre (now Het Veur Theater) in Leidschendam, The Netherlands on 7 June 2012:
Sinners Prayer by Carmen Gomes Inc. rec. Live in Studio 2
New CD and audiophile DXD (352.8 kHz) download from Carmen Gomes Inc.
Carmen Gomes Sings the Blues.
Download available at
CD available at
2 track reel to reel available at
CD's at
Carmen Gomes - vocals
Folker Tettero - guitars
Peter Bjørnild - double-bass
Bert Kamsteeg - drums
Recording by Frans de Rond for Sound Liaison.
Mixing and mastering by Frans de Rond and Peter Bjornild for Sound Liaison. Recorded at M.C.O, Studio 2, Hilversum, The Netherlands, on November 14, 2016.
Arrangements by Peter Bjørnild. Cover photo by Vincent Carmiggelt.
It all began with the blues.
Ask any musician based in the tradition of american popular music: no blues, no jazz.
That Carmen Gomes inc. would take on the challenge of reinterpreting Harry Belafonte “Sings the Blues” was originally suggested by Harry van Dalen, owner of the eminent High End audio shop Rhapsody.
He thought that Carmen’s band would be perfect for reinterpreting the mood and the sound of the classic album.
Carmen immediately loved the idea.
‘’Harry Belafonte sings the Blues’’ was one of her favorite albums when she as a kid spent countless hours listening to music and making cassette tape compilations from her parents vast LP collection.
‘’I had a 60 minutes tape that I made consisting of my favorite songs from the Sings the Blues albums of Harry Belafonte, Nina Simone, Ray Charles, Memphis Slim, don't forget Memphis Slim!, and with Muddy Water’s’ ‘’Mannish Boy’’ filling out the last 3 minutes. The tape eventually broke and got eaten by the machine, that´s how much I played it!’’ Carmen recalls.
So when confronted with the task of making the arrangements of the songs for ‘’Carmen Gomes sings the Blues’’, I first recreated Carmen’s 60 minute tape for inspiration. Since my recreation was in the digital domain, it was not possible to wear out the tape, but I did listen to it extensively. It became clear to me that in order to capture the spirit of those blues albums, I would have to keep the arrangements as simple as possible in order to give the musicians the opportunity to play straight from the heart.
Some songs were kept close to the original arrangement, while a song like the ‘’Way That I Feel’’, was completely reharmonized. Others like ‘’Hallelujah I Just Love Her So’’ had the form extended in order to create more space.
Muddy waters’ Mannish Boy, while not being on the album is paraphrased in the introduction to God bless the Child and Losing Hand.
The 11 songs were recorded live in the studio in front of a studio audience.
When an audience is present, a synergy occurs.The audience becomes part of the music making and help spur the musicians on to greater heights. And it was a great audience that afternoon, all ears and smiles, the whole band truly enjoyed playing for them.
Harry van Dalen called the result breathtaking.
And head engineer Frans de Rond was happy as well, he didn’t need to repair a single note.
Sempre Fedele Live Veur 2015
Acoustic version of Sempre Fedele performed @ Veur Theater Leidschendam. Filmed by Leo Hermkens
Follow us on social media:
Stream our music:
ALEXANDER & 003 - CITTÁ D'AMORE (live in 't Veurtheater, Leidschendam, 19/03/'14)
DJ Sébastiaan van Putten stond maar liefst 2 uur zendtijd op prime time van zijn programma Made In Holland (RTV Midvliet) af om het concert integraal uit te zenden dat Alexander en kornuiten gaf op 19 maart 2014 in het Veurtheater te Leidschendam.
Alsof dat niet genoeg was, boog hij zich ook nog eens hoogstpersoonlijk over het sorteren, filteren, editen en mixen van het door 6 camera's opgenomen beeldmateriaal om óók een Tv-uitzending te realiseren. Een monsterklus en onze dank is dan ook oneindig!
Alexander & 003 (en natuurlijk CFE Sound Systems) werden voor deze bijzondere gelegenheid aangevuld met 4 fantastische muzikanten: t.w.: Marcello Briganti op bas & Arienne Groenewoud, Mariske Hekkenberg en Anita Walraven als vocalisten.
Hier alvast een sneak preview van het eindresultaat: het enige niet-NL-talige nummer van de show, maar daarom niet minder mooi. Overigens ook de enige audiotrack waar helemaal niks aan geedit is. Geen slordigheidsfoutjes weggepoetst... niks... Bam, recht uit het hart dus!
Als je geen zin hebt in de introductie: vanaf 02.00 begint het liedje...
Enjoy!
ALEXANDER & 003 - ALSMAAR LATER (live in 't Veurtheater, Leidschendam, 19/03/'14)
De live uitvoering van de tweede single van Alexander & 003 tijdens het memorabele concert dat Alexander met een 7-koppige band in 't Veurtheater gaf in opdracht van Midvliet FM t.b.v. het radioprogramma Made in holland.
Video Edit door Sebastiaan van Putten
Mix & Master door Alexander
September 2014 release DVD & CD
A Fool for you. Carmen Gomes Inc. Live in Studio 2
New CD and audiophile DXD (352.8 kHz) download from Carmen Gomes Inc.
Carmen Gomes Sings the Blues.
Download available at
CD available at
2 track reel to reel available at
CD's at
Carmen Gomes - vocals
Folker Tettero - guitars
Peter Bjørnild - double-bass
Bert Kamsteeg - drums
Recording by Frans de Rond for Sound Liaison.
Mixing and mastering by Frans de Rond and Peter Bjornild for Sound Liaison. Recorded at M.C.O, Studio 2, Hilversum, The Netherlands, on November 14, 2016.
Arrangements by Peter Bjørnild. Cover photo by Vincent Carmiggelt.
It all began with the blues.
Ask any musician based in the tradition of american popular music: no blues, no jazz.
That Carmen Gomes inc. would take on the challenge of reinterpreting Harry Belafonte “Sings the Blues” was originally suggested by Harry van Dalen, owner of the eminent High End audio shop Rhapsody.
He thought that Carmen’s band would be perfect for reinterpreting the mood and the sound of the classic album.
Carmen immediately loved the idea.
‘’Harry Belafonte sings the Blues’’ was one of her favorite albums when she as a kid spent countless hours listening to music and making cassette tape compilations from her parents vast LP collection.
‘’I had a 60 minutes tape that I made consisting of my favorite songs from the Sings the Blues albums of Harry Belafonte, Nina Simone, Ray Charles, Memphis Slim, don't forget Memphis Slim!, and with Muddy Water’s’ ‘’Mannish Boy’’ filling out the last 3 minutes. The tape eventually broke and got eaten by the machine, that´s how much I played it!’’ Carmen recalls.
So when confronted with the task of making the arrangements of the songs for ‘’Carmen Gomes sings the Blues’’, I first recreated Carmen’s 60 minute tape for inspiration. Since my recreation was in the digital domain, it was not possible to wear out the tape, but I did listen to it extensively. It became clear to me that in order to capture the spirit of those blues albums, I would have to keep the arrangements as simple as possible in order to give the musicians the opportunity to play straight from the heart.
Some songs were kept close to the original arrangement, while a song like the ‘’Way That I Feel’’, was completely reharmonized. Others like ‘’Hallelujah I Just Love Her So’’ had the form extended in order to create more space.
Muddy waters’ Mannish Boy, while not being on the album is paraphrased in the introduction to God bless the Child and Losing Hand.
The 11 songs were recorded live in the studio in front of a studio audience.
When an audience is present, a synergy occurs.The audience becomes part of the music making and help spur the musicians on to greater heights. And it was a great audience that afternoon, all ears and smiles, the whole band truly enjoyed playing for them.
Harry van Dalen called the result breathtaking.
And head engineer Frans de Rond was happy as well, he didn’t need to repair a single note.