photography Monique Besten
During some inspiring duo encounters, Meinrad Kneer and Albert van Veenendaal discovered that their conceptions about improvisation and playing together are very similar. Very naturally the desire arose to establish a trio in which they could give shape to their musical ideas. It has been their starting point to play original material in which composition and improvisation organically merge. To reach this goal, they use a vast vocabulary of improvisation techniques.
In the young drummer Yonga Sun they found their perfect partner. These three authentic musicians allow themselves to be guided by their intuition and inspiration. Time after time they are amazed by the various ways a composition can sound. The performances of their musical pieces are led by a strong sense of form and groove and can be described as epical musical adventures.
2006
Predictable Point of Impact
2005
Songs to Dance Strangely With
Song to Dance Strangely With (mp3, 1.4 MB)
A. van Veenendaal
Miniature Très Vite (mp3, 1.6 MB)
M. Kneer
Happy Hour (mp3, 6 MB)
Dance To Sing Strangely With (mp3, 4.1 MB)
Press quotes
"[The group] appears to be a classical piano trio, but it is not. The tradional division of roles between soloist and accompanist was abondoned resolutely in pieces of music bearing telling titles and a clear signature."
(NRC Handelsblad)
The trio’s main feature is a non hierarchical approach, free of any cliché. Predictable Point of Impact is a powerful statement of a matured collaboration. They combine the adventurous content of improvisation with the subtlety of a classical chamber music trio, topped off with the vigour of a rock band. They often use grooving figures where each one of the members might take on the roll as grooving element, allowing the other two to move freely. The suppleness with which they shift roles and take over is amazing. The effect is kaleidoscopic music that transforms into a movie in the listener’s head. Above all, Van Veenendaal and Kneer write gripping compositions that take a whimsical course and reach a lot further than the typical theme-solo-theme setup found in most jazz music.
(Herman te Loo)
Predictable Point of impact
The pianist Albert van Veenendaal is an exceptionally productive composer showing himself here from his most dramatic side. Some of the pieces would actually be tailor-made for new soundtracks to silent movies. The trio, which includes double bass player Meinrad Kneer and drummer Yonga Sun has been an item for the past few years and has in the meantime developed into one of Holland’s most interesting contemporary jazz groups, especially since they’ve given the classic piano trio new meaning.
Actually they’re playing post-bop but the arrangements and the collaboration are so cunning that even after repeatedly playing the CD new details appear. These musicians are unfailingly aware of each other but it is especially Yonga Sun who impresses with his varied and tasteful way of playing. I don’t know any other drummer in Holland who is so competent when it comes to the colour of sound.
Van Veenendaal’s music is made of tight, fast harmonic changes that go hand in hand with rhythmical phrasing, keeping a firm hold on the band’s sound. The improvisations are interesting but it’s the subtle movements of role play between the instruments that keep on drawing one’s attention. The CD’s strength lies especially in the arrangements and their natural build-up.
(Ken Vos, Draai om je oren / March 2007)
The trio Van Veenendaal/Kneer/Sun had a charmingly open approach to the traditional piano genre. With Van Veenendaal and Sun the group hosts two playful and imaginative musicians and Kneer is the perfect glue between them. The pleasantly laconic Van Veenendaal and the energetic Sun beautifully complement each other. Kneer’s sophisticated contribution holds their stream of ideas together and thus creates an overview for both the band and the public. The trio’s adventurously eclectic approach is quite contagious. Especially some of Kneer’s pieces that were played towards the end were very impressive.
The band has a sense of humour and a healthy lack of respect for tradition without falling into constructed demolition work. The way the piano suggests rhythm by falling into a repeating pattern while the bass plays the melodies somehow brings back memories of EST’s best pieces. In any case it was during the slower compositions where the trio succeeded best in keeping up the tension. Due to their joy and imaginative approach they had a great impact and turned out to be among the better bands at this first Utrecht Jazz Fest.
(Micha Andriessen, Jazzenzo / March 5 2007)