Jazz |

Yet another extraordinary pianist and composer graces us with this live album, recorded at Dizzy’s Club in a quintet formation. This setting allows us to fully appreciate the intricacy of the musical writing for each instrument—a hallmark of a refined work that often evokes the grandeur of a larger orchestral format. Indeed, everything here resounds in cinemascope, as if the music itself were stretching towards vast horizons. “Onward to great open spaces!” seem to proclaim the brass, bursting forth from the score like mischievous spirits. Judging by the thunderous applause, the audience was as enraptured as I was.
In recent years, musicians have increasingly embraced live recordings, a shift facilitated by advances in digital mixing technology. The undertaking has become more accessible, enabling us to savor the raw energy and exhilarating uncertainty of a live performance—elements that drive musicians to transcend themselves and often yield sublime surprises.
Here, on a structure of evident complexity, Marius Van Den Brink has chosen to offer music of striking accessibility. Having moved from Amsterdam to Brooklyn, he has played and recorded alongside such luminaries as Jeff ‘Tain’ Watts, Joel Frahm, Willie Jones III, Ingrid Jensen, Ara Dinkjian, Sean Jones, Haley Reinhart, the Birdland Big Band, and the Tonkunstler Orchestra. As both leader and sideman, Marius has performed on some of the world’s most prestigious stages: the North Sea Jazz Festival (Rotterdam), Birdland Jazz Club (New York), GroundUp Festival (Miami), Smalls Jazz Club (New York), Dizzy’s Club (New York), Sony Music Hall (New York), the Cretan World Music Festival (Greece), Mezzrow (New York), the Jazz Forum, and the Bimhuis (Amsterdam).
All these experiences resonate profoundly in his playing. To command the stage in this style of jazz requires both masterful skill and unerring discipline. His European sensibility adds yet another dimension, a reminder that in its birthplace, jazz is held in the highest regard, approached with the utmost seriousness and reverence. This album is a work of great elegance, and for that, we must thank the musicians—each one outstanding, reveling in the sheer joy of performance: Sean Jones on trumpet, Stacy Dillard on saxophone, Noah Halpern on trumpet, Matt Penman on bass, Willie Jones III on drums, and Keita Ogawa on percussion.
Cultural cross-pollination often gives rise to works of rare brilliance, and such is the case here. There is something almost timeless about this album—a bridge between past and present. Listen closely, and you will discern echoes of rock, funk, even world music, all woven together with an effortless grace. Midway through the album, a purely poetic interlude emerges with Margot—perhaps the most “European” track on the record. And then there is Marius Van Den Brink’s sheer magnetism as a performer: the album closes with a rousing rendition of Camara, a piece that seems to pulse with the spirit of celebration.
This album is a marvel, a rare gem. And hearing that familiar accent—one I once knew so well in another life—only deepens my attachment to it. Without hesitation, this record earns its place in our cherished collection of 2025’s Indispensables—a collection that, I must confess, is growing at an exhilarating pace.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, February 1st 2025
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