My new group premiers this year in Paradox!

January 15 is the official premier of my new group RIOT in Paradox Tilburg during the Fontys Academy of Music & Performing Arts Nederlands Saxofoon Festival with saxophonist/clarinettist/composer Maarten Ornstein and percussionist/composer Bart de Vrees. We are in the process of writing new music as we speak. https://paradoxtilburg.nl/programma/riot-paradox-nls-saxofoonfestival/ It's a very exciting time in which I am rerouting my career to new paths and exploring the edges of styles. ‘RIOT’ is the final concert of the Netherlands Saxophone Festival organized by the AMPA Fontys Conservatory. Saxophonist Ties Mellema, professor of saxophone at AMPA, put together a program that marks the start of a new phase in his career. He will do this together with his new group ‘RIOT’ with saxophonist/clarinettist/composer Maarten Ornstein, percussionist/composer Bart de Vrees and students of the AMPA Conservatory in Tilburg. ‘RIOT’ will premier in jazz club Paradox in Tilburg. Ties, Maarten en Bart are members of the groundbreaking musicians collective ‘Splendor’ in Amsterdam. But their past goes back years. Ties and Bart played together in the Concertgebouw Orchestra and Maarten composed many important solo and ensemble works for Ties. In the mean time the three artists developed themselves, each on their own path. Ties decided to bring them together in a new group called ‘RIOT’ that unites their musical backgrounds into one. In Paradox Tilburg ‘RIOT’ will play new pieces that the trio made together inspired by music of Squarepusher, Boards Of Canada, Karlheinz Stockhausen, Eddie Harris, Johann Sebastian Bach, Aphex Twin, John Coltrane, Claude Debussy, and many others. An evening with soundscapes, sheets of sound, beats, improvisation and above all, everything in between.

What's Next?

Last week I played a solo concert in Splendor Amsterdam. I was quite nervous. I decided I want to go something else with my music after a period of four years of being sick and recuperating.
I played contemporary music: a quarter tone piece by Sander Germanus. An absolutely genius piece. He wrote a saxophone quartet for my former quartet, the Amstel Quartet, which we all loved. Playing this piece is one of my warmest Amstel memories. He also wrote a solo piece, which is written in what he calls micro-modes. My extraordinary Raaf Hekkema recorded the piece and you can hear it here: https://open.spotify.com/track/1QXg8kcxYjFLFpa3MFgQlc?si=sA-U32eETdSwXcvWMfsErQ Sander himself says that you shouldn't do drugs, but listen to his music instead. And it is true. This music creates a sort of surreal atmosphere in which the listener experiences notes he knows on an instrument he knows, but with a completely different sound altogether. Combine that with the nifty tempo variations, that also upset the listener and you get a piece that sounds like no other music I have every heard. And I only need one saxophone to play it.
I also played with drummer Vinsent Planjer. He wrote a piece called "Boeventronie" for baritone saxophone and drums. Vinsent is one of the most creative improvisors I know. He is absolutely open to just about anything.
But the thing I was most nervous about was my own music, for electronics and a bit of saxophone. I used Squarepusher like beats and sampled Donald Trump. I loved making it, thinking about how to build up, what sounds to use... It was an adventure.
To close off I played with Ivo Bol, an electronic musician who doesn't know boundaries. He was the one who introduced me to electronic music as a performer.

And what is next?

Not sure. I will have some meetings with fellow musicians who appeal to me and whom I want to play with. To be continued!

International Saxophone Masterclass 26/27 March

DUE TO CIRCUMSTANCES THE AMATEUR WORKSHOP IS CANCELLED ON 27 MARCH

The International Splendor Saxophone Masterclass
for conservatory students and amateurs

FB events here: https://www.facebook.com/events/387810688458490/ (Tuesday); https://www.facebook.com/events/2075680829134341/ (Wednesday); https://www.facebook.com/events/227608594814285/ (presentation concert, Wednesday evening) (application form in Dutch below) On March 26 th and 27th the Amsterdam concert Hall Splendor will be turned into an international saxophone feast. The Axes Saxophone Quartet (Niels Bijl (NL), Fernando Ramos (PT), Jay Byrnes (AUS) and Ties Mellema (NL)) wil be playing and teaching in the Netherlands. A.o. They will teach a masterclass and do a workshop in Splendor. The activities will be open for conservatory students (bachelor and master) and amateurs. 26 March daytime will be the masterclass day for the students. 27 March daytime will be the workshop for amateurs. 27 March evening will be the presentation of a selection of the students, the saxophone ensemble and the Axes Quartet. Costs: 26 March: 75 per lesson (one hour), 50 for the second lesson. (entrance to the evening concert on 27 included) (ex. VAT/BTW) 27 March: 60,- per participant for the day (including the evening concert). (incl. VAT/BTW) 27 March, Concert at 20:15: 10,- Schedule: 26 March, 10:00-1700: Masterclasses for conservatory students by Niels, Fernando, Jay and Ties in separate rooms in Splendor. 27 March, 10:00-17:00: 10:00-11:15 Individual masterclasses in groups 11.15-12.30 - small ensembles. Every teacher will teach an either existing group or a newly formed group (in that case Axes will make sure there is sheet music) 12.30 lunch 13:30-14:30: Axes Saxophone Orchestra made up of participants rehearsal 14:30-16:00: Lectures and Q&A with Axes (how to practice, technique basics, sight reading skills, special saxophone techniques, improvisation) 16:00- 16:30 small ensembles play for each other in the Big Hall of Splendor 16:30-170:00 final Axes Saxophone Orchestra rehearsal 27 March, 20:15 Final presentation concert in Splendor, Amsterdam *A selection of the masterclass students of Tuesday and Wednesday *Axes Quartet *Saxophone Orchestra with participants (Participants fee is including entrance to this concert if you play during the concert. If not the entrance for participants is 3,50)

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About the international Axes Saxophone Quartet Niels Bijl (NL) Niels Bijl centered his musical life around versatility, enthusiasm and making music at a high level. Niels is a driving force behind the development of new repertory for tenor saxophone, the founder of the Axes Quartet, the Baritone institute, co-founder of the Four Baritones, baritone saxophone quartet and an old music specialist with his duo with Ronald Moelker. He is also active in musical theater with actor René Groothof and accordeonist Nico-Jan Beckers (Rood Verlangen). Niels is chamber music coach for the Academia Musica, a private tutor and an esteemed guest teacher at conservatories all over the world. Fernando Ramos (PT) Fernando Ramos is a distinguished Portuguese-based saxophonist. He performs regularly throughout Europe, Latin America and Australasia. As a prominent educator, he tutored a whole a new generation of saxophonists from Portugal and various parts of the globe. He regularly gives workshops and masterclass for all types of sax enthusiasts - from the amateur aficionado to professionals. A graduate from the Conservatorium van Amsterdam, Fernando is the resident saxophonist of the Oporto Symphony Orchestra and frequently collaborates in projects with the Remix Ensemble and the Casa da Música’s educational department. He teaches at the prestigious Porto Superior School of Music and Performing Arts - (ESMAE) as well as the University of Aveiro. A member of KinetixDuo, QuadQuartet, STP|trio, ~Grain[z] ensembles, he also established the sax ensemble FLUX Collective. Jay Byrnes (AUS) Saxophonist, Arranger and Educator Jay Byrnes, is one of the most pre-eminent faces in the Australian music scene.Jay is acclaimed for his dynamic stage presence and rigorous attention to stylistic performance. His passion is to guide students of all ages and levels in the art of music performance. Saxophone Lecturer at the Sydney Conservatorium of music and baritone saxophonist of Nexas Quartet. www.jaybyrnessax.com Ties Mellema (NL) Ties Mellema is not only one of Holland's most prominent saxophonists. He is also an arranger, composer and sound creator. Ties is always looking for new directions in his playing and performance. He has been active in the field of music theatre, electronic music, pop music, jazz music, world music and much more. As a saxophonist he won several prizes, as a soloist like the Netherlands Music Prize (the most important prize a Dutch musician can win) the Vriendenkrans van het Concertgebouw, and as a member of the famous Amstel Quartet, like the New York Concert Artists Guild Award and the Gaudeamus Competition. Ties has played and taught all over the world, from the Amsterdam Concertgebouw to Siberia and from Carnegie Hall to Tokyo. www.tiesmellema.nl _______________________________________ Aanmeldingsformulier (stuur dit naar Ties Mellema op Facebook, cut en paste onderstaande tekst) Ik meld me hierbij aan voor de Axes Saxophone Workshop op 26 en 27 maart in Splendor Amsterdam. Naam: ……………………………………………………….. Adres: ……………………………………………………….. Postcode: ……………………………………………….. Stad: ……………………………………………………….. Emailadres:.................................................. Ik ben vakstudent (26 maart)/liefhebber (27 maart): Ik wil graag … lessen. Ik zou in ieder geval graag les hebben van: …………………………………….. Welk repertoire ga je spelen?: Welke saxofoons speel je?: *Indien van toepassing: Ik meld mij aan met een ensemble: Naam ensemble: Leden ensemble: Bezetting: Opmerkingen: (Wij proberen iedereen zoveel mogelijk in te delen bij de docent van hun voorkeur, maar kunnen dat niet garanderen.) Wij sturen je een bevestiging en voordat de workshop begint een factuur voor het verschuldigde bedrag.

I did it!

After yesterday's concert with the uncomparable Rembrandt Frerichs Trio and Benjamin Glorieux during The Hague's Crossing Border Festival I finally get to rest again. I had such a great and inspiring three weeks with this group. It was fantastic to come back from another year of illness and immediately have such a series of concerts ready for me to play. It also was a test, a physical and mental one. Can I play three to four concerts a week already? Can my body deal with that? Can I mentally handle the stress? Yes and no. I am writing this while I am sick, the common cold, but it still hits me harder and more often than a couple of years ago. My body is saying 'Enough! Please sit down and breath.' On the other hand I did play the concerts, and I played well. The performances gave me so much energy and inspiration. My chops are back (on all saxes! I had the quartet on stage :-), but more importantly, this kind of music making is what I need and want from music. This is it. These guys, this way of handling music, improvisation, playing composed notes the best we can, finding the right balance between being constructively critical and positive remarks, this was just perfect. Thanks guys! Rembrandt Frerichs Vinsent Planjer Tony Overwater Benjamin Glorieux And also Hugo Ticciati Klaartje van Veldhoven

Een geweldig benefiet concert in het Muziekgebouw!

trailer: http://youtu.be/4ouW39G02b8

Ties Mellema uitgedaagd door ziekte van Hodgkin

Benefietconcert in Muziekgebouw aan ’t IJ met Akwasi, Remy van Kesteren, Ernst Daniël Smid en vele anderen

21/9/2016 | In de zomer van 2015 werd bij saxofonist Ties Mellema de ziekte van Hodgkin geconstateerd, een zeldzame vorm van lymfeklierkanker. De periode die volgde stond in het teken van chemotherapie. Een zeer zware tijd die hem echter ook inzichten heeft gegeven die zijn leven ingrijpend hebben veranderd. Sinds het begin van dit jaar, nadat een CT-scan uitwees dat alles ‘schoon’ was, werkt Ties aan zijn herstel en comeback. Zondag 30 oktober 2016 organiseert hij Hard Reset, een benefietconcert in Muziekgebouw aan ’t IJ in Amsterdam. Een scala aan artiesten treedt op, waaronder rapper Akwasi, Remy van Kesteren, Rembrandt Frerichs en Ernst Daniël Smid. “Ik heb musici gevraagd die belangrijk voor me zijn geweest tijdens de ziekteperiode”, vertelt de saxofonist. “Het wordt een avond met perspectief, we kijken vooruit en richten ons op de toekomst. Ik wil muziek presenteren die past bij de nieuwe Ties Mellema.”

Tijdens de chemokuur is Ties door een hel gegaan maar hij is altijd blijven spelen. Zo’n acht uur per week. “Hierdoor voelde ik of ik motoriek verloor en kon zo nodig de dosering van medicijnen worden aangepast. Ik studeerde vooral het saxofoonconcert van Denisov, een moeilijk avantgardistisch stuk dat ik vijf weken na de chemo moest spelen in Amsterdam. Een Nederlandse première. Het werd één van de beste concerten uit m’n carrière. Hoe kon dat onder deze omstandigheden? Ik was verbaasd en heb er lang over nagedacht. Doordat ik vorig jaar tijdens de chemotherapie zo uitgeput was, had ik geen energie om me zorgen te maken over m’n carrière, over deadlines en over randzaken. Ik was relaxed en kon me optimaal focussen op het stuk van Denisov.

Bevrijd

“Veel vrienden hebben me er doorheen geholpen. Zo heeft Remy van Kesteren vaak met me gewandeld en af en toe een pannetje eten gebracht. Hij was er altijd voor me, terwijl hij op dat moment een plaat aan het opnemen was voor Deutsche Grammophon. Remy is een voorbeeld voor me. Hij heeft z’n hart gevolgd en is richting popmuziek gegaan. Ik vind het knap dat hij het durft.” Zelf kwam Ties er vorig jaar achter dat zijn passie vooral ligt bij minimal music, hedendaags klassieke muziek en jazz. Daar krijgt hij energie van. “Voorheen speelde ik ook bijvoorbeeld de tweede klarinetsonate van Brahms. Een mooi stuk en het zal heus nog wel eens langskomen, maar het kost me veel meer moeite, het is niet mijn muziek. Het geeft niet de energie die ik nodig heb. Dat is mijn graadmeter. Ook hoef ik niet meer te bewijzen dat de sax bestaansrecht heeft als klassiek instrument.”

Akwasi

Ties heeft de ziekteperiode nodig gehad om tot die inzichten te komen. “Het klinkt raar, maar eigenlijk heeft de kanker mij de kans gegeven om mezelf en mijn passies terug te vinden, nieuwe wegen in te slaan en andere mensen te leren kennen.” Voorheen liet hij zich veel meer leiden door wat hem overkwam, nu maakt hij bewuste keuzes. “Zo ben ik in gesprek met Akwasi over een mogelijke samenwerking. Zoiets zou vijf jaar geleden niet in mijn hoofd zijn opgekomen. We praten veel en inspireren elkaar. Ik ben gegrepen door zijn geweldige teksten en zou graag iets met hem samendoen.

Onderzoek

De opbrengst van het benefietconcert is bestemd voor Micro-RNA onderzoek van het VU medisch centrum. Ties Mellema: “Dankzij dit onderzoek kunnen Hodgkin-patiënten steeds beter chemotherapie op maat krijgen, waardoor de kans op genezing groter is en er minder schade wordt toegebracht aan het lichaam. Ik heb geluk gehad dat de chemotherapie aansloeg en ik gun dat ook alle andere patiënten. Daarom organiseer ik deze avond.” Josée Zijlstra, internist-hematoloog aan het VUmc, zal kort iets over het onderzoek vertellen.

Toekomst

Het komend seizoen staan er een Philip Glass-project met het Amstel Quartet, een theatertour met Ernst Daniël Smid en The Four Baritones en een tournee met Rembrandt Frerichs op het programma.

Hard Reset - De kracht van muziek  | Benefietconcert met Ties Mellema, Akwasi, Remy van Kesteren & band, The Four Baritones, Amstel Quartet, DJ Kypski, Rembrandt Frerichs, Ernst Daniël Smid en het Sax-ensemble van het Fontys Conservatorium. Regieadvies Jos van Kan.

 

Zo 30 oktober 2016 | 20.15 uur

Muziekgebouw aan ’t IJ, Amsterdam

Tickets & Info www.muziekgebouw.nl

John Coltrane

Last Friday I went to Splendor Concerthall with somewhat mixed feelings. Last year I needed music that stimulated me to keep playing, because one of the medicine I took could harm my nerves and thus damage the motorics in my fingers. I found the music of John Coltrane. Back then I thought it was a good idea to try this out on a stage. And so we did, Rembrandt Frerichs, Vincent Planjer, Jos Machtel and me. Not only risking the harsh criticism of our own artistic hearts, but also that of colleagues and jazz lovers. Playing the notes of John Coltrane is not jazz... In the end we didn't and don't care. My mixed feelings were gone at the end of the concert. Everything came together. Music is music, and the music of John Coltrane is divine, magnificent.... And needs to be heard on a stage. We are the only ones who are doing this, and we will continue.

Listen here why:

https://soundcloud.com/info-1446/transition-ties-mellema-rembrandt-jos-machtel-vinsent

Quite proud of this.

https://www.facebook.com/tiesmellema/posts/10155193992789688

My horns

I love my horns. I found good ones. Now I still have to learn to play them ;-)

My Bari mark VI sounds great and the quartet can tune very well to the rich sound.

My series II tenor is very flexible and an all-round instrument. I don't play it so much but it's actually my favorite sax. I hope to play it more during my project with Rembrandt Frerichs

My alto is a reference. I started out on a Musica beginners horn, then my parents gave my a Series II for my 11th birthday. Then I got a super balanced action in the mid 90's, on which I played the beginning of my conservatory studies. After that I switched to a somewhat newer instrument, the Buffet Super Dynaction on which I payed my first end exam in 2000. I sold this horn and I regret it until today. I got a series III millennium edition because I changed embouchure: more focused and tight, almost contemporary French school. After I learned that I wanted a horn that just worked when I blow on it and I switched to the reference. 

The soprano is a yanagisawa. Which is very out of tune but has such a creamy sound!

The reason why I play the sax: Charlie Parker

I remember seeing the movie Bird by Clint Eastwood. The musical genius was already clear to me but to see his tragic life come by, portrayed so vividly by Forest Whitaker (who will always remain 'Charlie Parker' for me) was something else.

I was and am a big Parker fan ever since I started playing the sax. Well, even before, when I chose an instrument, my father had me eventually choose between Parker and Benny Goodman. He played them for me from a Verve collection record.  I chose Parker. The speed, the sound, I was saxophonized for ever. 

This article describes his life and his musical influences (with lots of juicy quotes by colleagues):

http://www.thedailybeast.com/articles/2016/01/31/the-stacks-charlie-parker-s-revolutionary-junkie-jazz-alchemy.html

This article gave me some memories I had from the movie. The tragedy, the craziness, the genius. I was in my early teens when I saw the movie, but I will never forget it. Drugs were more important for Parker than anything else. Even than his saxophone, most of the time. He tries to kick drugs one time, and his is when he records one of most beautiful albums, 'Parker with strings'. (https://open.spotify.com/album/1vDghy6Zi6NYvwRHEeN72E). One day I will find a way to put this album on my repertoire somehow, like I did with the music of Prince (http://tiesmellema.nl/#!/shop/princepiration)

Some audio examples of pieces and artists mentioned in the article:

This is Walter Page's Blue Devils with Buster Smith, Parker's musical father:

https://open.spotify.com/album/6tHwUOd7N7B5O5NlaTlfEk 

And this is Jay McShann's Jumpin' Blues:

https://open.spotify.com/track/47VwppOyFADbSxvR6uaKk4

The Earl Hines Orchestra:

https://open.spotify.com/track/6vCUDfm87PoxC0argmcQeg

Billy Eckstine Band:

https://open.spotify.com/track/09vqs4nX3gyZql8qk2Wss7

This is the version of 'Lover Man' that Parker didn't want to be released but was released nonetheless. Parker was suffering from violent tics at that time:

https://open.spotify.com/track/746eIebwEDkDCdD9NHgGLD

(Listen to the rhythm section playing the tune almost childish, perhaps to keep Parker in line?)

Bartok's 2nd Piano Concert:

https://open.spotify.com/track/7C65W8RpHVxJiIkrWZMFNY

Now what?

I have watched all of Netflix. Well, at least all the shows that interested me. But with ups and downs I have been wanting to find some substance in my life. Netflix doesn't give that. 

Some days ago I discovered this musician, Omer Avital. I have been fascinated by his albums these past days. After months of watching Netflix, my unconscious quest for substance finally found some ground again.

http://omeravital.com/

My relationship to (saxophone) music is somewhat deformed. I studied classical music on saxophone. Once every so many years I wondered why I did not study jazz. Erik-Jan, my colleague and friend, told me if he studied jazz he couldn't have done what he did so far. It's the same with me. I have a set of skills that one hardly finds in jazz music. Although I love jazz, it's what listen to a lot.

I am glad I did what I did in the end. I love what I got to do, I met great musicians and people, and made great friends. And it's not about boxes, about categorizing.

When I started chemo I didn't want to play. I decided to do what I did in 2008 and only start playing when and if the sax would call me again. But my fysiotherapist told me to play to train and maintain my muscles. So I had to play. I did technique only for about six weeks. Like a sort of meditation. Then I started studying Ibert Concertino again. To play some actual music and find some substance in playing. But after some weeks this wasn't enough. Than came jazz pianist Rembrandt Frerichs who asked me to play transcribed jazz solos with him. He wanted to explore jazz music as classical music. Now we have a program ready and some halls interested. And why did I go along with this? There are so many examples of classical saxophonists playing jazz and failing miserably. I need inspiration and energy, and doing this gave me a lot. Maybe the experiment will fail, and that's ok as well.

And of course I have some projects to look out for that give me more stability. The Denisow concerto with Arjen Tien and a project with the USCantorij, a chorus, with works by Kagel, Manneke and van Merwijk. These will be my pillars while coming back. Great notes that are on paper and that I can study in a way that I am used to. Discovering all the colours that these pieces have to offer.

But to what am I coming back the coming months? I don't know. This makes me anxious sometimes. Especially now, rounding off a period of physical and mental breakdown. One of my best friends Niels Bijl told me that this cancer is a part of my life now. I cannot escape it. I will not go back to 'normal', whatever that may be. I have to reinvent my life. Will I have the same focus and determination? I found out that I love being at home with the kids. I love to have free time and free-styling. But as I write this it makes me anxious. As a true Calvinist I do not want waste time. I want to have purpose. And then I realize that although I always had purpose I wasted a lot of time already, procrastinating, doubting myself, ....

One of the worst things, mentally, about chemo therapy is the fact that my life emptied itself. All of a sudden it was only me and my body. Not being able to concentrate, run, tie my shoelaces without losing my breath. My life is an almost empty bottle at this moment. I can fill it with whatever I want, or with whatever crosses my path. In the end my life might be more or less the same, or not....

I have some months to go before I recover to my potential 100%. These are some of the things I am struggling with at this moment. My advice to you: f you recognize some of these things, do not wait until you get sick to deal with them.