EGAM Kruijk Publishing

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Ack van Rooyen

Ack van Rooyen is recognized by many as Europe’s foremost fluegelhorn player. He was born in 1930, and by the age of 17 had begun studying at the Royal Conservatory of The Hague. After graduating cum laude, he had a 3 year tenure with the Arnhem Symphony Orchestra. He had been interested in jazz and improvisation for some years, and after a student trip to New York he became definitely smitten with the bebop virus. This weas followed by a long and succesful career as a performing and studio musician during which he emerged as one of Europe’s most popular trumpet and fluegelhorn players. His association with the Radio Free Berlin Big Band, as a solist with the Bert Kaemfert Orchestra, the SDR Big Band, Peter Herbolzheimer’s Rhythm Combination and Brass as well as a charter member of the United Jazz and Rock Ensemble to name a few have contributed to his development as a jazz trumpet and fluegelhorn player who is able to touch the hearts of his listeners. The fluegelhorn, wich lends itself particulary well to the expression of his warm tone, playful improvisation, clarity and musical maturity has long since become his instrument of choice. As Ack’s brother Jerry put it, “It’s as if the fluegelhorn were invented for him.” The Dutch Metropole Orchestra, a large orchestral formation of symphony orchestra with big band seems to be made to order for Ack’s talents as well. The sound, the exellent jazz timing of the strings and the brilliant arrangements for many of the world’s top solists have earned the appreciation of even the most discriminating jazz insider. Many pieces which were recorded with the Metropole Orchestra have been selected in this colection of Ack van Rooyen’s solos. The recordings arranged and conducted by Jerry illustrate in a very special way the playfulness, of which Ack says, “It’s about the harmony, the melody, the timing and looking for the beauty of things.” It’s the peacefulness, the laid back, relaxed quality, the humor and playfulness which come wonderfully through. Needless to say, these are just qualities which you feel when you are around him. To re-experience the mood of these solos - that’s how this book is meant to be enjoyed.

Andreas Diemer

The Way I Play Volume 1 & 2
My intention of “The Way I Play” is to give examples of solos played both live and in the studio. Nowadays most music is first recorded in the studio before it goes out on the road. Formerly the recording was made at the end of the tour, after you had developed more familiarity with the music. When you play music for the first time in the studio you have to be able to play different music in different styles and still remain true to yourself in the musical sense. My suggetion for how to use this book is: Take it piece by piece. First, listen to it and try to get the feel of it, the groove. Then finger it as you sing it. Then play it. Check that the volume of your playing is in balance with the volume of the recording using a mute, earphones or to your sound instalation. In the slow pieces, keep in mind that the ear is more important than the eye because of the difficulty of notating in that tempo. The full recordings from which the solos are taken are listed. Have fun with it.

Yours in the music,

Ack van Rooyen 2012