BIJLMER 50 JAAR: Konrad Koselleck Big Band with Graziëlla Hunsel & Kiddo Cee & many more
Soloists: Kiddo Cee (rap), Mizztamizzo (rap), Graziella Hunsel (vocals), Olaf Zwetsloot (spoken word/saxophone), Master Tam (vocals), Berima Amo (trumpet/vocals), Jeff Croese (VJ/sounds)
Konrad Koselleck Big Band:
Konrad Koselleck conductor/arranger, Werner Janssen, Floris van der Vlugt, Joao Driessen, Kees van Lier, Kees van Dooremalen saxophones, Charlie Biggs, Florian Sperzel, Rodolfo Neves, Gerard Kleijn trumpets, Matthias Konrad, Ebba Åsman, Joost Buis, Vladislav Psaruk trombone, Jens Larsen guitar, Charly Zastrau piano, Cord Heineking bass, Haye Jellema drums
DJ Philippona
The 50th anniversary of the Bijlmer is celebrated with many festivities in the neighborhood itself and elsewhere in Amsterdam. The Konrad Koselleck Big Band will join forces with singers, rappers and musicians in two special ‘storytelling concerts’ at Bijlmer Parktheater and BIMHUIS.Five story lines will be enacted in a way that is appropriate to this remarkable neighborhood: distinct, multicolored and with a solid jazz and urban groove.
The concert gives a singular impression of the history of the Bijlmer and the people connected to this district. Boy Edgar (1915-1980) will get his place as a pioneer of the neighborhood. This family doctor became legendary as a band leader whose name was given to the most prestigious jazz award in The Netherlands. Soloists include jazz vocalist Graziëlla Hunsel, Olaf Zwetsloot (spoken word, sax), Berima Amo (trumpet), Master Tam (kaseko vocals), MC’s Kiddo Cee and Mizztamizzo and DJ Jeff Croese of Vinger.nl.
Konrad Koselleck makes contemporary programs linking jazz, classical music, pop, theatre and current social developments. is something else. His big band was founded in 2004 and regularly brings thematic programs at the BIMHUIS, in collaboration with many special guests.
‘Sure, it’s as loud and impressive as a big band is supposed to be, but beyond that it’s a revelation to hear how serene this bunch of metal can become, how Koselleck makes use of all the dynamic possibilities of his ensemble’ (de Volkskrant).