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The Omnibus-series started in 2005, with the recording of Omnibus One at the Favorite Records label. The edition appeared to be an instant succes, mainly thanks to the Japanese public. Hundreds and hundreds cd’s were shipped to the land of the rising sun, vinyl was pressed in consignation, T-shirts were made, and last but not least an elegant whiskey-glass has been manufactured with the iconic Crossley bus printed on it. Several musicians have been involved in the making of the five Omnibus recordings sofar: pianists Ruben Hein and Timothy Banchet, bassists Sean Fasciani, Jim Glerum and Clemens van der Feen, drummers Owen Hart Jr., Joost Patocka, Han Bennink and Jamie Peet.
In this new version of the Omnibus trio there are changes in the personnel, but the aesthetics stay the same: a lot of feeling in 4/4 time, and a tear is never far away.
Ernst Glerum (Boy Edgar Award 2009) started playing piano at 15. He studied classical doublebass at the Sweelinck Conservatory and found his way in the lively jazz- and improvisationworld of Amsterdam and beyond. Nowadays he is focusing on playing the piano again.
Anja Gottberg, joining the trio for the first time this year, started on cello in her home-country Sweden. Now she studies doublebass at the Conservatory of Amsterdam.
Jamie Peet surprises audience and fellow-musicians by producing loud rim-shots on unexpected moments. He established himself in recent years as an undispensable drummer in the dutch jazz-scene.
There’s nothing overly broad or dwarfed by irony – just jazz straight on. If anything, there’s an aspect of understatement in Glerum’s writing and playing; his blues-tipped choruses stopping short of Ray Bryant-like fl ourishes; his hymn-like cadences avoiding suggestions of gymnastics and piety’. As a composer, he can misdirect and surprise; after initially working a gritty vamp on “Another Story,” Glerum suddenly downshifts for a few bars of semi-plush balladry. The opening passage of the title piece strides lithely before Glerum pivots and digs into a hard-boiled groove. Conversely, Glerum fl eshes out the pristine “Psalm” with a John Lewis-like conviviality. More importantly, Glerum has a great knack for developing a solo, giving each phrase just enough distinguishing characteristics and space to allow the listener to hear a mind at play, not a cache of data.
Glerum Omnibus is one of few units refreshing the jazz piano trio format without pandering to an illusive new audience with middle-brow pop tunes.
(Bill Shoemaker – Point Of Departure)
Non-pretentious joy, averse to endlessly spilling notes. Personal revelations of autonomous and convincing characters. Simplicity is the key force.
(Tim Sprangers – De Volkskrant)
Enchanted, happy atmosphere. Danceable, modern soul-jazz classic. Vital and accessible. Always sparkling, makes you want to snap your fingers.
(Gijsbert Kamer – De Volkskrant)
He can play polite ballroom music and still be subversive. He’s the wheel and the stick in the spokes, both.
(Kevin Whitehead – New Dutch Swing)
The enthousiasm pops off, very pleasant to listen to.
The sparsity of Mal Waldron or Ahmad Jamal, the imagination of Herbie Nichols. Good-humoured, clear and enchanted.
(Rudie Kagie – Vrij Nederland)