Hans Dulfer is one of Holland’s best known and most versatile musicians. He closely follows the latest trends, but maintains to be a typical jazz musician. For many years he operated as a stage performer par excellence, putting record making on the second plan. When in the nineties he finally becomes serious about recording, large-scale success follows in the Netherlands and even a star status in Japan.
Growing up in Amsterdam West, Hans Dulfer (Amsterdam, May 28, 1940) as a teenager became interested in jazz music. He taught himself to play saxophone and plays since 1957 in the big band of Theo Deken. In 1958 he joins the Clous van Mechelen Combo, in 1961 he was a member of the Metropolitain Quintet. In the mid sixties he plays with Willem Breuker and is a member of the Big Ballad Boogie Blues Beat Bounce Band. Dulfer plays also freejazz with Peter Snoei. He has since then become one of the most prominent figures of the Dutch jazz scene.
From 1968 to 1969 Dulfer was leading the band Heavy Soul Inc. with Willem van Manen (trombone), Maarten van Regteren Altena (bass) and Han Bennink (drums). He started in September 1968 with the series Jazz at Paradiso. In 1969 Dulfer wins the Wessel Ilcken Prize. Dulfers interest in pop music leads to collaboration with rock bands like Groep 1850 and Barrelhouse. Together with Jan Akkerman Dulfer records the album The Morning After The Third in 1970, followed by the solo records Candy Clouds and El Saxofon. He was accompanied on these records, among others, by Latin musicians from the group Ritmo Natural.
In this period Dulfer performs with ‘De Perikels’ band in which tenor saxophonist Rinus Groeneveld and some former members of the Amsterdam funk band Solat play: Mr. Slim (steel drums, percussion), Frank Douglas (guitar), Glenn Gaddum sr. (piano, clavinet), Eddie Veldman (drums, vocals), Mitchell Callender (bass, vocals), Koko Kowsolea (congas), Glenn van Windt (timbales ), Lilian Jackson (vocals), Peggy Larson (vocals) and Mildred Douglas (vocals). Additionally Dulfer becomes board member at the Bimhuis, advisor to the North Sea Jazz Festival, and writes columns for music magazine OOR. He helps Dutch Rock artist Herman Brood in 1978 with his Cha Cha project, and plays regularly again with Barrelhouse. The book Jazz In China, published in 1980, contains articles and columns Dulfer has written over the years for various magazines. After releasing the album ‘I Did not Ask’ with De Perikels on the Vara Gram-label, he ends the group in 1981.
Dulfer focusses on playing electric freefunk with his new band Reflud (Dulfer vice versa) with a.o. Thijs Vermeulen on bass. Despite numerous line-up changes, the group achieves an excellent live reputation. In 1983 Dulfer plays at the North Sea Jazz Festival with Herman Brood and he is playing as a guest musician along with the avant-garde formations Kiem and Nine Tobs. In 1985 Dulfer works with Peter te Bos of the band Claw Boys Claw on a blues project. A large part of the band Sjako! forms his backing band for a while.
While daughter Candy becomes more famous with mainstream pop-jazz, Dulfer sr’s becomes interested in speed- and thrashmetal. In 1990 he was appointed director of Paradiso (an important pop music concert hall in Amsterdam). He gives up on dis position already after a year because of internal disagreement. In 1990 Dulfer starts a new band: Tough Tenors. For VPRO national radio he subsequently presents jazz radio shows like ‘Streetbeats’, ‘Hothouse’ and ‘In the Midnight Hour’. In 1992, together with the Surinam Music Ensemble led by Eddie Veldman Dulfer presents the Kid Dynamite Suite, a tribute to the legendary tenor saxophonist Kid Dynamite from Suriname. In 1993 he receives the North Sea Jazz Bird Award. Soon after this he decides to move in a different musical direction.
Dulfer records a dance music album, titled ‘Big Boy’. This album leads to the hit single ‘Streetbeats’ and Dulfer becomes ‘world famous in Japan’. In response to the success in Japan Dulfer records especially for the Japanese market ‘Hyperbeat’. With this recording he becames defenitively a star in Japan, since it is the best-selling instrumental album of the year. In Japan, he receives a Golden Disc Award.
Dulfer toured in Japan for the first time. Meanwhile, the album ‘Express Delayed (old recordings from 1978 with organ player Herbert Noord) appears on CD
The music on the new album ‘Dig!’ is comparable with the music on the 1994 album Big Boy. With the single ‘Dig!’, taken from the album, also a video clip is produced. Also this album is a success in several European countries, but especially in Japan. Dulfer is on tour in the Far East for the second time. In Europe, among other festivals, he plays at the Danish festival Roskilde.
The new album ‘Skin Deep!’ incorporates big-band and drum ‘n bass influences. This album was also quiet successful. Dulfer continues to do radio shows for VPRO radio and still performs every Wednesday in jazz café Alto in Amsterdam with his jazz band. These performances show that Dulfer, despite the success, never forgets his roots. Dedicated to the Japanese music market, the compilation album ‘The Greatest’ is produced.
Again, Dulfer is successfully on tour in Japan. A scheduled performance in China is cancelled due to sudden political tensions concerning the Kosovo crisis. Recordings of a concert at Club Quattro in Tokyo in 1998 appear on the live album CD ‘Papa’s Got A Brand New Sax’. A track of Dulfer is used as soundtrack of the Dutch film ‘The Delivery’.
Dulfer celebrates his sixtieth birthday in pop music hall ‘De Melkweg’ in Amsterdam. Besides his own band ,amongst others, also his daughter Candy Dulfer, trumpeteer Saskia Laroo, pianist Michiel Borstlap, Kiers & De Vries (tenor saxophonists Wouter Kiers and Ruud de Vries) and Dutch politician Hans Dijkstal appear. ‘El Saxofon Part II’ is the last album he records for record company EMI.
Dulfer is an actor in two short Dutch TV movies that were broadcasted in june: ‘The Sound Of Drumming’ and ‘I Do not Believe’ (in which he plays the role of a corrupt manager). In July Dulfer is the final act on the North Sea Jazz Festival. Together with daughter Candy Dulfer records an album that appears on CD in Japan, early 2002.
Dulfer gains Royal honour when he becomes ‘ Knight in the Order of the Dutch Lion’. In july and august, he performs at the JVC Madarao festival in Japan. This world tour also brings him in Vietnam (late september/ early october), the USA (mid-october) and China (late october). Dulfer/Dulfer, the first duo album by Hans and Candy Dulfer, appears on September 21 in Japan. A few weeks later the album is also released worldwide. Father and daughter do a few gigs in december in Japan’s Blue Note Clubs.
The album ‘Scissors’ is a result from the collaboration with dance producer handieMan Maurice. SENA (the Dutch organization that manages “neighboring rights” announces that Hans Dulfer is the most often played Dutch musician on foreign radio and television.
Dulfer contributes to ‘What A Difference A Day Makes’, a musical project of UNICEF in which a large number of Dutch artists and actors sing songs from the so called ‘American Songbook’. Of each sold CD € 6.50 goes to the UNICEF project. On this album Dulfer plays the song ‘Old Folks’ and plays with singer Gerard Joling. Dulfer and his band play on the afterparty in september, after the performance of the American saxophonist Pharoah Sanders in Zoetermeer. The band members are besides Dulfer, DJ Kikke (Ruben van Roon, the drummer of the Jazzmeteors), Eric Barkman (bass) and rapper MC Helder (John Helder)
Dulfer is part of the program at Jazz à Carthage in Tunisia, taking place in Tunis from 12 to 22nd April. He plays there on April 19, along with trombone player Joseph Bowie (Defunkt), pianist Bas van Lier, bass player Erik Barkman and drummer Erik Kooger.
Dulfer decides to do a ‘self release’. The album ‘Live In Breda’ is not available on CD or vinyl, but only digital, as mp3 tracks on an USB-stick.
During his performance at P60 in Amstelveen on February 15, Hans Dulfer receives from the hands of actor and friend Pierre Bokma and daughter Candy a platinum record for his album ‘Big Boy’ from 1994. Dulfer sold over 65,000 copies.
Dulfer celebrated his 75th birtday on the 28th of may with a spectacular musical party in the Amsterdam pop music hall ‘De Melkweg, Amsterdam. The whole year Dulfer is on his ‘Route 75 Tour’, with many performances, also in Japan along with daughter Candy. (taken from the official website)
In the 70’s, especially in Europe, there was no shortage of groups striving to merge the worlds of jazz and rock. Often the fruit of these labors seem proggishly vulgar, pedantically over-intellectualized (looking right at you, Soft Machine), or were simply train wrecks– the result of clueless musicians who understood neither jazz nor rock with any insight or subtlety, smashing them together like joyless stoners. So If I were to tell you that Dutchman Hans Dulfer’s Candy Clouds is a Jazz-Rock masterpiece and beyond, I’d understand if you required some further persuasion.
Let’s get something straight: Dulfer doesn’t even belong in the Prog-jazz ghetto with acts like Alcatraz, Xhol Caravan, and all the others. Candy Clouds’ mind-blowing brand of fusion has much more in common with the free/spiritual jazz scene in Europe, and can be easily to compared to the experimental fusion efforts of Archie Shepp or Gato Barbieri in the 70’s. It isn’t even entirely accurate to call this jazz-rock, as though the two modes of music share the spotlight equally; the music here is as Latin as it is heavy, and so this becomes a fascinating record of Spiritual Free Jazz Latin Psych. Stupendous.
I am unable to find much information on this record, or indeed much on Mr. Dulfer himself. I was inspired to do this post after Bacosco at Orgy in Rhythm dropped another sweet Dulfer joint, El Saxofon, an event which was followed by my noticing the inclusion of a 6-minute edited-down version of the title track to Candy Clouds on Jazzman’s release of Spiritual Jazz Vol. 2.
That title track, split into two sections on the record and totaling nearly twenty minutes, is the heart of this fine album. Part 1 opens with a giant smash of heavy guitar that sounds like early Sabbath (forgive the obviousness of this comparison– it just sounds like fucking Sabbath), trading lines with conniptions of free sax. They go back and forth a few times, until the whole things drops and it’s a heavy psychedelic Latin jam with red hot sax burning through everything. In case I am failing to make the case, let me be blunt: it is awesome, as in awe-inspiring.
Part 2 takes its time getting started, beginning above the clouds with a long dreamy section, the sax heating up to flaming as the combo descends to earth… after six or seven minutes, your flight has landed, and that huge groove from Part 1 makes a return. Bigger, deeper, groovier even than before, Dulfer’s improvisations reach a thrilling space between, say, Gato Barbieri’s warm exotica shredding and Archie Shepp’s emotional Fire Music– all while electric guitars blaze in a cloud of reverb, a piano wanders off and gets lost, and a glorious cowbell abides with wisdom.
Just as good as “Candy Clouds 1&2” are the two tracks preceding it, a guitar-based groove with jungle shadows that’s honestly just too cool to be believed, and a huge Latin jam with excellent flute acrobatics (the flautist is doing that Black Harold-y thing where he’s sort of howling into the flute as he’s playing it, whatever that’s called). The Fire Music is in full force throughout. (savagesaints.blogspot.com)
One ot the finest Dutch Jazz-Rock groups from this period … and it wasn’t the worst time in the hisotry of music !
Recorded 17th and 18th of August 1970
Steve Boston (percussion)
Dave Duba (guitar)
Hans Dulfer (saxophone)
Martin van Duynhoven (drums)
John Grunberg (percussion)
Kees Hazevoet (piano)
Appie de Hond (percussion)
Jan Jacobs (bass)
Rob van Wageningen (saxophone, flute)
Timbales, Guiro – ,
Timbales, Vibraslap [Fibre Slap] –
Steve Boston (vocals on 06.)
Groentjie (vocals on 06.),
01. King Size Davy (Dulfer) 7.49
02. Satin-A (Dulfer) 6.56
03. Candy Clouds (Part 1) (Dulfer/Jacobs) 4.00
04. Candy Clouds (Part 2) (Dulfer/Jacobs) 13.10
05. Froggy (Dulfer) 2.27
06. Red, Red Libanon (Dulfer) 2.52