And who is Eva Besnyö? Credit is due to Erken for documenting her work and her life, for she is 54 years older than he, and she leaves a legacy of photography that has captured life events of her adopted country, The Netherlands. A Hungarian native, Besnyö favors the music of Béla Bartók, and Vogel has borrowed some of Bartók’s motifs in the brief compositions recorded for the film.
More than that, though, Vogel has incorporated the vocabulary of jazz in some of them as well, particularly the colors and energy of Mingus. Never is it more evident than on "Blues for Adriaan," on which Joost Swinkels’s muted trombone tells an amusing wordless story (shortened though it may be) over Vogel’s walking bass and Lothar Ohlmeier’s occasional colors on saxphone. "Developer," unhurried and melancholy, features Ohlmeier’s winding theme over pianist Pieter Jan Cramer van den Boogaart’s tightly chorded accompaniment, similar at first to "Blue Monk" in its structure.
The Balkan themes come through on tracks like "The Netherlands," as a prodding vamp responds to violinist Jasper le Clercq’s initial delicacy. And "Taking a Walk" consists of Swinkels in the lead, as if leading a canon, while the other instruments create their own harmonies a beat or two behind him before leading into a light tango.
Muziek van en voor De Keurcollectie is notable for its effective arrangements of a quintet of unusual instrumentation, and without a drummer, as it conveys the scenes from the Dutch art film that may or may not be available within the U.S.