R Is For Rogier - Page One

Rogier van Otterloo was Holland's foremost arranger and composer of the 1970s and 80s and a remarkable musical talent. 70s Kid profiles the work of a Dutch genius and speaks to his eldest son, Bas.

If you are reading this expecting an objective, detached examination of a man and his music then I am afraid you will be sadly disappointed. Simply put, I love every aspect of the music of the multi-talented Rogier van Otterloo. I make no apologies for this stance; therefore, you will hear me refer to him and his work throughout only with unstinting respect and admiration.

The first time I encountered Rogier's music was when I had the good fortune to hear 'The French Collection', one of many LPs he recorded during the 1970s and 80s. For this particular album he had arranged a selection of popular French music, including such evergreens as 'The Windmills Of Your Mind'. What became immediately apparent was his gift for writing sublime and delicate harmonies, his amazingly detailed orchestrations, his sense of colour and romantic instinct and his primary influence - classical music, something that pervaded all of his work. The contemporary nature of the music also stood out, many of the arrangements featuring funk rhythms, electric pianos and improvisatory solos, revealing his love of jazz. I was captivated by these beautiful sounds, and so began a love affair that left me with no choice but to find out all I could about this man's inspiring music.

Rogier van Otterloo was born in Bilthoven, Holland on 11 December 1941, the son of the famous Dutch conductor Willem van Otterloo. At various points in a long and distinguished career, Willem was conductor of the Utrecht Municipal Orchestra, The Hague Philharmonic, The Dusseldorf Symphony Orchestra, and between 1967 and 1973 was the chief conductor of The Melbourne Symphony Orchestra.

Willem spent the last years of his life in Australia and died there in 1978. He was a cellist as well as a prolific composer whose works included symphonies, orchestral suites and chamber music. Having someone as deeply musical as this for a father it could be argued that Rogier's destiny was predetermined - a destiny he fulfilled in the most glorious manner. (He was even able to trace his ancestry back to a mediaeval musician - one of the troubadours of the Middle Ages who travelled Europe performing the new music of the time).

A picture of Rogier from the back of the 'Nuages' album

Rogier's homeland hasn't produced classical composers in the same quantities as, say, Germany or Italy (Jan Pieterszoon Sweelinck, 1562-1621, who pioneered and established the form of composition used by Bach is one of Holland's most notable examples). I am certain however, that had Rogier been born in earlier times he would have become one of classical music's major figures, such was the breadth and depth of his talent. The shadows of Bach and Mozart loom heavily in much of his music, but the influence of more recent composers like Bela Bartok (heard in Rogier's jazz suite - 'Lookin' Back') is discernible.

He was also a product of his time, and in addition to being steeped in the traditions of classical music his all-encompassing approach ensured he was fully aware of what was happening in the worlds of jazz, rock and popular music. He assimilated these styles brilliantly into his own work, showing an innate understanding of them, often with a preference for funk rhythms. His work in this area displays an instinctive feeling for a groove and his unique way of mixing sounds such as wah-wah guitars, synthesizers and electric pianos with his complex, dramatic orchestrations. Coupled with his obsession with melody and harmony, this highly individual synthesis gave his music its instantly recognizable sound.

A picture of Rogier from Rita Reys' 'Sings Michel Legrand' album

During his formative years Rogier studied music theory, composition, flute and piano at the Amsterdam Academy of Music. While still involved in his studies, he played piano for the Cabaret Lurelei and participated in their 1966 production 'Relderelderel'. (Lurelei is the theatre institute of Amsterdam). He was also the pianist and leader of the Dutch Gold Coast jazz group. He decided however, that life as an instrumentalist was not for him, opting instead to concentrate on a career in arranging, composing and conducting. Throughout the 1960s these activities kept him very busy, helping to establish him as Holland's premier arranger. He composed and arranged for some of the biggest names in Dutch popular music such as singers Rita Reys and Jasperina de Jong (even contributing some of his own songs to her 1968 'Wij Zijn de Jongeren' album for the Phillips label). He also worked with respected jazz musicians like bassist Ruud Jacobs (who would produce many of Rogier's albums in the 1970s), guitarist Wim Overgaauw and the pianist Pim Jacobs, Ruud's older brother, who was married to Rita Reys.

In 1968 Rogier started to contribute arrangements to the library of the Metropole Orchestra, Holland's leading light music orchestra that has accompanied many famous international artists including Herbie Hancock, Oscar Peterson, Burt Bacharach and Shirley Bassey to name but a few. Over the next twelve years he made numerous appearances as guest conductor of the Metropole, leading to his appointment in 1980 as its chief conductor and musical director.

Rogier in the studio with Pim Jacobs and engineer Dick Swaneveld during the recording sessions for "Let's Go To Randstad"

He replaced another very well respected Dutch conductor and composer, Dolf van der Linden (known in America as Van Lynn, where he had made many recordings), who had been at the helm since the orchestra's inception in 1945.

Rogier's tenure as the Metropole's conductor marked a particularly creative period in its history, his forward looking arrangements incorporating the aforementioned elements of classical, jazz, rock and popular music, also including a successful tour of America. Another orchestra that has many of Rogier's scores in its repertoire is the Dutch radio orchestra Skymasters. His work during the 1960s culminated in him winning the Edison award in 1971, Holland's most prestigious music prize, in recognition of his success and skill as an arranger.

The 1970s saw Rogier take the spotlight as a recording artist in his own right - it was also the decade when his talent as a film composer emerged. In 1973 Dutch director Paul Verhoeven invited him to score his controversial film 'Turks Fruit', starring Rutger Hauer and Monique van de Ven. It told the story of a gifted sculptor with a fiery temperament who falls in love with a young woman, their affair cut short when she dies from cancer. Essentially a drama about a complex human relationship, Rogier's poignant, introspective score captures wonderfully the romance, humour, intimacy and tragedy the film portrays. Of particular note is the hauntingly beautiful title music. A seductive, majestic theme effortlessly blending strands of classical, jazz and funk music that draws the listener into the emotional world of the film.

It is an excellent example of Rogier's skill in writing long and intricate melodies, and of the controlled, logical and highly inventive manner in which he develops a theme throughout a piece of music, pointing to his reverence and understanding of classical form. He employed the services of Holland's top jazz musicians for the recording of the 'Turks Fruit' score, including pianists Rob Franken and Louis van Dyke (with his trio), bassist Rob Langereis and Jean 'Toots' Thielemans whose plaintive, lyrical harmonica solo is heard in the film's title music. Rogier scored two other films for Verhoeven, both starring Rutger Hauer - 'Keetje Tippel' (1975) and 'Soldaat van Oranje' (1977).

Rogier at the piano

He scored one further film starring Hauer - 'Grijpstra en de Gier' (1979), a gritty crime drama directed by Wim Verstappen. (In the 1980s and 90s both Verhoeven and Hauer went on to great success in America, Hauer starring in the sci-fi classic Blade Runner and Verhoeven directing blockbusters such as Robocop and Basic Instinct).

Rogier's work for television includes the music for the 1974 Dutch children's series 'De Vloek van Woestewolf'. In the same year, Randstad, the Dutch employment bureau, commissioned him to write the theme music for their series of television adverts. He came up with a funky, driving theme released on a now rare and collectable 45-rpm single. Ten years later, Rogier wrote 'The Reliable Airline' - the signature tune for KLM Royal Dutch Airline's advertising campaign. He conducted the Metropole Orchestra and contributed 'Cloud 9' to the 'First In The Air' album, released in the same year celebrating KLM's history as the world's first airline. The Conamus Foundation - the Dutch institution dedicated to the promotion and support of Dutch light music, supervised the recording. In 1975 he received the Golden Harp award, the highest honour The Conamus Foundation can bestow, given to those who have made an outstanding contribution to Dutch light music.

Another important project Rogier was involved in at this time was 'Music All In', the popular Dutch television series of musical specials featuring Holland's leading jazz musicians backed by an orchestra. Regular guests included pianists Pim Jacobs and Louis van Dyke, Rita Reys and flautist Thijs van Leer. Rogier was the musical director and as such was responsible for all the arrangements and conducting; he even wrote the show's title theme - a graceful, sedate piece of orchestrated jazz adorned by airy, wordless vocals.

A 1978 portrait of Rogier from the 'Wereldsuccessen' album

One of many highlights from the first 'Music All In' album is Rogier's lovely treatment of Bill Evan's 'Waltz for Debby' with its light, buoyant flute figures and amazingly smooth transition into 4/4 time in the middle section. Both LPs were commercial and artistic triumphs, the first reaching number nine in the Dutch album charts.

Rogier on the set of 'Music All In' with producer Ralph Inbar and Pim Jacobs

'Music All In 2', released in 1976, consisted of more lushly orchestrated piano jazz, again with Pim Jacobs as the featured soloist. Highlights from 'Music All In 2' include Rogier's stunningly beautiful adaptation of the traditional Swedish folk song 'Ack, Varmeland Du Skona' and his mellifluous, dreamy arrangement of Antonio Carlos Jobim's 'Meditation'. The harmonic invention, vibrant colour and beauty inherent in these scores are potent reminders of Rogier's incredible musical gift and sensitivity. As with his 'On The Move' album from the same year, 'Music All In 2' was recorded in Britain by Dick Lewzey at the famous CTS studios.

Rogier was a musical director and conductor on many other Dutch television music productions, often providing the musical arrangements for visiting stars such as Barry White and Charles Aznavour. He arranged all the music for Cleo Laine and Mel Torme when they performed at the 1974 Holland Music Festival and conducted the orchestra on many occasions at the Eurovision song contest and Grand Gala du Disque song festival, accompanying various Dutch popular singers like Bill van Dijk and Marcha Bult.

1974 was the year Rogier began recording under his own name, after having been signed to a contract with the CBS label by producer John J. Vis. 'Visions' was the first in a series of successful albums that gave his formidable musical imagination free reign, allowing him to freely mix his classical background with his love of jazz and funk. Help, the album's opening track, provides astonishing evidence of this - an exhilarating blend of funk rhythms and Bach-like melodies interspersed with gliding, wordless female vocals courtesy of a vocal group headed by the Dutch soprano Letty de Jong, who sang on many of Rogier's albums. Help was the title music to the 1974 Dutch film 'Help de Dokter Verzuipt' (Help, the Doctor is Drowning) that Rogier scored, the theme reaching sixteenth place in the Dutch charts.

In the same vein is 'Munchen '74', Rogier's funky tribute to the Dutch national football team, wishing them success in that year's World Cup. 'Lookin' Back' is another gem - an extraordinary suite in various sections, brilliantly combing modern jazz rhythms with classical string writing reminiscent of 20th century composers such as Bela Bartok. At the other end of the scale is the light and breezy 'Green in Between' with its sonorous brass harmonies and the austere, tranquil beauty of 'Contenerezza'. These titles display his rich, colourful orchestrations - a palette of sounds further enhanced by the contributions of many fine instrumentalists he had worked with in the past, in this case people such as 'Toots' Thielemans, Thijs van Leer, Wim Overgaauw and pianist Henk Elkerbout.

Rogier went to Britain to record 'On The Move', his second solo album released in 1976 on the Polydor label. As with the 'Music All In 2' album, it was recorded at CTS with Dick Lewzey as the sound engineer. The orchestra assembled to play on the sessions comprised the cream of London's studio musicians, including the likes of trombonist Don Lusher, drummer Alf Bigden, guitarist Martin Kershaw with violinist Tony Gilbert leading the string section. Rogier also used fellow Dutch musicians Rob Langereis (electric bass) and Henk Elkerbout (acoustic and electric piano) on the sessions. Whereas Ruud Jacobs had produced all the previous albums Rogier had worked on, keyboardist Cees Schrama, a member of various jazz and funk groups such as the Ted Easton Combo and Funky Eight, produced 'On The Move'. He was a suitable choice as much of the music is strongly rhythmic with the emphasis on improvisation.

As with 'Visions', Rogier composed and arranged all the music for 'On The Move'. 'The Flattened Tenth' stands out as one of the albums best tracks - an awesome concoction of pulsating funk rhythms, dramatic orchestration and dazzling electric piano solos courtesy of Henk Elkerbout.

The catalyst is the precise, explosive drumming of Alf Bigden, driving the piece to its climactic finale. 'I Do Remember' is another example of Rogier's unique style of orchestrated funk. An intricate arrangement divided into three sections, the first features a gorgeous, flowing, classically inspired melody shared out between woodwind and strings, punctuated by bold brass statements. The second section is a thrilling, funky, up-tempo theme by the rhythm section led by Henk Elkerbout's electric piano, once again showcasing the phenomenal drumming of Alf Bigden. The piece then seamlessly returns to the theme stated in the first section and ends with a colourful brass flourish - the overall effect is nothing short of breathtaking.

Rogier directing a session

The album's title track as well as 'Go On Forever' (composed with the Dutch actor Ramses Shaffy) and 'My Dearest Fluffie' are exuberant pieces based on powerful funk rhythms combined with Rogier's complex arrangements. 'Alfie's Lullaby', 'Alone At Last' and 'The Eternal Triangle' offer the listener glorious examples of the serene, fragile beauty Rogier was able to imbue his music with. They are pieces rich in melody and harmony, making full use of all the colours of the orchestra with serious, emotional depth that can only be evoked by a composer with his insight and genius. They also feature one of Rogier's musical trademarks - his method of blending woodwind instruments such as the oboe, cor anglais and flute, resulting in the creation of a delightful, piquant texture. ('On The Move' reached thirty-second place in the Dutch album charts).

'The French Collection', his third solo album, was also recorded in Britain - this time by Keith Grant at Olympic Studios and again used an orchestra made up of London's top session musicians, augmented by Dutch musicians such as pianist Rob Franken. Special mention should be given to Rogier's spellbinding, funky arrangements of Henri Salvador's' Le Gars de Rochechouart' (The Guy from Rochechouart), with its pretty flute lines and rich string writing and Michel Legrand's timeless 'The Windmills of Your Mind'. This is possibly the funkiest, most creative interpretation of this tune ever recorded as Rogier alters the rhythmic structure of the melody and composes a completely new, lavish introductory passage. Both tracks feature the brilliant, fluent drumming of Alf Bigden, while pieces like Charles Trenet's and Leo Chauliac's 'Que reste-t-il?' (What Remains of our Love?) and Jacques Brel's 'La Chanson des Vieux Amants' (The Song of the Old Lovers) are enhanced by the ethereal sound of David Snell's harp.

As was the case with 'On The Move', Dutch engineer Dick Bakker took the master tapes back to Holland and mixed them at the Dureco studios. (Rogier gave lessons in harmony and composition to fellow musicians like Thijs van Leer and Dick Bakker - his most promising pupil. Dick was also a qualified sound engineer who recorded many of the albums Rogier was involved with. He was appointed musical director and chief conductor of the Metropole Orchestra in 1991).

Rogier and score paper

Throughout the 1970s and into the 80s Rogier continued to work with Holland's leading musicians, providing for them the beautiful arrangements and original compositions for which he had become famous in his native country. Louis van Dyke's 1973 album 'Telepathy' features Rogier's gorgeous arrangement of the Mercer-Mandel standard 'Emily', and his inspired adaptations of Chopin's 'Prelude in E minor' and Mendelssohn's 'Variations Serieuses' as well as his touching original composition 'Moment Supreme'. His characteristically warm, dreamy string writing graced Wim Overgaauw's 'Nuages' album from the same year. Based around a quartet consisting of Rob Franken (electric piano), Louis Deby (drums), Rob Langereis (electric bass) and Wim on electric guitar, the album's highlights include Rogier's beautiful arrangements of Blossom Dearie's jazz waltz 'Sweet Georgie Fame' and his own composition 'Saggita', named after his Sagittarian star sign.

Pim Jacobs' 'Ball Of The Band' album from 1975 was made up of jazz standards such as Errol Garner's 'Misty' and Benny Goodman's 'Stomping At The Savoy', played by an all-star line up of Dutch jazz musicians and features a rare appearance from Rogier on drums - his perfect time and sense of swing proving him to be a fine drummer. (He had played drums as young as fourteen in Holland's Orion youth jazz band).

He was responsible for all the arrangements and conducting on Thijs van Leer's series of 'Introspection' albums, the first of which was his solo debut. These classically oriented albums were designed as showcases for Thijs' virtuosi flute technique and his compositions. The first 'Introspection' album includes Rogier's beautiful orchestration of Gabriel Faure's 'Pavane' with a subtle, undulatory rhythm introduced halfway through, adding momentum to the piece.

A portrait of Rogier from the back of the 'Telepathy' album

Rogier's 'Rondo' is a lovely piece of classical music in the style of Mozart. He also wrote the albums' title track - again, a beautiful, classically inspired piece that takes an unexpected turn at the end, resolving itself with some very modern, expanded harmonies. Thijs' compositions 'Focus 1' and 'Focus 2' also benefit greatly from Rogier's deft, sensitive arrangements. The second Introspection album (released three years later in 1975), as with the first, includes a number of pieces by Bach as well as the pure, wordless vocals of Letty de Jong. Highlights from this album include his gorgeous orchestration of Thijs' original composition 'Mild Wild Rose' and Rogier's own 'Rondo 2' and 'Introspection 2', as well as J.S Bach's 'Siciliano' and 'Sheep May Safely Graze'. All three 'Introspection' albums sold in large quantities, the sales of the first album earning Thijs' a gold disc.

After a prolonged battle with cancer, Rogier van Otterloo died on January 29, 1988 at the age of only 46. His untimely passing created a huge gap in the Dutch music scene and the world was robbed of a master musician. He left behind a legacy of diverse and beautiful music for us to savour; contained within it are many truly inspired compositions and arrangements, which, in many cases, are marvels of melody, harmony and rhythm that also serve as lessons in orchestration to any would-be arranger. All I can hope is, that in some small way, my words have done justice to the exceptional music of Rogier van Otterloo and that they will encourage you to discover his work for yourself - an exquisite musical treat, for sure.