Frans van Geest

About

Frans van Geest Docent Jazz Ensemble/practical solfège Codarts Rotterdam

Frans van Geest (1968) is a Dutch bass player and sought-after accompanist for major American and European jazz musicians.

As a member and co-founder of the Jazz Orchestra of the Concertgebouw, he has played with Monty Alexander, Johnny Griffin, Dick Oatts, Bud Shank, Joe lovano, Lee Konitz, Toots Thielemans, Warren Vache, Jimmy Heath, Deborah Brown, Roy Hargrove, Pat Martino, James Blake, Joe Henderson, Elvin Jones, McCoy Tyner, and Chick Corea, to name a few. In small bands, he accompanied artists such as Deborah Brown, Curtis Fuller, Slide Hampton, Bobby Durham, Roy Hargrove, Joe Cohn, Harry Allen, and Scott Hammilton.

Frans made CDs with Jesse van Ruller 4tet, Jazz Orchestra of the Concertgebouw, Peter Beets, Rob van Bavel, Martijn van Iterson, Hans Vroomans, Mike Delferro, Curtis Fuller, Ruud Breuls, Piet Noordijk, Slide Hampton, David Schnitter, the Metropole Orkest, Frits Landesbergen/Francesca Tandoï, and Till Brönner.

Career

Concerts with Elvin Jones, Monty Alexander, Kurt Rosenwinkel.

Motivation

Why do you believe students should come to Codarts?

“Codarts’ Jazz and Pop departments are top-notch. Teachers that are very active in the field provide their students with all the possible information, so they can develop into musicians with strong personalities and vision. Rotterdam is a city in constant motion, with new initiatives in jazz and pop music emerging constantly, the perfect place to study.”

What are you going to teach them?

“I base what I want to teach my students on the knowledge I feel is indispensable in the professional practice; this knowledge is the key to becoming a good musician. I teach them to learn and to study and hand them tools. I teach students to develop their hearing and their ability to play together in an efficient manner.”

How will you do this?

“I am very involved in the student’s learning process. During ensemble classes, I often play along. This way, I try to monitor what the student has and has not mastered when it comes to harmony, solos, and groove. During the Practical Solfège classes, I have the student repeat a large number of exercises and write down and repeat solos vocally. I try to create a strong solfège fundament; songs will be analysed, scales will be sung over chords, harmonies will be analysed and recognised.”

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