Marius Beets

About

Hans Beets Docent Contrabas Jazz Codarts Rotterdam

Playing music has been an inevitable necessity for Marius Beets since his teens. He started his musical life as a bass guitarist in pop and rock bands. At home, he frequently encountered jazz: his father had a collection of jazz records and his youngest brother became a jazz fanatic. All of this just had to influence Marius. In 1988, Marius started studying jazz double bass at the Royal Conservatoire of The Hague.

From that moment on, his career took off. It did not take long before Marius became a part of young jazz groups such as the Houdini’s and the Ben van den Dungen/Jarmo Hoogendijk Quintet. These groups, along with the Beets Brothers, were the major groups with which Marius played all the Dutch jazz venues in the 90s and with which he toured countries such as the United States, Australia, Thailand, and Russia.

Later on, he was discovered by numerous established Dutch jazz artists. Marius’ fat beat and driving motion fit the older generation’s playing seamlessly and gave their performances new élan. From 1999, Rein de Graaff’s trio, which started a second youth with Marius on bass, did various European tours with major jazz players such as Johnny Griffin.

Now, Marius’ discography exceeds a hundred titles. Among others, Marius was a guest with the Metropole Orkest, Amsterdam Sinfonietta, Schönberg Ensemble, Het Brabants Orkest, The Skymasters, and the Jazz Orchestra of the Concertgebouw.

As a jazz double bass teacher, Marius has been a part of Codarts since 1999.

Motivation

Why do you believe students should come to Codarts?

“Codarts offers a variety of courses, has many international students, and has a diverse exchange network. Furthermore, the team of teachers at the Jazz department is of great quality.”

What are you going to teach them?

“A thorough development of the concept of walking bass, based on insights in voice leading and harmonic functions. The development of harmonic and melodic observation by means of ear training, combined with a concept of visualisation. Improvisational training based on scales, arpeggios, chromatics, target notes, and rhythm. And technical development based on an efficient use of the neck.”

How are you going to teach them?

“By giving practical examples, based on progressions of standards or parts of standards, and by providing exercises focused on the practical use of scales.”

Awards

2006 Laren Jazz Award

Media