St. Cecilia by Vansina - Verbruggen - Gudmundsson

The cooperation between Bruno Vansina and Teun Verbruggen makes the pivot of this trio that was formed at the conservatory of Brussels in 1996.
They got their initial inspiration from the trio recordings of Sonny Rollins 'Live At The Village Vanguard'. The music of Miles Davis Sextet with John Coltrane and Canonball Adderley, and the music of Chet Baker had it's influence as well.

In 2003 Gulli Gudmundsson (bass) joined the band and was an immediate enrichment.
Existing compositions by Bruno Vansina were a starting point along with some standards and originals.
This repertory became more and more expanded, it deepened and got tested by their urge
to experiment. Little by little, free- and collective improvisations became a major part of their music.
A very personal playing style developed and was more and more perfected during their shows. You could call it ‘growing up in public’.
A first album called ‘Trio Music’ was recorded in 2003.
In 2005 they created Double Trio – a confrontation between a jazz trio and three dancers -, with the internationally renowned dance company Rosas.
A year later they were on tour with the Fender-Rhodes mammoth Jozef Dumoulin (who played with the trio at the Flemish Jazz Meeting 2007 as guest) and Magic Malik, who got himself noticed on St-Germain’s Boulevard album. The tour resulted in a live album called ‘In Orbit’ and two years later another one called 'Tokio Quantize ’.
The trio still played over the past years although less frequently.
The ‘St. Cecilia album was recorded by the trio in 2008, one year after the release of ‘Tokio Quantize’.
This particular session was completely improvised freely, using a lot of electronic devices,
loop machines keyboards etc … This approach was never experimented live and was in a way quite different and unusual for the trio.
The recording was almost forgotten and lost on a old backup hard disc but was recently rediscovered by Bruno.
Listening back to the music he felt the urge to release the session, as a document not to be lost and because the music made him smile.
He then asked mixing and mastering maestro Pierre Vervloesem to get the music, or whatever non music, out of the lengthy recorded session.
The result is a psychedelic-free-jazz session. Three musician friends experimenting around with confidence and joy, like playful kids.

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