Ekseption -

Ekseption was a Dutch classical/jazz-rock band from Haarlem, Noord-Holland, originally formed in 1958 as The Jokers. Between 1969 and 1976, they released nine albums on Philips.

Members: Hans Alta (bass, 1958-68), Rein van den Broek (flugelhorn, trumpet, 1958-78), Tim Griek (drums, 1958-68), Huib van Kampen (guitar, saxophone, 1958-69), Rob Kruisman (flute, guitar, saxophone, vocals, 1967-69), Rick van der Linden (organ, keyboards, 1967-74), Cor Dekker (bass, 1968), Dick Remelink (saxophone, 1970-73), Peter de Leeuwe (drums, 1968-73), Ab Tamboer (drums), Dennis Witbraat (drums, 1970), Eddie Conard (drums), Frans Muys van de Moer (bass), Hans Hollestelle (guitar, violin, 1974), Hans Jansen (keyboards, 1974), Jan Vennik (saxophone, 1973), Johan Slager (guitar), Koen Merkelbach (vocals, 1970), Max Werner (drums, marimba, percussion), Michel van Dijk (vocals, 1969-70), Pieter Voogt (drums, 1973)

Background

Ekseption had its roots in The Jokers, a school covers band formed in 1958 in Haarlem by bassist Hans Alta, drummer Tim Griek, trumpeter Rein van den Broek, and saxophonist Huib van Kampen. In 1965, they renamed themselves The Incrowd (after the Ramsey Lewis song), but soon discovered this name had been taken by an English beat group (the precursor to Tomorrow). They made their vinyl debut with Ekseption at ABC, a three-song maxi-single released as ‘Jazz and Beatformation the Ekseption’ on RCS.

In 1967, the newly named Ekseption added guitarist/reedist Rob Kruisman, who became their frontman. Months later, they added keyboardist Rick van der Linden, a classically trained Conservatory graduate and veteran of several jazz groups, including the Occasional Swing Combo. Ekseption issued two R&B singles that year on Imperial: “Talk About Tomorrow” (b/w “Mojo Ann”) and “Laura” (b/w “From Africa With Love”).

In 1968, Ekseption won first prize at the Loosdrechtse Jazz Concours and got signed to Phonogram. Alta and Griek cleared out for bassist Cor Dekker and drummer Peter De Leeuwe.

Ekseption

Ekseption released their self-titled debut album in July 1969 on Philips.

The album places keyboard-led classical adaptations beside jazz-derived material and one group composition, performed by keyboardist Rick van der Linden (piano, organ, dulcimer), trumpeter Rein van den Broek, reedist/guitarist Rob Kruisman (alto saxophone, soprano saxophone, tenor saxophone, flute, guitar, voice), guitarist/reedist Huib van Kampen (lead guitar, tenor saxophone), bassist Cor Dekker, and drummer Peter de Leeuwe.

“The 5th” surges from a grainy orchestral quotation into a driving band entry, where organ underpins brass lines before piano hammers the Beethoven cell against steady backbeat pressure. “Dharma for One” presses its flute lead over a forward beat, then cedes the center to an extended drum solo. “Little X Plus” pulses through a droning low-end figure, vibraphone-like color, and a clear theme. “Sabre Dance” darts through bright keys, circling horns, conga accents, and a rapid break. “Air” glides through a tenor lead and harpsichord color, then loosens into a brief off-center swing passage before the main line resumes its straight pulse.

“Ritual Fire Dance” drives through horn calls, clipped guitar color, and a harder Spanish-accented attack. “Rhapsody in Blue” jolts the Gershwin theme through buzzing trumpet and hard-pushed low-end accents. “This Here” struts through early-sixties phrasing, clipped swing, and clean ensemble replies. “Dance Macabre Opus 40” blazes through an organ-led opening, then re-enters the orchestral quotation after the main statement. “Canvas” tightens at the bookends with tense figures and threads the center through a lighter backbeat.

A1. “The 5th” (3:22) – Ludwig van Beethoven
A2. “Dharma for One” (3:25) – Ian Anderson, Clive Bunker
A3. “Little X Plus” (2:20) – Ekseption
A4. “Sabre Dance” (3:48) – Aram Khachaturian
A5. “Air” (2:50) – Johann Sebastian Bach

B1. “Ritual Fire Dance” (3:55) – Manuel de Falla
B2. “Rhapsody in Blue” (4:00) – George Gershwin
B3. “This Here” (4:17) – Bobby Timmons
B4. “Dance Macabre Opus 40” (5:05) – Camille Saint-Saëns
B5. “Canvas” (2:27) – Brian Bennett

Tony Vos produced Ekseption with engineers Gerard Beckers and Albert Kos.

Philips issued “The 5th” as a 1969 single (b/w “Sabre Dance”), which reached No. 3 in the Dutch Top 40 survey. “Air” followed in 1969 (b/w “Concerto”) and reached No. 2 in the same survey.

Vos produced Beggar Julia’s Time Trip and appears on saxophone, percussion, and electronic effects. The album expands his role from control-room credit to credited participant, with short electronic passages placed between the titled song sections and adapted concert pieces.

Beggar Julia’s Time Trip

Ekseption released their second album, Beggar Julia’s Time Trip, in February 1970 on Philips.

The album extends the group into a suite-like program with short spoken passages, electronic effects, adapted Bach, Albinoni, and Tchaikovsky pieces, and original van der Linden material.

Rick van der Linden commands an arsenal of piano, spinet, xylophone, Hammond organ, pipe organ, Mellotron, and percussion, performed with bassist Cor Dekker, drummer Dennis Witbraat (drums, kettledrums), trumpeter Rein van den Broek, reedist Dick Remelink (tenor saxophone, soprano saxophone, flute), singer Michel van Dijk, producer/reedist Tony Vos (alto saxophone, soprano saxophone, percussion, electronic effects), trombonist/tuba player Erik van Lier, and voice actor Linda van Dyck.

“Ouverture” blooms from a baroque-lined instrumental passage into a clean flute lead, softens near the middle, then swells toward church-bright organ and early electronic color. “Prologue” recedes into quiet narration, low drone, and cymbal clashes. “Julia” centers the sung refrain over dominant organ and piano figures. “Flying Power” counts through modulated vocal fragments and concentrated tension. “Adagio” glides from warm electric-organ tone into a quicker spinet-like solo. “Space 1” suspends the sequence in electronic tone. “Italian Concerto in F BWV 971” pivots between classical quotation, brass support, and a looser piano-centered middle section.

“Concerto” brightens the Tchaikovsky theme with a back-mix guitar lead and later tension. “Space 2” shadows the transition with a brief electronic interlude. “Pop Giant” punches through horn stabs, thumping low-end motion, strong vocal placement, and alternating fast ensemble passages with slower solo space. “Space 3” recedes into another short electronic link. “Feelings” steadies the album’s late section with pulsating bass, harpsichord figures, horn-section replies, and a fading saxophone solo. “Epilogue” returns to spoken narration over a darker closing atmosphere. “Finale: Music for Mind / Theme Julia” closes the trip with a half-psychedelic instrumental passage and a broad organ conclusion.

A1. “Ouverture” (3:21) – Rick van der Linden
A2. “Prologue” (2:23) – Linda van Dyck, van der Linden
A3. “Julia” (2:21) – Michel van Dijk, van der Linden
A4. “Flying Power” (0:31) – van der Linden
A5. “Adagio” (3:45) – Tomaso Albinoni
A6. “Space I” (0:44) – Johann Sebastian Bach
A7. “Italian Concerto” (4:59) – Bach

B1. “Concerto” (3:52) – Pyotr Ilyich Tchaikovsky
B2. “Space II” (0:26) – van der Linden
B3. “Pop Giant” (3:54) – Michel van Dijk, van der Linden
B4. “Space III” (0:22) – van der Linden
B5. “Feelings” (3:09) – van der Linden
B6. “Epilogue” (0:57) – Linda van Dyck, van der Linden
B7. “Finale: Music for Mind / Theme Julia” (3:55) – Michel van Dijk, van der Linden

Tony Vos produced Beggar Julia’s Time Trip with recording and mixing engineer Gerard Beckers and assistant engineer Jan Schuurman. Jan van Toorn designed the album package with photography by Laurens van Houten.

Philips lifted “Italian Concerto” as a 1970 single (b/w “Feelings”), which reached No. 18 in the Dutch Top 40 survey. “Adagio” became a second 1970 single (b/w “Julia”) and reached No. 15 in the Dutch Top 40 survey.

Vos produced Beggar Julia’s Time Trip and appears on saxophone, percussion, and electronic effects. Van Dyck voices “Prologue” and “Epilogue.”

Ekseption 3

Ekseption released their numerical third album in November 1970 on Philips.

The album contains classical-source tracks and van der Linden originals. Van der Linden also shares two titles with Will Luikinga. Ekseption performs the album with keyboardist Rick van der Linden (piano, spinet, Hammond organ, Mellotron), singer Steve Allett, bassist Cor Dekker, drummer Peter de Leeuwe, trumpeter Rein van den Broek (trumpet, flugelhorn), and saxophonist Dick Remelink.

“Peace Planet” races through Bach-lined turns, quick ground-line motion, and clipped accents. “B612” sets Steve Allet’s crooner-like vocal placement against heavy fanfare replies, spinet figures, and a final solo turn. “Morning Rose” eases through a slow verse line, then lifts into an organ-bright break. “Piece for Symphonic- and Rock Group in A Minor” swells from passacaglia form into a faster second part, where staccato entries tighten the ensemble attack.

“The Lamplighter” pivots from formal counterpoint into a looser Bach-derived turn. “Bottle Mind” punches through a fast classical quotation, clipped unison figures, and a brief low-end break. “On Sunday They Will Kill the World” darkens Allet’s vocal entry with Rachmaninoff-derived minor-key material and sharper accent changes. “Another History” steadies Michel van Dijk’s low-register vocal line against broad replies and a later solo break. “Rondo” arcs from Beethoven material into a concert-stretched middle, where the classical theme opens into looser ensemble turns before the close.

A1. “Peace Planet” (3:01) – Johann Sebastian Bach; arranged by van der Linden
A2. “B 612” (4:01) – van der Linden, Will Luikinga
A3. “Morning Rose” (3:06) – van der Linden, Luikinga
A4. “Piece for Symphonic-And Rockgroup in A Minor” (5:53) – van der Linden
— i. “Passacaglia”
— ii. “Painting”

B1. “The Lamplighter” (3:32) – Bach; arranged by van der Linden
B2. “Bottle Mind” (2:45) – van der Linden
B3. “On Sunday They Will Kill the World” (3:26) – Sergei Rachmaninoff, Luikinga; arranged by van der Linden
B4. “Another History” (4:37) – Michel van Dijk, van der Linden
B5. “Rondo” (5:25) – Ludwig van Beethoven; arranged by van der Linden

Tony Vos produced Ekseption 3 at Phonogram Studios in Hilversum with engineer Gerard Beckers.

Philips issued “Another History” as a July 1970 single (b/w “Rondo”), which reached No. 34 in the Dutch Top 40 survey. “Peace Planet” followed in December 1970 (b/w “On Sunday They Will Kill the World”) and reached No. 2 in the Dutch Top 40 survey.

Tony Vos produced Ekseption 3 and kept the album within the Philips/Phonogram studio line that had framed the first two Ekseption LPs. Gerard Beckers engineered the album.

00:04

Ekseption released their fourth album, 00:04, in October 1971 on Philips.

The album contains a seven-track program with the Royal Philharmonic Orchestra on the original LP credit. Bach/Gounod and Bach adaptations appear alongside a Jimmy Smith–van der Linden title and four van der Linden pieces. Ekseption recorded the album with van der Linden (piano, spinet, pipe organ, Mellotron, synthesizer, conductor), van den Broek, Dekker, Remelink, de Leeuwe, trombonist Erik van Lier, saxophonist Tony Vos, and the Royal Philharmonic Orchestra.

“Ave Maria” intones the Bach-Gounod material through a devotional opening and measured band support. “Body Party” tightens the side after the calm opener with nervier accents and a firmer drive. “Monlope” coils around Jimmy Smith material through sectional turns and brassy pressure. “Monkey Dance” jitters through quick figures and abrupt replies. “Choral” opens into a sacred-register setting, then breaks its reserve with a solo outburst before the church-organ close. “Partita No. 2 in C Minor” ripples from electronic bleeps into swift Bach-derived keyboard runs. “Piccadilly Sweet” gathers the album’s long-form materials into orchestral surges, band interjections, and a final organ mass at St. Bavo.

A1. “Ave Maria” (2:34) – Bach, Charles Gounod; arranged by van der Linden
A2. “Body Party” (3:32) – van der Linden
A3. “Monlope” (4:58) – Jimmy Smith, van der Linden
A4. “Monkey Dance” (2:41) – van der Linden
A5. “Choral” (4:02) – van der Linden

B1. “Partita No. 2 in C Minor” (5:45) – Bach; arranged by van der Linden
B2. “Piccadilly Sweet” (13:27) – van der Linden

Van der Linden and Vos produced 00:04 with sound engineer Pieter Nieboer and assistant sound engineer Jaap de Jong. Ferry Wienneke and van der Linden conducted the Royal Philharmonic Orchestra.

Philips lifted “Ave Maria” as an October 1971 single (b/w “Body Party”), which reached No. 24 in the Dutch Top 40 survey.

Van der Linden produced and conducted 00:04 while extending his keyboard setup to piano, spinet, pipe organ, Mellotron, and synthesizer. The title-track side closes with “Piccadilly Sweet,” a long-form piece that occupies more than half of side two.

Ekseption 5

Ekseption released their numerical fifth album in September 1972 on Philips.

The album contains classical-source pieces and four van der Linden compositions. Ekseption also includes “For Example/For Sure,” a long piece credited to Keith Emerson and van der Linden. The lineup retains van der Linden, van den Broek, Dekker, de Leeuwe, and Remelink; de Leeuwe adds percussion and twelve-string guitar, while van den Broek adds valve trombone.

“Introduction” tolls the Fifth Symphony motif on pipe organ and sets up the later reprise. “Siciliano in G” glides through a Bach-lined theme, paired lead statements, brief solo turns, and a softened backing layer. “Vivace” sprints through its Bach source with short attacks and quick sectional turns. “For Example/For Sure” splices the borrowed main material with classical insertions, episodic quotes, and an extended solo field. “Virginal” leans toward formal counterpoint while crossing into brighter ensemble replies.

“A La Turka” pirouettes through the Mozart theme at speed, with clipped accents and a pointed solo turn. “Midbar Session” surges from dreamlike bookends into a hard-driving middle, where the main line rides electronic color before a drum solo breaks the climb. “Pie” hushes the album to a short piano miniature with light syncopated turns. “My Son” lowers the pulse into a chamber-scaled lullaby, interrupts the calm with infant cries, then closes on choral voicing. “Finale” rings the Beethoven frame through pipe-organ mass and album-theme callbacks.

A1. “Introduction” (0:35) – Beethoven
A2. “Siciliano” (3:20) – Bach
A3. “Vivace” (2:51) – Bach
A4. “For Example/For Sure” (9:03) – Keith Emerson, van der Linden
A5. “Virginal” (4:30) – van der Linden

B1. “A La Turka” (2:26) – Wolfgang Amadeus Mozart; arranged by van der Linden
B2. “Midbar Session” (10:03) – van der Linden
B3. “Pie” (1:30) – van der Linden
B4. “My Son” (5:19) – van der Linden
B5. “Finale” (3:40) – Beethoven; arranged by van der Linden

Van der Linden supervised production at Phonogram Studios with assistance from van den Broek and Pieter Nieboer; Nieboer engineered the album.

Philips issued “Alla Turca” as a 1972 single (b/w “Virginal”). “My Son” followed in November 1972 (b/w “Jesus Joy (Jesu, Joy of Man’s Desiring)”).

Trinity

Ekseption released their sixth album, Trinity, in September 1973 on Philips.

The album presents classical adaptations, traditional-source material, one Vos miniature, and van der Linden originals. Ekseption recorded the album with keyboardist Rick van der Linden (piano, Hammond organ, spinet, pipe organ, synthesizer, Mellotron), trumpeter Rein van den Broek, reedist Jan Vennik (soprano saxophone, tenor saxophone, flute), bassist Cor Dekker, and drummer Pieter Voogt; the Nederlands Kamerkoor appears on “Finale III.”

“Toccata” flares the Bach motif through high-register attack, brass punctuations, and firm backbeat drive. “The Peruvian Flute” circles a traditional theme through bright refrain returns, busier middle passages, and symphonic lifts. “Dreams” floats its short line in a calmer, dreamlike register. “Smile” brightens into a small, relaxed tune with a wistful tone. “Lonely Chase” hammers a compact keyboard chase with little ensemble relief.

“Romance” swerves from Beethoven lyricism into a quicker middle break. “Improvisation” circles a repeated flute figure into solo space, a bass feature, a drum solo, and a return to the opening line. “Meddle” sketches a brief medieval-colored miniature. “Flight of the Bumble Bee” darts through the Rimsky-Korsakov line, then cuts into smoother mid-song swing and Mellotron interjections. “Finale III” crowns the album with choir mass and a closing ceremonial contour.

A1. “Toccata” (5:16) – Johann Sebastian Bach; arranged by van der Linden
A2. “The Peruvian Flute” (8:04) – traditional; arranged by van der Linden
A3. “Dreams” (1:32) – Tony Vos; arranged by van der Linden
A4. “Smile” (2:53) – van der Linden
A5. “Lonely Chase” (3:10) – van der Linden

B1. “Romance” (3:30) – Ludwig van Beethoven; arranged by van der Linden
B2. “Improvisation” (9:01) – van der Linden
B3. “Meddle” (1:07) – van der Linden
B4. “Flight of the Bumble Bee” (3:22) – Nikolai Rimsky-Korsakov; arranged by van der Linden
B5. “Finale III” (2:50) – van der Linden

Ekseption produced Trinity with engineer and co-producer Pieter Nieboer.

Philips issued “Flight of the Bumble Bee” as a 1973 promo single (b/w “Smile”). After this album, Rick van der Linden launched his own keyboard trio, Trace.

Bingo

Ekseption released their seventh album, Bingo, in August 1974 on Philips.

The album contains Jansen/Vennik material, classical-source pieces by Khachaturian and Grieg, one van den Broek title, and “De fietser.” Ekseption recorded the album with trumpeter Rein van den Broek (trumpet, flugelhorn), bassist Cor Dekker, drummer Pieter Voogt, guitarist/violinist Hans Hollestelle (electric guitar, acoustic guitar, electric violin), keyboardist Hans Jansen (piano, Fender Rhodes, Hammond organ, harpsichord, ARP synthesizer, percussion), and reedist Jan Vennik (soprano saxophone, tenor saxophone, flute, clarinet).

“From Ekseption” alternates syncopated backbeat figures with busier solo passages, then clears space for a central drum solo. “Nightwalk” glides through a restrained keyboard line and nocturnal string shade. “De fietser” clips a brief comic miniature into quick turnarounds.

“Sabre Dance ’74” accelerates the Khachaturian-derived line through tight unison bursts and quick accent changes. “Brother Rabbit” bends from syncopated opening into a loping string-backed middle and a blunt closing riff. “Sunny Revival” leans into clipped backbeat figures and short, bright replies. “The Death of Ase” slows the Grieg theme into a lounge-tinted reading with nocturnal restraint. “Bingo-Bingo” zigzags from a tougher opening into electronic curlicues and repeated section turns.

A1. “From Ekseption” (9:05) – Hans Jansen, Jan Vennik
A2. “Nightwalk” (3:45) – Vennik
A3. “Smokey Sunset” (5:11) – Jansen
A4. “De fietser” (1:51)

B1. “Sabre Dance ’74” (2:56) – Aram Khachaturian
B2. “Brother Rabbit” (3:28) – Rein van den Broek
B3. “Sunny Revival” (3:50) – Jansen, Vennik
B4. “The Death of Ase” (2:28) – Edvard Grieg
B5. “Bingo-Bingo” (6:49) – Jansen, Vennik

Tony Vos produced Bingo for Philips.

Philips lifted “De Fietser” as a 1974 single under the Ekseption New Formula billing (b/w “Sunny Revival”), which reached No. 22 in the Dutch Top 40 survey.

Mindmirror

Ekseption released their eighth album, Mindmirror, in September 1975 on Philips.

The album contains an Average White Band adaptation, a Bach arrangement, pieces by Piet Souer, Hans Hollestelle, and Ramses Shaffy, and one side-long Jansen/Vennik title. Ekseption recorded the album with keyboardist Hans Jansen (piano, organ), guitarist Hans Hollestelle, bassist Cor Dekker, drummer Pieter Voogt, saxophonist Jan Vennik, and trumpeter Rein van den Broek.

“Pick Up the Pieces” locks into clipped syncopation and guitar-forward weight. “Bourree” clips the Bach-derived dance into a compact, straight-aimed band reading. “Tramontane” rises through a brighter line and brisk ensemble replies. “Electric Swamp” probes a swampy syncopated pattern with a heavier lead edge. “Ramses” speaks its short recitation over a suspended backing. “Mindmirror” sprawls into a side-long instrumental suite, where flute-marked lead material, syncopated ensemble surges, harder guitar-edged passages, Hammond-weighted solo turns, and jazz-leaning breaks recur without a dominant theme.

A1. “Pick Up the Pieces” (6:05) – Average White Band
A2. “Bourree” (3:14) – Johann Sebastian Bach; arranged by Hans Hollestelle, Jansen, Vennik
A3. “Tramontane” (4:17) – Piet Souer
A4. “Electric Swamp” (4:04) – Hollestelle
A5. “Ramses” (1:00) – Ramses Shaffy

B. “Mindmirror” (17:28) – Jansen, Vennik

Ekseption produced Mindmirror for Philips.

Discography: