Europe · Amsterdam 1990–2000

After the formative years in Catalonia and a first contact with the European scene via Berlin, Pere Soto settles in Amsterdam. The city offers an international atmosphere, intense musical activity and a strong presence of jazz and improvised music — the right environment for the next phase of his trajectory.

The central collaboration of this period is the Pere Soto & Bill Gerhardt Quartet. With Dutch and American partners, the group develops a language that moves between European jazz, open improvisation and a clear compositional identity. Two recordings mark the decade: Metanoic (Hilversum, 1992) and Particular Vernacular (New York, 1994).

Amsterdam · a new base

After Berlin, Amsterdam becomes the operational centre of the European stage: an international city with a dense jazz and improvised-music scene, and a platform for touring the Netherlands and neighbouring countries.

Pere Soto & Bill Gerhardt Quartet

Core ensemble of the period. The collaboration with pianist Bill Gerhardt shapes both the live work and the two main recordings of the decade, combining European sensibility with American jazz language.

Metanoic · Hilversum, 1992

Recorded in Hilversum with the Bill Gerhardt Quartet. Recognised by the Jazz South Art Federation (USA) as best album of the month and among the top 12 of the year, with broadcast on more than 140 US radio stations — an early international footprint from the Amsterdam base.

Particular Vernacular · New York, 1994

Recorded in New York with Jeff Ballard, Ben Allison, Dave Douglas, Dave Liebman, Bill Gerhardt and Pere Soto. The session links the European project to the American scene and opens the path toward a dedicated United States chapter of the archive.

1990 · 3rd Zuid-Nederlands Jazz Festival · Eindhoven

On the Friday bill with Ulrich Gumpert, Günther Sommer, Raoul van der Weide, Paul Termos, the Dennis Charles Triangle Ensemble and the Roy Campbell Brass Project. The local review closed on the Dutch-Spanish duo of Pere Soto and Niko Langenhuijsen: own compositions, jazz and flamenco in the guitar, a raw and virtuosic set, and a standing ovation. The same page also covered Tom Cora’s tribute to Karel Appel. The newspaper photo caption reads Niels Langenhuizen; the poster billing is Niko Langenhuijsen.

The beauty of the Hoogovens when suddenly darkness falls

Music. Zuid-Nederlands Jazz Festival at the Effenaar, Eindhoven. Translation of the local review.

Tom Cora is one of the young wild ones from the Lower East Side in New York. He is an extremely adventurous, unconventional musician, yet there is something authentic about him, an unguarded freshness, and at the same time he is a virtuoso on his instrument. His solo pieces, strewn with dissonance, reach an intensity that is rarely heard. Human emotion, the spectacle of the dance, and the terror of continuous transformation become art.

Cora paid tribute to the abstract expressionism of the Dutch painter Karel Appel. The music of Appel’s paintings, which played an important role in the Cobra movement in the 1950s, was translated by Cora into sound.

The evening closed with the Dutch-Spanish duo of guitarist Pere Soto and bassist Niko Langenhuijsen. They played a programme of their own compositions, in which Soto’s guitar had a central role. Soto, who lives in New York, comes from jazz and flamenco, and his playing mixes the two.

The duo brought the night to a high point, with an energetic and virtuosic performance. Soto’s guitar work was technically brilliant and emotionally charged. Langenhuijsen’s bass gave a solid foundation. The interaction between the two was remarkable, and the music had a raw, unpolished quality that fitted the atmosphere of the festival.

The night ended with a standing ovation for the duo, who had managed to captivate the room with their mix of jazz, flamenco and the avant-garde.

European concerts & festivals

Regular activity in Dutch cities (Amsterdam, Eindhoven, Utrecht, Zwolle, Culemborg and others) and festival appearances, including St. Johann (Austria) and major Dutch jazz festivals. Documentation of specific dates is being expanded.

1990–2000 · The European stage takes shape

From Berlin to Amsterdam.
From the Dutch scene to New York sessions.
A decade of partnership, recording and international projection — and the bridge toward the United States.