Concert review Undercurrent 5 PlusEtage Baarle-Nassau

Undercurrent Trio & Veneman & Niescier (Concert Review)

Author: Ben Taffijn
Published: September 25, 2026
Category: Concert Reviews / Jazz / Improvised Music

PlusEtage, Baarle-Nassau, September 19, 2026

The Undercurrent Trio—comprising reed player Iman Spaargaren, guitarist Guillermo Celano, and drummer Marcos Baggiani—continues to expand its ranks. On *Cloud Song*, released by Zennez Records in 2024, they were joined by trumpeter Susan Veneman; last March, saxophonist Angelica Niescier (recently heard at the Summer Bummer festival) joined the quartet to record a new album due out later this year. Last Saturday evening, the quintet took the stage at PlusEtage in Baarle-Nassau, with drummer Nitin Parree filling in for Baggiani. "The more, the merrier" seems to be Spaargaren's philosophy—and he’s absolutely right!

A key source of inspiration for these specific horn players is the famous sextet—yes, adding yet another member to the mix—led by Charles Mingus, which toured Europe in 1964 (the year I was born). That group featured Eric Dolphy on bass clarinet, flute, and alto sax; Clifford Jordan on tenor sax; and Johnny Coles on trumpet. Here, we have Spaargaren on clarinet and tenor sax, Niescier on alto sax, and Veneman on trumpet. Each possesses a distinctive style; what comes naturally to one might be uncharted territory for another, yet together, they are capable of anything. Veneman plays impressively harmonious lines—preferably in a rather restrained manner—and Niescier crackles with energy and embraces the chaos. Meanwhile, Spaargaren bridges these two extremes, ensuring that the whole group makes it to the finish line. Spaargaren, Celano, and Baggiani know each other inside out by now and normally serve as the band's solid anchor. Of course, one cannot expect Parree to replicate Baggiani’s usual role; he gives it his all and is a fantastic drummer, though he occasionally goes his own way a bit too much. We forgive him for that; it is great enough just having him here.

The concert starts with ‘Minor is the New Major’ and a languid rhythm—the ultimate minor-key feeling: the blues. We hear evocative solos from Spaargaren and Veneman; the two clearly excel at this. Also impressive are the horn lines, tightly directed by Spaargaren—for instance, in ‘A Current State of Affairs’, where we hear Niescier for the first time with a sprightly, playful solo, warmly accompanied by Parree, who clearly resonates with this style of playing. It is a piece that beautifully showcases the aforementioned stylistic differences; the solos by Veneman, Spaargaren, and Niescier are distinctly individual.
Spaargaren saw fellow musician Chris Speed ​​perform at the Bimhuis and was inspired by his narrative approach to composition; ‘The Great Unwinding’ was the result. Spaargaren tells his story on tenor sax with great imagination, while the ladies take a brief break. A highlight is the duet between Niescier and Celano towards the end of the piece, shifting the atmosphere entirely. ‘The Sacred Space’ opens with a solo tenor sax intro by Spaargaren, followed by a drum solo from Parree. A harmonious section follows—a mood that also returns at the very end. The middle section offers a stark contrast, dominated by creative chaos. ‘Africanea’—true to its title—transports us to a completely different atmosphere, though it too concludes with a powerful dynamic in which Niescier, in particular, feels right at home.

Spaargaren plays the clarinet on two tracks. ‘La tenis de Imanolo’ is a cumbia and ‘Madrugada en Rio Amizacate’ is a milonga—both South American dances. It is music that fits perfectly to the instrument. The fluid lines Spaargaren plays here, embedded within the rhythms set by Celano and Parree, are a delight to the ear. What makes these pieces particularly noteworthy is the way they introduce a completely different musical atmosphere to the concert, further highlighting the versatility of this expanded trio. The band achieves a similar effect with Jimi Hendrix’s ‘Turning Point’; for this one track, Celano is free to crank up his amplifier, and he clearly relishes the opportunity. Parree matches his intensity, while the three horn players bridge the gap to jazz—a brilliant way to bring a powerful concert to a rousing conclusion (Ben Taffijn, NieuweNoten.nl).