17 April 1942 (age 75)
Zaandam, Zaanstad, Noord-Holland, Netherlands
Han Bennink (born April 17, 1942) is a Dutch jazz drummer, percussionist and multi-instrumentalist.
Bennink was born in Zaandam, the son of a classical percussionist. He played the drums and the clarinet during his teens. Through the 1960s he drummed with a number of American musicians visiting the Netherlands, including Dexter Gordon, Sonny Rollins and Eric Dolphy (he can be heard on Dolphy's final studio recording, Last Date (1964)).
He subsequently became a central figure in the emerging European free improvisation scene. In 1963 he formed a quartet with pianist Misha Mengelberg and saxophonist Piet Noordijk which had a number of different bassists and which played at the 1966 Newport Jazz Festival, and in 1967 he was a co-founder of the Instant Composers Pool with Mengelberg and Willem Breuker, which sponsored Dutch avant garde performances. From the late 1960s he played in a trio with saxophonist Peter Brötzmann and Belgian pianist Fred Van Hove, which became a duo after Van Hove's departure in 1976. Through much of the 1990s he played in Clusone 3 (also known as the Clusone Trio), a trio with saxophonist and clarinetist Michael Moore and cellist Ernst Reijseger. He has often played duos with Mengelberg and collaborated with him alongside other musicians.
As well as playing with these long-standing groups, Bennink has performed and recorded solo (Tempo Comodo (1982) being among his solo recordings) and played with many free improvisation and free jazz luminaries including Derek Bailey, Conny Bauer, Don Cherry and Alexander von Schlippenbach, as well as more conventional jazz musicians like Lee Konitz.
Bennink's style is wide-ranging, running from conventional jazz drumming to highly unconventional free improvisation, for which he often uses whatever objects happen to be onstage (chairs, music stands, instrument cases), his own body (a favourite device involves putting a drumstick in his mouth and striking it with the other stick), and the entire performance space – the floor, doors, and walls. He makes frequent use of birdcalls and whatever else strikes his fancy (one particularly madcap performance in Toronto in the 1990s involved a deafening fire alarm bell placed on the floor). He is also a talented multi-instrumentalist, and on occasion his recordings have featured his playing on clarinet, violin, banjo and piano.
Han is the brother of the saxophonist Peter Bennink.
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