The Zoo

“As a whole, it’s not just remarkably listenable, but also and most of all a huge and impressive plea to raise improvisation as a basic skill in the world of classical music.”

“Hats off to the courageous blonde!”

“Especially due to its diversity, a beautifully checkered carnival of animals is created, with an engaging mix of new age, avant-garde, jazz, and classical. […] Nothing but praise for a perfectly recorded album with a magnificent design and a good story.”

“Daring yet classy”

“ou’ll find cuddly animals, herd animals, solitary animals, intelligent animals, aggressive animals, and venomous animals. […] This leads us into an extremely varied animal world where Saint-Saëns’ Carnival des animeaux fades in comparison.”

“With her perfect pitch and feel for nuance, Vercammen knows how to get to the essence of every musical moment and enlarge it: communication in optimal form that forms a route to a new language of improvisation.”

“Interaction and tension are first priority, so when she enters a dialogue with pianist Rembrandt Frerichs, dragging you into the sparkling underwater world of the anglerfish, you’ll hear scraping and touching sounds, raspy but full of wondrous enchantment. […] What Vercammen achieved here is both as a project and performance highly remarkable.”

“The musicians communicate with all their senses, and you really experience that. […] The sound quality is so seriously good that we expect you’ll hear tracks from The Zoo a lot at [hi-fi] demonstrations and shows.”

“The interesting thing about this collection is that you hear how two people engage with one another and how this results in something unique each time. Sometimes something resembling a folk melody, sometimes ambient-like reflections, but also fully-fledged instant compositions with hands and feet.”

“Extremely impressive. […] The Zoo offers fascinating improvisations. But it’s so amazing that this project is developed by someone who’s able to think outside the box and, with her vision and talent, adds to new pathways and ways of thinking in classical music.”