Soulful, Kicking Session Saxophonist and Electronic Wind Instrument player out to bring a highly personal adapted sound neatly fitted to your project. My main goal is to tap into YOUR creativity, add to it and help bring out the magic that is already there. Hire me for tasteful hooks, tight vamps, subtle colours and uniquely empowering solo's.
In any case, my approach is ‘taste comes first’. I’m not out to show the range of my skills technically, but musically.
I’ve studied Jazz in Western Europe and Scandinavia. My roots lie in Classical Saxophone, moving on to Bebop and Jazz and further on to Experimental and Free. The last years of my study were focussed on developing extreme control over the saxophone’s subtleties, practicing different sound-techniques such as multi-phonics (playing two or more sounds at once).
I’ve become a versatile saxophonist now closing in on doing more of what I really love. I also play Electronic Wind Instruments, work as an Arranger and Produce my own Electronic Music on the side.
I love:
Hip Hop, Chill Hop, Chill, Soul, Funk, Latin
, Electronic, Ambient, Atmospheric. Pop and Smooth I respect, but it is not my skill. (You will really get the best out of this if your project matches my genre preferences. I will much better understand where you’re coming from, and what is needed for your track).
Especially got to love my time with Hip-hop Producers. One way we love working together is for the instrumentalist to provide big splurges of intuitive solo material, for you to chop and sample.
If you're not sure what you're looking for, then that is entirely ok. I’ll follow my intuition and go my own creative way about it.
I'd love to hear about your project!
Tell me about your project and how I can help, through the 'Contact' button above.
Credits
AllMusic verified credits for Poldoore1 Reviews
Endorse Reindert Spanhove
Interview with Reindert Spanhove
Q: What's the biggest misconception about what you do?
A: Don't ask me for an overly smooth sound or lick. I've never figured out how.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Does my tenor count as 'gear'? A loop station for some healing sessions while I'm trying the local shrooms.
Q: How would you describe your style?
A: Soulful. Funky. also Colourful. Lyrical. Atmospherical. Sometimes Trippy. Sometimes Nuts. You don't like only one type of ice-cream do ya?
Q: Which artist would you like to work with and why?
A: Some really wild and interesting things seem to happen in the production process of Bon Iver's records. I'd love to dive in with Joe Acheson once from Hidden Orchestra, and Tomas Dvorak (Floex) to unravel secrets about their awesome blend of Electronic and Acoustics. FKJ for talking set-up and vision.
Q: What's your strongest skill?
A: I've spent a good amount of time practicing Tone Control, and Rhythmical tightness, but most of all: my dedication to bring out the best in your song, adding to it without harming it.
Q: What do you bring to a song?
A: Mostly my heart, really. If I can dig it even a tiny bit, I'll put myself into it fully. I'll bring a big and warm sound, ranging from quite energetic to subtle but supporting atmospherical notes. I can use a free melodic approach in open soundscapes and fade outs, or kick with tight rhythms, playing very dynamic, use storytelling melody lines and beautiful intertwined harmony.
Q: What's your typical work process?
A: First, I really try and learn about you- the artist, and your project. Where you're coming from and what you're aspiring for. I'll have my gear set up in a position I know well and check if I've got a great sound ready for that day. (Both as an engineer and saxophone player) Then, I'll typically sit down in my sanctuary place, with some good headphones and cosy lighting, just letting the sounds come at me. If I'm instantly inspired, I'll probably take a first take head on to catch the most spontaneous and intuitive ideas I'd have on the saxophone. Later on I'll try and get really deep into your demands and record different adaptations of those. I believe communication is key here. After, I like sitting on it. Just for a bit, perhaps take all the above for a walk in the fields near where I live. Coming back with a fresh mind, I'll hit some more takes. I usually end by experimenting a bit, seeing how far I can take things. Well that's my first draft! If you love it, it's yours, but I'm really happy to take into account any remarks and move on from there. Sometimes my interpretation may positively inspire you to hear something you did not hear before and I think there should be allowed space for that in our agreement. Bold critique however is also welcome. I won't be personally offended ;)
Q: Tell us about your studio setup.
A: Tenor Saxophone: King Super 20 (Big Sound American Horn) Alto Saxophones: Yamaha Custom Z Unlacquered, Margewate Electronic Horns: Akai EWI 4000s, Roland Aerophone AE-10 Microphones: Avantone CR114 Dual Ribbon Mic (for a nice vintage sound) Neumann TLM 107 Multipattern Condenser Mic (for an high class, clear and detailed sound) Pre-Amp: Grace Design m101 Soundcard: UAD Apollo Twin (and some classic analog remodelling plug-ins, should you want to) DAW. Ableton, Logic or Universal Audio’s LUNA. I use Sonarworks Reference 4 in my home studio to help me record more objectively.
Q: What other musicians or music production professionals inspire you?
A: Some Artists I really Love: Bonobo, Four Tet, Burial, Floex, Hidden Orchestra, The Cinematic Orchestra, Portico Quartet, Baths, Floating Points, Jon Hopkins, Nils Frahm, Olafur Arnalds, Kiasmos, Corre, Helios, Nosaj Thing, Nujabes, J Dilla, Flying Lotus, Robert Grasper, Herbie Hancock, James Brown, Maceo Parker, Bon Iver. Engineers I'm keeping track of are Andrew Schoeps, Saxophonists: The most beautiful timbre of sound that ever came from a horn, for me is John Coltrane when he played those ballads. I love melodic players of the past like Stan Getz and Cannonball and the eccentrics and unique sound of Joe Henderson and Wayne Shorter. Modern Saxophonists: Melvin Butler, Walter Smith III, Joshua Redman, Colin Stetson, Casey Benjamin, Maceo Parker,
- SaxophoneAverage price - $100 per song
2 revisions, making sure you absolutely dig the result.
Turn-around in 3 days, allowing me the time to really dive into your sound will greatly benefit us both!
- King Super 20 Tenor
- Yamaha Custom Z Un-lacquered Alto
- Margewate Alto
- EWI 4000s
- Aerophone AE-10
- Avontone CR-14 Dual Ribbon Mic
- Neumann TLM-107 Condenser Mic
- Grace Design m101 Pre-Amp
- UA Apollo Twin Duo SoundCard
- Sonarworks Reference 4
- 50% on the first 5 sessions here! Boom.
