Home » Jazz Articles » Profile » John Engels Just Turned 90, But Who’s Counting?

John Engels Just Turned 90, But Who’s Counting?

Courtesy Bastiaan van Schip

By Joan Gannij
May 29, 2025
View read count

I like to say that John is the closest I can get to my record collection. I mean he’s played with everyone—the Who’s Who of jazz history.
—Tobias Nijboer, bassist

What do you give a man for his 90th birthday, who has everything in terms of chops, contentment, experience, and energy? How about a special edition of an Edison Prize, combined with a birthday tribute concert. Amsterdam's Bimhuis was packed to standing room, filled with friends, family, musicians and music lovers. This was no ordinary birthday celebration, although there was a cake, flowers, balloons and some special gifts, including an invitation from Sonor to visit their factory in Germany.

John Engels

drums
b.1935

" data-original-title="" title="">John Engels has been playing on the same Sonor drum kit for more than 50 years. "It's timeless. Me, too," he says with a grin, elegant as ever in a canary yellow jacket, cobalt blue shirt, Lanvin shawl draped nonchalantly around his neck. The first set featured Engels and fellow musicians, a laidback, expansive unit, with drums as satellite and a modest galaxy composed of

Jan van Duikeren

trumpet

" data-original-title="" title="">Jan van Duikeren trumpet,

Tobias Nijboer

bass

" data-original-title="" title="">Tobias Nijboer bass, and Juraj Stanik piano.

"Just Friends" was an ideal choice to get the party started, followed by

Sam Jones

bass, acoustic
1924 - 1981

" data-original-title="" title="">Sam Jones' "Bittersweet." Instead of moving on to the next tune, Jan van Duikeren put down his horn and approached the microphone. Much to the surprise of the dapper drummer, van Duikeren informed Engels that he was the premiere recipient of the Lifetime Achievement Edison prize. Which included this back story: "Three years ago, when we won two Edison's for our album "Short Stories," I decided at the last moment to ask John on stage and offer him my second Edison. (The Edison prize is similar to a Dutch Grammy, and presented annually in a special ceremony.) To me, people like John, who has played with so many great players and been an inspiration for so many listeners and musicians worldwide, should be widely recognized." That tactic worked, because the Edison's, which are usually related to a specific album or repertoire, have just added a Lifetime Achievement Edison prize, meant for an inspiring artist on the condition that they have been a professional for 35 years, and have a solid body of work and an exceptional live reputation.

Indeed, John Engels has been a professional drummer since 1953 and over the past decades has played with many jazz icons including

Nina Simone

piano and vocals
1933 - 2003

" data-original-title="" title="">Nina Simone,

Chet Baker

trumpet and vocals
1929 - 1988

" data-original-title="" title="">Chet Baker,

Stan Getz

saxophone, tenor
1927 - 1991

" data-original-title="" title="">Stan Getz,

Thad Jones

trumpet
1923 - 1986

" data-original-title="" title="">Thad Jones,

Toots Thielemans

harmonica
1922 - 2016

" data-original-title="" title="">Toots Thielemans and

Ray Brown

bass, acoustic
1926 - 2002

" data-original-title="" title="">Ray Brown. He has performed on more than 250 albums and in various formations, and won previous awards, including the Netherlands most prestigious jazz award, the "Boy Edgar Prize" in 1989, and in 1997, he was the first European to receive the "Hall of Fame Award" from the International Ocho Rios Jazz Festival in Jamaica. According to a spokesperson for Edison, John Engels is an unparalleled, modest, and passionate musician who constantly responds to his fellow musicians with the energy and sharpness of a young pup." Engels' reaction to winning the Edison prize was typical. "It was an emotional moment, but I was in the middle of a set, on a different wavelength and preferred to get back to playing rather than speaking. Later in the dressing room, I realized that I had just received the Edison Lifetime Achievement Prize, and what a great honor it is. Fantastic really."

It was time to resume the set, which opened with

Kenny Barron

piano
b.1943

" data-original-title="" title="">Kenny Barron's "Voyage," "Nardis" by

Miles Davis

trumpet
1926 - 1991

" data-original-title="" title="">Miles Davis,

Ornette Coleman

saxophone, alto
1930 - 2015

" data-original-title="" title="">Ornette Coleman's "When Will the Blues Leave?," then the mood shifted from introspective into a rollicking jam session, complete with a Happy Birthday sing-along. Pianist

Joost Swart

piano

" data-original-title="" title="">Joost Swart took over the Steinway from Juraj Stanik, joined by vocalist Francine van Tuinen, and surprise guest

Candy Dulfer

saxophone, alto

" data-original-title="" title="">Candy Dulfer on sax. They opened with "Caravan," followed by a feel-good free-for-all of "Candy," and finally, "Johnny's Birthday," a special composition written by

The Diamond Five

" data-original-title="" title="">The Diamond Five trumpeter Cees Smal. Francine van Tuinen had a chance to show off her scatting style to the

George Treadwell

b.1919

" data-original-title="" title="">George Treadwell-

Sarah Vaughan

vocals
1924 - 1990

" data-original-title="" title="">Sarah Vaughan classic "Shulie-a-Bop," a bouncy "I Thought About You," and finally a Dutch version of Tenderly, which she'd translated as "Tederlicht." Stanik returned to the piano for a dynamic dialogue exploring "Lush Life" with Engels, who at one point, was 'making music' with his hands on the skins, and the set concluded with a rousing rendition of "Cedar's Blues." After two encores, including another sing-along to "What a Wonderful World," initiated by John's partner Liz Horvath, John had given even more than his usual energy reserves. A few days later, he took a moment to observe: "It was a fantastic evening with all the musicians. Everyone played so well, and the concert was musically satisfying." But this is not a review of that night, more of a birthday toast to John Engels the dedicated musician, in the words of his colleagues and companions.

"John Engels is not a drummer who makes music, but a musician who drums," said bassist

Hein van de Geyn

bass, acoustic

" data-original-title="" title="">Hein van de Geyn.

As someone who started off as an ambitious young cat, Engels continues to keep musical company with the best of them. Jan van Duikeren has had a working relationship with the drummer since 2014. "After playing together a few times, there was a click, and we started a band, which immediately resulted in an invitation from the Tokyo Jazz Festival. The name "JVD4" was a Japanese initiative, since many of our names were unpronounceable in Japan. We kept the name until last year when we added vocalist

Marcel Veenendaal

" data-original-title="" title="">Marcel Veenendaal to the group. (The five-member band is now named Jan van Duikeren & Marcel Veenendaal. When asked to elaborate on 'the click' with John, he smiles: "I love the whole package. His everlasting humor, energy and curiosity are simply addictive. John is known for both his swinging as well as his ever-surprising, but deep and stylish way to play a ballad. (Note: Van Duikeren's evocative ballad "Mum" was a highlight of the concert, specifically chosen for Mother's Day.) Playing with John, I've learned to embrace the silence in ballads and even jump right in instead of being too careful or scared." Regarded as one of the most renowned Dutch drummers, the self-taught so-called "uncrowned king of the brushes" (sticks, mallets, and more), is a poster boy for a less-is-more approach. His low-key, intimate sound creates a solid presence that unites and ignites his fellow musicians.

But don't be fooled by this laid-back master who wields a bottomless bag of tricks. Bassist Tobias Nijboer has been in different formations, played different kinds of gigs with the left-handed drum wizard for the past eight years. "John is so energetic and spontaneous, always coming up with new ideas to take the music in so many directions. It's never in one groove. He's like the conductor of the band, so you've got to be on your toes. When you're playing with someone who's a living legend, who's been a part of jazz history, you can't snooze. I'm half his age, but I don't feel any different, because with John, age doesn't exist." The 40-year old bassist pauses, then continues: "I like to say that John is the closest I can get to my record collection. I mean he's played with everyone—the Who's Who of jazz history. All my heroes whom I never got to meet or hear in person. John carries their music and spirit. It feels like he's passing the torch, and I am very fortunate to have the honor of playing with him."

Pianist Juraj Stanik elaborates further: "John has three inseparable qualities: groove, a unique sound, and personality. He's always ready to play, is focused, and only wants to be busy with the music. He's not there for small talk or networking. He has an uplifting spirit, which has a positive effect on the other players. He's highly responsive, and he hears everything. People often focus on him coloring the music with his drum kit or brushes. But for me, it's also about his unique sound that covers the whole spectrum, like an orchestra almost. What makes me happy as a player is his groove, the way he swings. It's really the essence of his playing, alongside his sound, which is very deep and with a lot beneath the surface."

So how does this vigorous 90-year-old maintain his strength and energy? Engels reflects a moment: "Music inspires me, and continues to get me through. It saves me every time. You also get inspired by other musicians, with no ego tripping. Also, I listen a lot to music, jazz as well as classical, early in the morning or evening." Advice for young players? "You must be who you are and not try to imitate anyone else. Play together as much as possible. Don't be so busy with technique. Let the music and the technique be in sync to let all the colors blend, like in a painting. Play the song and tell a story." Partner Liz Horvath adds: "John has a unique personality. He has always helped other drummers or musicians and gives them a lift' while playing. He believes there is a place for everyone." What advice would Engels have given to the young John? "Get straight to America! But after the war, it wasn't the right time, because there was nothing. I listened to the radio AFN (Armed Forces Network) and I had to learn everything on my own. I started to travel when I was 15 years old and eventually went around the whole world. Not once, but twice! And finally, what keeps him moving straight ahead? "With music, there is no end. Each day is a new adventure. When I'm having a good time I go into another state of consciousness. To play with emotion, soul and heart makes me play naturally, and takes me to another universe."

Related Photos

Courtesy Bastiaan van Schip

Courtesy Jeroen Hofman

Courtesy Evert-Jan Hielema

Courtesy Cees van de Ven

PREVIOUS / NEXT

Carolina Gemmell, Evan van der feen,...
< Previous

Nocturne
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.