Guitar player Ed Verhoeff started playing at the age of 13. Soon Ed was playing in various pop and blues bands. Studying at the conservatories of Utrecht and The Hague, jazz music really sparked something in him. The continuous challenge of this boundless music has always kept his fascination and is still growing up until now. Today Ed finds himself in the jazz and world music circuit.
Through his career of more than 25 years Ed has developed himself to be a versatile guitarist with a very personal and expressive sound. His versatility, his intuitive, sensitive and at times powerful playing makes him a wanted musician who has co-operated or still co-operates with a.o. Hein van de Geyn’s Baseline, The Paul Berner Band, Adam Nussbaum, John Abercrombie, Philip Catherine, Gerard Presencer, Rick Margitza, Ivan Lins, Lincoln Goines, Alex Acuna, Andy Narell, Martin Verdonk, Karim Ziad, Izaline Calister, Lilian Vieira’s Samba Soul, the Dutch Metropole Orchestra and such Dutch celebrities as Mathilde Santing and Ramses Shaffy.
Since 2002 Ed also started his own projects:
There are 6 albums on his account.
Furthermore Ed can be heard on over 30 albums.
My work as a guitarist overlaps Jazz, Brazilian, Latin Jazz, African, Antillean, Pop and rock.
My music has a main focus on jazz and the great aspect of improvisation.
I consider myself a modern jazz-guitarist with knowledge about jazz-history.
Since the year 2000 Ed has been a teacher at different Conservatory in the Netherlands.
Starting in Tilburg and in 2001 at the Rotterdam conservatory Codarts. Then he got an job offer in 2002 to be part of the guitar teaching team in Amsterdam.
After 4 years he decided to focus mainly on one school. Rotterdam has his main focus now. This is where Ed also gets the chance to, besides being a teacher, also create and develop his view on playing guitar and jazz-guitar in particular Besides being a teacher at the conservatory Ed has been teaching at various Music institutions and Summerschools world wide.
As being a teacher at such international oriented Conservatory with students from a.o. Korea, Brazil, USA, Germany, Spain, Belgium , Japan, Argentina (to name a few) I’m well aware of the cultural background of each individual student. With great respect for the (jazz) tradition I try to hand the student the tools to be able to control his instrument fully to his or her demands.
I want them to be able to understand the jazz language as we know it (history) and feel free in the rich aspect jazz music defines: improvisation. In doing so trying to acknowledge the students motivation and personal context.