Leo Nagglas
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| 1972 | 2011 |
Leo Nagglas’ career was launched in Rotterdam. From 1967–1969 he was the central figure of a band named ‘Never Mind’. This band was regularly the support act of Cuby & The Blizzards when they visited the north-eastern part of The Netherlands. He also acted in the band Looking East.
When he moved to The Hague in 1969, Leo could be found in various line-ups. He impressed the scene for a pretty while with Green Lizard [Jacques Kouwenhoven (vocals) and brothers Chris (drums) and Peter van Dijk (bass)]. Green Lizard welcomed some new staff members and became 'Stonehenge', still having vocalist Jacques Kouwenhoven and Leo on board.
In 1971 Stonehenge split and prior to his LAVA activities, Leo was asked to write and play a couple guitar solo’s on behalf of Q65. Their Album ‘Afghanistan’ (in those days no one could think of the current topicality..) needed an upgrade. Please, click here then scroll down for Reünie (Reunion).
In his ‘post LAVA’ life, Leo could be seen performing with guys like Paul Heppener (bass), Iwan Leue (vocals) and English George Jackson on drums. This band 'Confrontation' even toured a couple of weeks in Austria. It was a short, but heavy, adventure.
After various hard rock and even heavy metal bands (Scimitar being one of them), Leo switched to another discipline at the end of the 70s. He turned into a highly appreciated Sound Engineer and toured with acts like Park Lane (Amsterdam), Bodine, Vengeance and Avalon (Maastricht).
From 1985 up to his retirement, June 2008, Leo Nagglas focussed on his social career successfully.
May 2014
Ger Crama
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| 1975 | 2011 |
Ger Crama started his musical career in 1967 with ‘Bobbey’s Children’. The band was born at the ‘The School of Economics’ in The Hague and ‘Blues’ was on the menu. Rehearsing was done at school and Dirk Alexander Bobbe - after whom the band was named – turned out to be an excellent manager. The youngsters were busy exploring their home country from North to South and from East to West more often then advisable regarding homework. Who cared?
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| March, 1969 |
Bobbeys Children
L2R Hans Segers (Bass), Frank van der Kloot (Lead Guitar), Gerrit Crama (Vocals, Harmonica),
Jay Quee (Drums) and Aldert van Wijk (Rythm Guitar)
Things turned already a bit heavier, early 1970, when Gerrit switched to ‘Wild Cherry’, a group formed by musicians from ‘The Scarlets’ and ‘Big Wheel’. ‘Solid rock and heavy blues’, could have been the style label of Wild Cherry.
Wild Cherry (June, 1970)
L2R: Leen Alleblas (Bass), Henk Kicken (Guitar), Gerrit Crama (Vocals, Harmonica),
John Groen (Drums), Karel Koeleman (Keyboards)
After his Wild Cherry period, Gerrit, like John Mendels, shared almost the complete LAVA history.Early 80s, Gerrit was approached by a successful producing Duo and asked whether he fancied to use his vocal talents in Dutch! For various reasons, the released single didn’t reach the charts. This part of his career ended before it really had started. Once the blood vessels contain music, music will always be streaming. From 1985-1990 Gerrit was the manager of Livin’ Blues. In this period the LP (1987) ‘Now’ and the CD (1989) ‘Snakedance’ were released.
Bobbey’s Children:
Frank v.d.Kloot - Lead Guitar
Aldert v.Wijk - Guitar
Hans Segers - Bass Guitar
Jay Quee - Drums
Gerrit Crama - Vocals / Harmonica
Wild Cherry:
Henk Kicken - Lead Guitar
Bram v.Aarsen - Bass Guitar (quickly succeeded by Leen Alleblas)
Karel Koeleman - Keyboards
John Groen - Drums
Gerrit Crama - Vocals / Harmonica
Livin’ Blues:
Niko Christiansen - Vocals / Saxophones
John Lagrand - Harmonica’s
Aad van Pijlen - Bass Guitar / Vocals
Art Bausch - Drums
Joop van Nimwegen - Lead Guitar
Willem v.d. Wal - Slide GuitarLivin' Blues Wikipedia link here
May 2014
François (Frans) Wesselink
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| 1968 | Present |
For the very first time in its long history, LAVA added keyboards to their explicit hardrock sound! The one responsible for this new dimension is François Wesselink.
Please, let us introduce him to you:
He started playing piano at the age of 9. Not really surprising if you know his mother was a professional piano teacher. For seven straight years he followed those typical classical piano lessons. When he reached the age of 16 he had enough of it. In fact, the classical musical aspirations of his mother, on his behalf.
The Hague was flooded with Rock and Roll and by then ‘Beat’ music. This modern musical art became his passion. Like all his buddies did in those days (60s), François wanted to play the electrical guitar. If you wanted to grow-up as a musician, there wasn’t a better place than The Hague. The city hosted countless talented bands and these could perform daily and, almost literally, on every corner of the city.
If a band wanted or needed a new guitarist, it could choose from limitless options. However, the musical scene lacked talented keyboard players. Something François discovered soon during his quest for a band membership.
Consequently he rediscovered the piano and ..... keyboards. Starting with one finger, he added one at the time during practise. Very quick he knew how the play the popular keyboard bits and pieces of The Doors, The Animals, Small Faces and the like at first and Manfred Mann and The Zombies slightly later.
After his studies at the ‘School of Aviation’, François found himself a proper job and finally he could afford a real ‘keyboard’. With his brand new Höhner pianet, he joined ‘Question Marks’.
And, indeed, the boys performed on a lot of different stages in The Hague.
In 1968, at the age of 22, François switched to ‘Wem’, a real cover band. Quickly thereafter, when soul music became popular, he joined the ‘Marcus Soul Train’. No sinecure, since he also arranged and adapted the bits and pieces of the complete brass section! At this time he used an ‘Eminent’ and a ‘Farfisa’.
After a couple of years, the band turned into ‘Marcus Symphony’ and – like the new name already suggests – it now had Symphonic Rock on the menu.
“Well, in 1971, I was asked to join ‘Sick Joke’”, François recalled, “Rick Groeneveld and Peter Kok became ‘Greenfield and Cook’ and the other ones from ‘The Hurricanes’ decided to do something else. That became ‘Sick Joke’. Drummer Piet de Kruijf brought his father with him and he was an excellent manager. Due to his efforts we became, for example, an opening act on behalf of the ‘Golden Earring’ at numerous occasions.”
Somewhere in 1974 François Wesselink disappeared from all radars for a while.
“That was a remarkable period in my life, to say in mild”, according to the talented keyboard player and fully skilled electrical engineer, “in those days I was employed by Parie organs. In various ways, the company was competing Hammond and the owners decided to move the whole company to Belgium. For fiscal reasons. I moved with them and I even got married over there! Fourteen days after that memorable day, however, Parie Organs went bankrupt. Great!”
“I returned to The Hague in 1978 and almost the same day, I came across Tony Hagen. He played the bass guitar at The Incrowd and was looking for someone who could replace Wil van der Hurk. That turned out to be a mission impossible and I should have known that in advance. Not so much his keyboards, but the vocals of that guy had determined that specific sound of The Incrowd for a decade and a half or so. He had moved to Germany and I learned quickly that they were looking for a clone. That was not a very pleasant adventure. Just a couple of months prior to their show at ‘De Haagsche Beatnach’ in 1980, I had to call it the day.”
Quickly enough after that experience, François joined a band which fitted his circumstances perfectly. The group was even labelled according to his private life; ‘Return’. That combination lasted a bit longer.
“Hell yeah”, LAVA’s new star tells, “About 20 years or so. Return was a professional 'Party Band'. We played at weddings, festivals, theme nights and all kinds of other parties. All over the country. It started as a quartet and became a Trio.
I had a short break from Return and joined ‘In the Winning Mood’ in 1994/1995. Our home was the Casino in Rotterdam. After a year and a half or so, I returned to ‘Return’ indeed. Still a Trio at that time. However, due to the continuously developing electronics, we ended as a duo somewhere in 1998. The electronics and computers used became so damned good, that at a certain point in time it became a possibility to have the accompaniment do sound like a complete orchestra! The vocalist, André Koenen, and yours faithfully continued until the end of 2000.”
The period which followed, is, according to Wesselink, not worth mentioning. Apart from the occasion when he met John Mendels: “We showed up at certain events regularly. Once, I did help him out with some bits and pieces of his equipment”, he said about that period.
François continues: “Somewhere in 2001, I did team-up with a band called ‘VOF Bahamas’. It was a established and registered a some company type. One of the better conditions derived from that principle; I even got paid for rehearsing! The band operated without a bass player. The initial keyboard players grew up as accordionists and didn’t have any electronic background. I ended up programming the bass lines and sections on behalf of the complete play list.”
Apart from a Blues project, of which the singer performed the lines in Dutch (“pretty good actually!”), François’ only appearances on stage from 2007 onwards where all types and kinds of Jam Sessions.
Wesselink about the most recent developments: “At one of these I met John again and he asked me to come along and have some fun too.”
“You have hardly played any old school hardrock in your career, is it difficult to adapt to this style”, we asked. François closed our idle, but informative, talk showing the necessary confidence and said: “I have played all kinds of stuff. Funk, Soul, Jazz, Rock and even Ballroom dancing. You name it, I have played it. It is a real and rewarding challenge to design, develop, play hardrock harmonies and to find the accompanying sounds. It’s great fun. Really, believe me, I love this!”
Check his private scrapbook for more great pics! 
May 2014
Rob Wezepoel
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Rob Wezepoel was born and raised in Voorburg, a suburb of The Hague having its own ‘scene’.
His musical aspirations and skills, sought and found a way to develop during his first high school years. Class mate Hans Segers (see also Bobey’s Children in Ger Crama’s bio and scrapbook) learned him how to handle a guitar. In 1964 both joined brand new formation ‘The Black Jewels’. Rob had to switch to bass guitar for an obvious reason; Hans Segers fancied playing solo!
Due to personal circumstances, Rob had to put his musical adventures on hold for a while in 1970. During 1975 it started, however, to itch again. Employed by lift manufacturer ‘Starlift’ in Voorburg, he joined the band ‘Enterprice’ (the misspelled letter ‘c’ was done on purpose here). The foursome were all colleagues and the owner of the company (famous Mr. D. Stoop) made a great space available for rehearsing.
A re-start of his musical career at full throttle was a fact.
Currently Rob is also regularly performing on stage with ‘GreenHouse’. An extraordinary skilled company of musicians, named after a historical, but small, rehearsal facility in Voorburg.
For a complete overview of his career, please, check the Scrapbook of Rob Wezepoel here.
