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Cel Overberghe was not and is not only a painter but also a jazz musician, on the counter bass. In his sleeve notes for Kind of Blue, the Miles Davis masterpiece (1959), Bill Evans compares improvising jazz musicians with Japanese artists who, as disciplined as they are spontaneous, know how to grasp a moment that needs no explanation. Overberghe illustrates how in the 1950s the relationship between new jazz and lyrical abstraction goes beyond evocative LP covers.