| Ig Hennemann & Ab Baars |
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| Baars and Hennnemann will be performing at Reknes on Thursdag the 22nd of July, at 2pm. |
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| Composer-woodwind player Ab Baars and composer-violist Ig Henneman are partners in life as well as a working duo. They administer the Wig label; their most recent release is Sliptong by a trio rounded out by pianist Misha Mengelberg. |
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The Vancouver International Jazz Festival 2008
(...) Vancouver specializes in avant-garde New Dutch Swing, and two of its most compelling practitioners — reed man Ab Baars and his wife, violist Ig Henneman — performed twice. Baars and Henneman duetted Sunday at the Western Front, offering a model of intimate, witty "handmade" music, as Baars' flannel, low-register clarinet blended gorgeously with Henneman's viola.
--Paul de Barros Seattle Times June 2008
Festival International de Jazz de Montreal 2008
(...) The show was an intimate look at two distinct, creative voices in the Dutch scene. Sometimes it was frighteningly harsh, as when Baars chose to camp out in the highest register he’s capable of for a couple of minutes. Other times, it was stark and disarmingly beautiful, with a lyrical saxophone exchanging lines with a sensitive viola.
--Adam Kinner The Montreal Gazette June 2008
(…) Henneman skirts the fringes of tempered notes, her time just nicks the edges of meter, so that on “Zee-Engel” everything is just off-center from where it should be. Her sound lets you hear how she makes music, you’re aware of the friction of bow against string, of flesh against string, of the physical impact of a snapped string hitting wood. It’s a very honest sound, beautiful, but not in any conventional sense.
-- Ed Hazell, Point of Departure an online music journal Issue 24 - August 2009
(…) Baars, too, exposes the mechanics of his sound when he plays, there’s a grainy airiness to his sound, the keen sense of breath moving through metal and wood. He controls his tone exactly, with careful inflections and timbres. His phrasing is just as idiosyncratic as Henneman’s, but in different ways. He generally avoids the trappings of swing, although his lines move in intricate and unexpected ways. On “Fishwalk,” he phrases with the quick little steps of a sparrow or deliberate angular motions of a heron. There are sudden graceful bursts of speed or stealthy slinking like a cat. He conveys vulnerability and a feeling for the absurd that indicates a quick and agile mind at work.
-- Ed Hazell, Point of Departure an online music journal Issue 24 - August 2009
Ab Baars tenorsax/clarinet/shakuhachi, Ig Henneman viola |
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