Duo Baars - Henneman
Ab Baars - tenorsax, clarinet, shakuhachi
Ig Henneman - viola
Ab Baars and Ig Henneman are among the leading representers of the jazz- and improvised music scene in the Netherlands. Their program contains improvisations based on compositions written by Baars and Henneman and completely improvised material.
The duo Baars-Henneman was born in Rome (IT) at the Festival “ControIndicazioni” in 1999.
Ab Baars and Ig Henneman have participated in international festivals and played venues as a duo and with their own groups. The duo toured in The Netherlands, Germany, Italy, UK, Japan, Norway, Czech Republic, Canada, Brasil and Romania.
Ab Baars leads his own groups; the Ab Baars Trio and Quartet. For years now he is a member of the ICP Orchestra of Misha Mengelberg and Han Bennink.
Ig Henneman is a violaplayer and a composer. She leads her own groups in which she works with musicians from various areas of music, like radical free improvisation, jazz, contemporary music and punk. She is a member of the Canadian/Dutch Queen Mab Trio.
(…) There’s a breathless tension and expectation in these musical dialogues, as if neither participant has any idea what is coming next and the music trembles on the edge of revelation. It has no need for any of the trappings of jazz or classical or any other kind of music. It is sound discovered and organized with no preconceived notions and it is both incredibly touching and intellectually thrilling at the same time.
--Ed Hazell Signal to Noise #61 Spring 2011
(…) The music is often rarefied and brittle, so distinctly stripped back to the essence of air and friction but also materialised. The pieces have not been left as invasive flashes, nor are they a succession of unrelated ideas; they are recognisable attempts to construct something from nothing or almost nothing, to create on the spot, as well as to understand, support and where necessary contradict one’s fellow performer in that creative process. What resonates is two voices that belong together without being completely subsumed by the other; they literally play with one another.
--Mischa Andriessen Ig Henneman 65, 2010
CD ‘Stof’ (2006, Wig 13)
(…) Throughout these varied improvisations, the two voices are distinct, separate, but inseparable; their parts dovetail, rotate, evade contact, mesh. Confusing the perception of background and foreground, both spin out lines, either in layers or counterpoint, which may thin out or thicken, then splinter off into extended melody—which, in the subtle contemplation of light and shadow, tonal weight and restrained intensity, call to mind the pinpoint, nearly imperceptible clarity of lines on an Agnes Martin canvas. Likewise, emotion may be nearly imperceptible, but unavoidable as well. “Stof –to Eiske-,” significantly the longest performance, allows clarinet and viola each an aria of loss; as they gradually gravitate towards the other, the mood grows inescapably tender. (…)
-- Art Lange