Galina U //

Album label: 
Release date: 
Recording location: 
Netherlands, Canada
Recording date: 
Sunday, October 1, 2006
Artwork design: 
Francesca Patella
Mastering engineer: 
Micha de Kanter
Ig Henneman
  • 1. Skirmishes and Sudden Thrusts (05:50)
  • 2. Galina U (08:39)
  • 3. Three Strikes (09:11)
  • 4. Lori F (04:15)
  • 5. Vehement (04:06)
  • 6. Marilyn L (04:40)
  • 7. Drums and Trumpets (06:15)
  • 8. Overtoom (05:05)

Lori Freedman - basclarinet, clarinet
Marilyn Lerner - piano
Ig Henneman - viola

In December 2010 Ig Henneman celebrated her 25th anniversary as a composer and bandleader as well as her 65th birthday. To mark this occasion the Wig Foundation released a limited edition box set of five CDs and a DVD, Ig Henneman Collected (Wig 18), together with the ‘Ig Henneman 65’ booklet.

Galina U is a compilation album which was created for this box set. It contains tracks from two Queen Mab albums, "See Saw" and "Thin Air", as well as one previously unreleased track.

"A stellar trio featuring three of the most engaging, maverick improvisers working today, Queen Mab Trio bristles with electrifying, revolutionary delight. Lerner is a virtuosic performer who straddles the poles that bookend jazz-folk tradition and outright, defiant freedom. Henneman, like the best of the Dutch improvisers, has a jousting, fearless instinct and a refined sense of play that is aggressive as well as it is inviting. Freedman is simply one of music’s more rivetting, incendiary forces – alternately muscular and seductive, conversational and bellowing. The trio’s mind-expanding interplay and vivid mood-trafficking sound is utterly compelling. Chamber jazz for the fourth dimension."
TD Willamette - Week Portland

"The drummerless trio with Canadian pianist Marilyn Lerner and clarinetist Lori Freedman allows all the subtleties of Henneman’s playing to be heard... On “Skirmishes and Sudden Thrusts,” each stroke of her bow pushes the music away from the expected—the notes slide off the tempered scale, the textures have varying degrees of roughness, the colors shade away from conventional beauty—and yet Henneman has everything under such firm control and performs with such assurance that her playing takes on its own compelling attractiveness. Lerner and Freedman play with equal conviction and are ideal band mates. "
Ed Hazell - Signal to Noise

"“Eclecticism” fails miserably to describe this or any other of Henneman’s recordings, because it suggests that she’ll access anything. Something quite the opposite is at work – a rigorous, winnowing sense of taste. ...
It’s one thing to convene an ensemble and apply such specifics on the ground floor; it’s another to come into a long-standing cooperative like Queen Mab, the duo of Freedman and Lerner. ... The reason Henneman is such a snug fit, according to Lerner, is that “Ig comes to the table with balanced consciousness and respect for both compositional and improvisational elements in the work. I think it can said that one of the major challenges with creative improvisation is to compose music which has a spin, makes a statement, contains a gesture, and yet also is a springboard for the imagination of the performers. I think that, to a large extent, Ig achieves this with the Queen Mab Trio. I find that her pieces are succinct, no extra notes, and really interesting architecturally, much the same as her improvisations. Her passion comes through along with an unrelenting devotion to the music.”

All of this is evident on Galina U, the QMT compilation included in Collected (the name doesn’t reference an alma mater, but Russian composer and pianist Galina Ustvolskaya). Seven of the eight pieces were originally issued on their previous Wig CDs – 2005’s See Saw and 06’s Thin Air – and the almost all-Henneman program is more representative of the occasion than their history of parity in presenting their respective compositions. The track that leaps out more athletically this time out is the title piece. Ustvolskaya, dubbed “the lady with the hammer” by a Dutch critic, is a logical touchstone for Henneman; their shared penchants for unusual sonorities, extreme dynamics and pummeling attack are powerfully condensed in the ensemble, and complemented by Lerner’s concussive solo Freedman and Henneman’s withering duet. In a roundabout way, the lady with the hammer also sheds light on the sensibilities Henneman brought to her current music from her years with FC Gerania, the all-female Dutch rock band. “It’s pulse,” Henneman said, connecting the dots. “Of course, when the dynamics are soft and there is silence in a piece, you tend not to notice the pulse so much. But it is there. I make its importance clear it whenever we begin a new piece; otherwise it won’t work.”

Bill Shoemaker - Point of Departure
Cat#: Wig 18