Wig
Verderame
Verderame
“Netherlands reed king Ab Baars has played with everyone from Guus Janssen to Franz Koglmann and led his own wonderfully playful avant quartet. But Verderame marks his first outing unaccompanied and takes an unusual understated tack. Over the course of nine originals — many of them tributes to friends and inspirations — and a gorgeous reworking of Billy Strayhorn’s “Lotus Blossom,” Baars offers a wonderfully personal album of warm reflections, tender microtonal explorations, and quick-witted charm.” -Thom Jurek, All Music
Recorded on January 24-25, 1995, Bethaniënklooster Amsterdam
Tenor Saxophone, Clarinet – Ab Baars
Trandans
Trandans
“The brilliance of this trio is proved most powerful when we start to think about all the other moments they could have uttered a note and most certainly would have changed the direction of the music… from beginning to end this is marvellous, improvised music. A music so marvellous that we tend to forget that it did not exist before Ab Baars, Dave Burrell and Ig Henneman stepped on the stage of the Bimhuis that one night in September. And which after that intriguing concert did exist only as a memory. Until now. (Mischa Andriessen)”
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Ab Baars – tenorsax/clarinet/shakuhachi
Ig Henneman – viola
Dave Burrell – piano
all compositions Ab Baars Ig Henneman Dave Burrell
Baars Henneman BUMA STEMRA Burrell BMI, Lanikai Sounds Publ. Co.
live recording September 24 2016
Bimhuis Amsterdam
recording Micha de Kanter / Mideka Music Recording
mixing & editing Micha de Kanter Ab Baars Ig Henneman
design Francesca Patella
photos Geert Vandepoele (live) Monika Larsson (portrait)
produced by Ig Henneman
with support of Huub van Riel, Monika Larsson, Marinus Oostenbrink and Stichting Wig
Sprok
Sprok
“the deft and creative musicianship here creates a very sophisticated type of conversation, indulging the full range of musical emotion. Recommended.” -Thom Jurek, All Music
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Clarinet, Tenor Saxophone – Ab Baars
Double Bass – Wilbert de Joode
Percussion – Martin van Duynhoven
Tracks 1, 2, 9: recorded at Bethaniënklooster, Amsterdam, October, 5, 1994
Track 3: recorded at BIMhuis, Amsterdam. April 2, 1994
Tracks 4, 5, 6, 7, 8, 10: recorded at Vredenburg, Utrecht, March 31, 1994
Songs
Songs
“Musical shading, not musical imitation, is what makes this collection of Songs work so well.
With well-thought-out arrangements and the smarts of committed improvisers, the three show
how well Aboriginal sounds can be adapted and transformed into impressive improvisations.” –Ken Waxman
[…] There are no bad compositions on the cd Songs; Maliseet Love Song and Aotzi No-otz are especially beautiful. […] From extremely delicate to unusually heavy. […] The Ab Baars Trio’s sound and intensity recall the best of the legendary Albert Ayler Trio.” –Frans van Leeuwen (NRC, 31-8-2001)
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Recording at theTheater De Burcht Zaandam, on February 4th, 2000.
Clarinet, Tenor Saxophone – Ab Baars
Double Bass – Wilbert de Joode
Drums, Percussion – Martin Van Duynhoven
Sliptong
Sliptong
“And Mengelberg, the patient, pensive wit, picks his moments to enter, ruminates on the voicings of his chords so that each conveys a different shade of feeling, adding a touch of jazz here or late Romanticism there. Quite often, he is the tonal anchor of the improvisations, while Henneman and Baars daub color and asymmetric lines around him. The contrasts are stark, even surreal at times, but there’s always a sense that they are walking together arm in arm through this unusual musical landscape.” -Ed Hazell
Slate Blue
Slate Blue
“While making readers aware that the Ab Baars trio – whose line-up has Wilbert de Joode’s double bass and Martin van Duynhoven’s drums appearing alongside the leader’s tenor sax, clarinet, and shakuhachi – started in 1990, Slate Blue’s liner notes implicitly invite the listener to measure the progress made by this trio, also its unvarying distance from the “landscape”. -Beppe Colli
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Bass – Wilbert De Joode
Drums – Martin Van Duynhoven
Tenor Saxophone, Clarinet, Shakuhachi – Ab Baars
Live recording March 6 2014 at Splendor Amsterdam by Micha de Kanter
Mixed & Edited by Ab Baars, Ig Henneman, Micha de Kanter
Photography by Ig Henneman
Producer – Ig Henneman
Composed by Ab Baars
Design – Francesca Patella
Repeat that, repeat
Repeat that, repeat
“”The Tentet lays out a silken, sumptuous ensemble sound, constructed from one composition to the next… which unfold at a leisurely pace into glorious peacock-feathers.” –Erik van den Berg, Volkskrant”
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Ilse van de Kasteelen – voice
Michael Moore – clarinet, bass clarinet
Ab Baars – clarinet
Hein Pijnenburg – bass clarinet
Mariëtte Rouppe van der Voort – flutes
Mary Oliver – violin, viola
Ig Henneman – viola
Tristan Honsinger – cello
Wilbert de Joode – bass
Fred van Duynhoven – drums
Recorded by Dick Lucas DATA RECORDS 1995, Theater Romein, Leeuwarden, 042, Nijmegen
Editing by Dick Lucas & Ig Henneman
Cover photography José Melo
Graphic design Jean van Lingen
Photography Camilla van Zuylen
Thanks to Fonds voor de Podiumkunsten, Fonds voor de Scheppende Toonkunst, Stichting Jazz en Geïmproviseerde Muziek in Nederland, Voorzieningsfonds voor Kunstenaars
Queen MabGalina U (from Ig Henneman Collected)
Queen MabGalina U (from Ig Henneman Collected)
Galina U has been compiled from compositions that Henneman contributed to the Queen Mab Trio albums, See Saw and Thin Air, along with ‘Overtoom’, from a previously unreleased recording session. For See Saw Henneman contributed three tracks: ‘Marilyn L’, ‘Lori F’ and ‘Galina U’. The latter is an evocative ode to the Russian composer Galina Ustvolskaya, in which Henneman endeavours to mirror Ustvolskaya’s idiom with ominous, compelling rhythms and piano chords hammered out with full force, and she succeeds in coming unmistakably close while fortunately retaining her own vocabulary. It is a rough-hewn and intractable work that is harrowingly uncomfortable. It is as if Henneman were holding up Ustvolskaya’s inexorability as an example and after all these years is at last obeying her own will unreservedly. Henneman is more clearly present as a musician in this trio than in her own ensembles. The compositions are also more lucid because they are pared down even more, are better able to accommodate emptiness and silence, thus setting off the contrasts even more keenly. All three musicians share equal responsibility for the music, which might explain why Henneman grows into a role as commentator here, someone who complements the conversations with measured interventions and manages to… more
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Marilyn Lerner – piano;
Lori Freedman – bass clarinet / clarinet
Ig Henneman – viola
Recorded in November 2002 and October 2005, includes a previously unreleased recording from May 2006
Pes
Pes
“The string quartet is an instrumental combination most often heard in many different genres of classical music; in fact, it is one of the standard groupings for this music, whereas it is a more rare enterprise in improvised music. Certainly there are examples of string players getting together to improvise, but the results can not so often be compared favorably with great classical string quartets. The Dutch viola player and composer Henneman is making great progress in this area however, as she has found a regular group of musicians to work with, evidenced by the six-year span of recording dates. The difficult task of integrating composition and improvisation is carried out with aplomb by this group: they actually make it sound easy. A nice combination of male and female energy exists in this group, as well as a combination of Dutch musicians and so-called ex-patriot Americans who have settled in the Netherlands. The players are comfortable working in a traditional, melodic, and harmonic manner but also can and do go way out. Everything that happens makes logical sense, and this is music that reveals rich layers of detail upon repeated listenings.” -Eugene Chadbourne, All Music
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Mary Oliver – violin, viola
Ig Henneman – viola
Tristan Honsinger – cello
Wilbert de Joode – contrabass
All compositions Ig Henneman (BUMA | STEMRA)
Recorded by Dick Lucas DATA RECORDS March 10 and 11, 1999 at Nicolaeskerk, Swichum
Except 7 and 10 recorded by Ig Henneman, February 2, 1993 at Alte Post Mülheim an der Ruhr and September 13, 1998 at N.H.Kerk’s Heer, Abtskerke
Editing Dick Lucas & Ig Henneman design and photos Francesca Patella produced by Ig Henneman
Thanks to Fonds voor de Scheppende Toonkunst
Party At The Bimhuis
Party At The Bimhuis
“Concision and concentrated emotion commingle with technical proficiency at a quite rarefied level throughout. Discipline and definitude are combined with a sometimes-dizzying willingness to explore uncharted territory in a thoroughly engaging fashion. Baars can be bracingly abstract at times – particularly on clarinet – then turn around and prod your viscera with tenor playing nakedly ardent enough to give Gene Ammons a run for his money. … Discipline and definitude are combined with a sometimes-dizzying willingness to explore uncharted territory in a thoroughly engaging fashion. … Party at the Bimhuis is a brilliant recording.” -Bill Barton, Sudden Thoughts CD Reviews
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Ab Baars – clarinet, tenor saxophone
Wilbert de Joode – double bass
Martin van Duynhoven – drums
Ig Henneman – viola
Misha Mengelberg – piano
Guus Janssen – piano
Mariëtte Rouppe van der Voort – alto saxophone, flutes
BUMA | STEMRA
Live recording at the Bimhuis January 17th, 2003 by Dick Lucas DATA RECORDS
Edited by Dick Lucas | Ab Baars
liner notes Kevin Whitehead
Cover photo Jean van Lingen
design and other photos Francesca Patella
produced by Ig Henneman
Thanks to: Fonds voor de Scheppende Toonkunst, Thuis Kopie Fonds and the Bimhuis.
Outside the Rain Has Stopped
Outside the Rain Has Stopped
“Outside the Rain has Stopped is a collection of music that represents different phases of my long musical journey. Listening back I realized that these pieces, all together, represent the perspective I created out of my experiences in rock music, poetry, jazz, improvisation, colours, experimental and classical music: it’s my world.
“Galina U” is an ode to the Russian composer Galina Ustvolskaya, written as a foundation from which to improvise on her characteristic dynamic extremes and structural severity. “Solo Song for Cello –As if –” is inspired by the poem “I felt a Cleaving in my Mind” from Emily Dickinson. The poem is treated like a song, and there is room for guided improvisation. “February’s Turn” is a long languid investigation into the magnificent colours of the Verschueren organ, a Cavaillé-Coll type. The poem “Orgelend -een improvisatie voor ih” is my 75th birthday present from Anneke Brassinga. Anneke’s voice is also featured in her poem about loss “Heen”. She is reading as if her words are sounds. Duo Baars-Henneman’s improvisation complements Brassinga’s words. This is a collaboration that has taken place many times throughout the years. “Bow Valley” is an autobiographical soundscape featuring the Canadian Rocky Mountains; the field recordings in and around my studio form a layer on which the musicians find their way with both improvisation and a notated score. Lastly, the title track “Outside the Rain has Stopped” is a string quartet from which the pianist/improviser Cecil Taylor’s intuitive, energetic, loosely structured flow was an important source of inspiration. This is where I am.” -Ig Henneman
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all compositions Ig Henneman
buma stemra
publishing house Donemus
musicians:
Ab Baars: tenorsax clarinet, shakuhachi
Anne La Berge: flutes
Lidy Blijdorp: cello
Anneke Brassinga: poems
Ig Henneman: compositions, viola
Annelie Koning: vocals
Gerrie Meijers: organ
Janneke van Prooijen: violin
Elisabeth Smalt: viola
Alistair Sung: cello
Jellantsje de Vries: violin
Ansgar Wallenhorst: organ
Mixing Micha de Kanter, Ig Henneman
Editing and mastering Niels Brouwer
Design & photography Francesca Patella
Cover art Ab Baars
Produced by Ig Henneman
with support of the Orgelpark Amsterdam, Prins Bernhard Cultuurfonds, the Wig Foundation, and of Andrew Choate for reading along
Moods for Roswell
Moods for Roswell
“This recording was like a letter from an old friend.” – Stephen Griffith, Free Jazz Blog
email
Roswell Rudd 16 januari 2017 00:03 RR
Duke in Bohmerwald
Aan: Ab Baars
Thank you guys Joost & Ab for reaching out
Ring,Zing,Bing,King,DingaLing Dong Song
Nothing like Ellingtonia anywhere anytime
Especially clarinet & trombone! the way U2 do it
Love slipsliding all the way (&Ig2)
Rozzy & Vern
Adaptations of/compositions by D.Ellington and B.Strayhorn
Recorded October 12 2017 at Studio Helmbreker Haarlem
Micha de Kanter/Mideka Music Recording
Mixing & editing Micha de Kanter Ab Baars Joost Buis Ig Henneman
Design & cover photo Francesca Patella
Liner photo Harry van Kesteren
Produced by Ig Henneman with support of Stichting Wig/Wig foundation
Invisible Blow
Invisible Blow
“Invisible Blow in inspired by poems describing the unexpected Knock-out blows in life. Invisible Blow is a boxing term, a boxing match can be considered as a metaphor for life. The texts were chosen by Ab Baars with the assistance of Anneke Brasinga. Joyce Carol Oates’ essay collection ‘On Boxing’ served as a source book.”
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Bass – Wilbert De Joode
Drums – Martin Van Duynhoven
French Horn – Vincent Chancey
Tenor Saxophone, Clarinet, Shakuhachi – Ab Baars
Voice – Fay Victor
Voice – Anneke Brassinga (tracks: 3, 8)
Live recording November 27 2012 at the Bimhuis Amsterdam by Micha de Kanter.
Mixed and Mastered by Ab Baars, Ig Henneman & Micha de Kanter.
Design – Francesca Patella
Producer – Ig Henneman
Artwork – Eli Content
Wig 23
Goofy June Bug
Goofy June Bug
Ab Baars: tenor sax, clarinet, shakuhachi
Ken Vandermark: tenor sax, clarinet
Wilbert de Joode: double-bass
Martin van Duynhoven: drums
compositions
Ab Baars [buma stemra]
Ken Vandermark [twenty first mobile music/ascap]
Recording october 21 & 22 2007 bimhuis amsterdam Guido Tichelman/Azazello, Micha de Kanter
mixing & editing Guido Tichelman/Azazello, Ab Baars, Ig Henneman
liner notes Erik van den Berg
photos & design Francesca Patella
produced by Ig Henneman supported by the Dutch Fund for Performing Arts+
Gawky Stride
Gawky Stride
20 Years Ab Baars Trio (and Counting)
by Kevin Whitehead
… In many ways, 2011’s Gawky Stride is a turn toward looser, less structured territory. As in ICP, the longer the musicians play and work together, the less they need formalized rules. For the first time on record, they play free improvisations, “Spray of Rooks” and “Lace Rocked Foam.” (The titles, but not concepts, come from poems in Derek Walcott’s collection White Egrets.)
“In the past few years,” Baars says, “we’ve rehearsed a lot even when we didn’t have concerts. These rehearsals were mostly about improvising—working on opening up and developing the trio’s awareness of form, and to be more playful without losing sight of a piece’s concept. The goal is to be as free as possible—to feel unrestricted by the material but challenged to apply our individual performance techniques to it. It’s not about playing the compositions in a ‘strict’ or ‘clean’ way but playing with ‘beau geste’: with a generous spirit.”
Indeed. There’s almost palpable friction between (and within) bass and tenor parts on “Lace Rocked Foam”—but then Wilbert loves those scrunching ‘wolf tones’ other string players avoid. For much of “Ochre Verges” clarinet and arco bass play a cat-and-mouse game of ‘listening and not listening,’ with drums picking up and braiding their threads—until they align over sighing high notes in the endgame. On the free “Spray of Rooks,” the rhythm players’ ramshackle broken-time swing pushes without stating a pulse; “Indigo Weight” has time-playing without walking bass, ratatatt without fixed drum patterns, and melodic tenor with a fragile, egg-shell timbre. Like “Gawky Stride” it’s got a shapely, suspense-building melody.
“Toru’s Garden” and the haiku-concentrated “Bannered Breakers” find Ab on shakuhachi, which he’s studied in Japan, Canada and Holland. To these ears, he aims for a more idiomatic sound than on his other axes—though as he points out, teacher-hopping is very untraditional.
For the state of the trio in its third decade, I’d point to “Wake Up Call,” also in ICP’s book, though the trio give the definitive reading. It’s a typically Baarsian construction with multiple momentum-halting exclamation points, torturous mountain ascents and squealy blasts for their own sake; bowing liberates the bassist’s inner clarinetist. But the collective improvising they dive into after a couple of minutes is the sweet meat, where Amerindian inflections (tenor) and rhythms (bass) come back in completely non-obvious ways, not least because Van Duynhoven as ever resists shopworn tom-tom markers.”
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Ab Baars – tenor saxophone, clarinet, shakuhachi
Wilbert de Joode – bass
Martin van Duynhoven – drums
All compositions Ab Baars BUMA STEMRA
except 1 and 6 Baars, de Joode, van Duynhoven
Recording February 9 2011 Studio-Eleven Hilversum Micha de Kanter
Mixing & editing Micha de Kanter | Mideka Music Recording and Ab Baars
Artwork Eli Content
Design Francesca Patella
Produced by Ig Henneman
Four
Four
“…If you are accustomed to the eclectic, dissonant and perhaps even sometimes bullying Baars language, then you’ll find some true gems on the album Four. The group interaction and the improvisations are of an exceptionally high level. Rudd fits perfectly with the trio; together they form a real quartet.”
Kees Stevens Parool 31/7/2001
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compositions 1-5 by Ab Baars – BUMA | STEMRA
compositions 6-9 by Roswell Rudd – BMI
recorded by Dick Lucas DATA RECORDS June 6,1998 live at the Bimhuis, Amsterdam
cover Petra Dolleman
design Leugenachtig Lekker
produced by Dick Lucas
thanks to Fonds voor de Scheppende Toonkunst, Fonds voor de Podiumkunsten
Elegiacal
Elegiacal
Perch Hen Brock & Rain featuring Ab Baars, Ig Henneman, Ingrid Laubrock and Tom Rainey is an improvising quartet drawing on myriad experiences and backgrounds. Each member is conscious of their own weight and power to add to the communal conversation, understanding silence and restraint can be as powerful a contribution to the whole as density. Ingrid Laubrock and Tom Rainey represent the best of the New York scene while Ab Baars and Ig Henneman are key members of the idiosyncratic Dutch improvised music community. Either duo showcases the kind of telepathic interplay that comes from years of dedicated playing. Together, the wealth of experience allows limitless possibilities.
The quartet gathered for a first extensive European tour in November 2014, followed by appearances at amongst others the North Sea Jazz Festival, a Canadian Jazz Festival tour and in 2018 the Dutch Summer JazzCycleTour. The day after they went into the studio and this is the music that is released on their 2nd album ‘Elegiacal’: a collection of oddly enchanting improvisations as Tom Rainey calls them.
Cut a Caper
Cut a Caper
(…) The brutality displayed by the sextet will leave your jaw dropping in astonishment… The greatest merit of Ig Henneman on ‘Cut a Caper’ is that she gives new tools to transform the Dutch improvised music of the past into the present. -Rinus van der Heijden, Jazzenzo Jazzmagazine September 2011
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(…) For those not familiar with Henneman’s work, ‘Cut a Caper’ is the stepping stone of their dreams: a gem of an album.” –Koen Van Meel, Kwadratuur September 2011
Cut a Caper by Ig Henneman is an album brilliantly composed, performed by a stellar ensemble and executed with staggering passion. Adventurous, captivating, demanding and rewarding. -Jazz Alchemist Best Albums of 2011 nr.2 (PL)
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Bass – Wilbert de Joode
Bass Clarinet, Clarinet – Lori Freedman
Piano – Marilyn Lerner
Tenor Saxophone, Clarinet, Shakuhachi – Ab Baars
Trumpet – Axel Dörner
Viola – Ig Henneman
Recorded on 19/20 December 2010 at Bimhuis, Amsterdam
Design – Francesca Patella
Photography By – Marilyn Lerner
Recorded by – Micha de Kanter
Mixed and edited by – Micha de Kanter, Ig Henneman
Liner notes by – Brian Morton
Produced by – Ig Henneman
With support of the Performing Arts Fund, Prins Bernhard Cultuurfonds, SNS Reaal Fonds
Cecil’s Dance
Cecil’s Dance
The trio plays compositions by Ab Baars – whimsical, lyrical, crazy and unruly – as well as spontaneous open improvisations. The result is a slightly askew kind of chamber jazz, revelling in the free and spontaneous, while avoiding the heavy-handed and predictable. Instead, it might resemble a humorous dance, involving graceful movements and sudden feints, with occasional hints to the jazz book and the spirit of reinvention throbbing with stubborn dependability.
The combination of three horns can suggest the festive, staccato energy of a marching band, the steaming front line of a New Orleans jazz ensemble or maybe… just three people breathlessly waiting for a rhythm section. This trio is something else. BaarsBuisDeman is nothing less than a veritable dream ensemble, capable of an infinite array of sound colors, from the lowest tuba-low to the highest shakuhachi-high and all (well, most of) the sounds in between.
-Guy Peters(…) In addition to Richard Rogers’ “This nearly was mine” and Guillaume de Machaut’s “Louange des dames”, the trio played pieces by Baars. The band moved in the field of tension between composition and improvisation in an extremely open playing style. An intense interplay between the three musicians: sharp freshness.
-Robert Tendl – Kleine Zeitung Graz und Umgebung
Ab Baars (NL) – clarinet/shakuhachi
Joost Buis (NL) – trombone
Berlinde Deman (B) – tuba/serpent
Live recording April 30 2023 Mark Schots Bimhuis Amsterdam (NL)
Mixing editing Mark Schots Ig Henneman Ab Baars
Mastering Mark Schots, design Francesca Patella, cover art Ab Baars
Produced by Ig Henneman, 2023
with support of SENA and the Wig Foundation
Canzoni Di Primavera
Canzoni Di Primavera
Even in free improvisation mode, this duo is in sync. That, and the unique melodicism arising from their duets, are what makes Autumn Songs an artistic success, an example of musical perfection.” -Francois Couture
“The music balances breathy notes against woody tones, as the pair recites their musical wordless poetry.” -Mark Corroto
“All pieces consist of composed themes that form the outset for improvisations. There is nothing exceptional in this by itself, but the way both musicians expand on the theme, and the way the other musician then takes this expansion as a basis for further exploration, is exceptional. Even more so, because they are not afraid to use dissonance as a key ingredient of their sound.” -Stef Gijssels
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AB BAARS tenorsax/clarinet/shakuhachi
IG HENNEMAN viola
Recorded December 12 2017 at Studio Helmbreker Haarlem
Release date March 14, 2018
Recording Micha de Kanter/Mideka Music Recording
mixing & editing Micha de Kanter Ab Baars Ig Henneman
design Francesca Patella
photo’s Ig Henneman (cover) and Fabio Ciminiera (live at Giulianova (IT)
produced by Ig Henneman
Autumn Songs
Autumn Songs
“…I dare you to draw a clear line between what is written and what is not. Even in free improvisation mode, this duo is in sync. That, and the unique melodicism arising from their duets, are what makes Autumn Songs an artistic success, an example of musical perfection.” -Francois Couture Listening Diary monsieurdelire.com 2013
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Tenor Saxophone, Clarinet, Shakuhachi – Ab Baars
Viola – Ig Henneman
Recorded on November 30, 2012 at Bimhuis Amsterdam.
A Free Step: The Music of John Carter
A Free Step: The Music of John Carter
“Ab Baars was a student and colleague of John Carter from the late ’80s until the great composer-clarinetist died in ’91. Baars obviously learned some big lessons given the Amsterdam-based clarinetist-tenor saxophonist’s excellent interpretations of 10 of Carter’s most technically treacherous and deeply moving compositions on A Free Step. Baars’ use of such Carter clarinet signatures as a piercing tone in the high register, skittering, largely chromatic runs and visceral overtones repeatedly bear an uncanny likeness to his mentor’s. But Baars is clearly pursuing his own voice through this demanding, rewarding material; in this regard, his outings on tenor provide a necessary contrast. His colleagues are well-suited for the project: Wilbert de Joode is a powerful bass player, whose work is often strongly felt before the notes are fully articulated in the mind; and Martin van Duynhoven is a solid ensemble player who pushes the music with shrewd cross rhythms. They are a trio that does justice to the music of John Carter.” -BILL SHOEMAKER, JazzTimes
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Recorded at Bimhuis, Amsterdam January 25, 1997 (tracks 3, 5, 6) and at Polanentheater, April 23-24, 1998 (tracks 1, 2, 4, 7, 8, 9, 10)
Clarinet, Tenor Saxophone – Ab Baars
Double Bass – Wilbert de Joode
Drums – Martin van Duynhoven
3900 Carol Court
3900 Carol Court
[…] The Ab Baars Trio has always excelled in subtle improvisation, but so ingenious and sensitive as in this concert programme I have not heard them before. […] In this programme Baars again showed his mastery in making essentially little accessible music accessible. –Kees Polling
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Bass – Wilbert de Joode
Clarinet, Tenor Saxophone – Ab Baars
Drums – Martin van Duynhoven
Theater a.d. Molenlaan Bussum 15-03-92 (tracks 1, 2, 6, 7)
BIMhuis Amsterdam 20-03-92 (tracks 3, 4, 8)
BIMhuis Amsterdam 28-06-92 (track 5)
BIMhuis Amsterdam 07-06-92 (track 9)
150 @ Wels Unlimited 2025
150 @ Wels Unlimited 2025
My impressions from another great and inspiring edition of the festival “music unlimited” wels:
[…] Then the 150-year-old duo of Dutch violist Ig Henneman (80) and tenor sax player, clarinetist, and shakuhachi player Ab Baars (70) decided at the last minute to play a free improvised set (and not the program Autumn Songs, Wig, 2013). It was an inspired, deeply emotional conversation between soul mates who know and love each other and always find the innocent joy and inspiration in playing together. It sounded as if all notes landed in their perfect place and none were redundant, and articulated with captivating elegance, sheer beauty, and inspired grace. […]
-Eyal Hareuveni, Free Jazz Collective blog, November 2025
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This release is part of the celebration Shapes Lines and Layers – Ig Henneman Ab Baars 150
Dokzaal Amsterdam 28/12/2025
AB BAARS: teno rsax, clarinet, shakuhachi
IG HENNEMAN: viola
All improvisations by Ab Baars & Ig Henneman (buma stemra)
Live recording November 9 2025 at Schloss Puchberg, Festival Music Unlimited 39 Wels, Austria by Philipp Feichtinger
Mixing editing Micha de Kanter/Mideka Music Recording, Ab Baars
Mastering Micha de Kanter
Photography Žiga Koritnik (cover), Peter Gannushkin (liner photos)
Design Francesca Patella
Produced by Ig Henneman 2025
With support of Paul del Maschio & Peggy Walker, het Cultuurfonds, Amsterdam Fund for the Arts, the Wig Foundation and donations.