Wig21: Ig Henneman Sextet: Live @ The Ironworks Vancouver.

Wig21: Ig Henneman Sextet: Live @ The Ironworks Vancouver.
Wig21: Ig Henneman Sextet: Live @ The Ironworks Vancouver.
Label: Wig
Catalog Number: Wig21
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Ig Henneman Sextet 

Ig Henneman (NL) - viola and compositions 
Ab Baars (NL) - tenorsax/clarinet/shakuhachi 
Axel Dörner (DE) - trumpet 
Lori Freedman (CA) - bass clarinet/clarinet 
Wilbert de Joode (NL) - bass
Marilyn Lerner (CA) - piano 

1 Tracks 5:30 
2 Prelude for the Lady with the Hammer 8:44 
3 Kindred Spirits 9:16 
4 Bold Swagger 5:30 
5 Light Verse 11:00 
6 A ‘n B 9:08

total time 48.24 

all compositions Ig Henneman 
buma stemra 

recording June 28, 2012 
TD International Jazz Festival Vancouver 
The Ironworks Vancouver 
recording editing mixing & mastering Will Howie 
design Francesca Patella 
photos Ab Baars (cover), Chris Cameron (live) 

produced by Ig Henneman

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reviews Ig Henneman Sextet

about Ig Henneman Sextet Live@The Ironworks Vancouver Wig 22 (2012)

(...) Ig Henneman's compositions are not jazz. "Prelude...", as well as other pieces like "Bold Swagger" present a vision of music that yields toward freedom and expressivity of radical improvisation but are born from the classical sensibility of XXth century avant-guarde music (...) "Live @ the Ironworks Vancouver" takes the best of both musical worlds with staggering results.
---Jazzowy Alchemik April 19, 2013

Dutch Improvisational Reinventions
(...) It might seem odd to write elaborate, chamber-ish compositions when your band includes top-flight improvisers like trumpeter Axel Dörner and reedist Ab Baars, but violist Ig Henneman strikes a meticulous balance with her sextet on Live @ the Ironworks Vancouver (Wig21; 48:25****), where the personnel brings electricity to her writing. At its best the group–which also includes bassist de Joode, clarinetist Lori Freedman and pianist Marilyn Lerner–dissolves the lines where the austere arrangements and post-Morton Feldman composing ends and the improvisations begins.
--Peter Margasak Downbeat February 2013

(...) In this way Henneman developed a complete own language that shines with purity and authenticity (...) the six members own strong personalities that they like to show with guts, patience and measured discretion.
--Tim Sprangers Jazzinternationalrotterdam.nl

(...) Just like Ustvolskya Henneman asks a fearless attitude from the listener. One who listens attentively will be rewarded with sharp, uncommon colored music.
--Mischa Andriessen Trouw Januari 18, 2013

(...) Ognuno dei 6 titoli fa cronaca a se, in ‘een verhaal’ comunque coerente che dalla prefazione percussiva di Tracks si spinge fino alle atmosfere psycho-cinematografiche di A ‘n B.
Del resto in tutte e 6 le improvvisazioni soffia aria di destrutturazione / strutturazione, con flash improvvisi - e spesso imprevisti - che comprendono ‘europese echo's’ alla Altena, onomatopeie in stile Mingus e vagiti ancestrali di fiati come comanderebbe, se fosse vivo, nonno Ayler.
Una grattatina di ostinati psicotici, qualche scorza di puntillismo, un po’ d’ambient quartomondista, e il brodetto è pronto per essere servito.
È compito vostro fargli festa.
e.g.(no ©) 10-1-2013 Sands-Zine
--Etero Genio (no ©) 10-1-2013 Sands-Zine

(…)The absence of a drummer makes that the six musicians cannot lean backwards. The intern rhythmic motor has to turn in the overdrive now and that makes a highest concentration that gives a fascinating earplay for the full 48 minutes
Herman te Loo Jazzflits 22 oktober 2012

The Sextet's chamber works, such as these composed tracks, paired with the restrained and disciplined improvising of virtuoso performers makes for a great experience.
--Mark Corroto allaboutjazz.com January 25, 2013
Before we say goodbye to 2012

(...) Dat ze er na een prachtig parcours nog altijd in slaagt om te blijven pieken is dan ook een hele mooie bonus. Daar heeft ze ook een pracht van een band voor uitgekozen. Niet te missen voor muzikale avonturiers.
--Guy Peters  Enola.be

This is a stunning document with a unique sense of synergy. Full of improvisations that allow the members to express themselves while genuinely interacting with the implications of the compositions.
--John Dikeman