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Wig 09 |
Judging from the recorded evidence, this must have been a festive event indeed. 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. Special guests Ig Henneman on viola, pianists Guus Janssen and Misha Mengelberg, and Mariëtte Rouppe van der Voort on alto sax, flute and piccolo all contribute marvelously inventive passages, both as soloists and in ensemble. All are old friends and associates. Baars has known van der Voort since his student days in Rotterdam, he was a member of Janssen's first Septet, and his long-time partner Henneman performs with him often in duo format, splitting their time between Holland and Italy. Henneman has a particularly cogent solo on John Carter's "Enter from the East." Baars received a scholarship from the Dutch Ministry of Culture in 1989 to study with Carter for two months in Los Angeles. The continuing influence of the master clarinetist and composer is evident in this evocative performance and in Baars' playing elsewhere on the disc. His control and passion when exploring the clarinet's falsetto register are matched by few of his peers. The core trio of bassist Wilbert de Joode and drummer Martin van Duynhoven celebrated ten years together with Baars on this joyous and adventurous collection. Their chemistry is omnipresent, with de Joode's powerfully corporeal approach to the bass dovetailing nicely with van Duynhoven's crisp, precise drumming. There are way too many other highlights to mention them all, but the remarkable rendition of Monk's "Reflections" has to rank up there. Baars seems to be one of the few tenor players who count Von Freeman as a primary influence (thanks to van der Voort, according to the liners.) It's interesting that the Vonski-isms surface most pronouncedly on the Monk tune (featuring the trio plus Mengelberg,) rather than on Baars' original "Von," which seems somehow more akin to Joseph Jarman than it does to Freeman. "A Portrait of Roswell Rudd" has witty piano solos from both Janssen and Mengelberg, abstracting elements of Rudd¹s idiosyncratic trombone sound and style. Baars has been a member of the ICP (Instant Composers Pool) Orchestra for around two decades and his communication with ICP co-founder Mengelberg borders on the uncanny. Janssen's composition "Indiaan" was previously recorded by the trio in 2000 on Songs, their acclaimed collection of pieces derived from traditional Native American music; it is based on a Penobscot greeting song. The composer's fleet, polyrhythmic solo and complex interactions with Baars' clarinet are delightful. Party at the Bimhuis is a brilliant recording. It's obvious that the participants had a great deal of fun creating this music, and you'll have plenty of beautiful bright moments when you listen. - Bill Barton © 2003 Sudden ThoughtsCD Reviews |
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Ab Baars - clarinet, tenor saxophone plus guests: Ig
Henneman - viola Track Listing: 1. 3900 Carol Court (Baars) 5.12 2. GF (Baars) 6.15 3. Indiaan (Janssen) 5.48 4. Party Talk 1 5.14 5. A Portrait of Roswell Rudd (Baars) 7.12 6. Party Talk 2 1.55 7. Von (Baars) 7.01 8. Party Talk 3 2.03 9. Whisper-soft Horsemeat (Baars) 0.33 10. Reflections (Monk) 7.57 11. Enter from the East (Carter) 4.54 BUMA | STEMRA recorded by Dick Lucas DATA
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