Perch Hen Brock & Rain

Ig Henneman, Ab Baars, Ingrid Laubrock, Tom Rainey

Live & The Jazz Happening Tampere
Wig 26, july 7 2016

(...) Reedist and shakuhachi player Ab Baars known from the ICP Orchestra
and violist Ig Henneman released the album 'Live @ The Jazz Happening
Tampere together with the American label RPR, by which they proof to be at
the top of the international impro-scene.
--Jan Jasper Tamboer, Parool

(...) The communication between the musicians is almost perfect, they are
not treading on each other's toes. The entire album works beautifully as a
--Jan Granlie saltpeanuts

(...) We can hear the way they converse in a most engaging way, exchanging
ideas, lines flowing back and forth throughout. (...)This is a most
extraordinary quartet, one of the finest improvising units of the year. We
can only hope that this fine quartet will find their way here in the near
future. In the meantime, check this dynamite disc!
-- Bruce Lee Gallanter, DMG New York

It has become a very beautiful album.
--Ben Taffijn,

(..) The recently released cd 'Live @ The Jazz Happening Tampere’ proofs
that stunning music can be created without making any appointments. The
interplay between timbre and dynamics is so well balanced that the listener
however suspects a composers hand in the whole form. (..) You hear the
musicians on the top of their focus. What happens next is a real miracle.
--Mischa Andriessen, Trouw

(...) This intersection of the newer Dutch swing and post- Downtown New York
sound evidences a newly refreshed improvised music. Not free jazz, nor exactly
free improvisation, the five pieces make mannerly and urbane connections.
It's difficult to define a leader for this quartet, maybe because so much is shared.
"Brock" opens with Laubrock and Baars trading saxophone notes from the upper
and lower registers until Rainey pushes the "go" button with his drumming.
After a pause at the midway point, Henneman's viola signals a slower tempo and
an abandonment of all aggression. She opens "Rain" with a high-wire performance
that calls for the dancing sticks of Rainey, Baars' clarinet, and the bird-like
calls of Laubrock's soprano saxophone. The music develops as a piece of
chamber music albeit never abandoning the heated flames of improvisation.
Baars' shakuhachi playing is mystical on "Tampere" and "Hen," both pieces
that gather momentum as improvised music, but coalesce as seemingly
composed music. Such prestidigitation is evidence of music making
at the highest levels.
--Mark Corroto **** -