Cecil’s Dance

Ab Baars (NL) - clarinet/shakuhachi
Joost Buis (NL) - trombone
Berlinde Deman (B) - tuba/serpent

release date
December 11, 2023

For John 3:30
The sky and the sea 6:40
Kikiriki 3:58
This nearly was mine 8:04
Shuffle for Tristan 1:49
Jackdaw 4:13
Portrait of The Selfkicker 3:13
Faintly White 2:25
Cecil’s Dance 7:26
Louange des dames 4:04
total time 45:33
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

All compositions Ab Baars
buma stemra
3 lines from W. Stevens 4 Rodgers & Hammerstein 5 Baars Buis Deman 7 poem Johnny van Doorn 10 Guillaume de Machaut

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

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