Catalytic Quarterly Issues 1-4 (2018)
"In a very limited quantity of 30 hand-numbered sets, we present the first four issues of the Catalytic Quarterly collected in an envelope designed by our own Federico Peñalva. From Ken Vandermark's first article on the challenges of 21st-century sustainability to Mat's Gustafsson's collected Discaholic's Corner notes and everything in between from Ig Henneman, Andy Moor, Terrie Hessels, Paal Nilssen-Love, Joe McPhee, Joe Morris, Nate Wooley, Ab Baars, Elisabeth Harnik and Tim Daisy all of our partner artists non-musical Catalytic activity is collected in this set. Get one while the stock lasts! "
Canzoni di Primavera
""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 After their album "Autumn Songs" the Dutch improvising duo of Ab Baars on tenor sax, clarinet and shakuhachi and Ig Henneman on viola, celebrate the music of spring in "Canzoni di Primavera" (Songs of Spring) in 10 vivacious works blending free jazz and chamber music, with subtle use of timbre, dissonance and melody in pieces inspired by poets, composers and artists."
""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)"
Henneman String Quartet
""Spolia" is a term that comes from architecture and refers to construction sites that are repurposed from previous buildings. Similarly, the Dutch violist borrows this term for a title on her sixth album and thus also describes one of her typical methods of working. Musical fragments, on the present album taken mostly from the Italian Renaissance and folklore, are processed into new pieces and serve as the basis for improvisational excursions. This approach pays off numerous times. The tension between composition and improvisation, and between tradition and innovation creates uncommon music in the world of contemporary jazz music.” --Emanuel Wenger Jazz live - magazine for contemporary music February 2002 credits "
Henneman String Quartet
"The tension between composition and improvisation and between tradition and innovation creates an uncommon music that knows few equivalents in the world of contemporary jazz music. -- Emanuel Wenger "
Ig Henneman Kwintet
""… Her compositions inspire performances which are anything but ordinary, the collective improvising often breathtaking. The balance between melody and abstraction, rhythmic drive and ballad tones, keep it all sounding brilliantly right. In Grassetto feautures exciting bass clarinet Hein Pijnenburg, with Bart van der Putten's alto, Wilbert de Joode's bass, and Fred van Duynhoven's drums. They execute Henneman's turns magnificently. The leader has an original touch on viola." --Doug Lang CODA Magazine 1999"