Archive for month: January, 2017

Liquid Songs promo video

live at the Bim Huis [rev_slider alias="lspv"]
Jazznytt #241
review by Bjarne Soeloft November 2016

The visit in Oslo of the Dutch duo Boi Akih during European Jazz Nights 2009, and their fifth excellent Yalelol (reviewed in Jazznytt #2-2008), arouse warm memories. The duo, consisting of the married couple Niels Brouwer on several acoustic guitars and the Indonesian vocalist Monica Akihary, constitutes the basis in varying constellations from disc to disc. On this new Liquid Songs they play together with the German Tobias Klein on his flexible bass clarinet and the dramatically outstanding contrabass clarinet, and also the Japanese Ryoko Imai with her poetic, percussive eruptives and atmospheric marimba playing, as the most organically attuned fellow musicians on the Boi Akih-records. The lyrics are all written by Akihary, and mainly in the language of her family, haruku. Brouwer is both the composer and group leader with his distinct, comprehensive guitar playing. The music uniquely integrates elements from world music, contemporary music, jazz and improvisation. The introductory track, “Liquid Songs”, lasts for fifteen minutes and expresses much of the musical language of the group, ranging from quiet acoustically produced sound landscapes – crawling, floating, pulsating – over to Akihary’s textual homage to life, which certainly also is let loose in a unique collective improvisation. In addition comes the melodious, tender ballad sung in English, ”Little Girl”, as well as songs about both spiritual and erotic love, respectively ”Ale Mei Wa’ati” and ”Japala’a”. And lastly, in the wordless ”A Stranger Everywhere”, Akihary succeeds in creating – with her natural resonant contralto voice – a profound sense of existential gratitude.

Review Rui Eduardo Paes 4Jan 2017 ****
review by Jan Granlie 14 nov 2016
review by Mattie Poels 28 nov 2016 'Transparent fluidity in 'Liquid Songs’
review by journalist Ton Maas ( NL)
review journalist Pachi Tapiz (ES) #nr.6 ****
review by Thomas Hein january 2017