(Dutch magazine)
For years now the Dutch diatonic accordion players have been looking forward to the moment they could listen to the first CD by Arie van Lienen and Peter Pot. This moment has finally arrived! These two virtuoso innovative diatonic accordion players have been joined by acoustic bass player Philip Baumgarten, but the two diatonic accordions are still very much in the spotlight. When I first heard the CD, I was a bit disappointed. Had I expected too much of them? Not at all! This is music you must listen to several times. Every time I listen to this CD I think it's more beautiful!
Arie and Peter play very well on their instrument and it's clear they have been playing with each other for a long time now. Their playing fits together beautifully! The Castagnari's sound very good together, sometimes as one instrument. Philip Baumgarten's bass playing sounds best when he plays freestyle. All compositions except one were written by Pot and van Lienen. The playing of Peter Pot is more modern than the playing of Arie van Lienen. His compositions are often based on rhythmical ideas and incorporate great dynamic differences. 'Vlinders' is a good example. I consider this song to be one of the most beautiful compositions on this CD. The danger of this kind of compositions is they can easily become a reason for too much technical display. This is not the case; this is beautiful music throughout, which in part is also due to the clear sound the producer managed to capture on this CD. For Arie van Lienen, the melody is of the utmost importance.
'Nectar' and 'De Witte Ballon' are typical, melancholic Arie van Lienen tunes. These are sweet melodies that could lure you to sleep, but that will never happen: the exciting arrangements will keep you wide awake. Emiel is a cleverly made suite by Arie with changing meters.
I admire the courage Arie and Peter have shown by writing all this music.
Personally, I think the only traditional, Les Noto, a Macedonian 7/8 meter, is one of the most beautiful tunes on the CD.
But, in the words of Riccardo Tesi: ''This music is innovative, full of ideas and surprises, well played and well produced. I love artists who have the audacity to take risks in their search for original music, artists who have something personal to say. My compliments!'
I wish to say it again: take your time to get to know this music, it is well worth the effort!
Mark Benjamin

(world-famous accordion player from Italy)
The diatonic accordion and traditional folk music have been discovered again by a new generation of musicians. The tradition is important; it is the basis of new music. That is why I welcome the CD by Pot, van Lienen & Baumgarten very much.This music is innovative, full of ideas and surprises, well played and well produced. I love artists who have the audacity to take risks in their search for original music, artists who have something personal to say. My compliments!

At last something happens in Holland on the diatonic accordion. Peter Pot and Arie van Lienen have their very own style, in stead of being a clone of someone. A few years ago already I found their performance before the conservative diatonic scene daring. Now they have made an even more daring CD. Like Riccardo Tesi tells us in the cd-inlay: this music is innovative, surprising and original. Philip Baumgarten, the doublebass player, could have played more on the foreground, he earns a bigger role.
This music lives from the beginning till the end. "Nectar" should be listened to several times, you will discover more and more. The compositions are well-considered and played with devotion. These musicians are one with their instruments!
Ron Janssen

Belgian magazine )
Usually the music from Holland is so simple its annoying. This music is completely different, however. This is surely one of the better CD's. Two diatonic accordions and an acoustic bass player from the jazz scene play music with a modern approach. They have many new ideas, but I also recognize many influences from other parts of Europe. It would have been nice if they would have elaborated a bit more on some of their nice ideas. Maybe next time. Don't stop listening after your first impression! This CD becomes better and better after listening to it more. This is a quality of much original and good music. We really recommend this CD!
JDo

( French magazine)
A Flemish trio of two diatonic accordions and an acoustic bass. Beautiful music, influenced by Riccardo Tesi. This music reminds me of the famous 'Trans-Europe-Diatonique' of Silex. Tunes, improvisations, variations. Virtuosity and musicality.We surely hope to see and hear this trio on the festivals.

Nieuwsblad van het Noorden

Nieuwsblad van het Noorden
(Dutch newspaper)
Few instruments sound so regional as the diatonic accordion. But when Peter Pot and Arie van Lienen play on this instrument (Philip Baumgarten is the acoustic bass player), they sound decidedly international. It is clear from the changing meters they play that they have listened to music from other countries than their own. Their rhythmical approach is very lively, with innovative rhythmical parts. I would like to use an analogy to make clear what this music means to me; if we compare this music to rap music, I would say it's much more interesting, as I think Baroque music is much more interesting than romantic music.

(Website U.S.A.)
Peter Pot, Arie van Lienen and Philip Baumgarten form a Dutch roots revivalist trio composed of two accordions and acoustic bass. On this album, they play a series of original instrumental compositions inspired by French and Low Country folk music and developed along a more improvisational line. Sometimes the improvisation is pronounced, as on "Kuierje." The piece begins as both accordions play what appears to be a simple repeating folk line until bassist Baumgarten gets to his solo. Then the tune takes on an entirely different form as the bassist's solo is a jazz passage completely outside the folk structure. The tension between the parts is delightful before the accordions return to restate the composition's main line.

On other songs such as "Emiel," the tension is between the two parts of the composition. The song opens with a simple line that appears to reference French bal-musette music. Then the piece segues into a Celtic reel. But a few bars into the reel, Baumgarten opens the piece with a bop sounding solo while the accordions keep a rock steady rhythm behind the bass. The piece is resolved as the accordions
return to restate the Celtic line. Other pieces are basically straightforward such as "Voor Jeanne," dance tune that appears to reference German influences. The title tune doesn't have any complicated rhythmic changes. It is simply a knock out gorgeous tune, one of those simple inspirations where every note of the melody is perfect.
The instrumental music in Nectar is the language of intimate European cafes, house parties and family celebrations. It's folk revival music without an over-academic feel.
Aaron Howard