Gebhard Ullmann – soprano and tenor saxes, bass clarinet | Michael Jefry Stevens – piano | Joe Fonda – bass | George Schuller– drums, toy whistle, percussion Continue reading
One of the finest improvising units working today Conference Call is a complete band, capable of touching all the jazz bases, be they individual or group improvisation, or the performance of composed music. The quintet’s sixth release, What About…? is a two-disc session from the band’s 10th anniversary tour, and was recorded live at Alchemia in Krakow, Poland.– Mark Corroto – All About Jazz Continue reading
Multi-instrumentalist and composer Gebhard Ullmann lays down the ground rules without ado with the slam-bang title Don’t Touch My Music. There should be no qualms about that, Ullmann’s music is made to draw rapt attention. The closer one listens, the more there is to discover. Ullmann brings in an evolving, and revolving, cast of characters to give voice to his music. Each ensemble brings certain attributes and direction to his compositions that absorb various strains to enrich them. Basement Research with Steve Swell, Julian Arguelles, John Hebert, and Gerald Cleaver has marked an indelible presence with their earlier work. And there’s no messing around with them this time either. The members of Basement Research have honed empathy to a fine skill. Surprise is the hallmark of their cross-pollination of genres. The band dons and doffs styles in seamless motion, playing in sweet consonance at one moment and taking off at tangents the next. An intimate conversation warps into disparate strain. And with the wit and sly humor they inject, thees CD’s turns out to be quite the excellent entertainer. Continue reading
Thefour players get off to a sparring start as they weave rings around each other in the quiet introspection on “Blaues Lied”, before they find the blues. The pace continues to be sombre: Ullmann takes the tune out on the tenor saxophone, laying the melody open and bringing in dramatic turns and twists. He forges new ideas on the go as he changes pitch and direction. When Malaby comes in, the atmosphere opens up and the two horns shoot some tensile lines, which evaporate as Malaby traverses new territory with a cogent solo on the melody. Ideas continue to germinate as the recording proceeds. Ullmann moves to the bass clarinet on “Kreuzberg Park East”. Shifts of time herald this tune, where Ullmann and Malaby engage in spirited exchanges that heat up as they go along. There is never a dull moment as the tension of the horns is leavened by the space created by bassist Drew Gress and drummer Phil Haynes, flexing the rhythm with light accents. “New No Ness” is a happy romp with Ullmann on the soprano, unfurling light and airy spirals. Malaby comes out and swings before he goes into an open-ended improvisatory run and cues in Ullmann and Gress, who cast intrigue with their turn of pace and direction. It is here that the Ullmann flips the tune into calmer waters; he churns the mix with darting lines before the group gets back together and rollicks off into the night.– Jerry D’Souza, All About Jazz) Continue reading