German multi-woodwind artist Gebhard Ullmann is a resourceful performer who's often willing to explore jazz improvisation within diverse groups. Known for pushing the envelope, the artist and his trio explore the lower-register realm on this studio set.
Ullmann's use of bass clarinet and bass flute serves as the underpinning for his exchanges with bassist Chris Dahlgren. Entrenched within free improvisation, the trio explores cyclical themes and injects mood-evoking sensations into numerous movements. Dahlgren's added electronics convey a sludgy bass sound in certain spots, which presents a myriad of curiously interesting propositions. At times the trio indulges in quiet and largely subliminal interactions. But Ullmann turns up the heat on pieces where he sports a raspy bass clarinet tone, often paralleling Dahlgren's dense lines and snaky arco passages.
Cut It Out is sort of a holistic electro-organic mix, marked by push and pull techniques and tumultuous overtures. For example, Ullmann whips matters into a frenzy during the soaring "No Mouthpiece. And on "Walking Under Trains, the trio abides by a loose groove framework, complete with Jay Rosen's budding rhythms and slap-dab cymbal work. Sure enough, this trio resides within the proverbial cutting-edge echelon of modern jazz.
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St. Needless to say, Jazz and Blues were always on the stereo in our home. I was steeped in these exciting sounds, and they make up some of my earliest memories.