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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 love jazz because it mixes intellect and emotion in a very spontaneous way.
I was first exposed to jazz by liberating a Coltrane and a Pharoah Sanders record from a friend in NYC and listening to them over and over until I got it.
My advice to new listeners is you have to take the time to listen to some jazz tunes a number of times until it starts to make sense.