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Featuring Gebhard on
bass flute & bass clarinet, Chris on double bass, electronics & toys and
Peter on double bass. Three fine musicians, three low-end specialists
and three players who have spent time in both New York, as well as in
Europe. Gebhard used to live in Brooklyn, as well as uptown and
currently resides in Berlin, where Chris is now living. 'BassX3'
explores the lower terrain of (mostly) acoustic sounds, from two strong
contrabassists and some deep bass flute or bass clarinet. The
marvellous blend of bowed and plucked basses with ghost-like flute or
clarinet fills the air. A lusciously recorded trio, warm and resonant,
with the wood, strings and hair of the bow well captured. "Small Birds"
opens with some toys, bass clarinet played without the reed and some
strange percussive bass sounds. This sounds like a mostly improvised
affair, yet the trio works magically together, bending and twisting
their notes into unique shapes. When both bassists are bowing on the
title piece, it sounds as if the cosmos is being awoken, digging into
the murky depths. I love the way both bassists work with harmonics on
"Red", as the flutes swerves quietly around them. Often the overall
sound is quite alien and other-worldly, hard to believe it just a couple
of bassists and a low-end reeds-man. |
Downtown Music Gallery
Bruce
Gallanter |
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BassX3, reedman Gebhard Ullmann's exploration of soundscapes
dwelling in the lower end of the sonic spectrum, huffs in on on a low
tone, a bass flute rumination joined shortly by the elastic sound of a
bowed bass.
Two
basses, Chris Dahlgren (Jazz Mandolin Project), and Peter Herbert,
internationally known for his film and dance scores, join Ullmann, who
plays bass clarinet and bass flute here. The mood throughout has a
brooding and introspective feel, darkly passionate, hypnotic at times,
and always deeply organic, evoking images of the slow and relentless
churning of subterranean life.
A
rubbery feeling of spontaneity is the key to the music's success; and it
is a sound that works best when given full attention. Try to use it as
background and it insistently pulls you away from the distraction you
put in its way. Ullman can sound gruff or silky smooth on either
instrument, and bassist Dahlgren adds some spare but nicely-placed
percussive textures with toys, and electronics for a subtle insertion of
time, elements in an otherwise liquid flow.
The
restriction to the lower end of sound might suggest limitations, but
BassX3 comes across as a full listening experience, not unlike what
one encounters on some of the Spirit Room CIMP discs. You probably won't
come away from the music whistling melodies, but a definite sense of
marrow-deep nourishment lingers.
A darkly
alluring listening experience. |
All About Jazz
Dan
McGlenaghan
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Just when you think that he has done it
all, sax sophisticate Gebhard Ullmann rolls the die with a new take,
this time one that turns the concept of the saxophone-led trio on its
face. Perhaps only Ullmann could explore the depths of Hades with such
off-handed candor. Two double basses performed by Chris Dahlgren and
Peter Herbert lay the foundation, with Ullmann's alternating bass flute
and bass clarinet providing contrast, while Dahlgren tops it off by
doubling on toy sounds and a smattering of electronics. To be sure, the
bass flute, despite the adjective "bass" is nonetheless a flute, not a
tuba, nor for that matter a bass trombone, so it contrasts starkly with
its stringed cousin -- the double bass -- and it is these contrasts and
the enormous diversity of sound that fascinate and lure the listener.
The results are very different than, say, Ullmann's The Big Band
Project, but equally intriguing. Those familiar only with Ullmann's work
on various saxophones may be surprised by his virtuosity on flute and
clarinet, though his remarkable discography reflects a passionate
explorer whose projects bubble with innovative sounds. For this one,
highlights abound on almost every track. "Gross and Klein," for example,
features overblown flute bursting with short Jazz-inflected phrases
juxtaposed against one muscular, percussive bass and another simply
infused with unadulterated strength. This is followed by "Small Birds/ DreiHolz," with its weird opening sounds that simulate a sickened
cornet, backed by frenetically percussive bass, after which Ullmann
ultimately breaks through on bass clarinet with singular clarity. The
tracks have the ironic sense of being freely improvised yet directed and
highly disciplined. There are incredible feats of musical acumen
throughout by all three players, the results being alternatively
startling, invigorating, disturbing, and even astonishing. Despite what
might appear at first blush to be limiting instrumentation, Ullmann does
the nearly impossible by maintaining endless variety. While the
dirge-like title piece, BassX3, may at first resemble a somnambulistic
ambient chant, the flute's flight of fanciful song rubs the harmonics of
the basses with striking contrast. "Blue Mint" has a clear Jazz element.
The only misfire comes from the closing "Slowliness in Green and
Yellow", with the bass clarinet hovering above the two string basses,
the piece dragging and faltering under its own weight. Overall, though,
this is an innovative and unusual recording, and another worthy addition
to Gebhard Ullmann's remarkable body of work. 3 1/2 Stars
(Excellent) |
Steven Loewy
All Music Guide |
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