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| 1. | Cutitout, Pt. 1: Grid Speak
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| 2. | Cutitout, Pt. 1: Calling Mr. Waits No. 1
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| 3. | U.S.O. Ballad
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| 4. | Lolligager
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| 5. | No Mouthpiece
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| 6. | Cutitout, Pt. 2: Calling Mr. Waits No. 2
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| 7. | Cutitout, Pt. 2: Mbira
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| 8. | Cutitout, Pt. 2: Walking Under Trains
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| 9. | Bass / Bass
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| 10. | Epilog (Ballad No. 2)
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Jazz / Avant-Garde Jazz, Modern Creative
Recorded: Mar 21, 2000
A new trio of equals inspired by the permanent Leo Records' recording artist Gebhard Ullmann. The sound of his bassclarinet and bassflute in conjunction with the amazing sounds of Chris Dahlgren's bass create some fascinating, dark, brooding, and highly original textures. The most sensitive percussion playing by Jay Rosen give shape to snipets of melodies which emerge and dissipate just to start everything anew.
There are few avant-jazzers quite as prolific as reedman Gebhard Ullmann, who has released almost 40 albums as a leader and plans to release four more by early 2006 -- though you could argue that number of releases counts for less when your focus is on free improvisation. (After all, improv albums require notably less preparation than do composed ones, and, if you're a cynic, you might suspect that there's no such thing as a bad take anyway.) On Cut It Out, Ullmann is teamed up with bassist Chris Dahlgren (who makes various electronic contributions as well) and percussionist Jay Rosen. The session was recorded live to two-track in Dahlgren's living room, and the music stays primarily in the low registers. Ullmann limits himself to bass clarinet and bass flute, and combined with Dahlgren's growling, muttering basslines and Rosen's nervous and jittery percussion, the sound throughout much of the album brings to mind a convention of huge, irritable insects. "Grid Speak" and "Calling Mr. Waits No. 1" are especially dark and ominous, while "U.S.O. Ballad" is more jazzy and features some downright gorgeous flute playing from Ullmann. "No Mouthpiece" offers little of interest beyond the percussion, which sounds suspiciously like a typewriter, but "Calling Mr. Waits No. 2" is intriguing -- it has a faintly Middle Eastern flavor, and brings to mind the image of a caravan making slow progress in the desert night. "Mbira" puts percussion and electronics at the center of the sound to nice effect, and "Walking Under Trains" actually flirts with a swing feel during a lovely conversation between the string bass and the bass clarinet, before launching into a resolutely swinging straight-ahead jazz section. Perhaps not essential, but well-worth hearing.
---Rick Anderson, AMG
Gebhard Ullmann
Active Decades: '80s, '90s and '00s
Born: Nov 02, 1957 in Bad Godesberg, Germany
Genre: Jazz
Styles: Modern Creative, Avant-Garde Jazz, Jazz Instrument, Saxophone Jazz
Multi-instrumentalist Gebhard Ullmann (born on November 2, 1957) grew up near Bonn, studied medicine and music in Hamburg starting 1976, and moved to Berlin in 1983 to live as a professional musician. One year later, the 27-year-old was leading (and co-leading) his own bands, releasing his first albums in 1985. The next few years saw him working with Alexander Von Schlippenbach and Paul Bley (among many others) as well as touring the Middle East, East Africa, Australia, New Zealand, South East Asia, Turkey, Poland, Lithuania and Estonia. In 1990, he began his Ta Lam project, whose second recording brought together musicians from East and West Berlin's jazz and new music scenes; the album was nominated Best Jazz Record of 1994 by the German Schallplattenkritik. A compilation of the two Ta Lam releases (originally released on Germany's 99 Records) was released in 1998 by the Songlines label. Since the mid-90s, Ullmann has split his time between Berlin and New York, played in Gunter Lenz' Springtime, and occasionally collaborated on projects with actor Otto Sander. The end of the '90s found Ullmann playing in the Clarinet Trio, Trad Corrosion (with Phil Haynes and guitarist Andreas Willers, (a longtime collaborator), in Basement Research (his group with Ellery Eskelin (later replaced by Tony Malaby), Drew Gress, and Haynes) and in Conference Call, a cooperative quartet with Michael Jefry Stevens, Joe Fonda and Matt Wilson or Han Bennink on the drums. In 2001, he began working with the NDR Big Band (with Tom Rainey on drums), eventually releasing the Big Band Project in 2004 featuring arrangements of his compositions by Satoko Fujii, Andy Emler and others. While recording and touring with all these various projects, Ullmann still found time to perform with the likes of Hamid Drake, Lee Konitz, Herb Robertson, Bulgarian master Ivo Papasov and Tony Buck (the Necks) among others while touring. 2004 saw still more touring with Conference Call (now with George Schuller on the drums), the Clarinet Trio (augmented by Hans Hassler on accordion), and a new quintet version of Basement Research as well as releases by Conference Call, the aforementioned Big Band Project the third CD of the Clarinet Trio and Desert Songs & Other Landscapes with the Ullmann/Swell 4 featuring Barry Altschul on the drums. 2005 was a landmark year for Gebhard Ullmann, celebrating 20 years since his first release and debuting a new project: Bass X3 with Peter Herbert and Chris Dahlgren on basses and Ullmann on bass flute and bass clarinet.
---Joslyn Layne & Sean Westergaard, All Music Guide |
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