The Clarinet Trio: 4 (Jurgen Kupke, Michael Thieke, Gebhard Ullmann)

Wind-only or horn-only ensembles rely as much as any conflagration on the distinctive sound of the instruments separately and collectively and the distinctive character of the pieces played. Without some special set of qualities things can begin to have a certain sameness.

The Clarinet Trio have all these things going for them. They deliver individual sonarity, a disciplined ensemble sound in a free-flowing context--and both compositions and improvisations that go far from the ordinary.

The new album, simply titled 4 (Leo 622) reflects the members's long association (since the '90s) and the unique makeup of the program. This is Gebhard Ullmann's baby in many ways. He plays bass clarinet in the ensemble and provides all but one of the compositional frameworks (there's an Ornette Coleman work; there are also two collective improvisations by the trio). Joining him for the distinctive group sound are Jurgen Kupke on clarinet and Michael Thieke on alto clarinet and clarinet.

Each composition is its own universe with written-out sections of great motor vibrancy contrasted by quieter moments of relative repose, notes deliberately played sharp by the ensemble for a blue note avant effect, different forms of articulation and dynamics.

The end results are striking. It's a trio with a sound like no other, playing music that is challenging yet appealing, that stretches from the bluesy roots to the newest avant branching off, Ullmann-style.

4 is one of the most interesting and exciting jazz wind ensemble recordings I've heard in years. There are ear-opening blends, a striking originality and a program of great musical ideas worked out with precision, freedom and passion combined.

BassX3, Transatlantic: Gebhard Ullmann, Chris Dahlgreen, Clayton Thomas

Gebhard Ullmann has been making a name for himself over the last decade in various contexts, most notably as co-leader of a quartet with trombonist Steve Swell.

BassX3 is a most unusual proposition of reeds and two basses--Ullmann on bass clarinet and bass flute, and the contrabasses of Chris Dahlgreen and Clayton Thomas. Their second recorded effort, Transatlantic (Leo 625) finds them exploring freely the kinds of unusual timbral color combinations and group sounds attainable through imagination and inspired improvisation.

Only one piece has freely walking basses and "jazz-oriented" bass clarinet soloing. But there are moments of fire-energy typical of "free jazz" at its most outgoing. The rest make use of the contrast between reeds and the low and complex sounds two basses can produce via arco and sometimes relatively unconventional playing techniques. Throughout this contrast forms a basis for the music that comes about.

The end result is an improvised new music that fascinates and brings new sounds into your listening world with forethought and a dramatic sense.

The Ullmann-Swell 4 and Their "News? No News!"

This exact band (Ullmann, reeds; Swell, trombone; Greene, bass; Altschul, drums) recorded on Cadence in 2004, producing a rather exciting disk which I've reviewed in a posting on this site (see below). They return with a superb avant jazz set today on the Jazzwerkstatt release News? No News! (Jazzwerkstatt 068).

This is a well-matched set of players. Gebhard Ullmann plays a raucous, probing tenor and a snaky, fleet bass clarinet; Steve Swell is one of the handful of truly premier avant trombonist working today, a master of projection and color, extroversion and subtlety; Hilliard Greene plays a foundational bass that figures prominently in all that happens on this album. He is a rock. Barry Altschul has been an important innovative force in jazz-improv drumming ever since his seminal work with Paul Bley and Chick Corea, among many others. He sounds better than ever here. Whip-snap swing and a melodic approach to the full drum kit are what you expect from Mr. Altschul, and you get it here, for sure.

With my descriptions above, you might expect that this music just HAS to be good. Sometimes a group that should be really terrific on paper never seems to get it going in real time. That is not true here. This is modern improvisational avant jazz at its finest. But be careful. You may wake up your cat when you play it!