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"HiGH ▀ iNTELLiGeNCE tRoLLS"
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a r t i s t : Gebhard Ullmann
t i t l e : Basement Research
d a t e : 1995
l a b e l : Soul Note
g e n r e : Jazz
r l s. d a t e : nov.-2004
t r a c k s : 10
b i t r a t e : VBRkbps
s i z e : 89,6 MB
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gebhard ullmann: soprano-, tenor saxophone, bassclarinet;
ellery eskelin: tenor saxophone;
drew gress: double bass;
phil haynes: drums
recorded and mixed november 15, 16 and 17, 1993 at sear sound,
new york. engineer: jon rosenberg, assistent engineer: bil
emmons. mastered at phono comp, tribiano, milano. engineer:
gennaro carone. producer: gebhard ullmann, executive producer:
flavio bonandrini; claudia ullmann: cover
liner notes by art lange (june '94)
the proof, if any is still needed, that jazz is an
international language exists on this disk, in this
multifaceted music. gebhard ullmann, who brings with him from
germany an armful of reed instruments and a fistful of
compositions, has joined forces with a fluent, self-contained
trio from brooklyn and discovered there is no gap in
communication, no differences in dialect. despite geographical
distances and cultural dissimilarities, the musical attitudes
they share cover a common ground.
ullmann and tenor saxophonist ellery eskelin are a particularly
interesting combination, as they seem to have arrived at a
point of conceptual agreement from contrasting philosophical
backgrounds. both, for example, have previously recorded "solo"
projects, but a brief look at these would suggest they'd have
little in common. eskelin's premonition (on a prime source cd)
offers three spontaneously improvised pieces and three
standards; with the exception of drum machine on "besame mucho"
there is no overdubbing or added instruments. the music
reinforces eskelin's position in the tenor sax tradition,
especially "body and soul" (every tenorman's test piece since
coleman hawkins' classic 1939 masterpiece) and "off minor"
(which, coincidentally, hawkins also recorded, with monk, in
1957). the purity of his linear approach frees him to
creatively distort the melodic line with sudden dynamic drops,
mid phase tonal peculiarities (from a coo to a rasp), and a
grasp of chromaticism in the webster/gonsalves/shepp continuum
- which also seems to magnify the swing, rather than bop, of
his understated rhythms.
ullmann, on the other hand, took the solo challenge as license
for personal expression in a compositional vein. his tß lam (99
records) is a sequence of brief vignettes and longer pieces
that suggest windblown landscapes and organic shapes in nature,
rock formations and foliage sculpted by the elements.
methodical overdubbing (up to 16 different woodwinds) and even
an accomplice on accordion allow him to create layers of
activity and impressionistic voicings; yet when the texture
thins to a single bass clarinet or tenor sax line he too seeks
to stimulate the phrasing by avoiding well worn intervals.
up to this point they seemed to stay in character regardless of
setting. eskelin's work in his longstanding trio (significantly
with drummer phil haynes and bassist drew gress) and the
cooperative quartet joint venture (adding trumpeter paul
smoker) stresses his improvisatory powers, and his own 1993
soul note session, figure of speech, an unlikely trio of tenor,
tuba, and hand percussion, has a loose, limber feel. ullmann's
music, whether the scored ensembles of his sextet or octet
named tß lam, or his varied collaborative efforts with
guitarist andreas willers, focuses on issues of color and
construction - even when improvised, his material strives for
an arranged ambiance.
which is why their compatibility in this quartet is such a
pleasant surprise. neither a blowing session nor a strict
charted program. basement research is a sympathetic combination
of tonalities and attitudes - with an edge to it. given their
nearly telepathic relationship, one might expect the music to
be controlled by the trio of eskelin, gress, and haynes, adding
ullmann as a peripheral solo voice, but that's not the case.
there's no imbalance of emphasis or style; on the contrary,
what emerges is an ingenious reconsideration of the quartet
rhythmic format. haynes and gress deserve special credit for
their roles in outlining a flexible approach to the music's
movement and mood. gress' may be the most difficult, requiring
him to remain fluid and expressive while keeping the tonality -
explicit or only implied - a vivid point of reference. haynes,
meanwhile, is able to take advantage of different rhythmic
strategies for different tunes. for example, he shadows the
melodic line on n.b. eleven, creates a layer of propulsion
contrary to that of the horns on think tank , sustains the
shifting swing feel of new no ness , and provides
unconventional percussion helping to establish the mood of
basement research. by riding against the grain of the horns
and, often, the bass, haynes keeps the music remarkably fresh
and still cohesive.
ullman and eskelin, too, look for ways to invigorate the front
line. on cafΘ toronto the tenors intertwine convincingly, on
farbiges lied soprano and tenor dart and parry before taking
the theme in unison. the floating rhythms and rubato of the
varied compositions give them space to breathe, or ornament
each other's line. when they approach freedom, they do so with
caution and concern for its effect on the music's equanimity.
eskelin's temperature is frequently hotter; ullmann burns with
cooler flame. but throughout they're able to make a personal
statement without disrupting the flow, or undermining the
ensemble unity.
the presence of gebhard ullmann in this otherwise
self-sufficient trio is enough to alter the group dynamics
significantly. his tunes take unusual tacts, allude to new
possibilities, create tangible relationships. but what's most
impressive about basement research is that it is the product of
four individuals who have made creative choices, and combined
in a mature, distinctive music. those are qualities that are
understood in any language.
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01-D. Nee-No [06:06]
02-Think Tank [02:53]
03-Cafe Toronto [05:43]
04-Oberschoneweide [06:02]
05-New No-Ness [05:43]
06-High Lam Earth [05:23]
07-Farbiges Lied [04:36]
08-Fourteen Days [05:21]
09-N.B. Eleven [04:50]
10-Basement Research [06:08]
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52:45 min
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