GEBHARD ULLMANN/ACHIM KAUFMANN - Geode
Leo Records CD LR 727
Gebhard Ullmann, tenor saxophone, bass clarinet; Achim Kaufmann, piano
Recorded live at RBB Studios, Berlin July 1st 2013
Gebhard Ullmann has been described by Paul Bley as “one of the finest improvising artists in the world today” and for many years has been one of the foremost heralds of the music scenes in Berlin and in the international enclaves. Since moving to Berlin in 1983 he has recorded more than 50 albums.
Achim Kaufmann, relatively speaking, has been much-underestimated but this is changing. He has become noted for the way in which he allows both isolated notes as well as chords the space in which they may respire. His influences grow from dissimilar musical domains, but jazz tradition is heard behind his elucidations of excerpts and pieces from Ellington or Monk for example.
These two, very fine musicians come together to deliver some very exciting free music in which the amalgamation of the softer tenor and bass clarinet with the comparative attack of the piano results in some audacious tonal explorations.
Reviewed by Ken Cheetham
Leo Records CD LR 727
Gebhard Ullmann, tenor saxophone, bass clarinet; Achim Kaufmann, piano
Recorded live at RBB Studios, Berlin July 1st 2013
Gebhard Ullmann has been described by Paul Bley as “one of the finest improvising artists in the world today” and for many years has been one of the foremost heralds of the music scenes in Berlin and in the international enclaves. Since moving to Berlin in 1983 he has recorded more than 50 albums.
Achim Kaufmann, relatively speaking, has been much-underestimated but this is changing. He has become noted for the way in which he allows both isolated notes as well as chords the space in which they may respire. His influences grow from dissimilar musical domains, but jazz tradition is heard behind his elucidations of excerpts and pieces from Ellington or Monk for example.
These two, very fine musicians come together to deliver some very exciting free music in which the amalgamation of the softer tenor and bass clarinet with the comparative attack of the piano results in some audacious tonal explorations.
Reviewed by Ken Cheetham
