Discography Details

GEBHARD ULLMANN THE CLARINET TRIO
BALLADS AND RELATED OBJECTS

Gebhard Ullmann:
bass clarinet
Jürgen Kupke:
clarinet
Michael Thieke:
alto clarinet, clarinet


Recorded on August 23-24, 2003 at SFB Studios, Berlin
Cover Design by Robert Weber
Leo Records (UK) 2004
www.leorecords.com
01 Déjà Vu (Variation 1) (Ullmann) 3:26
02 Seven 9-8 (Ullmann) 7:39
03 Collective No.9 (Part 1-4) (Ullmann, Kupke, Thieke) 3:47
04 Almost Twenty-Eight (Ullmann) 6:46
05 Variations On A Theme By Claude Debussy (Ullmann) 5:09
06 Collective No.10 (Lines) (Ullmann, Kupke, Thieke) 1:58
07 29 Shoes (Ullmann) 6:49
08 Collective No.11 (Hohe Objekte) (Ullmann, Kupke, Thieke) 1:27
09 Verschiedene Annäherungen an den Ton Ges (Ullmann) 3:19
10 Déjà vu (Theme) (Ullmann) 3:50
11 Desert…Bleue…East (Ullmann) 5:28
12 Collective No.12 (Ballad) (Ullmann, Kupke, Thieke) 1:01
13 Déjà vu (Variation 2) (Ullmann) 1:43

Press

Troisième CD du trio, comprenant toujours le leader Gebhard Ullmann (bass clarinet), plus, cette fois, Jürgen Kupke (cl), et Michael Thieke (alto clarinet et clarinet), qui remplace Theo Nabicht. Ils s’élancent sur des compositions de Gebhard, d’une liberté totale. Ils se promènent sur une repertoire varié, òu le travail sur les sons est total. Constamment dans l’avventure, ce trio révèle des qualités rares, qui s’apparent parfois à des performances dans un esprit musique de chambre Pour musiciens.
JAZZ NOTES (F) 05/2005

Which of the 13 tracks on Ballads and related Objects are in fact ballads? And which are related objects? With its third release, Gebhard Ullmann‘s Clarinet Trio poses the riddle and lets it linger. The interplay between the three musicians- Ulmmann (bass clarinet), Jürgen Kupke (clarinet) and Michael Thieke (clarinet and alto clarinet, taking over for Theo Nabicht)- is nuanced, meditative and often impassioned. Ullmann‘s compositios are the main focus, but there are four spontaneous episodes („Collective No.9-12“), each a study in timbre, pacing and dynamics and a window into the trios aggragate mind. Ullmann envisions the recording as „one long suite,“ but there‘s something to be gained by listening to certain tracks out of order, such as the „Collective“ series or the „Deja Vu“ theme and its two seemingly distant variations. Ullmann fixes his attention also on meter. On pieces like „Seven 9-8“, „Verschiedene Annäherungen an den Ton Ges“, „Desert...Bleu...East“ and the extraordinary „29 shoes“, the trio negotiates complex shifting rhythms without a rhythm section, giving rigor and shape to an otherwise fairly abstract session. At times the group sounds like a small orchestra- one can savor the distinctness of the individual voices but also the cumulative, panoramic range of the whole. The forays into extreme yet finally woven dissonance, on „29 shoes“ and „Variations on a theme by Claude Debussy“, are also a high point.
David Adler, SIGNAL TO NOISE (USA) 08/2005

A comemorar 20 anos de edições discográficas, e com uma visita a Lisboa agendada para Março com vista à sua divulgação nacional (vai tocar no Hot Clube), o clarinetista e saxofonista alemão Gebhard Ullman lançou em simultâneo três álbuns em três diferentes etiquetas que nos testemunham o estado presente da sua verve musical. Em «Ballads and Related Objects», encontramo-lo num trio de clarinetes que compreende Michael Thieke e Jurgen Kupke a interpretar precisamente o que é indicado, baladas. A orientação é claramente jazzística e assume por inteiro os procedimentos do género, tanto assim que Thieke, figura que encontramos nas tendências reducionistas da livre-improvisação, cinge-se aqui a técnicas mais convencionais de manejo do seu instrumento (ou instrumentos, pois também utiliza o clarinete alto além do em si bemol, vulgo soprano) do que lhe é habitual. E isto apesar de nada do que ouvimos ser propriamente ortodoxo, primeiro porque não se trata de uma simples colecção de peças mas de uma suite, o que, se implica uma estrutura seccionada, tem uma continuidade; depois porque os três músicos experimentam tempos incomuns em algo de tão formalizado como é uma balada, e por vezes vários até na mesma secção, introduzindo complexidade num formato tido como simples. Como se depreende por esta apresentação, quase tudo neste CD é composto e arranjado, por Ullman designadamente («Variations on a Theme by Claude Debussy» baseia-se em «Syrinx», do compositor celebrizado por «La mer»), à excepção das “instant compositions”, termo cunhado pela ICP - Instant Composers Pool de Misha Mengelberg, «Collective Nos. 9-12», cuja concepção, dada a sua natureza, é de todo o trio…
Rui Eduardo Paes, CRITICAS NOVAS (P) 04/2005

Ballads and related Objects is by a threesome that‘s been around for a while, Gebahrad Ullmann‘s Clarinet Trio. As with most all-reed groups there is intricate arranging here. On „Seven 9-8“ the three clrinetists honk in and around each other until they sound like a circus calliope before breaking into unison swing. „Variations on a theme“ puts them on a high-pitched and quietly rising arc. On „29 shoes“ they push and pull against each other before one player at a time breaks into an explosive solo burst. „Deja Vu“ is a halting classical ballad with soft, molde notes and „Desert“ actually has a slow blues melody played by one clarinet before the two other kick in with percussive accents that turn the piece into a funky meditation on Native American Music. Ullmann wrote everything here except the „Collective“ pieces which are group improvisations that have a surprising bit of form and substance. „9“ is a series of smoky wisps of noise that develop an Ellington tinge and „10“ is actually a bit of looping New Orleans Blues. This is a very inventive trio that works wonders with a seemingly limited instrumental pallet.
Jerome Wilson, CADENCE (USA) 09/2005

Typing over the track listings I thought I’d picked up a maths exam paper instead of a CD, an impression intensified by Ullmann’s explanation that his compositions are in 4/4, 5/4, 6/4, 7/4, 6/8, 7/8, 8/8, 9/8 and 11/8 („House!“). He goes on to refer to „developping a musical language and growing on all the different levels of musical and human/personal communication“, concluding „after all this is what playing jazz is all about.“ Quite. The four „Collective“ tracks are „instant compositions“ (borrowing the term used by the Instant Composer’s Pool) devised on the hoof by all three players. All other pieces were pre-written or, in the case of Debussy’s theme, arranged by Ullmann, who plays marvellous bass-clarinet to boot. I thought I could tell one from t’other but, giving myself a blindfold test, I found some tracks that were obviously improvised turned out to be pre-composed. Of course, this may raise the question of how much improvisation and how much conventional composing is involved on each track but, more important, it indicates the artistic coherence and integrity of the trio’s work. Thieke (whose recorded debut with the trio this was, replaced Theo Nabicht in 2002) fits in a treat. This is the kind of session that gives the dubious term „chamber jazz“ a good name. To say that it sounds like a set of exercises is not to condemn it as dry, academic and over-formal but to acknowledge its exemplary qualities: Bartok’s Mikrokosmos and Bach’s Clavier-Uebung were exercises, and my big brother will fight anyone who says they aren’t excellent music. Ballads is an object lesson in how to explore and exploit textures and colours available from a single instrumental family, and alongside the more acerbic lines there are a number of highly beguiling melodies. The album is emotionally engaging as well as being technically interesting. Like the ‘Mann said, „this is what playing Jazz is all about“. A gold star for Ullmann and the label boss Leo Feigin as producers, too. The sound is crisp and sharply-focused and the stereo spacing is nicely done, giving a real sense of the trio’s physical presence in the room.
Barry Witherden, JAZZ REVIEW (UK)

This is Gebhard's third disc of his fine clarinet trio that now has a new member of Michael Thieke. This is a suite of 13 parts, with the last five being instant compositions. Gebhard claims that the term "ballad" has many different meanings than what one might expect. Although a few of these pieces move slowly, there are also sections like "Seven 9 - 8", that are more angular, blending modern classical with intricate jazz counterpoint. All three clarinetists play these complex pieces with great spirits and inventiveness. Often the pieces will have two of the clarinetists playing their intricate parts as the third solos above them. What really stands out is Gebhard's superb composing which pushes all three clarinetists to explore a wide dynamic range and a wealth of different sonic combinations and extended techniques. A must-have for clarinet fan-addicts like you and me. - BLG
DOWNTOWNMUSIC GALLERY (USA) 03/2005

Three clarinetists -- Gebhard Ullman playing bass, Jurgen Kupke on b-flat, and Michael Thieke playing alto -- make plenty of avant jazz ruckus on Ballads and Related Objects. While you might think that three winds from the same family would create a limited timbral palette, the Clarinet Trio astonishes with the wide range of playing techniques and tonal variety presented here -- not to mention the strong compositions in which they're showcased. Take "Deja Vu", which is presented as a theme and two different variations over the course of the album. The theme is a disjunct melody that's a distant cousin to the swing tradition's jazz "head", but twisted and permutated into an avant construction with a syncopated, dissonant character. "Deja Vu (Variation 1)", on the other hand, is a mysterious, sotto voce imitative presentation of the tune, rife with deliciously discordant seconds. "Deja Vu (Variation 2)" is a more active, pointillistic construction, almost Schoenbergian in demeanor. It's interesting that Ullman and company start with a theme that's at least partly jazz-inspired, and plunge it into the world of modern concert music. Also intriguing in this vein is their trope on Debussy's Syrinx, "Variations on a Theme by Claude Debussy", a post-tonal rendition of one of the Impressionist composer's most beguiling compositions. "Seven 9-8" deals with more aggressively articulated rhythm and, as might be guessed from the title, unconventional (for jazz, anyway) time signatures; in actuality, 9/8 is just one of a series of meters employed throughout the piece. A swirling mass of cascading arpeggios and hornets'-nest trills saturates the soundscape at the piece's opening. This gradually gives way to an articulate, heavily accentuated passage, which eventually morphs into a unison riff. After several stanzas of the tune, Ullman begins a bass countermelody, which gives way to another free play fracas of trills, dive bomb runs and shrieking melodies, with a dash of Klezmer thrown in at the end. It certainly means something that these fellows can swing in such a polymetric and digressive format. One of my favorite things about the Clarinet Trio is the flexibility with which they inter-relate. They've taken the most unusual aspect of their particular ensemble configuration -- the lack of a rhythm section -- and turned it into a plus, allowing for expansive phrases and considerable metric sophistication. One part chamber music, another swinging improv, Ballads and Belated Objects may be difficult to peg, but it's certainly stimulating music.
Christian Carey, SPLENDID MAGAZINE

Depuis 1998, Gebhard Ullman et Jürgen Kupke abordent en trio la question de la clarinette. En compagnie de Theo Nabicht, dans un premier temps, et maintenant aux côtés de Michael Thieke, ils inventent, au sein du Clarinet Trio, autant d’approches rares de l’instrument que de compositions alambiquées destinées à en faire redécouvrir les richesses. Signés Ullman lorsqu’ils ne sont pas improvisés, les morceaux de Ballads and Related Objects multiplient les propositions : harmoniques évasives et entrelacements entêtants, choix ou refus du jeu à l’unisson pour l’interprétation de ballades apaisantes (Desert…Bleue…East), de mouvements extatiques (29 Shoes) ou de blues revisité (Collective N°.10 (Lines)). Gimmicks contrôlés, les ruptures, de rythmes et d’intuition, distillent leurs poisons délicats à l’écrit (Seven 9-8, suite éléphantesque majestueuse) comme à l’improvisé (Collective N°.9 (Part 1-4)). Ici, elles permettent aux tentatives funambules de croître et de multiplier (Déjà Vu (Theme)), tandis qu’ailleurs, savamment positionnées, elles permettent aux clarinettes de lutter contre l’installation du silence en usant des silences (Déjà Vu (Variation 2)). Ceci n’empêche en rien le trio de distribuer les solos agressifs ou les tournures rythmiques chaleureuses. De basses enivrantes en élucubrations aigues, la maîtrise pour principal fil conducteur, The Clarinet Trio fait preuve d’inspirations variées tout en menant, soudé, une quête homogène de l’inédit musical. Trois clarinettistes à atteindre, ensemble, le but qu’ils s’étaient fixé.
INFRATUNES (F)

Ballads and Related Objects e' il terzo lavoro del Clarinet Trio, con Gebhard Ullmann al clarinetto basso, Jurgen Kupke al clarinetto e Michael Thieke - al posto di Theo Nabicht - al clarinetto alto e al clarinetto. Registrato come i precedenti alla RBB Radio di Berlino, questo lavoro e' una composita suite da camera, suddivisa in diverse sezioni, che corrispondono a diverse linee di esplorazione musicale perseguite dal Trio. Da qui l'idea delle "ballate", e dei relativi o connessi oggetti: non utensili, ma veri e propri casi di analisi, oggetti del desiderio. Ballads and Related Objects delinea un percorso di ricerca jazzistico estremamente particolare. Un Trio di clarinetti di per se' rappresenta un enorme potenziale di ricerca sulle possibilita' espressive di uno strumento, forse, non ancora sufficientemente indagato nell'ambito del jazz. La scelta di lavorare poi su strumenti e tonalita' diverse costituisce un secondo spunto di interesse e va dato merito a questa formazione di avere mosso primi e significativi passi in questa direzione. Le coloriture che i tre infondono al Trio hanno sempre uguale spessore. I temi portanti, "De'ja' Vu" e "Collective", modulano l'andamento dell'intera suite infondendo brevi, ma apprezzabili, aperture verso la melodia. Su queste si inseriscono interpretazioni spesso estemporanee e brevissime improvvisazioni che lasciano intuire un forte affiatamento. Le linee melodiche sulle quali lavorano i clarinetti (alto - basso / basso - alto, con uno strumento votato quasi al basso continuo) sono comunque ben ancorate alla partitura. I tre restituiscono immediatezza alle composizioni, spesso oscure, di Gebhard Ullmann. Il jazz sconfina in un territorio altro, forse classico, lievemente astratto, mai eccessivamente acquietato. Aspetto questo di grande interesse.
Francesca Bellino, ALLABOUTJAZZ/ITALY (I)

"Ballads and Related Objects" on Clarinet Trion kolmas levy, aiemmin ovat jo ilmestyneet Clarinet Trio Oct.1(LeoLab, 1999) ja Translucent Tones (Leo Records, 2002). Levyn kolmetoista lyhyehköä raitaa esitetään yhtenä pitkänä sarjana, joissa Gebhard Ullmannin kirjoittamia sävellyksiä rytmittävät kolmikon lähes vapaasti improvisoimat välikkeet. Kolmen klarinetistin yhtye vie ajatukset luonnollisesti enemmän jonnekin eurooppalaisen kamarimusiikin kuin suoranaisen kuuman jazzin suuntaan. " Ballads and Related Objects" onkin paikoin varsin hillittyä ja älyllistä nykymusiikkia. Clarinet Trion älyllisyys ei ole kuitenkaan erityisen kuivakasta, sillä trio tohtii rohkeasti soittaa myös perinteisessä mielessä kauniita melodioita, mistä ovat osoituksena improvisaatio "Collective No. 10 (Lines)" ja herkkä balladi "Desert… Bleus… East". Toisaalta ohessa esitellyn Ullmann - Swell Quartetin levyllekin päätynyt sävellys "Seven 9-8" rakentuu välillä intensiivisen jazzillisesti bassoklarinetin soittaman bassokuvion ja sen päälle improvisoitujen soolojen varaan.
Jukka Piiroinen, JAZZRYTMIT (FIN) 04/2005

The title of the Clarinet Trio’s third album is entirely descriptive. While Gebhard Ullmann (bass clarinet), Jürgen Kupke (b flat clarinet, or your basic everyday model), and Michael Thieke (alto clarinet) have proven themselves more than capable of whipping up a dissonant free jazz whirlwind of notes, like three clarinet-playing John Coltranes in the middle of his sheets of sound period, such passages are few on Ballads and Related Objects, which favors a more sedate, celebral sound. It’s the second part of the title that’s the key to the record, however: all of these 13 tracks are interconnected, wether overtly- as in the three-part „Déjà vu“, a theme and two variations, or the four entries in the trio’s continuing „Collective“ series of improvisations- or more subtly, through the use of repeated phrases or similar time signatures. The overall effect is similar to Anthony Braxton in his less abstruse settings, and satisfying both as passive listening (the opening „Déjà vu (Variation 1)“ has some simply spine-tingling moments that are both beautiful and unsettling) and as the basis for more intensive musicological exploration.
Stewart Mason, ALLMUSIC.COM (USA) 05/2005

…Ullmann plays bass clarinet exclusively on „Ballads and Related Objects“, providing a rich, deep and commanding lower contrast and presence to clarinetist Jürgen Kupke and Michael Thieke on both alto clarinet and standard clarinet. This trio is as interested in exploring sound textures and colors as hot exchanges and impassionate dialogs, though there’s plenty of that on such numbers as „Seven 9-8“ and „Almost Twenty-Eight“. The threesome also veers into classical territory with „Variations on a Theme by Claude Debussy“, though they’re at their best doing jazz material. They can swing when so inclined, but sound most effective when doing spirited unison lines or matching each other’s loops, leaps and shouts….
Ron Wynn, THE NASHVILLE CITY PAPER 05/2005

Gebhard Ullmann nous présente le troisième album de l’une de ses formations phare: The Clarinet Trio. Cet enregistrement, à la qualité acoustique exceptionelle, voit l’apparation de Michael Thieke aux clarinettes qui a rejoint le trio depuis 2002. Ce qui frappera certainement les fidèles auditeurs du Clarinet Trio, ce sont l’attention, l’exigence et la maitrise compositionelle qui transparaissent tout au long de cet album. Les titres évocateurs nous plongent directment dans un univers baigné par l’interaction et la communication entre les trois musiciens. Plusieurs niveaux s’identifient, se croisent et se découvrent sans épuiser. C’est à une aventure ouverte à tous les possibles et à toutes les explorations que nous convie le trio. Trialogues amusés, silences attendus, parcours sinueux, écriture profonde, complexe et d’une rare richesse harmonique: autant d’ingrédients pour construire un événement à la hauteur des envies musicales grandissantes et en évolution constante du saxophoniste allemand Gebhard Ullmann.
JAZZOSPHERE (F) 05/2005

…Das puristische Clarinet Trio, ein Format, das Ullmann schon länger betreibt, hat ein neues Line-up. Zusammen mit den Klarinettisten Jürgen Kupke und Michael Thieke betreibt Ullmann hier vor allem Klangforschung, die Platte hat aber auch schlichte und (be)sinnliche Momente. Besonders schön-nicht nur vom Titel- ist das Stück „Verschiedene Annäherungen an den Ton Ges“, bei dem Thieke die Führung übernimmt. Etwas für den besonderen Geschmack…
Rolf Thomas, JAZZTHETIK (D) 05/2005

You might be forgiven for not expecting a trio of clarinetists to tear things up. But the Clarinet Trio- Gebhard Ullmann, Jürgen Kupke, and Michael Thieke-does just that and then some. „Ballads and Related Objects“ has chamber music precision, kaleidoscopic arrangemants, hot blowing, and dynamic overall pacing of ideas and intensities. As well as being adventurous, accessible, abstract and mysterious, their music grooves, too, as on the bluesy „Almost Twenty-Eight“. Ullmann’s tunes deliver plenty to get your neurons firing and foot tapping with multimetric pieces like „Seven 9-8“ and „29 shoes“. Mosaic texture shifts, suspensions and sonority seques appear and disappear in two pensive variations on „Déjà vu“. While most of the pieces are well-rehearsed, uncompromisingly exacting compositions-the trio has been exploring the sound resources of the clarinet, alto clarinet, bass clarinet instrumentation since 1998-they also do some thoughtful free improvising on „Collective 9-12“ that benefits greatly from their intense awareness of each other’s timbre and playing. A highlight is the other-worldly „Variations on a Theme ba Claude Debussy“, with delirious delicate chords, sometimes bent microtonally or overlaid with traceries of overtone entries and exits, gorgeous ensemble playing and touches of klezmer mellisma. Highly recommended.
Glen Hall, EXCLAIM (CAN) 03/2005

German reedman Gebhard Ullmann is unknown to even most hardcore American jazz fans. Three simultaneous releases under his name should go far in changing that – although given the edgy, experimental nature of his work, his reknown is likley to remain among that small number of fans who appreciate truly avant garde exploration. The Clarinet Trio is the most out-there of the three: Shades of Henry Threadgill and David Murray and old Art Ensemble of Chicago. Art of noise grunting and honking, atonal rhythmic blowing, seemingly aimless digressions, baby talk through a reed. And then they turn gears mid-song, and now you're in a passage as lush as "Swan Lake" – before it decomposes into some weird klezmerific ensemble improvisational noodling.Teaming up with fellow clarinetists Jürgen Kupke and Michael Thieke (with Ullmann on bass clarinet and Thieke on alto clarinet), the Trio produces haunting, atmospheric music as challenging as anything from the discography of the musicians offered as comparisons above. And yet, it is nevertheless fascinating, intriguing and able to hold your interest for the pure pleasure of hearing where they might go with this musical oddness.
Jim Trageser, TURBULA (USA) 05/2005

…verhält sich das Trio diszipliniert und homogen. Mit Ballads And Related Objects stellt das Trio (hier erstmals mit Michael Thieke) seine dritte CD-Edition vor. Angelegt wurde das Klangmaterial als eine lange Suite mit verschiedenen Sektionen und differenzierten Stilen, die das Trio seit 1998 verfolgt. Immer wieder ist der Hör-Spuk schnell vorbei. Gerade gewöhnten sich die Ohren an tänzerischen Swing von Almost Twenty, verschwindet in Verschiedene Annäherungen An Den Ton Ges jede Form von verbindlicher Tonfarbenreinheit. Kleine Abweichungen im Klangbild verwischen kurzzeitig den Eindruck harmonischer Erhabenheit. Ebenso wie auf der zweiten CD des Clarinet Trios arbeitet Ullmann mit thematischen Impulsen eines klassischen Komponisten. Hier sind es die Variationen On A Theme By Claude Debussy, denen das Trio auf drei Ebenen nahe rückt.
Klaus Hübner, NEUE ZEITSCHRIFT FÜR MUSIK (D) 07/2005

Ballads and Related Objects is one of those works that make me appreciate the serendipity of jazz's acquaintance with post-Schoenberg art music. Ullmann (on bass clarinet), with his cohorts Jurgen Kupke (B-flat clarinet) and Michael Thieke (B-flat and alto clarinets) combine to form a clarinet version of World Saxophone Quartet, complete with grooving vamps, post-tonal improvisation, metrically sophisticated compositions and preternaturally sensitive group dynamic. All three are serious chopsmeisters, but there's nothing gratuitous about the way they exploit their virtuosity. As all-horn bands go, it doesn't get much better than this.
Chris Kelsey, JAZZTIMES (USA) 11/2005

Die Freunde avancierter Klarinettenmusik werden einmal mehr bedient durch das Clarinet Trio. Allerdings gibt es für Ballads and related Objects eine Besetzungsänderung zu melden- neben Gebhard Ullmann an der Bassklarinette und Jürgen Kupke an der Klarinette hört man erstmals Michael Thieke an Altoklarinette& Klarinette. Die 13 Tracks der neuen Einspielung mischen Kompositionen von Ullmann mit den ,Collectives No. 9-12‘. Zu einer Art Suite zusammengefasst, wird die ästhetische Bandbreite des Trios aufgefächert mit einem Schwerpunkt auf der Entwicklung der letzten zwei Jahre. Ullmann arbeitet weiterhin gern mit ungeraden Takten und Taktänderungen (,Seven 9-8‘, ,29shoes‘), verschiedenen Tempi und unterschiedlichen Stimmungen (,Verschieden Annäherungen an den Ton Ges‘). Der Begriff der Ballade wird nicht eng und streng gefasst. ,Variations on a theme by Claude Debussy‘ kreist um dessen Komposition Syrinx. ,Seven 9-8‘ und ,Desert...Bleu...East‘ konnte man schon in ganz anderen Arrangements auf ,Desert Songs& other landscapes‘ mit dem Ullmann-Swell 4tet hören. Wie ein roter Faden hält ,Deja Vu‘, in drei Versionen gespielt, die Suite zusammen, die trotz der heiklen Besetzung und der kompositorischen Komplexität und Präzision die Schublade Kammermusik sprengt, bei den vier Instant-,Kompositionen‘ durch Impro, ansonsten durch den jazzigen Ton (auch wenn er manchmal nur anspielerisch, fast parodistisch mitschwingt wie im schweren Vibrato bei ,Collective No.9‘), durch die Versatilität im individuellen ,Ausdruck‘ und die ,swingenden Takte‘.
Rigo Dittmann, BAD ALCHEMY (D)

Ballads And Related Objects is the third release of The Clarinet Trio, recorded in a chamber music hall of the RBB radio in Berlin. The CD is performed as a long Suite that explores a variety of musical areas, from the sparse and pointillist to the sustained and grandiose. Ullmann plays the role of a cellist in this little chamber group, which deftly navigates crazy time-signature changes and floating rubatos as the session progresses. Michael Thieke contributes some screaming alto clarinet solos.
Ed Enright, DOWNBEAT (USA) 07/2005