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gebhard ullmann
(bcl, ss, wfl) |
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hinrich beermann
(bs) |
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daniel erdmann
(ts, ss) |
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vladimir karparov (ss,ts) |
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jürgen kupke
(cl) |
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joachim litty
(bcl, acl, as) |
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heiner reinhardt
(bcl) |
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volker schlott
(as, ss, wfl) |
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michael thieke (acl, bs) |
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benjamin weidekamp
(cl, as) |
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hans hassler
(accordion) |
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2008: the tá lam project (for the first time 11 -piece) plays the music of charles mingus
premiere on september 22 &23 in berlin
wolf kampmann in the program for the jazzfest berlin 1998:
" planned originally as a solo- or rather duo-studio project, 'tá lam zehn' became a ten piece-live-ensemble. gebhard ullmann has been involved in such different projects as 'minimal kidds', 'per dee doo', 'elefanten', 'out to lunch', 'silent jazz ensemble' and his award-winning 20 years of collaboration with andreas willers. when he started tá lam in 1990, it meant an artistic turning point to him. originally he transformed into this suite-like 60-minute-composition (released as 'tá lam' in 1993 on 99 records) the impressions of his numerous journeys around the world. a piece of mondial music from a quite personal and innovative point of view.
the title 'tá lam' is meant as a sound - animation which leaves space for individual associations, as broad as the music itself. in the studio ullmann overdubbed up to eighteen bass clarinets and other reeds, accompanied only by the swiss accordionist hans hassler. this introverted music seems to respire the fragrance of wood and leather. expressing something earthly and genuinely creative it carries the listener to faraway distances. the music is viscously applied but, nevertheless, creates a picturesque and delicate transparency.
while bad tongues assumed that he would never be able to recreate his sophisticated, studio made sound-structures in a live-situation, the founder of 'tá lam zehn' gathered around him eight of the most famous reed players from berlin. 'tá lam zehn', the way he set it up, was a worldwide unique ensemble - it also established links between the music scenes of berlin's east and west. the latest cd 'moritat' was recorded live in the studio in 1994 by 'tá lam zehn'. coincidentally the number of musicians from east and west-berlin is more or less equally divided. the players do have such different backgrounds as 'die elefanten', 'vienna art orchestra', 'fun horns', 'frigg', 'kammerensemble fuer neue musik berlin' and 'entropie'.
'tá lam zehn' takes down the walls between jazz, free improvised and composed contemporary music."
und im august 2005 im berliner tip magazin:
" gebhard ullmann's tentett tá lam zehn gilt zwar als berliner gewächs, doch ein vergleichbares ensemble gibt es nirgends... tá lam zehn in die jazzecke zu stellen wäre leichtfertig, denn ullmann betreibt organische klangforschung mit holz und leder. klänge, die sich ausdehnen, atmen, den warmen puls ihrer materialien an den raum weitergeben. ... in der folge machte ullmann aus tá lam eines der ersten veritablen ost-west ensembles. die beiden neuesten zugänge der bulgare vladimir karparov und der in rom lebende michael thieke heben berlins wachsende stellung als kosmopolitisches drehkreuz heraus. ullmann hat für den jazz in berlin viel getan, tá lam zehn ist seine warm und verbindlich klingende langzeitdokumentation einer sich stetig verändernden stadt."
thom jurek (allmusic guide usa '03) about the '93 cd 'tá lam':
" there is a poetic chromaticism in place in the cracks and seams and a surreal, dreamlike qualitiy in the openly expressionistic passages. this record walks the line between jazz and new music without caring which way it falls. gebhard ullmann has given us work to ponder for decades to come and the finest moment of his career thus far. 4 1/2 stars."
walter horn (signal to noise, usa '01) about 'vancouver concert':
"... the high quality of the writing and accuracy of the performance are matched by the individual and ensemble improvisation ... ullmann shares solo space with some terrific german reedmen ... there are jaw-droppers on almost every tune ... it's like rova times two-and-a-half. other than two hindemith-by-way-of-ellington arrangements of weill tunes everything is original ullmann. as listener's to this fine disk will soon come to realize, that's a very good thing indeed."
jazzthetik (udo eberl) about the cd tá lam:
" ... es dauerte eine weile bis gebhard ullmann mit der cd 'tá lam' einen meilenstein aufnahm. die rezensenten beschrieben die stuecke dieser platte mit poetischer bildsprache und ueberschuetteten das werk mit superlativen."
steve day (avant magazine, uk '02) about 'vancouver concert':
" whatever else this man does, one thing for sure, he knows how to make horn arrangements really shine whilst still providing enough space for improvisation. with nine horns and the squeezed reed of hans hassler's accordion, this ensemble press the moment. they can act like a formal orchestra and then spread out from under the score as if the paper had just blown away ... gebhard ullmann is making a play for our ears. turn up the volume, it is too good to miss."
ulrich ohlshausen (frankfurter allgemeine zeitung '95) about 'moritat':
" was diese cd zu einem meisterwerk macht ist nicht nur die vielfalt der ideen, stimmungen und klaenge, sondern auch die deatailschaerfe, der drang nach vorn, die blitzende spiellust."
'moritat' was nominated for the german cd award '95 (jahrespreis der deutschen schallplattenkritik '95)
the penguin jazz guide ('99) about 'tá lam':
" what an extraordinary record tá lam is ... beautifully recorded, this is an intriguing disc."
chris kelsey (cadence magazine, usa '98):
" multi-reedist/composer gebhard ullmann has his hand in several cultural pies at once; he ties together elements of african, asian and european traditions in a seamless personal musical compositional style that is as creative, finely-crafted, and compelling as anything i've heard recently. gebhard has mastered orchestration, counterpoint, and form in ways that few jazz composers have ... this is music hard to describe, because it encompasses so much. suffice to say that, at year's end, it will undoubtedly make my list of 98's most rewarding listens."
francois couture (allmusic guide, usa '00) about 'vancouver concert':
" this album is pure reed delight and one of ullmann's most significant contributions. 4 stars."
dave liebman about the cd 'tá lam':
" this soloproject is an overwhelming piece of music. the compositions and craftmanship of performance are of the highest standard."
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