Over a full decade,
Conference Call has become one of the premier progressive and modern creative jazz outfits in the world, with only a few in their path. The diligent, clever techniques of pianist
Michael Jefry Stevens and uniquely original saxophonist/clarinetist
Gebhard Ullmann make a formidable tandem in terms of their shared ideas, similar vision, and ability to emote together or separately. Furthermore, they play in a manner where is it's not as noticeable as when people present entirely composed or improvised music. Bridging the gap between these two aesthetics,
Stevens and
Ullmann make incredible music by simply doing, and not thinking or pre-conceiving very much. Minor themes are expanded to the free based point of near infinity, always changing, evolving, and growing. Bassist
Joe Fonda and drummer
George Schuller have played with this ensemble for many years, and it shows in their keen sense of when to step forward, back, or provide innate support underneath. In fact, this is one of the more democratic of all jazz bands, they lean heavily on each other, or fire it up at will when they feel the need. The title cut, "Poetry in Motion," is perfectly named, as a resounding chorus of single, tiny, stairstep lines waft from
Stevens and
Ullmann's bass clarinet, ignited by the probing bass of
Fonda, then pronounced as daring, dancing, or churning phrases, stopping, chopped up in free time with light squawks, then returning to small structures in a wonderfully developed and cleverly written piece. On a larger level,
Fonda's insistent bass on top of
Schuller's tom-tom drums leads into a distinctly
Ornette Coleman-like motif during "Next Step," with
Stevens breaking away and cutting loose.
Schuller uses brushes, cymbals, and a thunder cone on "Quirky Waltz" while
Stevens plays dark piano chords leading to a bass clarinet blues from
Ullmann, then into deep tango as the band uses a 3/4-plus-two shifting meter. In the blue-grey spirit of
Mal Waldron during "The Shining Star,"
Stevens somehow extracts this color palate in a stealth, foreboding, and skittering manner, with
Fonda shading in black with his arco bass, and
Ullmann's sighing tenor evoking huge shades of the purple night sky. There's a disconsolate, even angry end of summer theme to "Back to School," another go-round for
Ullmann's frequently recorded "Desert...Bleue...East" in a patient, spiritual, worked-up, sped up, animated and calmed progression ended by
Schuller's wooden hammer whistle, and a legit ballad "The Path," where
Ullmann's soprano sax sings in varying dynamic ranges, but is not overpowering. Another triumphant recording for this extraordinary band of individualists, it should rate highly on critics' and listeners' favorites lists for 2008.