Under The Surface

Julia Hülsmann Quartet

EN / DE
Julia Hülsmann’s quartet resurfaces with a fresh Norwegian voice on horn in tow and presents an attractive batch of originals that finds the group thoughtfully exploring common ground with a knack for adventure. As on past outings, each quartet member contributes music to the session, the leader herself being responsible for half the programme. Saxophonist Uli Kempendorff’s introduction to Julia’s trio on 2019’s Not Far From Here already brought a new dimension to the group’s interplay – this sense is again amplified and expanded upon through the addition of Norwegian trumpeter Hildegunn Øiseth, who joins the quartet on trumpet and the supply articulating goat horn for five cuts. Spellbinding lyricism and playful rhythmic and melodic interaction conspire throughout Under The Surface – a gem in Julia Hülsmann’s increasingly impressive ECM-oeuvre.
Julia Hülsmann erweitert ihr Quartett mit einer frischen norwegischen Stimme am Horn und präsentiert ein Programm gruppeneigener Stücke, die im Quartett- und Quintettgefüge nachdenklich und kreativ ausgelotet werden. Wie auf den vorherigen Alben steuert jedes Quartettmitglied Musik zur Session bei, wobei die Bandleaderin selbst für die Hälfte des Programms verantwortlich ist. Saxophonist Uli Kempendorffs Einführung in Julias Trio auf Not Far From Here (2019) brachte bereits eine neue Dimension in das Zusammenspiel der Gruppe – dieses Gefühl wird durch die Ergänzung um die norwegische Trompeterin Hildegunn Øiseth, die sich der Band auf der Trompete und dem Ziegenhorn für fünf Stücke anschließt, um ein Mehrfaches verstärkt und ausgebaut. Fesselnder Lyrismus und spielerische rhythmische und melodische Kniffe durchdringen Under The Surface – ein weiteres Juwel in Julia Hülsmanns zunehmend beeindruckendem ECM-Werk.
Featured Artists Recorded

June 2024, Rainbow Studio, Oslo

Original Release Date

31.01.2025

  • 1They Stumble, They Walk
    (Julia Hülsmann)
    04:24
  • 2May Song
    (Heinrich Köbberling)
    02:50
  • 3Second Thoughts
    (Marc Muellbauer)
    04:55
  • 4Bubbles
    (Heinrich Köbberling)
    05:17
  • 5Nevergreen
    (Marc Muellbauer)
    04:27
  • 6The Earth Below
    (Julia Hülsmann)
    02:59
  • 7Anti Fragile
    (Julia Hülsmann)
    02:40
  • 8Trick
    (Julia Hülsmann)
    05:46
  • 9Milkweed Monarch
    (Uli Kempendorff)
    04:25
  • 10Under The Surface
    (Julia Hülsmann)
    05:21
Julia Hülsmann quartet recordings just seem to go from strength to strength. Her previous two ECM releases ‘The Next Door’ (2022), and ‘Not Far From Here’ (2020), provided the listener with some beautiful, engaging music that highlighted a unique take on the music of a very original quartet. The pianist returns with her latest album, ‘Under The Surface’, with a thrilling set of tunes, the quartet now augmented on five of the tracks with Norwegian trumpeter Hildegunn Øiseth, effectively turning this already excellent quartet into an even more wonderfully expressive quintet. […] Trumpeter Øiseth and saxophonist Uli Kempendorff work extremely well together on this recording, the front-line duo immaculately exchanging ideas with subtle interaction and gorgeous harmonies. Regulars Marc Muellbauer on double bass and Heinrich Köbberling on drums also add a collaborative spirit that helps make this band stand out as something special. Throughout the album a spellbinding lyricism and playful rhythmic and melodic interaction ensues, with the elegance of Hülsmann’s piano playing at the heart of everything that follows. The ten tracks offer a contrasting mix of styles. As on past outings, every band member contributes music to the session, the leader herself being responsible for half the programme. […] There’s a very organic feel to the music, the musicians reacting and contributing to its ebb and flow with notable style and substance.
Mike Gates, UK Vibe
 
Just as Kempendorff did five years earlier, Øiseth fits comfortably into Hülsmann’s musical world, where intuitive responses within the composition are as important as the interpretive response to the notes on the manuscript. Øiseth has a beautiful fragile tone that blends and compliments Kempendorff’s tenor, which can be equally soft and beguiling […] Hülsmann’s compositions always have great respect for melody – even during her bi-tonality diversion on ‘Anti-Fragile’ – that lends depth and an enduring quality to her finest work, which with every addition to her ECM discography, keeps growing.
Stuart Nicholson, Jazzwise
 
Auch auf ihrem neunten Album für das Label ECM liegt die bestechende Stärke von Julia Hülsmanns langjährigem Trio und seinen Gästen in der subtilen Ausgestaltung einer überlegten und genau konzipierten Musik, die von tiefer Empfindung getragen wird. Fünf Kompositionen der Pianistin, je zwei von Bassist Marc Muellbauer und Schlagzeuger Heinrich Koebberling und eine des Saxophonisten Uli Kempendorff, der nun zum dritten Mal mit dem Trio im Studio war, ergeben ein vielfarbiges Wechselspiel innerhalb einer subtil abgestimmten, musikalischen Dramaturgie über die gesamte Albumlänge. In der spielt als weiteres Glanzlicht im Ensemble und als Solistin bei fünf Stücken zudem die norwegische Trompeterin Hildegunn Øiseth eine wichtige Rolle. Und sie verleiht dem Album eine ganz besondere Klangfarbe mit ihrem virtuosen, herrlich gesanglichen Spiel auf dem Bukkehorn.
Beate Sampson, ARD Jazz Spotlight
 
Die zehn Stücke, zu denen alle Bandmitglieder Selbstgeschriebenes beigesteuert haben, strahlen durchweg eine heitere Verspieltheit aus, die mal ins eher Lyrische, dann wieder ins Vital-Ausdrucksvolle tendiert. Bei der Hälfte der Stücke ist als Gast die norwegische Trompeterin Hildegunn Øiseth dabei, was den Charakter des bestens eingespielten Quartetts nicht verändert, aber das Klangrepertoire reizvoll erweitert. Ein rundum gelungenes, mit knapp 43 Minuten ganz aufs Wesentliche konzentriertes Beispiel für dezidiert europäischen Jazz.
Reinhold Unger, Münchner Merkur
 
The work of the German pianist Julia Hülsmann seems to mark the point at which cool jazz freezes. Imagine Bill Evans at his most introspective, then filter it through the intellectual austerity of Shostakovitch. But like ice, it is only on the surface. Peer underneath and you will find lots of surprises. This album has her quartet, plus a trumpeter on five tracks, exploring so many avenues you can’t predict where they will end up. ‘Bubbles’, penned by the band’s drummer, Heinrich Köbberling, takes us on one such journey. It starts with the tenor saxophone and trumpet picking out a melody that sounds like Monk’s ‘Misterioso’ in slow motion. Then the trumpeter Hildegunn Oiseth switches to goat horn and makes like Morricone on a mountaintop. Just when your brow is thoroughly furrowed, the horns entwine over a genial funk groove. See? Surprising. Hülsmann’s solos here give the lie to those who say she lacks soul. On the quivering Latin tune ‘Nevergreen’ she serves a cosy concoction of legato bebop phrases and bluesy block chords. On the swinging ‘Milkweed Monarch’ she is postboppish in an early Herbie Hancock mode. And on ‘Anti Fragile’ she even throws a bit of a wobbly as she and the tenor saxophonist Uli Kempendorff attack a cranky funk tune. But coolly, of course.
Chris Pearson, The Times
 
The decision to have Øiseth play on only half of the ten tracks that make up this wonderful album may be seen as erring on the side of caution but nothing could be further from the truth as Hildegunn integrates herself into the music with ease. The quartet have no trouble is making room for the new voice, and it is a credit to Hülsmann’s vision as to how quickly the music gels. The other aspect of the music heard here that impresses greatly is the rapport between Kempendorff and Øiseth has quickly evolved to the point that some of the music’s highlights spring from the interplay between the two. Just listen to how the pair interact on Köbberling’s beautiful ballad ‘May Song’, and with even greater depth and understanding on ‘Bubbles’ that features Hildegunn on trumpet in unison with tenor on the opening theme and the delicately blown goat horn. As the tempo steadies with a more implicitly stated pulse the music ebbs and flows in a composition that is pure melody. […] The pianist is also heard to stunningly beautiful effect in the lovely duet with Hildegunn, ‘The Earth Below’ which is all too brief and a quiet triumph.
Nick Lea, Jazz Views
 
Das ist die dritte Platte miteinander, als Quartett. Kempendorff fügt sich ein. Er stützt diese music, die ohne großen Vigor auskommt, aber nie zu lahm oder banal ausfällt, und betont eindringlich ihre Gesprächsqualitäten. Wollte man es hochhängen, allemal in einer Zeit, wo viele eine Diskussionskultur vermissen: In einem Gespräch, wo Argumente ohne die Stimme zu erheben vorgetragen werden, ist sanfte zwar, aber doch klar artikulierte und spannungsgeladene Meinung willkommen. Auf fünf Stücken kommt die Norwegerin Hildegunn Øiseth hinzu […] Die Stücke schrieb vor allem Hülsmann, je zwei Muellbauer und Köbberling. Besonders schön, dass sie viele Male kurz nach Kulmination wie verlöschen. Als verweigere man Lösungen. Als traue man Definitivem nicht die Bohne.  
Adam Olschewski, Jazzpodium
 
German pianist/composer Julia Hülsmann continues to be one of the quietly ascending stars of the ECM label’s roster, with her regular band plus Norwegian trumpeter Hildegunn Øiseth (captivatingly applying electronics to both the conventional instrument and to Norway’s goat horn) on the playful and haunting ‘Under the Surface.’
John Fordham, The Guardian
 
Mélodies marquées, solos inventifs, osmose parfait entre les artistes. […] Hildegunn Øiseth joue sur cinq des dix titres de l’album, mais c’est comme si elle était dans le groupe depuis toujours […] Leurs lignes musicales s’intègrent magnifiquement […] Julia Hülsmann mène délicatement le jeu et impose aussi des solos superbes […] Un album assez magique. Et on se prend à espérer que le quartet se muera en quintet pour le prochain.
Jean-Claude Vantroyen, Le Soir
 
Julia Hülsmann hat – zunächst im Trio, inzwischen im Quartett – einen unaufgeregten Sound etabliert, der schon beim ersten Anschlagen der Tasten da ist, fantastisch. Als Gast sorgt die norwegische Trompeter Hildegunn Øiseth für zusätzliche Impulse.
Jost Schocke, Hörzu
 
Das jüngste Album der deutschen Pianistin ist eine ungewöhnliche Mogelpackung: Es enthält mehr, als die Verpackung verspricht. Auf der Hälfte der von allen Mitgliedern des Quartetts beigesteuerten zehn Kompositionen wächst Selbiges durch die Trompeterin Hildegunn Øiseth zum Quintett an. Øiseth fügt sich in den lyrischen Sound des gleichwohl auch zu vitalem Groove aufgelegten Ensembles perfekt ein und bereichert am Ziegenhorn (!) um elegische Facetten.
Klaus Nüchtern, Falter
 
Die zehn Tracks besitzen alles, was moderner Jazz einfordert. Es gibt viele freie Phasen, die die Musiker virtuos füllen und nützen. Doch schleift man sich auch gene und lässig in swingende Parts ein (z.B. ‘Bubbles’, ‘Nevergreen’ oder zum Teil in ‘Milkweed Monarch’). Hülsmann legt als Leaderin vor, die restliche Band folgt ihren Spuren und probiert gekonnt, auf ihre Ideen einzugehen. Die Trompeterin Hildegunn Øiseth bringt sich immer wieder kräftig, dynamisch und flexibel ein; ein immenser Zugewinn für das Ensemble.
 Ernst Weiss, Concerto
 
This latest Julia Hülsmann release on ECM conceals plenty of treats below its surface. The Quartet is a Quintet for much of the recording, with pianist Hülsmann and the now established line-up of  Uli Kempendorff on tenor, Marc Muellbauer on bass and  Heinrich Köbberling on drums augmented by the presence of Hildegunn Øiseth on trumpet and goat horn for much of the set. For three enchanted minutes in the middle of the set, four becomes two as Hülsmann and Øiseth give voice and width to the leader’s wistful, harmonically angular meditation ‘The Earth Below.’ […] The emotional force of Hülsmann’s improvising emerges from the development of ideas and interaction with the band and Kempendorff never fails to lift and excite with his playing. If the quartet, playing on Hülsmann’s compositions, were all there was to this album, it would be a gem.  The set is given an extra dimension by the writing of the other regular band members, and projected somewhere very special by the addition of Øiseth. […] ‘Under the Surface’ is another evolution of Hülsmann’s increasingly expansive catalogue with ECM and stands as both a compelling session in its own right, and a promise of more rewarding adventures to come with this expanded palette.
Mike Collins, UK Jazz News
 
Es ist, als habe die norwegische Trompeterin schon immer dazugehört. Machmal packt sie auch ein Hirtenhorn aus. Feinsinnig duettiert sie mit Uli Kempendorffs Tenor. Dazwischen legt Julia Hülsmann feine Klavierlinien. Das Berückende: Bei aller Durchsichtigkeit hat diese Musik immer Körper. Das ist der erstklassigen Rhythmusgruppe (Marc Muellbauer und Heinrich Köbberling) geschuldet. Großartig!
Tilman Urbach, Stereo
 
 
The work of the German pianist Julia Hülsmann seems to mark the point at which cool jazz freezes. Imagine Bill Evans at his most introspective, then filter it through the intellectual austerity of Shostakovitch. But like ice, it is only on the surface. Peer underneath and you will find lots of surprises. This album has her quartet, plus a trumpeter on five tracks, exploring so many avenues you can’t predict where they will end up. […] Hülsmann’s solos here give the lie to those who say she lacks soul. On the quivering Latin tune ‘Nevergreen’ she serves a cosy concoction of legato bebop phrases and bluesy block chords. On the singing ‘Milkweed Monarch’ she is postboppish in an early Herbie Hancock mode. An on ‘Anti Fragile’ she even throws a bit of wobbly as she and the tenor saxophonist Uli Kempendorff attack a cranky funk tune. But coolly, of course.
Chris Pearson, The Times
 
Julia Hülsmann has strong connections to her bandmates and the group shares a common tendency to hold back rather than holding forth. ‘Under The Surface’ reveals flashes of the sentiments stirring in its five contributors without ever coughing up the deepest details. It’s a titillating and tantalising record.
Matty Bannond, Jazz Journal
 
Une œuvre envoûtante empreinte d’une lumière  unique,  diaphane et constamment changeante. […] Le saxophoniste Uli Kempendorff et la trompettiste Hildegunn Øiseth apportent à sa musique une dimension nouvelle, une tonalité organique qui fait de cet opus l’un des plus aventureux que la pianiste a produit à ce jour.
Jean-Pierre Vidal, Jazz Magazine
Julia Hülsmann’s quartet resurfaces with a fresh Norwegian voice on horn in tow and presents an attractive batch of originals that finds the group thoughtfully exploring common ground with a knack for adventure. When saxophonist Uli Kempendorff first joined Julia’s trio on 2019’s Not Far From Here, a new sense of expressionist urgency was introduced to the band’s interplay – a sense that is amplified and expanded upon through the addition of Norwegian trumpeter Hildegunn Øiseth here, who joins the quartet on five cuts.
 
Praising the quartet’s seamless chemistry in a review of their last record The Next Door, The Arts Desk spoke of how “the feeling that this group has progressed and can now find all kinds of different ways to create a convincing flow and narrative, is palpable.” This holds just as true for Under The Surface, yet at the same time new atmospheres are broached and modes of melodic interaction established in interplay with Øiseth’s idiosyncratic tone.
 
Julia has previously played and recorded with the trumpeter as part of Sarah Chaksad’s Large Ensemble, though their collaborative spirit really caught fire when Hildegunn joined the pianist’s quartet at a concert in Berlin in the summer of 2023 – “that’s when we decided to make a record together,” says Julia. “At this point, we’ve toured extensively as a quartet and have developed a very sturdy footing, which is surely at least partially responsible for sparking the idea to add another new voice into the mix. Since we’ve already established our particular group sound over the past years, we didn’t have to start from scratch when inviting Hildegunn to join in. She was immediately a great fit. And I already knew what she sounds like, what she does musically, especially live, meaning that I had a rough idea of how and where she would make sense in our ensemble sound before we went into the studio.
         
The quartet and the horn delicately connect on “May Song”, a composition by drummer Heinrich Köbberling, with its deeply lyrical melody melting between the saxophone and trumpet’s tender expressions. Hildegunn returns on ”Bubbles” – another Köbberling original –, blowing soft rubato lines on trumpet and more fragile phrases on a goat horn. The composition’s formal structure is reminiscent of a tryptich: Loose chamber jazz interplay serves as exposition, then Julia and Hildegunn enter into deep dialogue with each other before taking a turn into more up-beat lyrical territory – a wholesome finale performed by the entire group.
 
As on past outings, every quartet member contributes music to the session, the leader herself being responsible for half the programme. And on the pieces where we only hear the core-foursome, the interplay becomes even more playful and free in return. Julia’s post-bop opener “They Stumble, They Walk”, is a prime example of the quartet’s swinging qualities and the pianist’s exceptional keyboard work, whereas her tuneful inner compass comes to the fore on the dreamy “The Earth Below” – a duo piece with the spotlight on her and Hildegunn. Between songs like “Anti Fragile”, “Trick” and the closing title track “Under The Surface”, a broad spectrum of Julia’s compositional approach is presented, backed by a group capable of reacting to her every spur.  
 
“Writing quite contrasting types of pieces is important to me, even when it can be hard to escape from yourself sometimes,” Julia notes. “But it’s also a natural process, deriving from inner thoughts and emotions. ‘Anti Fragile’, for example, I wrote in a moment when I was quite angry. I wanted to translate that to music, demonstrate the fact that every character has different facets. Music isn’t simply ‘pretty’, but it can be rough, too. Or aggressive. Not-fragile” – she laughs.“ ‘The Earth below’ on the other hand expresses a need to feel grounded, ‘earthed’ as we say in German, with both feet on the ground. Sometimes I make a point about searching for a different angle or temperament in the music. But usually I’m drawn to it instinctually – only then do I start to theorise the music from a technical compositional point of view.“
 
Spellbinding lyricism and playful rhythmic and melodic interaction conspire throughout Under The Surface, and Marc Muellbauer’s contribution to the set-list, “Second Thoughts”, is no exception. There’s an angular quality to the song’s melody and a suave flow to its pulse, grounded by the breezy rhythm section of Muellbauer and Köbberling. “Nevergreen”, the bassist’s other original tune, finds the group plotting a subtle groove with the horns wrapped around each other in unison before saxophone and trumpet take off in soloist flights – Kempendorff keeps things boppish, while Hildegunn displays a more expressive approach. The saxophonist’s own “Milkweed Monarch” is perhaps the album’s most honestly swinging track – here the band is in a mood to trade bars, with Muellbauer, Kempendorff and Julia each getting a solo in.
 
Julia: “We’re open to whatever happens with the music, as it naturally develops and changes over time. We don’t fixate on one particular way to play it, but let it morph into something new each and every time.” And that must be how the group keeps things fresh on Under The Surface – a gem in Julia Hülsmann’s increasingly impressive ECM-oeuvre. The album was recorded at the Rainbow studio, Oslo in June 2024.
 
The quartet is touring the new music throughout Germany in February-March 2025, with dates in Munich, Berlin, Frankfurt, Mannheim and more. See here for more details: https://ecmrecords.com/artists/julia-hulsmann/#artist_concerts
YEAR DATE VENUE LOCATION
2025 September 27 Birdland Neuburg, Germany
2025 November 07 Fabrik Scheune Neustrelitz, Germany
2025 November 20 Theaterstübchen Kassel, Germany

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