Julia Hülsmann Quartet: The Next Door (ECM 2759)

Julia Hülsmann Quartet
The Next Door

Uli Kempendorff tenor saxophone
Julia Hülsmann piano
Marc Muellbauer double bass
Heinrich Köbberling drums
Recorded March 2022
Studio La Buissonne, Pernes-les-Fontaines
Engineer: Gérard de Haro
Mastering: Nicolas Baillard
Cover photo: Thomas Wunsch
Produced by Thomas Herr
Release date: August 26, 2022

Although Julia Hülsmann has crafted a hearty sequence of trio records for ECM, including 2017’s Sooner and Later, there has always been something even more intimate and honed about her quartet with tenor saxophonist Uli Kempendorff, bassist Marc Muellbauer, and drummer Heinrich Köbberling, as is refreshingly obvious throughout “Empty Hands,” in which Hülsmann throws notes like petals onto the waters of life to see where they might flow. As they did on this album’s predecessor, Not Far From Here, these effortlessly attuned musicians navigate her sound with familial affinity. After “Made Of Wood” deconstructs the introductory mood, a melodic breeze wafts over the keys, carrying over into “Jetzt Noch Nicht.” Taking two forms—initially as a duet with Kempendorff, later as a swinging outing for all four—it delicately offsets tracks like “Fluid,” an emblematic realization of their capabilities that rejoices in the ongoing moment.

Muellbauer contributes three originals with a more geometric approach to time and harmony. In his “Polychrome,” the piano is a wavering shadow, the saxophone a refraction of light stepping sideways past us, while in “Wasp At The Window,” a locomotive whimsy ensues. The landscape outside our window remains the same, but its description changes along the way. Hülsmann’s ability to carry so much cargo in so fine a mesh is marvelous. Kempendorff and Köbberling offer a tune apiece. The former’s “Open Up” balances emotiveness and restraint, and the latter’s “Post Post Post” is a standout for its liminal expressivity.

No Hülsmann set would be complete without an ode to the popular canon, and her reading of Prince’s “Sometimes It Snows In April” is no exception. With charming comfort, it promises hope at the end of a long and harmful tunnel that none of us saw coming.

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