by Alain DrouotThis is the logical follow-up to Essencia even if Gebhard Ullmann completely revamped the trio that now featured Chris Dahlgren on bass and Art Lande on piano. The program consists of a series of collective improvisations and solos that rarely raise the intensity level and can fall either in the ballad or tone poem category. The music can, however, be described as quiet with an edge, and the trio still manages to cover a lot of ground and to proceed in multiple directions. In fact, what prevent the music from getting monotonous are the various approaches and techniques the musicians use. They also play with economy and elevate the concept of less is more. Dahlgren's and Lande's playing can be spare but is always pertinent. While the session can qualify as chamber jazz, there is no doubt that Ullmann's deep tenor sound harkens back to the jazz tradition. On the other hand, when the pianist reaches inside the piano to pluck or gently hammer the strings, or when the bassist resorts to preparations, they clearly foray into free improvisation. Ultimately, Die Blaue Nixe defies categorization. Mystery and depth are the only overarching qualities of a recording that rewards patience and presents yet another side of the multifaceted Ullmann.