Under the Surface – A Breath-Held Journey in Subtle Jazz Expression

Recorded in June 2024 at the iconic Rainbow Studio in Oslo, Under the Surface marks a new chapter for the Julia Hülsmann Quartet with the addition of Norwegian trumpeter and goat horn player Hildegunn Øiseth. This latest ECM outing stays true to the label’s aesthetic: airy textures, sonic detail, and space for quiet reflection. But while the album delivers moments of genuine beauty, it often plays too safely within its own formula.

The album opens confidently with “They Stumble, They Walk,” a subtle and gently swinging piece that immediately highlights Hülsmann’s touch at the piano—precise, thoughtful, never ornamental. It sets the tone: a music of nuance, stripped of excess, with group interplay kept transparent and fluid.

“May Song” stands out early for its rubato piano introduction and the sheer quality of the recorded sound. The warm, spacious piano tone from Rainbow Studio feels almost tactile. When Øiseth enters with her goat horn, she adds a mystical color to the track, and Hülsmann’s improvised response is restrained and lyrical.

“Second Thoughts” offers a modal 3/4 landscape, far from a classic jazz waltz. The unison theme between saxophone and piano is followed by the album’s first sax solo from Uli Kempendorff, who shows restraint and melodic sense. Hülsmann follows with a rhythmically intricate solo that echoes contemporary harmonic language.

“Bubble” continues the rubato theme. It begins with a free intro, then introduces a carefully harmonized melody that becomes the backdrop for another evocative goat horn solo. Hülsmann here shows her skills not only as an improviser but as a refined accompanist.

At the midpoint, “Nevergreen” begins without piano, creating space for dissonance and rhythmic experimentation. Yet this track feels underdeveloped—ending abruptly after a brief piano statement and a fragment of theme.

“The Earth Below” brings a welcome shift. Introduced solo by Hülsmann, the track develops into a tender dialogue with Øiseth’s trumpet. Its nostalgic harmony and expressive simplicity make it the album’s most accessible and emotionally resonant moment—a clear highlight.

Then comes “Anti Fragile,” where the quartet lets loose in freer, more dissonant territory. Though dynamic, the energy lacks direction. “Trick” returns to extended rubato exploration and a piano solo full of harmonic complexity, but again, without strong narrative flow.

The album’s final stretch struggles to maintain momentum. “Milkweed Monarch” offers a brief piano solo, and the closing title track “Under the Surface” unfolds with slowness and restraint. For the first and only time, we hear a solo from bassist Marc Muellbauer—a beautiful, if belated, addition. Kempendorff then closes the album with a sax solo that delivers a late emotional climax, tinged with tension and release.

Under the Surface is rich in sonic detail and meditative mood, but suffers from a certain sameness. Many tracks begin similarly, with rubato intros leading into slow development. While there is much to admire in the sensitivity of the playing—particularly from Hülsmann and Øiseth—the album leaves one wishing for more variation, more risk, and greater spotlight for drummer Heinrich Köbberling and bassist Muellbauer.

A respectable effort from a skilled ensemble, but not one that breaks new ground.

★★★☆☆ (3/5)

Written by Miles Hargrove

Founder of Jazzrview – Independent Jazz & Modern Classical Critique

📍 New Rochelle, NY