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| A NYC quartet playing brainy, labor intensive instrumentals that are equal parts jazz, pop, funk and rock. A bright light in their field. |
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| Gotham Groove: New York City has its fair share of party bands, but few generate the kind of buzz surrounding funk quartet ulu. The music making dudes have turned all five boroughs of the Big Apple into playgrounds for their innovative instrumental excursions. With a new album, NERVE, just hitting the shelves, the group returns to Burlington to charm the locals. |
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| Being self-proclaimed members of a "New Groove Generation" leaves a lot to live up to. And the New York-based quartet Ulu, in an appearance at the State Theatre, met the challenge. Though considered a jam band, the group effortlessly transcended labels on Wednesday night as it ventured off into grooves steeped in funk and 1970s-style soul-jazz -- cultivating just the right mixture of revival and innovation. Even though the mood of many of the group's tunes, such as "Spare Tissue" and "Dilly Dally," commanded introspection, the band didn't seem to notice -- instead, the musicians seemed coolly intent on delivering rhythms that alternated between excursions into hip mid-tempo jazz and spontaneous funk. In keeping with the tradition of improvisational jazz and jam bands, the group readily traipsed through idioms, popping in on one after the other -- staying with each just long enough to flaunt considerable depth. Luckily, consistency wasn't a prerequisite for a solid performance. The players juggled and moved through their experimental compositions at whim, creating lush stream-of-consciousness harmonies that kept the audience swaying. At the close of the first of two sets, keyboardist Scott Chasolen's tender sparring with bandmates Aaron Gardner (tenor sax) and Brian Killeen (guitar) on the rootsy number "Bovine Confines" was outdone only by the lilting yet unrestrained solo from drummer Russ Kleiner. |
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| Oh, my, how utterly fun and funky are the tunes on ulu's latest cd "Nerve"! The sultry songs fairly jump off the disc with jaunty, jazz infected jams packed with propulsive percussion, extra juicy keyboards, and inspired flute and sax work. When ulu plays an all ages show at the Beta Bar, motor on over and be sure to wear your dancing shoes. |
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Philadelphia Weekly - December 2002 |
| Fusing the expansiveness of present day jambands with the genre hopping, bending, and splicing associated with their native New York downtown scene, ulu is one of the new breeds most compelling outfits. Seventies funk, psychedelic haze, and cheeky lounge jazz mix both vertically and horizontally, often recalling Medeski, Martin, and Wood at their most fluid. The presence of saxophonist Aaron Gardner also serves to differentiate the band from any number of Phish monging clones, as is guarantees a certain degree of musicianship and pure jazz influence in even their most conventionally rambling moments. Their self-titled 1998 debut found a band rippling with the thrill of discovery, flinging ideas about the studio in an excited, if a little disjointed attempt to stake out artistic ground. The live "What's the Deal?" released earlier this year, is as full tilt as its predecessor but with a new found sense of cohesion. Even if there are fewer toys in the chest this time around, they know how to use them with greater facilty and more variety. As with the best bands, jam or otherwise, ulu's records are just a jumping off point for their live show, the relative tightness and orderliness of some of their studio material is just a blueprint. With as deftly improvisational a group as ulu, count on whim and mayhem coming out in full force when they take their already dynamic, open ended material to the stage. |
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Story by Tom Swanson - July 24, 2002 |
| I was excited to check out New York's Ulu when they came to Summerfest on July 12. I knew that they'd played at RIBCO a few months back, and I'd heard a snippet of Live at the Wetlands, Ulu's second album, recorded in November of '99. My first inclination was to take Ulu as a band that relies on its association with new-generation pioneers of jazz improv, Medeski Martin & Wood. But I was a tad off. These guys have as much expertise, demeanor, and almost as much clout on stage as MMW. The exception lies in their execution. The remarkable similarity between these two acts is not just the instrumentation or the genre, but also the likeness of both bands' keyboard players, John Medeski and Scott Chasolen. (Scott plays the Rhodes, clavinet, organ, and Moog.) They both command respect almost as soon as they sit down, let alone when the first key is depressed. It is easy to see that they are both apt players, and at times the similarity in approach to arrangement is almost eerie, in that suggestion dominates the format. It's as if "Yeah, we're getting to the point, eventually" is obvious, but whether that point is actually reached lies in the hands of the conductor. Another hint that suggests these two are of the same blood (or do they call that influences?) is that they both have a knack for incorporating an electronica tinge in their playing, which is accomplished through the musicians' ability to control several instruments. They're playing so many things at once that they make drummers jealous. That's not to say that the percussionist for Ulu was inept. Jason Gardner was all over his utilitarian kit. In fact, he would have also made many drummers jealous with his simple yet refined and punctual creations that made the perfect backdrop for the goings-on up front. And speaking of rhythm, let's not forget about bassist Dave Hertzberg. His touch was nothing less than concise, and it reeked of funk. Rounding out Ulu is the other primary melody maker, tenor saxophonist and flutist Aaron Gardner. His fluency with note progression during lead and solo work is amazing. And, as is a sturdy horn playerís duty, Gardner follows key changes like a valet parking crew in L.A. Now the difference between Ulu and MMW, besides one extra man, is that while MMW seem to get lost in their conceptual ramblings, Ulu tightens it up a bit. There is a real sense of song in their work, which incorporates time and space very well. Ulu will sometimes take more time on each piece, but the utilization of space is unique. They use it as a commodity, cautious not to pack it too full at any one moment. And while Ulu's songs tend to be fairly long (they average about eight-and-a-half minutes), the fact that they breathe so well rarely lets the work become tiresome. This lends itself to a resoluteness that can often be lacking in some players' non-communicative meanderings. Medeski Martin & Wood have established themselves as the entity in revitalizing that prized stream-of-consciousness fluidity that marked beat-era jazz musicians as the quintessential pursuers of free will. But here, Ulu displayed its ability, like all good bands, to expand upon the initial exploration of its predecessors. I've decided not to list many songs that Ulu played two Fridays ago, because when you listen to this music, it doesn't matter. It doesn't matter that they played a surprising and quite engaging version of The Beatles' "Come Together" (without lyrics, of course). It doesnít matter that Ulu demonstrated complete competence and patience with their rendition of Pink Floyd's "Us & Them," along with twelve captivating songs of their own. None of that matters. This music is about compatibility of the musicians, timing, and arrangement. The best stuff is, as usual, original. And, although Ulu might have to overcome being compared to its influences from time to time, that doesn't mean it won't continue to surprise and please unwitting crowds across the U.S. in years to come. |
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| What's the Deal? The deal is that these four guys don't need words to get their point across. New York City's ulu fuse jazz and funk during their instrumental voyage. By combining the jam band feel of Phish, the eclectic horn playing of Miles Davis and the funky organs of vocal free Beastie Boys tracks, ulu manage to skewer many genres of music in one fascinating sound. On "Jitterfried" Aaron Gardner wails on the tenor sax in a style not seen since Morphine's Dana Colley. The exciting improvisational piece "Mouthlove" and flute filled "Scab" demonstrate ulu's allure. James Brown may have made you want to holler, but ulu makes you want to get up and dance. |
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| Don't call ulu a jam band. There's a difference between noodling and improvisation. If you've ever seen the instrumental four piece from one night to the next, you know it won't stay put stylistically. And that's simply the deal. The band's third release - it's second live outing after a Wetlands show was put to tape a few years back - is a jazzy document from a Massachussetts club date last May. Fans of Medeski, Martin and Wood may want to try ulu's funk fusion on for size...they might be pleasantly surprised. |
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| uluvolution Justin Wallace, bass, is fumbling with his cell phone, bummed about his reception, and fearful for his life in a flash rainstorm on the Manhattan Bridge. Driving from Brooklyn to Manhattan during a violently inclement rush hour to make band practice on time (while giving a phone interview) is typical of the work ethic ulu has adopted since the band’s inception in spring of 1997. "The beauty of ulu," says Wallace through the in-again/out-again reception of the Samsung flip, "is complete artistic freedom." Silence. I’m not entirely sure if he’s thinking or if he’s hydroplaned into the river. His voice breaks the stillness, "That’s why we’re evolving." |
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| ulu: This instrumental, hometown jam group plays an upbeat jazz funk that results in their suffering endless Medeski Martin & Wood comparisions. The day will come, however, when devoted members of the ulu nation will rise up in indignation and declare that... (Aw geez. Dare I claim this publicly?) ulu kicks MMW's ass. There, I said it. (Rothman) |
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| ulu: This instrumental quartet has the talent and the spirit to stop you dead in your tracks with an entrancing, sweet'n'slow jazzy number, then, without warning and without missing a beat, get you to get down with a soulful funk groove. |
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by Neil Tesser |
| I've never really warmed up to Medeski, Martin & Wood, but if they inspire even one more band as creative as ulu in its use of pop materials, all will be forgiven. This New York-based quartet revitalizes the idea of a modern "jam-band" -- a term so frequently misapplied that it's become an insult -- by actually knowing how to jam, and better yet how to say something with its muralistic music. ulu ranges all over the modern jazz-funk landscape, choosing its heroes smartly from the genre's many exemplars in the 1970's and beyond. When the band sticks Aaron Gardner's Echoplexed flute in front of electric-piano chords you can pretty much taste the fine funk of the early 70's Blue Note catalog; when Gardner switches to tenor and keyboardist Scott Chasolen takes to his Clavinet, you can't miss the reference to Herbie Hancocks's "Head Hunters." And the band has clearly heard the music if saxist Karl Denson, who's also mining the funk and dance rhythms of the past, most notably in the San Diego-based Greyboy Allstars. ulu's self-produced eponymously titled 1998 debut established the group as something of a cult phenomenon, despite practically nonexistent distribution the recent "Live At The Wetlands Preserve NYC," recorded in November of 1999 does an even better job of conveying its brainy approach to ass-shaking grooves. (The New disc isn't much easier to track down, though try ordering through www.ulu.net). The band has advertised its shows with posters blaring "New Groove Generation" -- which, judging from the new album, means it strips away the self-conscious mystification and soporific experimentation of groups like MM&W. |
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| New York quartet ulu play a completely unfashionable amalgam of funk/jazz fusion that recalls "Bitches' Brew" era Miles Davis. Unlike so many jam bands on the circuit today, ulu understand the subtle difference between improvisation and mindless noodling. And while their instrumental prowess is exemplary, more importantly they know how to hold down a solid, funky backbeat. Intelligent, groovy and, lord almighty, danceable jazz-rock, what a concept! (Robertson) |
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September 15 - 22, 2000 |
| Electric, eclectic and occasionally experimental, the New York City groovists aren't the second coming of Medeski Martin and Wood. Fact is, they're much funkier than MMW, and feature a very capable sax player. |
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Baby Jupiter Inhabited by the ULU Nation by Jed Garfunkel |
| Members of the ULU Nation -- the affectionate title given to the band ULU's fanbase -- had every reason to boogie at Baby Jupiter last Saturday night, except one. When ULU took the stage and the room filled with dancing, shaking and grooving, a sign above the bar stating "No Dancing" was necessarily ignored. Mixing ULU's recipe of modern jazz and funk fusion with the club's cabaret ambiance created an uncontrollable response. At the show's start, a crowd of casual spectators bordered the room to watch and to talk to their friends. By the time the band got into the crowd favorite "Brain Tree," the aisles between tables were filled. Abandoned chairs were left as coat racks while people flooded the room with swaying and head-bopping. Dancers diverted their attention from pleasant conversations to focus a collective fascination toward the music. With the groovy set and the people dancing, the most remarkable moments of the ULU experience unfolded. The guitar and sax solos were of the sort you wished you could hold onto for your grandchildren to hear. Capitalizing on an ability to jam, the improvisations and structured arrangements were brilliant and powerful crescendos that climaxed in blurs of sound. Considering their aggressive experimentation and their expressed love for the importance of music, ULU is fast becoming one of New York City's favorite funk ensembles. Their is a successful formula at work underscoring the audible vitality of ULU's textured and jammed instrumentals. Strong backbeats and decorations are packed by drummer David Hoffman. Bassist Justin Wallace lays down groove-ridden bass lines with a passion expressed very clearly in his face, but even more clearly in the way his bass lines complement the other rhythms and leads. ULU has been compared to MEDESKI MARTIN & WOOD. Though their sound cannot be characterized as significantly similar, ULU's rhythm section does round out with organist Scott Chasolen, whose creativity, talent and ability to jam resemble Jon Medeski's "harnessing of experimental spirit." Both Luca Benedetti on guitar and Aaron Gardner blowing the Tenor sax honed their trades at the Berkeley Conservatory for Music. Their backgrounds and talent become apparent when freed-up by ULU's characteristic improvisational jams. Highlights of the Baby Jupiter show were numerous. One noteworthy spectacle was an exceptional performance of "Personaface," including a tease of LED ZEPPELIN's "Immigrant Song" that substituted the tenor sax for a vocal lead. |
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