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Search Result for Artist gustafsson
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TROST 242CD
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Conducted work by Mats Gustafsson for two identical nine-piece chamber ensembles, four soloists, tape machine, turntable, and conductor. Soloists featured: Anders Nyqvist (trumpets, slide and piccolo); Colin Stetson (amplified bass saxophone); Hedvig Mollestad (guitar); Per-Åke Holmlander (tuba); Jerome Noetinger (revox tape machines); Dieb13 (turntables); Mats Gustafsson (conductor). Recorded at the Avant Art festival, Warsaw, Poland, 2022. Mixed by Mikael Werliin and Mats Gustafsson, spring 2023.
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TROST 241CD
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"After many years of going deeper into folk music traditions of the past, I finally saw the possibility of creating my own contemporary reading of the traditions I am so deeply inspired by. I was very impressed and inspired by deeper ethnic music from around the globe. Not 'understanding' it. But feeling it. Being blown away by it. Being completely speechless. Flabbergasted. Overthrown by it. Inside and out.... The initial idea behind Ensemble E was to combine traditions of contemporary music, noise, improvised music, free jazz and other experimental music fields and traditions with the deeper music traditions from where we all arrive.... Occasional instant conductions, instructional pieces and graphic scores balancing it all up into new forms of expression. New experiences. New memories. New knowledge. With old tools. Old knowledge. Sharing. Every player of Ensemble E was asked to bring in older (and contemporary) folk music songs that have affected them in some deeper ways, into the body of the Ensemble E. Sharing it. Together. Togetherness. Putting the older materials into new contexts. Bringing extreme diversity into play. This is deeper research/re-search of traditional and non-traditional ways of expressing folk music of Scandinavia, Portugal, Poland, Ukraine and more. Much more. By putting them next to each other/on top of each other/inside of each other. Creating new ways. The instrumentation of Ensemble E is spectacular in my ears, eyes and soul. Avoiding traditional prejudices. This is all about how it is shared. And with whom. And WHO we are. Creating old and new dreams together with the extraordinary playing by Sylwia, Arne, Susana, Daniel, Maniucha, and Helga. Traditional acoustic instruments in direct interactions and deeper tactility of complexities, where only the acoustic colors, interferences and spectrums from each individual instrument are communicating, without filters and electronic processing. Just perfectly balanced by sound genius Mikael Werliin in the live situation. The instant interaction between each individual player and the collective urge, perspectives and needs of the music will create a new platform, new possibilities, and new perspectives...." --Mats Gustafsson
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CVSD 087CD
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Swedish saxophonist Mats Gustafsson might have a separate discography for his solo records. He's investigated the possibilities of unaccompanied reed music from almost every angle. Presented with the opportunity to make a new solo record under the isolation of the pandemic, Gustafsson returned to a project he'd conceptualized but never realized: the playing-card pieces of Peter Brötzmann. Although these Fluxus-like prompts are better known through the two card sets the German saxophonist created in the 1990s, which resulted in two CDs with his Chicago Tentet, Images and Signs (both released on Okka Disk in 2004), Brötzmann had in fact been using cards since the 1970s. Recording in his home studio in Nickelsdorf, Austria, Gustafsson used two of these sets of compositional prompts, one designed for the ICP Tentet and another intended as a spur for Brötzmann's own solo work. The instrumentation on Naja includes the entire saxophone family from sopranino to bass, as well as a piece for mouthpieces; this is also a rare opportunity to hear Gustafsson play more than one horn at the same time, a Roland Kirk move that he'd long ago sworn off but was prompted to do by the cards. In addition to nine pieces using the cards, Gustafsson played one non-card composition from Brötzmann's solo FMP LP 14, Love Poems. Stunningly mixed and mastered by Martin Siewert, with liner notes by Gustafsson, photos of the card boxes and the first photograph of Gustafsson and Brötzmann. Cover art, as on all Black Cross Solo Sessions CDs, by Christopher Wool.
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TROST 224LP
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LP version. Includes download. Personnel: Anna Högberg - alto and baritone sax; Mats Gustafsson - baritone sax and conductions; Susana Santos Silva - trumpet; Per-Åke Holmlander - tuba; Hedvig Mollestad - guitar; Dieb13 - turntables; Christof Kurzmann - lloopp, voice; Massimo Pupillo - bass; Gert-Jan Prins - drums and electronics; Ivar Loe Bjørnstad - drums.
Recorded at DE Studio, Antwerp, November 23rd, 2016. Mixed by Mikael Werliin. Mastered by Lasse Marhaug. Cover illustration/design by Lasse Marhaug.
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TROST 224CD
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Personnel: Anna Högberg - alto and baritone sax; Mats Gustafsson - baritone sax and conductions; Susana Santos Silva - trumpet; Per-Åke Holmlander - tuba; Hedvig Mollestad - guitar; Dieb13 - turntables; Christof Kurzmann - lloopp, voice; Massimo Pupillo - bass; Gert-Jan Prins - drums and electronics; Ivar Loe Bjørnstad - drums.
Recorded at DE Studio, Antwerp, November 23rd, 2016. Mixed by Mikael Werliin. Mastered by Lasse Marhaug. Cover illustration/design by Lasse Marhaug.
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TROST 205CD
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A collection of improvised duets with guitarist Jim O'Rourke and reedist Mats Gustafsson. All of the material has been newly remastered. Some tracks were in parts or in its complete form released on Incus CD38 (1999) with a different mix and master. All other tracks are unreleased. Mastered in 2021 by Jim O'Rourke. Recorded and mixed to two-track, September 23rd, 1999 by Jeremy Lemos at ACME Studios, Chicago. Personnel: Mats Gustafsson - tenor saxophone, fluteophone, flute, junk; Jim O´Rourke - guitar, accordeon, junk.
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TROST 205LP
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Double LP version. A collection of improvised duets with guitarist Jim O'Rourke and reedist Mats Gustafsson. All of the material has been newly remastered. Some tracks were in parts or in its complete form released on Incus CD38 (1999) with a different mix and master. All other tracks are unreleased. Mastered in 2021 by Jim O'Rourke. Recorded and mixed to two-track, September 23rd, 1999 by Jeremy Lemos at ACME Studios, Chicago. Personnel: Mats Gustafsson - tenor saxophone, fluteophone, flute, junk; Jim O´Rourke - guitar, accordeon, junk.
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CVSD 062CD
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In 2018, Mats Gustafsson provided raw saxophonic material for the elusive Wendy Gondeln, who sometimes applied a scalpel, sometimes a pneumatic drill, to rework, remix, reimagine all the Swede's squeaks, pops, blats, and tones. In some places, Gondeln adds violent violin to thicken the roux, making Ornette's fiddling seem like Yehudi Menuhin. Uncommon bedfellows: disjunct techno and improvised music. But the Shitholes make it work brilliantly, even inviting minimal techno pioneer and co-founder of Cologne's seminal Kompakt label Wolfgang Voigt to edit and remix two of the twisted tracks. The CD's other guest star, engineer Martin Siewert, contributes guitar and lap top guitar to a couple of tracks. Not your usual any kind of music, The Shithole Country & Boogie Band bends genres and upends style. Spasmodic dance music or highly conceptual experimental sound art -- it's a thin line Gondeln and Gustafsson tread on these eight diverse tracks, but an irresistibly fun one, too.
Personnel: Wendy Gondeln - violin, electronic treatments, and more; Mats Gustafsson - piano mate, saxophones, and live electronics; Wolfgang Voigt - editing and mix (track 3 and 8); Martin Siewert - guitar and lap top guitar (track 1 and 7).
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CVSD 063CD
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An übertrio drawn from distinct parts of the creative music spectrum, The Underflow was recorded during a sizzling two-night stand in May 2019. In a series of duets and trios, guitarist David Grubbs, saxophonist Mats Gustafsson, and trumpeter Rob Mazurek met headlong for the first time, converging not only their acoustic and electric instruments, but at times submerging themselves in a tangle of electronics, then emerging into shamanic bell-shaking chant or chest-rattling howl. Ranging from extreme noise to delicate texture (even a rare solo by Gustafsson on his first instrument, the flute), the CD's five tracks mark the beginning of a new group, named -- the same as the record -- after the venue at which they were recorded, the venerable Underflow Record Shop and Art Gallery in Athens, Greece. Harnessing the energy and intelligence of Grubbs's recent solo guitar records, the spirit and grit of Mazurek's hallmark work with the Chicago Underground Duo and recent Desert Encrypts project, and the monster-truck yowl of full- force Gustafsson, The Underflow is a surprise even for its participants, a present they gave themselves. Open with care, volatile contents inside.
Recorded by Manolis Aggelakis at Underflow Records and Art Gallery, Athens, Greece, on May 31, 2019. Mixed and mastered by Alex Inglizian, ESS Chicago summer 2019. Personnel: David Grubbs - guitar; Mats Gustafsson - flute, fluteophone, baritone saxophone, live electronics; Rob Mazurek - piccolo trumpet, wooden flute, electronics, percussion, voice.
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STSAFJ 199LP
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Christian Marclay: turntables; Mats Gustafsson: live electronics & slide, tenor and baritone saxes. Recorded and mixed April 2006 by Christoffer Roth and Olof Madsen at Studio Dubois, Stockholm. Mastered by Martin Siewert . "Smalltown Superjazzz was a free-jazz subsidiary label to Smalltown Supersound from 2005-2012. The label has been dormant since 2012, due to the fact that Smalltown founder Joakim Haugland 'didn`t feel the label any longer'. So in 2012 Haugland put the label to rest. Phase two. AFJ-Series represents a new start. Built on the foundation and heritage of the Superjazzz label. AFJ-Series is short for Actions for free jazz. This was the slogan for Smalltown Superjazzz and was borrowed at the time from Don Cherry & Krystzof Penderecki's The New Eternal Rhythm Orchestra track 'Actions For Free Jazz Orchestra' from the 1971 album Actions. AFJ-Series will be a series and a subsidiary label within the Smalltown Supersound label. The inspiration for the label is BYG Actuel, Incus, Freedom and ESP-Disk. All releases will be vinyl only, no CDs (some will be available digitally). The vinyl will be limited to 500 copies and no repress. The series' design will be by Smalltown designer Kim Hiorthøy. The albums will be executive produced by Haugland and Lasse Marhaug."
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CVSD 055CD
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Some recordings, the world is just not ready for them when they're made. In 2008, Swedish born, Austrian resident saxophonist Mats Gustafsson and Poughkeepsie, New York multi-instrumentalist Joe McPhee made a suite of studio recordings, Brace For Impact that they loved so much they immediately culled, mixed, and mastered them. A decade later, when the original label for which they were planned had not yet issued them, Gustafsson and McPhee offered them to Corbett Vs. Dempsey, and when the label couldn't believe the music. As searching and searing as anything either of them has made, the duets lived up to their explosive title. Gustafsson is known for his energy, and it's here in droves, but there are other nuances brought out by McPhee, a supple sense of melodicism (hey now, Gustafsson is a Swede, so by birthright he's melodic) and the love of experimental sound-making that McPhee displayed on his sound-on-sound recordings in the late 1960s. Although the two wind-players have worked together very extensively in Peter Brötzmann's large groups, with McPhee as a guest in Gustafsson's band The Thing, and in all manner of large and small group improvisations, they have never issued a record of duets before. This duo debut, now a decade in the can, is insanely powerful. Prepare yourself for the impact. Cover image by Charline von Heyl, interior photo of McPhee and Gustafsson bracing themselves back in 2002 by John Corbett. The package is completed by a haunting cover image by artist Cauleen Smith.
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TROST 171LP
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Trost presents the first vinyl edition of How To Raise An Ox by Zu and Mats Gustafsson. Initially released on CD in 2005 by Atavistic. Features new cover artwork. Long-running intense jazz/noise-core band Zu from Italy teams up with Viking-saxophonist extraordinaire Gustafsson (The Thing, Fire!). Mastering by Andy Moor (The Ex) and Colin McLean.
Personnel: Mats Gustafsson - baritone saxophone; Luca Tommaso Mai - baritone saxophone; Massimo Pupillo - bass; Jacopo Battaglia - drums.
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CVSD 043CD
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Discussing this impending studio date, the indefatigable saxophonist Mats Gustafsson and intrepid vibraphonist Jason Adasiewicz decided to compose new pieces for one another. The resulting tracks -- which also include a hallucinogenic arrangement of "Timeless", dedicated to its composer, the recently deceased guitarist John Abercrombie -- show a markedly different side of both musicians. Quiet, at times tender, this meeting of like-minded musicians evoked a new kind of tension, not one birthed out of screams and wallops, but instead one marshaling the power of restraint. Gustafsson's work with groups like The Thing and Fire! Orchestra have made him one of the most renowned figures in contemporary energy music, and Adasiewicz's joyous noise in his own bands and with Peter Brötzmann, Rob Mazurek, and many others have likewise earned him top status in the pantheon of today's free musicians. On Timeless, they explore low dynamics, static soundscape, and melodic lyricism, infused with passion and intellect. One track features the wooden-keyed African balafon, coaxing a buoyant response on alto from Gustafsson, while their mutual boyhood love of highly select fusion records provided an unforeseen jumping off point for the whole record. On the cover, a painting by Charline von Heyl; across the interior, a photo portrait of the musicians. Personnel: Mats Gustafsson - alto, tenor and baritone saxophones; Jason Adasiewicz - vibraphone and balafon. Recorded October 1, 2017, by Alex Inglizian at Experimental Sound Studio, Chicago.
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CVSD 009A-CD
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2013 release. Swedish saxophonist Mats Gustafsson and Chicago saxophonist and clarinetist Ken Vandermark have worked together extensively since the mid-1990s, in groups of their own and as members of the Peter Brötzmann Chicago Tentet. Oddly, they had never performed duo before March 2013, when they squared off at the Corbett Vs. Dempsey gallery. The result was a delirious journey through extended techniques, intimate improvisation, and full-throttle flame-throwing, with an emphasis on the more delicate, sensitive side. The CD presents the entire concert, all six pieces in the order they were performed. A pair of today's master improvisers, at the top of their game, in a free music summit built for two. Recorded at Corbett Vs. Dempsey, Chicago on March 24th, 2013, by David Zuchowski. Mixed by David Zuchowski; Cover image by John Sparagana; Photography by Jim Dempsey.
"Verses is a paean to instantaneity. Quite surprisingly, this is the first time that longtime confederates Vandermark and Mats Gustafsson have played as a duo. But what comes across from the first note is the utter certitude of their playing. There's never any question that each can make sense of whatever the other plays, and from this security comes the confidence to take some thrilling individual risks." --Bill Meyer, Downbeat (Nov. 2013)
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CVSD 012CD
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2014 release. One of the most celebrated folks in improvised music, Swedish saxophonist Mats Gustafsson made three ultra-limited edition vinyl LPs, each featuring a different dedication to a favorite musician from the past. Released in batches of 99, these records found Gustafsson playing compositions by Duke Ellington, Albert (and his brother Donald) Ayler, and the important post-bop baritone player Lars Gullin. Long out-of-print, these priceless slabs of free music have quickly become sought after collector's items. Torturing The Saxophone compiles all three LPs, plus some extra material, featuring Gustafsson at both his most experimental and his most lyrical. He purrs his way through Ellington's "In a Sentimental Mood", then demolishes "Come Sunday". He draws out Gullin's "Danny's Dream", rendering it truly dreamlike, perhaps nightmarish. Gustafsson shared the LPs with his new friend R. Crumb, the famous comics artist and shellac enthusiast. Crumb's stunned response provides liner notes for the CD ("... I was kind of shocked at what a negative, unpleasant experience it was... "), and the perfect title. Only one way to hear what rubbed Crumb so hard the wrong way -- listen in to hear what pain and possible injury Mats Gustafsson inflicts upon his horns.
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TROST 154LP
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LP version. Mats Gustafsson plays slide, tenor, baritone, bass saxophones. Christof Kurzmann uses special ppooll software and voice, live processing. Recorded, mixed & mastered at Garnison 7, Vienna by Martin Siewert. Artwork by Jimmy Draht. Liner notes by Ken Vandermark. Limited vinyl edition of 300 with screen-printed covers. Ken Vandermark, from the liner notes: "On the surface, its fundamental components seem to come from the 20th century: the saxophone (invented in 1846, but not coming to the fore until jazz and Coleman Hawkins took a hold of it), the laptop computer (initially developed around 1980), and tape music (first started around 1950). But when examining the materials it becomes quickly apparent that, though the 'machines' may belong to the previous century, the methodologies applied to them do not. The six pieces on this album began as open improvisations digitally recorded at Martin Siewert's studio in Vienna, Austria. A section of each improvisation that was considered most successful from a musical standpoint was 'spliced out' and kept as a composition - the studio was used as a means to produce a performance rather than to strictly document, not usually the case when recording improvised music. Mats Gustafsson (who also plays keyboard here) has added to the range of extended techniques for saxophones instigated in the 1970s, by musicians like Anthony Braxton, Evan Parker, Roscoe Mitchell, Trevor Watts, Steve Lacy, and Peter Brötzmann. He's developed these through his unique approach to the instruments, which is often built upon phrasing power that can stand up to rhythmic frameworks and volume that frequently have little to do with the origins of improvised music. In many cases, the grooves explored on this collection of recordings are about pulse, but not the rhythmic feel of jazz, nor the timing of late 20th century free improvisation. And as Christof Kurzmann (who also sings here) explained to me, the instrument he plays is not the laptop, but the software that he runs on it, called ppooll and refined by Klaus Filip and Arnold Habirl in [2015??]... ppooll gives Christof nearly infinite manufacturing possibilities for sound - from creating new material that's used later in performance, to processing sonic events in real time. The elements of construction used to make this album and the resulting music all belong to this century, to this period."
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TROST 154CD
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Mats Gustafsson plays slide, tenor, baritone, bass saxophones. Christof Kurzmann uses special ppooll software and voice, live processing. Recorded, mixed & mastered at Garnison 7, Vienna by Martin Siewert. Artwork by Jimmy Draht. Liner notes by Ken Vandermark. Limited vinyl edition of 300 with screen-printed covers. Ken Vandermark, from the liner notes: "On the surface, its fundamental components seem to come from the 20th century: the saxophone (invented in 1846, but not coming to the fore until jazz and Coleman Hawkins took a hold of it), the laptop computer (initially developed around 1980), and tape music (first started around 1950). But when examining the materials it becomes quickly apparent that, though the 'machines' may belong to the previous century, the methodologies applied to them do not. The six pieces on this album began as open improvisations digitally recorded at Martin Siewert's studio in Vienna, Austria. A section of each improvisation that was considered most successful from a musical standpoint was 'spliced out' and kept as a composition - the studio was used as a means to produce a performance rather than to strictly document, not usually the case when recording improvised music. Mats Gustafsson (who also plays keyboard here) has added to the range of extended techniques for saxophones instigated in the 1970s, by musicians like Anthony Braxton, Evan Parker, Roscoe Mitchell, Trevor Watts, Steve Lacy, and Peter Brötzmann. He's developed these through his unique approach to the instruments, which is often built upon phrasing power that can stand up to rhythmic frameworks and volume that frequently have little to do with the origins of improvised music. In many cases, the grooves explored on this collection of recordings are about pulse, but not the rhythmic feel of jazz, nor the timing of late 20th century free improvisation. And as Christof Kurzmann (who also sings here) explained to me, the instrument he plays is not the laptop, but the software that he runs on it, called ppooll and refined by Klaus Filip and Arnold Habirl in [2015??]... ppooll gives Christof nearly infinite manufacturing possibilities for sound - from creating new material that's used later in performance, to processing sonic events in real time. The elements of construction used to make this album and the resulting music all belong to this century, to this period."
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XRAY 004LP
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Clear 180-gram LP in screenprinted sleeve. Limited edition of 500. The two side-long pieces on Mats Gustafsson's Piano Mating sound like two holes puncturing the fabric of reality; holes that disobey laws of time and space; black holes, even. The pieces are pure, simple-sounding, slowly ascending drones that feel convincingly like conveyor belts for the soul. X-Ray Records asked Gustafsson to compose an album using an instrument with which he'd never recorded before. He responded with one of the most bizarre instruments ever, the Dubreq PianoMate. It's a synthesizer from the 1970s designed to be operated in conjunction with a piano, but Gustafsson here manipulates the machine on its own to wring out strange, expressive sonic prayers. "Microtonal electronic maracas is perhaps an apt description," says Gustafsson. "It is just a totally different beast compared to anything else I ever played. The PianoMate does whatever it wants really. But I can control pitch and volume and detune it while playing. The microtonal clusters that it offers are highly inspirational to work with and really something that is quite hard to achieve on the saxophones. And I just love the sound of it. That color really kicks my mind and ass." Compositionally, Gustafsson let the unique restrictions and limited tonal palette of the PianoMate guide him rather than attempting to bend the unwieldy instrument to his will. "Making this music was a lot about creating a specific state of mind. Letting the music take over," he explains. "Letting the sounds create the music. Slow. Listening for it and going for it. Never pushing it. Hard to describe, actually. And of course, part of the mystery of it all." Although he admits he rarely listens back to his recordings once he's finished with them, Gustafsson says that Piano Mating has brought something new and indefinable to his iconoclastic music. "I really hear very different things every time I listen back to these recordings. I found them still very surprising and, funnily enough, very inspirational to me. In my sax playing, I get a lot of inspiration from listening to the PianoMate. I love my PianoMate! -- there should be one in every household!!!"
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TROST 140CD
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In October 2015, a three-day was held at Porgy & Bess in Vienna for the 50th birthday of Mats Gustafsson, saxophone player extraordinaire in contemporary (free) jazz with The Thing, Fire!, and various duo/trio/ensemble formations. Many collaborators of Gustafsson's were invited to join in various formations. The first three discs of the four-CD set were recorded October 26-28, 2014 at Porgy & Bess in Vienna by Mikael Werliin. The fouth disc was recorded October 26-28th, 2014 at "Strenge Kammer," Porgy & Bess, by Alexander Kasses. The discs are presented in a heavy cardboard box with two thick booklets including essays and many photos. Mixed in 2015 at Garnison7 in Vienna by Martin Siewert and Mats Gustafsson. Mastered by Martin Siewert in 2016. Photos by Petra Cvelbar and Ziga Koritnik. Artwork by Lasse Marhaug. Produced by Konstantin Drobil and Mats Gustafsson. Includes performances by Mats Gustafsson/Didi Kern, RISC (Billy Roisz/Dieb 13), Sven- Åke Johansson, Swedish Azz, Fake The Facts + Paul Lytton & Martin Brandlmayr, Christof Kurzmann/Sofia Jernberg, Fire! Plus guests, Klangforum Wien & Mats Gustafsson, TR!O + 1 (Günther Christman/Paul Lovens/Thomas Lehn/Mats Gustafsson), The Thing & Ken Vandermark, Kjell Nordeson, Per-Åke Holmlander, Agustí Fernández, Erwan Keravec, Christof Kurzmann/Ken Vandermark, and Anna Högberg.
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TROST 135LP
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LP version. Begun as a temporary project in 2014 by Mats Gustafsson (The Thing, Fire!), Brian Chippendale (Lightning Bolt), and Massimo Pupillo (Zu), this trio soon evolved into a band project. They're now releasing their first album on Trost Records, with a tour to follow in 2016. Mats Gustafsson: saxophone; Brian Chippendale: drums; Massimo Pupillo: bass.
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TROST 135CD
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Begun as a temporary project in 2014 by Mats Gustafsson (The Thing, Fire!), Brian Chippendale (Lightning Bolt), and Massimo Pupillo (Zu), this trio soon evolved into a band project. They're now releasing their first album on Trost Records, with a tour to follow in 2016. Mats Gustafsson: saxophone; Brian Chippendale: drums; Massimo Pupillo: bass.
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TRJBX 001EP
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Trost loves 7"s, and have therefore started a new series: Trost Jukebox Series, specially for one-time collaborations & projects. The paper-sleeve stays the same, the labels are changing, and there's artwork by Lasse Marhaug. One-time pressing, with two scheduled singles per year. Single 001: Mats Gustafsson with Albert Oehlen.
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ROKU 007LP
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Restocked. Vi Är Alla Guds Slavar is the latest missive from the long-running duo pairing of Mats Gustafsson (The Thing, Peter Brötzmann Chicago Tentet, etc.) and Thurston Moore (Sonic Youth, Chelsea Light Moving, Dream/Aktion Unit, etc.). The recordings presented here are continuous excerpts taken from the heavyweight, high-volume duo sets that topped off each night of their two-day residency at Café OTO in September 2012. Mats mostly plays a selection of amplified table-top electronics as well as some knotty soprano saxophone at the beginning of the second side, while Thurston offers a fine example of the kind of liminal intensity he is capable of generating from his guitar, complete with the low-frequency/octave-doubling dive-bombs that have had us replace the speakers in our Fender Twin twice since he relocated to London in 2013. The title Vi Är Alla Guds Slavar translates as "We Are All Slaves Under God," and is taken from the painting by Edward Jarvis that also serves as the three-color screenprint for the LP sleeve. Printing by Patrick Wells at Heavyrock on archival quality card stock. Mixed by Robert Harder. Mastered by Andreas "Lupo" Lubich @ Calyx. Pressed on high-quality 180 gram vinyl at Record Industry in The Netherlands. First pressing of 1,000 copies.
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SSS 005EP
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RSD 2013 release. Special session in January 2013 for Record Store Day 2013. Recorded at Martin Siewert's studio Garnison 7 in Vienna. Cover art by Dieter Kovacic. First and final pressing of 400. Mats Gustafsson (bass sax): one of the shining names in the current avant-garde/free jazz scene. Projects: The Thing, Sonore, Chicago Tentet, duos with Colin Stetson, Thurston Moore. Martin Siewert (guitar): improv and composing work in acoustic and electronic contexts, projects: Radian, Trapist, etc. Dieb13 (turntables, cigar box): Viennese turntablist, releases on Mego and Erstwhile.
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RCD 2136CD
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Here are two of the planet's most uncompromising and inventive young hornithologists and saxophonists, Colin Stetson and Mats Gustafsson. Mats Gustafsson is the uncompromising Swedish saxophonist famous for his no-holds barred style. Colin Stetson is a member of Arcade Fire's touring group, and his prodigious bass saxophone tones have been called on by a host of American alternative acts including Bon Iver, Tom Waits, Laurie Anderson, TV on the Radio, David Byrne, Feist, My Brightest Diamond, LCD Soundsystem, and many more. The four tracks on Stones were recorded live on stage at the 2011 Vancouver Jazz Festival. Miraculously, this explosive encounter was also their first meeting. From the long throaty drones that open "Stones That Rest Heavily" to the slithering and flutter-tonguing interplay of "Stones That Need Not," it's clear that this duo is intent on alchemizing their brass tubes into liquid gold. But they mainly use low-end instruments like the bass and baritone sax, which emit deep, warm vibrations. And unlike the more in your face free improvisation, there's an underlying tunefulness that draws you in and envelops you. "It was completely magic," remembers Mats. "All was there, the communication, the interaction, the music, the mystery..." The titles were partly inspired by the Swedish poet Gunnar Ekelöf (1907-1968), of whom Mats says, "He is the foundation of Swedish modern poetry. There is so much music in the way he constructs his work. It is extremely inspiring, on all levels. Ekelöf is the man." This is fire music that smolders in the dark. Perhaps this will give the elusive sax duo a new lease on life. After all, as Mats says, there's "no escape... nothing to hide... you just need to go out there and interact!"
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