Sep.28, 2020

at last…. in print again:





legendary 2nd release by the thing on the Crazy Wisdom label!


just released by Hat Hut records on their ezz thetics serie of free jazz


remastered by Peter Pfister.



the first review – in DUSTED:


One third Swedish, Two thirds Norwegian, The Thing added a fourth part Poughkeepsian in the formidable form of Joe McPhee for its sophomore album, She Knows… in 2001. The trio’s chosen sobriquet sourced from a Don Cherry composition of the same name, a second choice since their first, Trans Love Airways, was already spoken for by another Swedish group with no love lost. The disc was the sixth release on a label run by saxophonist Mats Gustafsson, he the Swedish contingent, and two colleagues. It swiftly attracted accolades as a provocative composite of free jazz lucidity with punk rock-inspired energy before abruptly falling out of print.

Eighteen-years on (damn, has it been that long?!?!) enters Swiss producer Werner X. Uehlinger’s Ezz-thetics imprint, an enterprise expressly designed to reissue classics of the free jazz idiom. Combine that good fortune with a fresh remaster by in-house audio engineering savant, Peter Pfister, and an old new classic gets a new lease on circulation and appreciation. McPhee’s presence on the project isn’t just in guest capacity, he’s a full-fledged honorary member. His signature “Old Eyes” caps the program and his sensibilities align in fervent fraternal fashion with Gustafsson, bassist Ingebrigt Håker Flaten and drummer Paal Nilssen-Love.

The album begins with, of all things, a P.J. Harvey cover and a rasp-saturated invocation from McPhee’s pocket trumpet (another nod to the band’s namesake). Gustafsson honks simple counterpoint as bass and drums lock and release in a loping dirge-like groove. “The Thing” is concentrated, vamp-actuated freebop, and Håker Flaten’s elastic improvisation is the first instance where a significant Pfister-facilitated boost is audible in the offing. Deep crate selections by James Blood Ulmer (“Baby Talk”), Ornette Coleman (“Kathelin Gray”) and perhaps most rewardingly Frank Lowe (“For Real”) follow with the players digging ardently and assiduously into each opportunity.

On the Ulmer piece, Håker Flaten plugs in for a flanging effect that coupled to Nilssen-Love’s cascading beats takes on dub-like malleability McPhee, again on pocket trumpet, and Gustafsson on tenor saxophone fire off crenelated Aylerian salvos in tandem and independently that ride the oleaginous waves. The traditional spiritual “Going Home” contrasts, starting from space of simmering arco bass laced reflection and gaining grandeur through McPhee’s sanctified tenor sermon. Gustafsson enters and two trade improvisations in an exchange that can’t help but feel truncated given the glorious amount of pathos and power brought to bear. It’s beyond good to have this one back.

Derek Taylor


Sep.25, 2020

the new CUTS album!!!!!!

Cuts Open 1

recorded at GOK studios in tokyo 2018.


a very different beast!!!!


On the all-too-rare occasions when Japanese noise legend Masami Akita (aka Merzbow), Swedish saxophone aggressor Mats Gustafsson and blistering Hungarian drummer Balázs Pándi converge, listeners know to brace themselves for a brain-rattling sonic assault. Each of these men alone had long been established as among the most ferocious of artists long before they came together to record their savage 2013 debut, Cuts; the onslaught was only intensified with the addition of Sonic Youth founder Thurston Moore for a pair of overpowering follow-ups.

The anticipation of such musical violence is what makes this most recent outing, Cuts Open so entrancingly unsettling. Reconvened as a trio once again, Gustafsson, Pándi and Akita found themselves exploring far more spacious and airy soundscapes than is typical for their explosive meetings. The results are no less sanguinary for being unusually quiet (relatively speaking, of course; this trio’s “serene” is the equivalent of most musicians’ wildest extremes).

Instead, the use of agitated percussion and hair-raising breathiness makes for a decidedly ominous atmosphere. When the occasional bursts of brutality arrive – and they do arrive, in all their eviscerating glory – they’re almost cathartic in their relief from the teeth-gnashing tension of the album’s more subdued moments, where menace hangs in the air like a thinly veiled threat.

Of course, the unexpected lies at the very heart of the music that these three make together, which seems to be less improvised in the traditional sense than summoned from some primal beyond. Asked to describe the kinds of sounds he prefers to explore with his bandmates, Akita offers the single word, “Spontaneous.” But the direction that Cuts Open took, nearly a decade into the trio’s collective existence, took even the artists themselves by surprise.


the 100 heaviest swedish jazz lps

Sep.22, 2020

commissioned by the great swedish music mag LIRA —  i put, during the summer,  together  a list of the 100 (+ 4 )  heaviest swedish jazz albums of all time. In my mind, that is….

a task: impossible, stupid, wonderful, frustrating and  fun ( of course) – this is how the list looks today  — tomorrow is the question:



check it out:



and check the list out compiled by the LIRA crew :


make up your own mind and make your own lists!!!


cant get enough of lists — check these out:

new additions by:Jan St Werner, Bjrön Thorstensson, ALan Licht, Lester bangs, Stephen Mathieu, Samma Stein !!!

Ken Vandermark on sleep related matters

Sep.14, 2020


check it out:

very entertaining and informative interview on the topic of sleep and the lack of it for a creative musician:


and please check the music out of Ken Vandermark — always changing, always deep, always real!





Sep.11, 2020

some concerts are in the plannings… even if most are cancelled until further notice….


12 sep      FALLING / Gustafsson & Kurzmann        Nickelsdorf Kontraktionen, Austria

18 sep      FALLING / Gustafsson & Kurzmann        Jazz Cerkno, Slovenia

9 oct        Mats Gustafsson solo                                    club manufaktur, Schorndorf, Germany



Sep.07, 2020



no konfrontationen this year…. but

one day only! sept 12th 2020

limited space


unlimited music!



new interview

Sep.07, 2020

a newly published interview by the great sammy stein:

september 2020 on the current situation and more….




new bandcamp – christmann/ johansson / gustafsson

Aug.07, 2020

new music up on bandcamp. old recording w the two maestros Günter Christmann and Sven Ake Johansson! 1993 recording from the vaults!!!


christmann saj MG


Jul.26, 2020

a FALLING concert video  and an interview — for the TD  Edmonton International Jazz Festival

recorded at Porgy and Bess , Vienna , july 23rd 2020.

edmonton jazz —- link:

Front Page




Jul.16, 2020



change of date!!!

a NEW solo of bass and baritone sax – live electronics- organ and bass drum insanity will be released online  already July 17th

on newly started online record label SUPERPANG.


1.Countdown. Counting in. Countdown.

2.I hand you. A Breathing. (To Ville Jarvis, 1998 – 2020)