Edmonton

Jun.01, 2009

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LIVE AT YARDBIRD SUITE,  EDMONTON, may 2nd 2009
17,49 min
IMPROVISATION incl excerpts from Stephanie McDee´s “Call the Police”
unreleased


Barry Guy N Orch

Apr.04, 2009

BARRY GUY NEW ORCHESTRA

Barry Guy bass, director (GB)
Agusti Fernandez piano
Evan Parker sax (GB)
Mats Gustafsson sax, fluteophone (SE)
Hans Koch sax, clarinets (CH)
Herb Robertson trumpet (USA)
Johannes Bauer trombone (DE)
Per Åke Holmlander tuba (SE)
Paul Lytton percussion (GB)
Raymond Strid percussion (SE)

Barry Guy is one of the world’s leading bass soloists and improvisers, well known as director and founder of the London Jazz Composers Orchestra, also as a composer of new music for chamber ensembles and symphony orchestras has founded a new ensemble called the Barry Guy New Orchestra.

This all-star band brings together the biggest names in the world of contemporary Jazz and Improvisation from America, England, Sweden, Switzerland and Germany.

The world premiere of the new composition Inscape-Tableaux by Barry Guy was staged in Ireland for the “Mostly Modern Festival 2000”. During four days the musicians performed a unique set of trios, duos, solos and finally the new piece.

Open rehearsals and workshops provided an insight into the process of creating a new ensemble and into the intriguing combination of free improvisation and composed structures.

Evan Parker may be the most formidable saxophonist since John Coltrane. He plays Trane’s instruments, tenor and soprano, and lists Coltrane as one of his principal influences. Parker is emphatically not an “entertainer,” but a true artist who has developed an entirely new way to play the saxophone. He has developed the possibilities of unpremeditated music more deeply than almost anyone, creating a personal vocabulary that is simultaneously instantly recognisable and adaptable to the most varied of situations …”

Robert Spencer

His discography is so extensive that it has been published in book form and lists over 150 albums recorded over a period of more than three decades (Publisher Bandecc hi&Vivaldi by Francesco Martinelli) this will soon be updated since he has recorded a vast number of new CDs in the past few years.

Mats Gustafsson was born in Umeå, a town in the north of Sweden with a rich cultural life and an inspiring jazz scene. He is now one of the most significant new faces in improvised music. Combining great sensitivity and attention to detail with boundless energy. He has developed a close collaboration with an increasing number of top rank musicians, including bassist Barry Guy, violinist Philipp Wachsmann, cellist Günter Christmann, percussionist Michael Zerang, and more recently saxophonist Peter Brötzmann.

“Mats is the most modern of players where the genre tags of jazz, noise, experimental, avant-whatever are finally transcended to a new millennium – where compositional concepts are at once in check with open improvisation and a super-postmodernism becomes what we always wanted: rock & roll!”

Thurston Moore

Hans Koch worked first as a solo clarinettist in Winterthur and performed widely as a soloist and chamber musician. In the early Eighties he became involved in Jazz being influenced by musicians like John Coltrane, Albert Ayler, Anthony Braxton and Evan Parker. In his first trio with Martin Schütz and Marco Käppeli he began to experiment more and more with a mixture of composition and improvisation.

Since then his career as a free improviser and composer has brought him together with Cecil Taylor with whom he played in the “European Big band”, Shelley Hirsch, Butch Morris, David Moss, Andrew Cyrille and many of the leading European improvisers. With Barry Guy he has played as a Duo partner and his collaboration with the Swiss musicians Werner Lüdi, Stephan Wittwer and Fredi Studer has lead to numerous albums on the Intakt label and others.

“A brilliantly virtuosic, independent saxophonist and bass clarinettist with a beautiful, clear and convincing tone, a first class improviser, differentiated, powerful, rich in ideas and many-facetted”

Christian Rentsch

Herb Robertson is internationally renowned as an innovative instrumentalist, composer, and arranger in traditional and avant-garde jazz and new music. He has performed and recorded with Tim Berne, Mark Helias, John Zorn, George Gruntz, Bobby Previte, London Jazz Composers Orchestra, Charlie Haden’s Liberation Music Orchestra, and Bill Frisell. He has also recorded five albums under his leadership for JMT.

“Herb Robertson has a voracious appetite for the jazz past, with an eye toward the future … He forced runs of superhuman length, power and density from his horn, yet his tone was amazingly clear and crisp. He used a range of half-values, split tones and mutes to introduce a breadth of tonal colourations to his performance. ”

NY Times

Johannes Bauer is best known for his work with his brother Connie Bauer and the bands “Doppelmoppel” and “Slawterhaus”, he is one of the most dramatic and articulate trombone players in the German improvising music scene and has made a substantial contribution to free and new music since the Seventies as a soloist, composer for improvising musicians and in various ensembles. He is instantly recognisable by his amazing sound, rhetoric and the seamless blend of highly theatrical and lyrical playing.

Per Åke Holmlander is one of the leading exponents of the new generation of improvisers and new music performers in Sweden. He is known both in the new music and free improvising scene as a virtuoso on the tuba with an amazing range of colours and dynamics.

He is a member of Mats Gustafsson’s NU Ensemble and Barry Guy’s London Jazz Composers Orchestra amongst others, and is also well know for his contribution to music theatre.

Paul Lytton, one of the first members of the experimental British free-improvising avant-garde in London during the Sixties and early 1970s, was a founder member of the London Musicians Coop and the Aachen Musicians Cooperative.

He has been building own instruments since 1969 (Incus 14 features Evan Parker on the lyttonophone), and had an exhibition of the equipment in Wuppertal in 1980. Since 1975 has lived in Belgium. Founded Po Torch Records in 1976 with Paul Lovens, with whom he has recorded three duo albums.

Perhaps most well known in the UK and US as a member of the Parker/Guy/Lytton trio and, prior to that, for working in duo with Evan Parker. However, there are many recorded contributions to other groupings, most notably the London Jazz Composers Orchestra and King Ubu Orchestru, also recently ECM released a duo recording with Paul Lytton and Philipp Wachsmann called Some other Season.

Raymond Strid is one of the leading figures in the Swedish improvising scene. He regularly performs with Mats Gustafsson, Marilyn Crispell, Barry Guy in their respective trio and quartet formations. He is also in demand all over Europe and America to play in various larger ensembles.

“Raymond Strid is an explorer of sounds with an extremely sensitive ear, a percussionist who creates sonic rooms. ”

Jazz Review


The Sounds of Sonore

Mar.31, 2009

NO LONGER ACTIVE!!!

 

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Only the Devil has no dreams

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No one ever works alone

Ken Vandermark – tenor/baritone sax, b-flat clarinet
Mats Gustafson – tenor/baritone sax
Peter Brötzmann – alto/tenor sax, a-clarinet/tarogato
Releases (click to view)
No One Ever Works Alone
Only the Devil Has No Dreams
Peter Brötzmann, Mats Gustafsson, and Ken Vandermark are three of the leading voices in contemporary improvised music. Together they have formed SONORE, a reed trio organized to investigate the melodic, rhythmic, and textural possibilities of freely improvised music. Working together in the PETER BRÖTZMANN CHICAGO TENTET since 1998, these musicians first performed in a trio formation during the June, 2002 North American tour with the TENTET for a radio broadcast on CKUT in Montreal. It was clear from that first concert that this line-up was musically unique. They worked together again that fall, performing and recording during a festival organized by Gustafsson in Ystad, Sweden. Both of these initial encounters provided a fascinating starting ground for the trio’s instrumental combinations and communication, but it was during their first tour of Europe in October, 2003 that the group’s identity and approach fully developed. Two weeks of concerts that saw the three playing every night in cities ranging from Vienna to Istanbul, Ljubljana to Cologne, travelling by plane, train, and van with their equipment (alto, tenor, baritone saxophones; Eb, A, Bb, and bass clarinets; taragato and flageolet) enabled them to explore an open-ended range of improvisation on a daily basis and accelerated SONORE’s creative growth. Luckily, a number of these concerts were recorded, including the final performance of their tour which took place in Cologne. This document was released as “No One Ever Works Alone,” on Okka Disk in September, 2004 as the group’s first album. The trio organized a North American to coincide with the CD’s release to bring their music to audiences in the U.S. and Canada for the first time. 

For more than three decades German multi-instrumentalist Peter Brötzmann has been a central figure for the European improvised music scene. Today he leads two of the most significant ensembles playing this music, the DIE LIKE A DOG TRIO and the CHICAGO TENTET. Mats Gustafsson is one of the most innovative improvisers of his generation, working on a regular basis with musicians like Joe McPhee, Barry Guy, and Thurston Moore, as well as leading the free jazz ensemble, THE THING. Since the mid-Nineties, Chicago has been one of the major international centers for improvised music and Ken Vandermark has been at the cutting edge of its development both as a musician and as a presenter and organizer. SONORE’s music integrates the varied musical backgrounds of these three musicians, blending common ground and building new directions in improvisation.

Unlike the traditional jazz saxophone quartet, this group doesn’t attempt to replicate a classical string ensemble by placing the musicians in hierarchical roles (i.e. the lowest member of the band laying down a foundation through ostinatos, vamps, or other means of support for the higher pitched instruments to be featured over, either through the main melodic content or featured solos). In SONORE, solos, duos, and trios built from various reed combinations shift and develop through spontaneous musical requirements. The group explores sonic textures, melodies, integrated rhythmic statements, or whatever other musical techniques seem to inspire them and the music during their improvised performances. SONORE’s music is intense, beautiful, introspective, cutting-edge, and could be played by no one else.

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Swedish Azz

Mar.31, 2009

SWEDISH AZZ —– JAZZ PÅ SVENSKA
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Mats Gustafsson — saxophones and live-electronics
Per-Åke Holmlander — tuba, cimbasso
Kjell Nordeson — vibraphone
dieb13 — turntables and electronics
Eric Carlsson — drums

New group by Mats Gustafsson and Per Åke Holmlander, consisting of  five European improvisers loving, respecting, and playing the swedish jazz masterpieces from the 50´s and 60´s.
The Golden Age of Swedish Jazz happened in  the mid 50´s, as we were told, and was represented by some very distinct and personal voices that were all taking their main inspiration from the American West Coast Jazz, but transforming it into a swedish colour and language, also including elements of traditional Swedish Folk Music.
Lars Gullin, Jan Johansson, Bernt Rosengren, Georg Riedel, Lars Werner, Berndt Egerbladh and later Per Henrik Wallin were all part of this movement and we just LOVE this music!
Swedish Azz wants to explore the possibities to use these wonderful and strongly lyrical melodies and put them in a contemporary structure and soundscape. We want to find out, or at least try out, what will happen when you put these melodic lines in connection with a.o. live electronics and experimentation in form, using the freedom of improvising freely.

Contact and info: mats@matsgus.com

Biographies

Mats Gustafsson – born 1964 in Västerbotten
Saxophones and live electronics

favourite swedish jazz composer: Per Henrik Wallin
favourite swedish jazz player: Lars Gullin
favourite swedish jazz film: Sven Klangs Kvintett
favourite swedish jazz record: Bengt Nordström ”Natural Music”

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Per-Åke Holmlander – born 1957 in Västerbotten
Tuba and Cimbasso

favourite swedish jazz composer: Georg Riedel
favourite swedish jazz suite: “Arktisk Svit” / Berndt Egerbladh
favourite swedish jazz tune: Theme from – “Sagan Om Karl-Bertil Jonssons
Julafton” / Gunnar Svensson
favourita swedish jazz bassist: Gunnar Johnson

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Kjell Nordeson – born 1964 in Jämtland, in the swedish mountains on the border to Norway
Favourite Swedish jazz musician: Per-Henrik Wallin
Favourite Swedish jazz composer: Lars Färnlöf
Favourite Swedish jazz tune: Att angöra en brygga
Favourite Swedish jazz drummer: Janne “Loffe” Carlsson

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Erik Carlsson born 1976 Lerum in the westcoast of sweden
Drums

favourite swedish jazz player: Bengt Nordström
favorite swedish jazz drummer; Sven Åke johansson
favourite swedish jazzband; Hansson & Karlsson
favourite swedish ”other” band; Träd Gräs och Stenar

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dieb13 – born 1973 as dieter kova?i? south of sweden
turntables and electronics

http://swedishazz.klingt.org/

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Danny’s dream


peter brötzmann chicago tentet

Mar.30, 2009

no longer active!!!!

 

Band Members
•Current

 

Peter Brötzmann/Germany: reeds
Johannes Bauer/Germany: trombone
Jeb Bishop/USA: trombone
Mats Gustafsson/Sweden: saxophones
Per-Âke Holmlander/Sweden: tuba
Kent Kessler/USA: bass
Fred Lonberg-Holm/USA: cello
Joe McPhee/USA: trumpet
Paal Nilssen-Love/Norway: drums
Ken Vandermark/USA: reeds
Michael Zerang/USA: drums

•Past

Magnus Broo/Sweden: trumpet
Roy Campbell/USA: trumpet
Hamid Drake/USA: drums
Toshinori Kondo/Japan: trumpet/electronics
William Parker/USA: bass
Mike Pearson/UK: voice
Mars Williams/USA: saxophones

Releases (click to view)
SIGNS
IMAGES
Short Visit to Nowhere
Broken English
Stone/Water
The Chicago Octet/Tentet
Be Music, Night
American Landscapes 1
American Landscapes 2
Chicago Tentet at Molde 2007
The Peter Brötzmann Chicago Tentet 

Peter Brötzmann has led a number of internationally renowned, large group improvising ensembles since the late 1960s. The latest, called the “Chicago Tentet,” is one of his best. First organized in that city during January of 1997, the band has toured extensively throughout North America and Europe in the last decade, and has released nine albums containing a huge variety of music. In 2007, the ensemble celebrates its ten years of work together with a tour in Europe during June, a festival performance in Molde, Norway, in July and an engagement (their only North American appearance) in Chicago, at the Museum of Contemporary Art.

The Chicago Tentet is a veritable “Who’s Who” of contemporary improvised music and includes many of the most significant members from that scene’s cutting edge. Since its inception, the group has had a rotating line-up and past versions of the band have included William Parker (bass), Toshinori Kondo (trumpet/electronics), Roy Campbell (trumpet), and Mike Pearson (a renowned actor, who participated in a special project integrating Brötzmann’s music and the texts of Kenneth Patchen for the Chicago Humanities Festival in 2004). All of the musicians connected to the ensemble, past and present, have contributed their distinctive voices to the group, making each concert appearance of the Tentet a truly exceptional experience. For the concert schedule in 2007, the group’s size will be expanded to include both Johannes Bauer and Jeb Bishop on trombone.

Though the Tentet is clearly directed by Brötzmann and guided by his aesthetics, since the band’s outset he has been committed to utilizing the ideas of everyone involved. Initially, this meant allowing the other musicians to contribute their compositions; since 2005, however, the ensemble has been a total improvisation unit, foregoing scores in order to explore their music with complete spontaneity. This shift in approach has allowed the group to explore an outstanding range of material, and the Tentet employs almost every organizational strategy available to an improvising ensemble while developing their music for each concert. The scope of conception, plus the diversity in each individual’s approach to playing, has helped the band to cultivate an extremely multifaceted performance style. As the Tentet improvises from moment to moment, it can explore musical intensities that move from spare introspection to raging walls of sound, using open-ended rhythms or those of a hard-hitting groove.

Since the late 1990’s, the main work of the band has been done in concerts on the road. Though the economics of sustaining a large ensemble are a struggle, the Chicago Tentet has continued to find innovative ways to keep performing their music for audiences around the world. Through this ongoing effort they’ve been able to advance a sound and depth of communication impossible to find in any other contemporary music group, no matter what size or style.

Discography (all available on Okka Disk)
The Chicago Octet/Tentet (1998)
Stone/Water (2000)
Broken English (2002)
Short Visit to Nowhere (2002)
Signs (2004)
Images (2004)
Be Music, Night (2005)
American Landscapes 1 (2007)
American Landscapes 2 (2007)

Tours/Festivals
•1999 Empty Bottle Festival/ Victoriaville Festival/Berlin Jazz Festival
•2000 North American Tour/Vancouver Jazz Festival/Banlieues Bleues Festival
•2001 Mulhouse Free Music Festival/ Saalfelden Jazz Festival
•2002 North American Tour
•2003 European Tour/Northsea Jazz Festival/Nickelsdorf Konfrontationen/ Tapere Jazz Happening
•2004 Tour of Southeast U.S./ACME Festival/Chicago Humanities Festival/Le Mans Europa Jazz Festival
•2005 North American Tour/Victoriaville Festival/Oslo Jazz Festival/Antwerrp Free Music Festival
•2006 European Tour/Zürich Taktlos Festival/Bergen Natt Jazz Festival/ Stirling Le Weekend Festival
•2007 European Tour/Molde Jazz Festival/10th Anniversary Celebration Chicago MCA

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the thing

Mar.29, 2009

Mats Gustafsson – alto, tenor, baritone and slide saxophone. Live electronics

Ingebrigt Håker Flaten – bass and live electronics

Paal Nilssen-Love – drums

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contact booking : danielle@oosterop.com

– cell +31 6 2662 0845 – Amsterdam

The Thing was established in the spring of February 2000 when the three musicians met do play several concerts and to record the first CD on Crazy Wisdom, a sub label of Swedish Universal. In 2001, they also recorded another CD on the same label as a quartet with Joe McPhee. Both CD´s are out of print.

The trio was a long wanted constellation where several musical styles meet in a very high energetic outlet. All members are influenced by different traditions of free music derived from Germany, England and America, and these influences are to be felt and not necessary heard.
When the trio started out, the book contained mainly of tunes by Don Cherry, hence the group’s name. Since Joe McPhee`s participation, the group’s reportuar has included other free jazz standards by David Murray, Frank Lowe and Norman Howard. Also, the groups enthusiasm towards rock music, is heard when they play “To Bring You My Love” by PJ Harvey on the second CD. Today the book has expanded to include tunes by The White Stripes, The Sonics and Yeah Yeah Yeahs. This is just an example that explains how close musical styles are today, how similar the energy is and can be, and how much today`s audience is melted together, devoted to creative music. The Thing is now signed on the Norwegian label Smalltown Supersound.

Mats Gustafsson is today Sweden’s and one of Europe’s biggest names on the free music scene. Through groups like Gush, AALY trio and Peter Brötzmann`s Chicago Tentet, he has established himself as a very powerful saxophonist, and has somewhat reinvented the way of playing the saxophone.
Ingebrigt Håker Flaten and Paal Nilssen-Love has become known as Norway`s heaviest rhythm-section. Since they`re long time collaboration started in 1992, they have been working in several groups, amongst them are School Days with Ken Vandermark, Scorch trio with Raoul Björkenheim, and the Swedish/Norwegian jazz-group Atomic.

The Thing also performs with Joe McPhee, Ken Vandermark, Otomo Yoshihide, Jim O`Rourke, Thurston Moore and Cato Salsa Experience.

“Tapping into rock’s most primal forces with the fire and fury that’s something to behold” Mojo

“The Thing convert nouveau punk and vintage garage-rock into a roaring scream-up, but the sheer energy and love of the music keep gimmickery at bay” Uncut
“The sheer power they generate from wood, metal, breath and muscle is stunning” BBC

“Absurdly cool” DJ Magazine

The Thing: The Great Scandinavian Power Trio
Only once in a great while does a group of musicians come along with an inherent discipline that dares to question the realm between the known and the unknown. Mats Gustafsson, Ingebrigt Haker-Flaten and Paal Nilssen-Love of the Scandinavian Power Trio, “The Thing,” provide a language so determined in its musical complexity, boundaries literally and figuratively disappear.
This doesn’t mean that these brilliant musicians do not respect what came before them, far from it. What it means is that their personal language is of such a progressive and impassioned approach, “style” cannot identify nor capture their ingenious and daring creative sensibilities. They have an unusual sense of artistic self awareness with a commitment that is a total expression of honesty and truth. It’s a place greater than self, a place without prejudice, and a place of sacrifice where freedom in artistic values is worth fighting for.
Each one of these extraordinary musicians has redefined their own given instrument with an exceptional ability to transform life into art with burning clarity. Their music is one of mystery, yet hides no secrets. There is the suggestion of a “search,” yet there are no questions to answer. In truth, it is a creative universe of intense conviction where sacrifices are made, lives are given but where few understand what this means. Gustafsson, Haker-Flaten and Nilssen-Love have made the decision to give that sacrifice. In my book, there is no creative faith greater than that.
Lloyd Peterson, Seattle april 2009

Discography The Thing:
Gustafsson/Flaten/Nilssen-Love, “The Thing”, Crazy Wisdom/Universal 001/159 073-2.
The Thing with Joe McPhee, “She Knows…” Crazy Wisdom/Universal 006/014756-2
The Thing and School Days, “Plays the music of Norman Howard”, Anagram,  ANA LP 001
The Thing, “Garage”, Smalltown Supersound, STS078CD
The Thing, “Have Love Will Travel/Art Star” Smalltown  Superjazzz, STS071  7″ EP
Cato Salsa Experience and The Thing with Joe McPhee, “Sounds Like A Sandwich” STSJ103CD
The Thing, “Live At Blå”, Smalltown Superjazzz, STSJ099CD
Two Bands And A Legend, “TBAL”, Smalltown Superjazzz, STSJ….
The Thing, “Action Jazz”, Smalltown Superjazzz STSJ123CD
Two Bands And a Legend ” I SEE YOU BABY”, smalltown superjazzz
The Thing + Ken Vandermark ” Immediate Sound”, Smalltown Superjazzz
The Thing “NOW AND FOREVER”, 4 CD BOX, Smalltown Superjazzz
The Thing “BAG IT!”, Smalltown Superjazzz

NEW!!! The Thing w Otomo Yoshihide “Shinjuku Crawl”, Smalltown Superjazz

Coming soon… The Thing “BAG IT! on 2 LP, Smalltown Superjazzz

GARAGE

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Art Star

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Aluminium

_5a_004217a_0054dpp_39photos: KRZYSZTOF PENARSKI

contact : booking : danielle@oosterop.com

– cell +31 6 2662 0845 – Amsterdam