preorder BENGT!!!

May.02, 2012

soon out  !!! —- the new solo LP ” BENGT! on Utech records

WHITE limited edition vinyl!

Artist: Mats Gustafsson
Title: Bengt
Price: $19
Format: LP (White) + CDaaEdition: 500
Length: 39’aaTrx: 2
Catalogue Number: URLP072
Released: May 19, 2012

Side A
1.Bengt A
Side B
1.Bengt B

Bengt is the new solo recording by Mats Gustafsson and is dedicated to Bengt Nordström. Mats Gustafsson plays a plastic alto sax. A classic Grafton sax. The type of sax that was used by Charlie Parker, Ornette Coleman and Bengt Nordström. Nordström is best known having produced Albert Ayler´s first recording Something Different!!!!!! on his Bird Note imprint. It is in his own role as a sax player Bengt was truly inventive. Bengt was playing solo sax improvisation already in 1962 (!!!) Nordström mentored Swedish reedman Mats Gustafsson in addition to playing in a quartet with drummer Peter Uuskyla, bassist Bjorn Ålke, and violinist Lars Svantesson. Nordström died in 2000 at age 63. Bengt is a celebration of the music and the man behind it.
From the liner notes by Swedish author Thomas Millroth- On this record you might not hear the Gustafsson you are used to, but I assure you this is the real Mats, this is the nucleus in his playing. These solo pieces are a wholeness, together forming a sounding essay about the Me in his music. The Me in Me that is Me in You – as did Ekelöf write in a poem.
Limited to 500 copies on white vinyl. LP includes cd version of the album.

make a preorder here:

new 7″ releases april 2012

Apr.27, 2012

3 new releases…. all on 7″… limited… all good smelling…

limited 7″  flexi by Swedish azz ! playing “Toots & Quincy” —  only released in this form…

soon to be ordered from Catalytic sound:

and Not Two:

or at Andra Jazz in Stockholm – 0046 8 310707




limited 7″ vinyl with Fake The Facts and Birgit Uhler

order from:

email to:



limited 7″ vinyl with Mats Gustafsson solo & Vandermark/ Nilssen – Love / Baars Trio live from Ethiopia!

order from Terp Records:



7″ vinyls…. all you need….all you need….


solo sax ethiopia!!!

Mar.27, 2012

NEW 7 ” vinyl on TERP records.


recorded in addis abeba, Ethiopia in feb 2011 during an insane project w The EX and Paal Nilssen- Love, working with local musicians, circus and artists!

one side solo….with Mats Gustafsson

one side a trio….. with Ab Baars and Ken Vandermark on clarinets and Paal Nilssen- Love on drums!


order it NOW from TERP:



barrel fire w Gord Grdina Trio

Apr.20, 2011

the new CD w Gord Grdina Trio + Mats Gustafsson” Barrel Fire” has got shitloads of reviews lately…and a short canadian tour is coming up in june…

it will be something else….



Gord Grdina Trio with Mats Gustafsson, “Barrel Fire”

April 18, 2011

By Mike Griffin

“Barrel Fire” was recorded live in 2009 in Vancouver, a document of a fiery collaboration between the Gord Grdina Trio and Swedish saxophonist Mats Gustafsson.  Grdina’s trio consists of guitar, bass, and drums, but in this live set their music mixes elements from jazz and no wave, with a little bit of punk rock for energy and a little bit of ancient folk music tossed in for unexpectedly sharp seasoning.

Gustafsson’s acrobatic screech and bluster fit in perfectly with the Grdina Trio’s cascading and furious sounds.  On “F.W.R.” Grdina’s guitar possesses a stinging, nasty tone, mixing a great, unadorned Telecaster sound with fluid, dissonant, and spectacularly fast runs.  Gustafsson matches Grdina step for step, while drummer Kenton Loewen pushes the tempo relentlessly.  Grdina is no mere chop-tastic player; noise and distortion lurk at the margins of his precise riffing in a way that I have not often heard among jazz guitar players.  His amazing intro to “Burning Bright” segues into a headpart that owes as much to Captain Beefheart as it does to Ornette Coleman, and then Grdina yields the floor to Gustafsson for another crisp and intelligent solo.  When Grdina rejoins the fray Gustafsson blazes away next to him, while bassist Tommy Babin circles around the two soloists like a wary innocent bystander hoping to avoid carnage before taking a solo of his own.  It’s stirring stuff, and the band’s ability to infuse jazz with this sort of manic skronk is not something I’ve encountered much beyond bands like Ultralyd, Universal Congress of, or John Zorn during his Naked City and Painkiller era.  Grdina’s willingness to hammer away on one note in true primitivist fashion is rare in a guitarist who has such deep technique, but it lends a simple and effective explosiveness to the end of “Burning Bright” that would be lost under a cloud of notes if it were played otherwise.

“229? brings sonic heat as well; drummer Loewen is given a spot to display some skill before the band launches into an idiosyncratic take on a more traditional piece.  Gustafsson leads things off again with another effective solo, flying around Loewen and Babin’s sped-up walk before Grdina takes his turn after a return to the song’s head.  The engines speed up, picks are shredded, fingernails torn, and the trio rides the piece to its outro in heavy fashion, before Babin gently ends things with a solo bass part.  “En Shakoota” is the gem here for me, as Grdina exchanges his electric guitar for an oud, and lays down a lengthy, dust-swept, and lonesome-sounding intro.  The contrast between the oud’s delicate tones to the round and spiky Telecaster is dramatic and welcome, but there is no loss in intensity here, as Grdina’s oud playing is skillful and dramatic.  When the rhythm section kicks in, the effect is tremendous; it nearly forces me out of my chair still on my twentieth listen…murmured vocals, mystic and unintelligible, add to the asskicking exotic feel of it all before Gustafsson’s sax swoops overhead, majestic and suitably mournful.  Title track “Barrel Fire” rocks all over the place, evoking a Minutemen-versus-King Crimson mood, complete with staggering no-wave breakdown in the middle.  Impeccably recorded too – all instruments come through well in the mix, clear and representative of what must’ve gone down that night in Vancouver.  All the musicians shine on this release, and I feel that I must check out more of the Grdina Trio’s work after this one.



check it out:

Barrel Fire
is The Gordon Grdina Trios’ most brutally driving, raw, dynamic record to date.  The collaboration between GG3 and Mats Gustafsson at the 2009 Vancouver International Jazz Festival was recorded and Barrel Fire is the first set from that night. There are few edits in order to retain the natural raw power of the original concert. The band expands and explodes through the melodic sketches with inherent  interest in the raw dynamic energy of group improvisation. The group sounds at times like a freight train screaming down the tracks in the dark recesses of your city but as the Oud takes the fore ground we are reminded of the sensitive and delicate reflection in this darkness. There are moments of silence and individual exploration filled with the intensity of the search. The search to let go to what will become. The band owes as much of a debt to the energy of bands like The EX, and The Dead Kennedys as it does to the primal melodic sensibility of Albert Ayler and the sophistication of Ornette Coleman.  This music is engaging and gripping, an onslaught.

The Gord Grdina Trio is based out of Vancouver, BC and has been a working touring ensemble since 2005.  The Trio consists of Gord Grdina (guitar, oud), Kenton Loewen (drums) and Tommy Babin (bass). They have collaborated with many of the world’s top improviser’s such as Fredrik Ljungkvist, Eric Boeren, Wilbert De Joode, Michael Moore, Jerry Granelli, Michael Blake, Jeb Bishop, Kent Kessler, Mark Helias, Ingebrigt Haker- Flaten and Fred Longberg-Holm.  They have toured throughout North America and Europe regularly since 2005.

Gordon Grdina is a guitar/oud player that is constantly reinventing himself while retaining an individual voice. Aside from the GG3 he leads  the East Van Strings, Haram, and Sangha. He also records and performs regularly with Dan Mangan and The Crackling.

Kenton Loewen has been a seminal member of the Vancouver improvising and rock communities performing in such wide ranging groups as the anarchist punk band Submission Hold, art pop group Mother Mother, The Now Orchestra, Tanya Tagaq, and the Coat Cooke Trio. He is currently with Dan Mangan and is the leader/songwriter for The Crackling.

Tommy Babin started his career in Montreal playing with Jorane, Thomas Hellman, and Les Projectionnistes before moving to Vancouver in 2005.  He has played with great jazz and world musicians like Daniele D’Agaro, Hamid Drake, Joel Miller, Ramachandra Borcar, and Paul Plimley.  He currently leads Benzene, and Sendero Luminoso.

Mats Gustafson was born 1964 in Umeå, Northern Sweden. He is a saxplayer, improviser and composer. Mats works as a solo artist and tours internationally with Peter Brötzmann, Sonic Youth, Merzbow, Jim O´Rourke, Barry Guy, Otomo Yoshihide, Yoshimi and in working groups The Thing, Sonore, FIRE!, Gush, Boots Brown, Swedish Azz and Nash Kontroll. Mats is a member of the Barry Guy New Orchestra, the Peter Brötzmann Chicago Tentet and the NU – ensemble. Mats has done over 1600 concerts and has appeared on at least 150 records in Europe, North America and Asia.


“…this is a stunner.” – The Province

“There is so much power behind the drum hits, so much pent-up frustration in the guitar entanglements and as usual, Gustafsson makes the sax sound like a rabid beast rather than a musical instrument. Seek this recording out.” – Beat Route

“Grdina’s guitar and oud playing acts as a good foil to Gustafsson, with Babin and drummer Kenton Loewen supplying just the high-octane rhythm section required. Thrilling stuff.” – All About Jazz

“After its initial impact, relentless fury soon becomes one-dimensional, but Grdina and his rhythm section leaven Gustafsson’s bluster and he responds, making this music for repeated listening as well as catharsis.” – The Wire

“Fast-paced heads, smoking improvisations, and a high level of interaction between everyone.” – Monsieur Délire

“…the resulting sound is as violent as the cover art.” – Pop Matters

“Free, yet focused, intense and over-the-top, this is one of heaviest discs I’ve recently reckoned with.” – Bruce Lee Gallanter (Downtown Music Gallery)

“Egged on by a worshipful audience, the band rips through five pieces like a rabid dog on the attack, the musicians’ sound at times reminiscent of Naked City in intensity and of Ornette Coleman’s (original) Prime Time in harmolodic approach.” – Textura

“…from acid-toned string-tickling skitter to boring-down relentlessness…” – Paris Transatlantic Magazine

“There is freshness and vitality to the performance, tight ensemble playing, power, subtlety – what’s not to like?” – Hour

NEW RELEASE of recycled recycling

Dec.06, 2009

new release on Doubt Music:
Otomo Yoshihide, Mats Gustafsson and Mikito Ozeki – With Records

Mats Gustafsson´s solo LP on Tyfuus “It´s all about” has been sent in 10 copies to Japan and the visual artist Mikiti Ozeki. The vinyl has then been transformed into 10 visual pieces and thereafter been displayed at a gallery in Tokyo and played on 10 seperate turntables as part of the Yoshihide / Ozeki exhibition in sep/ oct 2009.


Otomo Yoshihide has then recorded the 10 vinyls onto a CD, that now is available from Doubt Music in a limited numbered edition!!!


check Mikito´s GREAT visuals out at his page:


Dec.03, 2009

after many years now… its finally out:


limited 7 ” box set. 3 EP´s in a special made card board box with inlay.

99 copies only. Numbered with a special numbered sheet, printed by Leif Elggren.

mats gustafsson — reeds and live electronics….duos with Fred Lonberg -Holm, Luca Mai and with Leif Elggren.

The Elggren 7″ is preciously unreleased, the other two were preiously relaesed seperatly on Kning Disk.

released as we speak… go to the following adress to order:


Mats G plays Ayler

Sep.13, 2009

new one sided vinyl out soon…. Mats G plays Ayler!

On the great italian Qbico label. watch out for release date and further info on this site!

strictly limited edition: 125 copies….


first review of Barry Guy & Mats Gustafsson LP

Jul.04, 2009

the very first review of Barry Guy & Mats Gustafsson´s limited edition LP: SINNERS , RATHER THAN SAINTS

on the great No Business label in Vilnius, Lithuania.

order it NOW:

the new ArtFarmer Lp is here!!!

Jul.03, 2009

THE ARTFARMER  limited edition 12” vinyl  is here!!!!

vinyl1 This is an offer to purchase a numbered limited edition 12” vinyl record by
This particular constellation is: Mats Gustafsson, baritone and tenor
saxophones, Clay Ketter, drums and Anders Lindsjö, bass guitar.
This record is released in conjunction with Ketter’s solo exhibition at
Moderna Museet, Stockholm, summer 2009. The record consists of 3 tracks
on the A-side, the B-side etched with a motif reminiscent of the exhibition.
Each sleeve contains a unique screenprint by Atelier Clay Ketter. Edition 300.
The Artfarmer was initially formed in November 1992 in association with Clay Ketter’s first solo exhibition in
Sweden. The Artfarmer has had different constellations throughout the years.
In 1998, while producing the theme music for a television series, they recorded and released a blues-rock
CD. Sporadic performances and recording sessions ensued during the following years with various guests,
always with Ketter/Lindsjö as a base.
Gustafsson and Lindsjö met the first time in 1986 and playing and recording with Jean Christophe
Morrison’s “Bad Quartet”. Ketter and Lindsjö met after a show the following year in New York City.
In the fall of 1990, the music of J.C. Morrison was played for the first time by the present trio, who join
nearly 20 years later to revisit these exquisite works, along with a tune by Jake Holmes, stolen by a far more
famous band in the late sixties – one of Ketters earliest and most enduring influences.


Some words about the record:
Swedish artist Clay Ketter has found the same patterns in houses, buildings, and traces in cities as did the artists of
l´art concret invent. This is extraordinary coming from two very different points of view. One being the pursuit of another
society the other being the traces of the society; of modernism so to say. Ketter´s art is in a way childish, looking with
wide open eyes at what he sees. Where the modernist artist yearned for change or stunned in admiration Ketter must
have discovered a kind of rhythmic pulse; usable for music as well as pictures.
This edition has been designed and formed by Ketter. The cover is not really a cover it is a print. He is playing with
signs of time, season and places. It gives you a sensation of longing although you know you just long for a time and not
a place. Could it be he is thinking of his own American background? The same goes for the beautiful vinyl itself with
music only on one side and etched art on the other.
Yes, I think the music tells us this session was a dream. The beat is strong and persistent, almost shamanistic, and
the sound is cooking as it did during the heydays of free jazz back in New York City… The magic really is its congenial
strength so far away from the city and its free jazz times. They are just in Uppåkra, Sweden, but seem to have forgotten
this obvious fact for a dream. The one you get a hint of just by looking at the record.
Thomas Millroth

get it before its too late… strictly limited and just….beautiful:

For more info please contact
Free download of the music at