Results for "Mats Gustafsson"
About Mats Gustafsson
Instrument: Woodwinds
Related Articles | Calendar | Albums | Photos | Similar ArtistsResults for pages tagged "Mats Gustafsson"...
Mats Gustafsson
Born:
Mats Gustafsson was born 1964 in Umeå, is a Swedish saxophone player and a stalwart on the Scandinavian free jazz scene. He first came to the attention of lovers of improvised music as part of a duo with Christian Munthe in 1986 and the band Gush. He has later played widely with musicians such as Peter Brötzmann, Joe McPhee, Paul Lovens, Barry Guy and Derek Bailey. Since the early 1990s, Mats Gustafsson has been a regular visitor to the U.S., forming a particular affinity with Chicago musicians such as Hamid Drake, Michael Zerang and Ken Vandermark and recording for the city’s OkkaDisk label.
In addition to projects with musicians, Mats Gustafsson has worked extensively with artists from the worlds of dance, theatre, poetry and painting.
Echoes
Label: Rune Grammofon
Released: 2023
Track listing: CD1: Echoes: I See Your Eye Part 1; Echoes: Forest Without Shadows; Echoes: To Gather It All; Once; Sliding Whisper Of Pain; Echoes: Lost Eyes In Dying Hand; Welcoming You; Drinking Your Dream;
CD2: Echoes: A Lost Farewell; Nothing Astray; All Falling; In Those Veins; A Silvernet; Echoes: Cala Boca Menino; Double Loneliness; Respirations; Not Yet Born; The Blind Courage Of Life; Echoes: I See Your Eye Part 2.
Why Do You Mourn
Label: Trost Records
Released: 2023
Track listing: Snow; Doomfunk MCs; Wasted Blame; Winter Doesn't End; Whose Face; Smokey Black; Black
Vivaldi Sonata.
Peter Brotzmann / Sabu Toyozumi: Triangle – Live at OHM, 1987
by Mark Corroto
Triangle--Live At OHM, 1987 is a recording of Peter Brotzmann in Japan. Here he is performing with master free jazz drummer Sabu Toyozumi. This is not the musicians first meeting. The pair have released a couple nearly impossible to find discs such as Live In Japan 1982 (Improvised Company, 1999) and Live In Okayama 1987 (Improvised ...
Brda Contemporary Music Festival 2023
by Neri Pollastri
Medana, Slovenia Brda Contemporary Music Festival Sala Cinematografica Medana 14-16.9.2023 Giunto alla sua tredicesima edizione, il Brda Contemporary Music Festival ha, se pur di poco, cambiato sede --dal pittoresco borgo di Smartno al vicinissimo paesino di Medana, sempre su una delle meravigliose alture del Collio sloveno --ma ha conservato lo ...
Yuji Takahashi / Sabu Toyozumi: The Quietly Clouds And A Wild Crane
by John Sharpe
Unlike most drum and piano duets, where the keyboard gets all the best lines, Sabu Toyozumi and Yuji Takahashi craft a truly egalitarian meeting of minds on The Quietly Clouds And A Wild Crane. Recorded in 1998, it represents another bulletin from the vital Japanese free scene of the period issued by the Lithuanian NoBusiness imprint ...
Südtirol Jazzfestival Alto Adige 2023
by Libero Farnè
Südtirol Jazzfestival Alto Adige 2023 Bolzano e provincia Varie sedi 30.06--09.07.2023 Superati i quarant'anni di vita, il festival bolzanino è giunto ad un nuovo giro di boa. Dopo una casuale anteprima nel 1982 su un'idea di Nicola Ciardi, con un memorabile concerto del trio Codona all'interno di Bolzano Estate, fu l'anno ...
Vicenza Jazz 2023
by Libero Farnè
Vicenza Jazz 2023--New Conversations Varie sedi 10--20.5.2023 Almeno due sono state le idee portanti che hanno caratterizzato la ventisettesima edizione di Vicenza Jazz--New Conversations. Innanzi tutto, come ha spesso ripetuto il direttore artistico Riccardo Brazzale nel presentare i concerti, più che in passato si è voluto puntare lo sguardo su proposte ...
Fred Frith - Susana Santos Silva: Laying Demons To Rest
by John Sharpe
It seems Portuguese trumpeter Susana Santos Silva is riding the crest of a wave, following acclaimed collaborations with the likes of saxophonists Anthony Braxton and Mats Gustafsson and pianist Kaja Draksler. It is a trajectory only likely to be reinforced by her alliance with British guitarist Fred Frith on Laying Demons To Rest. They've been playing ...
Fire! Orchestra: Echoes
by Chris May
The story of supersized jazz orchestras is not pretty. The scene was set by the bleaching deracination of Paul Whiteman and the elephantine bombast of Stan Kenton, bandleaders whose craving for approval by the music establishment fatally compromised their art. Good taste came later with leaders such as Carla Bley and London's Keith Tippett, who proved ...
