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![Thing, The (Gustafsson / Haker Flaten / Nilssen-Love + McPhee): Again (The Thing Records) Thing, The (Gustafsson / Haker Flaten / Nilssen-Love + McPhee): Again (The Thing Records)](https://www.teuthida.com/productImages/misc4/25845.jpg)
The Thing "again" as Gustafsson on saxophones, Haker Flaten on electric and acoustic bass, and Nilssen-Love on drums & percussion present 3 extended blues-based, Ayler-inflected free jazz pieces, with Gustafsson's powerfully emotional playing over Haker-Flaten and Nilssen-Love's powerful polyrhythmic foundations; Joe McPhee joins for one track taking on a Frank Lowe piece.
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Mats Gustafsson-tenor saxophone, baritone saxophone
Ingebrigt Haker Flaten-electric bass, double bass
Paal Nilssen-Love-drums, percussion
Joe McPhee-pocket trumpet (track 2)
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Artwork by Lasse Marhaug.
UPC: 9120036682658
Label: The Thing Records
Catalog ID: TTR 007CD
Squidco Product Code: 25845
Format: CD
Condition: New
Released: 2018
Country: Austria
Packaging: Digipack - 3 panel
Recorded at Studio Paradiso, in Oslo, Norway, on July 2nd and 3rd, 2017, by Oyvind Gundersen.
"Again? Yes, The Scandinavian power trio revisits its roots on Again, the American fiery-spiritual free jazz of the sixties, as explored on its first albums - the self-titled debut album from 2001 (titled, as the trio name, after Don Cherry composition from Where is Brooklyn?(Blue Note, 1969)) and the second one with Joe McPhee, She Knows (Both released on sax player Mats Gustafsson's short-lived Crazy Wisdom label). The Thing leave behind the brutal and immediate garage-active jazz pieces and covers of rock anthems, and relies on its extensive experience on free-improv meetings. Even the instrumentation of Again reflects on The Thing roots. Gustafsson sticks to tenor and soprano saxes (no bass sax, as featured on Fire!'s recent The Hands, not even a one blow on the baritone sax) and Håker-Flaten plays most of the time the double bass. Again fits perfectly the length of the vintage format of a vinyl, only 38-minutes long. Again, Fire!'s bass player, Johan Berthling, produced this album, after producing The Thing's last studio album, Shake! (Trost/ The Thing, 2015).
But, naturally, The Thing, as a trio and and its three musicians, are wiser and more experienced. Gustafsson, Håker-Flaten and Nilssen-Love do have an encyclopedic knowledge about the history of free jazz and Nordic jazz, but none of them is going to rely on this glorious past. All of them are ambitious and bold composers, leading their own groups, some even orchestra-size outfits. Gustafsson's 21-minutes "Sur Face" demonstrates this approach. This suite is still charged with the familiar, uncompromising, tons energy of The Thing, but is developed with no sense of urgency. Gustafsson's sonic spectrum is more varied, moving freely from familiar, charismatic-rawl Ayler-ian blows to much more emotional, lyrical tones, sometimes even exploring delicate and surprising melodic, chamber jazz textures. Håker-Flaten and Nilssen-Love suggest an open yet massive, rhythmic support that embraces Gustafsson shifting themes and tones.
The cover of tenor sax player Frank Lowe "Decision in Paradise" (taken from Lowe's album with the same title, Soul Note, 1974, featuring Don Cherry), offers an obvious connection to The Thing's past, as well as to jazz spiritual legacy. Lowe has played with Sun Ra and with Alice Coltrane, and Gustafsson updates their spiritual calling to a call to action, telling his audiences that we all taking part in a fight against global stupidity. The Thing already covered Lowe's composition, "For Real" on She Knows with McPhee. Again, McPhee joins The Thing with his pocket trumpet, and he and Gustafsson interpret beautifully the balladic lines of Lowe and Cherry, but patiently transform the original theme into an intense and fierce eruption.
Håker-Flaten's "Vicky Di" suggests a link to The Thing's recent past. Håker-Flaten takes the lead, playing a mean, nervous electric bass, Gustafsson alternates between the tenor and the rarely played soprano saxes, and Nilssen-Love, as usual, builds layers upon layers of of nuanced rhythmic storms, references even Brazilian music. Mid-piece, Håker-Flaten's turns his bass into a generator of distorted, feedback-laden noises. This solo bass marks a return, again, to The Thing's unmistakable, ecstatic rhythmic grind, leaving you breathless, but crying for more, much more from this right stuff."-Eyal Hareuveni, The Free Jazz Collective
Also available on vinyl LP.Artwork by Lasse Marhaug.
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Artist Biographies
• Show Bio for Mats Gustafsson ^ Hide Bio for Mats Gustafsson • Show Bio for Ingebrigt Haker Flaten "Ingebrigt Håker Flaten (b. 1971, Oppdal) - studied Jazz at the Music Consevatory in Trondheim, Norway (1992-1995) under the tutelage of bassplayer Odd Magne Gridseth. When one listens to the great bassists in modern jazz history, a striking thing (though it may not be immediately arrived at) is that greatness is reached through open-mindedness and diversity. William Parker, Malachi Favors Maghostut, Peter Kowald, Wilbur Ware, Bertram Turetsky, Buell Neidlinger - all of these bass players have embraced a lifestyle of playing all sorts of music and the breadth of each musicians' technique is a testament to those experiences. Norwegian bassist and composer Ingebrigt Håker Flaten is also a musician whose experience is both geographical and aesthetic. While the fertile Scandinavian new jazz scene offered a vast amount of opportunities to work in different bands with musicians whose concepts are as individual as the grains in a reed, Flaten has found home and on-the-bandstand education in places as far flung as Chicago and his current residence Austin, Texas. A muscular player whose tone and attack run the gamut from Paul Chambers to Buschi Niebergall, his sense of both openness and control serves ensembles as diverse as The Thing, Free Fall, Atomic, Scorch Trio and the Kornstad/Håker Flaten Duo. In addition to his own Chicago Sextet and Austin-centric Young Mothers, Flaten has also recorded and performed with Frode Gjerstad, Dave Rempis, Bobby Bradford, the AALY Trio, Ken Vandermark, Stephen Gauci, Tony Malaby, Daniel Levin, Dennis Gonzalez and numerous others. Flaten studied at the Conservatory in Trondheim (1992-1995), turning professional shortly afterward, yet his hunger to play in new situations with new musicians - schooled or amateur, frequently recorded or just starting out - puts him in a rare class, that of a truly broad-minded artist. That mettle has served him well, living and developing the music under his own steam and drawing from influences as diverse as Derek Bailey, George Russell, Chris McGregor, filmmakers Ingmar Bergman, contemporary pop melody and gritty punk music as well as everyday sights and sounds. There is a calmness and self-assuredness that imbues all great artists, in that the diversity of their work comes with very little ego. Flaten's artistry is often in collective, leaderless ensembles and in fact, following a decade of professional musicianship it wasn't until 2004 that his leader-debut was released - Quintet (Jazzland, followed in 2008 by The Year of the Boar, and a Sextet recording is upcoming). This latter fact is partly due to the necessity of a copacetic situation - in an interview in 2010 with the Austinist he noted that "I use people where I'm located. It's inspiring to have your own band to write for, but you have to make sure that people feel free and not limited by the music; the compositions should lead the way to a player's open mind, and that is a challenge." Certainly not every bandleader/composer thinks this way. In 2011, he formed another ensemble, The Young Mothers, which includes drummers Stefan Gonzalez (Dallas) and Frank Rosaly (Chicago), trumpeter/poet/rapper Jawaad Taylor (New York), saxophonist Jason Jackson (Houston), and Jonathan Horne (Austin) on guitar. It's a group of varying levels and influences and as it grows organically, will be another excellent lens through which to view Flaten's aesthetic, philosophy, and musicianship. The next few years see him in a position where established ensembles can steep and spread their influence, while experimenting with and nurturing a wide range of new relationships." ^ Hide Bio for Ingebrigt Haker Flaten • Show Bio for Paal Nilssen-Love "Paal Nilssen-Love was born in Molde, Norway, Dec 24. 1974, and raised at a jazz club in Stavanger, run by his parents. It was natural to choose his fathers drums as his instrument and jazz as his work. From 1990 on he took actively part in the jazz milieu in Stavanger and joined bands with established musicians such as trumpeter Didrik Ingvaldsen and saxophonist Frode Gjerstad. In many ways, these collaborations were essential as they pointed out the directions for Paal's later musical development and career. During his studies at the Jazz dept at the University in Trondheim, where the first self initiated bands were established, things developed really fast - and Paal was nationally acknowledged at the age of 20. The forming of the quartet Element in 1993 in many ways represented the start of a new phase in Paal's musical life. Element musically became a platform for several other groups with bassist Flaten and pianist Wiik, and lead to collaborations with Iain Ballamy and Chris Potter, amongst others. Paal moved to Oslo in 1996, where he joined and/or took part in the forming of bands like Vindaloo, SAN, Håkon Kornstad Tio, The Quintet and Frode Gjerstad Trio. He later on got more into self initiated projects and collaborations with Swedish musicians, such as pianist Sten Sandell and saxophonist Mats Gustafsson. Paal played his first solo concert in 1999, and since then the solo concept has been an important part of his work: "Everyone should try doing some solo work, just to feel who you really are and what gets you going". His solo album "Sticks and stones" was put out in 2001 on SOFA Rec. Being active in several bands at the same time has always been Paal's deliberate working method. He is constantly conscious about the projects he is in, as his participation in each and one of them is fully dedicated. Playing is not about getting from start to goal, but rather being in an everlasting process, a continuous movement where each new piece of music performed is a prolongation of the latest. Hence, keeping focused and concentrating all energy around what's happening there and then is of greatest importance - as is the freedom in the music, the ability of being free within the expression. All bands, although various styles and musical versatility in general, represent important pieces that make up a total, and all bands are formed or joined with a clear vision. Today Paal's portfolio includes Atomic, School Days, The Thing, Frode Gjerstad Trio, Sten Sandell Trio, Scorch Trio, Territory Band, FME, and various duo projects such as with reedmen Ken Vandermark, John Butcher, Mats Gustafsson, organist Nils Henrik Asheim and noise wizard Lasse Marhaug. And not to forget the recently joined Peter Brötzmann Chicago Tentet." ^ Hide Bio for Paal Nilssen-Love • Show Bio for Joe McPhee "Joe McPhee, born November 3,1939 in Miami, Florida, USA, is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He began playing the trumpet at age eight, taught by his father, himself a trumpet player. He continued on that instrument through his formative school years and later in a U.S. Army band stationed in Germany, at which time he was introduced to performing traditional jazz. Clifford Thornton's Freedom and Unity, released in 1969 on the Third World label, is the first recording on which he appears as a side man. In 1968, inspired by the music of Albert Ayler, he took up the saxophone and began an active involvement in both acoustic and electronic music. His first recordings as leader appeared on the CJ Records label, founded in 1969 by painter Craig Johnson. These include Underground Railroad by the Joe McPhee Quartet (1969), Nation Time (1970), Trinity (1971) and Pieces of Light (1974). In 1975, Swiss entrepreneur Werner X. Uehlinger release Black Magic Man by McPhee, on what was to become Hat Hut Records. In 1981, he met composer, accordionist, performer, and educator Pauline Oliveros, whose theories of "deep listening" strengthened his interests in extended instrumental and electronic techniques. he also discovered Edward de Bono's book Lateral Thinking: A Textbook of Creativity, which presents concepts for solving problems by "disrupting an apparent sequence and arriving at the solution from another angle." de Bono's theories inspired McPhee to apply this "sideways thinking" to his own work in creative improvisation, resulting in the concept of "Po Music." McPhee describes "Po Music" as a "process of provocation" (Po is a language indicator to show that provocation is being used) to "move from one fixed set of ideas in an attempt to discover new ones." He concludes, "It is a Positive, Possible, Poetic Hypothesis." The results of this application of Po principles to creative improvisation can be heard on several Hat Art recordings, including Topology, Linear B, and Oleo & a Future Retrospective. In 1997, McPhee discovered two like-minded improvisers in bassist Dominic Duval and drummer Jay Rosen. The trio premiered at the Vision Jazz Festival in 1998 but the concert went unnoticed by the press. McPhee, Duval, and Rosen therefore decided that an apt title for the group would be Trio X. In 2004 he created Survival Unit III with Fred Lonberg-Holm and Michael Zerang to expand his musical horizons and with a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections while reaching for music's outer limits." ^ Hide Bio for Joe McPhee
4/22/2024
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4/22/2024
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4/22/2024
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4/22/2024
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Track Listing:
1. Sur face 21:08
2. Decision in Paradise 8:40
3. Vicky Di 9:11
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Improvised Music
Jazz
Free Improvisation
European Improvisation, Composition and Experimental Forms
NY Downtown & Metropolitan Jazz/Improv
Trio Recordings
Quartet Recordings
Mats Gustafsson
Paal Nilssen-Love
Staff Picks & Recommended Items
Top Sellers for 2018 by Customer Sales
Chamber Jazz
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The Thing Records.
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