AALY TRIO - Mats Gustafsson, Peter Janson, Kjell Nordeson: Sustain

Avant Jazz / Free Improvisation / Avant-Garde
premiera polska: 2025-02-12,
Wydawnicto Audiofilskie
kontynent: Ameryka Północna
kraj: USA
opakowanie: Digipackowe etui
opis:
multikulti.com * * * * *
Trio AALY, nazwane na cześć utworu „Lebert Aaly… dedicated to Albert Ayler” Art. Ensemble of Chicago z ich albumu "Phase One" (America, 1971), to formacja z ponad 40-letnim stażem.
Nowe nagranie zarejestrowane w marcu 2024 roku w sztokholmskim Studio Ingrid ma w sobie ostry, narkotyczny posmak. Porażająca intensywność muzyki tego trio, siła, energia i swoboda, z jaką serwują nam porywające free jazzowe fajerwerki nie pozostawia nikogo obojętnym. Nie jest tajemnicą, że Mats Gustafsson doskonale orientuje się w różnych technikach improwizatorskich i kompozytorskich, prowadzi i uczestniczy w niezliczonej ilości pierwszoplanowych zespołów, jednak właśnie AALY TRIO jest tym, z którym gra najdłużej. Pewnie dlatego wychodzi im po prostu wszystko!
autor: Mad
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Liner Notes
No nostalgia, only facts.
AALY Trio, named after the piece “Lebert Aaly… dedicated to Albert Ayler” by the Art. Ensemble of Chicago from their album, Phase One on the America label, released during 1971. In 1962, Albert Ayler left his home in Cleveland to work in Scandinavia where he recorded his first album, Something Different!!!!!!, with a Swedish rhythm section and produced by altoist, Bengt Frippe Nordström, who started his Bird Notes label with this document. During the early 80’s Mats Gustafsson and Kjell Nordeson began playing together as a duo in their hometown of Umeå, Sweden, when Gustafsson also heard Nordström perform.
In 1985 Gustafsson moved to Stockholm and began to work at Harald Hult’s legendary Andra Jazz record store in 1986. There he heard Something Different!!!!!! And the Nordström solo material for the first time. Gustafsson had listened to the Art. Ensemble of Chicago’s albums before hearing the Ayler and Nordström recordings, Phase One being the first he encountered. As Evan Parker put it, “My roots are in my record player.” Mats met up with guitarist Umeå, in early 1986. Lindelöw was practicing in Hult’s basement at the time, which is how Gustafsson met Hult and ended up working at Andra Jazz. Nordeson moved to Stockholm later that year and the initial AALY Trio was formed. In 1988 Lindelöw was replaced by bassist Niklas Göran Lindelöw, also from Billström.
Things went into creative overdrive for the band when Peter Janson became the bassist for the group in 1995. It was also the year that Gustafsson first visited Chicago through the invitation of music journalist and concert programmer, John Corbett (now also co-curator of the Corbett vs. Dempsey gallery). The pool of musicians Gustafsson met there would not only impact the work of the AALY Trio but, over the course of the next five years, also the creative music scenes in both Stockholm and Chicago; culminating in the Pipeline project created by Gustafsson and Corbett, a sixteen-piece ensemble which included musicians from both cities (this music released on CD in 2013 by Corbett vs. Dempsey).
In 1996 I was invited as a guest to play with the AALY Trio for a tour in Sweden that included half a dozen concerts and a recording session for the Silkheart label, which resulted in Hidden in the Stomach. I then returned the favor by booking my first tour in the United States for the quartet in January of 1998. This generated the second document of the band, Stumble, issued by Wobbly Rail who also released Live at the Glenn Miller Café, recorded at the conclusion of a Scandinavian tour by the band which took place in March of 1999.
That year proved to be exceptionally busy for the group. In addition to the tour and recording made in the spring, the AALY Trio + Ken Vandermark returned to the States to tour and record in September, this time with Ingebrigt Håker Flaten subbing for Janson on bass. This would be the first time Håker Flaten worked with any of the other musicians in the band, and led to the recording of AALY and the DKV Trio playing as a sextet, Double or Nothing (Okka Disk), and the inception of two other ensembles: The Thing (with Gustafsson and Paal Nilssen-Love) and School Days (with Nilssen-Love, Jeb Bishop, me and, later in that band’s history, Nordeson).
Janson was back in action with the quartet during March of 2000, when the group performed in Europe and recorded in Sweden as the AALY Trio + Ken Vandermark for the last time. This resulted in the album, I Wonder If I Was Screaming, for the Crazy Wisdom label.

In the quarter century since the members of AALY Trio were last in the studio together there have been countless performances and albums made by the core members of the band. The remarkable parallels that existed between the improvised music scenes in Stockholm and Chicago from 1995 to 2000 extended well beyond the collaboration with AALY and me. Those circumstances are no longer the same due to the shifting sands of the international scene: artists, venues, record labels, writers, radio DJs, audiences, and funding all coming and going.
Despite these challenges and changes, no one who is creative can ever stand still. What path that started in the 1980s would lead a teenager growing up in the north of Sweden, in a town of less by the Art. Ensemble of Chicago? And how did that path continue over four decades to bring him face to face with Roscoe Mitchell to record duo music for the Ni-Vu-Ni-Connu label, in Madison, Wisconsin during the spring of 2024; playing with the same person who recorded “Lebert Aaly” with the AEOC in Paris during 1971, when Gustafsson was seven years old? And how did that path also include the realization of issuing Bengt Frippe Nordström’s solo music, heard by Gustafsson at roughly the same time he first listened to Albert Ayler, also on the Ni-Vu-Ni-Connu label, in 2023?
Perhaps Eric Dolphy was wrong when he said, “When you hear music, after it’s over, it’s gone in the air. You can never capture it again.” Because the path Mats Gustafsson began in Umeå forty years ago- which includes five blazing years with the musicians on the album in your hands and everything mentioned above- is called music. This path doesn’t go in a circle. It’s a curve, ever upward, always asking you to learn. The music on Sustain makes this evident, another basecamp on the ascent. Mats, Kjell, and Peter are in different creative territory now than in 2000, but with the rapport still there, and still blazing.
Ken Vandermark, Chicago, July 6, 2024

muzycy:
Mats Gustafsson: tenor and baritone sax, flute, harmonica
Peter Janson: double bass
Kjell Nordeson: drums

utwory:
1. Rock Out (3:08)
2. W2 (6:38)
3. Your Prayer (9:57)
4. Why I Don’t Go Back (9:30)
5. Cover Yourself (2:45)
6. Soul Brother Genius (5:29)
7. Deepfreeze Pretend (2:36)
8. Egypt Rock (5:35)
9. Dustdiver Kneeling (4:11)
10. Albumblatt. Sustained (5:46)
11. Rock Out (3:23)

wydano: November 18, 2024
nagrano: Recorded on March 6th and 7th and mixed on March 8th 2024 by Gustav Lindelöw at Studio Ingrid, Stockholm, SE

more info: www.silkheart.se