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Very first thing first, for the sake of the transparency to the readers, in
our lower than humble opinion Mats Gustafsson is the one and solely authentic
inheritor of Kaiser Brotzmann, an indispensable, bigger than life musical
landmark who encompasses all of the options of a real artist: open, courageous,
maverick, insane, outrageous, label-less, pigeonhole-less, unstoppable,
untamable, drive-forward solely. Fortunately for us, the Man can be hyper-prolific on the 360 levels of his musical scope, providing to our
insatiable palates a stunning menu product of bands (Hearth!, Hearth! Orchestra,
The Factor, The Finish, Faux the information, Nu Ensemble and many others); lateral initiatives
(Hidros and many others); numerous collaborations (Brotzmann, Sonic Youth, Moore,
O’Rourke, McPhee, Vandermark, Merzbow, Nilssen-Love, Chippendale, Zu and many others);
solo works and even an exhilarating e-book about his “discaholic” dependancy as
compulsive information collector. Merely put, a sheer free soul. Shouldn’t be
sufficient (certainly, it’s not sufficient…), due to the at all times commendable Trost
Data we have now now the prospect to find some shining pebbles from his
previous: 4 items captured dwell in Stockholm on the Jazzclub Fasching on
December 17, 1998, underneath the flag of Gush, a trio that, together with Mats
(soprano, tenor sax) sees Sten Sandell (piano) and Raymond Strid (drums).
To shine a lightweight on what Gush was (is?), let’s hearken to the story as instructed
by Mr. Gustafsson himself in the liner notes of the disc. The group, born
as a drone-oriented venture impressed by the sound of the duduk, an Armenian
double reed instrument product of apricot wooden, quickly developed onto new sounds
and sailed in the direction of roaring sonic waters, investing an incredible quantity of
time in rehearsing, enjoying and travelling collectively. Frozen the group on a
lengthy hiatus, after 25 years Raymond Strid found by likelihood the unique
DAT of the above talked about gig that has been then mastered by the Austrian
guitarist Martin Siewert, granting an astonishing sound to our grateful
ears, hearts and minds. The core of the recording is the 19-minute tune that named the album, a Mongo Santamaria tune, delivered to the immortality
by John Coltrane, the right paradigm of Gush’s music, described by Mats
as “composed concepts, drone based mostly buildings with clear harmonic facilities”. We
might’ve been capable of finding a greater declare. It is simply crucial to add
that, if the sax is already quintessentially Gustafsson, it deserves to be
highlighted the terrific, colourful, with some Monk-esque nuances, piano of
Sten Sandell, that generally is paving the way in which for the telluric Mats’
blasting screams however typically is pouring himself nitroglycerin to the hearth.
Ready for a higher understanding if Gush will (hopefully) be absolutely again
on the tracks, don’t miss such a wonderful piece of the infinite puzzle
constructed alongside the years by this unimaginable musician, as a result of, quoting him in
the tip, “NOW is the time. NOW is at all times the time. It’s ALL about time. It
is all about now…NOW”.
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