One to (Two)... (ODL10002)
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Musicians Günter Christmann — cello, trombone
Mats Gustafsson — saxophones
Cover and Artwork

Cover drawing (line on paper): Herbert Basilewski
Cover concept/design: Günter Christmann
Typography/art production: Louise Molnar


1. One to... (3:30)
2. Two to... (4:07)
3. Three to... (1:07)
4. Four to... (3:29)
5. Five to... (4:54)
6. Six to... (2:26)
7. Seven to... (1:38)
8. Eight to... (5:32)
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10. Ten to... (3:41)
11. Eleven to... (3:34)
12. Twelve to... (3:42)
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15. Fifteen to... (3:48)
16. Sixteen to... (2:25)
17. Seventeen to... (1:16)
18. Eighteen to... (7:07)
total time: 62:01

Recording Info Recorded at the Kesselhaus in Hanover, Germany, August 15 (during live concert) & 16, 1997

Produced by: Günter Christmann & Mats Gustafsson
Executive Producer: Bruno Johnson
Recorded by: Elke Schipper
Mastered by: Hrolfur Vagnsson

Reviews Rarely heard German provocateur Günter Christmann plays cello on twelve of eighteen freely improvised duos with saxophonist Mats Gustafsson. On the other six, he is heard on the trombone, for which is he is better known. It all works exceedingly well, as Christmann ruptures more than a few bastions of complacency with percussive scratches and highly infectious scurried patches of pulverized explosions, while Gustafsson continues to impress with his perfectly drawn puffs, pants, and snorts. Together, their intense, puckered chops rip through stereotypical tediousness and blast charmed lines of unending fascination. Often quiet, swift, and supple, almost like lizards darting in the desert eve, these two intertwine magnificently, with little percussive sounds predominating, and breathy snorts meeting scratched ruffles. On trombone, Christmann is Gustafsson’s equal, never grandstanding, while both tweak uncharted skies. The trombonist favors muted forays, with intense, yet quiet blats the predominant focus. Both Christmann and Gustafsson can be hard-core, and the saxophonist enjoys energetic bursts to startle and surprise. Mostly, though, this is music that challenges as it subverts, its highly esoteric, yet disarmingly attractive lines an attractive hook. Highly ambitious, subtly exciting, and always formidable, Christmann and Gustafsson make a delightfully revolutionary pair. Not easy listening, but rewarding listening, and continuously challenging listening, these guys shake the heavens with heartfelt cries of mercy. There are no liner notes but what could be said? Powerful stuff, but you have to look below the surface.

— Steven A. Loewy, Cadence, May 1999