|
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 |
Songs |
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)
9. Nine to... (1:51)
10. Ten to... (3:41)
11. Eleven to... (3:34)
12. Twelve to... (3:42)
13. Thirteen to... (2:44)
14. Fourteen to... (5:01)
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
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