Two Slices Of Acoustic Car - Lennart (review)

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The 1997 record “Lennart” by Mats Gustafsson (reeds) and Christian Munthe (guitar) is a treasure of a record which deserves to be remembered and re-listened many times. It’s the perfect example of two musicians who aren’t content with their enormous capabilities, but are determined to expand the possibilities of interplay, technique and form. The interplay on this record is something of equal importance to that of the earlier pioneers of free improvisation.

These improvisations are rich in the aspects of building up tension, quick eruptions, “anti-climaxes” and through it all - a very intense feeling of suspense. At the same time they’re swinging like crazy, and creating unique patterns of interplay with equal parts seriousness and humour. The listener can get all kinds of strange associations to the sounds made; a panting dog, something going down the drain, strangled chickens. The track that especially gave interesting associations was track 3 where the tenor sax seemed to have hints of Warne Marsh (in a way that’s rarely heard from Gustafsson), while the guitar had hints of the Gayageum of Korea. All mixed up with the strong influences of the European improvising scene.

Every moment of this record has something which wakes the ear up. Something which intrigues you, makes you want more. The musicians’ techniques are always used and reinvented in new ways. The signature percussive technique of Gustafsson is not a set of licks, but a source from which he can make endless variations. This ability becomes intensified because of the ingenious ideas and reactions of Munthe. And vice versa. They keep each other on their toes, forcing each other to stay sharp. They have no choice but to listen intensely. No choice but to swing. No choice but to surprise each other. Many times you hear things which you rarely hear them do, something untypical of their style. Like the sudden long baritone-squeal and the sustained “deflation”-sound of track 5, or the zither-sounds and electronic sounds from Munthe on track 4. 

They manipulate each other and they manipulate the listener. All the actions, including the restrained movements and silences, is contributing to the irresistible energies of the music which captivates the listener and keeps us focused. They’re challenging each other, throwing in ideas with “chewing resistance” as if they were saying to the other: “now, how are you gonna deal with this?!”. They jump on each other, dodge each other, sometimes they run in a singular direction, sometimes they fight. While they have this kind of high speed fencing match going on, they simultaneously show an immense sensitivity, great sense of sound and care for the more subtle, gentle gestures. 

Most of the pieces feel like they end in the middle which creates a kind of vacuum. It’s as if the music continues in the listener after it’s over.

It’s easy to forget great records, when there’s such a big sea of releases happening all the time. One should try to remember though, the hidden and forgotten masterpieces which are waiting on your record shelf.