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Signal To Noise Magazine
Issue 36 Winter 2005, page 53-54

STEN HOSTFALT
Eternity Check
[g-wOw 1214 CD ] 29 Pieces For
the
Microtonal Guitar Live at
Knitting Factory
[g-wOw 1215 CD]
In these two releases, guitarist
Sten Hostfalt develops a finely-
detailed, insect-scaled musical
system in which a thousand
granular details, seemingly
disjointed and unrelated, fuse to
build a giant mound swarming
with life. The centerpiece of
Eternity Check is a 1992 Boston
recording in which Hostfalt
ringmasters a boisterous sextet.
In this context the leader's fussy
guitar work often comes off as
the fine print in a broadside
combining jazzy basslines with
spacy synthesizer wobbles and
rockish riffs. The three shorter
tracks on this disc, recorded in
2001, almost don't belong here
(although this 30-minute disc
could hardly afford the loss )
With Magnus Lind's time-folding
accordion arabesques, they presage
the total immersion in a miniverse
of finely etched detail that Hostfalt
takes to glorious extremes in 29
Pieces for Microtonal Guitar.

Recorded live at the Knitting
Factory in 2002, 29 Pieces is
among the most riveting
explorations of the microtonal
world ever recorded. It's fine
focus and beauty of details puts
the cycle in a class with John
Cage's exquisite "Sonatas and
Interludes for Prepared Piano".
With few tracks lasting more
than two minutes, Hostfalt
contracts the material to the
crystalline scale of fly wings,
piercing the mind and soul with
intimations of the deep and
strange order of the universe.
The live recording is almost
desperately intense and immediate,
and the disc has richly rewarded
as many listeners as I have
been able to give it (five so far).
Larry Cosentino

Fresh Music : EXPLORATIONS WITH
THE CREATIVE WORKSHOP ENSEMBLE
FOR MUSICIANS, ARTISTS & TEACHERS

by Jon Damian [ YO Publications 2015 ]
ISBN 978-0-9863105-0-8. Library of
Congress Control Number 2015901154

Chapter 11-Week 11 ( pg. 135-138 )
Sten Hostfalt : Microtonalism
" I'm very excited to introduce to you
Sten Hostfalt, a Creative Workshop
ancestor. It was about ten years ago
( this written in 2006 ) that Sten graced
CreW with his creative efforts. Sten is
a leading innovative guitarist and
composer working in the New York
music scene today. He performs with
some of the most
original and unique
voices in modern music. Sten has
been called 'highly exceptional' by
legendary
American music icon
Jimmy Giuffre and 'virtuosic' by
musical innovator Joe Maneri."

- JON DAMIAN Professor,
Berklee College Of Music.



TomaJazz( Spain ) Nov. 2014
STEN HOSTFALT SOLO MICROTONAL
CONCERT photo gallery by Jose' Luis
Luna from XXXV Encontre de Compositors
Festival, Pilar i Joan Miro Mallorca Spain.

ArtsMallorca.com ( Spain )
STEN HOSTFALT SOLO CONCERT
XXXV ENCONTRE INTERNACIONAL
DE COMPOSITORS Nov. 21 2104
" Este virtuoso guitarrista y aclamado
compositor neoyorkino se inicio' en la
escena internacional del jazz a mediados
de los años noventa y desde entonces
ha recogido numerosos premios por sus
originales proyectos y grabaciones. Y es
que, Sten Hostfalt es un músico innovador
que ha ideado ténicas para el seis cuerdas
estandár y más allá del sistema temperado
de doce notas. En el XXXV Encontre
Internacional de Compositors presenta en
solitario su proyecto Microtonal guitar¨

Fundacio Pilar i Joan Miro ( Spain )
XXXV ENCONTRE DE COMPOSITORS FESTIVAL
ILLES DE BALEARS 2014
: L'Encontre Internacional
de Compositors és història viva del nostre patrimoni
musical. Al llarg d'aquests 35 anys d'història,
Mallorca ha pogut veure als seus teatres i auditoris
a les principals figures de la música contemporània
nacional i internacional i és avui, més que mai,
quan les energies de la Fundació ACA es troben
en el seu estat ple per emprendre una nova edició.
En aquesta XXXV edició, l'Encontre Internacional de
Compositors recupera una de les seves senyes
d'identitat que marcaren els seus orígens: els
concerts monogràfics. Des dels seus orígens
l'aposta de la Fundació ACA per la dignificació de la
figura del compositor ha estat total. Possiblement
a la societat actual el compositor de música
contemporània sigui un dels estaments creatius
més invisibles i és per això que la Fundació ACA
aposta plenament en la rellevància històrica i social
que aquest suport mereix. Aquesta edició estarà
dedicada principalment a tres compositors de tres
generacions: Helmut Lachemann, José Luis Torá i
Mateu Malondra. Des de les institucions culturals
tenim una gran responsabilitat a l'hora de programar
un festival apostant per la qualitat i l'originalitat de
les propostes, però mai hem d'oblidar que programam
per un públic que desitja trobar-se amb la música
contemporània de múltiples maneres. És per això
que a la propera edició de l'Encontre Internacional
de Compositors a més d'aquests tres concerts
monogràfics volem mostrar una programació més
plural que mai adaptada als diferents perfils de públics
que demanden música contemporània per a una societat
contemporània. Deu concerts articulats en quatre cicles
componen aquesta edició de l'Encontre Internacional del
Compositors que es celebrarà a Mallorca del 31 d'octubre
al 15 de novembre. A la Fundació Pilar i Joan Miró a
Mallorca: 21 NOVEMBRE 21.00. Sten Hostfalt, guitarra
Obres de Sten Hostfalt "Microtonal Guitar".


New York Music Daily June 9 2014
STEN HOSTFALT's DIMENSIONAL STATES
ORCHESTRA at SHAPESHIFTER LAB NYC
" A bunch of A-list adventurous Jazz types
play Sten Hostfalt's microtonal Dimensional
States for Jazz Orchestra at ShapeShifter Lab "


Time Out New York March 13, 2014
STEN HOSTFALT'S DIMENSIONAL STATES TRIO
+ ORCHESTRA CONCERT at SHAPESHIFTER LAB
NYC
" Avant-jazz experimenter Sten Hostfalt
presents his microtonal works with both his
Dimensional States trio and Orchestra"



The New York Jazz Record
March 2013
THE 4TH ANNUAL JOE MANERI CELEBRATION
" High points were Ed Schuller's rock-tinged
bass solo, soon joined by Ben Jaffee's brawny
tenor ; Steve Dalachinsky's recitation of poetry
and autobiographical sketches ; Sten Hostfalt
and Savina Theodorou's visually dramatic duets ;
Josh Sinton and Simon Jermyn's equally dynamic
duet ; Noah Kaplan's operatic microtonalism
and the final soiree, an extended tribute to
Maneri's living memory "
- Tom Greenland


Xenharmonic Wikispaces
MICROTONAL GUITAR RESOURCES
International List of Microtonal Guitarists
featuring Sten Hostfalt (New York City)

Bad Alchemy ( Germany ) Dec. 2013
Dusan Jevtkovic ft. Marko Djordjevic CD Review.
" . . . und Marko Djordjevic and den Drums um
Ziehen und am Schieben. Der, ebenfalls Serbien
stammend, macht seit Langem in New York Musik
von einiger So-phistication mit seinem Jazztrio
Sveti oder an der Seite von Sten Hostfalt. "

Symphony Space NYC January 10 2012
STEN HOSTFALT SOLO CONCERT ANNOUNCEMENT
"Described as genuinely innovative and ground-
breaking by Don Williamson of Jazz Review,
impressive and intense by Time Out NY, inimitable
by Paper Magazine as well as Virtuosic, Original
and Highly Exceptional by legendary icons of
American music Joe Maneri, George Russell and
Jimmy Giuffre respectively. And with three decades
spent in creative music, two of them on the NYC /
International scenealongside some of the world's
most innovative musicians, at some of the world's
most presigious venues, expanding the vocabulary
for the planets most popular, most played instrument
with self-invented, new, original interpretative
techniques, virtuoso phenom guitarist, bassist,
composer and bandleader Sten Hostfalt makes
some of todays' most unique original new music."

West Side Rag NYC August 5 2011
STEN HOSTFALT, SYMPHONY SPACE NEW YORK
SOLO CONCERT PERFORMANCE ANNOUNCEMENT
" Sten Hostfalt, described as genuinely innovative
and groundbreaking by Don Williamson of Jazz Review,
impressive and intense by Time Out NY, inimitable
by Paper Magazine as well as Virtuosic, Original and
Highly Exceptional by legendary icons of American
music Joe Maneri, George Russell and Jimmy Giuffre
respectively "

Am New York / Pm NY music 2011
" This composer and guitarist takes classical jazz
techniques and transforms them by adding his own
progressive original style "
[ Sten Hostfalt Live Solo
Concer, Symphony Space New York City Aug 2011 ]

PM NYC/Paper Magazine
2007 ANNOUNCEMENT
STEN HOSTFALT's GHOST FACTOR at MONKEYTOWN NYC

" There are few musicians brave enough to combine live
poetry with the toy piano and the trombone but then there
are few musicians like Sten Hostfalt. He takes even more
risks with his band GHOST FACTOR incorporating guest
improvisation into each inimitable performance"
.


Time Out New York 2007 LIVE ANNOUNCEMENT
"Sten Hostfalt's prepared guitar explorations combine
jazz soloing with surreal effects ; we're Impressed with
his fast fingers and intense focus "
.


All About Jazz CD REVIEW John Kelman 2004
29 PIECES FOR THE MICROTONAL GUITAR LIVE AT
KNITTING FACTORY NEW YORK
"Sten Hostfalt
takes
the rigid confines of the Guitarand transforms it into
an instrument capable of exploring the minute spaces
between traditional notes by using altered tunings,
mechanical preparations and Electronically enhanced
techniques. The result, 29 Pieces for the Microtonal
Guitar, is an intriguing recording that shows just how
far an instrument can be bent and altered to meet a
more experimental and adventurous need, taking
you on a journey to a place where rules, quite simply,
don't exist and anything is possible "



Jazz Review CD REVIEW Don Williamson 2005
29 PIECES FOR THE MICROTONAL GUITAR LIVE AT
KNITTING FACTORY NEW YORK
"Sten Höstfält has
more than absorbed the teachings of some of the
free-jazz New England-based musicians he studied
with at the New England Conservatory of Music and
Berklee ; he has internalized their thoughtsto come
up with his own investigations. As of late Höstfält
has been exploring and presenting the theoretical
propositions of Joe Maneri, who has identified 72
pitches within the octave, although traditional
traditional Western musical theory involves at the
most the 12 notes of the chromatic scale. All of a
sudden the addition of six times as many tonal
possibilities has opened up new vistas for sonic
expression as the nuances between the normally
expected vibrations are stated, rather than being
contained within temporary pitch-wavering allusions
such as "blue notes" or vibrato. It means that
Höstfält now has developed his own repertoire
that incorporates the microtones contained within
expansion of pitches available to him. Tuning his
guitar in intervals of a quarter tone and smaller,
Höstfält sketches with his guitar, allowing the
listener to connect the lines, rather than painting
a mural, referring to traditional harmonic conventions
even as as he microtonally upends them, removing
the audience's comfort zone as he challenges it's
combined expectations with a genuinely Innovative
approach for guitar. In the future 29 Pieces For The
Microtonal Guitar may be considered a groundbreaking
work as Western musical theory catches up with the
microtonality of Indian and Middle Eastern genres"


Jazz Now
CD REVIEW by Kenneth Egbert 2005
29 PIECES FOR THE MICROTONAL GUITAR LIVE
AT KNITTING FACTORY NEW YORK
" Not for the
faint of heart, but more for those of us who think
that the late great David Tudor got a bit 'easy
listening' towards the end, and Derek Bailey may
very possibly be the God that others of us thought
in the 1960s Eric Claption was. Utilizing Joe Maneri's
Micro scale "Alive on the Dead Screen" shreds and
distort over a droning, howling background while
"Icons" quick-picks through a seemingly decaying
landscape. Beyond rapturous. "Dialogue" from the
'Lighters' suite pits Höstfält improvising against a
tape of himself from an earlier timeframe, very
sharp and 'on point', while the 'Major Changes'
sequence moves more into John Fahey territory
- with well-thought-out and absorbing results. In
fact this entire 40-minute live recording from the
Knitting Factory NYC (8-29-02) reaches that peak
early and stays there with very little difficulty.
Certainly one advantage of using a microtonal scale
is that you will get new runs of notes, new chordal
matrices. For an illustration note, "Roll", last section
of the suite "Eight Variations" a furtively smooth run
of cacophonous tones that fit together only because
Mr. Höstfält and the listener want them to. High-
density, highly logical in a completely different way
and highly recommended "



Cadence CD REVIEW Grego Applegate Edwards
29 PIECES FOR THE MICROTONAL GUITAR
LIVE AT
KNITTING FACTORY NEW YORK
" Sten Hostfalt is
perhaps the better known of the group of guitarists
in this batch, having played and/or recorded with
Bobby Shew, Paul Bley and Jimmy Giuffre. Hostfalt
uses conventional instruments and obtains microtones
through various other means. More or less pure-toned
microtones, buzzes, string scratches and
other timbral
textures weave in and out of the aural palette in an
attractive
complexity. "Major Changes" begins with
electric low notes, then follows with
rapid figuration,
microtonal chords and arpeggios. "Eight Variations"
features Jazz-like figurations without a
tonal center,
mostly acoustic. Lower strings seem down-tuned and
punctuate the texture dynamically."Alive on the Dead
Screen" brings in increased energy. A white noise
wash of electronics in the background
to distorted
electric noise-oriented Post-Hendrix
utterances you
hear the influence of the Hendrix at Monterey finale
and "Third Stone from the Sun". The electronic wash
varies, interjecting Morse-code-like high frequency
punctuations underneath the psycho-workout. Pretty
convincing. "Diplomacy" turns again to the acoustic
guitar with added prepared objects that provide
percussive metallic timbres and low buzzes. Starting
sparsely, the figuration becomes rapid. On "Lighters II"
prepared guitar with a metallic slide produce intriguing
koto-like sounds. If you find Derek Bailey's solo guitar
works to be of interest, Hostfalt gives you another angle
on exploring tone colors and guitar abstractions
that you
will not want to miss."
[ Cadence October 2005 edition ]

Jazz Review
CD REVIEW Natasha Mitchell 2004
STEN HOSTFALT / ETERNITY CHECK [ g-wOw 1214]
" Eternity Check, the brainchild of guitarist/composer
Sten Hostfalt presents a clever improvisation that is
matchless. The four track compact disc marks Hostfalt's
debut as a lead performer, and eternity check features
American and European interpretations of original
improvised material."


Guitar Player Magazine CD Editor's Pick Feb. 2005
Rants & Raves ; 29 PIECES FOR THE MICROTONAL GUITAR
LIVE AT KNITTING FACTORY NEW YORK
- Barry Cleveland.

C | Net / Download.Com 2006
" With just a regular old guitar, Sten Hostfalt
completely rethinks and restructures conventional
technique "
- Editor's Pick [ track : ICONS ]

Free NYC January 2006 CONCERT
ANNOUNCEMENT STEN HOSTFALT SOLO
MICROTONAL GUITAR, LUCKY CAT BKLYN
" Continuing the mind expanding events
for the day Sten Hostfalt will perform
microtonal guitar sonorities tonight.
Hostfalt's octave consists of 72 pitch
bending tones derived from the theories
of Joe Maneri ( who, for all you hippies
out there, also taught John Medeski ),
These sounds are, at times, hard on
my ears but I find their academic
value limitless. Check it out yourself
to be the judge. "



Jazz Views ( U.K. )
CD REVIEW August 2004
29 PIECES FOR THE MICROTONAL GUITAR LIVE
AT KNITTING FACTORY NEW YORK
- " As alien
as the harmonies are, as abstruse as the
overall
concept is, Höstfält's approach draws the listener
into it's most extrinsic world. Even rapid-fire and more
aggressive pieces like "Micronic" and "Roll" manage to
somehow lull the listener with a somewhat hypnotic
sensibility. The more processed pieces that comprise
the five-part suite "Alive on the Dead Screen" may
be more jagged and sharp, but they still create an
ambience that is strangely appealing. For those with
ears broad enough to allow for the possibility that
music can extend beyond the expected, and expand
the potent boundaries of experience, 29 Pieces For
The Microtonal Guitar Live at Knitting Factory New
York constitutes a trip well-worth taking. William

Burroughs once wrote "exterminate all rational
thought" and, while there is an unquestionable logic
behind Höstfält's work, it is so rooted in the unusual
as to have the appearance of complete abandon.


Altrisuoni ( Italy ) CD REVIEW Alekos Pandelis
ETERNITY CHECK and 29 PIECES FOR THE MICROTONAL
GUITAR LIVE AT KNITTING FACTORY NEW YORK

"
Sten Höstfält guarda alla microtonalità come ad
uno sviluppo organico dalle tecniche tradizionali
e dalle pratiche compositive e alla conoscenza del
sistema del dodici toni, diatonicismo, cromatismo
e serialismo, cosi come alle serie
degli ipertoni e
al principi fondamentali dell'acustica
". Riconosce
le proprietà uniche del sistema a 72 note ET, un
sistema ideato da Maneri che usa 72 toni fissi per
l'ottava al fine di definire l'espressione all'interno
di un virtuale tono continuo. Con un'esperienza
accademica di studi sulle tecniche compositive
microtonali, parallela al suo lvoro di strumetista
e compositore nella musica jazz improvvisata,
per Höstfält la microtonalità è piu di un semplice
ingrediente della musica, ma rappresenta una
vera e propria fonte d'ispirazione per il fraseggio,
il ritmo, l'interpretazione armonica e melodica.
I due lavori qui recensiti potrebbero essere
visti uno come l'espansione dell'altro, nel senso
che come strumentista appare chiaro che Höstfält
abbia voluto innanzi tutto sviluppare le tecniche
tradizionali della chitarra a sei corde, strumento
che tra l'altro suona con particolare bravura,
sperimentandole poi su un più largo ensemble di
strumenti.
L'interplay tra mucisisti - tutti
largamente noti nella scena improvvisativa di
New York-contribuisce a dare una particolare
verve a questo disco, forse più pieno, senza
riserve o manierismi, proprio perche' il gioco
si allarga ad una squadra che risponde con un
particolare spirito. Dal punto di vista strettamente
jazzistico, questo approccio, dove il confine tra parti
scritte e preparazione accademica e libera e creativa
improvvisazione è davverolabile, l'approccio di
Höstfält sembra dare nuovo ossigeno, molta
energia e una particolare luminosità tanto
all'approccio qualto all'esecuzione. Un jazz
complesso, mai troppo astratto, capace di
trovare bei momenti di poesia. Un ottimo
risultato per uno che ha una vita di musica
davanti a sè !
[ Published Altrisuoni.Org 2004 ]

Bad Alchemy ( Germany ) Jan. 2006
Lise-Lotte Norelius 'In Sea' CD-review :
" .. die 1961 geborene Schwedin an-scließend
zu einer fes-ten Größe im König-reich der
Eletroakustik entwickelt, obwohl man sie in
Projekten des Microtongitarristen Sten Hostfalt
auch noch als mit Powerbook und microsynthesizer
aufgerüstete Drummerin hören kann."

Club D'Elf Calendar March 2007
CONCERT ANNOUNCEMENT LIZARD LOUNGE
CAMBRIDGE MA | shared event with Mike
Rivard's Club D'Elf featuring David Tronzo.
" . . . Labeled groundbreaking, virtuosic
innovators on the cutting edge of the NYC
scene and lyrical graceful jazz impressionists
of the highest order, guitarist Sten Hostfalt
and Bruno Raberg are known to create a
highly unique, original sonic universe
whenever they join forces and merge."



PhillyJazz.Org Philadelphia PA, August 4 2006
HOSTFALT/HERNANDEZ CONCERT
ANNOUNCEMENT
" Internationally critically acclaimed improvisers
Sten
Hostfalt - guitar/electronics (NYC) and Katt
Hernandez (Boston) - violin, both with mentor,
microtonalist/contemporary music innovator Joe
Maneri as a common denominator, appears live
in an all improvised microtonal duo-concert program
at The Cinema, 3925 Walnut Street Philadelphia PA.

Bowerbird The Cinema, Philadelphia PA, Aug 4 2006
HOSTFALT/HERNANDEZ DUO CONCERT PROGRAM
- " Currently noted for continuously Time Out NY
recommended solo and duo concerts with violinist
Katt Hernandez, as well as with his 'Soft Value' trio
performing originals in homage of mentor Jimmy
Giuffre's style / genre transcending spirit, Brooklyn NY
based guitarist, composer and live electronica artist
Sten Hostfalt is also after early 90's studies with
microtonal composer Joe Maneri and the subsequent
critically acclaimed '03 microtonal solo CD-release
"29 Pieces for the Microtonal Guitar live at Knitting
Factory NY", Acknowledged as one of the world's
foremost microtonal improvisers on the guitar. Notably
so by interpreting Maneri's 72-note system primarily
through self-invented, new extended instrumental
techniques for the traditional 6-string/12-fret guitar."

Zeitgeist Gallery Cambridge MA, March 13 2006
STEN HOSTFALT LIVE SOLO CONCERT ANNOUNCEMENT
"Acknowledged as one of the world's foremost improvisers
on the microtonal guitar and currently announced as 'an
innovator on the cutting edge on the New York City music
scene' as enthusiastically reviewed, featured and
documented in leading international press like Guitar Player
Magazine, Jazz Times, The New York Times, Time Out NY,
Cadence, All Music Guide and All About Jazz, after over
a decade of work alongside some of the world's most
innovative musicians, award-winning New York City
6-string virtuoso, composer and live electronica improviser
Sten Hostfalt is recognized as a singularly unique voice
among the new generation of improvisers. "

Club Le Triton Les Lilas ( France ) 2002
STEN HOSTFALT's TURA-LERI/MICHEL BARBAUD's
KARWAN CONCERT PROGRAM ANNOUNCEMENT
" En mai fais qu'il te plait ! Michel Barbaud et Sten
Höstfält vous
presénteront Karwan TuraLeri, un projet
musical très improvisé qui cherche à rapprocher les
antipodes. Leur musique se joue des racines. Partant
du jazz, elle nous emmène en Turquie, en Suède,

en Bulgarie, à Marseille pour atterrir aux Lilas "
...


Jazz à Rueil Rueil-sur-Seine ( France ) 2002
LIVE RUEIL-MALMAISON ; KARWAN ft. Sten Höstfält
Guitare : "Né en 1962 en Suède, Sten
Höstfält a
étudié avec Paul Bley, George Russell et Mick Goodrick.
Il est diplômé de plusiers écoles,
notamment New
England Conservatory of Music, SAMI, Berklee College
Of Music et The Arts Grants Committee of Sweden.
Membre actif de la scène new yorkaise et à Boston
pendant les annèes 90 avec le groupe de Guillermo
Klein, il dèbute les enrigestments des 1991 avec le
Herb Pomeroy Jazz Orchestra, Il a participe' à des
concerts avec Jimmy Giuffre, Peter Erskine, Gary
Burton, Joe Maneri et Clare Fischer
ainsi qu' à des
enregistments et des tournèes europèennes avec
Rob McConnell, Deborah Brown & Bobby Shew."


TomaJazz ( Spain ) by Jesus Moreno 2007
Lo cierto es que en mi mùsica me gusta un acercamiento
ínside-outside. Me gusta experimentar con mi colega Sten
Hostfalt, que està desarollando un concepto de guitarra
microtonal. El es uno que viene de la escuela tradicional
y sabe tocar muy inside Eso para mi es algo natural y no
exagerado, pero es muy abstracto y poca gente escucharia
algo asi Hemos tocado ahora en Nueva York en los clubes
'sub-underground' -
Jimmy Weinstein ; artist spotlight.

Bad Alchemy ( Germany ) Dec. 2013
Dusan Jevtkovic ft. Marko Djordjevic CD Review.
" . . . und Marko Djordjevic and den Drums um
Ziehen und am Schieben. Der, ebenfalls Serbien
stammend, macht seit Langem in New York Musik
von einiger So-phistication mit seinem Jazztrio
Sveti oder an der Seite von Sten Hostfalt. "

Orkesterjournalen ( Sweden ) CD REVIEW 1997
SANDVIKEN BIG BAND / RIGHT ON TIME [ Sittel Records ].
" Speciellt hajar jag till i avslutande 'Two Bassfishers'
där gitarristen Sten Höstfält inleder sitt solo taggigt
och avigt innan han glider över i mer klassiskt jazz
spel. Kul att någon prövar att skära sönder ljudbilden
som annars kan bli väl förutsägbar. "


Jazz Times JAZZ ARTICLE Mike Quinn 2002
" Guillermo Klein assembled a 17-piece big band
that became semi-legendary in it's stints at Smalls
and the Jazz Standard."


Big Van en la Argentina TOUR PROGRAM 1995
CONCERT ANNOUNCEMENT dirigada por Guillermo Klein
Saxos: Matt Hong, Chris Cheek, Seamus Blake, Victor Scorupsky

Trompetas :
Richard Nant, Diego Urcola, Juan Cruz de Urquiza
Trombones : Sandro Tomasi, Matt Pavolka, Masa Ikeda. Sección
ritmica : Sten Hostfalt, Aaron Johannes Weidenmueller, Marc
Miralta, Jeff Ballard.
" La ¨Big Van¨ es una orquestra de
16 músicos que naciò a fines del '92 en Boston, cuando
estudiaba en Berklee. Empezamos tocando los proyectos
que componía para la escuela. Rápidamente me identifiqué
con músicos como Richard Nant, Sandro Tomasi, Juan Cruz
de Urquiza, etc. y mi música tomó un rumbo más personal.
Después de algunos recitalesen Berklee, decidimos salir a
tocar en los clubs de jazz. Al principo no fue fácil, pero
tuve la suerte de estar avalado por Herb Pomeroy y por
los músicos de la orquestra, que en ese momento eran de
los más interesantes en Boston. La respuesta de la gente y
de los medios fue siempre muy estimulante, cosa que nos
dió la oportunidad de tocar regularmente y seguir
evolucionando. En el '94 me mudé a Nueva York con la
idea de conectarme con algunos de mis músicos favoritos
que estaban en la misma búsqueda que yo y también con
el deseo de establecer la "Big Van" en la gran "Manzana",
capital del jazz. En diciembre último, grabamos un CD con
el sello "Beat Records", y después de tocar en varios clubs,
estacionamos en "Smalls", un club de jazz situado en el
Village, donde tocan muchos músicos de vanguardia y
donde nosotros tenemos un ciclo todos los domingos."
- Guillermo Klein

All Music Guide CD REVIEW David R. Adler 1998
GUILLERMO KLEIN / BIG VAN - EL MINOTAURO * * * *
" This album, inexplicably out of print, documents one
of the earliest incarnations of Guillermo Klein's big band.
Called Big Van, the ensemble had pianist Aaron Goldberg,
bassist Johannes Weidenmueller, and drummer Marc
Miralta in the rhythm section; Chris Cheek and Mark
Turner, Matt Hong, Dave Barraza, and Dan Bosshardt
on saxophones; Richard Nant, John Walsh, Juan Cruz de
Urquiza, and David Boato on trumpets; Sandro Tomasi,
Masa Ikeda, and Sir Matt Pavolka on trombones; and
Sten Hostfält on guitar. Klein wrote, arranged, and
conducted the album's eight powerful tracks. Blending
the sounds of his native Argentina with a cutting-edge
harmonic and orchestrational sophistication, Klein guides
you through a wide swath of musical territory: the bright
Latin jazz of "El Minotauro" and "Free"; the darker,
majestic sounds of "Primer Tango" and "Lo Perdido"
(the latter featuring an intense Spanish vocal
performance by Sophie Durer); the impressionistic
portraits "La Manzana de Las Luces" and "Abismo";
and the retro jazz/funk grooves of "La Madre de Mi
Hermana" and "Technicolor." Klein's mastery of timbral
variation and subtle dynamics makes the album a lasting
pleasure. The band's brilliant soloists heighten the impact
of Klein's writing all the more. And the strategic use of
quirky voice-overs and signal processing gives the album
an added punch. Along with figures such as Maria
Schneider and Jason Lindner, Guillermo Klein is helping
give rise to a new era in big-band composition ".

Jazz Times
CD REVIEW Marcela Breton 1998
GUILLERMO KLEIN / BIG VAN - EL MINOTAURO
" Klein's band, Big Van, includes four trumpeters,
three trombonists, five saxophonists, a guitarist
plus the standard rhythm section. Klein composed,
arranged and conducted this ambitious and energetic
music. "Abismo" is inspired by Poe's "Descent into
the Maelstrom". The title cut and "La Manzana de
las Luces" have stately openings that lead into the
frenzied, passionate sound of the big band. "Primer
Tango" points to Klein's Argentine roots. Klein's
music is interesting and finely executed. "

CD Liner Notes by George Garzone :
Guillermo Klein's BIG VAN-EL MINOTAURO
" . . The band continued to rehearse and in
the
summer of '95 played every Sunday at
Smalls Jazz Club in Greenwich Village, New
York. Hearing the band was an uplifting
experience as saxophonist George Garzone
Recounts : " I first heard Guillermo's big
band
in the fall of 1995 at Small's Jazz
Club in New York City. Guillerrmo's writing
struck me as truly singular with cluster
voicings passing in and out of each other
in a surprising yet fluid manner. Within
every voicing each line had a discreet
melody and when layered on top of one
another they created a unique effect and
added a smooth harmonic flow to the
music. Guillermo's compositions are
romantic, dramatic and passionate.
His Argentinian roots lends his music
a character and a rhythmic feel that,
coupled with his harmonic and melodic
ideas create a totally new and whole
expression.Big Van includes musicians
such as Juan Cruz de Urquiza, Chris
Cheek, Mark Turner and Marc Miralta
to name a precious few. These young
players provide Guillermo with the chops,
interpretive creativity and enthusiasm
he needs to articulate his music. The
freshness of their improvisations only
strengthen his vision. While many
younger musicians and improvised music
as a whole searches for new directions,
Guillermo demonstrates a command
over the forces necessary to create his
own directing, harmony, melody, feel
and a reverance for the music we play."


The New York Times CONCERT REVIEW 1995
by Peter Watrous
GUILLERMO KLEIN'S BIG VAN at SMALLS
" Many sources for an Argentine composer ; Guillermo
Klein, a young Argentine composer who is leading a
big band at Smalls every Sunday this month can be
abrupt. His show this week opened with one large
brusque chord that immediately died, leaving silence.
Sudden riffs burst from nowhere. What had been
background noise emerged as the beginning of an
electronically
distorted saxophone solo. Mr. Klein's
orchestra, which draws from the cliched music
written for 1960's television and movies, from Steve
Reich-style Minimalism, from polychordal harmony and
occasionally from mainstream jazz, is unlike any other
working in New York. There are jokes in the music
as well. At the end of one piece, Mr. Klein played
two corny organ chords making explicit the tunes'
connections to a 1960's style. The music owes
something to the electronic experiments of 1960's
rock-jazz, with the horn soloists playing through
amplification. Mr. Klein manages to make it all
sound sincere. The authoritative way Mr. Klein
called riffs was percussive as well, as he were
wrenching them from the band. And he fooled with
tempos keeping the rhythm section working at one
speed, while slowing or speeding up the riffs.When
Mr. Klein returns to Argentina in a few months he
will take one of the better continuing experiments
in New York with him.

Liner Notes CD-RELEASE 1990
ONE TWO THREE FOUR JAZZ & MORE
FROM BERKLEE COLLEGE OF MUSIC.

Exective Producer GARY BURTON " Berklee and
Jazz have always gone together and the list of
famous alumni
from the college's past includes
Quincy Jones, Joe Zawinul, Branford Marsalis and
many more important musicians of the past four
decades. When producing this CD, we felt that a
project highlighting our best ensembles would be
a good way to connect Berklee's past and present.
The Concert Jazz Orchestra has been under the
leadership of professor Herb Pomeroy since it's
inception during Berklee's first years, when it was
simply known as the recording band. In decades past,
Pomeroy's ensemble recorded annually and the
albums were released as the Berklee "Jazz in the
Classroom" series. It is a particular treat to once
again be recording the Herb Pomeroy big band
ensemble. The band has continued to be the
college's most prestigious jazz ensemble and many
of our students aspire to get a chance to play in
this group. Their twice-a-year concerts are always
exceptional, and offer the best opportunity to hear
the college's most outstanding jazz players and
writers.The selections featured here start with an
arrangement of Duke Ellington's "Little African
Flower" by Tommy Kamp. A minor blues, originally
recorded on a trio record with Charlie Mingus and
Max Roach and never scored for the Ellingtons big
band, he referred to it in his biography as one of
his favorite pieces. Kamp's arrangement gives the
piece a modern interpretation featuring contemporary
solos by Pat Loomis alto sax, Sten Hostfalt on guitar
and preceded in a more traditional vein by Mercedes
Rossy on piano. The most enduring impression I have
after more than fifteen years at Berklee is the
continuing cast of talented musicians. Our young
musicians' skill and creativity are a constant reminder
that the future of music in general, and the future of
Jazz, in particular, is in good hands."
- Gary Burton

Falukuriren ( Sweden ) CD REVIEW 1998
by Uno Petersson ; Elexir Feat. Sten Hostfalt /
FEEL REAL
* * * * *FIVE STARS - " Lågmält,
elegant och intimt musicerande av fyra skickliga
instrumentalister och kompositörer. CD'ns
musik
är uteslutande signerad av bandets medlemmar.
Gruppen förmedlar stor samhörighetskänsla, musiken
är fint uppbyggd, solisterna kan sträcka ut i låtarna

som har improvisationsvänligt harmoniskt underlag.

En lyssnarvänlig produktion som bör passa alla
musik-konnässörer ".


Svenska Dagbladet ( Sweden )
CD REVIEW 1998 : Elexir Feat. Sten Hostfalt
FEEL REAL
" Gåshud garanterat. Det är en smått
sensationell CD Gitarristen Sten Höstfält är en
spännande solist, tillika effektiv medspelare ".

Liner Notes CD FEEL REAL/Elexir ft. Sten Hostfalt
" Spektrat når ut trots lågmäldheten. Intimiteten som
kammarjazz förknippas med, är markant. Kompositionerna
är väl valda med öppning för flexibilitet. Rent av fräscht
eleganta utan att vara pråliga. Wes Montgomery skulle
inte ha avfärdat gitarristens sparsmakade toner och
ackord i gruppens originalmusik. Inte Jim Hall
heller
för den delen om man vill ägna sig åt
amerikanska
liknelser. Det kan man dock göra i det här fallet för
så välspelat är det."
- Göran Olson 1998


Jazz Guitar International ( U.K. )
CD REVIEW 1999
; Elexir ft. Sten Hostfalt-guitar /
Feel Real * * * * " A fine band with a progressive
guitarist who mixes bebop with a modern approach,
great facility, lovely touch and sound. This is one of
the CDs
a reviewer gets every now and then that finds
its way into his private collection. Highly recommended.

Sydsvenska Dagbladet ( Sweden ) 1986
JAZZ CONCERT REVIEW, Swing Inn Malmö Sweden.
" Söndagens Swing Inn mönstring utvecklades precis
som den skulle-förvirringen över alla nya ,spännande
smaker var samtidigt en positiv orgie i omväxling.
. . Högre upp i kåken mullrade samtidigt J.O. Group
och flöt in genom dörren
.
Funkande elektrisk Jazz på
fyra man lika blå som skicklige gitarristen Sten Höstfälts
Fender. Den som spelar sådant här går
på en knivsegg,
tråkigheten är bara ett felskär borta. J.O. group klarade
sig lätt på tyngd och känsla "
- Alexander Agrell.

Assorted Press Clips


Knitting Factory NYC 2002
Smalls Jazz Club
1994









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