The Thing - Garage (2004)

First recorded in January 2004 by Kai Andersen at Athletic Sound, the Thing’s Garage was originally released on Smalltown Superjazzz. Re-mixed and mastered on last March by Audun Strype at Strype Audio, Garage — which finds Mats Gustaffson collaborating with Paal Nilson Love and Ingrbrigt Haker-Flaten — is now available on vinyl from Trost Records.

From the first listen, the energy and driving spirit of the music is captivating and impossible to ignore. This trio was made for this kind of music and their coming together for this album is a joy.

The first track is a cover of the the Yeah Yeah Yeah’s “Art Star,” and is a bass-driven number with a catchy tune played by Haker-Flaten, over which the sax of Mats Gustaffson screams and wails, at times joining the bass for the tune before spinning off in all directions. An incredible dialogue is set up, with the drums underpinning the other instruments with manic, driving rhythm.

The second track, “Aluminium” (a cover of the White Stripes’ song) starts with deep throbbing bass, before drums and sax come in, the sax leading the way with the others following as willing participants in a battle for the lead. Gustaffson’s sax lays down the gauntlet for the others to pick up and run with as they choose. The track is sheer delight.

“Haunted” follows, a cover of the Norman Howard number, again introduced by the bass with sax coming in with the melody, which is, well … haunting. Mats Gustaffson demonstrates an emotive style of playing which is unusual for him and the track develops into a mesmeric song. Until that is about half way through when it seems, enough is enough and Gustaffson takes the song to a manic conclusion, stretching the tune to within an inch of its existence, but it is never lost and returns for a curtain call towards the end, supported by drumming and bass lines to make the heart melt.

The Thing’s version of Peter Brotzmann’s “Eine Klein Marschmusik” is eerie and other-worldly with all musicians contributing to the esoteric feel to the track. The strong sax playing develops and soars throughout the piece and the others follow with the bass ever busy and the drums never ceasing in their speed and counterpoint rhythms. It finishes with a delicious free for all, led by loose-reeded sax and flowing drums and bass.