Record Collector: MATS GUSTAFSSON


He's not just a sonic architect tearing down genre walls with his saxophone, flute, and electronics - Mats Gustafsson is also a voracious record collector, his ears attuned not just to live music but to the treasures hidden in dusty crates. For over three decades, he's been a key figure in the European free jazz and improv scene, leaving his mark with projects like The Thing trio and Fire! Orchestra. But when he steps off the stage, you'll find him digging deep into flea markets and record stores, unearthing forgotten gems and fueling his boundless musical curiosity.
Join us as we explore Mats Gustafsson's world through the lens of his record collection. We'll delve into his unique approach to collecting, the unexpected influences that shaped his music, and the stories woven into the grooves of his favorite vinyl. Get ready for a captivating journey into the mind of a musician and collector whose passion for music knows no bounds. No wonder he calls himself discaholic.

Do you remember how did it start, the magic of playing record? You put the needle into the groove of plastic and the sound comes out of speakers.
Very well. I do. Certainly. I was totally blown away. By fascination. Playing my mothers Little Richard and Elvis EPs at home. I loved watching the needle dance. The initial kick is still here. It seems it will never go away. A sickness is a sickness.

What was the first record you bought with your own money? Must have been a Little Richard record. The one I think about is called “Mr Big”. It could also have been Hurriganes “Roadrunner” or possibly Hendrix “In The West”. Those years are blurry. Also remembered bying a BTO reocrd early on. All my friens were either buying Kiss or Abba. I was not into that shit.

What is the most valueable record in your collection, in material sense or for nostalgic reason?
For me personally I could never just pick one. This is part of my disease. My complete collection of Bird Notes LPs means the world to me, of course . all of them. The one record I can never ever sell is the mock-up – pre version of Albert Ayler “Something Diffrent!!!!!!” on Bird Note. Assembled by Bengt Nordström and given to me personally by Bengt. With the original photos of Ayler glued to back and front. Values changes for rare records. All the time. I dont care so much. Only when I need money. But , I try to trade. And trade and trade again. That is the only sane way. Before money gets involved. The market has gone insane…. And the key mechanic to get really rare and valueable records is to trade for them. Or give them away.
I have unique metal masters and also acetates of music, existing in only 1 or two copies. That shit will not leave my archive soon. I love the hunt and love the records I hunt for.

At the end of the 80s, did you switch from vinyl to CD as many others did? Now many regret they did...
Yes, sure. We all wanted to believe in this new sensational sound. Before we relaised that the sound was actually not so compelling. Yes, I enjoy listening to CDs as well. But, I totally prefer vinyl and analogue sound. I sold a lot… and yes, I regret it all. Emotionally valuable records got away. And I m still struggling to find them again… 30 years later…. Ha ha. But this search is also good. All searches are good. The road is all. The path. You find other things along the path. Broadening your horizons and more. I still have loads of CDs. But , they have no real vibe… they are not very sexy. Vinyl speaks to me. I love background noises and the history a certain vinyl has gone through. As long as there are no skips. I can always live with it. But skips are terrible.

I know you mainly collect vinyl, but what's your opinion on CD? Do you prefer vinyl because it sounds better or for bigger cover or for any other reason?
Many many reasons. Enough to fill a book. Or make a 100 chapter pod cast about it all. This is all subjective, even if some of my discaholic friends ( myself included )believe some facts are actually quite objective. With a good pick-up and a decent soundsystem, the vinyl is just an amazing thing. Carrying the sound in way more pleasent and warm way.
I m not fundamentalistic about it, or anything else ( except ice hockey). Music comes first. I love old 78 rpm shellacs, I love the old rolls, the mechanical instruments, the vinyls in all formats, the flexi, the tapes. I love my CDs as well. But I really dont care about streaming stuff… that does not sing my song.But, again: music comes first.
This is also related to that most streaming platforms are robbing the musicians and composers of their rights. It is a terrible thing when Spotifuck and others are accepted by musicians that thinks they need to be “there” to make it.
Fuck that. Create (y)our own platforms. That is what I do. And my friends. It is all DIY anyway. So , why should we give up and bow down to the system now? we can take matters in our own hand. We can always do that.
No, digital streaming does NOT do it for me , at all.
There are so many advantages w vinyl albums. The cover. The size. The smell. The vibe. The sound. Phhhheuuww….. and a 1000 more arguments. You dig?
Nicely packaged CD boxes do make me interested still. As long as I dont have to touch the CD itself, ha ha!!! I ask my kids to put the CD on…
Now we can listen to most of the available music via streaming services. Do you use them, maybe just to check out new music?
Not at all. I check things out live… IRL. Sometimes I search stuff. Usually find stuff I m curious about on Youtube. And it is really not that everything is available on streams these days. With non- commercial music, the rules are different. I know many unusual records within ethnic music and improvised music that is not available online. Only on vinyl… or shellac… or tape… small secrets, that we love to hunt for. The hunt is all.

CD is still very popular in Austria, Germany and especially in Japan. As musician yourself, I believe you have to adopt to those markets and press CDs for those countries? Also it's easier to carry CDs with you to sell them at concerts?
Spot on. This is correct. 100 %. But vinyl sells well. Different in different contries. It is easier to bring CDs, yes. But , why make it easy ? I always bring vinyls. I know there are always some younger kids (or older kids) that wanna buy a vinyl. And they get disapointed when I m not bringing any with me.
It is a LOT of schlepping. But it is worth it. It is heavy and sometimes the covers gets damaged. There are not much money to make, but , it is a service I wanna provide to the listeners. It is very provocative when you bring lots of vinyls with you and almost no one is buying, complaing the prices are 1 euro more then the cheapest of Discogs or so. Dont they understand WHY and WHAT we are doing? Ha ha!! But , in either case , I will continue bringing my shit with me until I drop the tone-arm for good.

What's your opinion on digital audio files? Do you consider MP3s or FLAC files as a part of your collection?
Fuck no. See above. That has NOTHING to do with my archive. Just “0” and “1”s. You can not touch it. I will stick to this. Sorry. Old school? new school? I dont care. I just dont like the file-format and what it represent w streaming-commercial-reality.
Digital audio files I deal with all the times, during mixing and mastering and all, for my work as a musician. It is necessary. I just don't like to buy or sell any.

Žiga Koritnik told me you transported few tons of records from Sweden to Austria. It must have been one hell of the logistic effort? Yes, 2,5 ton of vinyls 10 years ago. The weight at present day is… more… ha ha!! It was an interesting experience. And I had to have them in storage for 2 years, while we were building a house in Nickelsdorf. That was a terrible time. All my friends stucked away. It was a big day releasing them all from their ”prison”.
We moved them with a company specialised in transporting high quality industrial steel between Scandinavia and Germany / Austria. It worked 100%. Not a record cover damaged. I worked in the moving/ transportation business in sweden when I was young, so I remembered how to pack it all in crates and on EU – palletten. No sweat. But , I hope we dont have to do it again soon.

Few tons of record is also difficult to sort, what's your key? Do you know for every single record where it is? Fuck yeah, that is my responsability. My duty towards the records. And the legacy. They would get pissed off if I dont have control and knowledge.
I have my system. And I listen to all records. I trim my garden. I get rid of shit I dont listen to.
But, so far in my life…. More is coming in, than leaving the collection, ha ha!! I sort my collection by genre and alphabetical by artists and chronological within every artist. I hate to define my own music by genre. But at home… with my collection, I do so, ,ha ha! For orientation and navigation. It helps me. When I m looking for inspiration. To have all my african records at one place. To have all my free improv records at one place. To have all my Ice hockey EPs at one place… having FUN with them all every day.

When you buy the record, how important is the condition and the sound (mastering) of it? Many record collectors seek for the best pressing of the particular album.
Mmmmmh. Well, yes, the pressing is important. Mostly because it is usually the 1st press that sounds the best. but , more importantly the 1st pressing has a closer connection to the artists (and producers) initial ideas about how to release / present the music. THIS is important. I love to have that connection. There are so many crappy remasterings these days. You need to watch out and always listen yourself to make a decision of what is good and what is crap. 1st pressings are key to me. Often it means a higher price. But… trading can work everything out.
Sometimes a later remastering IS better --- and then I go for that. Like the Blue Note “Tone Poet” series. Absolutely fantastic sound and tip – on covers. Sexy! Yes!
The condition of the vinyl is not always superimportant. Background noise can make the world look and sound better. As I said before skips are an enemy. I like NM records… especially when music is quite: minimal music, bill evans trio lps and in general low dynamic music… but when I play my extreme metal records or HC 7”´s I don't care so much about background noise.
Some genres like ethiopian music and some brazilian music, we just have to accept a certain amount of noise.
I love that fact. I love the history certain records add to the whole picture.

Have you ever bought the record just for the cover, even you haven't been familiar with the music?
Happens all the time. When I get CURIOUS. I buy it. Sometimes it is awful music. BUT often you get a FEEL… and it might be total kick ass and rad record. The cover means a lot. And the paper. The print. The labels. The liner notes.You know, the whole DEAL! But , you gotta stay CURIOUS.

What's your main sources of information upon them you decided to search for particular record?
Main sources is usually other discaholic friends and collegues of mine. This is important – it is ALL about sharing. Within my music – but also within record collecting. The real good advice is always better person to person. My record collection – my archive - my garden - many names for the same thing: is my real source of information AND inspiration!! I always got for it for knowledge and inspiration.

Do you have a list of „wanted“ records? Do you still desperately looking for some rare japanese pressing...
I always work with a wantlist. Otherwise I would be an amateur. For trading purposes, it is important to offer a wantlist. And I have a huge stack of duplicates at home. Of good vinyls and tapes that I can trade with. Things I pick up on tour, wherever I go. There will ALWAYS be great things to find. It is a never ending process and mechanic. I love that fact. There will always be new albums to list on the top of your wantlist and to hunt for and to share. Im curious about most music. Take Japanese music for instance. The whole Gagaku tradition. Or the music and culture of Goze. This is something to research. A never ending source of inspirations right there. Or music from Mali… Sudan… mindblowing stuff. Launeddas music from Sardinia… this story never ends. Great HC music from sweden. Cool jazz from Boston. Canadian Garage music. Sami yoik music. Early New Orleans jazz. Tropicalia fever from Brazil. Po Torch improv beauty.It never ever fuckins ends. And I dont want it to end. The search continues. The wantlist gets longer. I will keep on trimming my garden.
Mats Gustafsson, feb 19 2024. - slo version

Photos:
Žiga Koritnik

Janez Goliè (feb 22 2024)