Here you should choose the superlative! The solo-performances of Colin Stetson are legendary because thanks to his circular breathing he manages things which alone are athletically impressive. Too bad that the admiration for the physics might disturb the view on his also impressive musically and compositional achievements of the 1975 in Ann Arbor, Michigan born musician. Stetson has a remarkable network with fine taste. He has studied under Roscoe Mitchell and Henry Thredgill, has worked with colleagues such as Fred Frith, Peter Kowald, Anthony Braxton, Tom Waits, Feist, Laurie Anderson, BadBadNotGood and Mats Gustafsson, toured with the indie band Arcade Fire and can be heard on the 2011 album “Bon Iver, Bon Iver” from Justin Vernon and the soundtrack from Steve McQueens “12 Years a Slave”. On his solo albums, such as “All This I Do For Glory”, Stetson manages through his breathing technique and his peculiar way of playing, which also includes his voice and the sounds of the instrument, an astonishing variety of sounds which he then – without overdubs – layers and rhythmists: an irritating mix of drone, post-rock and noise. The effect is respectfully intensive and even through all the power rather spiritual and intimate.
The concert is seated.