Embrace Mattias Svensson

• 1 My Toots Toots (For Toots) 07:01
• 2 Bluetiful 06:25
• 3 Erik Satir 05:02
• 4 Shagit 07:55
• 5 Fredriksson 2 01:25
• 6 Steps (Ahead) 08:08
• 7 Theme From Emmerdale 06:14
• 8 Tomorrow's Trickster 06:07
• 9 Cheddar 05:12
• 10 Längtar Till Fredag (Theme From N.P. Möller) 01:42
• 11 T'ai the Chi(t) Together 07:45
• 12 A Shorter Way 06:47
• 13 Fredriksson 3 01:35
• Total Runtime 01:11:18

Info zu Embrace

Swedish bassist Mattias Svensson's first encounter with pianist Bill Mays was in a studio in Japan where they recorded Svensson's 2009 debut trio recording. Further recording and touring only heightened their desire to work more together, so Mattias took action and assembled this session in Copenhagen with Mays and drummer Morten Lund, his longtime trio mate with the famed Jan Lundgren Trio. From the delicately swinging opening waltz dedicated to Toots Thielemans, to the propulsive "Shagit", the trio exudes an effortless fluidity through 10 of the bassist's spacious compositions, a May's burner dedicated to his cat "Cheddar," along with a couple of themes from '70's TV shows that Mattias watched as a child.

"Mays plays on pure imagination, that exalted level where mere technical concerns have been long forgotten." - Toronto Globe & MaiL.

"The interaction between the three is excellent, rhythmically innovative (with) clever harmony skills and a never-ending desire to swing - Sk+nska Dagbladet (Sweden)

"This is not an album that reveals itself in a single listen. It asks for time, attention, and return visits. In doing so, it offers rare rewards. For those willing to engage with it fully, Embrace will not merely be another entry in a jazz collection, t will become one of its enduring treasures." (Thierry De Clemensat, Paris Move)

“Embrace” sounds relaxed but never casual. It’s music made by musicians who enjoy each other’s company, who listen deeply, and who swing with intelligence and heart. Not flashy, not bombastic – just beautifully played modern trio jazz that rewards the listener’s close attention." (Mike Gates, ukvibe.org)

Mattias Svensson, double bass
Bill Mays, piano
Morten Lund, drums

Recorded & mixed by Thomas Vang at The Village Recording, Copenhagen, Denmark
Recorded on August 1-3, 2022
Mastered by David Elberling at The Village Recording Studie B, Copenhagen, Denmark
Produced by Mattias Svensson
Executive Producer: Christina Giovanos

Mattias Svensson
Swedish bassist and composer Mattias Svensson was born in Landskrona in 1967. Still residing in Sweden, he plays around the world. He did his studies in Malmö, Sweden, as well as at the New School in New York, where he spent two years in the early nineties, studying with Gary Peacock, Eddie Gomez, Reggie Workman a.o., as well as participating in Betty Carter’s first Jazz Ahead program.

A professional musician since 1994, he has toured and recorded extensively with a host of Swedish and International bands and artists.

His debut recording as a leader, Head Up High, with Bill Mays and Joe La Barbera, was released in 2009. And… RIGHT NOW, Jan 2026, his second CD ”Embrace”, with Bill Mays and Morten Lund, is released.

His other current activities include being a member of the Jan Lundgren Trio, Viktoria Tolstoy Band, GeJoMa (with Georg Wadenius), as well as freelance work.

He has played and/or recorded with people like:

Johnny Griffin, Toots Thielemans, Clark Terry, Lee Konitz, Benny Golson, Ernie Watts, Randy Brecker, Conte Candoli, James Moody, Billy Harper, Eric Alexander, Joey Alexander, Joe La Barbera, Pat La Barbera, Victor Lewis, John Guerin, Alvin Queen, Phillip Wilson, John Tchicai, Nils Landgren, Ulf Wakenius, Putte Wickman, Arne Domnerus,

About his musical upbringing: ”I grew up in a musical family. Both my parents listened to classical music, and took me to concerts from an early age. My father played a little violin, and my mother was an elementary school teacher, who sang and played a little piano and guitar at school. At family gatherings on my mother’s side, there was always music being played, and everybody participated, whether they could play or not. There was always an instrument to pick up. So it was a very allowing atmosphere. I started taking piano lessons at age 7, augmenting with guitar, drums, violin, and electric bass, before starting with the upright bass at age 18. Always hungry for different kinds of music, I also started early on to explore early 70’s rock with my friends, leading through a zig zag path to the discovery of soul and funk in the late 70’s. This was my main focus for a number of years, and probably the reason for me choosing the electric bass as my main instrument at the age of 15. On my favorite records at the time, there was often the occasional jazz-influenced tune with exciting chords and solos. This led to the exploration of fusion, and eventually acoustic jazz. At 19, in 1986, after having played upright bass for six months, I was at my first summer jazz camp. During a listening session at the camp, I heard McCoy Tyner’s ´Rebirth´, and was totally blown away. Now there was no turning back!”

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