“Anders Nilsson, a guitarist-composer comfortable with everything from free improvisation to avant-garde metal, celebrates a fine recent solo effort, Night Guitar, that traverses ghostly mood-setting, bluesy twang and overdriven riffage.”  Time Out, New York  

“Nilsson’s shimmering axe evokes a dimensional warp.” Nathan Turk, Signal to Noise,

“Nilsson is steeped in the renegade six-string tradition of Bill Frisell, David Torn, Terje Rypdal and Fred Frith.” – Bill Milkowski, Jazz Times,

“Sultry Swagger” – Thurston Moore, Arthur Magazine

“All I can say is Wow!” -Bruce Lee Gallanter, Downtown Music Gallery

“Nilsson has got the chops to pull off jazz, blues, rock and noise and much of what lies in between. What’s more notable, though, is that he’s got enough sense not to overuse his skills. Two recent releases, Powers & Hogwild Manifesto, may not find him discovering new territory but showing himself to be easily conversant in familiar terrain.” -Kurt Gottschalk/New York City Jazz Record

“Very judicious with his own instrument, the guitarist has a superb ear for mood and environment, using space and silence primarily to create atmosphere but also to prevent the instrumentalists from merely blowing in customary fashion.” – Jason Bivins/Cadence Magazine (US), “Nilsson has a very personal style and a guitar tone unlike any American jazz player I can think of: a hint of true twang in a mostly clean, but nonetheless very electric sound.” – Jochem van Dijk/All about Jazz,

“Swedish-born guitarist Anders Nilsson plucks spidery figures and dissonant clusters that loom like an overcast sky.” Time Out Chicago

“Guitarist/composer Anders Nilsson cranks out music that makes some of the atonal performances at the Tanglewood’s New Music Festival seem like a Boston Pops Movie Night concert.At one point Nilsson leaves his guitar long enough to have a sexual encounter with one of the hostesses at a casino.” Elyse Sommer, CurtainUp

REVIEWS – “Night Guitar”: (in Swedish),


FULMINATE TRIO “This daring trio of drummer Michael Evans, guitarist Anders Nilsson and in-demand free-jazz bassist Ken Filiano operates on a delicate, acute listening dynamic for half of this experimental ECM-ish program (particularly on Carla Bley’s “Floater” and Nilsson’s ambient “Sound Fear”). But they are also capable of exploding with rock-fueled dissonance and bombast, as on Evans’ “Road Runner.” Filiano, a deep-toned anchor on upright, contributes extraordinary arco work throughout, while Evans shines in rubato situations, a la Paul Motian. And Nilsson is steeped in the renegade six-string tradition of Bill Frisell, David Torn, Tere Rypdal and Fred Frith.” – Bill Milkowski/JazzTimes

ANDERS NILSSON’S AORTA “This is garage jazz at a high level.” – Ty Cumbie/AAJ

“..Aorta sound as if they are storming out of the seventies before fusion became a predictable set of cliches. This quartet is heavy with strong electric guitar and sax interplay and inspired soloing.” “This is one powerful and tight quartet with some wonderful writing making it even more special and unpredictable.” “You just never know where you will end up, except for great surprises. On a few of these pieces the quartet lays back and gets into some fine moody areas – hushed, dark and cerebral.” “Considering that it is only January, I know that this fine disc is bound to be one of the year’s best under-recognized gems.” – Bruce Gallanter/Downtown Music Gallery (on “Janus”)

“The music is at times gloriously noisy, head-banging jazz, with moody, tension-filled atmospheres interspersed to heighten its passion and gravity.” “The front line often engages in lively interchanges, as the powerfully dynamic rhythm team churns and coasts with a foreboding sense of doom.” “This is not a “Sunday afternoon record”; rather, with this much variety, Blood is sure to keep the most attention-deficited folks busy.” – Jay Collins/One Final Note

“Musikerna är inte rädda för att balansera mellan det vackra och det utmananande. Det gäller både soundet och melodierna. Efter kaskader av ettriga toner kan efterföljande låt vara en vacker bluesmättad ballad. Spännande och kul med ett band som vågar sticka ut så här.”
– Jan Backenroth/Skaraborgs Allehanda

“Musiken är vildsint och passerar förbi hjärnan för att slå direkt mot solar plexus.”
– Martin Erlandsson/Hallands Nyheter 

EXPOSED BLUES DUO “Anders Nilsson and Fay Victor open up their first duo record with Duke Ellington’s “Mood Indigo” and they do it in a way that makes you half feel like you’ve never heard it before and whole feel that you want to hear more. Victor’s voice and Nilsson’s guitar aren’t beholden to Ellington. They’re beholden only to the song -­ enveloping it, possessing it and freeing it again. Which, time was, what made the blues the blues, back when it was a cry, before it was just a beat.” – Kurt Gottschalk/The New York City Jazz Record

“excellent…” – Nate Chinen/The New York Times

“This music is so personal yet so universal, heartfelt, challenging and alive.” – Richard Kamins/Step Tempest

Anders Nilsson’s AORTA Ensemble – Eyal Harueveni/AllAbout Jazz
HOT & COLD [ANDERS NILSSON & AARON DUGAN] – Hog Wild Manifesto (Jungulous 03; USA) Hot & Cold features Anders Nilsson and Aaron Dugan on electric guitars. Swedish/New York guitarist, Anders Nilsson, has been juggling several projects over the past decade since moving to NY. Over the past two years, a handful of great discs have been released: a duo with Fay Victor, a trio (Kalabalik) with Raoul Bjorkenheim & Gerald Cleaver and a solo guitar CD. This week Anders has dropped off another fine duo disc with fellow Brooklyn-based guitarist Aaron Dugan. Mr. Dugan is a member of Roots Tonic, a great dub/metal trio whose first album was produced by Bill Laswell and who also back Hasidic rapper Matisyahu. This is disc was recorded (in a studio), mixed & mastered by Kato Hideki (original bassist for Ground Zero and founder of Death Ambient). Although this duo is called Hot & Cold, perhaps it should be called Hot & Hotter. I dig the way the distortion (pedals) pushes things into a more intense light. There is a great section in the middle of “Hogwild Manifesto” in which both guitarists play short (what sounds like) written line together before they trade licks and play some counterpoint with infectious yet twisted harmonies. Although short, it does remind me of those epic progressive or fusion double guitar passages that were popular in the mid-seventies. “For Albert” is a short (3 & 1/3 minute) ballad which is calm and eloquent. A perfect interlude between the two longer pieces of this disc. Stylistically these players are not so far apart and consistently complement each other. I love the short sludge section in the first part “Night Juice Agenda”, both the sustained toned sounds and trading of licks are exciting and engrossing. The well integrated picking, interplay and choice of textures again makes this sound more like some progressive epic unfolding over a long period of time or album side length. At about 30 minutes, I kinda wished this would go one for another epic but it still seems completely fulfilling nonetheless. Just have to listen to it again and again. – Bruce Lee Gallanter, Downtown Music Gallery