Sten Höstfält
Composer Guitarist
Producer Educator
Theorist Scholar
AFM Local 802, NAfME, MEANYC, SMT, AES,
GFA, UFT, NYSUT, AFT, AFL-CIO, JFA & BMI
Sten Höstfält Biography
Sten Hostfalt is a leading innovative guitarist and composer working on the New York music scene of today. He performs with some of the most original, unique voices in modern music and has been called highly exceptional by legendary icons of American Music Jimmy Giuffre, and virtuosic by musical innovator Joe Maneri -Jon Damian, Fresh Music: Explorations with The Creative Workshop Ensemble for Musicians, Artists, and Teachers [2015].
Swedish-born American composer, guitarist, bandleader, producer, record label proprietor, educator, theorist, and research scholar Sten Hostfalt's forty-five year innovative contribution to the international music scene encompasses jazz, contemporary classical music, pop, folk, electronica, and beyond category formats.
In representing a ancestral lineage, and tradition of rural farmers come urban laborers, embodying a legacy of working class artistry. A self-taught pianist mother, an aunt with encyclopedic musical knowledge, mainly gained by taping classical music from the radio, and an older brother acquiring blues, soul, and rock vinyls anyway he could (as one of three kids raised by a single mother working full-time). Records, tapes, and scores borrowed from the local library, along with a group guitar class via the educational section of the Swedish labor movement (ABF), and classical guitar studies at the local community school. All prepared for Hostfalt's debut as an instrumentalist, composer, and co-leader on the late 1970s Scandinavian progressive scene, as it gentrified and merged into DIY, and new wave.
early
Due to a combination of non-formal and formal music education, at the time deemed a non-typical scholarly path, repeatedly rejected by the national conservatory (where he in a twist of fate, some 15 years later would be hired to teach). He engaged in a period of intensive self-directed studies, attended the alternative music high schools of Kalix and Skurup, and was hired as a teacher at the latter. Before receiving a 1989 scholarship to Berklee College of Music where he was instantly selected for apprenticeship in large jazz ensembles led by Phil Wilson, and Herb Pomeroy (traditionally the school's premier ensemble, since the famed 1958-76 'jazz in the classroom' recordings known as 'the recording band'), and activity on the Boston scene, as a leader and sideman. Subsequent mentorship, performances, and collaborations with legendary icons of American music Jimmy Giuffre, and Paul Bley, and tutelege by George Russell, Joe Maneri and Mick Goodrick at New England Conservatory. As well as performances with masters of Jazz Gary Burton, Peter Erskine and Clare Fischer, meant a start on the international jazz scene.
He made his first contribution to the mid-90's New York jazz scene, as a member of the first edition of Argentine composer Guillermo Klein's New York ensemble. A group of A-list jazz musicians that under the name 'Big Van' creatively interpreted Klein's originals through jazz, tango, latin, rock, and contemporary classical territories. Peter Watrous of New York Times called the lineup one of the better continuing experiments in New York in a '95 live review at the then newly opened Smalls Jazz Club. Jazz Times reviewed the group's debut CD Big Van/El Minotauro (Beat '94/Candid '97) favorably, and David R. Adler of All Music Guide noted the band's brilliant soloists, that along with Hostfalt, also included saxophonists Chris Cheek, and Mark Turner, and pianist Aaron Goldberg. After a '95 Argentina tour, Klein's band transformed, and Hostfalt got an offer to tour and record in Scandinavia with a Swedish Big Band supporting among others Rob McConnell, Bobby Shew, and Deborah Brown. He stayed with the band for three years, recording three CD's, appearing in numerous radio broadcasts. And sharing jazz festival appearances with among others James Moody, Phil Woods, Ray Brown, Niels Henning Orsted Pedersen, Mike Stern, Woody Herman Big Band, and Tower of Power.
Hired to teach at the Royal Conservatory of Music in Stockholm (where he had been twice rejected 15 years prior) and receiving a string of awards from the Arts Grants Committee of Sweden. The new millennium meant a return to the New York scene, in which a both ambitious, and generously state grant supported, yet misguided French-Swedish-Italian collaborative project in Paris motivated Hostfalt's subsequent New York solo performances, as well as his trios and quartets. Again, with a DIY aesthetic in producing-releasing recordings on his own labels g-wOw and Sonus Rex. Hostfalt's '02 debut CD as a leader, initiated by mentor Paul Bley Eternity Check was coupled with the solo concert CD 29 Pieces for the Microtonal Guitar Live at Knitting Factory New York. Described as among the most riveting explorations of the microtonal world ever recorded (Larry Cosentino, Signal to Noise, 2005), may be considered groundbreaking (Don Williamson, Jazz Review, 2005), taking you on a journey to a place where rules quite simply don't exist, and anything is possible (John Kelman, All About Jazz, 2004).
After a second live solo recorded album, initially titled 'Macroscope' (Sonus Rex/2006), and subsequently, to avoid confusion with other subsequent releases with the exact same, and/or a very similar title, renamed 'Five Microtonal Pieces for Guitar and Electronics Live Solo in Cambridge, MA 2006'. Followed a period of duo work with saxophonist Blaise Siwula, also known as the longtime coordinator of the C.O.M.A. improvised music series at ABC No Rio-one of the longest running alternative, independent creative art spaces on the NY Downtown scene. One of their very first encounters together, a 2006 recording made in Siwula's loft, was released in 2011 on CD as 'Now Matter'. Along with a '07 live recording of Sten Hostfalt's quartet G-Factor titled MoneyTown (Sonus Rex 0624-11), released the same year. Meanwhile, sideman work on the new New York City electronica scene, as a bass guitarist with Calmer (Collin Palmer), included shared concert events with among others MachineDrum (Travis Stewart), MOBY, Theophilus London (Warner Bros./Reprise), and Keith Murray (DEF Squad).
Self-employed, he established his own creative music NYC teaching studio, and taught for East Village's First Flight Music, serving the East Village/Downtown NY community btw. 2007-15 (including students at PS 19, Third Street Settlement, and Institute for Collaborative Education), and New York Jazz Academy (appearing in student-faculty concerts at Carnegie Hall's Stern Auditorium). As well as, as an one-off invited lecturer at The New World School of the Arts, Miami FL, and at Jon Damian's creative workshop at Berklee College. And as as a DOE vendor at Kingsbridge International High School, Bronx NY, and with elementary and secondary students at Queensborough Youth Conservatory, through the office of continuing education at Queensborough Community College, City University of New York*.
In 2014 Hostfalt composed, and staged his microtonal orchestra original work Dimensional States for 12 musicians and 2 dance artists at ShapeShifter Lab, Brooklyn NY. Before, later the same year, realizing the world premiere solo performance of his work Four Microtonal Pieces for Music for Guitar and Electronics at the XXXV Encontre Internacional de Compositors festival at Fundació Pilar i Joan Miró, Palma de Mallorca, Spain. This program was released on CD as 'Transformations'. In relation, 2018 saw a ShapeShifter Lab NYC duo concert and recording with Italian trumpet player Johnny Lapio. Meanwhile, collaborative work on the Downtown NY scene also ensued with ensembles led by (John Zorn-alum) Evan Gallagher, trombonist Stan Nishimura, and microtonal composer Constance Cooper.
A four-decade veteran music educator, Mr. Hostfalt's current Columbia University Teachers College instructor appointment, that involves applied teaching of pre-service and experienced music teachers, reflects music educator service in leading academic institutions in the United States and Europe for the past 25 years. Just like current positions as a New York State K-12 certified music educator represents public school teaching in American and European school systems since 1995. As a first-generation academic he holds a BM in professional music with honors and an outstanding musicianship award from Berklee College of Music, a GD in jazz performance and a MM in composition from New England Conservatory of Music, as an NEC honors jazz ensemble member, as well as a Ed.M in Music Education from Columbia University's Teachers College. And a Post-Masters Advanced Certificate in Music Education from The City University of New York at Brooklyn College.
Sten Hostfalt's contributions to music education are documented in a sub-chapter microtonal music lecture feature in Jon Damian's 2015 book publication 'Fresh Music'. By inclusion in Dictionnaire des musiques microtonales 1892-2013 by Franck Jedrzejewski (L'Harmattan Paris, 2014). As well as with mention in academic research articles on contemporary microtonal music. And in popular press/media publications such as Guitar Player Magazine (US), and TomaJazz (Spain).
*DISCLAIMER: Sten Hostfalt's sole proprietorships NYC Guitar Studio (AKA Sten's Guitar Studio), and Sonus Rex are not affiliated with Queensborough Community College, or The City University of New York CUNY.
Sten Hostfalt is a leading innovative guitarist and composer working on the New York music scene of today. He performs with some of the most original, unique voices in modern music and has been called highly exceptional by legendary icons of American Music Jimmy Giuffre, and virtuosic by musical innovator Joe Maneri -Jon Damian, Fresh Music: Explorations with The Creative Workshop Ensemble for Musicians, Artists, and Teachers [2015].
Swedish-born American composer, guitarist, bandleader, producer, record label proprietor, educator, theorist, and research scholar Sten Hostfalt's forty-five year innovative contribution to the international music scene encompasses jazz, contemporary classical music, pop, folk, electronica, and beyond category formats.
In representing a ancestral lineage, and tradition of rural farmers come urban laborers, embodying a legacy of working class artistry. A self-taught pianist mother, an aunt with encyclopedic musical knowledge, mainly gained by taping classical music from the radio, and an older brother acquiring blues, soul, and rock vinyls anyway he could (as one of three kids raised by a single mother working full-time). Records, tapes, and scores borrowed from the local library, along with a group guitar class via the educational section of the Swedish labor movement (ABF), and classical guitar studies at the local community school. All prepared for Hostfalt's debut as an instrumentalist, composer, and co-leader on the late 1970s Scandinavian progressive scene, as it gentrified and merged into DIY, and new wave.
early
Due to a combination of non-formal and formal music education, at the time deemed a non-typical scholarly path, repeatedly rejected by the national conservatory (where he in a twist of fate, some 15 years later would be hired to teach). He engaged in a period of intensive self-directed studies, attended the alternative music high schools of Kalix and Skurup, and was hired as a teacher at the latter. Before receiving a 1989 scholarship to Berklee College of Music where he was instantly selected for apprenticeship in large jazz ensembles led by Phil Wilson, and Herb Pomeroy (traditionally the school's premier ensemble, since the famed 1958-76 'jazz in the classroom' recordings known as 'the recording band'), and activity on the Boston scene, as a leader and sideman. Subsequent mentorship, performances, and collaborations with legendary icons of American music Jimmy Giuffre, and Paul Bley, and tutelege by George Russell, Joe Maneri and Mick Goodrick at New England Conservatory. As well as performances with masters of Jazz Gary Burton, Peter Erskine and Clare Fischer, meant a start on the international jazz scene.
He made his first contribution to the mid-90's New York jazz scene, as a member of the first edition of Argentine composer Guillermo Klein's New York ensemble. A group of A-list jazz musicians that under the name 'Big Van' creatively interpreted Klein's originals through jazz, tango, latin, rock, and contemporary classical territories. Peter Watrous of New York Times called the lineup one of the better continuing experiments in New York in a '95 live review at the then newly opened Smalls Jazz Club. Jazz Times reviewed the group's debut CD Big Van/El Minotauro (Beat '94/Candid '97) favorably, and David R. Adler of All Music Guide noted the band's brilliant soloists, that along with Hostfalt, also included saxophonists Chris Cheek, and Mark Turner, and pianist Aaron Goldberg. After a '95 Argentina tour, Klein's band transformed, and Hostfalt got an offer to tour and record in Scandinavia with a Swedish Big Band supporting among others Rob McConnell, Bobby Shew, and Deborah Brown. He stayed with the band for three years, recording three CD's, appearing in numerous radio broadcasts. And sharing jazz festival appearances with among others James Moody, Phil Woods, Ray Brown, Niels Henning Orsted Pedersen, Mike Stern, Woody Herman Big Band, and Tower of Power.
Hired to teach at the Royal Conservatory of Music in Stockholm (where he had been twice rejected 15 years prior) and receiving a string of awards from the Arts Grants Committee of Sweden. The new millennium meant a return to the New York scene, in which a both ambitious, and generously state grant supported, yet misguided French-Swedish-Italian collaborative project in Paris motivated Hostfalt's subsequent New York solo performances, as well as his trios and quartets. Again, with a DIY aesthetic in producing-releasing recordings on his own labels g-wOw and Sonus Rex. Hostfalt's '02 debut CD as a leader, initiated by mentor Paul Bley Eternity Check was coupled with the solo concert CD 29 Pieces for the Microtonal Guitar Live at Knitting Factory New York. Described as among the most riveting explorations of the microtonal world ever recorded (Larry Cosentino, Signal to Noise, 2005), may be considered groundbreaking (Don Williamson, Jazz Review, 2005), taking you on a journey to a place where rules quite simply don't exist, and anything is possible (John Kelman, All About Jazz, 2004).
After a second live solo recorded album, initially titled 'Macroscope' (Sonus Rex/2006), and subsequently, to avoid confusion with other subsequent releases with the exact same, and/or a very similar title, renamed 'Five Microtonal Pieces for Guitar and Electronics Live Solo in Cambridge, MA 2006'. Followed a period of duo work with saxophonist Blaise Siwula, also known as the longtime coordinator of the C.O.M.A. improvised music series at ABC No Rio-one of the longest running alternative, independent creative art spaces on the NY Downtown scene. One of their very first encounters together, a 2006 recording made in Siwula's loft, was released in 2011 on CD as 'Now Matter'. Along with a '07 live recording of Sten Hostfalt's quartet G-Factor titled MoneyTown (Sonus Rex 0624-11), released the same year. Meanwhile, sideman work on the new New York City electronica scene, as a bass guitarist with Calmer (Collin Palmer), included shared concert events with among others MachineDrum (Travis Stewart), MOBY, Theophilus London (Warner Bros./Reprise), and Keith Murray (DEF Squad).
Self-employed, he established his own creative music NYC teaching studio, and taught for East Village's First Flight Music, serving the East Village/Downtown NY community btw. 2007-15 (including students at PS 19, Third Street Settlement, and Institute for Collaborative Education), and New York Jazz Academy (appearing in student-faculty concerts at Carnegie Hall's Stern Auditorium). As well as, as an one-off invited lecturer at The New World School of the Arts, Miami FL, and at Jon Damian's creative workshop at Berklee College. And as as a DOE vendor at Kingsbridge International High School, Bronx NY, and with elementary and secondary students at Queensborough Youth Conservatory, through the office of continuing education at Queensborough Community College, City University of New York*.
In 2014 Hostfalt composed, and staged his microtonal orchestra original work Dimensional States for 12 musicians and 2 dance artists at ShapeShifter Lab, Brooklyn NY. Before, later the same year, realizing the world premiere solo performance of his work Four Microtonal Pieces for Music for Guitar and Electronics at the XXXV Encontre Internacional de Compositors festival at Fundació Pilar i Joan Miró, Palma de Mallorca, Spain. This program was released on CD as 'Transformations'. In relation, 2018 saw a ShapeShifter Lab NYC duo concert and recording with Italian trumpet player Johnny Lapio. Meanwhile, collaborative work on the Downtown NY scene also ensued with ensembles led by (John Zorn-alum) Evan Gallagher, trombonist Stan Nishimura, and microtonal composer Constance Cooper.
A four-decade veteran music educator, Mr. Hostfalt's current Columbia University Teachers College instructor appointment, that involves applied teaching of pre-service and experienced music teachers, reflects music educator service in leading academic institutions in the United States and Europe for the past 25 years. Just like current positions as a New York State K-12 certified music educator represents public school teaching in American and European school systems since 1995. As a first-generation academic he holds a BM in professional music with honors and an outstanding musicianship award from Berklee College of Music, a GD in jazz performance and a MM in composition from New England Conservatory of Music, as an NEC honors jazz ensemble member, as well as a Ed.M in Music Education from Columbia University's Teachers College. And a Post-Masters Advanced Certificate in Music Education from The City University of New York at Brooklyn College.
Sten Hostfalt's contributions to music education are documented in a sub-chapter microtonal music lecture feature in Jon Damian's 2015 book publication 'Fresh Music'. By inclusion in Dictionnaire des musiques microtonales 1892-2013 by Franck Jedrzejewski (L'Harmattan Paris, 2014). As well as with mention in academic research articles on contemporary microtonal music. And in popular press/media publications such as Guitar Player Magazine (US), and TomaJazz (Spain).
*DISCLAIMER: Sten Hostfalt's sole proprietorships NYC Guitar Studio (AKA Sten's Guitar Studio), and Sonus Rex are not affiliated with Queensborough Community College, or The City University of New York CUNY.
Photo by Jose' Luis Luna Rocafort
© All Rights Reserved 2014-2026.
XXXV Encontres de Compositors
Sten Hostfalt solo concert 2014,
Pilar i Joan Miro, Palma de Mallorca,
Islas Baleares, Spain
© All Rights Reserved 2014-2026.
XXXV Encontres de Compositors
Sten Hostfalt solo concert 2014,
Pilar i Joan Miro, Palma de Mallorca,
Islas Baleares, Spain