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Jazz - Erschienen am 7. Februar 2012 | ECM

Hi-Res Booklet Auszeichnungen Qobuz' Schallplattensammlung - Qobuz Referenz - Hi-Res Audio - Stereophile: Recording of the Month
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Jazz - Erschienen am 31. August 2018 | ECM

Hi-Res Booklet Auszeichnungen 5 Sterne Fono Forum Jazz
Fünfzehn Jahre nach Changing Places, seinem beim Label ECM veröffentlichten Debütalbum, präsentiert Tord Gustavsen ein weiteres Mal eine Platte mit einem Trio, denn eine solche Besetzung scheint sich für sein von Jarrett beeinflusstes Spiel am besten zu eignen. Mit seinem langjährigen Schlagzeuger Jarle Vespestad und dem Kontrabassisten Sigurd Hole (Nachfolger des im Jahre 2011 dahingeschiedenen Harald Johnsen) kombiniert der Osloer Pianist Originalkompositionen mit folkloristischen Klassikern aus Norwegen und Stücken von Bach. Auf stimmungsvolle Art und mit einem gewissen, ihm ganz eigenen Groove stellt er zwischen diesen, beim ersten Hinsehen disparaten Themen eine Verbindung her. Und da sich die drei Musiker glänzend verstehen, wird dieses Other Side umso faszinierender. © Clotilde Maréchal/Qobuz
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Jazz - Erschienen am 15. Januar 2014 | ECM

Hi-Res Booklet Auszeichnungen Hi-Res Audio
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Jazz - Erschienen am 11. Januar 2010 | ECM

Hi-Res Auszeichnungen Hi-Res Audio
Pianist Tord Gustavsen's contemporary European post-romantic music is perfectly suited for ECM Records, a spatial, introspective, demure jazz for dreamers. Restored, Returned departs from the strict piano/bass/drums format, adding vocalist Kristin Asbjørnsen, who sings lyrics in English, adding even more of a fantasy storybook element to the proceedings. Wispy and waspy tales of delicate sentiment -- and of course lost love -- make for a memorable if not intriguing statement, as Gustavsen and his group float above the clouds, looking down on foolish mortals, trying to understand our ways of the heart. Asbjørnsen's voice is dusky, a slight bit folkish in the Scandinavian tradition, compelling but not alluring. She cries out with equal portions of pain and hope during the title selection; is reassuring, as on the pop-styled ballad "Lay Your Sleeping Head, My Love"; and waits by the window in passive reflection for three versions of "Left Over Lullaby." She makes a late arrival during "The Swirl/Wrapped in a Yielding Air," which starts in a sweet light funk rhythm with tenor saxophonist Tore Brunborg joining the group in a slight Michael Brecker visage as the piece beautifully unfolds. Her wordplay is derived from W.H. Auden's Another Time, dating back to 1940, as past and present meet. Of the instrumentals, the trio ruminates on the free piece "Way In," which is more dynamically present and features a rare solo from bassist Mats Eilertsen, while adding Brunborg's soprano sax for the somber waltz "You Crooked Heart," which builds a bit. Their instrumental crown jewel, "The Gaze," darkens into a midnight skulk via Brunborg's soprano sax, and the ensemble adopts a Keith Jarrett/Jan Garbarek stance for the lilting, easy Euro-swing of "Spiral Song." A certain symmetry within hushed tones is ever present, as there's nothing remotely approaching forte levels or kinetic tempos, as you should expect. In a way, Gustavsen is carrying the torch for the late Esbjörn Svensson in presenting new music that will not challenge the senses as much as it invigorates the imagination. As Asbjørnsen's singing is perfectly in sync with the music, this recording marks yet another chapter in the ECM discography, where subtlety is more important than boldness in this information-imploded world. © Michael G. Nastos /TiVo
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Jazz - Erschienen am 17. März 2003 | ECM

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Jazz - Erschienen am 21. Mai 2007 | ECM

Hi-Res Booklet
On this third outing for ECM, pianist/composer Tord Gustavsen comes full circle on Being There. When he signed to the label in 2003, issuing his debut, Changing Places, he and his collaborators -- bassist Harald Johnsen and drummer Jarle Vespestad -- dug deeply into close-knit quarters, creating a detailed yet expressionistic examination of the more melancholy human emotions. Being There completes a trilogy of elegantly layered, spacious jazz from the most introspective elements. As a pianist and composer, Gustavsen employs only the barest essentials. There is no fiery technique, no gimmickry that will heighten or dampen the mood, no harmonic drift. This music flows from a source, albeit quietly and enigmatically, looking into territory explored on this side of the Atlantic on earlier albums by Brad Mehldau, albeit with a distinctly Northern European voice. Perfect for ECM, the music is cool, almost uncomfortably so, such that when its lyricism is fully given voice it often takes the listener by surprise, instilling a kind of silence that breeds wonder rather than detachment. Manfred Eicher's signature production allows Gustavsen's piano the sheer deliberation and consideration he requires to put his gorgeous melodies into the air. This rhythm section doesn't follow his lead so much as flow into it, playing as a single voice, allowing these songs form and function. Gustavsen's imagery is skeletal, yet he shines light into the darkened corners of those less than celebratory moodscapes, bringing an intricate balance to both lyric and emotion. Check the rhythmic interplay on "Blessed Feet," where his chord voicings play the blues contrapuntally against Vespestad's snare. These are blues that sing and swing. Elsewhere, the mood is less transparent on the surface, such as in the whispering "Karmosin," written by Johnsen; it begins as an exercise in percussion, then rhythm, and finally lyricism. Johnsen's bass is a presence that anchors this lithe, shimmering melody and puts the weight of shade against the pianist's fragile light, and the articulation of the percussive voice melds both into a whole. The trio's artfulness is given full expression in the ballad "Around You," where the minor-key scalar head wraps itself around middle-register counterpoint and slides along the snare and cymbal skitter that is poignantly accented by Johnsen. The larger chords weave classical and jazz motions around the rhythm section, dynamically shifting from one bar to the next without ever losing sight of "song." At its heart, Being There is an album of very carefully constructed songs, where improvisation is part of a context -- its part in the entirety of the shape, texture, and dimension is argued delicately yet authoritatively, where close listening is of the essence by each player. The longest of these 13 pieces is only a shade over six minutes, and most fall between four and five minutes. For a recording that unveils itself so gracefully, there is true heft in its presentation. As hinted at on Tord Gustavsen's earlier ECM dates, Being There is the fruit of labor meticulously crafted and dutifully harvested. It is an album of secrets echoed, and questions that are fathomlessly deep; it invites the listener in cleanly, without seduction, and argues for full participation in its revelations. © Thom Jurek /TiVo
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Jazz - Erschienen am 31. Januar 2005 | ECM

Hi-Res Booklet
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Jazz - Erschienen am 22. Januar 2016 | ECM

Hi-Res Booklet
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Jazz - Erschienen am 11. Januar 2010 | ECM

Hi-Res Booklet
Pianist Tord Gustavsen's contemporary European post-romantic music is perfectly suited for ECM Records, a spatial, introspective, demure jazz for dreamers. Restored, Returned departs from the strict piano/bass/drums format, adding vocalist Kristin Asbjørnsen, who sings lyrics in English, adding even more of a fantasy storybook element to the proceedings. Wispy and waspy tales of delicate sentiment -- and of course lost love -- make for a memorable if not intriguing statement, as Gustavsen and his group float above the clouds, looking down on foolish mortals, trying to understand our ways of the heart. Asbjørnsen's voice is dusky, a slight bit folkish in the Scandinavian tradition, compelling but not alluring. She cries out with equal portions of pain and hope during the title selection; is reassuring, as on the pop-styled ballad "Lay Your Sleeping Head, My Love"; and waits by the window in passive reflection for three versions of "Left Over Lullaby." She makes a late arrival during "The Swirl/Wrapped in a Yielding Air," which starts in a sweet light funk rhythm with tenor saxophonist Tore Brunborg joining the group in a slight Michael Brecker visage as the piece beautifully unfolds. Her wordplay is derived from W.H. Auden's Another Time, dating back to 1940, as past and present meet. Of the instrumentals, the trio ruminates on the free piece "Way In," which is more dynamically present and features a rare solo from bassist Mats Eilertsen, while adding Brunborg's soprano sax for the somber waltz "You Crooked Heart," which builds a bit. Their instrumental crown jewel, "The Gaze," darkens into a midnight skulk via Brunborg's soprano sax, and the ensemble adopts a Keith Jarrett/Jan Garbarek stance for the lilting, easy Euro-swing of "Spiral Song." A certain symmetry within hushed tones is ever present, as there's nothing remotely approaching forte levels or kinetic tempos, as you should expect. In a way, Gustavsen is carrying the torch for the late Esbjörn Svensson in presenting new music that will not challenge the senses as much as it invigorates the imagination. As Asbjørnsen's singing is perfectly in sync with the music, this recording marks yet another chapter in the ECM discography, where subtlety is more important than boldness in this information-imploded world. © Michael G. Nastos /TiVo
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Jazz - Erschienen am 15. Januar 2014 | ECM

Hi-Res Booklet
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Jazz - Erschienen am 31. August 2018 | ECM

Booklet
Fünfzehn Jahre nach Changing Places, seinem beim Label ECM veröffentlichten Debütalbum, präsentiert Tord Gustavsen ein weiteres Mal eine Platte mit einem Trio, denn eine solche Besetzung scheint sich für sein von Jarrett beeinflusstes Spiel am besten zu eignen. Mit seinem langjährigen Schlagzeuger Jarle Vespestad und dem Kontrabassisten Sigurd Hole (Nachfolger des im Jahre 2011 dahingeschiedenen Harald Johnsen) kombiniert der Osloer Pianist Originalkompositionen mit folkloristischen Klassikern aus Norwegen und Stücken von Bach. Auf stimmungsvolle Art und mit einem gewissen, ihm ganz eigenen Groove stellt er zwischen diesen, beim ersten Hinsehen disparaten Themen eine Verbindung her. Und da sich die drei Musiker glänzend verstehen, wird dieses Other Side umso faszinierender. © Clotilde Maréchal/Qobuz
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Jazz - Erschienen am 21. Mai 2007 | ECM

On this third outing for ECM, pianist/composer Tord Gustavsen comes full circle on Being There. When he signed to the label in 2003, issuing his debut, Changing Places, he and his collaborators -- bassist Harald Johnsen and drummer Jarle Vespestad -- dug deeply into close-knit quarters, creating a detailed yet expressionistic examination of the more melancholy human emotions. Being There completes a trilogy of elegantly layered, spacious jazz from the most introspective elements. As a pianist and composer, Gustavsen employs only the barest essentials. There is no fiery technique, no gimmickry that will heighten or dampen the mood, no harmonic drift. This music flows from a source, albeit quietly and enigmatically, looking into territory explored on this side of the Atlantic on earlier albums by Brad Mehldau, albeit with a distinctly Northern European voice. Perfect for ECM, the music is cool, almost uncomfortably so, such that when its lyricism is fully given voice it often takes the listener by surprise, instilling a kind of silence that breeds wonder rather than detachment. Manfred Eicher's signature production allows Gustavsen's piano the sheer deliberation and consideration he requires to put his gorgeous melodies into the air. This rhythm section doesn't follow his lead so much as flow into it, playing as a single voice, allowing these songs form and function. Gustavsen's imagery is skeletal, yet he shines light into the darkened corners of those less than celebratory moodscapes, bringing an intricate balance to both lyric and emotion. Check the rhythmic interplay on "Blessed Feet," where his chord voicings play the blues contrapuntally against Vespestad's snare. These are blues that sing and swing. Elsewhere, the mood is less transparent on the surface, such as in the whispering "Karmosin," written by Johnsen; it begins as an exercise in percussion, then rhythm, and finally lyricism. Johnsen's bass is a presence that anchors this lithe, shimmering melody and puts the weight of shade against the pianist's fragile light, and the articulation of the percussive voice melds both into a whole. The trio's artfulness is given full expression in the ballad "Around You," where the minor-key scalar head wraps itself around middle-register counterpoint and slides along the snare and cymbal skitter that is poignantly accented by Johnsen. The larger chords weave classical and jazz motions around the rhythm section, dynamically shifting from one bar to the next without ever losing sight of "song." At its heart, Being There is an album of very carefully constructed songs, where improvisation is part of a context -- its part in the entirety of the shape, texture, and dimension is argued delicately yet authoritatively, where close listening is of the essence by each player. The longest of these 13 pieces is only a shade over six minutes, and most fall between four and five minutes. For a recording that unveils itself so gracefully, there is true heft in its presentation. As hinted at on Tord Gustavsen's earlier ECM dates, Being There is the fruit of labor meticulously crafted and dutifully harvested. It is an album of secrets echoed, and questions that are fathomlessly deep; it invites the listener in cleanly, without seduction, and argues for full participation in its revelations. © Thom Jurek /TiVo
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CD14,99 €

Jazz - Erschienen am 7. Februar 2012 | ECM

Hi-Res Booklet
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Jazz - Erschienen am 31. Januar 2005 | ECM

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Jazz - Erschienen am 22. Januar 2016 | ECM

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Jazz - Erschienen am 3. August 2018 | ECM