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But, with a clean modern sound that is all their own. One of the best collections of what I'd call modern "old school." Reminds me of my days listening to the "new" Brubeck album I just got on my hi-fi.
Prominent, full bass (perhaps too prominent). As an album, not every piece is stellar. Tord is a very talented pianist. The tracks are mostly downtempo lounge jazz, but there is a very palatable nocturnal feel that I haven't found anywhere else. The wonderful effect of the control with which he phrases his playing, combined with the interesting chords and voicings is truly beautiful to listen to. The highlight for me is the beautiful theme in Karmossin. Clean, rich sound on the drums.
He never carelessly plays the music every keystroke is the perfect realization of what the sound should be. The notes are like smoke, or liquid.
The more upbeat pieces feature some interesting improvisations, with good use of melodic and harmonic minor modes as well as some atonal playing. Tord's subtle use of sustain and attack lend the music a very textural quality that makes the album worth owning on that regard alone.
This album is perhaps one of the best demonstrations of his talent as a composer and performer. The stereo image of the piano is subdued compared to some other albums I've heard, but they dynamics do it for me.
It is quite long, and I am impressed that they managed to put so much together when some of the songs are so rich. I think it's what every jazz pianist wishes they could invoke when they play softer music.
The sound of this album is phenomenal.
I didn't want to give it three stars, but four is slightly generous.My problem with it is the suspicion of up-market easy listening that occasionally appears in the form of the sorts of easy modulations that would not be out of place in a chart pop-song or a 50's 'lounge classic', and which make me suddenly blink. I am not surprised that it is apparently a big seller, though I bought it essentially ignorant of any hype, on spec. There are not a lot of these but there are definitely slightly too many. This is a very pretty disc. Too pretty in places.
I love what these guys do. The gospel-flavoured "Blessed Feet" is one, and as soon as I heard the unusually funky drum beat intro, I knew it was going to be something different. Manfred Eicher reprises his role as producer and in many ways this album could be described as more of the same. I feel this is a good thing because while the calming & emotionally healing quality of the trio's music remains intact, these compositions are all fresh, new, very original and very individual.
(Message).All in all, I would describe the album as a collection of aural pleasures and that's about the best I can do. The other is "Karmosin", the only song not written by Gustavsen (it was written by drummer Jarle Vespestad), and it's a beautifully abstract and idiosyncratically arranged song. But all 13 songs are originals and as that's always something special in itself. These dudes are a flawless jazz trio and this CD is another great buy. I could go on to try and use fancy words to describe the drummer's kicks, taps and touches or double-bassist Harold Johnsen's fluidity and lyricism but a: I'm really not that clever and b: even if I were, this is a review of a listening experience and not a thesis for a music degree. I remember using words like "dreamy", "spacey", "uncluttered" and "beautiful" to describe Gustaven's piano playing when I reviewed the trio's 2004 release The Ground some time ago, and all of those words could equally be applied here.
It definitely stands out. ECM have gone and done it again. I'm not complaining though. I just love to put this kind of music on, sit back and drift away.Two songs on this album did make me sit up from my reverie though.
I'll just add for those of an astrological bent that I found it interesting that astrology seems to support TG's aesthetic: with Venus (planet associated with one's sense of beauty and harmony)conjunct Neptune (higher transpersonal octave of Venus) in Scorpio (music as eroticism per TG's words) opposite Saturn (planet associated with ascetic discipline and essential structure of self) in Taurus (a sign associated with music, particularly the voice - metaphor for TG's spare while melodic sensibility). This music is soothing, healing and enlightening - simultaneously familiar yet unique. This is certainly an incomplete reading, but an interesting metaphor for the taut balance TG achieves between a freely sensuous, personal, upclose feeling and an austere spacious sensibility. Other reviewers have articulated appreciation for TG (and the trio)'s work so well. Thank you.
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