Label: ECM Records, 2024

Personnel - Tord Gustavsen: piano; Steinar Raknes: double bass; Jarle Vespestad: drums.

Norwegian pianist Tord Gustavsen reunites his trio, featuring bassist Steiner Raines and drummer Jarle Vespestad, for Seeing, the follow-up to their critically acclaimed album Opening (ECM, 2022). This new release, his 10th on the ECM label, includes six Gustavsen originals, three choral songs, and a traditional Norwegian church hymn.

It’s exactly with the latter that the album kick off—“Jesus, Gjor Meg Stille” oozes emotion from its gentle, pastoral, and gospel sweeps, initially evoking the feel of an Arabic chant. It feels deep, quiet, and spiritual. Gustavsen’s liturgical pianism is beautifully layered over the moving backdrop provided by Raknes, who goes from pedaling bowed bass to pizzicato, and Vespestad, unwavering in his drum flux.

Gustavsen’s compositions “The Old Church” and “Seeing” both exemplify his signature introspective style. The former, featuring impressive cymbal work and a reflective bass solo, waltzes through a reflective atmosphere, while the latter tune’s pattern takes us to spacious introspection, full of pathos. The pianist, who serves up a poetic performance with technically astonishing skills, also drives his “Seattle Song” with affectionate attention and profound intimacy. Yet, my favorite piece is “Extended Circle”, whose melodic expression rimes with soulfulness, brushes are employed for a refined velvety sound, and a bass solo fills our chest with woody resonance and superb note choices.

Gustavsen also brings his classical impressions of J.S. Bach into his playing style, delivering “Christ Lag in Todesbanden” as an emotionally charged rubato meditation, while “Auf Meinen Lieben Gott” introduces a subtle yet engaging groove. The album also features Lowell Mason’s 19th-century English chorale “Nearer My God, To Thee”, interpreted with ample space and elevated by the nuanced tonalities of Vespestad’s cymbals, an extra layer of splendor.

One feels lighter when losing ourselves in the melodies, chords, and rhythms of Seeing, a work filled with outstanding musicianship, restraint, and openness. If you haven’t yet acquainted yourself with the soothing music of Gustavsen, this is the perfect opportunity to do so.

Favorite Tracks:
01 - Jesus, Gjor Meg Stille ► 06 - Extended Circle ► 09 - Nearer My God, To Thee

Label: ECM Records, 2022

Personnel - Tord Gustavsen: piano, electronics; Steinar Raknes: double bass, electronics; Jarle Vespestad: drums.

As a pianist and composer, Tord Gustavsen heeds an amiable, reflective music, whose passages are full of feeling. For his ninth ECM outing, Opening, he’s seen at the helm of a cohesive Norwegian trio rounded out by bassist Steinar Raknes, who joins him for the very first time on record, and drummer Jarle Vespestad, a long-time collaborator who has followed him since his debut, Changing Places (ECM, 2003).

The opening track, “The Circle”, came to Gustavsen like a gift while he was sitting at the piano. The triangular arrangement of sounds feels light as feathers, merge beautifully together while forming a tone poem composed of majestic harmony and affecting melody. More ambiguous and exploratory in the search, “Findings”, which attaches the Swedish folk song “Visa Fran Rattvik” at the end, takes us directly to the title track, where the atmospheric vein is kept, yet perhaps with a bit more gravitas. “The Longing” is also a short meditation in 3/4 time, an equivalent to a warm beam of light traveling with a mellow gentleness.

The literate, if mournful, “Helensburgh Tango” features Raknes soloing with a guitar-like treble approach that expands the scope of frequencies, having Vespestad’s coruscating snare flashes emerging from the bottom. The bassist employs a similar methodology on two other numbers: “Re-Opening”, which fashions a series of ostinatos and silences within a looping sequence that manifests sadness and beauty alike; and “Ritual”, whose change of ambience implies further mystery with a fusion style that admits bass cries (I would swear this was an electric guitar) and muted piano notes on the lower register.

Contrasting with the latter tune, “Stream” evokes a vast sea of tranquility. The bass breathes deeply, opening spaces for the lyrical piano, which floats atop the spacious brushwork. This candid exercise accommodates a tuneful bass improvisation declared with a refined diction. The album closes out with two Norwegian folk tunes: Gveirr Tveitt’s “Fløytelåt”, a rubato hymnal embrace, and Egil Hovland’s tactfully brushed “Vær sterk, min sjel”. With emotional appeal, Gustavsen’s excellent working trio engulfs the listeners in its peaceful airiness.

Favorite Tracks:
01 - The Circle ► 07 - Re-Opening ► 09 - Stream