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Fans of this trios first two ECM releases will know pretty much what to expect from this new release: introspective, lyrical playing by Tord Gustavsen on piano, Harald Johnson on bass, and Jarle Vespestad on drums. Not quite gritty, but definitely a bit funky. However, there are some surprises here. The second cut, "Vicar Street," turns up both the tempo and the energy level, and the fourth cut, "Blessed Feet," is a swinging romp that demonstrates these Swedes are not without soul. Although at first I did not find this new release quite as beguiling as their previous release, The Ground, I still found it quite enjoyable. The more I listen to it, in fact, the more I like it.
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. But, with a clean modern sound that is all their own.
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. I think it's what every jazz pianist wishes they could invoke when they play softer music. The tracks are mostly downtempo lounge jazz, but there is a very palatable nocturnal feel that I haven't found anywhere else. Tord is a very talented pianist. As an album, not every piece is stellar. The stereo image of the piano is subdued compared to some other albums I've heard, but they dynamics do it for me. Prominent, full bass (perhaps too prominent).
He never carelessly plays the music every keystroke is the perfect realization of what the sound should be. The sound of this album is phenomenal. This album is perhaps one of the best demonstrations of his talent as a composer and performer. The notes are like smoke, or liquid. The highlight for me is the beautiful theme in Karmossin. Clean, rich sound on the drums. 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. 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 am not surprised that it is apparently a big seller, though I bought it essentially ignorant of any hype, on spec. This is a very pretty disc. Too pretty in places. 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. There are not a lot of these but there are definitely slightly too many.
Manfred Eicher reprises his role as producer and in many ways this album could be described as more of the same. It definitely stands out. I love what these guys do. 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. These dudes are a flawless jazz trio and this CD is another great buy. I'm not complaining though. 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.
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. But all 13 songs are originals and as that's always something special in itself. 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. 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. (Message).All in all, I would describe the album as a collection of aural pleasures and that's about the best I can do. ECM have gone and done it again.
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