Norwegian pianist Tord Gustavsen and his trio offer an expansive, sophisticated and diverse sound on their album ‘Seeing.’ With its meditative qualities, the album follows in the footsteps of the trio’s previous releases, such as ‘The Other Side’ (2018) and ‘Changing Places’ (2003). However, it also broadens the group’s sonic character in subtle but impactful ways. A wonderful blend of original jazz material, Scandinavian folk tunes, classical arrangements and more, the album displays the brilliant teamwork between Gustavsen, Jarle Vespestad on drums and Steinar Raknes on double bass. […] ‘Seeing’ blends Gustavsen’s compositions with those of Bach, Lowell Mason and traditional tunes. The flow from track to track is smooth, and a delicate balance is sustained. Not just any musician can successfully incorporate their own pieces alongside ones from various eras. It is the mark of a creative and considerate individual and also of a conscientious team of musicians taking the time to make the most out of each particular composition while still acknowledging that there is a larger framework of which to be mindful.
Konstantin Rega, All About Jazz
If it ain’t broke, don’t fix it. Admirers of Tord Gustavsen’s breakthrough series of trio albums beginning with the inspired ECM debut, ‘Changing Places’ in 2003, will find much to please them in this very enjoyable continued return to the format. […] Recorded at Studios La Buissonne in Pernes-les-Fontaines, and produced by Manfred Eicher, ’Seeing’ sounds every bit as good as you could wish for.
Phil Johnson, London Jazz News
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.
Filipe Freitas, Jazz Trail
Une meditation musicale très collective, paradoxalement pulsée, qui attenteint son pic d’intensité dans le très beau ‘Beneath Your Wisdom’.
Ludovic Florin, Jazz Magazine
Tord Gustavsen (*1970) ist ein norwegischer Pianist, der zwar mit Respekt vor dem amerikanischen Jazz aufgewachsen ist, aber vor allem im Umgang mit skandinavischer Volksmusik und der klassisch- romantischen Pianoliteratur seine eigene Vorstellung von ‘Schönheit’ entwickelte. Seine eigene Vorstellung des ‘Hymnischen’. Das jüngste Album seines Trios, (‘Seeing’, mit dem alten Partner Jarle Vespestad am Schlagzeug und dem fulminanten neuen Bassisten Steinar Raknes) ist auf einen durchwegs sakralen Ton gestimmt, vom norwegischen Kirchenlied zu Beginn über zwei Bach-Choräle bis zum englischen Hymnus ‘Nearer My God, To Thee’. Auch die fünf Eigenkompositionen spielen im Titel zum Teil auf Sakrales an: ‘The Old Church’, ‘Beneath Your Wisdom’ oder ein meditatives Zwischenspiel. Gustavsens intensive Melodik und Anschlagskultur sucht auch immer wieder das beidhändig Choralische. Er hat keine Berührungsängste vor einer klaren, einfachen Harmonik (nicht einmal den von Hanns Eisler verfluchten Quart-Sext-Akkord meidet er). Improvisation ist kurz gehalten, auf prägnante Momente konzentriert. […] Zu schön, um nicht wahr zu sein, diese Musik.
Peter Rüedi, Weltwoche
Bis auf den ungewohnt energischen Einstieg bleibt Gustavsen bei den verhaltenen, sangbaren Motiven und variiert und ornamentiert eher nah an den ursprünglichen Themen. Das ist so gedacht, als Musik, die sich in der Gemeinsamkeit entwickelt und das kammerjazzige Ganze im Blick hat, nicht die Einzelleistung. Bei anderen Bands könnte das zu wenig sein, aber das Tord Gustavsen Trio beherrscht die pointierte Reduktion.
Ralf Dombrowski, Audio/Stereoplay (‘Jazz CD of the Month’)
‘Dieses Album spiegelt meine persönliche Entwicklung wider, ich werde älter und konzentriere mich mehr und mehr auf das Wesentliche im Leben und in der Musik’, sagt der Pianist zum Hintergrund dieser Platte. Das gilt auch für die Musik auf diesem Album, dessen Wesen das Trio möglichst unverstellt herausschält. So spielen die Drei keine Note zu viel, sparen Verzierungen aus und verzichten auf ablenkende Virtuosität. Was übrig bleibt, bekommt so umso mehr Raum und wirkt entsprechend mächtiger. Gut zu hören ist das zum Beispiel im Stück ‘The Old Church’. Das Trio unterstützt die volle Spielzeit lang die Kraft und Botschaft der Melodie.
Sebastian Meißner, Sounds and Books
Con personalità e idee, con talento e passione, con una specifica individualità e un gusto unico per la melodia e la composizione, con il lirismo assoluto di un discorso autonomo e sincero, dimostra ancora una volta di essersi scavato un suo posto preciso nell’universo pianistico contemporaneo. ‘Seeing’ è un lavoro da assaporare lentamente, da scandagliare nota per nota, in cui il jazz sottile e malinconico , quasi timido e mistico, incontra le sfumature, le luci e le ombre, della magia interiore e profonda del folk norvegese, delle intense atmosfere smooth jazz, dei sottili bagliori di un gospel assimilato nel tempo (Tord ha iniziato suonando a lungo nelle chiese) e dell’incanto sublime della musica classica. Gustavsen riesce a trovare un senso assoluto della narrazione concentrandosi sui minimi dettagli, trovando un’intensità ricca di lirismo e romanticismo, di chiarezza e densità insieme.
Raffello Carabini, Spettakolo
This a wonderfully concentrated recording from Gustavsen. As such there is little in the way of extended solos with the focus on the compositions and the interplay between the trio. It is this intense concentration and focus in these ten pieces performed that highlights a new phase in the pianist’s music […] The material is very carefully selected with five original compositions and a solo piano interlude interspersed among a traditional Norwegian hymn, a 19th century English chorale and two Bach cantatas. […] Repeated listening to ‘Seeing’ has revealed just how suited the Bach cantatas and Lowell Mason’s ‘Nearer My God to Thee’ are to Gustavsen’s less is more approach. Johann Sebastian Bach’s ‘Christ lag in Todesbanden’ is almost teased out of the piano by Gustavsen and bassist Raknes’s arco playing a delight, while the trio take an altogether tougher approach to the composer’s ‘Auf meinen lieben Gott’. The beauty and fragility of the playing of ‘Nearer My God to Me’ is allowed to build to a crescendo before dropping back to quiet reverie is so powerfully intense that the pianist’s aforementioned ‘Seattle Song’ provides welcome relief to close this excellent recording.
Nick Lea, Jazz Views
Sans doute que le refus du virtuose et du débordement induit une autre magnificence, face à laquelle les incontrôlés passent leur chemin mais qui trouve son public, jusqu’á faire avec d’autres école.
Pierre Tenne, Jazz News
Die Glaubhaftigkeit, mit welcher der faszinierende Panist in transzendenter Form eine Symbiose von Folkore, klassischer Musik und gegenwärtigem Jazz kreiert, wird in jedem Stück dieses faszinierenden Albums bestätigt. In ‘The Old Church’ verbinden sich dafür hymnische Passagen mit beispielsweise Blues und Gospel. Das kunstvolle Zusammenwirken des Trios erfüllt die von Gustavsen angestrebte ‘Effizienz der Form’ absolut.
Gerd Filtgen, Stereo
Gustavsen mostra di possedere una mano assai felice pure come autore: ‘The Old Church’ e ‘Seeing’ sono ballads ammalianti, ideali per apprezzare la coesione del gruppo, che suona davvero in the groove. Il tocco pianistico delicato e personale, i rimandi al gospel e il senso profondo di spiritualità che la sua musica trasmette fanno di lui un valore sicuro del jazz di oggi. Non solo di quello scandinavo ma di quello europeo in generale.
Ivo Franchi, Musica Jazz
On this new album, the profound religious sensibility that was always lurking just beneath the surface of his music has now broken cover. Hence the first track is the traditional melody ‘Jesus gjør meg stille’ (‘Jesus make me quiet’). The religious theme continues with the original composition ‘The Old Church’, followed by two ancient hymn tunes adapted by Johann Sebastian Bach – the 16th century ‘Christ lag in Todesbanden’ (‘Christ lay in death’s bonds’) and ‘Auf meinen lieben Gott’ (literally ‘In my dear God’). […] Although ‘Seeing’ is in no way a departure from Gustavsen’s signature style, it’s a mature work, with a more serene, settled feel to it than we have heard before. Perhaps it has to do with the fact that he seems to have found his perfect band: drummer Jarle Vespestad has been with him since the beginning of his career, but the bass slot was always fluid – until now. In Steinar Raknes he has found his perfect foil. The final track, ‘Seattle Song’ is perhaps the best example of this, with a simple melody and repeated bass line that were apparently improvised at a sound check in 2023.
Peter Jones, Jazzwise (Editor’s choice)
Joined by long-time colleague, the brilliantly understated drummer Jarle Vespestad and the wonderfully woody tone of bassist Steinar Raknes, Gustavsen allows drums and bowed bass to usher in the opening ‘Jesus Gjør Meg Stille’. A simple initial melody broadens out into somewhere between a Middle Eastern meditation and a Scottish folk song with Gustavsen improvising expressively. The mood overall is devotional as the leader incorporates ‘Nearer My God To Thee’ as well as developing a soundcheck jam, ‘Seattle Song’, over Raknes’ reaching, octave-spanning double-bass phrase into a finale that has the crucial ingredient of calling the listener back.
Rob Adams, The List
In die zart getupften, nur selten mit markantem Anschlag akzentuierten Pianolinien webt sich ebenso diskret wie effektvoll der gelegentlich auch gestrichene Bass von Steinar Raknes in schöner Kontrapunktik. Dazu pulst Jarle Vespestad mit zurückhaltender Eleganz fein ausschwingende Muster auf hell prasselnden Cymbals, die er mit der sanft raschenden Snare kontrastiert. Ganz organisch, man ist versucht zu sagen: harmonisch ergeben sich so pastellig kolorierte Klangbilder, deren Innerlichkeit eine meditative Sogwirkung entfaltet, in der man tiefenentspannt versinkt. Wer glaubt, die uralte Piano-Bass-Schlagzeug-Geschichte sei längst auserzählt, der wird vom Tord Gustavsen Trio wunderbar delikat eines Besseren belehrt – siehe, nein höre ‘Seeing’.
Sven Thielmann, Fono Forum
Gustavsen mostra di possedere una mano assai felice pure come autore: ‘The Old Church’ e ‘Seeing’ sono ballads ammalianti, ideali per apprezzare la coesione del gruppo, che suona davvero in the groove. Il tocco pianistico delicato e personale, i rimandi al gospel e il senso profondo di spiritualità che la sua musica trasmette fanno di lui un valore sicuro del jazz di oggi. Non solo di quello scandinavo ma di quello europeo in generale.
Ivo Franchi, Musica Jazz
lnizio col maestoso traditional norvegese ‘Jesus, Gjør Meg Stille’, un inno di composta solennità, trasfigurato da nervosi fremiti della ritmica a increspare il limpido dettato del pianoforte del leader. Un apripista che dà il segno a tulto il disco, costruito su melodie piene con riferimenti al sacro scavate in profondità, echi di blues e di gospel sempre in punta di dita. E il risultato è un appartato, intenso splendore.
Guido Festinese, Il Manifesto
What makes this album so special? Well, it feels more progressive somehow. Yes, the trio’s music is still contemplative, still melancholic, but in the same way that Brad Mehldau is melancholic… the chord changes, the subtle nuances, the little unexpected surprises, the gentle yet inventive turns of phrase… all leave me breathless, hanging on every note. It’s still very obviously the Tord Gustavsen Trio, but it sounds more expansive, in a way looser and more open. It might be stretching it a bit to say it’s feral by comparison to previous releases, but ‘Seeing’ certainly has that ‘je ne sais quoi’ about it.
Mike Gates, UK Vibe
È un esordio magico e che colpisce cuore, sensi e cervello quello firmato da Alice Zawadzki, Fred Thomas e Misha Mullov-Abbado, tutti e tre londinesi (lei però ha origini polacche e Misha vanta radici russe e italiane) e tutti e tre in grado di rapportarsi con il linguaggio dei suoni in assoluta libertà, senza preoccuparsi di confini e di steccati e lavorando su canovacci la cui base affonda nel patrimonio popolare di Paesi diversi. (…) È un esordio magico e che colpisce cuore, sensi e cervello quello firmato da Alice Zawadzki, Fred Thomas e Misha Mullov-Abbado, tutti e tre londinesi (lei però ha origini polacche e Misha vanta radici russe e italiane) e tutti e tre in grado di rapportarsi con il linguaggio dei suoni in assoluta libertà, senza preoccuparsi di confini e di steccati e lavorando su canovacci la cui base affonda nel patrimonio popolare di Paesi diversi.
Ivo Franchi, Musica Jazz
