TORD GUSTAVSEN - Ever Extending Circles
Since the release of his debut album, Changing Places, for ECM in 2003 and in the five subsequent albums recorded for the label, pianist
Tord Gustavsen has been at the forefront of a quiet revolution in Scandinavian jazz.
From his intensely focussed and quiet take on the classic trio format he has continued a musical journey that remains fresh and enlightening, without the need for grand gestures or fast
tempos.
With a new album, Extended Circle, released last month, and dates throughout the UK in March I took the opportunity to talk to the Tord about his music and the current quartet.
Tord Gustavsen has been at the forefront of a quiet revolution in Scandinavian jazz.
From his intensely focussed and quiet take on the classic trio format he has continued a musical journey that remains fresh and enlightening, without the need for grand gestures or fast
tempos.
With a new album, Extended Circle, released last month, and dates throughout the UK in March I took the opportunity to talk to the Tord about his music and the current quartet.
When I first heard the Tord Gustavsen Trio on their eponymous debut album, I must confess that I did not get it. Critically well received and
notching up good sales for some reason at that time the music failed to
communicate with me. There was nothing that I could readily identify for my
initial cool reaction, (hindsight has shown that the problem was mine and not the Trios) it could just have been that the style of the music was not conducive to my listening preferences at that time, or simply that I wasn’t
listening.
Thankfully we all have the right to reassess and change our minds, and also allow our listening to change and grow as we do. It is this process of reassessment that upon hearing Gustavsen’s new album that prompted
me to listen to pianist’s work with fresh insight
The development of his own music within this time span, whether with the original trio or in the current quartet heard on Extended Circle, has shown a consistency in approach whilst also permitting growth at a steady rate. Like a flower, Gustavsen’s music has steadily blossomed over the last decade and shows no sign of wilting anytime soon.
notching up good sales for some reason at that time the music failed to
communicate with me. There was nothing that I could readily identify for my
initial cool reaction, (hindsight has shown that the problem was mine and not the Trios) it could just have been that the style of the music was not conducive to my listening preferences at that time, or simply that I wasn’t
listening.
Thankfully we all have the right to reassess and change our minds, and also allow our listening to change and grow as we do. It is this process of reassessment that upon hearing Gustavsen’s new album that prompted
me to listen to pianist’s work with fresh insight
The development of his own music within this time span, whether with the original trio or in the current quartet heard on Extended Circle, has shown a consistency in approach whilst also permitting growth at a steady rate. Like a flower, Gustavsen’s music has steadily blossomed over the last decade and shows no sign of wilting anytime soon.
After three successful and continually evolving trio sets for ECM, Gustavsen expanded the line-up adding saxophonist Tore Brunborg and vocalist Kristin Asbjornsen for Restored, Returned in 2009, and retained the services of Brunborg for the The ell (2012). With the group now firmly established I ask Tord how he feels the music of the quartet has developed. “It has developed very organically –
deepening, I feel, both our taste for stillness and space and our integration of dynamics and different kinds of tension, friction and suspense into the fundamentally contemplative musical universe. Also, the good old piano trio sound has paradoxically been brought more towards the front in parts of our
concerts even though it’s basically a very integrated quartet. The new album, Extended Circle,
opens and ends in piano trio. It’s like internal unity and diversity inside our formation is moving forwards at the same time.”
Referring to the recordings for ECM as a circle of trilogies, the first with the trio albums and now with the ensemble formed for Restored, Returned and continuing with the subsequent quartet, does he now see these trilogies or circles complete or do you envision developing the quartet music still further? “The quartet music will most likely keep evolving – we’re touring a lot this year, and the music never stands still. We keep adding new pieces to the repertoire, and the interplay always evolves on tour. Whether or not my next
recording will be in quartet or some other format, it’s a bit too early to tell. Several alternative options are already present as promising potentials in what we have done so far; solo, duo and even new trio approaches, plus extended formats with vocals.”
The formation of a larger ensemble from the original trio also heralded a personnel change with the arrival of Mats Eilertsen, and a different
feel from the bass. So I ask Tord if this change had affected the way you and Jarle play and react to each other? “Probably to some extent, yes. But our basic tightness and fine-tuned spacious dynamics remained the same. Mats gave a different solidity and a different sound to the ensemble. As tragic as it was that the trio bass player Harald Johnsen passed away, adding Mats to the ensemble brought new possibilities and a new kind of integration of grounded-ness and openness to the interplay.“
One thing that is immediately evident and indeed different about the quartet, is that it never feels like the traditional rhythm section and horn, but more unified as was the trio, where the four musicians play as one. So was this a natural progression or something that has consciously been worked on over time? “I really appreciate you saying this. I do feel that Tore Brunborg and I have transcended the roles of soloist and accompanist – lots of call and response, counterpoint – but of course also a lot of humbly supporting each other and/or even shutting up for
extended periods of time to let the purity of the other’s own voice shine through.”
deepening, I feel, both our taste for stillness and space and our integration of dynamics and different kinds of tension, friction and suspense into the fundamentally contemplative musical universe. Also, the good old piano trio sound has paradoxically been brought more towards the front in parts of our
concerts even though it’s basically a very integrated quartet. The new album, Extended Circle,
opens and ends in piano trio. It’s like internal unity and diversity inside our formation is moving forwards at the same time.”
Referring to the recordings for ECM as a circle of trilogies, the first with the trio albums and now with the ensemble formed for Restored, Returned and continuing with the subsequent quartet, does he now see these trilogies or circles complete or do you envision developing the quartet music still further? “The quartet music will most likely keep evolving – we’re touring a lot this year, and the music never stands still. We keep adding new pieces to the repertoire, and the interplay always evolves on tour. Whether or not my next
recording will be in quartet or some other format, it’s a bit too early to tell. Several alternative options are already present as promising potentials in what we have done so far; solo, duo and even new trio approaches, plus extended formats with vocals.”
The formation of a larger ensemble from the original trio also heralded a personnel change with the arrival of Mats Eilertsen, and a different
feel from the bass. So I ask Tord if this change had affected the way you and Jarle play and react to each other? “Probably to some extent, yes. But our basic tightness and fine-tuned spacious dynamics remained the same. Mats gave a different solidity and a different sound to the ensemble. As tragic as it was that the trio bass player Harald Johnsen passed away, adding Mats to the ensemble brought new possibilities and a new kind of integration of grounded-ness and openness to the interplay.“
One thing that is immediately evident and indeed different about the quartet, is that it never feels like the traditional rhythm section and horn, but more unified as was the trio, where the four musicians play as one. So was this a natural progression or something that has consciously been worked on over time? “I really appreciate you saying this. I do feel that Tore Brunborg and I have transcended the roles of soloist and accompanist – lots of call and response, counterpoint – but of course also a lot of humbly supporting each other and/or even shutting up for
extended periods of time to let the purity of the other’s own voice shine through.”
If one of the fascinating processes as a listener is hearing how a musicians and groups evolve over a period of time I am interested to find out what Tord listens to for his own pleasure, and also any influences that may have found their way into in to his own work. “A very wide spectrum of styles and epochs. These days, some of my favourites would be our bass player Mats Eilertsen’s own quartet and trio albums; James Blake’s brilliant album Overgrown; Norwegian singers Synne Sanden and Solveig Slettahjell; Iranian singer Mahsa
Vahdat; Glenn Gould playing Bach; Buxtehude cantatas; Messiaen’s Vingt regards sur l’enfant-Jésus, Norwegian fiddle player Nils Økland in various settings… And the classic ECM albums of the Masqualero band (including a young Tore Brunborg). I have to stop here!”
And of more direct influences as a player, the pianist says “Also a very wide spectrum – including all the stuff listed on the previous question, but including also legendary Swedish pianist Jan Johansson, contemporary Norwegian pianist Jon Balke, the great Wayne Shorter (as both an improviser and composer), the great singers of the jazz canon. My studies of Palestrina, Bach and Hindemith counterpoint… Again, you need to stop me!”
In conclusion it should be noted that one of the constants in all of the ECM albums is the references to gospel and secular music. This often ignites the music in most uplifting manner, and is obviously a source of inspiration that is very important to Gustavsen. “Yes. I feel a deep and meaningful connection to my upbringing in church – both spiritually and
musically, even though my life’s journey has taken large turns in terms of opening up to rational critique of religion; to post-modern relativism and social constructivism; and finally to an integral standpoint where it is again possible to be sincere and deeply but open-mindedly spiritual, with rationality and pluralism all in the amalgam, but not getting in the way of the life-embracing energetic flow of devotion.
Musically, I have the very clear feeling that my stretching out and being creative has a much better chance of happening organically, avoiding
alienation and stiffness, when done in energetic connection with my roots – with the sensuality and grounded-ness of the hymns and the spirituals and the lullabies. Thus, I still play abstract lullabies or wordless hymns no matter what I do. And this ‘genre’ is being re-defined and creatively opened up night after night in intimate communication with the best and most generous musicians I know…”
For more information visit www.tordgustavsen.com & www.ecmrecords.com
Scroll down for UK Tour Dates and and review of Extended Circle or see our February CD Reviews.
Vahdat; Glenn Gould playing Bach; Buxtehude cantatas; Messiaen’s Vingt regards sur l’enfant-Jésus, Norwegian fiddle player Nils Økland in various settings… And the classic ECM albums of the Masqualero band (including a young Tore Brunborg). I have to stop here!”
And of more direct influences as a player, the pianist says “Also a very wide spectrum – including all the stuff listed on the previous question, but including also legendary Swedish pianist Jan Johansson, contemporary Norwegian pianist Jon Balke, the great Wayne Shorter (as both an improviser and composer), the great singers of the jazz canon. My studies of Palestrina, Bach and Hindemith counterpoint… Again, you need to stop me!”
In conclusion it should be noted that one of the constants in all of the ECM albums is the references to gospel and secular music. This often ignites the music in most uplifting manner, and is obviously a source of inspiration that is very important to Gustavsen. “Yes. I feel a deep and meaningful connection to my upbringing in church – both spiritually and
musically, even though my life’s journey has taken large turns in terms of opening up to rational critique of religion; to post-modern relativism and social constructivism; and finally to an integral standpoint where it is again possible to be sincere and deeply but open-mindedly spiritual, with rationality and pluralism all in the amalgam, but not getting in the way of the life-embracing energetic flow of devotion.
Musically, I have the very clear feeling that my stretching out and being creative has a much better chance of happening organically, avoiding
alienation and stiffness, when done in energetic connection with my roots – with the sensuality and grounded-ness of the hymns and the spirituals and the lullabies. Thus, I still play abstract lullabies or wordless hymns no matter what I do. And this ‘genre’ is being re-defined and creatively opened up night after night in intimate communication with the best and most generous musicians I know…”
For more information visit www.tordgustavsen.com & www.ecmrecords.com
Scroll down for UK Tour Dates and and review of Extended Circle or see our February CD Reviews.
UK TOUR DATES
Friday 7 March, 8pm: The Queen’s Hall, Edinburgh - Tickets: 0131 668 2019 /
www.thequeenshall.net
http://www.thequeenshall.net/whats-on/shows/tord-gustavsen-quartet-2014
Saturday 8 March, 8pm: Djanogly Recital Hall, Lakeside Arts Centre, Nottingham - Tickets: 0115 846 7777 / www.lakesidearts.org.uk
http://www.lakesidearts.org.uk/Music/ViewEvent.html?e=2462&c=7&d=2798
Sunday 9 March, 7.30pm: Milton Court Concert Hall, London (Sold Out) - Extra Matinee performance now added at 4pm - Tickets: 020 7638 8891 / www.barbican.org.uk
http://www.barbican.org.uk/music/event-detail.asp?ID=15613
Tuesday 11 March, 8pm: Turner Sims, Southampton - Tickets: 023 8059 5111 / www.turnersims.co.uk
http://www.turnersims.co.uk/events/tord-gustavsen-ensemble
Wednesday 12 March, 8pm: The Apex, Bury St Edmunds - Tickets: 01284 758000 / www.theapex.co.uk
https://www.theapex.co.uk/whats-on/event/966/tord-gustavsen-quartet
Thursday 13 March, 8pm: St George’s, Bristol - Tickets: 0845 40 24 001 / www.stgeorgesbristol.co.uk
http://www.stgeorgesbristol.co.uk/event/tord-gustavsen-ensemble/
Friday 14 March, 8pm: CBSO Centre, Birmingham - Tickets: 0121 345 0600 / www.cbso.co.uk
http://www.cbso.co.uk/?page=concerts/viewConcert.html&cid=2897&m=03&y=2014
Saturday 15 March, 8pm: RNCM, Manchester - Tickets: 0161 907 5555 / www.rncm.ac.uk
http://www.rncm.ac.uk/performance/tord-gustavsen-ensemble/
Sunday 16 March, 8pm: Arena Theatre, Wolverhampton - Tickets: 01902 321 321 / www.wlv.ac.uk
http://www.wlv.ac.uk/default.aspx?page=37267
Friday 7 March, 8pm: The Queen’s Hall, Edinburgh - Tickets: 0131 668 2019 /
www.thequeenshall.net
http://www.thequeenshall.net/whats-on/shows/tord-gustavsen-quartet-2014
Saturday 8 March, 8pm: Djanogly Recital Hall, Lakeside Arts Centre, Nottingham - Tickets: 0115 846 7777 / www.lakesidearts.org.uk
http://www.lakesidearts.org.uk/Music/ViewEvent.html?e=2462&c=7&d=2798
Sunday 9 March, 7.30pm: Milton Court Concert Hall, London (Sold Out) - Extra Matinee performance now added at 4pm - Tickets: 020 7638 8891 / www.barbican.org.uk
http://www.barbican.org.uk/music/event-detail.asp?ID=15613
Tuesday 11 March, 8pm: Turner Sims, Southampton - Tickets: 023 8059 5111 / www.turnersims.co.uk
http://www.turnersims.co.uk/events/tord-gustavsen-ensemble
Wednesday 12 March, 8pm: The Apex, Bury St Edmunds - Tickets: 01284 758000 / www.theapex.co.uk
https://www.theapex.co.uk/whats-on/event/966/tord-gustavsen-quartet
Thursday 13 March, 8pm: St George’s, Bristol - Tickets: 0845 40 24 001 / www.stgeorgesbristol.co.uk
http://www.stgeorgesbristol.co.uk/event/tord-gustavsen-ensemble/
Friday 14 March, 8pm: CBSO Centre, Birmingham - Tickets: 0121 345 0600 / www.cbso.co.uk
http://www.cbso.co.uk/?page=concerts/viewConcert.html&cid=2897&m=03&y=2014
Saturday 15 March, 8pm: RNCM, Manchester - Tickets: 0161 907 5555 / www.rncm.ac.uk
http://www.rncm.ac.uk/performance/tord-gustavsen-ensemble/
Sunday 16 March, 8pm: Arena Theatre, Wolverhampton - Tickets: 01902 321 321 / www.wlv.ac.uk
http://www.wlv.ac.uk/default.aspx?page=37267
TORD GUSTAVSEN QUARTET – Extended Circle
ECM 376 0239
Tore Brunborg (tenor saxophone); Tord Gustavsen (piano); Mats Eilertsen (double bass); Jarle Vespestad (drums)
Recorded June 17-19, 2013
This is Norwegian pianist, Tord Gustavsen’s sixth album for ECM and a continuation of the work with the quartet which began within the expanded ensemble of Restored, Returned in 2009, and further
developed on the 2012 release The Well.
Rather than simply consolidating on the music from the previous album, Gustavsen has followed up with a deeply exploratory set, probing the
resources of the ensemble in a manner that suggests much for the future, and delivers a wholly satisfying and varied album to boot.
Bookended by two trio pieces to open and close the album, in between Gustavsen and the quartet roam freely within the given parameters of
the core working framework established by the pianist, a sense of stillness that is allowed to permeate the music remains the constant from previous works.
Working in what can initially appear a somewhat restrictive manner the music ebbs and flows with great stealth and strength, Brunborg’s tenor takes the lead on ‘Eg Veit I Himmerik Ei Borg’ at time times sounding like his fellow countryman, Jan Garbarek, with his keening cries on the saxophone. On the freely improvised ‘Entrance’ and ‘Entrance, var.’ the saxophone explores the timbres within his instrument accompanied by Gustavsen’s sparse responses. ‘Staying There’ also features a forceful and muscular solo from the saxophonist, developing from the tender
lyricism of the opening bars.
Influences are perhaps more overtly in evidence on the superb ‘The Embrace’ in which the quartet play in a manner that is reminiscent of,
although not derivative of Jarrett’s Belonging band, and yet equally signs of the individual and unique sound that Gustavsen and the quartet are forging is beautifully displayed on the wonderful ‘Devotion’.
In summary, Extended Circle gives advance notice of what we can expect from a quartet that is capable of producing music of intense lyricism and profound emotional depth in a set that is wholly compelling. The variety of the music is a natural extension, and comes from within the music, and there is never any the musicians are being anything but true to themselves, the communal experience of the quartet and the compositions.
ECM 376 0239
Tore Brunborg (tenor saxophone); Tord Gustavsen (piano); Mats Eilertsen (double bass); Jarle Vespestad (drums)
Recorded June 17-19, 2013
This is Norwegian pianist, Tord Gustavsen’s sixth album for ECM and a continuation of the work with the quartet which began within the expanded ensemble of Restored, Returned in 2009, and further
developed on the 2012 release The Well.
Rather than simply consolidating on the music from the previous album, Gustavsen has followed up with a deeply exploratory set, probing the
resources of the ensemble in a manner that suggests much for the future, and delivers a wholly satisfying and varied album to boot.
Bookended by two trio pieces to open and close the album, in between Gustavsen and the quartet roam freely within the given parameters of
the core working framework established by the pianist, a sense of stillness that is allowed to permeate the music remains the constant from previous works.
Working in what can initially appear a somewhat restrictive manner the music ebbs and flows with great stealth and strength, Brunborg’s tenor takes the lead on ‘Eg Veit I Himmerik Ei Borg’ at time times sounding like his fellow countryman, Jan Garbarek, with his keening cries on the saxophone. On the freely improvised ‘Entrance’ and ‘Entrance, var.’ the saxophone explores the timbres within his instrument accompanied by Gustavsen’s sparse responses. ‘Staying There’ also features a forceful and muscular solo from the saxophonist, developing from the tender
lyricism of the opening bars.
Influences are perhaps more overtly in evidence on the superb ‘The Embrace’ in which the quartet play in a manner that is reminiscent of,
although not derivative of Jarrett’s Belonging band, and yet equally signs of the individual and unique sound that Gustavsen and the quartet are forging is beautifully displayed on the wonderful ‘Devotion’.
In summary, Extended Circle gives advance notice of what we can expect from a quartet that is capable of producing music of intense lyricism and profound emotional depth in a set that is wholly compelling. The variety of the music is a natural extension, and comes from within the music, and there is never any the musicians are being anything but true to themselves, the communal experience of the quartet and the compositions.