Terje RYPDAL - Karta 2001

Terje RYPDAL - Karta 2001
(with Markus Stockhausen, Arild Andersen and Patrice Heral)
Label: Ecm

Jazz

Trumpet, bass, percussion, guitar. All on equal footing and played by some old hands at the game.

The CD opens with an atmospheric number and the tunes become progressively more open, take on a bit of fire, then it closes on two more structured, melodic pieces. There is much group improv. The interplay amoung the musicians is relaxed and dynamic at once.

Arlid Andersen's bass is strong throughout, he seems to be driving much of the session. Stockhausen is clean and precise, conservitave in his use of effects. Heral's percussion is much in the lines opened up by Paul Motian and Jon Christensen. He doesn't spend a lot of time keeping time. And Rypdal is Rypdal, a force to condend with in any case and a vital element here. When he steps out of the background the whole scene changes.

It's the sort of music new-agers call jazz and jazzers don't. It's Improvisational music with jazz roots, more European than US. It is more free than bop, more strucured than "free" and more relaxed than fusion. If you've ever heard the early ECM group "Masqualero" you will find similarities here.

And it gets better with age. I've gone back to this after a few years and it has not gone stale or lost its edge.
By THX.
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Markus Stockhausen- Trumpet, Flugelhorn, Piccolo Trumpet
Arild Andersen- Bass
Patrice Héral- Drums, Percussion, Live electronics
Terje Rypdal- Electric Guitar
**
01. Sezopen (4:50)
02. Flower of Now (9:17)
03. Wood and Naphta (2:58)
04. Sway (4:27)
05. Auma (8:05)
06. Legacy (5:19)
07. Invocation (4:44)
08. Wild Cat (7:58)
09. Emanation (4:01)
10. Choral (3:57)
11. Lighthouse (8:40)
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Terje RYPDAL - What Comes After 1974

Terje RYPDAL - What Comes After 1974
Label: ACM
Recorded on August 7 and 8, 1973 at Arne Bendiksen Studio, Oslo.

Jazz

Terje Rypdal has long had an unusual style, mixing together elements more commonly found in new age and rock than in jazz; yet he is also an adventurous improviser. Associated with the ECM label since the early '70s, Rypdal's playing is definitely an acquired taste, using space and dense sounds in an unusual manner. Classically trained as a pianist, Rypdal was largely self-taught on guitar and originally most influenced by Jimi Hendrix. He attended Oslo University, where he was taught the Lydian chromatic concept of tonal organization by its author, George Russell. Rypdal played with Russell for a time and started an association with Jan Garbarek in the late '60s. He formed the group Odyssey in 1972, and has led various small groups since the mid-'70s. An important guitarist and composer in Norway, Terje Rypdal gained a cult following in the United States. He recorded steadily for ECM since 1972 (using such sidemen at times as Garbarek, pianist Bobo Stenson, trumpeter Palle Mikkelborg, bassist Miroslav Vitous, drummer Jack DeJohnette, and cellist David Darling). His two earlier sessions (for the Karusell label in 1968, and a notable 1969 Baden-Baden, Germany, concert put out by MPS) are more difficult to find.
By Scott Yanow, All Music Guide.
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Terje Rypdal- Guitars, Flute
Barre Phillips- Bass [Piccolo]
Jon Christensen- Organ
Erik Niord Larsen- Oboe, English Horn
Sveinung Hovensjø- Bass [Electric]
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01. Bend It (9:55)
02. Yearning (3:22)
03. Icing (7:50)
04. What Comes After (10:58)
05. Sejours (3:51)
06. Back Of J. (4:18)
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A1   Bend It (9:52)
A2   Yearning (3:21)
A3   Icing (7:48)
B1   What Comes After (10:59)
B2   Sejours (3:51)
B3   Back Of J. (4:17)
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