Jazz Articles about Eivind Opsvik

like 211

Eivind Opsvik: Overseas II

by AAJ Staff
November 20, 2005

Because of the instrumentation on Overseas II--specifically the lack of guitar--and because there is so much lyricism in Eivind Opsvik's music, one might hesitate to call it fusion. Yet on one hand, pronounced backbeats inevitably emerge out of the flying cross-rhythms set up by Opsvik's gigantic bass and the rest of the rhythm section. On the other, Opsvik's intricate and varied compositions are hardly the one-dimensional vamps that only too often characterize so much fusion. Opsvik writes very engaging compostions ...

like 304

Eivind Opsvik: Overseas II

by Michael McCaw
August 6, 2005

Eivind Opsvik is going to be very interesting to watch over the next couple of years. The bassist is forging an identity that belies simple labeling and is creating an interesting body of work. Overseas II is the second release under his own name for the Fresh Sound New Talent label and continues where the fine 2002 release Overseas left off.

Like his first release, Overseas II features a stellar cast of musicians presented in varying group formats ...

like 227

Eivind Opsvik: Overseas

by Matt Rand
March 11, 2003

Considering its rotating cast of characters, the music on Eivind Opsvik's Overseas has a surprising consistency. The leader's bass is a helpful anchor thoughout the disc. Aside from Opsvik, though, are nine musicians who spread their talents across a variety of subgroupings, many which have been known to create all kinds of sounds. Perhaps best known for this is Craig Taborn, whose body of work on the piano, Fender Rhodes and organ ranges from colorful handfuls to impromptu freakouts. Here ...