Tord Gustavsen Trio: Seeing

It is difficult to create a big or stirring sound with a small group of musicians. However, 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 (ECM, 2018) and Changing Places (ECM, 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. It is a friendly and accessible introduction to the qualities for which the ECM label is known.

The title track comes third on the album, and it is a gentle piece that hums with beauty. Vespedtad keeps the beat in the background while Raknes adds small double bass figures around the piano's melodies and their embellishments. Unlike other European artists (think Giovanni Guidi, Harmen Fraanje or Marcin Wasilewski), who are more interested in freestyle jazz and who occasionally risk losing the listener by over-improvising, Gustavsen keeps the tune nearby. He and his trio might take a small detour in this or that song, but they do not forget where they started or where they are going.

The next track is a J.S. Bach cantata arranged by Gustavsen. Though "Christ lag in Todesbanden" has baroque rigor and structure to it, the piece is changed by the group. It exhibits textures of Brahms, Chopin and other Romantic composers (perhaps it is the electronics that blur with the piano, bass and percussion). Whatever style and sound the trio utilizes, it works well to update and revitalize a composition that might have simply sounded a bit traditional—as if it was actually from one of Brad Mehldau's After Bach albums instead.

"Piano Interlude-Meditation" brings with it an air of the end-years of French impressionism. Francis Poulenc, Maurice Ravel and Erik Satie would likely have all enjoyed this quiet, contemplative work. There is a contemporary minimalism to it as well. It is not quite Philip Glass or Arvo Part, but the sound has a delicate ring that repeats and cycles around without turning tiresome or lazy.

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.

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