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TERJE RYPDAL

Jazz Rock/Fusion • Norway


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Terje Rypdal biography
Terje Rypdal was born in Oslo, August 23rd 1947. He is known as one of the leading modern jazz guitarists in Europe. At the same time he is regarded to be an outstanding composer of contemporary art music. Rypdal has has a multifarious musical career since he started his pop band "The Vanguards" in the 1960'ies. He later started up "Dream" where his interest for jazz was awakened. In 1969 he joined the Jan Garbarek Quartet. At the same time he even played in George Russell's Sextet and big band. Rypdal has up through the years composed numerous jazz compositions for own as well as other groups.

Terje Rypdal played the piano from he was five years old, and started up with guitar from the age of 13. As a guitaist he is selftaught. He has studied musicology at the University in Oslo. During the years 1970-72 he studied composition with Finn Mortensen at the Music Conservatory in Oslo (Later the Norwegian State Academy of Music). He has also studied improvisation with George Russell.

As a composer Rypdal received his first impulses from Ligeti, Penderecki and Mahler and he soon developed his own style. His début as a composer was with "Eternal Circulation" (1971), performed with Jan Garbarek Quartet and Oslo Philharmonic Orchestra. Among his works can be mentioned: Symphony No. 1 (1975) commissioned by the Norwegian Television. His opera "Orfeo Turns Around and Watches Eurydice", premiered in 1972 at the Henie Onstad Art Centre outside Oslo. For the American bass player Barre Phillipps we wrote his "Concerto per violbasso e orchestra" (1973). His violin concerto "Undisonus" received the prize "Work of the Year" by the Society of Norwegian Composers. He has composed five symphonies, several works for solo instruments with orchestra, two operas and a large number of contemporary works with participation of jazz musicians.

Terje Rypdal's compositions witness his versatile musical work, his rich imagination and solid knowledge. One can find poetic moments with an almost impressionistic colour as well as constellations of sound with elements from jazz, late romanticism and avantgardism. In addition to his large production of modern art music he has also a great number of jazz and rock compositions.

with courtesy of the Music Information Centre Norway




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Discography:
Get Dreamy (The Dream) (Polydor 842 972...
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To Be ContinuedTo Be Continued
Import
Ecm Import 2008
Audio CD$13.45
$12.76 (used)
BlueBlue
Ecm Records 2001
Audio CD$10.07
$10.66 (used)
Odyssey: In Studio & In ConcertOdyssey: In Studio & In Concert
Ecm Records 2012
Audio CD$18.68
$16.68 (used)
Whenever I Seem To Be Far AwayWhenever I Seem To Be Far Away
ECM
Vinyl$10.95 (used)
ChaserChaser
Import
ECM 2001
Audio CD$35.21
$13.98 (used)
Melodic WarriorMelodic Warrior
Ecm Records 2013
Audio CD$12.90
$12.89 (used)
Rypdal Vitous DejohnetteRypdal Vitous Dejohnette
Ecm Records 2001
Audio CD$9.99 (used)
Rarum 7: Selected RecordingsRarum 7: Selected Recordings
Remastered · Import
Ecm Import 2002
Audio CD$22.40
$24.95 (used)
QedQed
Ecm Records 1994
Audio CD$4.23
$4.22 (used)
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TERJE RYPDAL shows & tickets


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TERJE RYPDAL discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

TERJE RYPDAL top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.06 | 14 ratings
Bleak House
1968
4.65 | 18 ratings
Terje Rypdal
1971
3.87 | 18 ratings
Whenever I Seem To Be Far Away
1974
2.82 | 13 ratings
What Comes After
1974
3.88 | 25 ratings
Odyssey
1975
4.13 | 25 ratings
After The Rain
1976
3.71 | 15 ratings
Waves
1978
4.17 | 23 ratings
Descendre
1979
4.00 | 14 ratings
Rypdal, Vitous, DeJohnette
1979
4.32 | 13 ratings
To Be Continued
1981
3.75 | 7 ratings
Eos (with David Darling)
1983
3.89 | 9 ratings
Chaser
1985
3.65 | 11 ratings
Blue (& The Chasers)
1987
2.95 | 3 ratings
Undisonus
1990
2.67 | 3 ratings
Q.e.d.
1993
3.00 | 3 ratings
Rypdal & Tekro (with Ronni Le Tekrø)
1994
3.58 | 10 ratings
If Mountains Could Sing
1995
3.31 | 7 ratings
Skywards
1997
3.67 | 3 ratings
Rypdal & Tekro II (with Ronni Le Tekrø)
1998
3.50 | 4 ratings
Double Concerto / 5th Symphony
2000
0.00 | 0 ratings
The Radiosong (with Ronni Le Tekrø)
2002

TERJE RYPDAL Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.36 | 7 ratings
Lux Aeterna
2002
4.00 | 8 ratings
Vossabrygg
2006
4.00 | 3 ratings
Crime Scene
2010

TERJE RYPDAL Videos (DVD, Blu-ray, VHS etc)

3.92 | 5 ratings
Trio Rypdal Vitous Gurtu Live In Stuttgart
2005

TERJE RYPDAL Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.67 | 3 ratings
Works
1985
3.38 | 6 ratings
The Singles Collection
1988
4.50 | 2 ratings
Selected Recordings
2002
4.00 | 2 ratings
Odyssey: In Studio & In Concert
2012

TERJE RYPDAL Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

TERJE RYPDAL Reviews


Showing last 10 reviews only
 Whenever I Seem To Be Far Away by RYPDAL, TERJE album cover Studio Album, 1974
3.87 | 18 ratings

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Whenever I Seem To Be Far Away
Terje Rypdal Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

3 stars Staying in 1974, and Rypdal would release another solo effort, definitely his most ambitious one among his first few albums.''Whenever I seem to be far away'' was another ECM product, featuring again Sveinung Hovensjo on electric bass and Jon Christensen, this time only on percussion, while the picture are entering Odd Ulleberg on French horn and Peter Knutsen on Mellotron and electric piano, a founding member of Popol Ace.Moreover Rypdal would collaborate with the Suedfunk Symphony Orchestra of Stuttgart, conducted by Mladen Gutesha.

Forget about Rypdal's deep experimental and highly minimalistic efforts of the past, here the style is more energetic, passionate and intense, even if there are plenty of improvisations and laid-back moments to be found.Clocking at 14 minutes, ''Silver bird is heading for the sun'' is an emphatic opener of psychedelic Fusion with Rypdal non-stop guitar torturing in a loose style over a fair dose of electric piano and some interruptions for the French horn of Ulleberg to be called.Jazzy rhythms, hypnotic psychedelia and angular guitar solos all the way, but the surprise comes from the cinematic Mellotron injections of Knutsen towards an even more sinister and cosmic atmosphere.The following ''The hunt'' lies somewhere between Jazz Orchestra stylings and Symphonic/Psychedelic Rock, opening with a more melodic sound due to the crying horn lines, but becoming a rich, orchestrated piece along the way with an omnipresent Mellotron and the abstract guitar/bass/drums beats of Rypdal, Hovensjo and Christensen.Entering the flipside, the 18-min. title-track, featuring Christian Hedrich on viola and Helmut Geiger on violin, is a different story.1/3 goes for cosmic, orchestral music, like coming out of a Soundtrack, with only the apparent presence of strings and wind instruments, before Rypdal enters the picture with his slow, atmospheric guitar.He supports the orchestra with his occasional electric solos, but the bulk of this track is dedicated to the pessimistic yet dreamy orchestrations of the Germans.Mellow stuff, which still has some weird, inner dynamics.

Unique work, which contains elements of symphonic, Classical, Jazz and Rock Music.Atmospheric, instrumental, multi-colored palletes, delivered in smooth arrangements.Recommended.

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 Odyssey: In Studio & In Concert by RYPDAL, TERJE album cover Boxset/Compilation, 2012
4.00 | 2 ratings

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Odyssey: In Studio & In Concert
Terje Rypdal Jazz Rock/Fusion

Review by HolyMoly
Special Collaborator RIO/Avant/Zeuhl and Canterbury Teams

4 stars A Welcome Reissue with Superb Bonus

To me, Terje Rypdal epitomizes the "ECM Jazz" sound. ECM is a European label that has been putting out unique atmospheric experimental jazz albums since the early 1970s. Rypdal, an electric guitarist and composer, was one of the first acts on the label, and he continues to release albums under that imprint to this very day. Odyssey was his fourth album, a double, which was a great early example of his unique style. Rypdal's guitar has that "soaring above the clouds" feel that could remind one of the most heavenly playing of David Gilmour or Steve Hackett - at least as interested in tone and atmosphere as notes, but very capable of complicated note runs as well. Although Rypdal is the band leader, his group is not just there to hold down the beat; he shares his sonic space with prominent trombone, electric bass (sometimes turning on the fuzz, yay!) , organ and drums. All five members are crucial elements to the rich and layered sonic architecture.

This reissue is noteworthy for two big reasons: firstly, it finally reinstates the excellent side-long piece "Rolling Stone" (side 4 of the original album) which had been excised from all prior CD releases in order to allow the album to fit on a single CD. Quite an omission, as it's nearly 24 minutes long and a full fourth of the album! The second, even bigger reason is the third disc, a live performance of an otherwise unavailable orchestral jazz/fusion suite that was commissioned by Swedish radio in 1976. This suite goes by the name "Unfinished Highballs", and it's very different from just about everything else I've heard by Rypdal, particularly from this time period. It's heavily orchestrated, and rocks hard with prominent electric piano, Rypdal's signature guitar stylings, and even some Mellotron and harpsichord. This was a complete surprise and was worth the purchase price of the album all by itself.

A superb reissue of perhaps Rypdal's finest early album, restored to its original length and supplemented with a real eye opener of a concert. Highly recommended to fans, and not a bad place to start for newcomers.

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 What Comes After by RYPDAL, TERJE album cover Studio Album, 1974
2.82 | 13 ratings

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What Comes After
Terje Rypdal Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

1 stars The third effort of Rypdal was again released on ECM in 1974.However the material of ''What Comes After'' was recorded about a year ago, in August 73' at Arne Bendiksen Studio in Oslo.It features, except Rypdal on guitars, Jon Christensen on organ/percussion, Barre Phillips on bass/double bass, Sveinung Hovensjø on electric bass and Erik Niord Larsen on horn/oboe.

I've never figured out what Rypdal was trying to achieve with such kind of works.''What Comes After'' is another of his ultra-minimalistic efforts of combining Lounge Jazz with Psychedelic and Ethnic Music, but the result sounds totally pointless and boring.The tracks are based on long hypnotic grooves, based either on drums or bass, combined with individual instrumental but uninspired solos on double bass, guitars or horns.But all the ideas seem way too overstreched to be even a bit appreciated and actually some of them are quite atmospheric, especially those led by Rypdal's ROBERT FRIPP-like guitar work or the decent plays on organ and flutes.The lack though of any diversity, passion and energy buries all of them.The music even tends to flirt with the sound of silence at moments, being too relaxed and calm for its own good.

I can't find any reason to recommend this work to anybody.It sure has some traces of composing talent, but the overall sound closes to absolute minimalism and fails to capture the listener's attention at any point.Better avoid it, just 1.5 fading stars.

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 After The Rain by RYPDAL, TERJE album cover Studio Album, 1976
4.13 | 25 ratings

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After The Rain
Terje Rypdal Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

3 stars Multi-instrumentalist Terje Rypdal offers up an intriguing brand of fusion on After the Rain; whilst most in the fusion scene tended to focus on faster-paced and more energetic playing, Rypdal here seems to be applying a fusion approach to slower and more soothing work. In its better passages, it's like a jazz guitarist trying to produce a minimalistic ambient work; in its less successful passages, it gets rather sentimental, or resembles the general caricature of the ECM sound a little too closely. A pleasant listen and an interesting experiment, though I'm not really sure it's much of a success; certainly, it's not an album I anticipate revisiting regularly.

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 What Comes After by RYPDAL, TERJE album cover Studio Album, 1974
2.82 | 13 ratings

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What Comes After
Terje Rypdal Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars Terje Rypdal albums seem to be getting harder to get with each passing year. Thankyou Presdoug for allowing me to finally hear this one. And even though i've only been listening to this for about a week and a half i'd say it's already a top three Rypdal record for me.

"Bend It" opens with percussion as the bass joins in and we get this repetitive bass line throughout which sounds really good. Guitar joins in and it sounds amazing after 2 minutes. Bowed bass after 2 1/2 minutes. The guitar is more prominant 5 minutes in. This is so good. "Yearning" opens with acoustic guitar expressions as English horn comes in after a minute along with bass. This has a melancholic mood throughout. "Icing" opens with different sounds like guitar, aboe. bass, chimes and so on. Sounds like flute too as the drums arrive. The guitar comes to the fore 2 1/2 minutes in. This is a relaxed tune.

"What Comes After" has a beat as the guitar and atmosphere joins in. Love the guitar and bass here. Bowed bass 4 1/2 minutes in as everything becomes more passionate. It settles back 6 minutes in but not for long. Rypdal rips it up after 9 minutes. Lots of atmosphere 10 minutes in as it settles back. "Sejours" is a relaxed track with bowed bass, atmosphere and flute. "Back Of J' has these sparse guitar and bass sounds. Drums do become active late.

Easily 4 stars and without a doubt one of Rypdal's best.

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 To Be Continued by RYPDAL, TERJE album cover Studio Album, 1981
4.32 | 13 ratings

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To Be Continued
Terje Rypdal Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars This has the same lineup as Rypdal's previous album from 2 years earlier called "Rypdal, Vitous, DeJohnette". Much in the same style as well.

"Maya" features a lot of sparse sounds early on and then the guitar comes to the fore at 3 minutes. Some intensity 5 minutes in as well. "Mountains In The Clouds" is an excellent track with bass, drums and bowed bass standing out. The intensity comes and goes. "Morning Lake" opens with piano, bass and cymbals. That's Vitous on the piano. The guitar comes in after 2 minutes.

"To Be Continued" is my favourite. Drums to start as bass and some atmosphere join in. Some aggressive guitar from Rypdal before a minute and later before 3 1/2 minutes where Terje continues to rip it up until almost 7 minutes in. Nice. "This Morning" opens with drums and bowed bass. Flute from Rypdal 1 1/2 minutes in. This is great ! It settles 3 minutes in as the bowed bass and flute relax and drums roll. "Topplue, Votter & Skjerf" is mellow throughout and I like the guitar before 3 minutes. "Uncomposed Appendix" is just that, a short piece with vocal expressions from DeJohnette and piano from Vitous.

Like Rypdal's previous album this is well worth the 4 stars.

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 Odyssey by RYPDAL, TERJE album cover Studio Album, 1975
3.88 | 25 ratings

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Odyssey
Terje Rypdal Jazz Rock/Fusion

Review by Sean Trane
Special Collaborator Prog Folk

3 stars Terje's continuing adventures with ECM were beginning to transform in a love affair, to the point that Manfred allowed Rypdal to release a double disc affair, which I believe in 75 was the label's first. This album features the usual "Rypdal Norwegian Whale-fishing crew" suspects, despite the strange choice of a trombonist as the unique horn player, outside of the master's own sax twiddlings. Apparently the remaster of this album lists also a French horn player as well, and this could be explained that he only appeared on side 4 of the album, which is not on the first CD reissue. Oh BTW, the album's name has nothing to do with mythology, so if you're into concept album, you'll be disappointed.

Anyway, we're facing a relatively quiet album, with plenty of atmospheric moments, most of it created by Blix's organ (no other Kb played), but also Terje's strident and aerial guitar wails. Indeed, by the time of this album's release, Terje was fine-tuning his typical guitar style (well somewhere between Oldfield and Hackett), and he'll have plenty of time to achieve it over the course of these two discs. Lengthy and gliding tracks like Midnite, Adagio, Fare Well are just excuses to allow Terje to wail, soar, reign, dominate his team- mates heads and shoulders. Actually, when not on his guitar, Rypda is laying out some synth layers from his String Ensemble rig, but he's not a Tangerine Dream member, and there are way too many useless meanders and other lengths (thinking of Adagio amongst other), and the whole thing is uneventful. One could call this album "new age" if the term had been coined much sooner, so I suppose that many described it as cosmic or spacey, which I think might be a tad misleading, partly because of Rypdal's guitar sometimes leaving its annoying aerial wails to come down and growl a bit in the lower registers, like in my album-fave Better Off Without You, and Birkerot, where he really unleashes. Fare Well is actually quite annoying, because Terje's strident guitars are really aggravating and irritating to my left ear, and switching channel speakers won't help, because after two minutes, the right ear is sore. Ballade is self-explanatory and boring except maybe for Terje's guitar growls when it doesn't soar searingly.

A rare double ECM album, but given the result, no wonder Manfred didn't release that many more and its CD reissue has been shortened by the D-sidelong Rolling Stone track; which by its name, might have been the rockier or energetic track of the album. Never heard it, though. This is the kind of ECM album that you can feel glad it has an end and relief comes once it stops spinning or by pushing the eject button. Definitely not my cup of tea, outside two or three (shorter) tracks.

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 Whenever I Seem To Be Far Away by RYPDAL, TERJE album cover Studio Album, 1974
3.87 | 18 ratings

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Whenever I Seem To Be Far Away
Terje Rypdal Jazz Rock/Fusion

Review by Sean Trane
Special Collaborator Prog Folk

4 stars I'm not sure whether this is Rypdal's second or third ECM album, but it's one of the rockier ones, despite its schizophrenic nature. With its polar cap ice debacle artwork, this album features some of Terje's best musical buddies, and it was recorded in Oslo in 74. On the present, Rypdal concentrates on the guitar (no kb or horns), which allows his compadres to fully develop their roles.

Opening on the energetic 14-mins Silver Bird, Rypdal's guitar takes on an early Coryell-feel, and it grabs the JR/F fans by the guts, as we're hoping for McLaughlin-like fireworks, which somewhat unfortunately won't happen, because the song doesn't allow it. Progheads will be pleased to hear some gorgeous washes of mellotron that add a bit of tension and drama. Excellent stuff, with Hovensjo's bass playing adding much interest to the calmer moments. The following Hunt piece features the same line-up, with a rhythmic intro at first, and then a brooding mellotron underlining Terje's excellent guitar parts. More great stuff.

On the flipside, the sidelong title track features some string musicians from a local symphonic orchestra, and the subtitle indicates well its content: guitar, string, oboe and clarinet. Hovering between Russian composers and symphonico-ambient music (future "new age"), the track meanders too much and too long, before taking off of to the skies. In some ways, this track announces the lengthy voids of his next album Odyssey, with his searing and soaring guitar that will be reminiscent to Steve Hackett fans; but the orchestral arrangements are an asset that the next venture won't have. Fairly cheesy, but impressive nonetheless.

Well despite two vastly different vinyl facets, the A-side is sufficiently strong enough to gather my favours and the symphonic side is impressive enough to let me enter the album in my all- time top 10 ECM releases.

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 Bleak House by RYPDAL, TERJE album cover Studio Album, 1968
4.06 | 14 ratings

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Bleak House
Terje Rypdal Jazz Rock/Fusion

Review by Sean Trane
Special Collaborator Prog Folk

4 stars Those of you who know Rypdal's usual works will be in for quite surprise with this debut album, Bleak House released in early 69 on the Polydor label, and it is quite different to his later works with the ECM label. Indeed, this album's line-up is mostly made from local Norwegian musicians (although I detect a few Danish or German names), of which only Garbarek and Terje are the familiar names to an international crowd. You'll also find some excellent (and rather unusual for jazz) Hammond organ, some vocals, and a fairly large horn section, used somewhat sparingly. Rather strange when you know Terje's late-70's albums, right?

The opening 7-mins Dead Man Tale is a mid-tempo blues loaded with Hammond's organ, Terje's lungs both belting out a soft vocal and an enchanting flute. He 4-mins Wes is more of a big band affair, with some massive horn section sounds, a Reinhardt-ian guitar and some enthralling rhythms. The three-parts Winter Serenade is in contrast a very different affair, so quiet in its Falling Snow movement, with only Terje's guitar and Reim's piano. When Garbarek and Neumann's saxophones enter the piece, chaos and mayhem appear, indeed hinting at the Snow Storm movement. The suite ends calmly as the Snow Melts gently with Reim's piano. Great stuff.

On the flipside, the 7-mins title track is an absolutely amazing mid-tempo big band piece, starting gently with the horn section providing great answers to Rypdal wild but restrained electric guitar. It's not long before the horns take up the whole back space, before Terje's guitar goes for some heroics, never too strident, leaving some space for Garbrek's dramatic sax solo, and then taking football all the way down the rest of the track to the end zone for an amazing touchdown. Fantastic stuff, even if you wished some slight chord changes in the brass arrangements. The soft big-band Sonority is a slow-paced gentle track, where Rypdal's sleepy guitar weeps gently from you speakers. Closing the album, Terje scats gently A Feeling Of Harmony all alone, his acoustic guitar, his sole voice and his gentle flute.

A little short an album, this generally overlooked album is one of Terje's less representative albums, but it doesn't make it anyless essential a listen. If one day you datre your buddies with a "blind" test, you might just find Bleak House will probably fill your own house with plenty of laughter and surprise.

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 The Singles Collection by RYPDAL, TERJE album cover Boxset/Compilation, 1988
3.38 | 6 ratings

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The Singles Collection
Terje Rypdal Jazz Rock/Fusion

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

3 stars Terje Rypdal can be an explosive guitar player. Unfortunately, the majority of his albums are on the ECM label, which, after Pat Metheny's huge success, became known for light, almost new age style fusion. And I suspect that the label pressured their artists to fit into that niche. And that's the problem I have with this album. The musicians are all exceptional. There are some very nice guitar and keyboard (especially organ) solos peppering the album. But much of it sounds restrained, too low key.

The compositions are mostly just riffs for the band to jam on. On each track there is a short setup section defining the structure of the song, then either Rypdal or keyboardist Allan Dangerfield takes off with some nice soloing. Only in a few rare sections does actual composition come back to the songs.

I find that Terje Rypdal's guitar can make even the simplest song sound great, so I'll have to rate this three stars.

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Thanks to alucard for the artist addition.

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