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TERJE RYPDAL

Jazz Rock/Fusion • Norway


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Terje Rypdal picture
Terje Rypdal biography
Born 23 August 1947 (Oslo, Norway)

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 guitarist he is self-taught. 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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TERJE RYPDAL discography


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

4.26 | 36 ratings
Bleak House
1968
4.40 | 55 ratings
Terje Rypdal
1971
3.25 | 34 ratings
What Comes After
1974
3.99 | 45 ratings
Whenever I Seem To Be Far Away
1974
3.98 | 60 ratings
Odyssey
1975
3.93 | 48 ratings
After The Rain
1976
3.74 | 40 ratings
Waves
1978
4.15 | 34 ratings
Terje Rypdal - Miroslav Vitous - Jack DeJohnette
1979
4.17 | 48 ratings
Descendre
1980
4.30 | 28 ratings
Terje Rypdal, Miroslav Vitous & Jack DeJohnette: To Be Continued
1981
3.87 | 21 ratings
Terje Rypdal & David Darling: Eos
1984
4.14 | 31 ratings
Chaser
1985
3.79 | 23 ratings
Terje Rypdal & The Chasers: Blue
1987
3.51 | 19 ratings
The Singles Collection
1989
3.21 | 10 ratings
Undisonus
1990
3.36 | 11 ratings
Q. E. D.
1993
3.60 | 22 ratings
If Mountains Could Sing
1995
3.29 | 18 ratings
Skywards
1997
3.12 | 7 ratings
Rypdal & Tekrø
1997
3.50 | 8 ratings
Rypdal & Tekrø: II
1998
3.60 | 10 ratings
Double Concerto / 5th Symphony
2000
3.67 | 3 ratings
Rypdal & Tekrø: The Radiosong
2002
4.00 | 3 ratings
Conspiracy
2020

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

3.40 | 15 ratings
Lux Aeterna
2002
4.03 | 20 ratings
Vossabrygg
2006
4.09 | 3 ratings
Ketil Bjørnstad & Terje Rypdal: Life in Leipzig
2008
4.00 | 10 ratings
Crime Scene
2010

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

4.04 | 9 ratings
Trio Rypdal Vitous Gurtu Live In Stuttgart
2005

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

4.71 | 7 ratings
Works
1985
4.50 | 6 ratings
Selected Recordings
2002
4.27 | 14 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
 Bleak House by RYPDAL, TERJE album cover Studio Album, 1968
4.26 | 36 ratings

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Bleak House
Terje Rypdal Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars A 21-year old Norwegian guitarist-composer bursts onto the world scene with some highly experimental "future" jazz in which he fuses together multiple genres of jazz and rock (with shocking facility) into tightly-designed compositions that profess a maturity and musical understanding far beyond his years.

1. "Dead Man´s Tale" (7:03) Hawai'in guitar over Hammond organ and blues band (with loud kick drum) over which Terje sings in a very lovely emotional voice. Total blues. Beautiful interplay between the Hammond and Terje's voice, guitar, and flute. Christian Reim's Hammond play is actually good even if his instrument is recorded a little dirty. (14/15)

2. "Wes" (4:15) big band horns with Terje's chameleonic guitar. The rhythm section sets up a couple of excellent swing patterns that they smoothly from, back and forth, over the course of the album. Great song with great solo performances from Wes and saxophonist Carl Neumann. At times Terje's guitar sounds Wes Montgomery-like, at others less so. (9.25/10)

3. "Winter Serenade" (6:04) imitation wolf sounds with delicate piano tinkling and percussives open this before the piano takes over. Guitar sneakily joins in during the first half of the second minute with a lot of wobbling sounds-- single string and whole fretboard. Horns and drums add a variety of wind-like bursts and gusts as the storm arrives and its intensity increases, varies, and wavers. Ingenious orchestration of musical instruments to achieve such a mirroring "reproduction" of Mother Nature. (9/10): - a) Falling Snow - b) Snow Storm - c) Melting Snow

4. "Bleak House" (7:05) this one starts out soft and slow, sounding very Sixties, but then the loud big band horns join in and the song becomes something totally different--even transforming the guitarist right before our ears. It's part Larry CORYELL, part DON ELLIS ORCHESTRA! The bass, drums, guitar, and saxophone performances are all excellent but it's those horns that carry this one over the top! An excellent, lively, and very melodic song. (14.25/15)

5. "Sonority" (5:21) a song of stunning emotion and tenderness--even from the horns! Terje's electric guitar expresses a feeling of such depth, pain and beauty as to evoke tears. I've only heard Roy Buchanan do it as well! The best song on a great album and one of the prettiest jazz songs I've ever heard. (10/10)

6. "A Feeling Of Harmony" (2:29) acoustic guitar, flute, and wordless voice scatting from the artist alone. Feels sounds like an intimate moment from Maestro John Martyn. (9.5/10)

Total time 33:05

A/five stars; a shocking revelation of masterful jazz-rock fusion A remarkable achievement of music for 1967-68 with some breathtakingly beautiful music. One of the finest most unforgettable musical listening experiences I've ever had the privilege of hearing. If anything on PA is to be considered "essential" in order to try to understand our beloved musical genre, this might be it.

 Chaser by RYPDAL, TERJE album cover Studio Album, 1985
4.14 | 31 ratings

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Chaser
Terje Rypdal Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars I own a lot of Rypdal albums, I guess I was just drawn to his melancholic style right from the start. "Chaser" is from 1985 and we get a trio here of bass, drums and guitar. I don't know the drummer or bass player but after looking them up both have been very active in the Norway music scene over the years. Terje adds keyboards on "Transition" the shortest track on here at around 1 1/2 minutes. The keys create atmosphere while the guitar solos over top in a relaxed way. This was recorded in May of 1985 at the Rainbow Studio in Oslo.

An interesting start to the album with "Ambiguity" as it opens with a drum solo before Terje joins in then bass. How about that guitar! So good! Terje changes his style to riffs after 3 minutes making me think of the 80's. Then we get this guitar melody that screams GENESIS. So cool. The guitar is crying out before 7 minutes as Rypdal changes it up again. "Once Upon A Time" is pretty mellow although the guitar does get more passionate as this plays out. A calm at 4 1/2 minutes to the end.

"Geysir" is excellent with the guitar being so inventive as the drums rumble. Bass after a minute as the guitar steps aside but not for long. Love the guitar on this one. Tracks 4 and 5 the two middle songs are very laid back overall. The guitar and drums do get louder on track 5 after 2 minutes. Nice guitar work on the title track especially after 4 minutes as Terje lights it up. The closer is the perfect ending with those experimental sounds in the dark as the bass joins in. Such a chilled track with sparse sounds in the night. Suddenly before 3 minutes we get some life as the guitar starts to make some noise before this all fades into black.

Tough to know where to place this one as far as favourites go. "Whenever I Seem So far Away" is my favourite, such a special album but this one is right up there with many of his other works.

 Skywards by RYPDAL, TERJE album cover Studio Album, 1997
3.29 | 18 ratings

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Skywards
Terje Rypdal Jazz Rock/Fusion

Review by Matti
Prog Reviewer

3 stars "Skywards started as a project to celebrate ECM and the work Manfred Eicher and I have done together over 25 years", says the Norwegian guitarist and composer Terje Rypdal in the liner notes. He's accompanied by trumpetist Palle Mikkelborg, pianist Christian Eggen, violinist Terje Toennesen, cellist David Darling and two drummers.

The 4-minute opening title track is IMHO an obvious highlight (it is indeed "in the 'Per Ulv' melodic tradition", as Rypdal states -- 'The Return of Per Ulv' on his previous album If Mountains Could Sing, 1995, is fantastic) but after that the album somewhat loses focus and wanders a bit too shapelessly in its introspective soundscapes. Especially the next, 7+ minute track 'In the Wilderness', which -- like several other pieces on Skywards -- is based on Rypdal's earlier composition.

'It's Not Over Until the Fat Lady Sings' is a tender piece with violin, cello and piano paving way for Rypdal's very distinctive electric guitar sound. This and the next one have some similarity to the impressionistic album The Sea, which was perhaps primarily pianist Ketil Björnstad's project but featured partly the same musicians as this album. The emotional impact however remains smaller here.

'Out of This World (Sinfonietta)' drags for roughly 16 minutes and concentrates on the spatial textures without a solid structure or clear melodies. A disappointing one, honestly, despite some nice trumpet on the last third. A nocturnal trumpet ang clanging of metal percussion are actually all there is on the slow and meditative-but-creepy 'Shining'. Sorry, again quite boring and pretentious artsy- fartsy stuff. 'Remember to Remember' is also a slow and meditative piece, but its flowing violin melodies are among the most pleasant details on this album, which I certainly wouldn't recommend as a starting point into Terje Rypdal's art. If you generally enjoy also the less melodic, calm and texture-centred European chamber jazz in the ECM label, give it a try.

 Waves by RYPDAL, TERJE album cover Studio Album, 1978
3.74 | 40 ratings

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Waves
Terje Rypdal Jazz Rock/Fusion

Review by friso
Prog Reviewer

4 stars Terje Rypdal from Norway grew out of the sixties pop movement and became an established name in jazz / fusion at the turn of the decade. Eventually Rypdal would become a frontman of the ECM style jazz during the seventies, of which this record 'Waves' is a good example. With his ARP synth Rypdal lays down carpets of dark spacey chord progressions whilst letting the bass and drum creating most of rhythms. His lead guitar tone reminds me a bit of the electric guitar of Steve Hackett, but of course his choice of notes is more dissonant and experimental. His playing is expressive with heavy vibrato's on important notes. He never shreds like most of the fusion guitarist do. A good display of willful and thoughtful musicianship. The leads by Palle Mikkelborg on trumpet and flugelhorn are equally important and add to the spacey dark atmosphere. The overall impact of the record is between that of a great soundtrack (think of 'Bladerunner') and an exciting prog-fusion record (perhaps a bit like Brand X). I like it much better than his 1971 'Terje Rypdal' soundscape drenched album, which I though was rather uneventful. The recording quality of 'Waves' is simply outstanding. To the point where it is almost impossible to believe it was recorded in 1978. A broad high-fi recording sound would be an important feature of the jazz records released on the ECM Records label. I really like this record and I hope some other vinyl reprints of his early career will appear soon.
 Ketil Bjørnstad & Terje Rypdal: Life in Leipzig by RYPDAL, TERJE album cover Live, 2008
4.09 | 3 ratings

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Ketil Bjørnstad & Terje Rypdal: Life in Leipzig
Terje Rypdal Jazz Rock/Fusion

Review by Matti
Prog Reviewer

4 stars Even though most of the material on this piano & guitar live album is composed by the pianist Ketil Bjørnstad (who's not a ProgArchives artist) instead of Terje Rypdal, I hope no-one disagrees with me on that adding it into Rypdal's discography is completely justified, and that my review will be useful for those listeners who appreciate not only the Norwegian guitarist but the whole chamber jazz oeuvre of the inimitable ECM label. That said, I'm glad about the chance to praise also Bjørnstad as an individual musician and composer. In the mid-90's, when I started more seriously to expand my music listening into jazz and fusion, ECM actually being a central guiding light for me, one of the albums that impressed me was The Sea (1994) composed by Bjørnstad. The pianist was joined by Rypdal on guitar, David Darling on cello and Jon Christensen on drums. It comes as no surprise that Bjørnstad and Rypdal have included movements of that collaborative work in their duo concert from 2005.

The 54-minute set opens with 'The Sea [part] V' which begins in a stark, atonal way before entering into moody melodicism. This is what All Music Guide says of The Sea album: "The 12 parts set somber moods rather than introduce memorable themes and the only real excitement is supplied by Rypdal's rockish guitar. Some listeners may enjoy its introspective and peaceful nature of these performances but most will find this a bit of a bore." Well, that's probably true, this kind of music isn't for all. I have had memorable listenings of The Sea that vividly paints emotionally deep inner images of a solitary walk on a cold seashore. It sure helps if the listener has a certain warm attitude towards nature, melancholia and solitude. These words fit to this whole concert. The overall atmosphere is indeed introspective and moody, but certainly not without dynamics.

Rypdal's compositions are in minority (four out of 11), but I wish to point out that the concert represents piano and electric guitar as pretty equal components; with an exception of Edward Grieg's piano piece 'Notturno' all tracks are duo pieces, not solo. Ketil Bjørnstad is undoubtedly the more melancholy-oriented composer of the two, but Rypdal's pieces such as 'The Pleasure Is Mine, I'm Sure' or 'Easy Now' feel completely at home besides the pianist's compositions. Their individual, impressionistic musical expressions fit together extremely well.

Probably the concert would sound better and more versatile if for example cello and drums were participating too, but if you don't actively think of that, you won't find the piano & guitar duo lacking substance at all. The sonic quality is faultless. The audience is not much heard apart from the end, but they applause delightfully as they recognize the final piece 'The Return of Per Ulv' originally from Rypdal's If Mountains Could Sing (1995). Warmly recommended to friends of ECM's (often Norwegian) chamber jazz.

 Descendre by RYPDAL, TERJE album cover Studio Album, 1980
4.17 | 48 ratings

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Descendre
Terje Rypdal Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars Another classic from Terje and we get a trio here with Rypdal adding guitar, flute and keys while Jon Christensen adds drums and Palle Mikkelborg plays trumpet, flugelhorn and keys. Many rate this one quite high with the organ-like atmosphere that creates warmth while Terje's guitar tone is as mournful as ever. The trumpet is a really nice touch as well. This was released in 1980.

"Avskjed" opens with that organ-like sound as we get plenty of atmosphere until the trumpet and drums kick in. Guitar around 4 minutes as the trumpet continues. "Circles" is the longest song at over 11 minutes. The horn comes and goes before the guitar comes to the fore around 2 1/2 minutes as the drums beat randomly and we get organ-like pulses. The guitar is crying out after 6 1/2 minutes. This track seems improvised and it's quite abstract as well.

"Descendre" features that crying guitar with piano, a sparse beat and bells. "Innseiling" has this dark atmosphere as guitar and a horn join in. Lots of atmosphere then we get this change before 4 minutes as it brightens and picks up. Not really into this part though. It calms back down before 6 1/2 minutes as relaxed horns join in along with atmosphere and guitar.

"Man Of Mystery" has these mournful guitar sounds along with busy drum work. Some crazy horns after 5 minutes as drums and atmosphere help out. "Spell" is the closer and my favourite. Beautiful atmospheric pulsing keyboards as the guitar solos over top. Gorgeous stuff as a beat arrives. Trumpet before 2 1/2 minutes. I really like this chilled sound as sharp trumpet blasts come and go.

I would rate several of his studio albums over this one but this is another winner for sure.

 Whenever I Seem To Be Far Away by RYPDAL, TERJE album cover Studio Album, 1974
3.99 | 45 ratings

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

Review by Progfan97402
Prog Reviewer

4 stars This was the second Terje Rypdal album I bought, in 1994, after Odyssey. This album clearly explores two different paths. The first half is very much fusion, with Mellotron rearing its head from time to time. In 1994 I had no idea who Pete Knutsen was. I was aware of Popol Vuh from buying Tangerine Dream's Zeit around that time (never heard of them until then), but totally unaware there was also a Norwegian band with that name, and Pete Knutsen was a member (or that the Norwegian band changed their name to Popol Ace to avoid any further confusion). Anyway Knutsen was responsible for the electric piano and Mellotron. Only being familiar with Odyssey at the time, the music was more energetic and less spacy. Then comes the title track, takes up all of side two. This is clearly in the Third Stream. The Südfunk Symphony Orchestra helps with Terje providing guitar, but there's no band help, just Terje and the orchestra. If you're familiar with the Third Stream style, this is pretty typical, heavily influenced by classical. It has a rather eerie feel to it. Not everyone will go for the title track, but certainly fusion fans will dig side one without problem.
 Terje Rypdal by RYPDAL, TERJE album cover Studio Album, 1971
4.40 | 55 ratings

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Terje Rypdal
Terje Rypdal Jazz Rock/Fusion

Review by Progfan97402
Prog Reviewer

5 stars I've was first made aware of Terje Rypdal in 1992. I bought Odyssey in 1993 and Whenever I Seem to be Far Away in 1994, but it was only very recent that I bought more of his albums (probably because I was concentrating on collecting stuff from other artists). It was only with the advent of the Internet that I was able to find out what he released before What Comes After, and that's Bleak House in 1968 on Polydor, which is extremely hard to find as an original, and this self-entitled ECM debut (he's already appeared on a few ECM albums in 1970/'71, this is his first simply billed as Terje Rypdal). He gets plenty of help, like Jon Christensen (as he seems to be a Rypdal regular), Jan Garbarek, Arild Andersen, Inger Lise Rypdal (Terje's wife at the time), Tom Halversen, Bjørnar Andresen, Bobo Stenson, and Eckehard Fintl. Of course Jan Garbarek and Aril Andersen had made names for themselves, and we know Inger Lise Rypdal's relation to Terje, not to mention Jon Christensen appearing on many of Terje's other albums, some of the musicians seem to be very obscure (Eckehard Fintl, for example) as I can't seem to dig much info on them.

Having been familiar with several of his other (more famous) 1970s albums including Odyssey, I'm so happy to get this early release. It's one of those albums I wished I owned back in when I first heard of him, but that one was hard to find (as many early ECM titles). "Keep it Like That - Tight" tends to use that post-Bitches Brew fusion format here, with lots of similarities (one commented Terje should have replaced John McLaughlin in Miles Davis' band). It starts off pretty calm, but it picks up steam towards the end. "Rainbow" really trips me out. Clearly in the Third Stream, it's basically a very eerie orchestral number sounds like a jazz version of Tangerine Dream's Zeit, it has that similar sinister otherworldly feel. It really trips me out, and in fact I wished this was how side two of Whenever I Seem to Be Far Away was more like. "Electric Fantasy" is pretty tripped out fusion , especially those wordless female voices from Lise. "Lontano II" is another really strange and eerie piece, while "Tough Enough" is a bit more bluesy, almost a Bleak House throwback, but with that contemporary (for 1971) sound. Odyssey may be his best known work, but I feel this 1971 album is actually his best one, and one of the best ECM releases alongside John Abercrombie's Timeless and Julian Priester's Love, Love. Truly one of his most trippy albums. Like I said, an album I wished I knew of and owned back in the early '90s. Great stuff that I highly recommend.

 Waves by RYPDAL, TERJE album cover Studio Album, 1978
3.74 | 40 ratings

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Waves
Terje Rypdal Jazz Rock/Fusion

Review by Matti
Prog Reviewer

3 stars Terje Rypdal is a notable long-term musician in Norway's fusion scene. This seventh album contains six tracks and features Rypdal on electric guitar and synths, Palle Mikkelborg on trumpet, flugelhorn and synths plus the rhythm section of Sveinung Hovensjo and Jon Christensen.

'Per Ulv' is groovy with busy constant percussion, while guitar and trumpet make the composition airy. (BTW, on Rypdal's 1995 album If Mountains Could Sing is a track called 'The Return of Per Ulv' which is fantastic. Compared to that, this one was slightly disappointing.) On a blindfold test it would be fairly easy to place the music on the late seventies, even though the thick use of synths brings some 80's flavour as well. There's some resemblance to the late 70's or the 80's PEKKA POHJOLA, except that Pekka's music would probably have more emotion.

'Karusell', unlike one would expect from such title, is a slow-paced, ethereal, ambient piece starring trumpet in a lead role, at first almost free of percussion (mostly just some light cymbals). Might be a bit sleepy for an average fusion listener, but it is fairly pleasant for a patient, ambient-minded listener. 'Stenskoven' is the shortest track and composed by Mikkelborg whereas all the others are written by Rypdal. Curiously this one has a carousel-like feel, not 'Karusell'. Again, it reminds me of some lighter 80's tracks of Pekka Pohjola, on the Space Waltz album for example.

'Waves' is the highlight, very atmospheric and spacey. Here you get a lot of the meditative electric guitar sound so distinctively Rypdal's. 'The Dain Curse' is, like 'Per Ulv', a mixture of steady funkiness and ambientish soloing especially for the trumpet. Hmm, nice, but there could be more musical progression for nearly nine minutes. 'Charisma' is the other highlight (I'm backing Mellotron Storm in this opinion), a slow, cinematic epic of delicate atmosphere. The dialogue-like contributions of electric guitar and trumpet make the piece beautiful.

My rating is 3½ stars, and in theory it could have been rounded up to four. I haven't heard very many Rypdal albums (for years I haven't been listening to him altogether), and this one might very well be on the better side of the scale. But for leaving me slightly cold right now, three stars will do. My favourite Norwegian is still Jan Garbarek. Nevertheless, warmly recommended to those who are into ambient-oriented modern fusion.

 After The Rain by RYPDAL, TERJE album cover Studio Album, 1976
3.93 | 48 ratings

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After The Rain
Terje Rypdal Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

3 stars I consider myself a huge Rypdal fan but this album would be the first going chronologically that I couldn't get into. It's unusual as well for this to be Terje by himself without anybody helping him instrumentally, his wife does add some vocal melodies on a couple of tracks though. The followup to this called "Waves" released in 1978 is another one I gave 3 stars to, I'm just not into this period of his music I suppose. Terje plays electric and acoustic guitars, sax, flute, electric piano, bells and something called string ensemble piano which is where the string sounds come from. I can't get over how much Terje's electric guitar sounds like a violin, very much crying out mournfully much of the time. The music is very ambient and pleasant fitting well with the ECM label.

"Autumn Breeze" is my favourite and like many of these tracks it opens with piano before strings and acoustic guitar join in. Vocal melodies 1 1/2 minutes in as it becomes haunting. This is my favourite part on the whole album. The piano is back leading before 3 minutes as the vocals have stopped, then the electric guitar and strings return for the final minute. "Air" is the only other song I can get into. Electric piano and electric guitar lead the way in this beautiful but mournful piece. "Now And Then" is laid back with acoustic guitar melodies throughout while "Wind" is also relaxed but with flute throughout.

"After The Rain" is slow moving with electric guitar and strings. We do get some vocal melodies 3 1/2 minutes in as well as bells. "Kjare Maren" features electric guitar and piano with atmosphere. "Little Bell" opens with piano as the flute joins in before a minute. "Vintage Year" begins with piano as the electric guitar starts to cry out. "Multer" has strummed guitar to start but then the guitar turns classical sounding. "Like A Child, Like A Song" starts with piano then the electric guitar arrives a minute in as it cries out in a reserved manner as piano continues. It actually brightens 2 minutes in. Piano only 3 1/2 minutes in.

Apparently after the rain we should all have a little nap, or is that during the rain?

Thanks to alucard for the artist addition. and to Quinino for the last updates

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