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TERJE RYPDAL

Jazz Rock/Fusion • Norway


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Terje Rypdal picture
Terje Rypdal biography
Born 23 August 1947 in 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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Bleak HouseBleak House
Polydor Import 2018
$12.73
$12.72 (used)
Odyssey - In Studio And In Concert [3 CD]Odyssey - In Studio And In Concert [3 CD]
ECM 2012
$40.47
$90.12 (used)
Lux AeternaLux Aeterna
Ecm Records 2003
$15.71
$19.29 (used)
DescendreDescendre
Reissued
Ecm Import 2001
$20.05 (used)
WavesWaves
Reissued
ECM 2001
$12.98
$11.95 (used)
Blue (w/The Chasers)Blue (w/The Chasers)
Reissued
ECM 2001
$14.36
$7.97 (used)
Terje Ripdal, Miroslav Vitous and Trilok Gurtu - Live in Concert - Stuttgart 1994Terje Ripdal, Miroslav Vitous and Trilok Gurtu - Live in Concert - Stuttgart 1994
AC-3 · Dolby · DTS Surround Sound
Alliance 2006
$33.07
$16.99 (used)
Double Concerto / 5th SymphonyDouble Concerto / 5th Symphony
Ecm Import 2008
$30.08 (used)
OdysseyOdyssey
Ecm Import 2002
$89.99
$38.98 (used)
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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)

4.10 | 23 ratings
Bleak House
1968
4.48 | 38 ratings
Terje Rypdal
1971
3.07 | 21 ratings
What Comes After
1974
3.92 | 28 ratings
Whenever I Seem To Be Far Away
1974
3.92 | 38 ratings
Odyssey
1975
3.92 | 34 ratings
After The Rain
1976
3.69 | 27 ratings
Waves
1978
4.07 | 21 ratings
Terje Rypdal - Miroslav Vitous - Jack DeJohnette
1979
4.17 | 35 ratings
Descendre
1980
4.33 | 20 ratings
Terje Rypdal, Miroslav Vitous & Jack DeJohnette: To Be Continued
1981
3.88 | 15 ratings
Terje Rypdal & David Darling: Eos
1984
4.29 | 17 ratings
Chaser
1985
3.70 | 16 ratings
Terje Rypdal & The Chasers: Blue
1987
3.14 | 9 ratings
Undisonus
1990
3.33 | 9 ratings
Q. E. D.
1993
3.67 | 19 ratings
If Mountains Could Sing
1995
3.41 | 15 ratings
Skywards
1997
3.04 | 6 ratings
Rypdal & Tekrø
1997
3.43 | 7 ratings
Rypdal & Tekrø II
1998
3.44 | 9 ratings
Double Concerto / 5th Symphony
2000
3.00 | 2 ratings
Rypdal & Tekrø: The Radiosong
2002

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

3.39 | 12 ratings
Lux Aeterna
2002
4.01 | 15 ratings
Vossabrygg
2006
3.96 | 9 ratings
Crime Scene
2010

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

3.92 | 6 ratings
Trio Rypdal Vitous Gurtu Live In Stuttgart
2005

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

4.67 | 6 ratings
Works
1985
3.43 | 13 ratings
The Singles Collection
1988
4.50 | 6 ratings
Selected Recordings
2002
4.18 | 9 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
3.92 | 28 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
4.48 | 38 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
3.69 | 27 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
3.92 | 34 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?

 Waves by RYPDAL, TERJE album cover Studio Album, 1978
3.69 | 27 ratings

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Waves
Terje Rypdal Jazz Rock/Fusion

Review by Dobermensch
Prog Reviewer

4 stars This is one of old 'Terje's' jazzier releases. I still find it one of his best, if not 'the' best in the 6 albums I've heard by this talented Norwegian guitarist. It's all quite 'Weather Report' with that fret-less bass sound, but has a more European feel throughout.

The opener 'Per Ulv' has a great sense of production, where all instruments are heard very clearly. This is more than likely because he was on the classy 'ECM' label who barely put a foot wrong in engineering and recording techniques. Moments of amusement follow with a British 1970's quiz show theme with hilarious trumpets, it somehow remains cool, even in 2015. Still - it reminds me of 'Sale of the Century' and the early 'Blankety Blank' TV shows.

There's a nice feeling of relaxation which runs through this whole album. It's all very laid back and easy to take in one listen. Pleasant stuff indeed. Throughout 'Waves' Rypdal slowly plucks at electric guitar strings that are hugely reverbed and drawn out and sound far more modern than the year 1978 would suggest. 'Waves' makes good late night listening with lots of floating synths and sprinklings of soft percussion.

I'm sure I can subconsciously hear some good old ring modulators at play on some tracks which is always a good thing, especially on an unobtrusive jazz album.

Like all the recordings I've heard by Rypdal, this also is entirely instrumental and is no worse off for it. Vocals would only detract from the prettiness at play on this more than worthy album of Jazz Fusion. A sleepy drowse-fest.

 Bleak House by RYPDAL, TERJE album cover Studio Album, 1968
4.10 | 23 ratings

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Bleak House
Terje Rypdal Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars This was Terje Rypdal's debut album released in 1968 as a 21 year old. He had already become a guitar hero of sorts as a teenager playing in THE VANGUARDS, but "Bleak House" would be the start of something beautiful. I was surprised at the variety on this record as Terje seems to be dipping his foot into many different waters. Avant-Garde, Jazz, Big band and Blues are all part of the party but we also get compositions and improvs too. By the way some of the guitarists who have pointed to Rypdal as an influence are Jeff Beck, Andy Summers, Bill Frisell and David Torn.

"Dead Man's Tale" is like a slow burn with slowly pulsating organ, a guitar line and a beat as vocals arrive before a minute. This is a bluesy number that is kept at a low boil. I can just imagine hearing this in a smokey bar back in the day. Terje solos tastefully 3 1/2 minutes in as it becomes all-instrumental to the end. The organ solos before 4 1/2 minutes in a fairly relaxed manner, then it's the flute's turn to solo a minute later. So good. "Wes" is a bright tune with plenty of horns playing over the guitar melodies. It sounds like an upright bass before 1 1/2 minutes. Good tune! "Winter Serenade" is a free-form track based on an idea from Rypdal. It's very low key with sparse piano and a subtle horn to start. It starts to get fuller 1 1/2 minutes in. This has an avant feel to it as different sounds come and go. We are in the heart of avant territory 3 minutes in. It's almost haunting after 4 minutes then it starts to wind down well before the 5 minute mark to become low key like the beginning.

"Bleak House" is a relaxed jazzy song with some nice drumming, guitar and horns.Terje starts to solo after a minute. Nice. Horns lead the way 2 1/2 minutes in as Rypdal steps aside. The guitar is back before 4 minutes as themes are repeated. Terje is ripping it up after 5 minutes. "Sonority" is a beautiful piece with atmosphere and some pleasant flute as well. The horns seem to breathe and exhale in wonder. Cymbals and other intricate sounds can be heard as the guitar is played tastefully. Check out the guitar and flute 3 1/2 minutes in as things turn more passionate. "A Feeling Of Harmony" is the short closing track with male vocal melodies accompanied with acoustic guitar. This is a catchy and enjoyable number. The flute replaces the vocals after a minute. The vocals are back late after the flute has stopped. i really enjoy this one.

While i'm not big on variety I really enjoy every song on here. Sure the best was yet to come but I highly recommend this one.

 Whenever I Seem To Be Far Away by RYPDAL, TERJE album cover Studio Album, 1974
3.92 | 28 ratings

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

Review by apps79
Special Collaborator Honorary Collaborator

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.

 Odyssey: In Studio & In Concert by RYPDAL, TERJE album cover Boxset/Compilation, 2012
4.18 | 9 ratings

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

Review by HolyMoly
Special Collaborator Retired Admin

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.

 What Comes After by RYPDAL, TERJE album cover Studio Album, 1974
3.07 | 21 ratings

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What Comes After
Terje Rypdal Jazz Rock/Fusion

Review by apps79
Special Collaborator Honorary Collaborator

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.

 After The Rain by RYPDAL, TERJE album cover Studio Album, 1976
3.92 | 34 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.
Thanks to alucard for the artist addition. and to Quinino for the last updates

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