Tord Gustavsen’s ‘Seeing,’ Is A Unique Record Worth Hearing
- Philip Sayback
- October 29, 2024
- Music Reviews
- ECM Records, Tord Gustavsen
- 0 Comments
Early this month, pianist Tord Gustavsen released his latest album, Seeing through ECM Records. The latest in a series of recording released by Gustavsen reaching back to 2003, the 10-song record is a unique presentation for anyone who might be unfamiliar with his work. That is due in large part to its musical arrangements, which will be discussed shortly. While the arrangements featured in this record are definitely of interest the record has one setback, that being the lack of any information on the songs in the form of liner notes. This will be addressed a little later. Since the lack of any liner notes is not enough to doom the recording, there is at least one more positive worth noting. That being the record’s production. It will also be discussed later. Each item noted is key in its own way to the whole of this unique presentation. All things considered they make Seeing worth hearing at least once.
Seeing, the latest album from Tord Gustavsen, is an intriguing offering from the veteran pianist. The album’s interest comes in large part through its featured musical arrangements. Totaling 10 in all, the arrangements include six originals composed by Gustavsen, two Bach compositions, a traditional Norwegian hymn, and a very well-known 19th Century chorale (‘Nearer My God, To Thee’). As with so many songs on albums released through ECM Records, the compositions are largely soft and subdued in their sound and approach. It forces audiences to completely immerse themselves in the record to gain any sense of appreciation for the record. This can be both good and bad depending on who a person asks. What’s more they vary in style from one to the next, thus making the album a presentation that does not necessarily fit into any one class. The 43-minute presentation opens, for example with what can only be considered a modern free jazz style work in ‘Jesus, gjor meg stille.’ Roughly translated from Norwegian, the title means ‘Jesus, Make Me Quiet.’ Interestingly the title fits here considering the quiet control exhibited by Gustavsen on the piano and by Jarle Vespestad on the drums. Vespestad uses a variety of cymbal flourishes and accented notes on the snare throughout the nearly five-minute composition. Through it all through, there is a certain control that when placed alongside Gustavsen’s own controlled work, makes the whole such a surprisingly contemplative work.
As the album progresses, the subdued presentation continues in ‘The Old Church,’ another original from Gustavsen. Being that there are no liner notes in the album, all that audiences have to go on here is that title in trying to understand the warm, nostalgic mood set by Gustavsen and company, which also includes bassist Steinar Raknes. The gentle, flowing composition offers, at times, a little bit of a bluesy vibe and at others, just something relaxed. Gustavsen leads the way as his fellow musicians add just enough to the whole to make the whole one of the album’s best works if not its best.
The two J.S. Bach compositions that are included in the album – ‘Christ Lay In Death Bonds’ and ‘To My Dear God’ – each bring their own unique touch to the whole of the record, too. The former stays true to its source material what with its somber, melancholy mood. Vespestad’s very subtle cymbal crashes (made using soft mallets) add their own touch that enrich the rendition even more. ‘To My Dear God,’ meanwhile takes the timeless chorale in a unique new direction, actually making it something of a swing type of work instead of the serious vocal composition that Bach originally created. This even as Gustavsen and company work to maintain at least some of the original work’s identity here. The two non-secular works prove themselves collectively worth hearing and are certain to generate plenty of conversation in turn.
Speaking of non-secular works, the trio’s take of ‘Nearer My God To Thee’ is yet another unique composition included in this album. This song, which transcends Christianty’s various denominations, has been performed and recorded by countless acts, with each variation staying true to the source material. From Mississippi John Hurt’s blue-tinged take on the song to that of Andre Rieu’s stunning performance on violin, to even a rendition made popular by the Mormon Tabernacle Choir and more, this song is among the most beloved of hymns, clearly. Gustavsen and company’s take on the song here is among the most unique renditions, needless to say what with its overtly quiet approach, led by Gustavsen. Once again Vespestad adds some occasional subtle cymbal crashes with a pair of soft mallets to add to the unique modern classical style approach. The pair’s collective work makes this song unquestionably stand out. When it is considered along with the Bach arrangements and Gustavsen’s other originals, the whole makes Seeing a unique presentation that certainly deems itself worth hearing if only for the noted musical content.
While the musical arrangements featured throughout Seeing make for quite a bit of interest in this record, the lack of any liner notes discussing the works detracts from that overall appeal. Information provided to the media was even sparse in relation to any background. The most extensive information received was comment from Gustavsen regarding his desire to compose arrangements that reflect “my personal development as I get older, going for the essentials in life and music.” It would have been interesting to receive at least some insight into how and why Gustavsen chose the Bach compositions and how he and his fellow musicians developed the takes that feature here. The same applies to the Norwegian hymn that opens the album. Even a little bit of history on the song would have helped to increase appreciation for the song, as well as the trio’s rendition of said work. Knowing that the lack of that of extra information does detract from the listening experience but is not enough to doom the album, there is at least one more positive to note, that being the album’s production.
The production exhibited in this album is of note because of the obvious sound balance in each composition. Being that so much of this album is so subdued (again like albums released by other acts through ECM Records), so much attention had to have been paid to all three musicians’ performances. Each had to be balanced to the utmost, considering how quiet so much of this music is. Luckily for Gustavsen and company the result is the noted expert balance. The emotion that said work brings out in each song serves well to keep audiences engaged. To that end, the production of the album’s songs pairs with the songs themselves to give audiences at least some reason to take in Seeing.
Seeing, the latest album from Tord Gustavsen, is an intriguing offering from the veteran pianist and addition to this year’s field of new overall albums. That is due in part to its featured arrangements. The arrangements in question are secular and non. Some are updated renditions of timeless compositions and others are originals, each unique in its own presentation. Each composition is well worth hearing in its own right. While the arrangements are unique and well worth hearing, the lack of any background on the songs detracts from the record to the point. That is because of the added appreciation for the songs that said material would have presented. While that lack detracts from the album’s presentation, it is not enough to doom the album. To that end, the record’s production works with the songs themselves to give audiences at least a little more reason to take in this record. All things considered Seeing proves itself worth hearing at least once.
Seeing is available now through ECM Records. More information on this and other titles from ECM Records is available at:
Website: https://ecmrecords.com
Facebook: https://facebook.com/ecmdrecords
