TERJE RYPDAL - MIROSLAV VITOUS - JACK DEJOHNETTE

This album was fantastic. Rypdal rolls with one of the best bassists and my favorite drummer. The trio works perfectly together to create various dynamic and melodic ideas that one would expect from such a trio. Each member plays the way they always do. The songs were somewhat varied in tempo/pacing, but there was a similar texture throughout the album, not unlike most ECM albums. This time the texture wasn't so much due to the recording techniques but from Rypdal's use of a guitar synth. He used it quite often actually, but it wasn't detracting of the music. DeJohnette has said he loves playing slow, ballad tempos which is good considering some of the songs on here.

I used to be upset when a drummer wouldn't be playing. I like to feel a beat to a lot of music, but as I've gotten older and listened to more music you come to the realization that drums don't need to be played 100%, 100% of the time. DeJohnette is a master of the dynamic range and textural elements that are available with a drum set. He makes use of this in all situations. Without him on this album I probably would not have liked it as much. However, he was there and complimented Rypdal's synth experimentations.

That being said, the entire album is not one big Guitar synth experimentation, but did feature it as I mentioned before. This album is one to get if you are a fan of any or all three of these wonderful musicians. Although I feel the best performances here were from the supporters rather than the leader.

I'm not sure how these three guys got hooked up but i'm sure glad they did. Terje Rypdal is from Norway and is a classically trained guitarist, he also plays guitar-synths and organ. Miroslav Vitous is from the Czeck Republic and is also classically trained. He of course played bass on WEATHER REPORT's first three albums. Interesting that he plays a lot of bowed bass on this record as well as some electric piano. Lastly American Jack DeJohnette plays drums and is well known for his time with Miles Davis from 1969 to 1972 including playing on "Bitches Brew". He's played with so many greats over the years though. Interesting that they recorded his cymbals with mics above and below them so we can hear what the drummer hears when he plays them. The music here is very much about creating soundscapes that are often melancholic yet to me uplifting.The colours used to paint here are similar to the sky on the album's cover, and it's not that melodic, yet there is something very special and unique about this recording.This is as different as the countries from where these three guys came from, yet when brought together their common love of music shines through. Some have said this is Jack DeJohnette's greatest performance, he certainly is prominant and intricate throughout.

The first two compositions were written by Rypdal. "Sunrise" opens with intricate drums and cymbals as bowed bass and guitar-synths come in. The guitar takes the lead around 2 1/2 minutes as bass joins in. The guitar is crying out 5 1/2 minutes in. Jack has not stopped and won't until the 8 1/2 minutes of this song are over. Check out the guitar 7 minutes in. "Den Forste Sne" which means "The First Snow " opens with guitar that seems to echo, then deep bass lines follow. Intricate drums and cymbals before 2 minutes. Bowed bass comes in and it sounds so sad as organ and cymbals support. This is pretty slow going. Guitar and drums after 4 1/2 minutes liven things up though.

The next two compositions are from Vitous and coincidently they are my two favourites. "Will" opens with electric piano as cymbals, guitar then bass come in. So much going on but it is at a fairly slow pace. It just sounds so good. Some bowed bass before 3 minutes, and the guitar cries out before 5 minutes as piano, bass and drums continue to play on. It settles down late. "Believer" is spacey to start with synth-guitar before piano and bass come in. It gets louder with the guitar crying out 1 1/2 minutes in. Nice bass here too.The drumwork 4 1/2 minutes to the end is excellent.

The final two tracks were composed by all three members."Flight" is an impressive track as drums and bowed bass take the lead early then guitar comes in 2 1/2 minutes in ripping it up. A top 3 tune for sure. "Seasons" features lots of synth-guitar as drums impress early. Bowed bass after 2 1/2 minutes with organ. Check out the bass 4 minutes in. Guitar takes the lead a minute later although bass continues. Synth-guitar 6 minutes in as it calms down, then bowed bass returns.

Anything i've heard from Terje Rypdal usually is not an easy listen, and this is not the exception.

Trio of great jazz musicians plays aerial, very liquid, down-tempo electric jazz fusion there. Rypdal's guitar technique is very specific, he plays electric guitar as built air castles in the sky early autumn's still warm night. His sound is not far from you, but he always has a distance. Slightly melancholic, but mature and very philosophic.

Miroslav Vitous brings his Eastern European soft-warm bass vibrations, when DeJohnette is master of atmospheric jazz drumming - minimalistic, but always presented. Possibly, one of the best Rypdal albums, highly influenced by unique combination of musicians temperaments.

Album's music is similar to ambient soundscapes, but with light rhythm section presented in sound. It helps to have better frame and structure, but didn't destroy dreamy and clear characteristic ECM-sound .Whenever high quality music, this album could attract ambient, new age, jazz and fusion lovers. Very good entrance to Rypdal discography as well.