Recording of the Week, Tord Gustavsen Trio, 'Opening'

Jarle Vespestad, Tord Gustavsen & Steinar Raknes (Photo credit: Caterina Di Perri)

I promise, we do listen to more than just ECM’s piano trio releases here, but with the recent spate of releases from folks like Kit Downes and Marcin Wasilewski, it’s been quite fruitful hearing what the label has to offer on this front. Norway’s Tord Gustavsen originally undertook studies for a bachelor’s degree in psychology (snap!) before shifting career paths with three years of jazz at the Trondheim Musikkonservatorium, and following a few years of music teaching began releasing his original music on ECM in 2003 with Changing Places. Three releases with his own trio were followed by more expanded ensembles, including a mostly new set of musicians for the quintet on 2009’s Restored, Returned, eventually scaling back down to the well-trodden piano trio formation for 2018’s The Other Side. His affinity for understated yet lyrical melodies see him right at home on ECM, and while music as ethereal as that on Opening could perhaps be dismissed as mere mood music, there’s a great depth to enjoy in the band’s communication and use of texture that makes for a surprisingly relistenable record.

Despite numerous line-up changes over the years, one of Gustavsen’s closest musical collaborators, drummer Jarle Vespestad (a founding member of supersilent for the first 10 years of its existence), has appeared in every iteration of the pianist’s band – and it really shows where tempos start to get really loose as the trio dial up the rubato, still held together with Vespestad’s elastic time feel. Opening is also the first Gustavsen Trio recording to feature bassist Steinar Raknes, who performs both upright and electronic duties on this album. The newcomer definitely makes his presence known throughout the runtime, with some confident use of counterpoint as well as some tasteful foundational playing that slots in neatly between Gustavsen and Vespestad. Outside of the usual sub-frequency rumble Raknes also enjoys the odd moment in the spotlight, the tasty solo on ‘Stream’ being a particular highlight.

Photo credit: Caterina Di Perri

Where Opening really begins to shine, though, is in its more adventurous moments. As expected, the trio’s texture keep things pretty light and airy, but things start to get more interesting when the group incorporate more direct communication into their sound; listen out for the deft interplay between the low toms and higher-register bass notes on ‘The Circle’, which makes for some real acoustic ear candy; meanwhile ‘Findings II’ feels like the polar opposite as the trio fully loosen up the time feel of the piece. Raknes also comes to the forefront for some of the less conventional moments on the pieces, playing reverberated guitar-like leads on darker tunes like ‘Helensburgh Tango’ or ‘Ritual’, as well as the haunting melodies that begin ‘Re-Opening’. Raknes, despite being a fresh face to the trio, ends up being a key component in the sound of Opening, contributing just as much to the groove as the atmosphere of the record itself.

Even as the record goes into some low-key melodic territory, where things are kept unsurprisingly minimalistic, Gustavsen’s originals do retain a certain singable quality that encourages his bandmates to come along for the ride, rather than letting things get too dour. Elsewhere Opening draws upon Gustavsen’s wider repertoire of Scandinavian music, be it on the trio’s interpretation of Geirr Tveitt’s ‘Fløytelåt’ (‘The Flute’), or Egil Hovland’s ‘Vær sterk, min sjel’ from the Norsk Salmebok (the Norwegian Hymnal). Gustavsen also pays tribute to Jan Johansson in his quoting of Swedish folk tune ‘Visa från Rättvik’ at the end of ‘Findings’, drawing inspiration from the late pianist’s own interpretation of the song. Between careful chemistry, stirring melodies and novel use of texture, Opening is sure to be an essential listen for any discerning piano trio enthusiast.