Yeah, there's probably a Terje Rypdal thread already, buried somewhere in on like page 421 or whatever, but I've never had much luck with search engines. So I'm starting a new one.
I was kinda taken aback some time ago, when I looked up Rypdal's catalog on Wikipedia, and realized how much of his 70's and 80's output I have. Except for the eponymous album (his second album as a leader, first one on ECM), Blue and Undisonous, I have every single album he did during the 70's, 80's and 90's, on either CD or LP (and sometimes both).
So this weekend, I decided to buy the downloads from Amazon, of the eponymous album, What Comes After, Whenever I Seem To Be Far Away, and After The Rain. Except for the eponymous record, I have all of those on vinyl (bought back in the 90's, I think What Comes After was bought at a thrift store), but really haven't listened to them in ages. I now have every album Rypdal released as a leader from the eponymous album up through Chaser. I also got Barre Phillips' Three Day Moon, the bassist's 1979 album, which Rypdal also played on.
So last night, I listened to Terje Rypdal (I mean the album, silly) for the very first time. That strikes me as a very sort of free jazz record, less "fusion" there, except for the electric instrumentation, and especially Terje's always evocative guitar playing. Also kinda nice to his (now ex-)wife Inger Lise Rypdal's vocals on the one track she appeared on, I think it was Electric Fantasy.
I reacquainted myself with What Comes After, having probably not listened to it in over 20 years. I actually bought my LP copy, I think, at a thrift store my mom used to frequent. I'd go in occasionally to check the LP's, and I think sometime around 94 or so, I found that one. Probably only paid a buck for it. This album kinda seems like an extension of the free-ish areas of the previous record. It's almost a power trio kinda sound, because you've got Terje, Jon Christensen (who also played on the previous record) on drums, and there's two bassist credited, both Barre Phillips and Sveinung Hovensjø, though I'm not sure if they play together or if they alternate on different tracks. And there's also an oboist/English Hornist named Erik Niord Larsen, who plays on one or two tracks, I think. Anyway, it's a solid record. But it still feels like "baby steps" toward the next string of records, which I think are where Terje really hit his stride.
So this afternoon, I spent some time with first Whenever I Seem To Be Far Away and then Odyssey. Side one of the former finds the Rypdal/Christensen/Hovensjø trio joined by a French hornist and a keyboardist (playing electric piano, and wonder of wonders! A Mellotron, making a rare appearance on a "jazz" record). Side two is the title piece, Whenever I Seem To Be Far Away (Image for Electric Guitar and Orchestra), which I believe was the first Terje's "classical" pieces to be released. Fantastic music on this record. I think this is what Gustav Mahler might have sounded like if he had played guitar and led a "fusion" group.
Odyssey I consider to be one of the greatest of all "fusion" records. Originally a double LP (I own it in that format), here Rypdal again expands his group by adding an organist and trombonist, and really pulls out all the stops. My only thing is, I sometimes wish sides three and four had been reversed. See, the album opens with a track called Darkness Falls, and the last track on side three, Ballade, has always sounded like the sunrise, if you know what I mean. So to me, Ballade should have been the last track on the album (on the original CD release, it was, because side four was left off altogether). I dunno what to say about this record, to me this is in the same pantheon as Bitches Brew, A Tribute To Jack Johnson etc.
It's worth noting that the 3 CD reissue of Odyssey also includes an album length piece, recorded back in 74 or 75 but unreleased until this set came out a few years ago, called Unfinished Highballs, which is an extended suite of big band pieces, commissioned for and broadcast by Norwegian Radio. Again, this shows another side of Rypdal's music you don't often hear on his small band ECM records.
Since I decided to play everything I have in order, I have to stop here, because I'm in the middle of Rolling Stone, that LP side length piece from side four of Odyssey.