Stunning "old school"
One of the best collections of what I'd call modern "old school." Reminds me of my days listening to the "new" Brubeck album I just got on my hi-fi. But, with a clean modern sound that is all their own.

Wonderful playing, excellent production, and vivid imagery
Tord is a very talented pianist. This album is perhaps one of the best demonstrations of his talent as a composer and performer. The tracks are mostly downtempo lounge jazz, but there is a very palatable nocturnal feel that I haven't found anywhere else. I think it's what every jazz pianist wishes they could invoke when they play softer music. The more upbeat pieces feature some interesting improvisations, with good use of melodic and harmonic minor modes as well as some atonal playing. The highlight for me is the beautiful theme in Karmossin.

The sound of this album is phenomenal. Clean, rich sound on the drums. Prominent, full bass (perhaps too prominent). The stereo image of the piano is subdued compared to some other albums I've heard, but they dynamics do it for me. Tord's subtle use of sustain and attack lend the music a very textural quality that makes the album worth owning on that regard alone. The notes are like smoke, or liquid. He never carelessly plays the music every keystroke is the perfect realization of what the sound should be. The wonderful effect of the control with which he phrases his playing, combined with the interesting chords and voicings is truly beautiful to listen to.

As an album, not every piece is stellar. It is quite long, and I am impressed that they managed to put so much together when some of the songs are so rich.

just a bit too pretty
This is a very pretty disc. Too pretty in places. I am not surprised that it is apparently a big seller, though I bought it essentially ignorant of any hype, on spec. I didn't want to give it three stars, but four is slightly generous.

My problem with it is the suspicion of up-market easy listening that occasionally appears in the form of the sorts of easy modulations that would not be out of place in a chart pop-song or a 50's 'lounge classic', and which make me suddenly blink. There are not a lot of these but there are definitely slightly too many.

Aural pleasures
I love what these guys do. I remember using words like "dreamy", "spacey", "uncluttered" and "beautiful" to describe Gustaven's piano playing when I reviewed the trio's 2004 release The Ground some time ago, and all of those words could equally be applied here. Manfred Eicher reprises his role as producer and in many ways this album could be described as more of the same. I'm not complaining though. I feel this is a good thing because while the calming & emotionally healing quality of the trio's music remains intact, these compositions are all fresh, new, very original and very individual. I just love to put this kind of music on, sit back and drift away.

Two songs on this album did make me sit up from my reverie though. The gospel-flavoured "Blessed Feet" is one, and as soon as I heard the unusually funky drum beat intro, I knew it was going to be something different. The other is "Karmosin", the only song not written by Gustavsen (it was written by drummer Jarle Vespestad), and it's a beautifully abstract and idiosyncratically arranged song. It definitely stands out.

But all 13 songs are originals and as that's always something special in itself. I could go on to try and use fancy words to describe the drummer's kicks, taps and touches or double-bassist Harold Johnsen's fluidity and lyricism but a: I'm really not that clever and b: even if I were, this is a review of a listening experience and not a thesis for a music degree. (Message!)

All in all, I would describe the album as a collection of aural pleasures and that's about the best I can do. These dudes are a flawless jazz trio and this CD is another great buy. ECM have gone and done it again.

Astrological stars!
Other reviewers have articulated appreciation for TG (and the trio)'s work so well. Thank you. This music is soothing, healing and enlightening - simultaneously familiar yet unique. I'll just add for those of an astrological bent that I found it interesting that astrology seems to support TG's aesthetic: with Venus (planet associated with one's sense of beauty and harmony)conjunct Neptune (higher transpersonal octave of Venus) in Scorpio (music as eroticism per TG's words) opposite Saturn (planet associated with ascetic discipline and essential structure of self) in Taurus (a sign associated with music, particularly the voice - metaphor for TG's spare while melodic sensibility). This is certainly an incomplete reading, but an interesting metaphor for the taut balance TG achieves between a freely sensuous, personal, upclose feeling and an austere spacious sensibility.