Tord Gustavsen Trio, Seeing Review

by Stamish Malcuss

With Seeing, Tord Gustavsen returns to the trio format that has garnered critical acclaim since his debut album Changing Places (2003). His latest offering on ECM Records, produced by the iconic Manfred Eicher, reflects a maturity and introspection that align with the pianist’s reflections on life and music. Each note, rhythm, and silence is carefully considered as the Norwegian pianist, joined by longtime collaborators Steinar Raknes (double bass) and Jarle Vespestad (drums), delves deep into compact song forms, emphasizing restraint, nuance, and the potency of space.

From the opening moments of “Jesus, Gjor Meg Stille,” the trio establishes the album’s explorative tone. This traditional Norwegian hymn is given an ethereal treatment, with Gustavsen’s liturgical pianism cascading over Raknes’ bowed bass and Vespestad’s colored and flowing drumming. The piece exudes a spiritual calm, drawing the listener into a world where simplicity holds profound emotional weight. There’s a haunting beauty in how the trio lets each phrase breathe, a hallmark of Gustavsen’s approach to this album.

Gustavsen’s originals, including “The Old Church” and the title track “Seeing,” continue to explore this introspective terrain. “The Old Church” moves with a quiet reverence, hinting at gospel undertones, while Vespestad’s delicate cymbal work and Raknes’ reflective bass solo add layers of subtlety. In “Seeing,” the trio dives deeper into meditation, with Gustavsen’s piano leading the way through spacious landscapes of sound. The music has a palpable sense of pathos, but it never veers into sentimentality. Instead, the trio seems intent on distilling emotion to its most essential form, offering moments of transcendence.

The counterpoint between Gustavsen’s piano and Raknes’ double bass is one of the album’s most compelling features. On “Christ Lag in Todesbanden” and “Auf meinen lieben Gott,” both based on chorales by Johann Sebastian Bach, Raknes’ playing provides a rich, resonant foundation for Gustavsen’s reflective interpretations of the timeless material. Though rooted in the classical tradition, these pieces are transformed through the trio’s European Jazz approach. Gustavsen teases out the melodies with lyrical phrasing, allowing each phrase to linger and dissolve into silence before the next begins.

“Extended Circle” is perhaps the album’s most emotionally stirring moment. The melody unfolds slowly, revealing itself with patience and grace, while Raknes’ bass solo, full of warmth and woody resonance, fills the space with a quiet intensity. Vespestad’s brushwork here is masterful, adding texture without ever overpowering the composition. The trio’s ability to listen to one another and respond in kind is on full display.

The album’s closer, “Seattle Song,” offers a glimpse into the trio’s more spontaneous side. Born out of a soundcheck in Seattle, the piece was initially conceived as a piano solo, but Raknes and Vespestad’s subtle contributions transformed it into a trio composition. There’s an immediacy to the performance as if the musicians are discovering the piece in real-time, yet it remains cohesive and deeply felt.

What makes Seeing remarkable is its restraint. Gustavsen has chosen to forego extended soloing in favor of shaping each piece as a collective expression. This decision results in an album that feels organic, with the trio focusing on “maximizing the fundamental details,” as Gustavsen puts it. The result is a recording that invites repeated listening, revealing new layers of nuance with each pass. For those unfamiliar with Gustavsen’s work, Seeing is the perfect introduction to his unique blend of jazz, classical, and Scandinavian folk traditions. For longtime fans, it offer another quiet masterpiece that speaks volumes in its stillness.