The Ground

1	Tears Transforming 5:38
2	Being There 4:17
3	Twins 4:57
4	Curtains Aside 5:15
5	Colours of Mercy 6:09
6	Sentiment 5:35
7	Kneeling Down 5:48
8	Reach Out and Touch It 5:49
9	Edges of Happiness 3:07
10	Interlude 2:03
11	Token of Tango 4:12
12	The Ground 7:16

Barnes & Noble

The ECM piano artist is a jazz tradition in itself. From Paul Bley, Keith Jarrett, Chick Corea, Bobo Stenson, John Taylor, and others to the latest shining light, Tord Gustavsen, the adventurous recording label has given visionary keyboardists freedom to develop their own unique voices, in both solo and group settings. Gustavsen has yet to record alone for the label, his main expressive avenue being the piano trio. United with bassist Harald Johnsen and drummer Jarle Vespestad, the leader has now fashioned two quietly dazzling albums that display the trio’s crystalline ensemble sound and Gustaven’s rare gifts as both an improviser and composer. An extension of their debut, Changing Places, The Ground is marked by the beautiful sound of group members perfectly in tune with each other’s musical sensibilities. The album may be characterized by ECM's overriding aesthetic -- meditative, lyrical, and dynamically sensitive interaction mixed seamlessly with eclectic leanings of gospel, classical, and subtle world music touches -- but Gustavsen and company put their own enchanting and captivating slant on it all. This is a recording to savor, and the Gustavsen trio is a musical unit that merits close attention. William Pearl

All Music Guide

In the proto-typical Scandinavian ECM style of modern jazz oriented music, pianist Tord Gustavsen follows the path of previous progenitors influenced by Bill Evans, forged by Keith Jarrett, and extended by the likes of Mike Nock. This is certainly late-night, nocturnal music, completely reserved and relaxing, ultra-melodic, calm, peaceful, and non-threatening. Rarely does a tempo move beyond medium, a dynamic merge above mezzo piano, and any mood goes farther than moderately cool. Well within this consistent timbre, Gustavsen and his trio show a modicum of diversity and influences. Fellow ECM labelmate Bobo Stenson's style and technique is most extant during the lilting "Edges of Happiness," "Twins" is spiritual, calm, and light but not somber, while "Token of Tango" is perfectly representative of its title. "Curtains Aside" mixes march rhythm in 6/8 with a regal light funk, the delicate waltz "Being There" is reminiscent of "The Shadow of Your Smile," while darker ballads "Colours of Mercy" and "Sentiment" sport undoubtedly religious overtones. Gustavsen, while playing laid-back, pristine, pretty, and serene music, is far from challenging convention or pushing the envelope. Conversely, his personal voice is fully realized. Time will tell whether this style finds a worldwide audience, moves away from this type of contemporary texture music, or takes the approach he has established to any more extreme measures, even softer or more forceful. Michael G. Nastos