Matti P Norwegian jazz pianist and composer TORD GUSTAVSEN (b. 1970) has recorded albums since 2003, with either the word trio, quartet or ensemble following his name on the cover. Years back I have grown a fondness for two of his trio albums, featuring naturally piano, bass and drums.

This 53-minute album is my first acquaintance for his quartet format, the fourth instrument being a tenor saxophone. I am very rewarded, as the essence of his music remains to be lyrical, serene and introspectively thoughtful, in the finest ECM tradition. The touch of the legendary producer Manfred Eicher is easily recognized, and to a fan of the label that's a positive thing. Sax helps to get associations to Jan Garbarek in the overall spirit, but Gustavsen's music with the emphasis on piano has its own individual personality. The presence of the sax is mostly inferior to the piano during the whole album, and whenever it arrives, it adds another thoughtful element to the sound without breaking the harmonic introspection.

On the slow, melancholic 'Prelude' the sax just gently breathes along the piano melody. On the slightly louder but apparently saxless track 'Playing' the drums appear even before the piano starts, and the double bass is occasionally played with a bow, thus resembling a cello. The longest piece 'Suite' (8:19) has a beautifully calm first section to where the sax arrives as the melodic lead instrument for a while. The track flows very elegantly with a mysterious flair. The sense of a dream or a mystery is even stronger on 'Communion' where the percussion is very sparse and where there are occasionally some peculiar wailing sounds. The quiet, breathy sax is lovely.

I remember some almost Elton John reminding sweet piano melodies from an earlier trio album, and here 'Circling' does the same. That nicely prevents the album of becoming too introvert. Nevertheless, safe to say that to enjoy this album a lot requires a sincere taste for moody introspection and serenity.

Amilisom Extended Circle was my introduction to the Norwegian pianist Tord Gustavsen and his quartet.

As an ECM release, this album lives up to its name. It is spacious, contemplative, and has a slight trace of third-stream classical romanticism. The spacious quality is most present in "Entrance", a free track where the tenor sax quietly plays notes into the dark silence, joined occasionally with high and quiet chords in the piano.

Because I was given this album as a gift, I was disappointed to find a lack of virtuosity. Rarely throughout the album does anybody play a compelling lick that I would want to transcribe and work into my own playing. However, the value in this album comes not from the licks, but from the group as a whole. The quartet does a fantastic job communicating with each other. Everybody in the group contributes perfectly to what each track is expressing. For example, the drummer and bassist are always unified in establishing the light, delicate groove in a way that could be easily messed up by other rhythm sections. Nobody ever gets in the way of any of the others, either.

In spite of its excellent execution, I would personally say this falls within the 3-3.5 star range. It's a good one, but certainly not a masterpiece.

idlero After three successful and critically acclaimed trio albums Tord Gustavsen decided to expand the format by adding Tore Brunborg on sax and, probably the most significant change,Kristin Asbjørnsen on vocals while Mats Eilersten on bass replaces Harald Johnsen. Although very well received by the critics, it seems the fans were less enthusiastic about Kristin Asbjørnsen's performance on vocals. I'm not sure how much this fan reaction made an impact on the artist but fact is that for the next albun-'The Well' just released in 2012, Tord Gustavsen kept Tore Brunborg on sax but gave up the vocals, maybe he will use them again in future albums. Does good poetry ('Restored, Returned' is inspired by the work of WH Auden) make good jazz ? Some will approve, others will disaprove, after all 'Beauty is in the eye of the beholder' as they say.Personally I haven't met yet a jazz album built on good poetry to knock me down but poetry is not exactly what I'm looking for, even in a vocal album. The sound in this album is more jazzy and bluesy with less classical influences and with some Middle Eastern harmonies present in two tracks. Tore Brunborg's sax which reminds me of Jan Garbarek brings a pleasant new dimension to the music. The vocals are a different story. It took me some time to get used to them-in some tracks they come very unexpectedly, even after several listenings when KA starts singing I am surprised(and not always in a pleasant way), I can understand why not everyone loved Kristin Asbjørnsen's husky voice and rather melodramatical style , she plays in seven tracks but some of the tracks the vocals are wordless. Undoubtely the instrumental parts and tracks are the strong side of the album. 'The Gate' and 'The Swirl / Wrapped in Yielding Air' are my favourite tracks. A good album which might need several listening to get into it, but if you're expecting another down-tempo with classical influences instrumental album like TG's previous three albums, then this album is probably not for you. No doubt Tord Gustavsen's most eclectic album to date(release date) and a much needed change after three great instrumental albums which sound more or less alike.