CD Terje Rypdal: If Mountains Could Sing (CD 974908),
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Terje Rypdal: If Mountains Could Sing

  • 1. Return of Per Ulv, for strings & drums, The
    2. It's in the Air, for strings & drums
    3. But on the Other Hand, for strings & drums
    4. If Mountains Could Sing, for strings & drums
    5. Private Eye, for strings & drums
    6. Foran Peisen, for strings & drums
    7. Dancing without Reindeers, for strings & drums
    8. One For The Roadrunner, for strings & drums
    9. Blue Angel, for strings & drums
    10. Genie, for strings & drums
    11. Lonesome Guitar
  • Additional Info
    Manufacturer Part Number (MPN): 523987

  • Credits
    ProducerManfred Eicher
    EngineerJan Erik Kongshaug

    Personnel: Terje Rypdal (electric guitar); Christian Eggen (conductor); Terje Tonnesen (violin); Lars Anders Tomter (viola); Oystein Birkeland (cello); Bjorn Kjellemyr (bass); Audun Kleive (drums).
    Recorded at Rainbow Studio, Oslo, Norway in January and June 1994.
    Composer: Terje Rypdal.
    Personnel: Terje Rypdal (electric guitar); Jan Erik Kongshaug (electric guitar); Oystein Birkeland (violin, cello); Terje Tonnesen (violin); Audun Kleive (drums).
    Recording information: Rainbow Studio, Oslo, Norway (01/1994-06/1994).
    For twenty years electric guitarist Terje Rypdal (and ECM producer Manfred Eicher) have helped define the most sensual, moody, alluring aspects of European jazz and new music. And while Rypdal, the improvising guitarist, may structure his solos and chamber-like accompaniments in the manner of a jazz or classical composer, there's a lyric, rock edge to his guitar playing that will transport anyone who has ever contemplated the vocal cry of a Fender Stratocaster driven into distortion.
    But then Rypdal brings many styles of music to bear on his modern conception. From his earliest days with Jan Garbarek in George Russell's Sextet, Rypdal displayed a feel for the modal interplay of Russell and Miles Davis, and the tortured lyrical cry of Clapton and Hendrix. With the Nordic psychedelia of WHAT COMES AFTER and the chamber graces of strings and guitar on WHENEVER I SEEM TO BE FAR AWAY, Rypdal forged the template of his art.
    There is much of the midnight sun and northern lights on IF MOUNTAINS COULD SING, yet it begins with one of Rypdal's sunniest, most rhythmic designs. Imagine The Police or Santana (sans vocals) during one of their extended instrumental jams and you've got "The Return Of Per Ulv," with its gypsy airs built around Rypdal's soaring line. "It's In The Air," with its double-timed drums and its swirling, wintery drone, sets off Rypdal's edgy distortion lead in sharp relief, before giving way to Webern-like strings on "But On The Other Hand." Rypdal, like King Crimson, views 20th Century classicism and rock as mutually compatible, and there is much to enjoy in his music, from the coven's shuffle of "Private Eye" to the whimsical folk dance of "Dancing Without Reindeers."

  • Critic Reviews
    Down Beat (4/95, pp.36-37) - 4 Stars - Very Good - "...Rypdal's 15th for ECM neatly integrates his varied interests in pensive chamber compositions, catchy pop structures and outre soundscapes bursting with spikey guitar shrapnel..."
    JazzTimes (7-8/95, p.124) - "...On some tracks...spacy, expansive musical environments that reflect a wide variety of influences, including rock, Middle Eastern and Asian. Others...a kind of Arnold Shoenberg-meets-the-electric-guitar guided by intelligence, emotion and experimentation..."
    Option (7-8/95, p.133) - "...Uncharacteristically for Rypdal, several tracks on this album come perilously close to jazz-lite, but they are nicely balanced by some vicious power rock pieces and a good measure of his individualistic, dissonant writing for strings and guitar..."
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