| Terje Rypdal (born 23 August 1947 in Oslo) is a Norwegian guitarist and composer.History
2 Discography
3 External links
3.The Vanguards, Rypdal turned towards jazz in 1968 and joined Jan Garbarek's group and later George Russell's sextet and orchestra.Rypdal's collaborations both as a guitarist and as a composer with other ECM artists such as Ketil Bjornstad and David Darling in the 1990s are noteworthy.Today, he is an important member of the Norwegian jazz community.CD as Euro Series 468036 504) 1971
Popofoni (Krog, Garbarek, Rypdal, et al.Triola TRCD 06) 1990
Vegmerker (Trondhjems Studentersangforening) (Pro Musica PP9022) 1990
Q.This page was last modified 02:17, 16 December 2007.Norwegian guitar icon Terje Rypdal
surfaced more than three decades ago as a new guitar voice, but he
strode out of the fields of rock music, not jazz.Since coming onto the scene and recording extensively, he has
influenced guitarists in the U.Rypdal was laying down at that time with a band called
Dream.Great Britain, where
Hendrix had spent time playing music.He had just heard that he was
dead.The electric music of Miles Davis is important to Rypdal and his
longtime friend and associate, trumpeter Palle Mikkelborg.Rypdal, and not just a
Miles tribute.Gjersum gave him, as a Christmas gift, The Complete Bitches
Brew Sessions (Legacy Recordings, 2000).That
happened during the rehearsal.Palle has changed
in maybe five or six years, especially in the use of all the pedals
and things.He was very important to Bitches
Brew..Since then, I
met him several times.They are threaded through certain parts
of the album, and Terje actually plays over some of the chordal
movements he wrote a while ago.So I combined those things.And then what the musicians
contributed is important of course.For Rypdal, the disc is the latest in a long line of ECM recordings
and the latest document of a long musical journey that started in
Oslo, where he was born.He studied piano at a young age and also
trumpet for a time.We played instrumental
music in the beginning.Before that, maybe I had four lessons or something.That was very important.Some of his influences over time have included Eddie Van Halen, Wes
Montgomery, Kenny Burrell, Charlie Byrd, and John McLaughlin.He was trying to develop the guitar sound he
was hearing.He had the good fortune of some help from a bonafide
rock star.We were in London recording in 1965 or 1966.Because of a
friendship between our manager and Chris Blackwell, I was introduced
to Stevie Winwood.It was around this time he decided to forgo going to school for
electrical engineering and plunge into music.At the end, even Jan
Garbarek was part of the band.Essence of George Russell (Soul
Note, 1966) and Electronic Sonata for Souls Loved By Nature
(Soul Note, 1969).Rypdal was more immersed in rock and pop, and had classical
influences as well from his childhood.The idea of playing jazz was
at first a bit puzzling.Here at home, from time to time, I play it.If I started
to play jazz three or four years earlier, it might have happened.He says he played longer melodic lines, and gradually
learned to control speed and incorporate that into his playing, as
needed.Sart (ECM, 1971)
and wrote a song for the recording.ECM, Terje Rypdal (ECM, 1971).The guitarist says the long ECM association has been a boon to his
career.Buddy Prize, the highest honor granted by
the Norwegian Jazz Musicians Association, has continued on a career
that has been fruitful and allowed him to make a good living.Miles played here a
few years before he died.As for the music scene, Europe is a place where American musicians
can find work they might not find in the states.All of Europe and Norway.Europe is still a
good market, especially during the summertime.They are
playing in too many groups, to make a living.Skyward, it started when the
album Skywards (ECM, 1997) came out.Then there are a couple commissioned works.So this year will
be quite busy I guess.Can you get
someone to invite us?But it
seems this album, we already have quite a few nice reviews from
England and so on.So, that might
be possible.Because it would not be too expensive.Hopeful Day
Herbie Hancock: Inspired By the Written Word of a Friend
Sue Graham Mingus: All the Things You Could Be By Now If Charles'...Trio of Pat Metheny Group Reissues
Anita O'Day: Indestructible!"Are you sure you want to block this user?Band MembersOnly the tiniest fraction of players can claim to have produced as unique a sound as Terje Rypdal: Holdsworth, Fripp, Hendrix, and not many others beyond.The Blue Shadows) (Norwegian label?Come Together: Guitar Tribute To The Beatles, Vol.Norwegian guitar icon Terje Rypdal surfaced more than three decades ago as a new guitar voice, but he strode out of the fields of rock music, not jazz.Jan Garbarek and renowned composer George Russell brought him to the eye of American listeners, through the ECM label with which he has been affiliated since 1970.Since coming onto the scene and recording extensively, he has influenced guitarists in the U.Rypdal was laying down at that time with a band called Dream.In the studio, the band cut an album in the late 60s called Get Dreamy, which featured a lot of the Hendrix music.So I followed up and called.London and somebody asked me to pick him up at the airport.He had just heard that he was dead.That was two days before it was official.The electric music of Miles Davis is important to Rypdal and his longtime friend and associate, trumpeter Palle Mikkelborg.It was Mikkelborg who recorded the album Aura (Columbia, 1989) with Miles.Rypdal, and not just a Miles tribute.Even some quotations (are the same).That happened during the rehearsal.The guitarist says both he and Mikkelborg are happy with the project.Palle wants to play like Miles.In fact, they got to be friends.Palle has changed in maybe five or six years, especially in the use of all the pedals and things.He was very important to Bitches Brew..Miles and that special period.And then what the musicians contributed is important of course.He noted there is some thought being given to taking the music of on a live tour.Before that, maybe I had four lessons or something.That was very important.Then I started to listen to all the British players.He had the good fortune of some help from a bonafide rock star.Because of a friendship between our manager and Chris Blackwell, I was introduced to Stevie Winwood.He actually spent 10 minutes teaching me how to use a Marshall, which was very new at that time.While playing, Rypdal studied composition under composer Finn Mortensen, and also began to study with jazz composer George Russell, whose work with modal music was a huge influence on the likes of Miles Davis and John Coltrane.Eventually, Rypdal began performing music that was linked to jazz, with a group led by Russell, and one lead by Garbarek, who had played earlier with Terje in the band Dream.These parts were extremely difficult, so I spent two or three months just trying to learn.Essence of George Russell (Soul Note, 1966) and Electronic Sonata for Souls Loved By Nature (Soul Note, 1969).The idea of playing jazz was at first a bit puzzling.Here at home, from time to time, I play it.ECM, Terje Rypdal (ECM, 1971).Buddy Prize, the highest honor granted by the Norwegian Jazz Musicians Association, has continued on a career that has been fruitful and allowed him to make a good living.Rypdal adds another Miles story.What kind of car is this?All of Europe and Norway.Europe is still a good market, especially during the summertime.They are playing in too many groups, to make a living.That will probably be the next ECM release.So this year will be quite busy I guess.Can you get someone to invite us?But it seems this album, we already have quite a few nice reviews from England and so on.This band would probably cost too much to travel with.So, that might be possible.InfluencesGrieg, Hendrix, Miles, Ponderecki, Debussy, early Clapton.Sounds LikeSounds like TERJE RYPDAL himself.Odyssey, so much loved by Terje Rypdal and very little loved by ECM, from 1975 ("Adagio").August 1947 in Oslo) is a Norwegian guitarist and composer, who spaces between jazz, rock, ambient and classical music.ARP Strings Ensemble Synth.I'm informed by those hailing from the region) Rypdal is prolific and perfectly at home in the progressive alley, though chiefly ignored there.Here was a guy inescapably destined for musicianhood.Brecker band), the second of which released one LP, Get Dreamy.In that frame, making a move to expose his solo work, the Dream LP having been sufficiently impressive, Bleak House released in 1968.Electronic Sonata for Souls Loved by Nature (1969) was to be Russell's most lauded work and carried not just Rypdal but also countrymates Jon Christenson and Jan Garbarek, who, along with Terje, would soon become firm vertebrae in the early ECM Records backbone.Red Mitchell and Manfred Schoof likewise appeared, with Russell himself on piano, and it was blaringly obvious the guitarist was not going to have to spend any more time in the minor leagues.Rypdal got in a few Hendrixian and idiosyncratic licks.Russell though, was gratified with all three, booking them into a studio as a separate ensemble, recruiting yet another future ECMer, Arild Anderson, on bass.The guitar figured far more prominently here.The sobriquet of 'fusion' hits the group's nail far more squarely on this outing than had the more elliptical Russellian style, as the gents were basically just blowing, oft starting out with manners only as a pretext to intensive muscle flexing.Russell had the maturer voice, counting more years of experience and study, but the lads hadn't been unconscious, only slightly handicapped with youthful exuberance and a trifle of the impatience that always marks such formative years.Moody, laconic, and abstract, the LP's as fine an introduction as might be desired.Everyone had a chance to strut, with Rypdal embedded like the foremost jewel in an effusive crown.Tight," was portentous of what would be the stringbender's chief voice for many years.Ere long, the guitar is laid down, switching to flute, while Eckehard Fintl dubs in his moaning oboe atop a bowed bass obliquing the background.Meanwhile, eerieness was not a condition scamped by the player and the 15:45 "Electric Fantasy" gave an opportunity to dwell at length on the dark side, with wife Inger waxing forlornly angelic in the foreground.Like Abercrombie, when he switched from wailing maniac to leader, Rypdal was chastening himself appreciably on this track, favoring the group format.Falsini mode, with Hendrix and McLaughlin yet strongly lapping up on the stones at the cosmic shore; the group's sound waxed frequently somewhere between the spacier King Crimson and Eberhard Weber.Knutsen aped both Fripp and MacDonald in brief spurts, plying the divine mellotron for one of the most aggressive exposures it would receive on any ECM disc.That track was completely unexpected, immensely surprising.Holstian splendor, pumping frantic blood into sanguine veins, only to collapse back to a depressive glorious funk, once more Mahlerian.Rypdal was never very much in the genre's eye but savvy consumers knew both him and the impeccable ECM, constantly on the lookout for new material from each.The guitarist's style was fairly settled now and he'd hold to it for an appreciable period, to the delight of a building fan base.Only wife Inger had any auxiliary part, encanting wordless etherealities.Waves rolled into the market, Terje had recaptured Jon Christensen, then snagged the estimable Palle Mikkelborg (trumpet, fluegelhorn, and keyboards).This meant that he was back to complementary playing and this date became actually more Mikkelborg's showcase than the guitarist's.The atmosphere's energetically somber except for a bizarre "Stenskoven," more toward what Frisell would later do with Americana themes than anything else and a jaded carnival ditty in progressive drag.DeJohnette release (1979) was striking in several ways.DeJohnette had been listening closely to Christensen, and if there's anyone a drummer can be complimented in being emulated by, it would be Jack DeJohnette.Weather Reporter and long a staple in the early fusion scene (having played with McLaughlin and such) came equipped with an Eberhard Weberian proclivity to bowing in highly lyrical lines, never content to merely sit as a rhythm box.Above them, Rypdal swooped and scried, a bent angel weeping at the world's pain, relishing its mysteries, warping between dimensions.Descendre (1980), appropriately tapping out declivitous notes for "Avskjed," a different affair from Waves, funereal in its long slow rock base."Innseiling," rev'ing up the blood.Vitous, then so was the new To Be Continued (1981), similarly peppered with spikes from its predecessor.Everything was like the first days...Every so often, a player has to answer the unasked question and it was the Norwegian's turn in the barrel.The phraseology's slow and meltingly delicious, guitar emerging from beneath the earth to intone bizarre distorted groans and grumbles.In point of fact, though it couldn't be known at the time, the song foreshadowed later much more pronounced neoclassical urges.Sharrockian side of the player.It was the '80's but Rypdal was reviving the meltingly descriptive ploys of the '70's guitar environment, where texture and illustration were staples, not merely the more adjunctive speed and complexity.Blue (1987) commenced oddly, with mutated Crusaders echoes, containing elements never heard in Rypdal's catalogue.Terje's decision to lean more heavily, albeit with a measured hand, into his keyboard was likewise a wise decision.He splayed himself across it as if in a Pollock painting.The normally pensive player had never been this prolix nor this weirdly melodic.Equally unusually, both songs comprised the core of the LP and were the only two not written solely by Rypdal.The Singles Collection (1989) wasn't billed as a Chasers band but that's what it was, plus one, as the liner notes in the CD version show.Fusionists were enamored of much of this surprise but not all.Singles out, agreed the damn thing was pretty unique and worthwhile.Pat had in the epochal Wichita Falls and Offramp.He's placed within the pantheon through accomplishments as an extremely iconoclastic musician who spent two decades constantly polishing and extending a niche all his own, excelling within it like few have anywhere, even in much more familiar derivative milieus.Only the tiniest fraction of players can claim to have produced as unique a sound as Terje Rypdal: Holdsworth, Fripp, Hendrix, and not many others beyond.Rypdal has been with me for a long time...Thanks for the friendship.Many Thanks For The Add !Infinite pleasures, immoderate success, projects without boundaries, unlimited luck and atemporal wishes for the year 2008!Terje,Thanks for adding us.We'veboth loved your music for years.Thank you big time for accepting!Many thanks for the add!Hi Terje,thank you for the add.The first time was a concert with Bare Phillips.Tnx so much for adding me..I'm a big fan of your work since the beginning of the 80's.Sweet dreams both when awake and asleep, as ever!Hi Terje,If you visit my space, you can listen to my "Jungle bells"!I'm an old french fan of your music.You are one of the most original and sensitive guitarist I know.Fight Club, Stockholm, tisdagen 4 december.IT'S ALWAYS A PLEASURE TO BE HERE!Quality), Groupietunes (Ringtones) AND more...THANX FOR UR FRIENDSHIP!Tusen tusen takk for adden!!!!!Thank you for the add and for your inspiration over the years.Terje blir det noe mer Vanguards?This is not a MySpace login page, please do not enter your MySpace login information (email address or password).Do you wish to continue your form submission?"Id + " Text: " + targetLink.You have no recently viewed items or searches.After viewing product detail pages or search results, look here to find an easy way to navigate back to pages you are interested in.Look to the right column to find helpful suggestions for your shopping session.This list provides a comprehensive overview of Terje Rypdal's
work.The list is in chronological order
where the year refers, in general, to the recording date.All
items are in LP format unless stated otherwise.Note that compilations of otherwise available material and
repackages are, in general, not included in this list.Please direct any additions, corrections, etc.The Vanguards: Hjemme igjen.Continental CTL 1005 (N)
(also on: Norsk Rocks Historie, Vol.Jeg skuler tarene i regn.The Vanguards: Norsk Rock's Gyldne Ar.Terje Rypdal: Bleak house.This CD is shared with other artists).Jan Garbarek: The esoteric circle.George Russell Sextet: Trip to Prillarguri.George Russell Orchestra: Listen to the silence.The New Eternal Rhythm
Orchestra: Actions.Terje Rypdal: What comes after.Inger Lise: Den stille gaten.Terje Rypdal: Whenever I seem to be far away.First New Jazz Festival Hamburg.Michael Mantler: The hapless child.Ruphus: Let your light shine.Popol Ace: Silently loud.Terje Rypdal: After the rain.Barre Phillips: Three day moon.DeJohnette: To be continued.Inger Lise Rypdal: Just for you.Bratislava Jazz Days '85.Garden Of Delight: Big wheels in emotion.The Blue Shadows: Nice Guys.Terje Rypdal: The Singles Collection.Sandvika Storband: Contemporary music for big band.Heinz Reber: Mnaomai, mnomai.Terje Rypdal: If mountains could sing.Tomra Brass Band: Deep harmony.This CD is shared with other
artists).Christensen: The sea II.Music of Krzysztof Komeda.Knut Mikalsen Bopalong Quintet: Road songs.Terje Rypdal: Double concerto.Terje Rypdal: Lux Aeterna.Ronni Le Tekroe: Magica Lanterna.Rypdal Tekroe: The Radiosong.Michael Galasso: High lines.The Vanguards: Vanguards Special.Terje Rypdal: Selected recordings. |
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