Customer Reviews

Chaser

5 star:		(3)
4 star:		(3)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

I was lucky to see Mr. Rypdal and the Chasers perform this live at a protestant cathedral in Berlin. Unbelievable. If I only had one day left to live, this would be one of three albums I would listen to...how about you?

Norwegian guitarist Terje Rypdal never achieved the level of commercial success that his fellow ECM guitarists Pat Metheny and Bill Frisell eventually did, but he made some excellent music while earning a cult following. Rypdal's style is more than a little like Frisell's, in that place where sonic density, texture and timbre are as critical as note choices and phrasing.

A lot of Rypdal's music veers toward the ethereal, but this mid-80s recording introduces a "power trio" format with bassist Bjorn Kjellemyr and drummer Audun Kleive, a lineup that is an apt showcase for Rypdal's formidable chops and clever, knotty compositions. The opening "Ambiguity" would have made a solid four-minute rock song, but lumbers along for about nine minutes instead (the song's theme is finally stated at about the 3:20 mark, and then it settles down into a terse, dramatic rocker.) "Geysir" is a thrilling track, with Rypdal furiously improvising over a staggering variety of bass techniques offered up by Kjellemyr. The ballad "Ornen" is gorgeous, with soulful Strat tones, sonorous bass and that sumptuous slow 6/8 feel. "Chaser" rocks with a catchy melody and some very dextrous turnarounds; "Transition" might well have been the inspiration for the Pink Floyd instrumental "Marooned."

Americans don't know much about Terje Rypdal; calling him "Norway's Bill Frisell" is an oversimplification, but if you dig Frisell you will like this one a lot. Recommended.

I had no idea this album was so controversial until I read reviews. Many longtime Rypdal listeners pour contempt on his work from the 1980s, preferring instead to bow and worship before the altar of his 1970s albums. To this day, recordings such as What Comes After, Whenever I seem to be far away, Odyssey, Waves, and even After the Rain (a far inferior album) have passionately devoted cult followings. For 1985's Chaser, Rypdal opts for a simple power trio with relatively little keyboards, and no brass, woodwinds, or string orchestras. Bassist Bjorn Kjellemyr and drummer Auden Kleive would also accompany Rypdal on his next few albums, but none would have the fire, the intensity, the imagination, or the radical mood-swings of Chaser.

How can any Rypdal fan not be utterly floored by his howling, ferocious solo over a Kleive drum intro on "Ambiguity", one of his greatest recorded moments ever? Said solo suddenly staggers into rhythmic anthem rock just past the 3:10 mark before the original mood is finally resumed at the end. Turn it up to 20! Rypdal's furious, both-blues-and-jazz-influenced soloing has never been better heard or recorded. For further proof, listen to the wandering fluidity/rhythmic riffing of "Geysir" or the angular, frenzied pseudo-soundtrack work of "Chaser".

What probably rubs many listeners the wrong way are the dramatic atmospheric changes-of-pace inserted between the fiery improvising and faster-paced numbers. "Once upon a time", "A Closer Look", and "Ornen" all follow a similar pattern: slow, smoldering blues compositions that build to a guitar climax with much space for Kjellemyr and Kleive to add subtle, introspective solos. "Transition" is a brief guitar-over-keyboards piece, and "Imagi (Theme)" bids this world farewell-before-departure with tuned percussion and long-sustained tones that sound very close to guitar synth (which they very well may be, although the credits do not mention any guitar synth). In fact, this track would point ahead to Rypdal's next album, 1987's Blue, which featured the same line-up but with more experimental gadgets, more keyboards, and is a much shorter and less memorable album the austere-but-streamlined Chaser.

Many have suggested (or outright proclaimed) that Terje Rypdal is Norway's answer to Jimi Hendrix, Bill Frisell, or Steve Howe, when in actuality he is truly a category all to himself. While definitely an acquired taste, Chaser is his best album of the decade and one of his best ever. It is NOT a jazz album, a headbanging album, a blues album, or an experimental album, but a world of its own. Previous experience with Rypdal's playing is recommended but not necessary. I remain at a loss to understand why this set has been so maligned over the years. Maybe the backlash has more to do with the very un-ECM album cover rather than the brilliant playing and performances.

Ich habe TR im Jahre 1975 entdeckt und bis heute kann ich mir sein Mysterium nicht erklären.

I purchased this CD while on hiatus in Raleigh, NC, back in June,'91. Terje has had an impact on me since 'After the Rain,' which I purchased on vinyl in '75 while attending Michigan State. His gentle textures have mesmerized me to this day. This CD is more than passable, with Ornen and the beatuifully short and sweet Transition being among his most gorgeous work to date. Some of the songs are simply acceptable, but Ambiguity gets it off to a raucus, chaotic start...setting the mood for Ornen later. Well worth a listen or buy.

Woops, you know that other review I did that you wont see anyway. Well, that review was for this one. Lets just say, it's good stuff.

I've always been of an opinion that Terje Rypdal is a much better backing guitarist in other people's bands than he is a leader and a composer.

His compositions on the "Chaser" disc are chaotic and completely lacking any kind of substance. I could hardly get to the end of the CD. I was bored to death.

In general, the drummer Audun Kleive did a hell of lot better job than the leader.

BTW, I recommend another disc with Rypdal on a guitar: "Nordic Quartet" where he plays with SURMAN, KROG and STORAS. If you like a bit more serious Euro-jazz, listen to "Litania" by TOMASZ STANKO. Terje has a couple of great moments on that record.