Arild Andersen - Clouds In My Head (1975)

Sticking with ECM for the moment, but heading back into the 70s for another legendary bassist, here's the debut album as leader by the always prolific Arild Andersen, in an all-Norse quartet.  Starting off with the bright swing of 305 W 8th Street (singer Shiela Jordan's NYC address where Andersen once stayed), the intricate, melodic bassline that takes flight makes it unmistakeable whose album this is right from the off.

From there on, there's gentle, reflective material like Last Song (placed second, natch) and the gorgeous Song For A Sad Day (Knut Riisnæs taking a leaf from Garbarek's book, perhaps even more so in the title track).  The mellowness is interspersed with more uptempo tracks like Outhouse, which brings to mind The Windup from Belonging in its tightly-wound theme, the pensive Cycles, and the closing blast of The Sword Beneath His Wings, which was featured in Anderson's firey Molde set of 1981 (link below).  Jon Balke is a perfect, sympathetic pianist throughout, and Andersen's compositional and playing talents make this a lovely record to return to over and over.

link

pw: sgtg

Previously posted at SGTG:
Shimri

Green Shading Into Blue
Molde Concert
and featuring Arild Andersen:
Afric Pepperbird
Triptykon
Popofoni
In Line
Bluish

Achirana

Arild Andersen Quartet - Green Shading Into Blue (1978)

The follow-up to the gorgeous Shimri (link below) found Arild Andersen's quartet still as light and refreshing as an autumn breeze, but capable of channelling more blustery weather as well.  Sole hits a wonderfully light groove, with Lars Jansson judiciously introducing electronic keys for the first time.  The Guitarist really ought to have been named The Flautist, and is a serene breathing space before the next lengthy track, Jansson's Anima.  Juhani Aaltonen switches back to sax for some of his most firey playing on the album, whilst Jansson and Andersen provide mellower interludes.

Side Two kicks off with a groovy tribute to Andersen's partner of the time, Radka Toneff, before settling down into the rural twilight of the album cover.  The title track finds Jansson back on understated synth, as Andersen, rock-solid as ever, leads the way for Aaltonen's sax.  The home stretch of Jana is an upbeat drive home as the last light fades, capping off a typically gorgeous and evocative Andersen album.

link
pw: sgtg

Previously posted at SGTG:
Shimri
Molde Concert
and featuring Arild Andersen:
Afric Pepperbird
Triptykon
Popofoni
In Line
Bluish