SILJE NERGAARD — Nightwatch (2003) Two Version | FLAC (image+.tracks+.cue), lossless

Tracklist :
1    How Am I Supposed To See The Stars 5:36
Arranged By [String Arr.] – Magnus Lindgren
2    Once I Held A Moon 3:19
Arranged By [String Quartet Arr.] – Martin Östergren
Guitar – Tom Lund
Music By – Tom Lund
Saxophone – Magnus Lindgren
Voice – Georg Wadenius, Tom Lund
3    Dance Me Love 4:58
Arranged By [String Quartet Arrangment] – Martin Östergren
Trumpet – Peter Asplund
4    You Send Me Flowers 4:20
Backing Vocals [Additional] – Heine Totland
Guitar – Georg Wadenius
Percussion – Kenneth Ekornes
Vibraphone – Rob Waring
5    I Don't Want To See You Cry 4:41
Arranged By [String Quartet Arrangement] – Martin Östergren
Saxophone – Bendik Hofseth
Vocals [2nd] – Heine Totland
6    In A Sentence    4:32
7    Take A Long Long Walk 3:49
Arranged By [Horn Arr.], Saxophone – Magnus Lindgren
Music By – Nils Einar Vinjor
Trumpet – Peter Asplund
8    This Is Not América 4:39
Arranged By [Horn Arr.], Flute [Alto] – Magnus Lindgren
Flugelhorn – Peter Asplund
Guitar – Nils-Einar Vinjor
Written-By – David Bowie, Lyle Mays, Pat Metheney
9    Be Gone 3:57
Arranged By [Horn Arr.], Saxophone – Magnus Lindgren
Trumpet – Peter Asplund
10    Borrowing Moons 3:55
Guitar – Georg Wadenius, Hallgrim Bratberg
Trumpet – Arve Henriksen
11    Unbreakable Heart    3:33
12    On And On 5:24
Arranged By [String Arrangements] – Magnus Lindgren
Lyrics By – Silje Nergaard
Saxophone – Tore Brunborg
Credits :
Acoustic Bass – Harald Johnsen
Bass – BackaHans Eriksson
Cello – Christina Wirdegren Alin
Cello [String Quartet] – Anna Wallgren
Drums – Jarle Vespestad
Piano, Electric Piano [Fender Rhodes] – Tord Gustavsen
Viola – Mikael Rydh
Viola [String Quartet] – Jakob Ruthberg
Violin – Christian Bergqvist, Elisabeth Lagergren, Josef Cabrales-Alin, Per Hammarström
Violin [String Quartet] – David Björkman, Roland Kress
Vocals – Silje Nergaard

TORD GUSTAVSEN QUARTET – The Well (2012) FLAC (tracks+.cue), lossless

On his earlier ECM trio albums, pianist Tord Gustavsen composed in a very spacious and songlike manner that reflected his previous work touring with vocalists. On 2010's Restored, Returned, he experimented with this approach by adding Kristin Asbjørnsen's voice and Tore Brunborg's saxophones to the mix, and showcased his compositions in everything from duo to quintet settings. On The Well, Gustavsen brings back Brunborg on tenor, as well as the rhythm section, bassist Mats Eilertsen, and drummer Jarle Vespestad. The songlike lyricism that has become his signature is underscored on The Well, but opens onto a wider harmonic field held in dynamic check. The album opens with "Prelude," a trio piece, where Gustavsen explores, in haunting minor-key formations, a lyric frame that is as intricate as it is warm and soulful. On "Suite," Gustavsen introduces the tune solo, with a simplicity and lyricism that are deepened when Eilertsen enters playing arco. When the rest of the band joins in, these melodic dimensions become expansive: tones, colors, textures, and dynamics shift incrementally. The trio piece "Circling" is one of the album's centerpieces, literally and figuratively. Its slow, reverential, gospel-like melody shuffles along with Vespestad's brushes and the stately pace of Eilertsen's bass. Gustavsen pointilistically moves around his lithe, graceful, harmonic sketch, playing at its edges and moving inside, exploring the elements he finds there. The title cut, the other pillar of this album, commences with a mysterious, nearly floating lyric figure stated on piano and answered by Brunborg's warm, welcoming tenor before it enters the realm of something approaching drift. That said, the focus on melody is quietly intense, even as the track becomes more abstract toward the middle; bass, piano, and saxophone all trade fours in rotation, answering and questioning further. Brunborg even moves toward blues in his solo. Playing quietly does require tremendous energy and discipline, and often runs counter to the improviser's instincts. On "Communion [Var]," Gustavsen plays almost the entire piece in p and pp. Brunborg's tenor speaks in halting tones that carry a skeletal yet nearly hummable melody accented by occasional entrances by Eilertsen's arco bass. Ultimately, The Well ends at "Inside," where virtually everything that has been previously explored is given (slightly) freer rein, exhibited by the minute-long bowed solo by Eilertsen that introduces the tune. Brunborg's economy on tenor is remarkable; rich and full, he doesn't need to "blow" because he can make it sing. On The Well, Gustavsen has taken his lyric approach to jazz and pushed it into more open and abstract terrain, which is more haunting and mysterious than anything on his previous offerings, yet refrains from ponderousness due to its remarkable restraint and symmetry. 
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Tracklist + Credits :