This album on vinyl would be beautiful, in my opinion this is the best Gustavsen album.

In the proto-typical Scandinavian ECM style of modern jazz oriented music, pianist Tord Gustavsen follows the path of previous progenitors influenced by Bill Evans, forged by Keith Jarrett, and extended by the likes of Mike Nock. This is certainly late-night, nocturnal music, completely reserved and relaxing, ultra-melodic, calm, peaceful, and non-threatening. Rarely does a tempo move beyond medium, a dynamic merge above mezzo piano, and any mood goes farther than moderately cool. Well within this consistent timbre, Gustavsen and his trio show a modicum of diversity and influences. Fellow ECM labelmate Bobo Stenson's style and technique is most extant during the lilting "Edges of Happiness," "Twins" is spiritual, calm, and light but not somber, while "Token of Tango" is perfectly representative of its title. "Curtains Aside" mixes march rhythm in 6/8 with a regal light funk, the delicate waltz "Being There" is reminiscent of "The Shadow of Your Smile," while darker ballads "Colours of Mercy" and "Sentiment" sport undoubtedly religious overtones. Gustavsen, while playing laid-back, pristine, pretty, and serene music, is far from challenging convention or pushing the envelope. Conversely, his personal voice is fully realized. Time will tell whether this style finds a worldwide audience, moves away from this type of contemporary texture music, or takes the approach he has established to any more extreme measures, even softer or more forceful.

The Ground is an incredibly good album. It is the second release by the Tord Gustavsen Trio whom some may know as backing trio for Norwegian singer Silje Nergaard. On their own they explore Keith Jarrett territory. Their music is calm and lyrical and perfectly balanced between composition and improvisation. There is no wrong note, no moment that doesn't fit. This is the kind of album that stuns a jazz friend like me as well as the casual listener. I've played it to several not jazz-mined people always achieving a "wow-what-is-that"-effect. There cannot be enough praise. This is the album I always hoped Keith Jarrett would make and it is by a wide margin the best album of 2005.