Mira

excellent!!! my first intro to Tommy Smith. very inventive smooth but not 'lullyoutosleep' smooth. He seems to effortlessly glide from one point to the next that doesn't really somehow seem to be where you think is supposed to be, but turns out great. Love this outing Arild Andersen!!

This is the kind of jazz album typically described as "uncompromising." It's a set of gnomic ballads showcasing Tommy Smith's big, abrasive tone on tenor, his strident, oboe-like soprano playing, and his idiomatic shakuhachi (Japanese wooden flute) work, the last-named in one of the album's finest pieces, "Raijin," a stately duet with Paolo Vinaccia's floor toms, sweetened with Andersen's near-subliminal electronics. There's a hint of "Ev'ry Time We Say Goodbye" in the opening tune, "Bygone," and its spare, inward gaze sets the tone for the album, the midtempo pieces "Eight and More," "Rossetti," and "Blussy" notwithstanding. What we get, then, is a ballad album that's too harsh for background music and too spare for lovers of high energy jazz to wallow in. It's music that insists, none too gently, on your undivided attention, and comes very close to being worthy of it.

Beautiful deep. Moving music by three remarkable musicians.

This is a very fine album, beautifully recorded at the Rainbow Studio in Oslo by the master engineer Jan Erik Kongshaug. The trio works together so well. Tommy Smith playing is assured and mature on tenor, with some interesting variation with a shakuhachi flute. He moves from being gently lyrical to periods of restrained intensity with consummate ease. Arild Anderson's bass is magisterial throughout, with lyrical passages underpinning and reflecting Smith's phrasing. Paolo Vinaccia's percussion quietly adds subtle accents that vary in intensity as the themes develop. This is a well developed program that will provide much reflective enjoyment.

This new album, coming from the same trio of the "Live at Belleville" (ECM 2078) record of 2008, seems to be a nice contribution to the CD collections of people who adore the work of Arild Andersen. In accord with the previous reviewers, the acoustic engineering and microphone selection/placement in this recording of Rainbow Studio deserve to be noted.

Wonderful indeed. Mr. Smith is very skilled and interplay with the other is cool. Mr. Vinaccia is new for me and apart from his capabilities, he has a wonderful tone. Master Andersen is somone i have been listening to for many years and I keep getting back to him . Exquisite.

straight ahead jazz then surprising turns this way and that. Drumming is superb. Very well recorded by ECM as usual.

Another great CD from Arild. If you like Nordic jazz, this is for you.

Arild Andersen zählt seit Jahren zu meinen Lieblingsbassisten. Sein Fundament und seine Kreativität prägen die Musik. Gleichzeitig lässte er den Mitspieler viel Platz, in diesem Fall der subtile und vielseitige Drummer Paolo Vinaccia und der lyrisch spielende Saxophonist Tommy Smith. Ein balladesques Album mit der Ausstrahlung eines in sich ruhenden Musikers, der schon einiges erlebt hat. Wie gewohnt, tolle Aufnahme im ECM-Stil.

Schöne, etwas modernere, Jazzmusik - gefällt mir, von vorne nach hinten. Es ist aber vielleicht nichts ganz, ganz besonderes dabei; aber . . . . . . die CD ist durchaus empfehlenswert !

Matching the magnificence of the four part suite “Independency” which forms the heart of “Live At Belleville” was, with hindsight, an almost impossible ask but, with “Mira”, Arild Andersen, Tommy Smith and Paolo Vinaccia have created a more intimate but yet still muscular offering which sustains interest over its hour despite the lack of any harmonic instrument. Welcome tonal variety is provided by the two tracks featuring shakuhachi flute, namely “Raijin” and “Kangiten”which live up to their names as the Japanese gods of lightening and bliss (the former features some thunderous percussion from Vinaccia) . The highlight is perhaps the title track, a creation of pure beauty with Andersen’s most melodic bassline and Smith’s sax providing wonderful foils to one another while “Stevtone” is a sympathetic closing number, its delicate if elusive tone suggesting both resolution and anticipation to this excellent trio’s next moves.

Die Musik gefällt mir- ruhig und doch voll Spannung. Ich höre sie gern zum Abschalten. Habe mehrere ECM Cds, die mir gefallen. Hätte gern noch mehr Klassik.