Terje Rypdal ‎– Odyssey

Monumental award winning double album, acclaimed as a pinnacle of 1970's fusion. For decades the complete double omitted Side 4's "Rolling Stone" as an ECM single CD. The box set version includes that, plus a whole concert by the band with jazz orchestra.


Darkness Falls 3:27
Midnite 13:37
Adagio 13:09
Better Off Without You 7:31
Over Birkerot 4:42
Fare Well 11:22
Ballade 5:55
Rolling Stone 23:54

Versions (9)

Cat# Artist Title (Format) Label Cat# Country Year
ECM 1067/68 ST Terje Rypdal Odyssey(2xLP, Album) ECM Records ECM 1067/68 ST Germany 1975 Sell This Version
ECM 1067/68 Terje Rypdal Odyssey(2xLP, Album) ECM Records ECM 1067/68 US 1975 Sell This Version
ECM 1067/68, ECM 1067/68 ST, 2641 067 Terje Rypdal Odyssey(2xLP, Album) ECM Records, ECM Records, ECM Records ECM 1067/68, ECM 1067/68 ST, 2641 067 Germany 1975 Sell This Version
1067/68 ST Terje Rypdal Odyssey(2xLP, Promo) ECM Records 1067/68 ST 1975 Sell This Version
ECM 1067/68, 835 355-2 Terje Rypdal Odyssey(CD, Album, RE) ECM Records, ECM Records ECM 1067/68, 835 355-2 Germany 1988 Sell This Version
ECM 1067/68, 78118-21067-2 Terje Rypdal Odyssey(CD, Album, RE) ECM Records, BMG Classics ECM 1067/68, 78118-21067-2 US 1994 Sell This Version
FJ-000131 Terje Rypdal Odyssey(CD, Album, Unofficial) Limited Edition (6) FJ-000131 Russia 1998 Sell This Version
POCJ-2809 Terje Rypdal Odyssey(CD, Album, RE) ECM Records POCJ-2809 Japan 1999 Sell This Version
ECM 2136-38, 279 4566 Terje Rypdal Odyssey In Studio & In Concert(2xCD, Album, RE + CD + Box) ECM Records, ECM Records ECM 2136-38, 279 4566 Germany 2012 Sell This Version


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February 13, 2016
edited about 1 year ago
referencing Odyssey, CD, Album, RE, ECM 1067/68, 835 355-2

A masterpiece by the Norwegian artist Terje Rypdal ( ECM Label .
Odyssey was my first acquaintance with the Artist .

The combination of magical electronic sounds with heavenly guitar sounds opened for me a gate to a new world of music,
the music on this cd divided into two styles, 1/ powerful Rock - Fusion, 2/ Ambient music with Heavenly guitar sounds .

The music is stunning ! the sounds create hypnotic atmosphere with lots of beauty, there is melancholic atmosphere in the music ( Midnite , Adagio , Fare Well , Darkness Falls ) , the saxophone tunes add another layer of creativity to the music. Better Off Without You and Over Birkerot are great Rock -Fusion tracks .

The last track is sad and beautiful ( Ballade )
, this track combines touching and beautiful saxophone melodies with amazing guitar solo,what a perfect way to end a great cd.

If You like this album I highly recommend on Terje Rypdal albums : After The Rain 1976, Whenever I Seem To Be Far Away 1974 and Blue 1987 .


October 4, 2014
referencing Odyssey, 2xLP, Album, ECM 1067/68 ST

My first encounter with Odyssey came in the late nineties. Still young in my ECM explorations and having just barely crossed over into Jan Garbarek’s Visible World, I wasn’t quite sure what to make of the journey that label stalwart Terje Rypdal (a name as yet unfamiliar) had just taken me on. The CD fell out of rotation quickly, I’m afraid to say, buried under the pile of New Series albums then dominating my attention. Years later, and well into my own listening odyssey, I returned to it, only to find that it had never left me.

Rypdal has, of course, been under the ECM umbrella since almost the very beginning. The release of his self-titled debut in 1971 sparked an intrepid flame that continues to burn through a wide spectrum of colors. As the informative liner notes from John Kelman tell us, the band that was to define Odyssey was the product of circumstance. Drawing on a pool of musicians from previous sessions, including bassist Sveinung Hovensjø from 1973’s What Comes After, he also welcomed unexpected talents into the fold, such as drummer Svein Christiansen and organist Brynjulf Blix, the latter of whom contributed heavily to the album’s well-aged luster. The resulting sound proved a defining one, as inescapable bass lines danced touch-and-go with the guitarist’s unbridled narratives. We hear this most in the solid underpinnings of “Midnite.” Hovensjø lays down the rules for all of its 17 minutes, leaving Rypdal to stretch them to the pathos of his progressive solitude. Those carefully pedaled strings and alluring soprano sax (played by Rypdal himself) careen through its nocturnal billows with humble ferocity as Torbjørn Sunde brings comparable light to the sky with muted trombone. If the plangent cry of “Darkness Falls” that precedes this and opens the album tells us anything, it is that here is a terrain of emotional clarity and immediacy. The magic of this rendering lies in its continual flux, in its refusal to settle into one topographic pattern. The following “Adagio” plunges the album to new depths, even as it raises the bar from which it hangs. Solina strings owe their thickness to the charcoal yet discernible picture into which Rypdal’s guitar spills ether: a shout of autonomy in its coolest disguise. “Better Off Without You” walks in organic circles, occasionally poking its head above the watery depths of Blix’s ostinato haze, keeping an eye trained “Over Birkerot.” In this punchier setting, Rypdal keeps his feet planted amid a chain of horn blasts (think Hans Zimmer’s Inception soundtrack on a smaller scale). His cathartic rock-out midway through is a chance to let hair fly and pulls open the ribbon of “Fare Well.” Along with the final “Ballade,” it finds the musicians in languid suspension, crossing vibraphone-like paths toward elegiac destinations. It may feel blinding, but we can be sure this light comes to us by the force of a distant hope.

Rypdal has an incisive way of building anticipation, of dropping his solos at the most carefully thought-out points, his guitar an endless book of codas. Like the photo that graces its cover, Odyssey captures the life of a nomadic musician in candid monochrome. And while the album had been reissued on CD prior to this New & Old Masters set, the 24-minute “Rolling Stone” sadly did not survive that first digital makeover. An organ-infused underwater symphony of legendary status, its primal bass line and whammy bar ornaments flow like a meeting between Bill Laswell and Robin Guthrie before bringing on the album’s most rock-oriented developments. It also charts Rypdal in a pivotal moment of self-discovery where his tone began to coalesce into the sound for which he has come to be known. What a treasure to have in restored form.

As if this weren’t already enough to celebrate, ECM has gone above and beyond with another gem from the archives:..

This commissioned radio performance from 1976 features a streamlined Odyssey band (sans Sunde) fronting the 15-piece Swedish Radio Jazz Group. At under four minutes, the title track might blow by like the foreword to a novel were it not for its sheer theatricality. Rypdal’s vision cuts the darkness with a film projector’s eye, and blends into the Matterhorn bass of “The Golden Eye.” Icy synths challenge the thaw of Blix’s electric piano as fiery horns uncurl their tongues from the firmament and lick the snowcapped mountains of an unbridled story. Rypdal lifts this image skyward on waxen wings, which, unlike those of Icarus, are impervious to the light on which they feed. Next on this spacy ride is “Scarlet Mistress.” At once sharpened by muted trumpet and rounded by swinging textures, it gives wide relief to Rypdal’s laser etchings. One feels in its background the kick of eras when music’s enervation thrived in proportion to the harshness of its sociopolitical climate, so that the clubs of the 20s and 30s resurrect themselves and dance their ghostly dance. The soprano returns for a spell, for all a moonbeam peeking out from the clouds into a well of chords that pull us into “Dawn.” Melodies unwind, each a snake wrapped around the wrist of a god who whips it free into the glittering sky. Some enticing bass work dances amid Rypdal’s shimmers of water-harp enchantment, lowering us on a fishhook into the depths of “Dine And Dance To The Music Of The Waves,” in which sitar-like sounds pave a Nazca runway for the soprano’s grand coverage of worldly joy. Christiansen is the contortionist’s backbone of “Talking Back.” Sporting also high-flying reeds from Lennart Åberg and Ulf Andersson, its attunement is downright symbiotic. A real highlight. And speaking of which, where else to end but in “Bright Lights – Big City,” closing out the set on a signature dronescape.

With such a full sense of architecture to explore, it’s no wonder this newly unearthed companion has held its shape. In elevating the big band to a level of orchestral aliveness so rarely achieved, Rypdal has left a mark that is not only indelible, but also inimitable. With a nostalgic sound that distinguishes so much of ECM’s output from the decade, Odyssey – In Studio & In Concert shares the pedestal with Keith Jarrett’s Sleeper as release event of the year..

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