Pianist Ketil Bjørnstad's quartet set with cellist David Darling, guitarist Terje Rypdal, and drummer Jon Christensen is almost a stereotype of an ECM release. His ten originals all set an introspective and mostly somber mood, their themes are less important than the atmosphere that they form, and the individual solos of the musicians are less significant than the ensemble sound. The general mood is a bit sleepy and the development from song to song is quite slow, although there are a few fiery and rockish solos from guitarist Rypdal.

This end-of-the-millennium quartet session probably best defines all the inherent contradictions in who ECM attracts to the label – what kind of musician records for them – and what concerns these artists and ECM's chief producer (and creator) Manfred Eicher hold in common. This set, although clearly fronted by Markus Stockhausen and Arild Andersen on brass and bass, respectively, allows space for the entire quartet to inform its direction. Héral and Rypdal are not musicians who can play with just anybody; their distinctive styles and strengths often go against the grain of contemporary European jazz and improvised music. Of the 11 compositions here, four are collectively written, with two each by Andersen and Stockhausen.

“My time with ECM is a lifetime by now,” Terje Rypdal notes, as he embarks upon his fourth decade with the label that has documented his far-reaching achievements as both improviser and composer. For this anthology, Rypdal chose to focus on his groundbreaking electric guitar artistry, heard in settings ranging from symphony orchestra to the enlightened hard rock of the Chasers. “Music must have colours and freedom”, Rypdal once said, and his selection here lacks neither.

Terje Rypdal's recordings offer the listener an astounding array of styles - ranging from straight-ahead jazz played in small-combo settings to solo outings to mind-bending improvisations to orchestral compositions, and all points in between. His composition and playing and arranging are always tasteful and excellent, and the musicians he selects to execute his works are consistently first-rate. BLUE is no exception, falling into a trio of albums featuring roughly the same personnel, The Chasers - Terje on electric guitar (also adding some keyboard touches on this recordings), Bjørn Kjellemyr on electric and acoustic basses, and Audun Kleive on drums and percussion.

A new ECM studio album and a programme of new music from Terje Rypdal is cause for celebration. On Conspiracy the great Norwegian guitarist seems to reconnect with the wild inspiration that fuelled such early masterpieces as Whenever I Seem To Be Far Away, Odyssey and Waves, exploring the sonic potential of the electric guitar with both a rock improviser’s love of raw energy and a composer’s feeling for space and texture. Keyboardist Ståle Storløkken, who contributed to Terje’s Vossabrygg and Crime Scene albums is an ideal co-conspirator, perpetually thickening the plot with his own intuitive feeling for complementary sound-colours. Conspiracy also marks a welcome return for Pål Thowsen, whose subtle, detailed drumming was last heard on ECM with Arild Andersen’s 1970s groups. Rypdal’s best band in years is completed by gifted young bass guitarist Endre Hareide Hallre. Conspiracy was recorded at Oslo’s Rainbow Studio and produced by Manfred Eicher and Terje Rypdal.

This laconic yet lasting statement from Terje Rypdal marked the Norwegian guitarist’s third ECM appearance as composer and leader. Its crucible continues to yield an enticing tincture of prog-rock and classical stylings for the weary musical mind. The reverberant French horn that animates “Silver Bird Is Heading For The Sun” betrays nothing of its cooption by a punchy g/d/b constituent. Floating on a well-aged mellotron, it bows out gracefully as Rypdal rolls in like a fuzzed haze.

Among the pleasures of this group of Rypdal reissues is the presence throughout of drummer Jon Christensen. Terje and Jon, lifelong friends, played on dozens of albums and in many groups together. Christensen always alluded to the trio with Terje and Danish trumpeter Palle Mikkelborg as heard on Descendre - as a particular favourite of his, an ideal instance of an interactive small group that could move in multiple directions. As drummer in the trio he could from moment to moment underline the melodic jazz phrasing of Palle Mikkelborg or rock out with Terje, find ways to combine their different time feelings, or strike out on his own. The three musicians could create highly atmospheric ensemble music, drifting clouds of sound sometimes with both Terje and Palle playing keyboards or develop freely contrapuntal ideas.