In his compositions, Norwegian pianist and composer Tord Gustavsen successfully melds brooding Nordic lyricism and modern jazz to strains of Scandinavian folk music; African-American gospel; European Protestant hymnody; and Afro-Caribbean melodies, harmonies, and rhythms. Whether performing in his own 21st century trios and quartets or in collaboration with others, Gustavsen's understated approach is roomy and spacious; it often sounds otherworldly, as evidenced by his ECM trio trilogy Changing Places, Ground, and Being There. His 2016 vocal quartet offering What Was Said depicted a very original musical setting for the poems of Rumi. The trio offering The Other Side appeared in 2018, followed by Opening with new bassist Steinar Raknes in 2022.

Gustavsen was born and raised in the rural Hurdal, Akershus, before settling in Oslo. His education includes a degree in humanist and social studies from the University of Oslo, and he studied jazz piano, theory, and history at the Conservatory of Music in Trondheim and musicology at the University of Oslo, where he was also an adjunct professor of jazz piano and theory between 1998 and 2002. Before recording as a leader, he was part of Aire Angels with Siri Gjære, and the Nymark Collective. Regarding the approach to musical theory he's developed, Gustavsen has stated in more than one interview that his main field of interest is "the psychology and phenomenology of improvisation," from which he draws "heavily on the psychology of relationships developed by German psychoanalytic Helm Stierlin and Norwegian psychologist Anne-Lise Løvlie Schibbye, both of whom offer a very exciting approach to the ancient notion of dialectics." On his website, Gustavsen published details of his thesis Improvisasjonens Dialektiske Utfordringer (The Dialectical Eroticism of Improvisation). Before becoming a bandleader, the pianist was an active member of his country's jazz scene and contributed to recordings by the Silje Nergaard Band, the Ulrich Drechsler Quartet, and others, helping him to establish a reputation as a soloist and ensemble player.

In 2003, the pianist signed to ECM. His trio with drummer Jarle Vespestad and bassist Harald Johnsen released Changing Places,; it was followed in 2005 by Ground (it took home the national Norwegian jazz prize for best album). In 2007, he issued the final part of the trilogy, Being There: Johnsen died of a heart attack at age 41; the grieving Gustavsen saw no reason to replace him and discontinued the trio. These three albums established the pianist's reputation across Europe as a formidable composer and soloist.

In 2010, he delivered Restored, Returned, featuring vocalist Kristin Asbjørnsen, saxophonist Tore Brunborg and bassist Mats Eilertsen in settings ranging from duo to quintet. The album won that year's Spellemannprisen (the Norwegian equivalent of the Grammy) for best jazz album. Gustavsen issued his first quartet recording, Well, in 2012. The return of Brunborg, Eilertsen and Vespestad grounded the collective sufficiently to offer a collection of deeply melodic abstractions in various settings. They followed with Extended Circle in January 2014. Its material ranged from reinterpreting traditional hymns ("Eg Veit I Himmerik Ei Borg") to original funky blues ("The Gift").

After touring internationally, Gustavsen formed a trio with Vespestad and German-Afghan vocalist Simin Tander to record What Was Said -- another homage to Rumi -- before taking them on the road for a slate of international festival appearances. Released by ECM in early 2016, it made several critics' and media outlets' year-end best-of lists. Two years later, Gustavsen returned to the trio format with drummer Vespestad and bassist Sigurd Hole. Produced by Manfred Eicher, Other Side featured original compositions, J. S. Bach chorales, and ancient Norwegian hymns. Gustavsen's use of minimal, subtle electronics resulted in a deeper soundscape with a more pronounced bass floor; the album was released in August of 2018. 2022's Opening saw bassist/electronicist Steinar Raknes replace Hole (who left to lead his own group) on . It offered a fresh angle to the trio's already singular investigations into folk-gospel hymns and post-bop. ~ Marisa Brown, Rovi