STRENGUR (2011)

“Einarsson´s new album, like his previous works, is a series of finely crafted gems with deep shadows, crevices, nuance and color that elevates Latin jazz to a new level. Strengur is a reflective work, and requires patience that will not go unrewarded. I keep finding it back on my stereo system. Very highly recommended.”
(,,Hinn nýi diskur Einarssonar inniheldur líkt og fyrri diskar hans vel slípaða gimsteina þar sem er að finna djúpa skugga og skorninga og blæbrigði og liti sem lyfta latíndjassi til nýrra hæða. Strengur er íhugult verk og krefst þolinmóðrar hlustunar sem launar hlustandanum hins vegar ríkulega. Diskurinn leitar aftur og aftur í spilarann. Ég mæli mjög eindregið með honum.” )
Bruce Polin, Descarga.com, November 18th 2011. USA

“Es gab noch viel mehr zu hören beim diesjahrigen Reykjavik Jazz Festival. Zum Beispiel das aussergewohnliche Projekt Strengur des Bassisten Tomas R. Einarsson, der in den letzten Jahren musikalisch mher in Richtung Kubas schielte. Strengur (auch Titel der CD+DVD) nun ist eine Reise zu den Orten seiner Vorfahren, wo Einarsson Sounds von Bachen, Flussen, Seen und Meer aufnahm, in den Sound von Kontrabass und Perkussion (Matthias MD Hemstock) integrierte und sich mit meditativen, sehr reduzierten Tönen und ruhigem Bildern af eine besondere Weise seiner Familiengeschichte widmete.”
(,,Hið mjög svo óvenjulega verk Strengur ... er ferðalag á ættaslóðir Einarssonar þar sem hann teflir vatnshljóðum úr lækjum, ám, vötnum og hafi móti hljómi kontrabassans og slagverksins (Matthías MD Hemstock) og fléttar því með hugleiðslukenndu og sparsömu tónmáli og hægferðugum myndböndum á frumlegan hátt saman við ættarsögu sína.”)
Christoph Giese, Jazzthetik 11+12, 2011. Germany

“El recorrido de una fuente hídrica estimula la creación e interpretación del bajista islandés, con la cadencia de su ejecución y el inteligente acompanamiento de Matthías M.D. Hemstock (congas y bongoes). Un viaje denso entre las cuerdas y la percusión, el agua y las olas del mar, nos conduce hacia las profundidades de su expresión artística.”
(,,Vatnsflæðið hefur örvað sköpun og túlkun bassaleikarans og vatnið og bassinn spila vel saman. Sama má segja um afar hugvitsamlegt slagverk Matthíasar M.D. Hemstock. Á þessu fjölradda ferðalagi strengjanna, slagverksins, vatnsins og haföldunnar erum við leidd inn í innsta kjarna höfundarins.”)
Roberto C. Luján, SolarLatinClub.blogspot.com, November 17th 2011. Colombia

“One could think that it would need some patience to listen for an hour to a slow double-bass music along with minimal percussion and water sounds, but it turned out quite differently.”
**** ½ Vernharður Linnet, Morgunblaðið, Reykjavik, Iceland 3/6 2011

“A brilliant CD.”
**** Ingi F. Vilhjálmsson, DV, Reykjavik, Iceland 22/6 2011

“Even if the music is in the minimalist vein, it is remarkably impressive.”
**** Gunnar L. Hjálmarsson, Fréttatíminn, Reykjavik, Iceland 7/10 2011

“A unique project.”
Christopher Giese, JAZZTHETIK 11/12 2011, Germany

"Espectacular!"
DJ El Chino, SolarLatinClub 13/7 2011, Colombia

REYKJAVÍK - HAVANA (2009)

“This special 4-CD box set was initially released in 2009. It includes three Latin jazz productions by Einarsson – Kúbanska (2002), Havana (2003), and Romm Tomm Tomm (2006), plus a fourth CD titled Live (2009), capturing various performances of this talented bassist and his band in Reykjavik (Iceland), Moscow (Russia), and Havana (Cuba). This is mandatory CD for all Latin jazz collectors.”
Rudy Mangual, Latin Beat Magazine, USA, 2010

LIVE (2009)

“Laater saa ytterst korrekt – ja, genuint.”
Aake Grandell, Kuriren/Musiknytt, Finland 17/3 2010

“Enregistré en live entre 2002 et 2009 cette compilation est une preuve que les extremes se rejoignent. Si les vikings se mettent au latin jazz comme les allemands a l’afrobeat, on peut véritablement parler de musique sans frontieres.
Blue Havana nous impregne d’une atmosphere tamisée des notes et sublitités réjouissantes. 9 titres á la rythmique orchestrée par la contrebasse du magicien islandais; un voyage aux parages inconnus. Les amateurs de jazz y trouveront leur compte, les inconditionnels du latin groove preteront une oreille attentive, les musiciens esquisserons des sourires complices. Tomas R. Einarsson est tombé dans une marmite dont il aura du mal a sortir.
Pa’lante Maestro!
Dom Marco / Salsapaca, France, February 2010

,,Bassaleikarinn góðkunni Tómas R. Einarsson stendur fyrir tveimur góðum útgáfum í ár. Annars vegar er það tónleikadiskurinn LIVE! og hins vegar latínsafnið Reykjavík-Havana, sem inniheldur plöturnar Kúbanska, Havana, Romm Tomm Tomm auk fyrrgreinds tónleikadisks. Tónleikadiskurinn LIVE!, sem er hér til umfjöllunar, inniheldur tónleikaupptökur frá tímabilinu 2002-2009 eða alls níu lög frá tónleikum í Reykjavík, Moskvu og Havana. Flestar eru upptökurnar þó af tónleikum á Jazzhátíð Reykjavíkur 2009 og því ekki nema rétt tæplega fjögurra mánaða gamlar.

Það jafnast fátt á við lifandi flutning latíntónlistar og á upptökunum má heyra tilheyrandi tónleikastemningu, t.a.m. hróp og köll úr sal og talsvert líflegri sóló en hægt er ætlast til af stúdíóupptökum. Með Tómasi spila nokkrir af landsins fremstu hljóðfæraleikurum, en flestir hafa þeir leikið með honum á fyrrgreindum latínplötum. Sérlega góða stemningu má heyra á upptökum af seinustu djasshátíð, en þá spila með sveitinni hvorki fleiri né færri en fjórir slagverksleikarar og er útkoman því einkar bitastæð. Þá eru skrautleg sóló Davíðs Þórs Jónssonar píanóleikara í ,,Dakíri" og Ómars Guðjónssonar á tresgítarinn í ,,Títómas" sérstaklega eftirminnileg, að öðrum algerlega ólöstuðum.

Ein upptakan er dregin af vídeóupptöku frá tónleikum í Havana árið 2006 og er því af nokkru lakari hljóðgæðum en hinar. Á þeim tónleikum lék trompetleikarinn kúbanski Daniel ,,El Gordo" Ramos með sveitinni en sá lést um aldur fram snemma árs 2009. Þrátt fyrir nokkuð hol og breytileg hljóðgæði í upptökunni má greinilega heyra hvers megnugur Ramos var og er eiginlega hægt að skynja heita loftið og sveitt andrúmsloftið í gegnum hátalarana. Á sömu upptöku má auk þess heyra í hinum frábæra tresgítarleikara César Hechevarría sem leikur einnig inn á tveimur stúdíóplötum Tómasar.

Í heild er um að ræða frábært safn af lifandi og ferskum upptökum þar sem lagasmíðar Tómasar fá vel notið sín. Platan er góður punktur yfir i-ið á latínsafni Tómasar hingað til og því við hæfi að hún fylgi fyrrgreindu heildarsafni Reykjavík-Havana.
Alexandra Kjeld / Morgunblaðið, Reykjavík, 21.12. 2009

TRÚNÓ (2008)

The journalist/critic Cristoph Giese, from the German Jazzthetik Magazine, was invited to the Reykjavik Jazz Festival in August 2008.
"Ein echtes Festivalhighlight war das neue Projekt des Bassisten Tómas R. Einarsson mit der Sangerin Ragnheidur Gröndal in einer Kirche. Einarsson, ohnehin der Latinmusik zugeneigt, kombinierte mit seiner famosen Band (mit Klangzauberer Ómar Gudjónsson an der Gitarre, der auch mit seinem eigenem Trio auf dem Festival begeisterte) eigenwillig arranigerte Boleros und andere Latinrhytmen mit der aufregenden Stimme von Ragnheidur Gröndal, die auf Islandisch uber die Liebe und Katerstimmungen sang. Eine bizarre, aber wunderbar funktionierende Mischung, die demnachst auf Platte zu haben sein wird."
Christoph Giese,  JAZZTHETIK, 10. 2008

"El maestro, caballero y excentrico del bajo europeo Tómas R. Einarsson nos presenta su mas reciente trabajo discográfico Trúnó (conversaciones sinceras) en el que demuestra una vez más que es uno de los músicos más completos y polifaceticos que existen actualmente. Soy un fan número uno de Tómas R. Einarsson porque cada vez que escucho su música siento una magia que me aleja del mundo, me desconecta de todo lo que este haciendo sin importar que tan importante sea... Tómas R. Einarsson es un genio y no tengo ninguna duda de eso. Regresa el mago islandés..."
DJ El Chino, Cali, Colombia, 11/12 2008

"Flott plata borin upp af góðum söng og lifandi hljóðfæraleik."
Trausti Júlíusson, Fréttablaðið, Reykjavík, 22.12.2008

"Þessar bóleró ballöður Tómasar eru ævintýralega fallegar."
Vernharður Linnet, Morgunblaðið, Reykjavík 26.11.2008

ROMMTOMMTECHNO (2007)

“It would be easy to fuck up when you bring in so many quality artists to remix a quality artist, but Rommtommtechno does not buckle from the combined star power of its contributors, but rather delivers everything it should; club music that combines electro and Latin music, a combo that should make you want to dance, a priori. You can expect to dance to these tracks some Saturday night around 5 Am in the near future."
Sveinn Birkir Björnsson, GRAPEVINE, Iceland, Issue 18 2007

,,Rommtommtechno hefur að geyma tíu endurhljóðblandanir af lögum af latin-plötum Tómasar R. Einarssonar, Kúbanska, Havana og Romm Tomm Tomm. Það var President Bongó úr Gus Gus sem fékk bæði innlenda og erlenda listamenn til að endurvinna lögin á plötunni.
Þeir sem eiga remix á Rommtommtechno eru þýska dúóið Moonbootica, Captain Thirdeye (Mark Brydon úr Moloko), Jack Schidt (DJ Margeir), Namito frá Berlín, DJ Thor (Þórhallur Skúlason), franski plötusnúðurinn Tom Pooks, Electric Screwdriver (Elliot Taub og Hólmar Filipsson), Gus Gus, Viddi úr Trabant og Matthías Hemstock.
Það er greinilegt að þessir aðilar hafa ekki átt í neinum erfiðleikum með að vinna með tónlist Tómasar R. Margar þessara endurgerða eru mjög flottar og þó að þær séu ekki allar jafn spennandi tónlistarlega þá rennur platan samt í gegn í góðum partífíling þar sem teknó og house blandast latin-tónlistinni.
Mín uppáhaldsmix á plötunni eru Moonbootica vs. Dirty Deal-mixið af Kúbanska, Captain Thirdeye-mixið af Jörfagleði, Namito-mixið af Spjallað við bændur og Gus Gus-mixið af Bassachachacha. Trabant og Matthías Hemstock eiga líka áhugaverð mix sem brjóta upp stemninguna.
Á heildina litið er þetta ágæt mixplata. Góð hugmynd og gott partí. Og ekki skemmir umslagið sem er sérstaklega flott."
Trausti Júlíusson, Fréttablaðið, Reykjavík, 18. 12. 2007

ROMM TOMM TOMM (2006)

“Einarsson versteht sein Handwerk, sein Kontrabass besticht mit einem gelungenem Mix aus sprödem Islander, witzigen Arrangements und einer satten Cubanismo.”
DH Thomas, www. SALTHO, Germany 1/3 2007

“Jazz bassist Tomas R. Einarsson musical trek has generated three fine CD´s, beginning with Kubanska (2002), recorded with Icelandic musicians; followed by Havana (recorded in the capital of Cuba), and Romm Tomm Tomm, which combines musicians from both regions and introduces all to Latin jazz, Iceland-style.”
Nelson Rodríguez, Latin Beat Magazine, USA, October 2007

“Another beautiful, weird hybrid out of the Cuban diaspora. Einarsson, a bassist from Iceland (and he can play; check out “Melancholy”), pulled together a band of Cubans in Cuba and people from Iceland...It´s happy music without being stupid, happy without being a cliché for tourists...It´s in the damn cd player all the time.”
Peter Watrous, Descarga, USA 6/2 2007

“Islandske Tómas R. Einarsson er en innovativ komponist og musiker, der er interessant uanset lytterens kontinentale tilhörsforhold eller genremæssige præference. Han er et kraftværk, der kan tænde lys i hver en modtagelig pære.”
Ivan Rod, Cultures 1, Danmörk 2008

"Bassist Tómas R. Einarsson is an institution in the small Icelandic jazz world. He is known for excellent bass playing on numerous albums with a handful of bands. Apparently he bought his first bass with money earned on an oil rig in the North Atlantic. Now that´s jazz. Romm Tomm Tomm is his third album with Cuban/Latin jazz and includes 14 musicians from Iceland and Cuba. It is filled to the brim with a summer feeling, excellent playing and great compositions. DJ Gísli
Galdur of Trabant fame adds some turntable magic on a few tunes, thereby modernising the conventional salsa feel, especially on the wicked track Eineygði Kötturinn (One-Eyed Cat). This reviewer admits to not being much for hot salsa dancing but this album certainly calls for some of that. An excellent album for hot summer nights and cool Mojitos."
Páll Hilmarsson / Grapevine, Iceland (Issue 16)

"Latin jazz as good as it gets, where hot Caribbean rhytms, excellent solo work and a funky energy go together."
Vernharður Linnet / Morgunblaðið, Iceland (5.12.2006)

"Contiene guajiras, boleros, la típica descarga jazzística, todos interpretados con mucha fuerza y verdadera maestría."
Ricardo Alonso Venereo / El Habanero, Cuba (21.11.2006)

DANCE YOU IDIOT! (2004)

Jazz record of the year - Jazz composition of the year - Jazz performance of the year: The Icelandic Music Awards, 2004.

"Good concerts do not always sound as good on records as they did "live". Fortunately this is not the case here. On this CD we here the selection of the two concerts (recorded at The Reykjavik Art Festival 2004) and the result is one of the most entertaining "live" CD´s, that have been released in Iceland. This recording is a real feat for the young arranger, Samúel J. Samúelsson."
Vernharður Linnet / Morgunblaðið 30.11.2004

HAVANA (2003)

Jazz record of the year - Jazz composition of the year: The Icelandic Music Awards 2003.

Editor´s pick / DESCARGA.com - December 2003.

Publisher´s pick / All About Jazz - February 2004.

"The bassist from Iceland hooks up with a hard swinging son group, including members of Buena Vista , NG La Banda, Afro Cuban All Stars, Children of Buena Vist and on and on. It´s pure descarga pleasure, with a few nice touches. Like Einarsson´s Kubanska recording, the tempos aren´t always traditional, and it´s nice to hear a group like this play some more meditative grooves. The majority, though, is meant to make you move, and Einarsson plays his role well; he is a good bassist. Like Kubanska, Havana is going to hang around the cd player for a long time. Highly Recommended."
Peter Watrous, DESCARGA.com, December 5th, 2003

“Groovet og en gennemgaaende upoleret skramlen – som paa “Í draumum var þetta helst” – gör Havana til en sanselig nydelse.”
Ivan Rod, Cultures 1, Danmörk 2008

"On my last night in Havana, in 2000, I heard César Hechevarría play the Cuban tres-guitar at the Gato Tuerto Club, and I thought, this is one of the most swinging musicians I have ever heard, I have to play with this guy! We exchanged a few words outside the club at four o´clock in the morning, but besides a few telephone calls I didn´t get to know him until I met him in Havana in May 2003. He picked me up at eight in the morning at Parque Central in Old Havana in Rafael Enamorado´s 1957 Chevrolet (see cover), and took me to a rehearsal with his band in the small living room of his home in the Alamar neighbourhood. There I met trumpeter Daniel "El Gordo" Ramos and when I heard the first trumpet notes, I thought immediately: this is my man! César took me to the historic Radio Progreso, in the Vedado neighbourhood, where one of my favourite Cuban singers, Beny Moré, had recorded fifty years ago. The studio was equipped with Pro Tools but the older bass microphone was made in 1947, the piano was an early import from the Soviet Union, with a slightly funky tone coming from age and much use, and the toilet was broken; all in all a typical Cuban mixture. In Havana nothing can be taken for granted, except the musical talent; I had heard some of my musicians at the jazz club La Zorra y El Cuervo, César had recommended others. They played with dedication and supreme skill; playing with these musicians was a dream come true. We had fun and we had more than enough to eat, thanks to Francisco Álvarez who brought us three-course meals every day, plus the fabulous Cuban coffee (and whisky to take with us to the Malecón when the recording was over).
Everybody was happy and I hope you can hear it."
from Tómas R. Einarsson´s sleeve-notes)

KÚBANSKA (2002)

"Einarsson, a bassist from Iceland, is deep into Cuban Music, and his record, featuring an Icelandic septet, is modern, a bit as if Cuba and ECM records had come to collaboration. It´s cool, and satisfying, moving slowly over repeated bass figures and grooves. The guitaris makes eerie sounds, as does the trumpeter, and the time stands still. There´s a lot going on though, and this seems like a workable future. A great manipulation of the tradition and Highly Recommended.
Peter Watrous, DESCARGA.com, December 5th, 2003

"While the physical climes of Iceland may boast the cold and austere, the island´s brand of jazz is anything but, as evidenced by Joel Palson and his recent fine recordings of progressive contemporary jazz. Now enter bassist Tómas R. Einarsson into this rarified fray. And what does he do with it? Einarsson performs a very smooth and complete brand of Latin jazz, replete with the provocative percussion and descending piano runs that would make Poncho Sanchez smile. Eyþór Gunnarsson plays piano with all the gusto of Chucho Valdés, dropping octaves everywhere while keeping a rock steady beat. Einarsson holds down the fort effectively right on the beat. His string partner in crime, Hilmar Jensson, adds his own piquant guitar playing to the pieces, all Einarsson originals. It is a funny thing, all of this Latin Jazz coming from such remote places. But when it´s played this well, who cares?"
C. Michael Bailey, All About Jazz, September 25th, 2003

UNDIR 4 (2000)

"All the musicians play with supreme skill and "Undir 4" is
without doubt one of the best CD´s made by an Icelandic jazz musician."
Ingvi Þór Kormáksson, DV (Iceland) November 28th, 2000.

"The final track, "Hjartalag", is a jewel... Listening to it makes one proud of Icelandic jazz...
I doubt that there will be released a better jazz CD in Iceland for some time."
Vernharður Linnet, Morgunblaðið (Iceland), December 9th, 2000.

"Den danske trompetist Jens Winther har medvirket paa flere islandske indspilninger. Og ogsaa denne gang finder han sig fint til rette i en kvintet under ledelse af bassisten Tómas R. Einarsson, hvis syv kompositioner danner afsæt for en glimrende udgivelse. Der maatte godt have været större spændstighed over trommespillet, men solisternes indsatser er gennemgaaende af höj klasse, ikke mindst i balladerne "Maínótt" og "Hjartalag". Winther med en tone, der faar mig til at tænke paa den alt for tidligt afdöde Booker Little, Gunnarsson igen med et spil af en sjælden, helt uanmassende udtryksfuldhed, der ligeledes kendetegner hans akkompagnement (læg mærke til hans spil bag Winther i "Hjartalag") samt tenorsaxofonisten Joel Palsson, der ogsaa ved denne lejlighed markerer sig som et af de helt store talenter i nordisk jazz."
Boris Rabinowitsch, Politiken (Denmark), August 19th, 2002

“Hans lidt törre tone og den Charlie Haden-agtige maade at vriste fraserne frem er, sammen med hans ægte lyriske fornemmelse, med til at give musikken en smuk indre sammenhæng og uanmassende gennemslagskraft.”
Thorbjörn Sjögren, Jazz Special # 107, Danmörk, 2009

Í DRAUMUM VAR ÞETTA HELST (2000)

"The poems and the music mix well together here... Tómas R. Einarsson may be the best composer to have emerged in Icelandic jazz."
Vernharður Linnet, Morgunblaðið (Iceland), October 18th, 2000

"The poems of Einar Már Gudmundsson have inspired Tómas to write some of his best music so far."
Ingvi Þór Kormáksson, DV (Iceland), September 13th, 1999

Á GÓÐUM DEGI (1998)

"I love the CD and its eclectic choice of material. The Latin tunes are so good,
they sound as if they were played by Caribbean "salseros".
Roberto Barahona, critic/record producer (Santiago de Chile), July 12th, 1999

"This CD is very good: very exciting and eclectic, a quality seldom found in an album with original compositions. Musically and soundwise excellent!"
Theo Bachteler, RMB Radio (Germany), March 26th 1999

"Bassisten Tómas Einarsson inngaar naa i seniorgenerasjonen av islandske jazzmusikere, og hans siste utgivelse vitner om modenhet. Hans primære kilder har vært forankret i amerikansk etterkrigsjazz, og i hans basspill kan man stilistisk assosiere han med f. eks. Paul Chambers og Charlie Haden. Jeg har tidligere hatt fint utbytte av noen av Einarssons utgivelser (se Jazznytt 1/91 og 5/91), hvor linjer fra boptradisjonen var hörbare. Paa "Á gódum degi" viser han noen eksempler i denne retningen, men CD´ en er litt annerledes enn de foregaaende. Det kommer best til uttrykk paa spor som "Minning" og "Stolin stef", hvor duettene með bandoneon-spilleren Olivier Manoury skaper vakre stemninger, den siste med assosiasjoner til nyere svensk folkemusikk. Samspillet med danske Jacob Fischer (g) i "Ástarvísa" er et annet eksempel. "Rím" skiller seg ogsaa ut med et snertent tema i quasi "quick stepp" rytmikk, men "Rór" er et fint uttrykk innen jazzens naatidige pianotrio-tradisjon. Men dette sporet etterlater et önske om at musikerne ogsaa burde hatt större rom for a strekke ut soli og samspill, i dette tilfellet Eythór Gunnarsson (p) og Gunnlaugur Briem (tr). I mine örer har Gunnarsson vært den mest betydelige islandske pianisten paa 90-tallet, og min eneste innvending er at han her faar for lite spillerom.
Men alt i alt, en fin og til dels overraskende utgivelse fra Tómas Einarsson.
Steinar Kristiansen, Jazznytt (Norway) 2/3 1999

KOSS (1994)

"A joyful CD with good lyrics and a lot of humor."
Sveinn Guðjónsson, Morgunblaðið (Iceland), November 29th, 1995

LANDSÝN (1994)

"What can one say about a recording of Icelandic poetry set to music when one has no cultural context with which to relate it. There are also no translations included. So, one conveniently ignores the poetic content and goes directly to the music. And the music on TOMAS R. EINARSSON´s (b) LANDSYN (Jazzís 102) is full of invention and humor. The music goes from a warped cabaret (S.S. Montclare/Thu ert - there are characters in the Icelandic alphabet that aren´t on my keyboard!) to late night smoky jazz club (Minn Munnur Syngur) to organ combo (Nota) to bizarre mock operatic (Hvislad Ad Vegg) and just about every point in between (Dagur/Himneski Gud Og Herra/Islandsblus /Nostalgia/Thau/Jon Leifs I Harlem (the only instrumental)/ Land Thjod Og Tunga/Kaeru Hlydid Kristnir A-Um Sorglegt Tilstand Mannsins/Landsyn. 67.10. Recorded 2/93-5/94, Reykjavik, Hafnarfjordur, Torshavn, London.) Most of the musicians will be unfamiliar to American listeners (collectively: Eybor Gunnarsson, p, conga; Thorir Baldursson, p, org; Einar Scheving, d; Guomundur Einarsson, d; Matthias Hemstock, d; Petur Grétarsson, d, perc; Pétur Östlund, d; Oskar Guojónsson, ts; Rúnar Georgsson, ts; Sigurour Flosason, as, bars, b clt; Einar Orn Benediktsson, tpt; Kristján Kristjánsson, g) with the exception of trombonist Frank Lacy who provides a raucous obligatto on the opener. Einarsson´s bass is the anchor for this music but it´s his arrangements that give this music a unique character. He seems to fashion each with an eye to the soloist (probably as well as to the poem at hand). Rúnar Georgsson´s tenor on "Nota" is just the right mixture of earthiness and intelligence (not unlike Lockjaw Davis) and it works well offsetting Baldursson´s pumping Hammond. As for the poetic content I could bore you all with a treatise on how it structurally descends from Eddic (as opposed to Skaldic) poetry, etc.etc. but I´ll spare you. Suffice to say it´s good music, well worth hearing by the adventurous listener and leave it at that."
Robert Iannapollo, Cadence (USA), February 1995.

"Many a man has tried to find a solution to the eternal problem of mixing together jazz and poetry. Well, Tómas R. Einarsson has succeded."
Jón Múli Árnason, jazz producer of the Icelandic State Radio, May 1994

ÍSLANDSFÖR/JOURNEY TO ICELAND (1991)

"With American trombonist/singer Frank Lacy alongside a crack ensemble of Icelandic improvisers, this straight-ahead CD is a success. Composer/bassist Einarsson mixes things up with a solid program that leans heavily on thematic consistency and relaxed, swinging grooves. Lacy´s rich trombone is a treat but the whole group plays with seasoned efficiency. Listen to the appropriately titled "Lazin´" for an example of the group´s ability to swing without rushing things; they sound confidently laid-back but never sloppy. Flosason is a light-toned altoist of some delicacy and the rythm section punctuates the music enough to kick it along with purpose. As a composer, Einarsson has done his homework and offers up idiomatic compositions which serve the improvisers well. As a bassist, he is rock-solid. To top things off, the great poet W.H. Auden´s verses are used in the title tracks. What are you waiting for? Get this CD.
Carl Baugher, Cadence (USA), May 1995

"On the bass-player´s Tómas R. Einarsson´s record, the no-nonsense and straight-ahead Íslandsför or Journey to Iceland we can hear that Iceland is closer to New York than Bergen. It is impossible to hear any influence from the bacalao, the volcanoes, nordic lights or the midnight sun. Even if the music is dedicated to Iceland, it is absolutely black in it´s expression. It is 100% jazz music with original compositions and fascinating solos all the way, from the American trombone- and fluegelhorn-player and vocalist Frank Lacy, that we have heard here in Denmark with Carla Bley, among others, the pianist Eyþór Gunnarsson, the drummer Pétur Östlund, the saxophone-player Sigurður Flosason and the singer Ellen Kristjánsdóttir, that in a beautiful way creates a different mood in the CD´s final track, "Spring Rain".
Sören Friis, Jazz-Special (Denmark), 6/1992.

"This CD is without a doubt the best jazz record an Icelandic musician has made, due to the tension between foreign influences and Icelandic heritage; Tómas writes good compositions simply because he is curious and is not content to fill in forms handed to him by others."
Guðmundur Andri Thorsson, Þjóðviljinn (Iceland), June 6th, 1991

"Journey to Iceland is an amiable quintet date, the music covering various post-bop options. The playing is knowledgeable and well conceived."
Richard Cook, Wire (England), 106/7 1993

"The Icelanders, on the cold island in the Atlantic ocean, do not need any foreign guests to make their jazz music sound better. They can do it all by themselves."
Jörgen Siegumfeldt, Berlingske Tidende (Denmark), August 26th

NÝR TÓNN (1993)

"I have no idea what the title of this LP means, nor can I translate the names of the tunes, not knowing the language of Iceland from where this record originated. All titles appear to be written by bassist Einarsson, a competent soloist and accompanist as well as a versatile composer. His compositions embrace a number of stylistic orientations, centering primarily on neobop and the more pensive strains of Eicheresque Eurojazz. Trumpeter Jens Winther, who recently moved to New York City, is the only member of this group likely to be known stateside: he solos on one of Ernie Wilkins´s "Almost Big Band" records (11/87, p. 76) and has made a number of LP´s under his own name. Winther has a clear tone and a relaxed, confident approach to improvisation; he has yet to break away from the conventions laid down by Miles Davis in the mid-60´s, but in this he is hardly alone. Saxist Flosason, who studied music at Indiana University before returning to northern Europe, is as comfortable as Winther with a number of classic American traditions. Once again we have evidence that jazz is everywhere and that geographical boundaries in no way constrain musicians from thoroughly mastering the music."
Krin Gibbard, Cadence (USA), February 1993.

Bassisten Tomas Einarsson har de senere aarene vist seg som et av de mest interessante jazz-navne pa sagaöya. Paa "Hinsegin blus" (AB 8702) bidro danske Jens Winther (tp) til at örene maatte skjerpes. Winther deltar paa Einarssons siste utgivelse, "Nyr Tónn" (SCD 53), hvor det ikke minst balladene viser en fin utvikling innen "moderne" akustisk jazz. De övrige i kvintetten er Sigurdur Flosason (as & ba), Eythor Gunnarsson (p, som aapenbart kan mer enn hva Mezzoforte tyder paa) og emmigranten Pétur Östlund (tr) bidrar til at ogsaa jazz-Island tilhörer den Nordiske "sound".
Steinar Kristiansen, Jazznytt ( Norway ), 1/1991

HINSEGIN BLÚS (1987)

"Jeg har tidligere anmeldt en ganske udmærket lp, Thessi ófétis jazz, med de fire islandske musikere, som vi ogsaa hörer paa den foreliggende plade. Grundstammen udgöres af pianisten Eithor Gunnarsson, trommeslageren Gunnlaugur Briem (der begge vil være kendte som medlemmer af fusionsgruppen Mezzoforte) samt bassisten Tomas R. Einarsson. I to af pladens otte titler höres desuden tenorsaxofonisten Runar Georgsson, mens den danske trompetist  Jens Winther medvirker i fire. Gunnarsson og Einarsson tegner sig for samtlige kompositioner, og de hæver  sig höjt over det niveau, der sædvanligvis kendetegner jazzmusikeres egne frembringelser. Det bemærkelsesværdige er at, de ikke blot fungerer fint, men at de ogsaa er i stand til at formidle en helt særegen stemning. Og det er interessant, hvordan denne afspejler sig i Winthers spil. I Einarssons I svefninum ek eg er det saaledes ladet med det mörke, skæbnesvangre udtryk, der huskes fra en række Miles Davis-indspilninger fra begyndelsen af 50erne. Det er fört videre i Gunnarssons Vals, men ændrer sig alligevel noget i karakter, takket være 3/4-takten. Og endnu mere selvstændigt markerer det sig i det fremragende trionummer Roandi vals fyrir rassblaut barn og piano (Einarsson). I den anden ende af spektret er der Einarssons lystigt dansende Rumba,  samba og frjalst, der dog desværre fades ud midt i en vellykket solokadence af Georgsson, og et par haardtswingende bluesnumre som Hinsegin blus og  Bluss, hvor der virkelig bliver gaaet frisk til den. Det koster et par skrammer undervejs, men de er hurtigt glemt." 
Boris Rabinowitsch, Politiken ( Denmark ), May 14th, 1988.

"Vor zwei Jahren hatte ich bereits das Vergnügen, Ihnen eine Platte des isländischen Bassisten Thomas R. Einarsson vorstellen zu können. Hier ist  nun seine zweite mit einem Trio, zu dem in einigen Titeln noch Rúnar  Georgsson (ts) und der dänische Trompeter Jens Winther dazukommen. Sie spielen interessanten modernen Jazz in Eigenkompositionen, der das Hörer dieser Platte zu einem Vergnügen macht."
Franz Kempe, Der Jazzfreund nr. 133 ( Germany ), March 1989

ÞESSI ÓFÉTIS JAZZ (1985)

"Titlen paa denne lp betyder "denne skrækkelige jazz" og er et citat, der er laant hos Halldór Laxness, men det skal næppe tages helt bogstaveligt. For det bemærkelsesværdige er, at det er tre medlemmer af den islandske fusionsgruppe Mezzoforte, pianisten Eyþór Gunnarsson, guitaristen Fridrik Karlsson og trommeslageren Gunnlaugur Briem, der her kaster sig ud i rent  jazzspil, og det slipper de slet ikke daarligt fra. Briem er nok for ivrig  og har derfor vanskeligheder med at faa sit spil til at hænge sammen, men  det er talentfuldt. Og det gælder maaske i endnu höjere grad Gunnarsson og Karlsson, der begge kunne udvikle sig til fremragende jazzmusikere, hvis de satsede paa det. Med sig har de et par mere garvede jazzkollegaer, tenorsaxofonisten Runar Georgsson, der dog kun medvirker i fire numre og specielt gör et stærkt indtryk i lp´ens titelnummer, en blues, der er skrevet i fællesskab af  Gunnarsson og kvintettens femte medlem, bassisten Tomas R. Einarsson. Bortset fra Karlssons Eina Sölsu Med Öllu, et frisk latin-influeret nummer vistnok fra Mezzofortes repertoire, tegner Einarsson sig for pladens övrige  kompositioner, der fungerer ganske fortræffeligt. Uden skönhedspletter er musikken altsaa ikke, men det opvejes rigeligt af det gaapaamod og den veloplagthed, som kommer til udtryk i den."
Boris Rabinowitsch, Politiken ( Denmark ), January 11th, 1986

"Den anden plade er islandsk og har som titel et citat af Halldór Laxness der betyder noget i retning af "dette utyske, jazzen". I modsætning til den foregaaende plade er alle musikerne paa denne lokale, og musikken har ikke  nogen lokalkolorit, men er af internationalt tilsnit. Pianisten, guitaristen og trommeslageren er ogsaa internationalt kendte som medlemmer af den elektriske funk-gruppe Mezzoforte, men spiller paa denne plade regulær jazzmusik. Den tegnes först og fremmest af Tómas Einarsson, som baade er en fremragende kontrabassist og har skrevet  hovedparten af musikken, og af Rúnar Georgsson, der medvirker i fire af desyv optagelser med solidt tenorspil i slægt med Dexter Gordons. Gode eksemplarer paa gruppens formaaen er titelnummeret, en medium blues, og balladen Vor hinsti dagur er hniginn. Det er musik, som det er ogsaa  værd at faa præsenteret i Danmark."
Erik Wiedemann, Information ( Denmark ), November 5th, 1986