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Esbjorn Svensson Trio (E.S.T) who are they?


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I found this article on them.

A Strange Place For Jazz

Posted by Ross on August 29, 2002 09:09 PM (See all posts by Ross)

Filed under: Music: Jazz

E.S.T.

Strange Place for Snow (2002)

Somewhere Else Before (2001)

Sweden may not be the first place that comes to mind when thinking about the future of Jazz, but out of the land of caribou and cloudberries comes the Esbjorn Svensson Trio (known more commonly as E.S.T.), a (mostly) acoustic piano trio that is helping to define, as the New York Times wrote, "Not what jazz was but a vision of what it can be."

What it can be is beautiful music with a base in the styles of Bill Evans and Thelonious Monk, but seasoned with the open sounds of Scandinavian folk music, and fused with modern rock and the occasional shot of electronica.

E.S.T., comprised of pianist Svensson, bassist Dan Berglund and drummer Magnus Ostrom, have released two albums in the United States: their latest, A Strange Place for Snow, and 2001's Somewhere Else Before, a compilation of highlights from two earlier European releases. Throughout both albums, Svensson expertly leads the group through seamless changes in tone and tempo from bluesy modality ("The Message" on Strange), to funky ("Dodge the Dodo" on Somewhere Else), to evocative ethereality ("Serenade for the Renegade" and "Carcrash" on Strange, the title track on Somewhere Else), to hyperactivity (Strange's "When God Created the Coffeebreak") and even a little techno (Somewhere Else's "The Wraith").

Groups like E.S.T. help stretch Jazz beyond the stuffy traditionalism that is choking off the American Jazz scene. When I saw them perform in Munich earlier this year, they enveloped themselves in a smoke machine's dry ice fog (a first for me at an acoustic jazz concert). But they have enough ties to the past to make for a comfortable transition for those who want to give their copies of Blue Train and Waltz for Debbie a rest, and enough innovation and energy to help move Jazz into the 21st century.

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Hugely successful in Europe at present! In their homeland of Sweden their albums make the pop charts.

Piano trio with a hint of electronica giving a contemporary sheen that seems to attract beyond the jazz world.

Excellent live band - very much a trio - three equal parts.

Their records are good but don't really capture their live excitement.

Not the 'future of jazz' (as some would have it) or even wildly original. But very enjoyable with that something that can prick up ears beyond the cloisters of jazz fandom.

Try 'From Gagarin's Point of View' or 'Good Morning Susie Soho' - there is a recent disc that I've not heard.

I'd ignore the "Groups like E.S.T. help stretch Jazz beyond the stuffy traditionalism that is choking off the American Jazz scene" argument. Overrates EST and is unfair on contemporary US jazz.

Edited by Bev Stapleton
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I'd ignore the "Groups like E.S.T. help stretch Jazz beyond the stuffy traditionalism that is choking off the American Jazz scene" argument. Overrates EST and is unfair on contemporary US jazz.

I find them quite dull, even the live concert I saw was very ordinary, especially when compared to say, Uri Caine's Trio, who I saw round about the same time.

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I saw them and the Caine Trio on the same evening at last years Cheltenham Festival. I was a bit sceptical of EST - I'd enjoyed them a couple of years before but had subsequently been disappointed by their 'Stange Place for Snow' album which I found 'dull'.

I really enjoyed them in the concert as it happened; as I did the Caine band. Caine strikes me as the far more original thinker, however.

I'm not too sure where EST are going to go with this format. Maybe a major label with guest vocalists!!!

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I'd ignore the "Groups like E.S.T. help stretch Jazz beyond the stuffy traditionalism that is choking off the American Jazz scene" argument. Overrates EST and is unfair on contemporary US jazz.

I find them quite dull, even the live concert I saw was very ordinary, especially when compared to say, Uri Caine's Trio, who I saw round about the same time.

This was my first impression, too. And I'd have to agree with you vis-a-vis at elast soem of what Uri Caine has been doing,

but what's funny about this band is that I put them into rotation at the radio for some reason--I figured it was good enough or I was short on new stuff, whatver--but hearing them on the radio, up against other stuff I found their refreshing and interesting--not at all the response I had when I listened to their cd straight through.

The label people think of them in much the same way as they think of Bad Plus.

--eric

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EST -- never fail to really draw me in.

Improvisation: Great.

Tunes: Great

Hooks: Great

Seem like nice enough blokes. Don't have that tired Jamie Oliver image (you maybe have to be a Brit, for that).

On a fairly small label which does invest heavily in some quite daring stuff.

They seem to have everything going for them, but yes, where do they now head to?

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Now The Bad Plus.

That I don't get!

Bev, you're surely missing something here The Bad Plus are excellent. I was really suprised by some of the negative vibe that sprung up at the other place when they debutted on Sony. Their performances are quite exciting (if a little showy) and Ethan is one hell of a pianist.

Like EST i will be interested where they go or if they get stuck in a groove.

Edited by Clunky
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E.S.T. are probably my favorite contemporary European band (the Tord Gustavsen Trio comes in a very close second, being a bit more relaxed). E.S.T. are far from boring or dull and in my opinion, they have been a major force in jazz since their inception. Their live video, E.S.T. Live in Stockholm (2003), is well worth checking out and will give a good idea what these guys are about (ignore the at times irritating camera work).

E.S.T. are stunning live, and they can play up a storm and are real crowd pleasers. They have managed what few other bands have achieved - to get young people to listen to intelligent jazz, really get into it and even pass it onto their friends. A rare feat.

Cheers!

est_1_2002.jpg

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... Sweden may not be the first place that comes to mind when thinking about the future of Jazz, ...

Must be an american writer with an american view! Here in Europe we know very well that many new ideas come from scandinavian musicians! Watch out for the more recent ECM output for instance!

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I don't think there is any doubt that EST are a good thing. Their music clearly affects lots of people (myself included). The way they have got notice in the world beyond jazz has to be good.

Just beware of the hype. They might be excellent but they are not creating something new (beyond a few quite gentle imports from the world of dance music, something being done much more audaciously elsewhere). They're doing something that lots of others do - and they're doing it very well indeed.

The reason why this matters is that when their music gets encountered by the experienced US jazz listener I think the reaction is likely to be 'what is all the fuss about?' And that can have an impact on the way European jazz is perceived overall. 'Oh, another European future of jazz!'

A little less hyperbole and EST can be welcomed with enthusiasm for what they are.

When it comes to distinctiveness I'd suggest Bobo Stenson is well ahead! Yes, he's older, more experienced, not working in the quite the same market area. But a little perspective, sense of proportion might help ESTs career in the long term.

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... Sweden may not be the first place that comes to mind when thinking about the future of Jazz, ...

Must be an american writer with an american view! Here in Europe we know very well that many new ideas come from scandinavian musicians! Watch out for the more recent ECM output for instance!

I'll agree to that. If you don't see that to day Europe is just as important as the US, you're half asleep and should join the Rip van Winkle club.

It has'nt always been like that, of course, but Things ain't what they used to be in this field either. Maybe except for hard bop, but there's more to jazz than that.

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Ok we now know who EST are, I want to know who Claes-Goran Fagerstedt is. Picked up a rather beat up copy of "Stone Free" Swedish Jazz Piano dated Jan 1975 on Odeon label. Nice pianist if nothing incredible.

No trace of him at AMG, any one heard of him. Picked it up because it has Gunnar Bergsten and Bernt Rosengren who I have heard before and liked.

Edited by Clunky
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I just know CGF was one of the leading pianists in Sweden from the early fifties on,

playing and recording with Rosengren, Lars Gullin, Nannie Porres a.o. As you say,maybe not sensational, but a good musician with a thorough understanding of the - then - new thing in jazz.

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  • 10 months later...

And almost a year later, I finally pick up the disc (Strange Place for Snow)...

I heard the title cut on the radio a few months ago and put the disc on my want list (or rather wish list; some of these never actually get bought, you know...). I think the descriptions above are pretty much perfect, but must add that I really like this one. It's definitely going to be one of those 'right mood' CDs, but then what isn't. But for a cold, grey stay-at-home day, it's perfect. It seems almost familiar, but with enough surprises to make it interesting. Exciting? No. Just nice and satisfying.

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  • 1 year later...
  • 1 year later...

Swedish media have just reported that Esbjörn Svensson died in a diving accident yesterday. He was 44.

E.S.T. had just completed a new album the group was very pleased with, which was supposed to come out in September.

That's awful, just tragic.

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