Esbjörn Svensson Trio – e.s.t. Live In London
By George Moraitis
| Label: | ACT (4) – 9042-1, ACT (4) – ACT 9042-1 |
|---|---|
| Format: | 2 x Vinyl, LP, Album, 180 Gram |
| Country: | Germany |
| Released: | 2018 |
| Genre: | Jazz |
| Style: | Contemporary Jazz |
Esbjörn Svensson Trio (or e.s.t.) was a Swedish jazz piano trio formed in 1993 consisting of Esbjörn Svensson (piano), Dan Berglund (double bass), and Magnus Öström (drums). They were a rare phenomenon, their talents encompassing a nebulous pop-classical-jazz-electronica mix that made all those elements co-exist so naturally it was almost unnatural.
Translating the relative simplicity of a piano trio into a performance which could energise your pulse or melt your heart with nuanced tenderness, they spawned and influenced a generation of bands which followed. Trying to shine a light on their genius is an interesting pursuit. Perhaps it is evidenced in the fact that for all their bold experimentalism in blurring genres, sculpting song structures and often integrating processed sounds into the piano trio format, e.s.t. stayed eminently approachable to listeners of vastly different tastes.
This rare but distinct alchemy helped them build a remarkable degree of acclaim through the jazz world and beyond. e.s.t. was also renowned for its vibrant style in live performances, often playing in rock and roll oriented venues to young crowds.
However, in 2008, Svensson drowned in a Scuba diving accident at the age of 44 which sent shockwaves around the world. The publication All About Jazz remarked that the loss “will surely deeply sadden music lovers everywhere.”
Since 2013, the remaining members Magnus and Dan have been touring with the project ‘e.s.t. symphony’ with Swedish conductor Hans Ek, performing symphonic versions of the e.s.t. songs.
Eleven studio recordings provide an astonishing legacy for this trio and I often marvel at how revolutionary they sounded through the 90’s into the ‘noughties’. Their early e.s.t. Live ’95 and especially 2007’s acclaimed double album E.S.T. Live in Hamburg captured something of that essence, particularly how they intuitively developed improvisation beyond usual studio-album confines. BTW, I highly recommend that album!
This splendid release captures the band on a magical evening when everything went right. The trio always loved taking everything beyond how it sounded on a record; even the brand-new pieces weren’t performed so much as explored, stretched and treated as springboards for some wondrous adventures.
As they navigate a bewildering set of swoops and glides, the sharpness of e.s.t.’s otherworldly connection only bolsters their anything-goes spirit of improv to further heights. Each extended flight is a phenomenon of interplay and reminiscent emotion, usually building to multiple exciting peaks, rolling and crashing with the reckless abandon of sea waves on a cliff edge, then inevitably ebbing back towards eloquent quietude.
Even after that tumultuous set, it’s the gorgeous Keith Jarrett-tinged Americana of “Believe, Beleft, Below” that’s arguably the highlight of the evening, though the bluesy bounce of the final encore makes an even more compelling send off.
It’s baffling to me that there haven’t been more live albums from an outfit so legendary for live performances, but of course that’s all the more reason to treasure each one we have. e.s.t. live in London provides another delicious reminder of why e.s.t. still stand never imitated and profoundly missed.