Its style involves conventional jazz and the use of electronic effects and multitrack recordingĢ005 - Viaticum & Live in Berlin (2 CD Set ACT-Platinum Edition)Ģ009 - Retrospective - The very best of e.s.tĢ012 - e.s.t. It lists classical composer Bela Bartok and rock band Radiohead as influences. Its music has classical, rock, pop, and techno elements.
are continually revealed.Esbjorn Svensson Trio (or e.s.t.) was a Swedish jazz piano trio formed in 1993 consisting of Esbjorn Svensson (piano), Dan Berglund (double bass), and Magnus Ostrom (drums). Not surprisingly, this is followed by the tender ballad of The Childhood Dream, as all facets of e.s.t.
The lengthy Part II is the album’s other sheer classic ripper, amassing a percussive density that approaches an Afro-Latin feel, the bass distortion growing, a driving rhythm set up for Svensson’s epic gestures, propelling towards a gargantuan climax. Once more, there’s a cut to pure piano grace with Part I of Three Falling Free. Suddenly, the threesome is venturing into the industrial loading bay, as Houston, the 5th heads towards electro-acoustic abstraction, bathed with sonic distress. Svensson’s spirited, bluesy virtuosity is buoyed by springily tensed bass and drums. The Left Lane operates with a more conventional jazz pianism, all the more striking when it follows on from its scuzzed predecessor. The drums slink, and a massed choir-like effect develops, adding to the sustained tone of urgency. It’s a stalking, brooding slow-builder, hovering at length, as Svensson’s piano becomes increasingly flecked with distortion effects, a sinuous bassline unthreading. Delicately haunting bass enters almost unnoticed, Berglund bowing sparse traces as Öström’s drum brushes follow. Regular sound engineer Åke Linton was also a key presence in the recording, editing and mixing process.Ī sombre, portentous opener, Behind the Stars, has lone piano, merging into the extended Inner City, City Lights, one of the album’s two staggering epics. In the end, surviving members Magnus Öström and Dan Berglund elected to delay the release of 301. It’s a summation of where the trio had been, and also of where these perpetually evolving players were heading next.īefore his death, Svensson was actually involved in the editing down of the sessions into what might have been a double album. The 2007 material might be extremely varied in tone and approach, partly out of necessity, doubtless governed by the available recordings, but this circumstance works to the album’s advantage. It represents a colossal achievement, as they take their final bow. This is one of e.s.t.’s greatest albums, and even arguably their ultimate work, in every sense of the word. This is no sweeping-up of studio off-cuts.
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