Esbjorn svensson trio dating
Svensson’s death on June 14th in a scuba diving accident off the coast of his native Sweden shocked the jazz world. T made their recording debut on the Swedish label Dragon with the 1993 album “When Everyone Has Gone”. Svensson’s composing gifts seemed to grow stronger with each subsequent album and the group’s increasing use of electronic effects actually enhanced rather than detracted from the music. T.‘s tasteful deployment of rock elements ensured that they gained an audience far beyond the normal jazz demographic, but without in any way compromising their music. Finally there is the man mountain Dan Berglund on bass, a unique voice on the instrument with his rhythmic drive, incredible dexterity (witness “Dolores In a Shoestand”) and his extraordinary use of electronic effects to “treat” his sound. T some six years ago on BBC Radio Three’s “Late Junction” programme. Each time the venue was bigger and the lighting effects more elaborate. A glossy but highly informative brochure was produced for the tour.In addition to the human cost- Svensson is survived by his wife Eva and two young sons-there is the knowledge that the music has lost one of it’s greatest innovators of recent years, a musician at the peak of his powers. were a great team, the contributions of the innovative bass and drum combination of Dan Berglund and Magnus Ostrom were vital to the trio’s success and should never be underestimated. This was a remarkably mature debut of predominately original material by Svensson that already demonstrated his gift for melody. became ACT’s biggest sellers, helping to finance the expansion of the label. This was allied to a remarkable work ethic that saw the group touring relentlessly and building a following by word of mouth. All three musicians are incredible technicians and gifted soloists and each is extensively featured here. were radically different to my previous live sightings of them, taking greater liberties with their own material and improvising far more freely than ever before. At first I was struck by the similarity of Svensson’s playing to that of Keith Jarrett, another long time favourite of mine. Finally came Birmingham Symphony Hall on March 22nd 2007. The recent sad events have meant that my copy, signed by all three musicians,has taken on an even greater significance as a treasured musical possession. elements are here, great tunes, plus Svensson’s unfettered improvising that somehow combines passages of trance like ecstasy with the discipline of classical technique.This ominous track, “Fading Maid Preludium,” and its second half, “Fading Maid Postludium,” frame Tuesday Wonderland, setting in bas-relief an album of careening, intuitive improvisation. Drummer Magnus Öström can lay down the shuffling brush strokes of “The Goldhearted Miner,” pour out a progressive rock fusillade, or do a ballet of polyrhythmic shadings and colors that recall the late Steve Mc Call. remain a group exploring the edges of jazz improvisation, managing to be free and intuitive while also maintaining melodic and rhythmic touchstones. The real chameleon of the group is bassist Dan Berglund. Tracks like “Brewery of Beggars” are multipart journeys shifting from gentle lyricism to electric storms. Its music has classical, rock, pop, and techno elements.It lists classical composer Béla Bartók and rock band Radiohead as influences.
The album been released in Europe on September 2006, and was nominated in in the Best Jazz Album category. But just as you settle in, crushing drums and fuzzed arco bass drop in a groove from the apocalypse. You can hear echoes of Keith Jarrett and Ahmad Jamal in pianist Esbjörn Svensson, from whom the trio take their name, but he also embraces a more modern vocabulary, hinting at Cecil Taylor while dancing gospel vamps and dropping rock power-chords. have evolved from being the most ECM-like band that wasn’t on ECM into their own natural and thoroughly modern hybrid.
Its 1999 release From Gagarin's Point of View started its international breakthrough, being the first e.s.t.
album to be released outside of Scandinavia through the German label ACT Svensson died in a scuba diving accident in Stockholm on 14 June 2008. The publication All About Jazz remarked that the loss "will surely deeply sadden music lovers everywhere." In 19, Svensson was awarded Swedish Jazz Musician of the Year and 1998 Songwriter of the Year, and the 1997 release Winter in Venice (consisting mainly of original material) was awarded the Swedish Grammy.
Svensson was one of the giants of European jazz, as influential a figure as Django Reinhardt or Jan Garbarek. The group subsequently signed for Siggi Loch’s Munich based ACT label which proved to be a fruitful relationship for all concerned. The combination of this plus their unfailing ear for a good tune made them one of the world’s biggest jazz acts. Berglund’s “Hendrix” of the bass routine graces “Tuesday Wonderland” itself and later he combines with Ostrom on “Definition Of A Dog”, a live favourite dating back to the album “From Gagarin’s Point Of View”. “Live In Hamburg” shows a group that were still expanding, experimenting and developing. album (I’d give that honour to “Strange Place For Snow”, the one I started with) but it is an invaluable document and a wonderful souvenir for anybody who has ever seen the band in concert. studio album entitled “Leucocyte” was already in the can when Svensson’s tragic death occurred. However the purchase of the then current album “Strange Place For Snow” and a subsequent trawl through the back catalogue revealed that there was far more to Svensson and E. Which brings us to this live double album, incredibly their tenth for ACT, and recorded some four months previously on November 22nd 2006 at the Laeiszhall Hamburg. T were stretching out the tunes, improvising expansively on them and drawing them out far beyond the length of their studio counterparts. The material on “Tuesday Wonderland” was inspired by Bach, even though it might not sound like it.
His reinvention of the piano trio breathed new life into the format and inspired numerous imitators. ACT’s international distribution network allowed the group to conquer Europe and subsequently even America, a market normally notoriously resistant to European jazz acts. It was pretty much the same formula that had previously worked for guitarist Pat Metheny, himself one of E. Svensson himself simply shines throughout as always. It is perhaps too sprawling to be considered the definitive E. They were due to play The HSBC Brecon Jazz Festival this year, it’s hard to believe that we’ll never see them again. This will be his swansong/legacy and is due for release by ACT on September 1st 2008. A copy of this album has been in my possession for some time now. Like the subsequent Birmingham show the bulk of the material was drawn from the group’s latest studio album “Tuesday Wonderland”. Both “Tuesday Wonderland” itself and “Dolores In A Shoestand” are twice as long as their original incarnations. Then there is Ostrom’s subtly propulsive drumming, clearly rock influenced but full of delightful percussive details.
However the purchase of the then current album “Strange Place For Snow” and a subsequent trawl through the back catalogue revealed that there was far more to Svensson and E. Which brings us to this live double album, incredibly their tenth for ACT, and recorded some four months previously on November 22nd 2006 at the Laeiszhall Hamburg. T were stretching out the tunes, improvising expansively on them and drawing them out far beyond the length of their studio counterparts. The material on “Tuesday Wonderland” was inspired by Bach, even though it might not sound like it.