Customer Reviews

Seven Days of Falling

5 star:		(3)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Compared to the earlier records, the sound here is somewhat more edgy and more down dirty. Less of air and "elegance", than on the earlier ones, yet more substance and raw energy, still sophisticated and beautiful though. I have the feeling this one will win over the others in the long run. The group is of course, still one of the most intresting groups in the world. So the record is a must have for all you EST-fans and also a must have for all those who hasn't discovered them yet. EST is experimental jazz-rock-pop for anyone with the slightest intrest in music. Seven days of falling, Mingling in the mincing-machine, Elevator of love, O.D.R.I.P are tracks you can play over and over again...

The Esbjorn Svensson Trio is (one of) the best piano-trio's in the world. They prove the statement that it's impossible for jazz to renew itself, without changing it into something completely different to be totally wrong. The trio has been together for a long time, and that you can hear: they really listen to each other.
They have to, because they tend to put so much space or silence in their music, that it would be very hard to play when they didn't.
A lot of jazzcombinations change their strength a lot, and not always in their advantage. At jazzfestivals you here a lot of theme-solo-solo-solo-boringdrumsolo-theme-jazz, and that's allright when the individuals are interesting enough, but a lot of times it's simply not good enough. Somtimes the reason of that is that the bands are so good that they can change their personal a lot, but it doesn't always do the music good. And this is one of the differences between E.S.T. and some other jazzbands you could hear live.

And then there's their tendency to use 'classical' or folkthemes in their music. E.S.T. does that right too: they're not trying anything but to make great music. They're not playing Bach on a banjo (wich is nice, but doesn't really get to you), but they just look (or listen!) for good themes as a base for their music. That's what they do best and that's what makes all of their albums since From Gagarin's Point Of View worth bying.

What makes the music even better is that they seem to bring a lot of elements of their own Scandinavian musical culture into jazz. Maybe that's the explanation of the feeling you get when you see them play live: they really feel what they're playing. And that makes it possible for the audience to feel it to.

E.S.T. is a piano-bass-drums trio, but they sound bigger than a normal trio. Together with the great sound of acoustic instruments they sometimes put in some electronic elements, but they never overdo it. Most of the time they use it as a contast, to keep the balance between 'the beauty and the beast'. A slightly distorted piano can sound like a recording from 1920 and that effect should even be a plus for the traditional jazz-audience.

Esbjorn Svensson is a great pianoplayer. He can set a mood; he plays real good solo's; he almost lives his music. He's able to play very quietly and very loud and sometimes he does both thing within one tune but than a few times. He's very divers in his playing.

The drummer always gets to you. Sometimes he starts of unobstrusively but somewhere he likes to take the song over to give the tune a groove that can't be denied. By Thor, it's not all silence and quietness! Once again it's about the contrast.

On the album Strange Place For Snow you can hear a tune that has the bassplayer doing a very fast riddle together with the piano. The man on the bass used a line 6 pod (for guitar) on the two live shows I saw in Den Haag and Amsterdam to get some special effects. Very normal, considering what's being done in popular music. Also a great musician!

If you don't know anything about E.S.T. it doesn't matter what album since From Gagarin's Point Of View you buy. The ingredients are the same: beautifull themes, contrast, silence, some electronics, acoustic jazz, building up to climax etc.

Sometimes it's very irritating to see that good musicians don't get recognised enough for the things they are doing. And most of the time not because of the people being to stupid to recognise greatness or beauty, but because of comercial and not cultural considerations. When a lot of American jazzmusicians have that problem, what about Scandinavian? E.S.T. must be heared. Buy the album (or another one of E.S.T.) and spred the gospel of Scandinavian jazz!

probably my most thrilling jazz experience in recent years...I felt so sorry about not having the chance to see them live (the concert in Toronto was canceled because of Esbjorn death). but mostly, I feel deeply sorry for Esbjorn. May God rest his rich soul in peace.

This album is peticularly good, although somehow, I like better "Strange place for snow".

Anyway, if you want to have something good that they produced, you can't go wrong with this album, too.

Razvan

I'll admit I initially felt a twinge of disappoint listening to "Seven Days of Falling." No doubt, my expectations for this offering by E.S.T., which is short for the Esbjörn Svensson Trio, were sky high, and I had been waiting for the better part of a year to find an affordable copy. This trio, saddled with the albatross of being the supposed reinventors of jazz according to some pundits, has been pushing the boundaries for some time now. This time, however, they stay pretty much within the musical realms created on their previous two releases, with a foray here and there into new territory---not that there is any shortage of ideas.

The first two tracks offer a pretty good glimpse of what's to come, a balance between soft ballads and imaginative flights of fancy. Sometimes one song is both: starting off as a lush, smooth tune then morphing into something altogether different, even dissonant---then others, such as Mingle in the Mincing-Machine offer little respite and may chase away some listeners prematurely before one gets to savor the percussion-driven gem Did They Ever Tell Costeau? or the lilting Elevation of Love. Call it mood, atmosphere, or vibe, E.S.T. wields and disperses a range of "it."

If you listen to an E.S.T. recording, then check the lineup, you are in for a bit of a start. It's hard to imagine how some of the sounds they create are spawned from a grand piano, double bass, and drums. There is quite a bit of structure here and less improvisation, something I find appealing.

Once again, the E.S.T. throws in a hidden bonus track that, well, is not what you might expect---a soft, lush number with Josh Haden (Charlie's son) supplying vocals in English: think piano bar (played with unflinching perfection though).

The bonus concert DVD that comes with this edition of the CD (but apparently not with the more expensive import CD) helps elucidate matters, showing Esbjörn Svensson reaching inside his piano to dampen or pluck its inner workings; Dan Berglund attacking the double bass with hands and bows; and Magnus Öström coaxing unnatural sounds from his drum kit.

Rather than writing varying reviews of EST, and having the same positive opinion of all their work,just locate my most verbose entry and that'll explain how much I love their work.