Customer Reviews

Somewhere Else Before

5 star:		(10)
4 star:		(9)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

Although it might have a tough time living up to the N.Y. Times blurb on its cover ("...a vision of what (jazz) can be"), this CD is my favorite jazz disc of the year. The first time I heard it, I had the same reaction as from my first contact with Pat Metheny and Medeski Martin & Wood's music: here is something new and singular. In fact, the music on "Somewhere Else Before" has some of the same elements as both Metheny and MM&W's stuff -- the soaring, graceful melodicism of Metheny's work with Lyle Mays, plus the exotic constructions and unusual percussion of MM&W -- but the e.s.t. sound is entirely their own. A song such as "Dodge The Dodo" derives much of its uniqueness from the aggresive drumming of Magnus Ostrom (almost a hip-hop rhythm) paired with Esbjorn Svensson's cinematic piano notes. The third member of the trio, Dan Berglund, does things with the bass (acoustic and electric) we haven't heard before. For ex., on "The Face Of Love" his bass wails a call to prayer before doubling the main melody with Svensson's piano. Speaking of Mr. Svensson, his magnificent playing on this CD tells me he will soon be considered alongside people like Brad Mehldau as a top contemporary jazz pianist. On top of everything else, the eleven tunes on the CD (all orginals except one) mark the appearance of a significant new songwriting presence in jazz. They are each intricate beauties that become deeper each time you listen. I wish every jazz fan could hear this disc!

E.S.T. coolly combines jazz virtuosity with rock and techno elements to make music that both immediately rewards (the catchy, propulsive "Dodge the Dodo" and the pensively melodic "From Gagarin's Point of View") and fosters repeat listening (hypnotic "The Wraith"). Piano man Esbjorn Svensson pours melodies from his fingers without being overbearing. Bassist Dan Berglund is not content to simply hold down the bottom; he uses the bow and electronic devices to bring his instrument to the forefront. Drummer Magnus Ostrom ties it all together with his battery of percussion. I've read some reviews that deride E.S.T. for their melodic and rhythmic accessibility. What rubbish! Jazz is more than Ornette Coleman. E.S.T.'s killer tunes and obvious musicianship mean more to me than all the 45-minute sax solos in the world. If that's what you like, don't pick up this album. But if you enjoy strong melody, rhythm and musicianship, buy this album (or indeed any of E.S.T.'s albums).

This album is contains tracks previously released on EST's From Gagarin's Point of View and Good Morning Susie Soho. I love this pianist and the trio as a group and have travelled the world, literally and via the web, to obtain their albums. The playing is lyrical without being sentimental - elements of Bill Evans and Keith Jarrett. A wonderful use of space, like Ahmad Jamal. It's great to see that at least one album is now available on a mainstream site so EST can get greater exposure. As for the suggestion by another reviewer that Svensson could become as well thought of as Brad Meldhau, I have half a dozen or so albums of each group and play EST much more frequently - all their albums are five stars to me, whereas only one of Meldhau's have impressed me that much. EST is INTERESTING, creative music without being atonal or inaccessibly avante garde. If you like EST, you'll also love another swedish pianist, Lars Jansson who is perhaps sweeter and more melodic, like Bobo Stenson on War Orphans.

I concur with those who have given this CD positive, even glowing, reviews. (I'm not swayed by the comparison to Kenny G that one reviewer makes.) This music evokes the early work of Pat Metheny and Lyle May sand even Ralph Towner's solo Blue Sun, which is obliquely odd considering there is no lead guitar.

Rippling keyboards command one's attention, but it's the interplay of all---keyboards, bass, drums, assorted percussion and a few effects---that creates a hypnotic blend, a jazz mind-meld. Nuance and subtlety play a key part too, for the phrasing and spacing add to the aural tapestry.

Although the songs cover a variety of tempos and employ distinct ideas, the music, save for a strange, unlisted bonus track, is never strained or discordant, though full of energy and vibrancy.

This cd is good enough to make me feel " i want to listen to thier music more". I don't want to judge musicsians from just one cd. CDs are just a part of their musical activity. But i can tell how i felt. Esbjorn's compostions of this cd are highly attractive. "Dodge the dodo" is memorable and vampish but has much excitement. Some lyrical tunes like "Pavane","From Gagarin's..." or "Chapel" make haunting atmosphere.
Someone who have listened to only thier studio-making cds should go to thier concert or listen to thier live on the radio (on a belgian radio, i listened the live in which E.S.T collaborated with Pat Metheny) or good live album EST 95. While in this cd there is little space of improvisation, Esbjorn's sence of piano improv highlighted more on thier lives is mezmerizing and moving. He is an original voice on the scene.

I listened to EST's latest album "A Strange Place For Snow" before listening to this one - This One's Better!
Somewhere Else Before has a strong sense of direction toward eclectism - not weird, ecletic. A very nice combination of fused (not fusion) traditional trio jazz, electronics, 4/4 rock, and strong melodic lines. All the players have chops, but impressively stay within the melodic structure of the tune - a real compliment to them as musicians/composers. To me this album represents the direction EST wants to go. Unfortunately, A Strange Place For Snow is where they currently ended up. And while it is by no means a bad album, it is not the next logical progression from Somewhere Else Before.

I have three CD's from E.S.T. and they all have a permanent place in my play list. This group has a fresh and innovative approach to their interpretation of Jazz. Sometimes challenging, often exciting, and at times mesmerizing. The more you listen to more you get hooked. This is not background music, this is a CD to sit down listen and enjoy the ride. Two definate thumbs up.

When I first put this cd into my machine, I had no preconceived notions of how it would sound. I wasn't thinking about any other musicians with whom to compare them. I just hit PLAY and waited. What I experienced then was the musical equivalent of getting caught in a refreshing rainstorm in the Spring! There are surprises! There is newness! There is innovation!

I still won't compare E.S.T. to other musicians. That is fair to neither. I will simply say that whenever they have a new release, I will be there waiting anxiously.

For too long I've suffered through the Muzak-like tripe that American jazz musicians have served up just so they could have a 'safe' career. Now I'm looking eastward and there is a brand new population of extremely talented players from Europe who have learned from the masters and are not afraid to put themselves and their music out there with new designs and textures.

As a musician, I admire what E.S.T. and their bretheren are doing for the jazz genre. They are courageous, talented, and it sounds like they are having a helluva good time! They have earned my admiration... EARNED it!

I have just recently been listening to this group. I purchased the last CD they made together before the leader past away. Their music making is very original and wonderful to listen to. They create a sound world that is both calming and arresting at the same time...Music from another world, yet very listenable....

This is one of those discs that you'll play years after you buy it. It never loses its charm. The way it builds from simple piano themes to complex experimental productions (with various samples, radio noize, etc.) it captivating. I've listened to this for more than 2 years, and still enjoy it as much as the day I got it. It's a classic. And one of the best by E.S.T.