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E.S.T. at Jazz Standard, September 27-30

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"I don't care what kind of style a group plays as long as they settle into a groove where the rhythm keeps building instead of changing around. It's like the way an African hits a drum. He hits it a certain way, and after a period of time, you feel it more than you did when he first started. He's playing the same thing, but the quality is different -- it's settled into a groove. It's like settin' tobacco in a pipe. You put some heat on it and make it expand. After a while, it's there. It's tight." - Lou Donaldson

Friday, 09 January 2009

E.S.T. at Jazz Standard, September 27-30

Written by Andrea Canter, Contributing Editor

Thursday, 27 September 2007

“By incorporating elements of European house, techno, drum ‘n’ bass and jungle with the influence of Bill Evans, Keith Jarrett, Jimi Hendrix, Deep Purple and even Igor Stravinsky, e.s.t. has pulled off the virtually impossible feat of producing some of the most innovative, thoughtful and intensely rigorous jazz, while attracting an audience made up of manic fans from rock, pop and hip-hop.”—Global Rhythm,com

Known by the initials of their pianist/leader(Esbjorn Svensson Trio), the popular European jazz ensemble E.S.T. plays at the Jazz Standard in Manhattan for four nights, September 27-30, their last American stop before returning to Europe.

While E.S.T is still relatively new to American audiences, their impressionistic creations, combining acoustic and electronic elements, have been garnering acclaim for nearly 15 years in their native Sweden and throughout Europe. E.S.T was awarded "Best International Act” (2003) by the BBC, the Hans Koller Prize as the Best European Artist of 2004, has won two German Jazz Awards (2002, 2003), a German Jazz Critics Award for “Album of the Year” (2002), the Swedish Export Music Prize (2004), the “Choc L'Annee” (2002) from the French Jazzman magazine, the “Best International Act” (2002) and “Revelation of the Festival” (2003) awards from MIDEM, and numerous Swedish Grammies, including "Jazz Album of the Year” (1996, 1998, 2003).

Born in Västeras, Sweden, 40-year-old Esjborn Svensson, son of a classical pianist, studied music in Stockholm. He heard his father’s jazz records as a child but thought the music was “strange and complicated,” and was initially drawn to 1950s rock and roll. With his friend Magnus Öström (who also recalls hearing jazz, particularly Glenn Miller, at home), he entered the local rock music scene as a teenager. The duo soon evolved as a piano-drum band, with the two young musicians providing some vocals as well. Gradually, Svensson notes that he started adding chords to a basic 12-bar blues structure, and with the addition of then-rock bassist Dan Berglund, E.S.T. was launched in 1993.

Difficult to classify with influences of classical, pop and techno as well as rock and jazz, E.S.T. has been described as “the more elegant alternative to the Bad Plus, they share a similar penchant for song-like structure, but with a more delicate approach” (John Kelman, All About Jazz). The trio work as a unit, equally sharing compositional credits; Svensson— with a style recalling early Jarrett but more spacious and restrained, and less ruminative— writes most of the melodies, while Berglund and Öström collaborate with the pianist on arrangements. Notes Svensson, “Individual expression has to be there, but when we solo, we improvise together so it’s more like a conversation between all three of us.”

Five recordings were released in Europe during the 90s, but most American audiences probably had no clue of E.S.T until Columbia issued a compilation of these early recordings as Somewhere Else Before in 2000. A Strange Place for Snow (Columbia) followed in 2002, including influences as diverse as Radiohead and Bartok. Of this recording, Svensson said, “We recorded most of the tracks…first as an acoustic jazz trio, then we revisited many of them to overdub grooves, electronic distortion and layered effects. But we also went into the studio earlier…and just played without any guidelines to see what we could come up with…Overall, the CD is like a long journey, with all the tunes connected."

Next came Seven Days of Falling (215 Records, 2003), a subtle shift of direction for the trio toward a more contemplative, ethereal sound. Released in the US in 2004, Seven Days was hailed as “that rare thing, an immediately accessible instrumental jazz album… a delicious banquet of timbres, melodies, harmonies and feels” (John Walters, The Guardian). Critics’ Poll Awards in 2004 and 2005 from Downbeat Magazine fueled anticipation for the follow-up, Viaticum (215 Records, 2005), which reinforced the darker, more reflective nature of the trio in the new century. In fall 2006, the band released its tenth recording, Tuesday Wonderland, a few months after becoming the first European ensemble on the cover of Downbeat.

The inevitable comparison with the Bad Plus seems less an issue, as EST relies far less on the drama of percussion and increasingly more on subtle interaction among the three instruments, giving more room for electronic effects, more space between elements, and creating a darker atmosphere in which to explore. Like Seven Days of Falling, the 9+ tracks of Viaticum move along like a suite of connected motifs, a common sonic palette emerging with variations derived in nuance more than significant shifts in rhythm, pulse or dynamic expression. Some will argue that this is not really “jazz,” but there is no denying the underlying core of improvisation. Next, with Tuesday Wonderland, EST proves that “long-term collaboration” does not preclude the excitement of fresh ideas. Noted John Kelman (All About Jazz), “…once one pares away the specific musical definers, e.s.t. is still an improvising band capable of generating surprising excitement on the simplest of vamps.”

There’s a growing handful of jazz ensembles from diverse and global backgrounds who are selling out venues not necessarily associated with jazz—in stadiums, arenas, concert halls and rock clubs, from Hiromi and Brad Mehldau to Jason Moran’s Bandwagon and the Bad Plus. Combining acoustic instrumentation with varying degrees of computer-generated accompaniment, EST pushes the envelope and finds considerable success with cross-generational audiences. It’s time for American jazz fans to get acquainted with Europe’s answer to the future of jazz. See E.S.T. live before they return home!

The Jazz Standard is located at 116 E. 27th Street in Manhattan; www.jazzstandard.com. Two sets each night, 7:30 and 9:30 pm, plus an 11 pm show on Friday and Saturday.

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