Gothic Theatre
E.S.T.
“One of the most talked about groups currently on the European circuit is the Esbjörn Svensson Trio…which saw its…album, Good Morning Susie Soho, shoot to No. 15 on the pop chart in the group’s native Sweden, alongside the likes of Madonna and Radiohead—a significant achievement for a jazz piano trio.”—New York Times
“Typifying neither the improv+beats school nor the St. Germain-esque dance-floor jazz, E.S.T. is a traditional piano trio energized by 21st-century production techniques, tweaking an informed futurist vibe like Bill Evans remixed or an ECM album messed with in a techno lab.”—CMJ New Music Report
“E.S.T. operates on an intuitive level which many American ensembles would do well to emulate.”—Schwann Inside
Last year the dynamic Swedish group E.S.T. (Esbjörn Svensson Trio) made its auspicious North American debut with Somewhere Else Before on Columbia Records. Steeped in classic acoustic jazz and informed by a wide range of styles, from classical to drum ‘n’ bass, the CD introduced American audiences to the trio which has garnered a strong European following in jazz circles as well as with the pop music crowd. On the group’s sublime sophomore Columbia outing, Strange Place for Snow, E.S.T. continues to explore the jazz-meets-pop sensibility with ten new tunes that bridge the gap between traditional and contemporary music. Influences from outside the jazz realm on the CD include Radiohead and Béla Bartók.
“On our new album, we’re developing the E.S.T. concept to a deeper level,” says pianist and composer Esbjörn Svensson, who formed the trio in 1993 with bassist Dan Berglund and drummer Magnus Öström. “Once again we recorded most of the tracks in December 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 in April 2001 and just played without any guidelines to see what we could come up with. That resulted in two tracks that we’re proud of. Overall, the CD is like a long journey, with all the tunes connected.”
The trio, which has recorded seven CDs in Sweden and been honored with two Swedish “Grammy” awards, works as a collective. Svensson writes most of the melodies, and Berglund and Öström collaborate with the pianist on arrangements.
“The beats come from us as we put in our grooves and bass lines,” says Öström. “Together we shape the pieces. On this album, much of the material that we recorded was really new to us. So, in the studio, we were able to come up with fresh ideas. Most of the tunes are first takes. We captured the energy and not the brain. Sometimes it’s better to just play and not think too much about the music.”
Berglund notes, “Esbjörn brings melodies to the sessions that he’s never sure we’re going to like. But we try them out and work on them, and most of the time they develop into great pieces.”
Strange Place for Snow opens with the catchy number “The Message,” featuring a lyrical piano line, hand-drumming and a relaxed groove. It developed as an improvisation. “We went into the studio for three days last April and just played freely with no tunes to see what we could come up with,” says Öström. “On this piece, there are no overdubs. It’s live. I played a rush groove and then looped myself. Esbjörn and Dan played over the loops. It’s a nice way to open the album because it’s easy to get into this groove.” Svensson notes that the original piece was 14 minutes long. “Of course, we had to edit it down, but this captures the good spirit we had in the session.”
The reflective “Serenade for the Renegade” with anguished arco bass, shivery percussion and overdubbed electric keys started as a sketch at a concert sound check. “Esbjörn was playing some chords and Magnus added in some brush grooves,” explains Berglund. “I tried out the bow and liked what I heard. It’s inspired by Radiohead, one of our favorite bands.” Svensson adds, “There’s a bit of Chopin in the raindrop-like prelude, but Radiohead comes in as soon as the drums and bass enter. The electric keyboard has a celeste sound. Magnus is also playing water gongs.”
The title track is upbeat and swinging. The sound textures are enhanced by Svensson’s prepared piano playing. “I was about to throw this tune into the trash,” Svensson says. “I thought it was too simple. But Dan and Magnus liked it and gave the piece an entirely different sound than I had imagined. This tune took us a couple takes to get it right.” Berglund adds, “I think the melody is fantastic. I play the bass like an electric guitar which gives the song a rock ‘n’ roll feel.”
“Behind the Yashmak” is journey music that starts out with a quiet, spare arrangement then builds to a dramatic climax bursting with beats. In the mix there are tablas with a delay for a special sound effect as well as electric keys wafting in over the skipping drums. “A yashmak is the veil that Muslim women wear,” Öström says. “This song represents the hidden. You never know what’s behind the surface.” Svensson notes that the group planned a special ending, but the trio got so into the vibe of the piece that the track lasted longer than expected. “The tape literally ran out which is why the end is so abrupt. We were upset about that, but then when we listened to it back we loved the end.”
A melodic gem, “Bound for the Beauty of the South” is a reflective ballad that has no overdubs. “That song came easily to me,” Svensson says. “I just sat down and wrote the melody. When the trio played it, there was no discussion. This is a first take.” Berglund adds, “This is about Schloss Elmau, this castle in Germany where we often play. You look out your window and you can see the Alps. It’s calm and relaxing, and there’s no TV in your room. It’s a great place to come in the midst of a grueling tour. It’s a place to meditate.”
“Years of Yearning” is, like its title suggests, a sad song of longing. “We always yearn for our families when we’re on the road,” says Öström. Svensson notes, “This is another song I wasn’t sure was right for E.S.T. But once again, Dan and Magnus proved me wrong. The interlude is inspired by Bartók. Also part of this tune shows up in the next track. It’s our way of showing how interconnected the songs of this album are.”
For a change of pace, E.S.T. delivers the upbeat, caffeine-jagged “When God Created the Coffeebreak” with rumbling bass notes, scampering drums and rousing piano runs. “This is a very fast tune, which we really like to play,” says Svensson. “This came from an idea that Magnus had. He wanted to open with a bass line and then have the melody float over. It’s a very hard tune to perform. I have to practice a lot before I can play it.” Öström concurs: “I have to fight for every hit on the drums and cymbals.” Berglund also agrees: “I don’t play a walking bass line here. There’s no time to relax on this tune, which we’ve only played once in concert. It was exhausting. I’m playing notes all the time. Actually the bass lines are inspired by Bach.”
“Spunky Sprawl” continues in the uptempo mode. It’s fast, sparking and rowdy. It’s a fresh first take. “It’s boogie woogie,” says Svensson. “We never even rehearsed this song. It was the last track we recorded one night and we played without any worry about doing something wrong. There’s a lot of spontaneity in it. This represents the dance side of E.S.T.”
The solemn ballad “Carcrash,” dedicated to the influential Swedish pianist Jan Johansson who died in an auto wreck, is delivered in a reverent spirit. The tune represents, in Svensson’s words, “a crystal dream world.” It’s one of Berglund’s favorite songs on the album.
After three minutes of silence, Strange Place for Snow closes with a hidden track. “September” bursts out of the quiet with an improvised rock jam packed with fast beats, bowed bass screams and blasting keyboards. This number came from the jam session that also bore the opening track. All three E.S.T. members agree that the word “scary” best describes the piece. “We had the tape of this when we were on the road in the north of Sweden last September,” says Öström. “We listened to it when the World Trade Towers were attacked by terrorists, and we thought that this tune reflects what’s happening in the world today.”
Svensson notes that Strange Place for Snow is part three of the trilogy that began with E.S.T.’s previous two Swedish albums, From Gargarin’s Point of View (1999) and Good Morning Susie Soho (2000), which were collected in the American release Somewhere Else Before. Together they showcase a distinctive sound that is helping to expand the horizons of jazz beyond the traditional. “We’ve found our voice,” Svensson says. “This is E.S.T. music.”
