e.s.t Live in London
"e.s.t Live in London" by Esbjörn Svensson Trio
Recorded live at Barbican Centre, London on May 20th, 2005
ACT Records (2018)
Musicians:
Esbjörn Svensson -- piano
Dan Berglund -- bass
Magnus Öström -- drums
Track list:
CD 1: 1. Tide of Trepidation / 2. Eight-eight Days in My Veins / 3. Viaticum / 4. Mingle in the Mincing-Machine / 5. In the Tail of Her Eyes / 6. The Unstable Table & Infamous Fable
CD 2: 1. When God Created the Coffeebreak / 2. Behind the Yashmak / 3. Believe, Beleft, Below / 4. Spunky Sprawl * * * For me, there are two 'what might have beens' in the world of modern jazz. First, what might have been if Jaco Pastorius did not develop his antic, did not get killed in a mad pub brawl in 1987, and stayed on course to live his self-proclaimed status as 'the greatest bass player in the world' (he said that when approacing Jösef Zawinul prior joining to Weather Report). We lost one true pioneer in the world of music (not exclusively about jazz) where re-invented the bass as melodic instrument instead of rhythmic one.
Second 'what might have been' would be what happened if Esbjörn Svensson did not suffer shocking scuba diving accident back in Stockholm in 2008? He, and his trio of E.S.T (Esbjörn Svensson Trio) took the world by storm by combining a traditional piano jazz trio setting with original compositions that bend the definitions of genre of jazz and rock with exquisite technique honed by classical training. We were still left with some of his recording outputs, but the loss was beyond unfulfilled.
In trying to fill that irreparable gap, the ACT records label has just released a live album that captured E.S.T in their pomp, recorded while they performed in a sold-out concert at the Barbican Centre London in 2005. The output is a stunning documentation about their musicianship, obviously recorded without any studio trickery. While listening, it brings a great deal of joy for me. After listening, it brings another strong feeling about 'what might have been' if Mr Svensson were still alive today.
E.S.T were unfairly criticised by so-called 'jazz purists' because they successfully incorporate some of the electric rock elements into their music. Sometimes, when one completely oblivious about what he is listening, some parts of E.S.T can really sound like Radiohead. Perhaps, that is one reason to explain their success to bring together jazz enthusiasts with younger generation that is more used to rock sound. Almost definitely, that is the reason why they routinely sold out concerts all over the world. We could argue about what is jazz and not, but the element of great jazz is there: improvisational freedom.
However, the first three tracks of the album completely disregard the 'electronica' part of E.S.T. In fact, they captured E.S.T as purely acoustic trio in absolute finest. They played with such confidence and freedom. How could you describe their confidence, when their opening tune was a song that was a solemn ballad like Tide of Trepidation? Only the finest acts in the business were confident enough to do so, as most would start with 'uplifting' tunes to get the crowd going. Mr Svensson was in a glorious form, every note was so concise and clear. To be fair, he largely eschewed the electronic part in his career, also in this album. His solo part exploration sounded pastoral-like and technically exquisite, particularly the bridge between the first song and the next, Eighty-Eight Days in My Veins. Forgive the comparison, but it is a compliment, because I thought I was hearing Keith Jarrett like in his album of Tribute.
The electronic part of E.S.T was largely done by the excellent bassist in Dan Berglund. First and foremost, we need to acknowledge that Mr Berglund is an excellent acoustic bass player and another important brain in this triumvirate. The proof for the first statement can be comprehensively listened in the second track. An absolute gorgeous track, where Mr Svensson's left-hand playes Bach-inspired ostinato and his right-hand sings jazz improvisation. Listen to Mr Berglund, as he studiously mirrors Mr Svensson's left-hand with his bass. At the same time, he is also being a great rhymic partner to Magnus Öström, who controls the flame with precise and energetic drum work. The trio then turns into another ballad, Viaticum, where the Mr Svensson's melody is covered by atmospheric-like playing by Mr Berglund and Mr. Öström.
The first three songs sound like three beautiful birds being caged. The chains are then off, spectacularly, as soon as Mr Svensson's stomping piano is being followed by a charging bass of Mr Berglund. This is a sort of example where E.S.T is so good at marrying jazz and rock elements, because they are so reverent to each of the genre's roots. The solo of Mr Berglund is electric, supported by Mr Svensson's glorious ostinato and Mr Öström's rhythmic precision.
Each of the track in this album brings energy and reason why E.S.T are one of the greats in their generation. Another highlight in this concert would be When God Created the Coffeebreak. Mr Svensson's piano work is stunning, where essentially, he plays two different melodies at the same time. His left hand performs repeated yet complex movement while his right hand delivers entirely different passage of melody. However, the joy does not stop there: wait until his solo improvisation part where he executes some serious chops that are clearly elaborated. Another stamp on genius: he does not regurgitate chords (I imagine the circumstance where if he does that, it would be forgivable due to the electric atmosphere his band creates), instead he is still being articulate in each note of his improvisation. I did say it and I will say it again: Mr Svensson really is one of the greatest piano players in the history. This song is a solid proof.
Behind the Yashmak is another epic movement, can only be done by E.S.T's creative mind. First quarter of the song presents us with the players solemnly explored the 'hidden' sound within the instruments before coalescing into a beautiful passage of melody. The piece is then resolved in such glory. It is perhaps the best way to end any of their concert. However, the next two 'encores' are so exciting, especially the very last which is Spunky Sprawl where Mr Svensson shows of (as if another proof is needed) his deep root of jazz style. The solo sounds so bluesy, brilliantly supported with his trio that matches his genius.
As a listener, I am extremely thankful to be able to enjoy that glorious night in London through this album. These records perfectly capture E.S.T's high energy and excellent musicianship. Here's me hoping ACT records will release some of their other hidden gems soon. This album is a must-listen.
