[TR24][OF] Esbjörn Svensson Trio (e.s.t. – Esbjorn Svensson, Dan Berglund, Magnus Ostrom) - Live in Gothenburg - 2019 (post-bop, contemporary jazz, modern creative)

Эсбьёрн Свенссон трио (Esbjörn Svensson Trio, e.s.t.) — популярное фортепианное джаз-трио из Швеции в составе пианиста Эсбьёрна Свенссона, контрабасиста Дана Берглунда и ударника Магнуса Эстрема, основанное в 1993 году и прекратившее существование в 2008-м после трагической гибели Свенссона. Музыкальный стиль e.s.t. — северноевропейский неторопливый пост-боп с элементами авангарда, рока и классической музыки, осложненный умеренным использованием электронных и шумовых эффектов и продвинутых форм многодорожечной записи.
Основатель Эсбьёрн Свенссон Трио (e.s.t.) – джазовый пианист Эсбьёрн Свенссон (швед. Bror Fredrik "Esbjörn" Svensson, 16 апреля, 1964 — 14 июня, 2008), один из самых успешных европейских джазовых музыкантов начала XXI века. Трагически погиб в возрасте 44 лет во время погружения с аквалангом возле причала на одном из островов Стокгольмского архипелага в нескольких километрах от центра шведской столицы.
Благодаря своим родителям — отцу, любителю джаза, и матери, классической пианистке, Эсбьёрн Свенссон уже в ранние годы познакомился с джазовой и классической музыкой. Первоначально Свенссон проявлял интерес к классической музыке. В подростковом возрасте он увлекался роком и даже организовал со своими одноклассниками несколько «гаражных» групп. После этого Свенссон вернулся к классической музыке. Творческий поиск, однако, привёл его к джазу.
В возрасте 16 лет Эсбьёрн Свенссон начал учиться в музыкальном колледже по специальности фортепиано. Позже он поступил в Стокгольмский королевский колледж музыки и проучился там четыре года. В 1990 году Свенссон создал свой собственный джазовый коллектив с другом детства, барабанщиком Магнусом Эстремом (Magnus Öström). Оба сделали свои первые шаги на шведской и датской джазовых сценах в 1980-е годы в качестве музыкантов-аккомпаниаторов. В 1993 году к ним присоединился контрабасист Дан Берглунд (Dan Berglund). Так родилось Эсбьёрн Свенссон Трио (e.s.t.)
В 1993 Трио выпускает дебютный альбом When Everyone Has Gone, после чего e.s.t. постепенно укрепляет свои позиции на скандинавской сцене. В 1995 и в 1996 годах Эсбьёрн Свенссон признавался джазовым музыкантом года в Швеции.
Международная известность трио пришла с альбомом From Gagarin’s Point Of View (1999), который стал их первым альбомом, выпущенным за пределами Скандинавии. С выпуском альбомов Good Morning Susie Soho (2000) и Strange Place For Snow (2002) трио обратило на себя внимание джазовой аудитории США. А композиции из альбома Strange Place For Snow (2002) даже были использованы режиссёром Мариной де Ван в её фильме «В моей коже». В 2002 году трио отправилось в 9-месячный тур по Европе, США и Японии. Их последующие альбомы — Seven Days Of Falling (2003), Viaticum (2005) и Tuesday Wonderland (2006) — были одинаково хорошо восприняты критиками и поклонниками.
В 2005 г. e.s.t. стало первым европейским джазовым трио, попавшим на обложку американского журнала Down Beat. Их последний альбом, e.s.t. Live in Hamburg (2007), запись концерта 2006 года в Гамбурге в рамках тура в поддержку альбома Tuesday Wonderland. Перед смертью Свенссона трио работает над концепцией интеграции электронных и механических звуковых решений в контекст джазового трио. Последнее выступление E.S.T. состоялось в Москве в Зале имени П. И. Чайковского 30 мая 2008 года. Кроме E.S.T. Свенссон записал альбомы с Нильсом Ландгреном и Викторией Толстой.
14 июня 2008 Свенссон пропал без вести во время погружения с аквалангом в пригороде Стокгольма. Его товарищи нашли его лежащим без сознания на дне моря. С серьёзными травмами он был доставлен в Каролинскую университетскую больницу на вертолёте, но его жизнь не удалось спасти. Ему было 44 года. У него осталась жена и двое сыновей.
Признание
1995, 1996: Эсбьёрн Свенссон получает звание лучшего джазового музыканта Швеции
1997: диск Winter in Venice получает шведскую «Грэмми» в категории «Джазовый альбом»
1998: Эсбьёрн Свенссон получает звание лучшего автора песни Швеции
2002: альбом Strange Place For Snow получает множество европейских наград, среди которых премия музыкальной академии Германии Jahrespreis der Deutschen Schallplattenkritik, германская премия Deutsche Jazzpreis, французская премия Choc de l'année (Jazzman), французская «грэмми» Victoire du Jazz
2004: E.S.T. получает премию Ханса Коллера как европейский музыкальный коллектив года..
https://ru.wikipedia.org/wiki/Эсбьёрн_Свенссон_Трио

#777Esbjörn Svensson Trio (or e.s.t.) was a Swedish jazz piano trio formed in 1993 consisting of Esbjörn Svensson (piano), Dan Berglund (double bass), and Magnus Öström (drums). Its music has classical, rock, pop, and techno elements. It lists classical composer Béla Bartók and rock band Radiohead as influences. Its style involves conventional jazz and the use of electronic effects and multitrack recording.
The trio deliberately blurred genres, with Svensson's musical catholicism drawing upon a wide variety of artist influences. e.s.t. was also renowned for its vibrant style in live performances, often playing in rock and roll oriented venues to young crowds. It achieved great commercial success and critical acclaim throughout Europe. Its 1999 release From Gagarin's Point of View started its international breakthrough, being the first e.s.t. album to be released outside of Scandinavia through the German label ACT.
Svensson died in a scuba diving accident in Stockholm on 14 June 2008. He is survived by his wife and two sons. The publication All About Jazz remarked that the loss "will surely deeply sadden music lovers everywhere."
Since 2013 Magnus Öström and Dan Berglund are touring with the project e.s.t. symphony with Swedish arrangeur and conductor Hans Ek, performing symphonic versions of the e.s.t. songs.
In 1995 and 1996, Svensson was awarded Swedish Jazz Musician of the Year and 1998 Songwriter of the Year, and the 1997 release Winter in Venice (consisting mainly of original material) was awarded the Swedish Grammy. Strange Place For Snow, e.s.t.'s 2002 release earned numerous awards including the Jahrespreis der Deutschen Schallplattenkritik (from the German Phonoacademy), the German Jazz Award, Choc de l'année (Jazzman, France), the Victoire du Jazz – the French Grammy – as best international act and also the Revelation of the Festival award, a special award from Midem. In December 2004, e.s.t. was awarded the Hans Koller prize as European Artist of the Year.
https://en.wikipedia.org/wiki/Esbjörn_Svensson_Trio

A concert for the ages: The release of "e.s.t. live in Gothenburg" brings listeners the previously unreleased recording of a concert to which Esbjörn Svensson (d.2008) referred in his lifetime as one of the best that his trio ever did. In this 2001 recording, e.s.t. played tracks from the albums "From Gagarin´s Point of View" and "Good Morning Susie Soho". There is even one track, “Bowling", which has never been released on CD before. "e.s.t. live in Gothenburg" documents the enduring magic of this band. We find originality, strength and playfulness coalescing together in an ideal way here.
“...and finally evening comes. We usually meet in the dressing room. Magnus’ drumsticks are pattering against his legs. Åke is talking—saying something about different sound systems or complaining about the US and Bush. Dan and I are jumping up and down to get our energy going. Then we go on stage, meet the audience, the music. Timeless, without a program, without a set list. We want to be open to what fits just then. Sometimes nothing comes to mind and it’s frustrating, but things always work out and it is definitely worth it [...] because when it does we can just go with the flow. Then it’s the music that carries us and we just make ourselves available. It’s fantastic, near religious I suppose. All of a sudden we can hear ourselves playing things we’ve never played before. And suddenly colour returns to life. When that happens I think the audience feels it too. They and we get to be in on something that will never happen again, that’s impossible to recreate. Sometimes you fall into that trap anyway, wanting to recreate, to repeat what was good. It’s almost always doomed to fail. The present cannot be recreated. We have to be content to be in it while it’s happening. And every evening there’s a present that’s waiting for us. We know that it’s going to be different from what made it good yesterday, but what is fantastic is if we can forget the past and just be. Now.”
- Esbjörn Svensson (excerpts from the Swedish Radio programme "Sommar")
On 10 October 2001 the Esbjörn Svensson Trio e.s.t. played a concert at Gothenburg Concert Hall in Sweden. Thereafter, Svensson would always refer to it as one of the very best that the trio ever played. The recording of that performance is now appearing for the first time as the album "e.s.t live in Gothenburg", and it was indeed, as Svensson described it, one of those very fortunate moments. Everything just flows naturally, the energies of the musicians and the listeners inspire each other, boundaries between composition and improvisation become blurred, melodies follow through seamlessly from the tunes and into the solos. At this point in its development, e.s.t. as a band has coalesced and found a genuine sense of unity. The tunes serve as mere starting points for the musicians to head off without any fixed ideas as to where they will end up. What is clear is that each of them is fully enjoying every step of the journey.
On "e.s.t. live in Gothenburg", Esbjörn Svensson, Dan Berglund and Magnus Öström explore and expand the repertoire from their albums from that time, "From Gagarin´s Point of View" and "Good Morning Susie Soho". This was a period in which the foundations were laid for what would mark a glorious, and ultimately a tragic episode in the history of European jazz. E.s.t. was well on the way to becoming probably the most important European jazz band of the noughties. As the band got to play in larger halls and at bigger festivals, e.s.t.’s music became more ecstatic, rockier and more hook-based. "e.s.t. live in Gothenburg", documented by sound engineer Åke Linton who was the hidden fourth member of the band, has compellingly caught the point of transition of the acoustic jazz trio e.s.t. into the one-off phenomenon that they were to become, setting jazz off in new directions and bringing it to new and younger audiences for most of the following decade. Whereas the two previous live albums "e.s.t. live in Hamburg" and "e.s.t. live in London" have a tendency to to show the band’s bigger, concert hall sound, "e.s.t. live in Gothenburg" documents the trio at an earlier stage – with more emphasis on fine craftsmanship, a sound-world that is acoustic and in places almost weightless, influenced both by jazz and classical music. There are also some early pointers to the future in rock and electronica, especially in the second half of the concert.
"e.s.t. live in Gothenburg" makes audible what Svensson means by ‘being in the moment while it happens’. The live versions of the pieces depart significantly from their studio counterparts. In extended collective improvisations and unaccompanied solo passages, music which is completely new and unimagined emerges, seemingly without any effort or interruption. The range of dynamics is wide, there is a genuine band sound and a sense of groove that remain unmatched to this day. A music in which jazz becomes audible more than just an attitude, a specific aesthetic or vocabulary. And jazz itself is just one of the many elements that make up a big picture which includes European classical music, rock, drum'n'bass, minimal music, indie rock and much else besides.
The shot in the arm that e.s.t. gave to jazz, and especially to European jazz, and to the format of the piano trio continues to this day. Widespread enthusiasm for the band's music is undimmed. It may sound like a truism, but Esbjörn Svensson really has become immortal through his music... and through his recordings, which have such a freshness and an excitement about them, it is as if they have just been made... and through the influence that he continues to exert on jazz and especially on the jazz piano trio, both directly and indirectly. "e.s.t. live in Gothenburg" shows why this is true – and does so compellingly: with originality, power, refinement, fantasy, and playfulness.
https://www.actmusic.com/en/Artists/Esbjoern-Svensson-Trio-e.s.t./e.s.t.-live-in-...in-Gothenburg-CD

Esbjörn Svensson - piano
Dan Berglund - double bass
Magnus Öström - drums