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In spite of a British writer's determined efforts to make them the Next Big Thing in American jazz via articles in publications including the New York Times, Sweden's E.S.T.--the Esbjörn Svensson Trio--didn't last long in the major-label spotlight. After two albums for Columbia in the early 2000s, they were supplanted on that label by the B
In spite of a British writer's determined efforts to make them the Next Big Thing in American jazz via articles in publications including the New York Times, Sweden's E.S.T.--the Esbjörn Svensson Trio--didn't last long in the major-label spotlight. After two albums for Columbia in the early 2000s, they were supplanted on that label by the Bad Plus as the pop-attuned piano trio charged with turning the masses on to jazz. E.S.T. now comes to us through a small Philadelphia label, 215 Records, which, ironically, has a stronger and harder-edged album to work with than Columbia did. The trio is hardly revolutionary in utilizing loops and samples and held-down piano strings, and Svensson sometimes comes across as more Bruce Hornsby than Keith Jarrett in venting his jazz romanticism by use of simple melodies and clean rhythms. But Seven Days of Falling scores with episodic pieces that build in power and emotion and with reflective mood pieces that avoid the tedium to which cerebral Euro trios often succumb. E.S.T., which is also presented in concert on a bonus mini-DVD, has played together for a decade, and it shows. --Lloyd Sachs
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