#esbjorn svensson

[donospl]

Esbjörn Svensson "HOME.S."

Esbjörn Svensson “HOME.S.”

ACT Music, 2022 Ten album można bez wątpienia nazwać sensacja i wielkim wydarzeniem. ACT Music wydało solowe nagrania Esbjörna Svenssona, nagrane przez samego pianistę w domowym studiu, niedługo przed jego niespodziewaną, tragiczną śmiercią. Szczegóły całości przedsięwzięcia odsłoniła w wywiadach wdowa po muzyku. Tuż po jego odejściu całe archiwum zostało zabezpieczone i … pozostało nietknięte…

[reflections-in-t]

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©️ Done DeHaon／PLADA

A SHORT FILM ON

©️ MARTIN MARGIELA

©️ Francis Alÿs

○Cuentos patrióticos／愛国的な物語

□"Paradox of Praxis: Sometimes Making Something Leads to Nothing"《 実践のパ���ドクス1 (ときには何にもならないこともする) 》

©️ John Abercrombie／Open Land

©️ Joseph Beuys／Filzpostkarte フェルトの葉書

unknown

©️ E.S.T.(ESBJORN SVENSSON TRIO) ／LEUCOCYTE()

©️ Mario Giacomelli／IO NON HO MANI CHE MI ACCAREZZA IL VOLTO わたしには自分の頬を愛撫する手がない

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[boricuacherry-blog]

hohlefels:

 Esbjorn Svensson trío, también conocidos como EST. El del nombre toca el piano, Dan Berglund el bajo y Magnus Ostrom la batería. Hermosura de sonidos, desde Suecia con amor. “Elevation of love” es lo que hay para escuchar en el triangulito, del disco “Seven days of falling” (altamente recomendable).

 La mala noticia es que el quía que toca el piano crepó practicando submarinismo. Hay que ser pelotudo, pero bueno, dejó unos cuantos discos.

[pinkiepour]

"Dodge the dodo" Esbjorn Svensson Trio

[maraismagic]

Tune of the day: pavane: thoughts of a septuagenarian…🌷

[reposted-yura15cbx]

Esbjorn Svensson Trio (E.S.T.) (Esbjörn Svensson Trio) - дискография 1993-2012

Esbjörn Svensson Trio - феномен: джазовое трио, которое считает себя поп-группой, игра��щей джаз, которое нарушило традиции лидера и сопровождения в пользу равенства всех участников, которое играет не только в традиционных джазовых местах, но и в местах, обычно предназначенных для рок-групп, которое использует в своих выступлениях световые эффекты и дымовые машины, у которого публика подпевает джазовым стандартам вроде Bemsha Swing Телониуса Монка, словом, трио, которое выходит за границы классического джазового трио. На родине, в Швеции, их музыка стоит в поп-чартах, а видео показывает MTV Скандинавии. Своим уникальным звучанием, сочетающим джаз с drum’n’bass, элементами электроники, фанк-, поп- и рок-ритмами, равно как и классической европейской музыки, e.s.t. завоевало признание аудитории, от поклонников классического джаза до молодых любителей хип-хопа. Критики и слушатели во всем мире едины: e.s.t. - определенно одна из наиболее новаторских групп сегодня.

jazz джаз музыка music lossless

Frank Sinatra - The Capitol Years (1954-1962) 21 CD - 1998, FLAC

jazz джаз музыка music lossless

Great Vocalists Of Jazz & Entertainment (40 CD Box) — 2004, FLAC (Vocal Jazz)

The Modern Jazz Quartet

jazz джаз музыка music lossless

Fubar

Арнольд Шварценеггер вернулся!

сериалы США

[jeanetjeannepatin]

Mercredi 24 mai 2023 à 19H, nouvelle émission de la Petite Boutique Fantasque intitulée Espace potager et érotisme. L’espace potager sera dévoilé dans la chronique de l’univers, place Pinel et pour l’érotisme vous le trouverez aisément.

Cette émission a été enregistrée et montée au studio de RadioRadioToulouse et diffusée en hertzien, Toulouse : 106.8 Mhz ou en streaming https://www.radioradiotoulouse.net/ et pour tout le reste du temps sur les podcasts de mixcloud.

Programmation musicale : 1) A smile and a ribbon (Patience and Prudence) 2) Angela (Anna Karina) 3) Calling the goat (Nils Landgren / Esbjorn Svensson) 4) Antica is a ice man 4 (Anah) 5) Never trouble (Arno) 6) Vaghe belleze e bionde trecce d’oro (Maria Luisa Anido) 7) La gueule à l’envers (Amélie Morin) 8) Alone in the dark wood (Fursaxa) 9) Fade into you (Mazzy star) 10) I swear (Sam Gendel) 11) This town ain't big enough for both of us (Sparks) + Chronique de l'univers place Pinel : l’espace potager par Marius Pinel + un extrait du film Pays de Cocagne de Pierre Etaix (1970)

Pour ceux qui auraient piscine indienne, ou toute autre obligation, il y a une possibilité de rattrapage avec les podcasts de la PBF : https://www.mixcloud.com/RadioRadioToulouse/espace-potager-et-érotisme-la-petite-boutique-fantasque/

Sus aux Béotiens !

photographie Federici Bebber

[thevixenvamp]

a little bit about me

jade | infj

age: a century or so…

occupation: countess.

favourite music: aurora, pink floyd, dakhabrakha, björk, mdou moctar, esbjorn svensson trio.

hobbies: spell casting, photography, singing, dancing, painting, fashion, creating chaos.

likes: roadkill, moonlit walks, boreal forests, bats.

dislikes: sunlight, loud noises, boring people, small talk.

[musicollage]

Esbjörn Svensson Trio – Plays Monk. 1996 : Superstudio Gul + ACT.

[mostlymonk]

Round Midnight

EST

Esbjörn Svensson – piano Dan Berglund – bass Magnus Öström – drums

[treat-your-ears]

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.

[donospl]

e.s.t. “Live in Gothenburg”

e.s.t. “Live in Gothenburg”

ACT Music, 2019

10 października 2001 roku trio e.s.t. zagrało koncert w Göteborgu. Występ, który lider zespołu,  Esbjörn Svensson,uznawał za najlepszy w historii grupy. Osiemnaście lat (z niewielkim okładem) później mamy okazję sprawdzenia, skąd wzięło się to przekonanie.

ACT Music, wydawca płyt e.s.t. wydobył z czeluści archiwów nagranie tamtego koncertu i zaprezentował je na dwupłytowym…

[maraismagic]

Nordic tune of the day from us and e.s.t. 💕

[kprchi]

Kevin Ray, “Coffee with Esbjorn Svensson,” watercolor, graphite, and ink on paper, 10 x 14 in.

[solchongpark]

that descending series of notes is just so perfectly timed like falling very slowly, slowly and heavenly, and then a violent return to quick horizontal movement, the repeating pitter patter, the fast thumping keys like a heart, as the melody flies into a darting and daring sky stunt

[thejazzblues]

Esbjorn Svensson Trio - Believe, Beleft, Below