E S T Seven Days Of Falling CD

E.S.T.: Esbjörn Svensson (piano, keyboards); Dan Berglund (bass guitar); Magnus Öström (drums, percussion).
Available for quite some time as an import before the tiny Philadelphia-based indie 215 Records finally released it stateside, complete with a bonus live DVD, 2003's Seven Days of Falling is every bit the equal of E.S.T.'s earlier records. Misguided American media comparisons to the highly overrated the Bad Plus have done pianist Esbjörn Svensson, bassist Dan Berglund, and drummer Magnus Ostrom a grave disservice, as their music is far more wide-ranging and much less gimmicky. Despite occasional forays into rock influences like "O.D.R.I.P." and a few brief passages that skirt the edges of outside free improv, there's an elegance and shapeliness to the trio's work that has more in common with the cerebral cool of Bill Evans (particularly on the quietly gorgeous opener "Ballad for the Unborn") or the effortless melodic grace of the Vince Guaraldi Trio ("Evening in Atlantis," "Believe, Beleft, Below"). Seven Days of Falling is a ravishingly beautiful, musically captivating album. Bonus track alert: hidden after the nervy "O.D.R.I.P." is the Sinatra-like ballad "Love Is Real," featuring guest vocals from Josh Haden, son of Charlie and brother of Petra. ~ Stewart Mason
Swedish jazz trio E.S.T. continues their adventurous expansion of the acoustic jazz palette on this 2004 release. Though steeped in post-bop and 1960s-era modal explorations, and committed to a traditional sound, pianist Esbjorn Svensson, bassist Daniel Berglud, and drummer Magnus Ostrom play music with a distinctly postmodern sensibility. On "Did they Ever Tell Cousteau?," for example, Ostrom's skittering, brush-generated rhythms on snare and cymbals reference 21st-century electronica, while the piano and bass create expansive, ambient patterns. "In My Garage" tumbles along with the propulsion of a rock song, while "O.D.R.I.P." recalls the wide architecture of postrock acts like Tortoise.
But the members of E.S.T. are not merely stylistic magpies. The musicians play with deep feeling, a fact particularly noticeable on SEVEN DAYS OF FALLING's many slower, more lyrical cuts. The opener, "Ballad for the Unborn," is as quiet and haunting as its title suggests. "Evening in Atlantis," a showcase for Svensson, is made of wispy, delicate strains, and "Believe, Beleft, Below" conjures the image of Erik Satie playing in a smoky nightclub. With their penchant for evocative, poetic playing, and their equal dedication to incorporating modern influences into their music, E.S.T. ranks among the most engaging groups on the jazz scene.Uncut (1/04, p.108) - 4 stars out of 5 - "[H]aunting themes, scintillating interplay and thrilling improvisations...among the most intrepid, expressive jazz outfits of their time."
Down Beat (p.73) - "[T]he momentum and tension gradually intensify as Ostrom demonstrates his usual grace and taste around the kit."