CD Seven Days of Falling (CD 1331577), Audio Other
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Seven Days of Falling

  • 1. Ballad for the Unborn
    2. Seven Days of Falling
    3. Mingle in the Mincing-Machine
    4. Evening in Atlantis
    5. Did They Ever Tell Cousteau?
    6. Believe Beleft Below
    7. Elevation of Love
    8. In My Garage
    9. Why She Couldn't Come
    10. O.D.R.I.P.
  • Additional Info
    Manufacturer Part Number (MPN): 9012

  • Credits
    EngineerAke Linton

    Esbjrn Svensson Trio/E.S.T.: Esbjrn Svensson (piano, keyboards); Dan Berglund (bass guitar); Magnus strm (drums, percussion).
    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.

  • Critic Reviews
    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."
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