Esbjorn Svensson Trio: 301

Esbjorn Svensson Trio

301 (ACT Music; 2012)

Esbjorn Svensson (piano)

Dan Berglund (bass)

Magnus Ostrom (drums)

E.S.T. are perennial favourites in the JazzWrap office. So when word came at the beginning of the year that new studio material was on the way, I was stoked with excitement.

The Swedish trio has been in the forefront of the European jazz scene for well over a decade. The tragic passing of founding member, Esbjorn Svensson, signaled the end of one of the best trios Europe has produced in a very long time. But the final music from the session that produced Leucocyte in 2009, also included material that shows how far the trio had come and where they were about to go. It's also a statement of how important they have become.

That session is now released under the title 301, after the studio for which it was recorded. Like it's predecessor, 301 is intensely dark and experimental. The opening track "Behind The Stars" is a solo piece driven by Svensson's steady tone that always had an element of Bill Evans or Keith Jarrett. A rich modular number that rises and descends with elegance. This is reminiscent of the group's earlier work--quiet like a chamber trio.

"Behind The Stars" transitions beautifully into seismic harmonic structures of "Inner City, City Lights." A slow moving ballad that catches Berglunds haunting basslines sounding like Mick Karn (maybe a stretch, but you know what I mean). A droning synth line hovers above Svensson's notes adding the cold electronic ambiance that E.S.T. had been researching on their previous efforts to this point. It's tantalizing and brooding but somehow still bursting with sublime vitality.

The epic, "Three Falling Free I-II" exhibits a Debussy calm and mastery. A romantic ballad that circles along the calculating notes of Berglund and Svensson. The elegance of Part I gives way to the fury of Ostrom's rhythmic patterns that roll independently and create the basis of freedom and experimentation for the second movement. Ostrom leds the trio through a more aggressive, almost rock orientated workout. The group are continually pushing themselves. "Three Falling Free" is one of those pieces that probably would have made the live audience go nuts. Amazing.

The gospel tinged "The Childhood Dream" closes out 301 on a supreme note. It's blossoming with charm, soul and a well balanced sense realism. A mirror to ones on reality.

As a document of one moment in time, 301 stands alone from its parent, Leucocyte. A darker album with mixtures of E.S.T.'s past, present and future. This may have been the last statement but it is by no means studio outtakes. It is also a declaration of how important this Esbjorn Svensson, Dan Berglund and Magnus Ostrom have been to the entire jazz scene over the last decade. Highly Recommended.

Plaistow: Lacrimosa

Plaistow (trio)

Lacrimosa (Insubordinations Netlabel; 2012)

Cyril Bondi (drums)

Johann Bourguenez (piano)

Raphael Ortis (bass)

Swiss trio, Plaistow have only been on the scene since 2007, but have slowly developed and crafted a style that has become more experimental and adventurous with each release. Starting in a post-bop style similar to E.S.T., RGG or Keith Jarrett Trio this trio have continually branched out. Plaistow's last album, The Crow set the tone for what would come today. A mixture of soft tones and forward thinking themes. In some ways you could liken it The Necks. But slightly different than their Australian counterparts, Plaistow add a bit of melody into the mix. Melodic but moving. 

On the bands fifth release, Lacrimosa, they have achieved a combination of existential bliss and infectious grooves. Plaistow exemplify this with the two lengthy tracks that make up this spellbinding document. The title track moves gently in a revolving pattern that is reminiscent of The Necks or Philip Glass solo. Bourguenez has displays a steady yet fast coordination at the piano. While Ortis' bass melds into the notes like a calm heartbeat. As the piece moves into its middle stages Bondi's drums become more apparent and the trio starts to build on a groove. And just when you think it's going in a more song structured direction,  the trio stop cold and return to an ambient pace and ride you out to the finale.

The second piece, "Cube" is more uptempo (so to speak) with Bondi and Ortis being the focal point in open chords. The notes of circular but present almost an indie rock feel to them. Bondi hits the kit with fury and Ortis becomes almost haunting in what feels like a deep two note plucking. Bourguenez joins in late on to add a tanscendent tone to the piece. Then "Cube" begins to get very experimental with Ortis and Bourguenez stretching and bending the sound barrier on their instruments with swirling psychedelic and eerie effects. The piece closes on the rock theme note in which it opened. Stellar to say the least.

Plaistow are really finding their voice and developing into a band with great ideas. If you haven't discovered them yet, now is the time. Lacrimosa is an album that should not be missed. And if you are in a European country, you must see them live (and let me know about it). I only wish I had the chance. 

Plaistow - Lacrimosa (Live In Strasbourg, 17 nov 2011) from Plaistow on Vimeo.

Neil Cowley Trio: The Face Of Mount Molehill

Neil Cowley Trio (group)

The Face Of Mount Molehill (Naim Records; 2012)

Neil Cowley (piano)

Rex Horan (bass)

Evan Jenkins (drums)

The Neil Cowley Trio have quietly and arguably made themselves the most important and exciting group in Britain right now.


Yes, one of my other favourites that I will discuss later in the week (Phronesis) are also in the same category. Neil Cowley though seems to have made his group's compositions large and entertaining which in turn gives them an even broader appeal. And that makes The Face Of Mount Molehill one of the best albums of year.

"Lament" opens the album with a soft emotional plea. Cowley takes the listener on a journey that is mostly reflective and poignant. "Rooster Was A Witness" feels like an E.S.T. piece with big themes and arrangements. New bassist Rex Horan provides muscle and versatility that adds to Cowley's "all things are possible with music attitude" writing style. This all allows Jenkins to really cut loose with abandon.


"Fable" booms into the frame like something from Joe Jackson's best years. It's upbeat, fierce and well balanced. Kept on one fast tone, "Fable" makes a statement that Neil Cowley is here to change things around this session. 

"Skies Are Rare" returns us to Cowley's classical origins but with big ballad overtures. The piece undulates and maneuvers slowly with grace and beauty. But it also shows Cowley's panache for diversity. The title track is another moment where you might expect a vocalist to drop in but it is an appeal and highly enjoyable piece - uptempo and a chorus that sticks in your head for hours later.


"Siren's Last Look Back" is short but beautifully closes out this session on a deep yet sparse note. It's has an ambient quality to it that really carries you out on a dreamlike state.

The Face Of Mount Molehill is a long journey through the experiences of life's ups and downs. And Neil Cowley has once again proven his trio is one of the most diverse in England and possibly Europe at the moment. The gap between all others and the revered Esbjorn Svensson Trio may soon shrink if Cowley keeps this up. Highly Recommended.

Dan Berglund's Tonbrunket

Dan Berglund (bass)
Tonbrunket (ACT Music)


Dan Berglund starts his solo career after a decade in the highly influential Swedish trio E.S.T. (Esbjorn Svensson Trio). The untimely death of his close friend and co-founder Esbjorn Svensson obviously still has a profound effect on him and it shows in his new quartet Tonbrunket (Swedish expression for factory).

Tonbrunket is an album that is definitely different from what Berglund did with E.S.T. It is an album fueled by jazz, folk and rock experiences of its members. The album is calmer and more ethereal all around than most E.S.T. outing as well. The band's catalyst may actually be Johan Lindstrom (guitar) who's dreamscapes on guitar seems to meld perfectly with Berglund's always impressive and adventurous use of distortion on bass. The aforementioned fuel of the album is very apparent on the opener "Sister Sad" in which Lindstrom sets the tone for the entire session with some powerful atmospherics that for me are reminiscent of Michael Brook, Pink Floyd and Bill Frisell.

Tonbrunket moves so freely between the genres that you at times almost forget its essentially a jazz album. "Salior Waltz" is where Berglund shows his uncanny beauty over the bass accompanied by Martin Hederos on piano. It is a piece that will have the listener encompassed in its subtle emotional warmth and elegance. The album does have its big cacophonous moments driven by Lindstrom and drummer Andreas Werliin (the tracks like "Stethoscsope", "Monstrous Colossus" and "Gi Hop") but these are welcomed and fit marvelously within the mellow, bluesy and folksy jazz oriented pieces. "Wolverine Hoods" is another track that breaks for tradition sounding almost like an instrumental from a Mazzy Star or Opal album with hazy effects and trippy organ work from Hederos.

"Song For E", while most people who didn't know of E.S.T. will find it a lovely piece, its definitely emotionally gut-wrenching and a thoughtful tribute to his friend. Tonbrunket's closing tracks "Cold Blooded Music" and "Waltz For Matilda" are again both evocative and exploratory. The haunting percussion's, pedal effects and bass distortion leading the way of "Cold Blooded Music" into the journeys end with a smoothly and gentle return under the guidance of Berglund and Lindstrom's almost alt-country ballad magic of "Waltz For Matilda".

For those who are E.S.T. fans like myself its has been a difficult year and a half to reconcile not hearing any new E.S.T. music ever again but trust me Dan Berglund's Tonbrunket is a great way to start a new chapter for us. This is album of year quality hands down. If you've never even heard E.S.T. don't worry you can start here and work your way backwards if you like--you will be satisfied.