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.

Tonbruket: Dig It To The End

Tonbruket (group)

Dig It To The End (ACT Music; 2011)

Dan Berglund (bass)

Johan Lindstrom (guitars)

Andereas Werliin (drums)

Martin Hederos (piano)

Riveting and re-imagining everything on both the jazz and rock front, Tonbruket return very quickly with their second record, Dig It To The End (ACT Music). And it is truly an outstanding second effort.

Former E.S.T. bassist, Dan Berglund's new group feels like a hybrid of the former and the chaos of King Crimson. But in contrast, Tonbruket manage to incorporate folkish grooves in between the fierce patterns they lay forward as a base of exploration.

Berglund appears to have let the dragons out on Dig It To The End. Mixing it up splendidly with the opening number, "Vinegar Heart," which soars from the pounding pace of the trio, Hederos, Berglund and Werliin and swamped by the frenzied chords of Lindstrom adds to the ethos that this not jazz--nor is it rock. This is a piece has multiple parts and moves in different sections all very quickly. Brilliant.

"Lilo" is a gentle number that feels like a lullaby. The effects of Lindstrom's pedal steel guitar and Werliin brushes provide an bit of the Americana genre to this piece. It's delightful and beautiful melody floats along and stays with you long after the piece is completed.

"Dig It To The End" features like horses pounding along a cobblestone street at night. It's a dark sinister piece that could slide nicely into a Nick Cave album. The crazy organ lines plied by Hederos are hilarious and haunting at the same time.

"Le Var" with it's Spanish tinge is twisted through an psychedelic lens that is both hypnotic and intriguing. Thematic and infectious with a two-step nature which folds nicely into the backbeat of "Trackpounder". "Trackpounder" shows the group in more of a rockin' mood and riffing freely. It's got all sorts of grooves that could be reminiscent of the best Spy Jazz themes of the '60s.

Dig It To The End feels a bit more diverse than the quartet's debut. With a expansive passages and themes that have a foothold in multiple genres. Tonbruket's mastery of this makes Dig It To The End highly enjoyable and adventurous at every turn.

Tonbruket is a group of various ideas and backgrounds and they have created a real standout in any musical genre this year. They will have you wondering whether this is jazz or rock or what. But then again...does it matter? Highly Recommended.

Misinterprotato...Your New Favourite Band!

Misinterprotato (group; formed 1999)

The Gentle War (Jazzhead Records)

Sean Foran (piano)

Pat Marchisella (bass)

John Parker (drums)

The piano trio has blossomed in the last ten years. But with each new group there are definitely distinctive qualities that make them all enjoyable and in some cases extremely fascinating. Misinterprotato are one of those fascinating trios. This Brisbane, Australia based group has been igniting the Australian scene for just over a decade. Their influences are definitely an amalgam of modern jazz, improvised thought and the excitement of a rock trio. 

I first got turned on to Misinterprotato as a result of my obsession with fellow Australians, The Necks. I wanted to find more interesting jazz bands from the country and...well... I found it.

While many people may only be aware of Australian trio The Necks, Misinterprotato occupy a completely different area from fellow countrymen who utilize more improvisation and dense space as part of their repertoire. Misinterprotato have developed over five albums into a highly creative and deeply thoughtful group. Their latest album, The Gentle War (Jazzhead) echos the subtle adventurousness of one of their earlier releases, Delay, but also combines the more crisp and well focused melody driven material of the last two albums, Variations and In Is In.

"The Gentle War" burns with intensity and a rolling groove laid out by Foran and Parker. But this is a group effort throughout. Marchisella joins in with a wonderful meditative solo that might make Charlie Haden proud. "Cute" is something you don't get from many trios of late, a sense of humour centered around some forceful playing. The group dig deep with the melody that moves swiftly but with a real command that is both shining and invigorating.

"Wrestle" is another thoughtful and compelling work that really highlights the well rounded ideas Misinterprotato put together. "Wrestle" moves with grace and beauty that is both ethereal and joyous all in one. "Not According To Plan" is the real triumph on The Gentle War and for me its my favourite track on the album. With mellow openings and very textured passages from Foran, this piece delivers on introspection in the best possible way. Marchisella and Parker move in larger during the final movement and give the piece more depth. A real treat for anyone listening.

The closing number "Time" is beautiful and atmospheric. It's extremely reminiscent of the Delay album which was mostly an improvised exploration and the perfect ending to a richly satisfying outing.

Comparisons to The Bad Plus, Keith Jarrett trio (Charlie Haden and Paul Motian) and even the great Esbjorn Svensson Trio are unavoidable but Misinterprotato do lay out their own path and clearly distinguish themselves from the those trios. I think if you use the aforementioned groups as your starting point, you will undoubtedly fall in love this Australian trio. Misinterprotato has created one of the best trio records so far this year with The Gentle War and I urge you to take the journey with them. Misinterprotato is your new favourite band.

Sunna Gunnlaugs

Sunna Gunnlaugs

The Dream (Sunny Sky Records)
Sunna Gunnlaugs (piano)

• Loren Stillman (sax)
• Eivind Opsvik (bass)
• Scott McLemore (drums)
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• So if you've been reading JazzWrap for awhile you will know that I don't throw around comparisons to Esbjorn Svesnsson Trio at all. I've always felt that E.S.T. were a cut above every other modern trio of the last decade. Esbjorn Svensson was a magnificent pianist and is deeply missed. I recently started listening to Icelandic pianist Sunna Gunnlaugs and I have been convinced that she could be one of the few pianists that might ascend to Svensson's heights.
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• While influences of Keith Jarrett and Bill Evans are well noted, there is an Eastern European element to writing and performance that add another layer of beauty and romanticism that will definitely connect with listeners. In the same manner as the earlier Esbjorn Svensson recordings.
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• Gunnlaugs had studied and performed in New York in the late '90s before returning to Iceland. The experiences of growing up near/with Scandinavian influences as well as being apart of a multi-dimensional scene in New York is definitely captured in Gunnlaugs recordings. On her most recent (sixth in all) album, The Dream (Sunny Sky Records), Sunna Gunnlaugs makes the perfect connection of intimate lyricism with buoyant melodies into exciting and sophisticated listening experience.
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• "Holding Ground" has a wonderful hard bop sensibility to it. Her movement on the keys has shown a definite New York influence. For me it felt like being at Smoke listening to Harold Mabern or Mulgrew Miller (something I do quite often actually). Gunnlaugs playing moves between delicate compositional structures and free form improvisations (as shown on the five interludes "Spin"). That European influence can felt on "Vitjun" in which Stillman and Gunnlaugs both deliver beautiful harmonies that give the piece a lush chamber music quality but somehow never feeling distant.
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• "Tunnel Vision" has become one of my favourite tracks on the album. Eivind Opsvik and Scott McLemore (also a member of ASA Trio) open with a very exquisitely played improvisation before Gunnlaugs and Stillman join in to create a bold well enclosed piece with each member stretching the parameters. "Korn" is yet another astounding combination for me that conjures both Icelandic, European and American themes. Gunnlaugs playing dominates this closing number as expected but it also features Opsvik accompanying her with terrific shapes and patterns on the bass.
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• In The Dream, Sunna Gunnlaugs has created a work that is reminiscent of early E.S.T. albums. It is the sum of influences but she uniquely stretches those influences into something wholly different. Gunnlaugs has moved from strength to strength with The Dream and it is her best record to date. If you are looking for something rewarding, exciting and combining some of the best playing you might hear all year on piano, The Dream is a great document to start with. Absolutely Brilliant!

(JazzWrap Note: Sunna Gunnlaugs is currently offering a free download EP featuring a live version of the title track "The Dream" on her site. It's a great introduction to her music. And they when you done, you should buy the whole album.)

ASA Trio

ASA Trio (group; formed 2005)

Plays The Music of Thelonious Monk (self produced; 2011)

Anders Thor (guitar)

Scott McLemore (drums)

Agnar Mar Magnusson (organ)

It's a funky kind of weekend. I thought it might be appropriate to wait till now to spring this killer new record on everybody. I'm really glad the group and I stumbled upon each other in cyberspace here. I got a copy of ASA Trio's latest album, Plays The Music Of Thelonious Monk and was very intrigued by the idea of an organ based trio doing Monk tunes. I have fallen in love with this Icelandic band over the last few weeks and I think everybody seriously needs to check them out.

Now dedicated organ trios are nothing new in the jazz history. What makes ASA Trio standout is they stick to what makes organ trios so satisfying--a deep attention to and understanding of basic instrumentation, blues, funk and jazz harmonics.

ASA Trio are led by Agnar Mar Magnusson (organ) - who's style resembles the great Larry Young -  Anders Thor (guitar), and Scott McLemore (drums). The band started almost by accident. During the Reykjavik Jazz Festival in 2005 there was a band cancellation and this thrust Anders into the spotlight to create a band to perform that day. His two bandmates had performed only briefly in separate incarnations but this performance went off supremely well. And shortly after the band become ASA Trio. The group have recorded two digital only albums previously - A live album, and what is becoming an underground classic, a complete recording of John Coltrane's A Love Supreme. Both albums are available on the band's website and you must check them out. But today our focus is on Plays The Music Of Thelonious Monk.

While there have been plenty of artists that have done Monk inspired albums (Fred Hersch, Wynton Marsalis, Anthony Braxton, Paul Motian, E.S.T., Alexander von Schlippenbach) I don't think any of them would have envisioned a whole album performed by an organ dominated group. Nor would you or they have envisioned it being this exciting, inventive, well played and all around a pleasure to listen to again and again. With most albums of this nature you will see the usual Monk standards "Well You Needn't," "Nutty," and "Epistrophy". But Asa Trio have decided to go in a slightly different direction with minimal Monk standards "Bemsha Swing" and "Straight No Chaser" mixed in with many lesser covered Monk gems.

"Bemsha Swings" opens the album (this was also one of the tracks they first performed at the festival in 2005) beautifully, showing a group that plays within the groove as well as demonstrating a consistent unity among the three. You can feel each instrument throughout this piece. Magnusson's organ never overwhelms the others. This is a hard bop trio utilizing its ability to groove but also staying within tradition. "Raise Four" is both bluesy and funky. Thor's melody is smokin' and free-wheeling like Grant Green or early George Benson. McLemore shows the versatility of a young Billy Higgins throughout this session. His ability to shift in time and rhythm adds an element of surprise with each track.

On "Green Chimneys" Thor picks up Charlie Rouse's chords masterfully. It's not as striking as you would think and the patterns blend harmonically with Magnusson playing the Monk extremely subtle allowing the focus clearing on Thor and McLemore. It's a great example of this collectives creativity in re imagining what could well be a difficult piece. McLemore's solo is bit more fierce than Ben Riely's original but it clearly suites this highly imaginative version.

The beauty of such Monk ballads as "Ugly Beauty" and "Ask Me Know" illustrate another aspect of ASA Trio that I love--they are constantly challenging themselves throughout this recording. It's hard enough to tackle Monk compositions that others don't usually look to work with. It's another thing to challenge yourself with both his uptempo, multi-layered pieces and his intricate ballad material. "Ugly Beauty" in particular, while staying in line with Monk's original intent, shows Magnusson applying delicate pressure on the Hammond which in turn give the piece a bit more emotional punch.

I guess you really couldn't close this session with an unknown Monk piece but what better way to do it than with the universal "Straight No Chaser". Thor really dominates as a replacement for the sax (which would have been Sahib Shihab on the original). Magnusson delivers a pulsating solo that you could imagine Keith Jarrett doing early in his career. Great stuff.

ASA Trio have carved a nice niche for themselves in their native Iceland but I think soon the rest of the world will definitely start talking about this trio. With Plays The Music Of Thelonious Monk, ASA Trio have delivered a document that is all together absorbing, challenging, fun and different than some of the material that's out at the moment. In addition, to the Monk album you should also check out their Live At Domo and A Love Supreme: Live At Cafe Cultura digital only album. Highly Recommended stuff. Enjoy.

Lars Fiil Kvartet: Reconsideration

Lars Fiil Kvartet
Reconsideration

Lars Fiil (piano)
Jens Mikkel Madsen (bass)
Lis Kruse (sax)
Andreas Skamby (drums)

So I've been eagerly awaiting the album that would knock my ears off at the beginning of 2011. And I think I've found it. Danish quartet, Lars Fiil Kvartet led by pianist Lars Fiil, saxophonist Lis Kruse, bassist Jens Mikkel Madsen and drummer Andreas Skamby. Their debut album Reconsideration, is a sublime piece of work.

In the same manner which Dave Stapleton's Between The Lines was both British jazz and beyond British--Lars Fiil has created a document filled with original material that is clearly post modern and European. But Reconsideration aims much higher and beyond many of it's Scandinavian counterparts.

Reconsideration is thoughtful, respectful of its influences (so much so, it's sometimes it hard to find) and improvising when necessary. "Reconsideration" is a beautiful opening number that is reminiscent of the quieter moments of the great Esbjorn Svensson and Tord Gustofsson pieces but things really set fire on the next track. "The Opener" moves from forceful hard bop to groove-laden melodic harmonics without missing a beat. Fiil's playing is truly impressive. I don't know if McCoy Tyner was an influence but for me there are shades--more so in the calmer moments on Reconsideration.

The performances from the rest of the quartet should not be understated. This is demonstrated excellently on "After..." in which Kruse, Skamby and Madsen share some emotional passages before Fiil comes in to round out the sound. The band then jump headlong with steam into some improvised but well structured movements before Kruse and Fiil bringing everything to gentle conclusion.

The full stretch moment is "Xenophobiaphobia", a jumpin' piece that I think Monk would be proud of. Fiil's playing is rich, spirited and challenge when it needs to be. Lars Fiil has a voice and character that far surpasses this debut.

Reconsideration is impressive from start to finish. An album filled with all original material played at a high level and well crafted and delivered by each individual member. Lars Fiil has delivered the first great record of 2011 and I believe we will be talking about this album again as part of our Best Albums Of 2011 in twelve months. Reconsideration is Highly Recommended.

Phronesis: Alive

Phronesis (group; formed 2005)
Jasper Hoiby (bass)
Ivo Neame (piano)
Anton Eger (drums)

Mark Guliana (drums)

The tough part for me is, I had been avoiding Phronesis for the last few years because of the hype (e.g. the next best thing to E.S.T.). Well I have to say I may have seriously missed the bus on this one but I'm glad I caught up at the next stop. Phronesis is a trio born out the London based LOOP collective of musicians whom all have bands of their own but consistently work together for the advancement and experimentation of jazz in England and Europe (and of course everywhere else). The collective is also includes the critically acclaimed groups, Outhouse and Fraud.

While the aforementioned bands explore the more experimental side of the London jazz psyche, Phronesis is more laid back but with a rough vigorous edge in their sound, thanks to Jasper Hoiby's masterful work on bass and direction in composition.

Originally from by Jasper Hoiby, he would later recruit Neame and Eger to from the trio. The group have done an amazing job utilizing the space surrounding them. They fill it with worthy soundscapes that are both tight, poignant and refreshing. On their previous two album, Organic Warfare and Green Delay, Phronesis have definitely shown the spirit of Esbjorn Svensson Trio is still alive but Phronesis are for sure making it their own.

The bands latest, a live album entitled--Alive (Edition Records) is the album fans have been waiting for. Alive is an album rich in mid-tempo rhythms that captivates the listener in addition to highlighting the strength of Hoiby's original compositions. Alive includes material from the bands previous two albums but set in the live format you get a much more expansive and intense experience.

At times early on during this live outing Hoiby sounds like a combination Charlie Haden meets Dan Berglund (of E.S.T.) as on "Abrahams' Gift". "Abraham's Gift" is a number that shifting and fantastic time changes but also lightly balance touch of beauty reminiscent of Haden playing with Jarrett. Ivo Neame and for this date, Mark Guliana on drums also show that Hoiby's writing allows for dynamic improvisation to occur throughout the evenings performance.

"Love Song" is a perfect example of the bands interplay is solid (especially since Guliana is only filling in on this date). "Love Song" is mainly Hoibys piece but Guliana and Neame gently ran counter at just the right moments. Since this is live in the moment the listener truly feels the essence of how this night went down.

Another shining moment is the subtle touches Hoiby employs on "Untitled #2" (and on the iTunes exclusive "Smoking The Camel") in which Neame and Guliana led the trio on beautiful but yet vibrant journeys that showcase a distinct leap forward in the groups material and ability to grab and hold onto the audience at the venue as well as at home on the stereo.

Alive might be the best way to immediately get into Phronesis. They are definitely a group that is on the rise and while I've said recently Neil Cowley is also capable of taking the mantle left by E.S.T., now that I've experienced all three Phronesis albums there is definitely room for two new highly creative voices to fill the void left by the great Swedish trio. You should really check out Phronesis. I'm glad I finally did.

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.