Esbjörn Svensson

I want to dedicate a post at this great pianist. It's been almost two years after his untimely death, and I still can not imagine that there will be another disc of his trio. The path was so new, so damn promising that there is room to resign themselves to have no other music from his hands.

My history with Esbjörn and 'began around 2002, when in truth it was a few years that the trio was on the European scene. The album Strange Place for Snow attracted my attention for this title so imaginatively Nordic. The usual charm of the north to where I can not escape. The song that I have finally tied the pianism and Svensson 'was "When God created the coffebreak". Another imaginative way, as a harbinger of suggestions that the music describes. An escape "Bach's" chiseled from the left hand of the piano and the bass of the trust Dan Berglund. A frantic flight that suddenly opens to an expanse of stillness, told by the suspension of the piano, after a run-geometric, symmetrical, the anisotropy of single-storey, sudden braking, where is' possible to appreciate the lyricism of the piano so characteristic of Esbjörn . After this strange mingling of neoclassical related to the geometry of Bach, anisotropy of the universe with the unexpected opening of the floor, I had no way out, the music of this trio of the most influential in recent years on the European stage came inextricably music in my genome.

And then with the maniacal vertical marks that I've discovered the secret recesses, sheltered, little known, the musical journey of Esbjörn, the only regret he had never heard live, never put off till tomorrow what you do not know if you still do, from the chronicles of his concerts seems that the music of the trio had a connotation of "shaman" who can transport the listener on a journey of emotions and vibrant sounds, no sounds convezionali use innovative products throughout the tonal palette of tools that can give, adding sound mingling with the electronics (which the priests of the usual jazz have never forgiven him).

Esbjörn great companion, as well as a leader, I was fascinated by the power of "comping" voice-piano duo of its performance, even in those early (1993 Lyna Nyberg - Close), from this record is impressive as the first witness I can recognize every single note and without a shadow of doubt attribute it to Svensson, a personality 'that emerges very strong, but does not invade the entry, it gives, offers all its harmonious wisdom without overwhelming the melody line.

Esbjörn lover of the classics, so tied to Monk, who has spent a record full of surprises and innovative interpretations of a complex music, edgy, reading it in light of its experience and sensibility 'music (1996 EST Plays Monk), where the version of I mean you will accompany the trio's musical journey through all the years to follow.

Esbjörn, pianist generous to his audience, a pianist in the use of modern technology and means not exactly jazz (video, web communication). Memorable video of the song From Gagarin's Point of View (2003 From Gagarin's Point of View).

I do not want to build a complete discography, just simply try to sketch the personality 'of this pianist and music of this trio, whose importance, and this I am sure, will increase progressively with age. I leave a small musical path made of pearls taken from unreleased live performances that perhaps they can draw better than words art and poetry of this piano unique in European music.