Magnus Öström & Dan Berglund – ‘e.s.t. 30’

I first saw e.s.t. when they played their first Edinburgh gig, in a crowded cellar bar. I had only gone because the promoter, an old friend, had insisted – something they’d never done before. I got the last seat, right in the front row, close enough to have turned the pages of the music on Esbjörn Svensson‘s piano.

The Esbjörn Svensson Trio quickly became e.s.t., Svensson being keen to emphasise the focus on the band rather than just him. A decade and many gigs later, I saw them for the last time: a sold out Usher Hall, a year before Svensson’s tragically early death in a diving accident.

The other members of e.s.t. moved on to solo projects: drummer Magnus Öström leading his eponymous band, whilst bassist Dan Berglund formed Tonbruket. They came back together in 2016 to collaborate on orchestral arrangements of e.s.t.’s music with the Royal Stockholm Philharmonic Orchestra as e.s.t. symphony.

This record isn’t their first to celebrate the music of e.s.t., then. As with e.s.t. symphony, they’ve augmented the trio format so it’s not just a rehash. Marking thirty years since e.s.t. first got together, Öström and Berglund collaborated with four others for two live shows in 2023, with e.s.t 30 being the result of their performance at Kölner Philharmonie.

It is fittingly Berglund and Öström who open e.s.t. 30 with a short introduction on bowed bass and rumbling tomtoms, before they are joined by pianist Joel Lyssarides for a trio version of ‘From Gagarin’s Point of View’, slow and perfectly moody.

The six tunes comprise several e.s.t. favourites, although faster, rockier numbers are omitted (the live crowd pleasers such as ‘Dodge The Dodo’ and ‘Behind The Yashmak’ don’t appear, for instance). The arrangements stay close to the originals, with space for the three additional instrumentalists to add their own ideas. Perhaps the hardest task falls to Lyssarides: filling Svensson’s shoes would never be easy. He takes the tunes’ themes straight, but lets his own voice colour the solos.

Verneri Pohjola‘s breathy trumpet brings an other-worldly touch, as does Magnus Lindgren‘s flute. Both instruments are augmented by looping or similar effects, adding to the ethereal touch. Ulf Wakenius‘ guitar, featuring on several tracks, is particularly effective, balancing the presence of the piano.

The only tune on which all six musicians appear is the closing track, ‘Believe, Beleft, Below’. Slow and understated, it is imposssible not be moved. Despite his absence, Svensson is all over this record. It is a fine tribute to him and the powerful, affecting music he created.

Patrick Hadfield lives in Edinburgh, occasionally takes photographs, and sometimes blogs at On the Beat. He is @patrickhadfield@mastodon.scot on Mastodon.