Late in the Esbjorn Svensson Trio's Sunday night set at World Cafe Live, drummer Magnus Ostrom, in a jam band-like transition between tunes, began coaxing strange but beautiful sounds out of his kit.
Using a combination of his bare hands, brushes and a slight bit of electronic augmentation, Ostrom produced guttural, sustained notes that evoked the aftermaths of a subway and a particularly challenging meal. He worked in that world for a bit longer, but then moved into yet another direction, wielding his snare in an explosive Brazilian maracatu while leading his bandmates into their next song.
It was what John Cage might have sounded like if he had been a drummer. That sense of exploration, as well as a genuine desire to connect with the audience, is what made the Svensson Trio's appearance a success. The trio, from Sweden, played at a high aesthetic and technical level throughout the show, but also conveyed a sense of joyfulness. Whether he was playing bowed lead guitar-sounding passages augmented by the aforementioned electronics or driving the group's post-bop explorations with funky lines, bassist Dan Berglund was the central figure in this democratic ensemble.
As a pianist, Svensson is in close harmony, both literally and figuratively, with his mates. During the aforementioned first set, the group's songs were hard-driving and passionately realized.
Using a combination of his bare hands, brushes and a slight bit of electronic augmentation, Ostrom produced guttural, sustained notes that evoked the aftermaths of a subway and a particularly challenging meal. He worked in that world for a bit longer, but then moved into yet another direction, wielding his snare in an explosive Brazilian maracatu while leading his bandmates into their next song.
It was what John Cage might have sounded like if he had been a drummer. That sense of exploration, as well as a genuine desire to connect with the audience, is what made the Svensson Trio's appearance a success. The trio, from Sweden, played at a high aesthetic and technical level throughout the show, but also conveyed a sense of joyfulness. Whether he was playing bowed lead guitar-sounding passages augmented by the aforementioned electronics or driving the group's post-bop explorations with funky lines, bassist Dan Berglund was the central figure in this democratic ensemble.
As a pianist, Svensson is in close harmony, both literally and figuratively, with his mates. During the aforementioned first set, the group's songs were hard-driving and passionately realized.
For more information contact All About Jazz.
