Esbjörn Svensson Trio - From Gagarin's Point Of View

1st October, 1999
ACT


01 Dating
02 Picnic
03 The Chapel
04 Dodge The Dodo
05 From Gagarin's Point Of View
06 The Return Of Mohammed
07 Cornette
08 In The Face Of Day
09 Subway
10 Definition Of A Dog
11 Southwest Loner

The consummate piano trio for the new millenium, whose work was tragically curt short by the early death, aged 44, of the leader in an unfortunate accident.

This was their first album for major lable ACT. For the listener this is almost like a complete club set with the tunes morphing into one another with apparent ease. Svensson lyricism and eye for a melody emerges with the refrain of the jaunty "Picnic" and the deliberate and delicate "The Chapel". Throughout the exemplary rhythm section of Magnus Ostrom (drums) and Dan Berglund (Bass) and light and shade to the explorations of Svennson who plays both acoustic piano and synthesizers.

The funk gets going with the excellent "Dodge the Dodo" a driving beat with a lyrical piano figure that has a great tension and release created by the structure of the piece. Berglunds sonic excursions on the bass are compelling and Ostrom provides surging polyrhythms.

Short wave radio sounds zero into the album's title track a beautiful melody over a leisurely beat where alien sounds create tension and release. "The return of Mohammed" features another great set of melodies over a mid-tempo shuffle, some fleet playing from Svensson creates a sense of joy and freedom over. This is further demonstrated on the manic "Cornette" which appears to be a paean to the harmolodics of Ornette Coleman with its brisk flurries of notes and skitterish structure....Esbjorn gets into Bud Powell territory here with some intense playing.

The lengthy "In the face of day" is perhaps the most introspective piece on the album slowly developing to a sad ballad. The shorter "Subway" is equally down beat with sonorous doulful bowed bass taking the lead. Matters pick up for the mid tempo "Definition of a Dog" with its extended melody/riff tracking over several bars to create a convoluted/complex structure which feels free in parts.

The closing "Southwest loner" is aptly titled a slow reflective piece which ends abruptly.

Whilst not a 100% classic throughout this album features some of ESTs most memorable melodies coupled with exquisite and impossibly tight playing.