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Esbjörn Svensson Trio e.s.t. - Live in London (2018) [Official Digital Download 24/96]
Esbjörn Svensson Trio e.s.t. - Live in London (2018)
FLAC (tracks) 24-bit/96 kHz | Time - 105:50 minutes | 1.91 GB
Studio Master, Official Digital Download | Artwork: Digital Booklet
FLAC (tracks) 24-bit/96 kHz | Time - 105:50 minutes | 1.91 GB
Studio Master, Official Digital Download | Artwork: Digital Booklet
The release of this album marks a poignant moment: the tenth anniversary of the tragic and premature death of Esbjorn Svensson on 14 June 2008. It was recorded at a completely sold-out Barbican Centre in 2005, during a hugely successful and highly popular UK tour. It is e.s.t. at the peak of their creativity touring after the release of their to-date best selling album “Viaticum”.
During the last ten years after the end of e.s.t. there have been constant reminders of the indelible mark which the band has left on the international jazz scene. Indeed it is hard to imagine a whole generation of currently highly successful young bands all over the world, often attracting an audience of same age, without the deep and lasting influence of the sound and the aesthetic of e.s.t. It might sound like a cliché but it is evident that through his music, Esbjörn Svensson will stay with us forever.
The trio really was a phenomenon. Its scale, recognition and impact grew progressively and internationally during the seventeen years of its existence. British audiences, for example, took e.s.t to their hearts, and in a special way. Things began quietly when they first performed one night in the tiny Pizza Express Jazz Club in Dean Street in the late 1990’s, and their footprint in the UK just kept growing steadily from there, until they were packing out concert halls. It is part of a similar story in many European countries. They were not just met with massive success in Germany and France, they truly went Europe-wide. And they also reached out further: they were the first European band ever to appear on the cover of Downbeat in May 2006, the magazine’s seventy-third year. In 2006, one year after „Live in London“ was recorded, they played over 100 concerts in 24 countries and were heard by 200,000 people.
That unforgettable experience of e.s.t. playing live has been caught before on CD, notably in 'Live in Hamburg', which was named the “Jazz album of the decade 2000–2010” by The Times, whose critic wrote: “In a decade when Scandinavia staked a claim as the home of progressive jazz, no one had more success than this piano trio.” Jamie Cullum described the appeal of their live concerts: „e.s.t. are a jazz trio, only I can take my non-jazz friends along to see them.”
This new release was recorded at a completely sold-out Barbican Centre in 2005, during a hugely successful and highly popular UK tour. It is e.s.t. at the peak of their creativity touring after the release of their to-date best selling album “Viaticum”. The organic and natural way in which the set evolves is remarkable, and there is plentiful evidence of what Canadian critic John Kelman has called their “unique simpatico.” For people who know and remember the band well, the absolute gem here is a serene, deliciously poised account of “Believe, Beleft, Below.”
The Independent’s critic Stuart Nicholson was clearly moved by the concert. Here we reproduce his thoughtful and vivid review:
The Esbjorn Svensson Trio, or EST as they like to be known these days, do to the jazz piano trio what James Joyce did to coming-of-age tales by cutting up the form and starting afresh. This acclaimed Swedish group have been a hit on the European scene for a while now. In 2000, the German news weekly Der Spiegel hailed Svensson as 'the future of the jazz piano', and since then his trio have consolidated their position as one of the top bands on the circuit. They are currently more popular than most big American jazz names.
Attracting the kind of following EST enjoy prompts accusations - often well founded - of dumbing down. But Svensson is one of those rare musicians who dispenses the common touch without compromising his art. He avoids the usual jazz musician's stock-in-trade of cramming as many notes as he can into the square inch, instead favouring innovative silences and a darkly intense lyricism that allows his emotional honesty to show through.
Although he once dabbled among the magical spells of the pianist Keith Jarrett's Belonging period, the new spirit Svensson has come up with is shorn of Jarrett's angst and the feeling that a good thing has been taken to wearying extremes. Featured were several tunes from EST's current album, Viaticum (which went gold in France and platinum in Germany), including 'Tide of Trepidation', 'Eighty-eight Days In My Veins' and the title track.
The suave use of lighting underlined the shifting moods of EST's music while their careful use of dynamics, unusual in jazz, which usually opts for fast-equals-loud, slow-equals-soft, made Svensson's lyrical intensity stand out in sharp relief. Yet the non-conformist Dan Berglund likes Jimi Hendrix and Richie Blackmore (of Deep Purple) and is not afraid to use a wah-wah pedal or feedback with his acoustic bass ('Mingle In the Mincing Machine'), while the drummer Magnus Östrom dances around formal regularity with a variety of techniques, such as using his fingers on his snare to emulate pop's rhythm samples.
EST renew the notion that the cutting edge of jazz need not involve volatile experimentation. At the head of a sense-sharpening breeze of change currently blowing through European jazz, Svensson [..] gave further evidence that the best European jazz is no longer a pale imitation of what is happening in the United States. Indeed, here was evidence that Europe is now moving ahead in creativity and originality.
Tracklist:
1. Tide of Trepidation 09:50
2. Eighty-Eight Days in My Veins 10:17
3. Viaticum 06:55
4. Mingle in the Mincing-Machine 14:22
5. In the Tail of Her Eye 07:13
6. The Unstable Table & the Infamous Fable 12:55
7. When God Created the Coffeebreak 08:53
8. Behind the Yashmak 17:31
9. Believe, Beleft, Below 07:24
10. Spunky Sprawl 10:30
Personnel:
Esbjörn Svensson, piano
Dan Berglund, bass
Magnus Öström, drums
foobar2000 1.3.7 / Dynamic Range Meter 1.1.1
log date: 2018-05-21 20:28:01
––––––––––––––––––––––––––––––––––––––––
Analyzed: Esbjörn Svensson Trio / e.s.t. Live in London
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR12 -0.50 dB -16.52 dB 9:51 01-Tide of Trepidation (Live)
DR11 -0.50 dB -14.57 dB 10:17 02-Eighty-Eight Days in My Veins (Live)
DR14 -1.13 dB -19.66 dB 6:56 03-Viaticum (Live)
DR10 -0.04 dB -13.72 dB 14:22 04-Mingle in the Mincing-Machine (Live)
DR14 -2.89 dB -21.69 dB 7:13 05-In the Tail of Her Eye (Live)
DR10 -0.50 dB -15.22 dB 12:55 06-The Unstable Table & the Infamous Fable (Live)
DR10 -0.50 dB -13.68 dB 8:53 01-When God Created the Coffeebreak (Live)
DR10 -0.50 dB -15.13 dB 17:32 02-Behind the Yashmak (Live)
DR14 -1.54 dB -20.00 dB 7:24 03-Believe, Beleft, Below (Live)
DR11 -0.50 dB -14.26 dB 10:31 04-Spunky Sprawl (Live)
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 10
Official DR value: DR12
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2700 kbps
Codec: FLAC
log date: 2018-05-21 20:28:01
––––––––––––––––––––––––––––––––––––––––
Analyzed: Esbjörn Svensson Trio / e.s.t. Live in London
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR12 -0.50 dB -16.52 dB 9:51 01-Tide of Trepidation (Live)
DR11 -0.50 dB -14.57 dB 10:17 02-Eighty-Eight Days in My Veins (Live)
DR14 -1.13 dB -19.66 dB 6:56 03-Viaticum (Live)
DR10 -0.04 dB -13.72 dB 14:22 04-Mingle in the Mincing-Machine (Live)
DR14 -2.89 dB -21.69 dB 7:13 05-In the Tail of Her Eye (Live)
DR10 -0.50 dB -15.22 dB 12:55 06-The Unstable Table & the Infamous Fable (Live)
DR10 -0.50 dB -13.68 dB 8:53 01-When God Created the Coffeebreak (Live)
DR10 -0.50 dB -15.13 dB 17:32 02-Behind the Yashmak (Live)
DR14 -1.54 dB -20.00 dB 7:24 03-Believe, Beleft, Below (Live)
DR11 -0.50 dB -14.26 dB 10:31 04-Spunky Sprawl (Live)
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 10
Official DR value: DR12
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2700 kbps
Codec: FLAC
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Viaticum is a term used especially in the Catholic Church for the Eucharist (also called Holy Communion) administered, with or without Anointing of the Sick (also called Extreme Unction), to a person who is dying, and is thus a part of the Last Rites. According to CardinalJavier Lozano Barragán, 'The Catholic tradition of giving the Eucharist to the dying ensures that instead of dying alone they die with Christ who promises them eternal life.'[1]
Usage[edit]
The word viaticum is a Latin word meaning 'provision for a journey,' from via, or 'way'. For Communion as Viaticum, the Eucharist is given in the usual form, with the added words 'May the Lord Jesus Christ protect you and lead you to eternal life'. The Eucharist is seen as the ideal spiritual food to strengthen a dying person for the journey from this world to life after death.
Alternatively, viaticum can refer to an ancient Roman provision or allowance for traveling, originally of transportation and supplies, later of money, made to officials on public missions; mostly simply, the word, a haplology of viā tēcum ('with you on the way'), indicates money or necessities for any journey. Viaticum can also refer to the enlistment bonus received by a Romanlegionary, auxiliary soldier or seaman in the Roman Imperial Navy.
Practice[edit]
Administration of the Eucharist to a dying person (painting by 19th-century artist Alexey Venetsianov)
The desire to have the bread and wine consecrated in the Eucharist available for the sick and dying led to the reservation of the Blessed Sacrament, a practice which has endured from the earliest days of the Christian Church. Saint Justin Martyr, writing less than fifty years after the death of Saint John the Apostle, mentions that “the deacons communicate each of those present, and carry away to the absent the consecrated Bread, and wine and water.” (Just. M. Apol. I. cap. lxv.)
If the dying person cannot take solid food, the Eucharist may be administered in the species of wine alone, since Christ exists in His entirety (Body, Blood, Soul, and Divinity) under both the solid and liquid species.
The sacrament of Extreme Unction is often administered immediately before giving Viaticum if a priest is available to do so. Unlike the Anointing of the Sick, Viaticum may be administered by a priest, deacon or by an extraordinary minister, using the reserved Blessed Sacrament.
Relation to superstition[edit]
Contrary to church doctrine, during late Antiquity and the early medieval period the host was sometimes placed in the mouth of a person already dead, perhaps owing to traditional superstition[2] that scholars have compared to the pre-Christian custom of Charon's obol, a small coin placed in the mouth of the dead for passage to the afterlife and sometimes called a viaticum in Latin literary sources.[3]
References[edit]
- ^L'Osservatore Romano, the Vatican's newspaper.
- ^Gregory Grabka, “Christian Viaticum,” Traditio 9 (1953), pp. 38–42; G.J.C. Snoek, Medieval Piety from Relics to the Eucharist (Leiden 1995), pp. 103, 122–124; Edward T. Cook, A Popular Handbook to the Greek and Roman Antiquities in the British Museum (London 1903), pp. 370–371.
- ^A. Rush, Death and Burial in Christian Antiquity (Washington, D.C. 1941), pp. 93–94; Gregory Grabka, “Christian Viaticum: A Study of Its Cultural Background,” Traditio 9 (1953), 1–43; Frederick S. Paxton, Christianizing Death: The Creation of a Ritual Process in Early Medieval Europe (Cornell University Press 1990), pp. 32–33 online; G.J.C. Snoek, Medieval Piety from Relics to the Eucharist: A Process of Mutual Interaction (Leiden 1995), passim, but especially pp. 102–103 online and 122–124 online; Paul Binski, Medieval Death: Ritual and Representation (Cornell University Press 1996), p. 32 online; J. Patout Burns, “Death and Burial in Christian Africa: The Literary Evidence,” paper delivered to the North American Patristics Society, May 1997, full text online.
Bibliography[edit]
- Rubin, Miri, Corpus Christi: The Eucharist in Late Medieval Culture, Cambridge: Cambridge University Press, 1991.
- Snoek, C. J. K., Medieval Piety from Relics to the Eucharist: A Process of Mutual Interaction, Leiden: Brill, 1995,
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