{"id":306,"date":"2019-11-13T14:59:20","date_gmt":"2019-11-13T14:59:20","guid":{"rendered":"http:\/\/esm-prod.com\/esmwp\/?page_id=306"},"modified":"2019-11-25T18:01:31","modified_gmt":"2019-11-25T18:01:31","slug":"streams","status":"publish","type":"page","link":"http:\/\/esm-prod.com\/esmwp\/streams\/","title":{"rendered":"Streams"},"content":{"rendered":"\n
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Ewan Svensson Trio<\/p>\n<\/div>\n\n\n\n

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tillbaka<\/a><\/p>\n<\/div>\n<\/div>\n\n\n\n

lyssna p\u00e5 Spotify<\/a><\/p>\n\n\n\n

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(Dragon DRCD 291) 1996
Piece IV
Arcachon
Spring is Here
Quietly
H\u00f6stglimtar
Just Like Before
Weird Blues
Pancake Rock
Carlo’s Dream
Autumn in New York
Waltz for Ann
Short Talk
Late Evening <\/p>\n<\/div><\/div>\n\n\n\n

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Ewan Svensson – guitar
Yasuhito Mori – bass
Magnus Gran – drums<\/strong><\/p>\n<\/div>\n\n\n\n

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All compositions by Ewan Svensson
except 3 by Richard Rodgers, 8 by Leif Svensson, 9 by Barney Kessel and 10 by Vernon Duke.

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Recorded at Bohus Sound Recording, Kung\u00e4lv, Sweden, September 3, 1995 and February 21,22, 1996
Sound Engineer: \u00c5ke Linton, Photos: Per Bergbom, Front Cover Photo: Leif Svensson
Front Cover Design: Justus Hultgren, Layout: Sofia Westin
Produced by Ewan Svensson, Executive Producer: Leif Collin<\/p>\n\n\n\n

”Swedish axe god Ewan Svensson is one of those unheard-on-this-side-of-the-Atlantic guitarists whose approach to the instrument is quietly virtuostic. He was deeply influenced by the early ECM sounds made by Ralph Towner and John Abercrombie and is a contemporary of Pat Metheny, with the same lyrical sensibilities as those men, but a more democratic manner of running a trio. With truly gifted bassist Yasuhito Mori and Swedish master drummer Magnus Gran, Svensson crafts a series of gentle articulations, angular jazz motifs, and haunting soundscapes — sometimes in the same tune — for the
purpose of enveloping the listener in his intensive and exhaustive investigations of mode, timber, and tonality. Noteworthy here are the swinging ”Weird Blues,” with its knotty arpeggios that are played easily and fluidly without a hint of stressing the instrument’s fabric, and the gorgeous ”H\u00f6stglimtar,” with a languid interplay between Svensson and Mori, with an unreal sort of suspended time dance by Magnus. Also worth noting is the ethereal ”Arachon,” with an unhurried solo that takes the melody through the mode and creates an alternate sound world with lovely interplay between the rhythm section, and the closer, ”Late Evening,” which is one of the most elegiacly pastoral pieces ever composed for the instrument. ~ Thom Jurek, All Music Guide <\/strong>

Ingen vanlig Svensson <\/strong>
G\u00f6teborgsstationerade gitarristen Ewan Svensson v\u00e4ckte uppm\u00e4rksamhet n\u00e4r han i slutet av 70-talet br\u00f6t fram som ledare f\u00f6r egna grupper. Att redan nu kalla honom veteran \u00e4r alltf\u00f6r tidigt, men nog \u00e4r det imponerande att han fortfarande \u00e4r stadd i sp\u00e4nnande utveckling, r\u00e4knad
som ett av landets absoluta toppnamn p\u00e5 sitt instrument. Likas\u00e5 att varje ny skiva fr\u00e5n honom blir ett sp\u00e4nnande m\u00f6te med en musiker som st\u00e4ndigt f\u00f6rfinat sin musik. Han har visat att det alls inte \u00e4r n\u00f6dv\u00e4ndigt att bo i Stockholm f\u00f6r att kunna f\u00f6rs\u00f6rja sig som jazzmusiker. Med G\u00f6teborg som bas har han spelat p\u00e5 klubbar och festivaler runt om i Europa, framtr\u00e4tt i \u00e5tskilliga l\u00e4nders radio- och TV-medier och gjort flera internationellt uppm\u00e4rksammade skivor med egna grupper. 1991 kom den f\u00f6rsta CD\u00b4n, Present Directions, som fick lysande omn\u00e4mnanden i fackpress och st\u00f6rre dagstidningar. Det var framf\u00f6rallt triospelet som uppm\u00e4rksammades. Svenssons melodi\u00f6sa originalmusik och trions s\u00e4tt att gestalta dem gouterades mycket p\u00e5tagligt. Men \u00e4ven det fint ihoph\u00e5llna solospelet p\u00e5 gitarren vann geh\u00f6r. D\u00e5 som nu var Magnus Gran trions trumslagare. Palle Danielsson spelade bas men p\u00e5 den h\u00e4r skivan, Streams, \u00e4r det Yasuhito Mori som tagit \u00f6ver den st\u00e4mman. Under flera \u00e5r en ofta \u00e5ter-kommande medmusikant i Svenssons kammarjazziga kombinationer, fr\u00e5n 1993 i den h\u00e4r formeringen med Gran. Av de tretton titlarna \u00e4r Rodgers, Barney Kessel, Vernon Duke och f\u00f6r mig ok\u00e4nde Leif Svensson upphovsm\u00e4n till var sin melodi. Resten \u00e4r Ewan Svenssons egen bl\u00e5tonat melodi\u00f6sa musik, en lisa f\u00f6r \u00f6ron och sj\u00e4l \u00e4ven att str\u00e4cklyssna till.
Aprop\u00e5 Leif Svensson s\u00e5 har han svarat f\u00f6r frontfotot. Om det \u00e4r samma Leif som plitat ihop Pancake Rock s\u00e5 delar jag hans uppfattning om att rock och jazz \u00e4ven kan ha det bl\u00e5tt melodiska som gemensam n\u00e4mnare.
BENNY TWIGG<\/em> (ur Jazz Stage nr 1\/97)<\/p>\n\n\n\n

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