Tuesday Wonderland | 
 enlarge | Artist: E S T
Label: Emarcy
Category: Music
List Price: £18.99
Buy New: £7.24
You Save: £11.75 (62%)
New (17) Used (3) from £7.24
Rating:  5 reviews
Sales Rank: 89676
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 000861302
UPC: 602517256200
EAN: 0602517256200
ASIN: B000NOKA9Y
Release Date: April 10, 2007
Availability: Usually dispatched within 1-2 business days
Shipping: International shipping available
Condition: Ships from U.S.A., to anywhere in the United Kingdom! Orders only take 7-10 days! We specialise in service to the U.K. and only ship airmail.
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| Tracks:
| • | Fading Maid Preludium | | • | Tuesday Wonderland | | • | Goldhearted Miner | | • | Brewery of Beggars | | • | Beggar's Blanket | | • | Dolores in a Shoestand | | • | Where We Used to Live | | • | Eighthundred Streets by Feet | | • | Goldwrap | | • | Sipping on the Solid Ground | | • | Fading Maid Postludium |
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| Editorial Reviews:
Amazon.co.uk Review
E.S.T. like to play with expectations, and they begin Tuesday Wonderland as you might assume, with a spare solo piano line hinting at a delicate baroque counterpoint. It's the kind of feather-stroked chamber jazz they've been working for a few years now. But just as you settle in, crushing drums and fuzzed arco bass drop in a groove from the apocalypse. This ominous track, "Fading Maid Preludium," and its second half, "Fading Maid Postludium," frame Tuesday Wonderland, setting in bas-relief an album of careening, intuitive improvisation. E.S.T. are frighteningly varied in their technique and deep in their understanding of jazz lore. You can hear echoes of Keith Jarrett and Ahmad Jamal in pianist Esbjörn Svensson, from whom the trio take their name, but he also embraces a more modern vocabulary, hinting at Cecil Taylor while dancing gospel vamps and dropping rock power-chords. Drummer Magnus Öström can lay down the shuffling brush strokes of "The Goldhearted Miner," pour out a progressive rock fusillade, or do a ballet of polyrhythmic shadings and colors that recall the late Steve McCall. The real chameleon of the group is bassist Dan Berglund. He plays soulful, muscular double bass lines, but he also triggers a synthesizer for both subtle shading and the hellion roar heard on that opening track. E.S.T. remain a group exploring the edges of jazz improvisation, managing to be free and intuitive while also maintaining melodic and rhythmic touchstones. Tracks like "Brewery of Beggars" are multipart journeys shifting from gentle lyricism to electric storms. E.S.T. have evolved from being the most ECM-like band that wasn't on ECM into their own natural and thoroughly modern hybrid. --John Diliberto
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| Customer Reviews:
 excellent euro jazz November 27, 2006
Sick Mouthy (Exeter, Devon)
23 out of 43 found this review helpful
fading made preludium
30 seconds of blissfully quiet piano before grinding, crashing
godspeed-esque noise and chaos, electric bass flanged and feeding back
like a guitar for the next three minutes
tuesday wonderland
repetitive, kraut-ey piano riff, almost like life's what you make it
by talk talk, bass drops in, other piano layers and twirls dance
around skittish drums simple acoustic bass patterns at deceptive
speed. glacial concentric circles and swirls
the goldhearted miner
twanging acoustic strings give way to piano and slow, sweeping drum
brushes, occasionally the twanging strings re-emerge as a motif.
autumnal, balladic, falling leaves, frosty paygrounds
brewery of beggars
strange, synthetic tones, cyclic pianos and propulsive drums, heavy
drama, falling away to disjointed chords and then BAM drums again,
swirl again, drama again, very cool rolling piano break, more squall
from the bassist who thinks he's hendrix or kevin shields, acoustic
bass too, 8 minutes, evolves and grows, each instrument elaborating
and then recombining, album highlight
beggar's blanket
sub three minute ballad
dolores in a shoestand
ticking percussion, penguin cafe orchestra esque, robot beatbox,
streams of light emanating from the piano melody, album highlight,
central piano solo, tempo jumps up at about 4.45, 6.50 clapping and
crowd appreciation noises come in, cannonball adderly, jaunty jazzclub
swing for the audience, obviously having fun
where we used to live
more kind of blue esque midnight balladeering
eighthundred streets by feet
slow, dance-y beat, yet more pianos that swirl right across the
keyboard, entire band is great but really is lead by svensson's keys,
fall into darkness and then spiral round, radiating light, growing
electric noise, intensifying, album highlight, fades to electronic
wind and decaying piano notes
goldwrap
yet more swirling pianos and ticking, moist percussion, incredibly
compelling and evolving, deep, rich piano sound, drums both organic
and synthetic, really quite breathtaking piano runs, album highlight
sipping on the solid ground
slow, natural percussion, bowing bass in time with piano falls,
twanging acoustic string notes again
fading maid postludium
reprises opening track, unsurprisingly, huge arches of guitar-esque
growl, icebergs and polar bears and aurora borealis, fading back to
just solitary piano
secret track
ambience, treated noise, dappled, airy piano cascades and ripples of
machined echo
an excellent, dreamy but not narcoleptic record
It's Rock and Roll, but not as we know it, Jim... October 11, 2006
M. R. N. Shackelford (Worthing, UK)
25 out of 26 found this review helpful
After a slightly disappointing "Viaticum", we are now back on track with an album of ferocity and tenderness. This is "Seven Days of Falling" and "Strange Place for Snow" with added menace.
A bass player who obviously thinks he is Jimi Hendrix - with screaming "feed-back" lines, a drummer who sounds as if he could have been in Smashing Pumpkins or Van Der Graaf - and a pianist who out-Jarretts Keith Jarrett!
But it's Jazz, Jim. It says it's Jazz on the Tin. And Jazz it surely is - but with such ferocity - spiralling piano runs, howling bass-lines and the approaching thunderstorm on drums.
Brilliant! (and thanks, Amazon for popping it into my recommendations...)
jagged edge jazz with a sprinkling of softness September 30, 2006
jcl (London)
17 out of 17 found this review helpful
Intelligent, aggressive with hints of industrial surges, this album by EST is reminiscent of the last and yet able to further push the boundaries of contemporary jazz. This is not for the fait hearted traditionalist jazz lovers. This is indeed a new genre of jazz which few musicians have been able to transcend, Pat Metheny perhaps being one example, the other example steadfast occupied by EST. If you like the previous stuff, you'll not go wrong here. Track 4, Brewery of Beggars is truly intoxicating. Sit back and prepare to be moved..........
Stunning September 27, 2006
Belgo
16 out of 16 found this review helpful
These three unassuming guys from Sweden just keep going from strength to strength. They're a jazz trio which fuse rock, pop, jazz and classical music into something so original, so fresh and so touching that you really do have to hear it to believe it. As the previous reviewer said, "Tuesday Wonderland" has more of 2003's "Seven Days of Falling" about it rather than 2005's "Viaticum", but the house style certainly remains very much in evidence. Wonderful, enchanting ballads are interspersed with uplifting, energetic almost rock-like jazz that really does stand these guys apart from their contemporaries.
And as EST begin to break the US (they recently made the cover of Downbeat Magazine - the first European jazz group ever to do so) you can't help thinking that their best might be yet to come. And given how brilliant their output up til now has been - Tuesday Wonderland included - that's really saying something.
Another E.S.T.-classic... September 11, 2006
Yovra (Driebergen, Holland)
13 out of 17 found this review helpful
To be very honest..I only heard some preview-files and four tracks of this album on the web-radio. But I've heard enough to be very enthousiastic!
The music takes the mix of classical/melodic jazz and electronics one step further. Think equal measures of Bill Evans, Bach, Metallica and Radiohead and add a brilliant interplay between piano, bass and drums.
Compared to their previous albums it's close to the light, melodious sound of 'Seven Days of Falling'; even though it starts off with the heavy and dark "Failing Maid Preludium" it's filled with light melodies and fine jazz-ballads.
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