Tuesday Wonderland (ACT Music)


Released September 22, 2006

Jazzwise Top 10 Releases of 2006






What is so special about Tuesdays? “That´s exactly the question – Tuesdays do not really have anything special about them in the thinking of most people, but if you start appreciating the small things in life you might see Tuesdays in a different light”, says Magnus Öström – creator of most titles of e.s.t. songs – and Esbjörn Svensson and Dan Berglund are nodding knowingly. “What we do – music – might not mean a lot to too many people as well, but if you let yourself fall into it, you might go on a journey and discover your own Wonderland in it – a trip that might change your life.”In that interpretation “TUESDAY WONDERLAND” connects directly to “Viaticum”, the 2005 release of e.s.t. – currently Europe´s leading force in jazz and the first European jazz band ever to grace a cover of the world…

Track Listing:

1. Fading Maid Preludium 4:10

2. Tuesday Wonderland 6:32

3. The Goldhearted Miner 4:51

4. Brewery of Beggars 8:22

5. Beggar’s Blanket 2:56

6. Dolores in a Shoestand 8:53

7. Where We Used to Live 4:27

8. Eighthundred Streets by Feet 6:48

9. Goldwrap 4:02

10. Sipping on the Solid Ground 4:36

11. Fading Maid Postludium 12:29


Esbjörn Svensson: piano
Dan Berglund: bass
Magnus Öström: drums

Recorded March 2006, at Bohus Sound Recording Studios, Gothenburg, Sweden
Recorded and mixed by Åke Linton

Mastered by: Dragan Tanaskovic

Produced by e.s.t.

Cover Design: Gabor Palotai


In the beginning it was Sweden, then Europe and now it’s the world. The rise and rise of EST has been remarkable in recent years – in the USA they were the first ever European jazz group to feature on the cover of Downbeat magazine, while their intro to Japan’s top promoter was on the recommendation of Keith Jarrett. If any one is in any doubt about how original, absorbing and dynamic this band is, then get Tuesday Wonderland, their tenth album. 
From the étude-like opening (‘Fading Maid Preludium’) that explodes into post Hendrix power-chords to the focused beauty of ‘Where We Used To Live’, this remarkable group is one of the few bands on the current scene that can be truly called sui generis – for evidence of this try the shifting tone colours of the title track. What is even more remarkable is that Bach’s Well Tempered Clavier could inspire such a wide range of moods. 

Stuart Nicholson (Jazzwise)