Pekka pohjola

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I'm reminded of several s television and film soundtracks as I listen to this. At the five minute mark a kind of "Birdland" bass and layered horns take the lead. These horn arrangements are pretty cool--very sophisticated. Strings are also nice. The old- fashioned big band feel only gets stronger as the piano takes the lead soloist position. This is really awesome! Fun and upbeat and makes me want to dance!

Then at the mark all but piano and occasional space synth flourish support an excellent jazz bass solo. Things amp up for a little bridge just before the eight-minute mark before we get another shift--a downshift into. This is such a delightful song! Though the congealment of the final ninety seconds again brings me back to s film scores think Arthur or St. Elmo's Fire , it's still wonderful to hear. It reminds me a bit of Return to Forever and Tony William's Lifetime but without the guitars, of course.

Because it's playful, well produced and it rocks. That's why I like jazzrockfusion, because it rocks. I can imagine not everyone will be into this, but I like it very much. This is the kind of record that's still strong after 50 years. In this live album we find yet again another jewel from Pekka Pohjola, excellent playing and a great selection of songs, from different eras, in a single album, one wonders what else was performed and recorded while in Japan, surely enough material for a double album.

If you enjoy his music, and don't know this live one, it surely will make you happy. What we have here is a magical album if you enjoy Pekka's music, all compositions are his save 1 collaboration and UMOi s by far and wide a great band, a music institution that counts with professional players in its ranks.

When musicians step out of "your" confort zone, meaning a style that challenges you or you do not fancy, then the listener is put in a difficult position, how to rate an album in a style you do not appretiate or like?

A different album it is if you are expecting the Pekka Pohjola of always, however, this jewel may bring enormous pleasure if listened in its own right. It sounds very good, especially for the calmer, rhytmically clear basic part with distinctive drum sounds. Time and time again it evolves into more hectic "chorus" part in which the electric guitar screams like a frightened person, to return back. It also contains a long guitar solo, but frankly the composition is seriously over-extended for its musical substance.

The unmistakable Pohjola touch is heard in the little details but this is far from the finest music he made. I'm not fond of 'Sampoliini' either, a fast joyful number that seems to be primarily a place to show off the musicians' virtuosity. Unlike this album in general, it is full of emotion, and that emotion is pretty melancholic, thoughtful and introspective. The way the repetitive "chorus" melody grows and grows -- orher movements being mostly very delicate -- is truly marvelous.

This track is a perfect example of Pekka Pohjola's unique style. Since the album as a whole is not that interesting to me, three stars will do. Review by admireArt Prog Reviewer. It's songwriting travels all the expected routes and shares the expected amount of atonalities and abrupt speed fast detours to be featured in a Prog page.

Once you see beyond its apparent "stiffness", you will notice its charms, yet the catchy riffs, more than once, are more annoying than catching, but its comedy like instrumental irreverence saves it from being just that. Impeccable performances and a lot of spectacular highlights! Stick to that and start to imagine that maybe Mr. Frank Zappa will shed on some hilarious lyrics wherever he is.

Laura Hynninen's harp, cello and Tapani Rinne's soprano sax. Very peaceful all the way compared to many Pohjola classics, and for that exact reason a nice addition to his catalogue. My darling said it reminded her of the Ghostbusters song! You gotta like it if you firstly accept such unexpectable move from Pekka Pohjola.

There are strings, horns, reeds and a pretty unspectacular synth backing, but placed in an elegant manner along the way, ie. Not among the finest or the most original music he ever wrote, but very pleasant. The title track is also rather mellow; the sound is very fresh and suitably light. It is notably less adventurous or crescendo-like than several Pohjola classics, but enjoyable. You don't always need such virtuosity or dynamics!

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