UMPEEN KASVOIVAT POLUT

A Finnish jazz-folk-rock band that first burst upon the music scene back in the mid-1970s has re-appeared, with founder and composer Jupu Poutanen (formerly the band's violinist) re-invigorated by a group of young enthusiasts. With this album receiving some acclaim I took it upon myself to review it--and I'm very glad I did.

1. "Kapriisi" (3:44) an instrumental that opens with a definite jazz-rock fusion sound and construct with lots of harmonic tension and interesting Frank Zappa/Mahavishnu Orchestra/Jean-Luc Ponty-like jazz noodling woven together into a rock format. The rock orientation becomes increasingly evident with the electric guitar-solo-led rock motif played out in the second half of the second minute into the third minute and again with the wild wah-violin solo in the second half of the third minute (which is the song's highlight for me). My third top three song for the album. (8.875/10)

2. "Istut yksin" (5:16) opens with a spacious, atmospheric blues soundscape that reminds me of the British electro-pop band Mono from the 1990s (Formica Blues). Meerika Ahlquist's lilting vocal does little to dissuade me of the dramatic blues mood orientation. But then at 2:35 the band ramps up into a full-on 1960s blues rock vamp. More vocals, a little more dynamic, and some solos--first from Hammond organ, then electric guitar, It all sounds so 1969: Blind Faith, Band of Gypsys, Spirit, etc. (8.6667/10)

3. "Umpeen kasvoivat polut" (4:54) opens like a 1960s specialty blues-rock song with drums and bass establishing the solid flow as first "distant" electric guitar flies around his fretboard, then Fender Rhodes chords and multiple tracks of Meerika's voice gently sing in soft tones. Guitar, violin, and keys give the instrumental section a thick, mutually- supportive weave before backing down for individual soli: mostly pitch-wavering electric keyboard and electric violin. Then we return to the main motif within which Meerika finishes her singing. (8.875/10)

4. "Enkeli" (3:44) a jazz-rock instrumental propelled by a driving rhythm section and both Hammond and piano and guitar moving through the opening with some fire, it is no surprise that a bridge takes us into an extended passage in which the individual instrumentalists unleash some fiery Mahavishnu-like soli. Nice performances if nothing very ground-breaking. (8.75/10)

5. "Giba" (6:41) piano, jazz guitar, and violin open this in a semi-classical, semi-jazz style reminding me a lot of Django- Stephane Grappelli before the piano is given room to solo for a bit. Full jazz band joins in from time to time, bringing on a much more rock and then jazz-rock/prog sound and style until 2:30 when the rhythm section takes a left turn into a more Latin dance-like pattern. The bass and guitar are really moving beneath the very avant-jazz piano solo. At 3:37 the doubled-up/delay/echoed electric violin takes over the lead. Full-band jazz Mahavishnu coda in the fifth minute before descending briefly into screaming Mahavishnu burst before music drops off leaving only chunky bass and raunchy lead guitar to blues-rock it out. Rest of band joins in and eventually brings it back to the angular lines of Mahavishnu land for the finale. Interesting song of complex structure thus demanding a lot of the instrumentalists-- which, I must say, they pulled off admirably. (8.75/10)

6. "K''nt'isik' h'n selk'ns'" (3:18) a bit corny, a bit classical, a bit 1960s psychedelia, recorded so purely, like a Folk Rock album, with a very pleasant vocal from Meerika and a little Django Reinhardt-like guitar play from Otto Porkkala. Nice. (8.875/10)

7. "Pihapuu" (4:32) nice, gentle pastoral jazz folk with prominent walking bass and, soft drum play, and violin in the lead up front. I do like the clean, unadulterated recording of the tracks: it makes it feel so present, so in your own living room. At the two-minute mark everything stops so piano and Meerika can have nice little duet for a minute or so. Violin and electric guitar duet leads to carry the pastoral melody when the rest of the band returns (after Meerika's finished singing). Nice tune. My favorite on the album. (9.25/10)

8. "T'yttymys" (4:56) the psychedelic sound of the opening--with electric (dobro?) guitar and Hammond--is reminiscent of Swedish atmospheric masters, LANDBERK from the 1990s--as well as Graham Sutton's first BARK PSYCHOSIS album. At the 0:59 mark the full band enters with a nice little 1960s psych-folk soundscape. As Meerika enters with her voice I am reminded of Greek band CICCADA as well as Finnish countrymates KOSMOS. The composition is fairly simple but the performances are all beautifully nuanced and pristinely clear. Interesting final 45 seconds when the music turns kind of circus-like! Another top three song for me. (9/10)

Total Time 37:05

A refreshingly clean and clear recording and presentation of some impressively intricate compositions performed dexterously and confidently by some fine musicians. I look forward to hearing more from this young band in the near future.

A-/4.5 stars; a near masterpiece of progressive rock music informed by the traditions of Euro-jazz, Mahavishnu-style fusion, Finnish folk music, and 1960s blues rock.