Comments
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NEA Jazz Master, my mentor, saxophonist/composer David Liebman on 'Nu Bottega':
"Bro P A REAL jazz recording—great music my man….band tight…compositions loose and interesting… you sound lyrical and full of fire—congrats! And one of my favorite pianists—he is great!" |
'Bro. Catching up and just listened to you CD 'Listen'. Your sound is KILLING!!! Great work!' Dave Liebman, July 2011
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.."in closing, I would rank Mr. Pekka Pylkkanen, in the top five percent of musician/educators I have encountered throughout my twenty plus years of performing and teaching." Dr. Michael J. Rossi, Professor, Jazz Artist, University of Cape Town
Reviews
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Wednesday, March 22, 2023Nordic Bop - Pekka Pylkkanen and Eric Ineke © Copyright ® Steven Cerra, copyright protected; all rights reserved.
NORDIC BOP “I am very happy that after all these years we finally have this album finished! We had a great time recording the music (and even now, when working on finalizing it). I'm looking forward to playing with you all again, hopefully in the very near future! I will let Eric tell the story of this album....” - Pekka Pylkkanen In 1962, thanks to the efforts of producers Bob Prince and George Avakian, baritone saxophonist Gerry Mulligan and alto saxophonist Paul Desmond recorded an album entitled Two of a Mind for RCA Victor. The title came to mind [pun intended] with the arrival from drummer Eric Ineke of the Nordic Bop [Challenge CR73542] CD which he recently recorded in Finland with saxophonist Pekka Pylkkanen. On it, Eric and Pekka are joined by pianist Mikael Jacobsson and bassist Heikko Remmel. “Two of a Mind” is a germane phrase to describe the relationship between Eric and me, not only because we both play drums, but also because we have a deep and abiding interest in the music generally characterized as Bebop. Perhaps a more accurate description of the style of Jazz we share a passion for might be straight-ahead Jazz which is supported by a no-nonsense, always swinging, driving beat. It’s the music we both grew up listening to and it has influenced the way we approach playing drums. And I daresay, besides his talent as a drummer, it’s another reason why Eric is in such great demand both as a teacher and as a player throughout Europe with younger musicians who want to experience playing Jazz with this kind of time feel. The heart of it from a drumming perspective is setting down or, if you will, laying down a groove on the ride cymbal which is heavily accented by the hi-hat and creating a driving swing behind the soloist. The emphasis here is accompaniment and not playing a parallel solo behind the horn soloist by keeping up a constant barrage of rhythmic figures all over the drum kit [think Tony Williams and Elvin Jones; not stated in a disrespectful manner]. The straight-ahead time feel can be punctuated with occasionally sticking on the snare drum and/or with bass drum accents, but the point of it all is backing up and supporting the soloist and, where necessary, adding color to the sound of the music with percussion effects. Having learned his craft by studying the masters such as Kenny Clarke, Max Roach, Art Blakey and Philly Joe Jones, Eric has gone on to become the living embodiment of this approach to Jazz drumming and is constantly in demand in his native Holland throughout Europe as a practitioner of this form of the Jazz drummer’s art. Since Eric knows I have a predisposition to his preferences he is generous in sharing with me recordings on which he performs that feature like-minded musicians. Which brings me to Pekka Pylkkanen and Nordic Bop. It arrived a couple of weeks ago and has been on my CD player ever since. The idea for the recording, the tracks which comprise it and the background of the composers are all spelled out in Eric’s insert notes which are shared below. But before directing your attention to them, I thought I would share my impressions of the music and the musicians that make up this very fine album. What initially struck me upon hearing Pekka for the first time is the full searing tone he gets on alto saxophone and the marvelous facility he has that enables him to really get around the instrument. Wails, moans, and cries are all part of his expressive presentation - it’s a sound that is at once rich and penetrating - it reaches you with its fullness. It’s interesting that the CD should open with alto saxophonist Gigi Gryce’s Nica's Tempo because in some ways Pekka’s orientation on the instrument brings to mind Gigi’s: both are hard-driving, no-nonsense players with a legacy on the instrument that is straight out of Charlie Parker. And just when you thought you had a handle of Pekka’s approach, he pulls out his soprano sax and completely surprises you with a totally different orientation characterized by a big, wide sound, a hint of a vibrato, and complex harmonics from Coltrane but yet somehow sounding original to him because of the way he puts them together. This all comes forth so beautifully in Pekka's treatment of the Bill Evans classic waltz, Very Early. One could almost wish that his soprano sax interpretation of Denny Zeitlin’s Quiet Now were also on the recording. And speaking of accompaniment, for one so young, pianist Mikael Jacobsson does a superior job of supporting the soloist with minimal chordal intrusions. During his own solos he rides the rhythm section, leaving lots of space allowing the piano to resonate. His intervallic approach enables him to play more modern sounding improvisations over traditional bebop lines. Bassist Heikko Remmel is a rock; you never have to “look” for the time, all you have to do is listen to him and there it is encased in a big, booming bass sound. Eric’s unobtrusive style of playing allows the bass to really come through on this recording and it “locks in” nicely to generate a wonderfully “alive” time feel by the rhythm section. And then, of course, there is Eric holding it all together and pushing things forward in his unrelenting but always tasteful manner. His drums sound wonderful, full of the snap and crackle very reminiscent of the great Roy Haynes and cymbals with pronounced stick clicks that create the propulsive swing that is so characteristic of his drumming. Everything about this recording merits your attention from the interesting selection of tunes, the intense, yet well-paced improvisations, and the classic, straightforward sense of swing that encapsulates the music and provides it with an energetic drive. More about the players and the music are contained in the following insert notes by Eric. “When Pekka Pylkkanen invited me in 2017 to play a couple of concerts with him in Finland and Estonia, I immediately responded with an enthusiastic YES!! Having played together before, I knew the music would be great and swinging! On piano, we had the pleasure of having the wonderful and hard-swinging piano player Mikael Jakobsson from Finland and the young and very talented bass player Heikko Remmel from Tallinn, Estonia. Pekka got the idea of putting together a repertoire of tunes written by some of the great Jazz legends I played with during my earlier career. During the concerts, we all felt that it worked out really well and that we should at least put some of the repertoire in the can for the right moment to release it on CD. Well, that moment came five years later. Recorded in this beautiful studio of the Sibelius Academy of the University of the Arts in Helsinki; a real straight-ahead swinging Jazz album finally saw the light. I have a close connection with at least five of the tunes, because I toured in the past with their composers. 'Amsterdam after Dark' is written by the legendary tenor saxophonist George Coleman. I had the pleasure of playing with him for a week in 1974, together with Rob Agerbeek and Rob Langereis, and it was an incredible experience: George was at the top of his game every night. Luckily one of the concerts was recorded and got released years later, on the Blue Jack Label. 'Luminescence' brought me back to the eminent professor of Bop, Mr. Barry Harris. For more than 15 years I backed him up when he came to teach (always for a week) at the Royal Conservatoire of The Hague. One of those concerts was recorded and also released on CD. I have great memories of working with him when we played for a week in St Petersburg in Russia during the White Nights Festival in 2007. Playing with Barry was a true education in Bebop! 'Left Alone' was written by pianist Mai Waldron whom I played with at a festival in Belgium in the nineties with the Ben van den Dungen/Jarmo Hoogendijk Quintet. This very quiet man and profound musician, combined with this furious Hard Bop quintet was an unforgettable experience. 'Montmarte', written by the great Dexter Gordon, brings back to me one of the best experiences of my whole career. In 1972 I got a call from promoter Wim Wigt to go on an almost 3 months tour with this legendary giant together with the Rein de Graaff Trio. I was 25 years old and it was at that moment that I entered the University of Hard Bop! 'Signal' is a very hip and modern-sounding tune written by the legendary and impeccable guitar player Jimmy Raney. He recorded that tune in 1951 with Stan Getz at Storyville in Boston. That recording became a landmark and is still one of my all-time favorite albums! I was thrilled when I received a request from the producer Gerry Teekens in 1977 to play a radio concert in Lausanne with Jimmy and his son Doug Raney. They were on tour, and Jimmy had a serious argument with his drummer back then, whom Jimmy ended up firing, so I was in. From the first note we played at the soundcheck, Jimmy gave me a look and smiled at me, and after the concert he told me he really liked my playing very much. That led me to do all his tours in Europe for the 3 consecutive years, as well as the first recording for Criss Cross Records in 1981 (called 'Raney 81’) with his son Doug and the great Danish bass player Jesper Lundgaard. All those great moments with these legendary giants are with me all the time, and I am very happy and thankful that Pekka took this initiative to get this wonderful project together! Enjoy!” Eric Ineke Finland's best genius saxophonist Pekka Pylkkanen’s latest work in the Italian quartet& quintet The saxophonist who has led his own tube factory since the 90's and has performed in more than 50 countries in Europe, America, Asia and South Africa as a leader is Pekka Pylkkanen(1964~). Pylkkanen, who has been steadily increasing fans in Japan after visiting Japan on the 2013 Jazz Promenade Yokohama and last year's tour, has released a leader plan for the first time in 11 years. The new work, entitled Nu Bottega, is the first from the Dutch challenge records, which boasts a rich and high-quality catalog. Perhaps because it was the first work in a long time, entered the studio in Rome to organize an Italian quartet, and the guest player. Regarding the album concept, Pylkkanen said as follows: The basic idea is about Italian life style and the beauty it recognizes. Nu bottega means a new restaurant, but it also means feeling the atmosphere of a shared kitchen, coexisting with friends, and tasting bread together. Cooking (right now is Italian) is part of my passion and sharing it with friends is my greatest pleasure.The member of the quartet is Peka Pylkkanen(as,ss) Roberto Tarenzi(p), Francesco Puglisi(b) Marco Valeri(Dr). Tarenzi was influenced by Ahmad Jamal, and is a talented person whose 2009 trio work (Francesco Puglisi participating) has been released in Japan. For this work, which gained a fresh recording environment and members, Pylkkanen did not neglect to prepare a concept album by consolidating all eight songs with original songs. In the opening song, the alto backed by a clear assertion reveals Pekka's ability, and Tarenzi, who takes the second solo, impresses the play suitable as a leader's partner. Valeri, which cuts subdivided beats instead of standard ones, also contributes to a fresh band sound. The modal intro begins with an up number, alto and piano unison theme that suggests musical roots ‘’Sometimes it rains on Sundays’’ , Tarenzi creates a highlight on ‘Harauku’, Tarenzi is featured in the first half to show a relationship of trust with Pylkkanen on ‘’Short lullaby’’The Brazilian flavor has become a gear change for the album on ‘roadside Bougainvillea’. Up to the 5th song, it is good to convey the good relationship of the quartet that was breathtaking while co-starring for the first time. Fabrizio Bosso participated in the following three songs until the last, Needless to say, Fabrizio is a popular Italian player in Japan. ‘Old School’ which develops from the unison theme of alto and trumpet to a talkative solo, the harmony of two horns is comfortable ‘new blue’ the inevitability of quintet is revealed with a convincing sound on ‘Ocean Between’. The two-part structure of the quartet and the quintet enhances the listener's sense of value. There is no doubt that it will be a new work that will determine the evaluation in Japan HIROKI SUGITA. 12/2020 JAZZ JAPAN Translation by Kana Miyamoto. 
Challenge Records - CR 73502 - 2020
Pekka Pylkkanen: sax alto, sax soprano Fabrizio Bosso: tromba Roberto Tarenzi: pianoforte Francesco Puglisi: contrabbasso Marco Valeri: batteria Un omaggio musicale allo stile di vita italiano. Il sassofonista finlandese Pekka Pylkkanen coinvolge quattro musicisti italiani di sicura esperienza come sono appunto Fabrizio Bosso, Roberto Tarenzi, Francesco Puglisi e Marco Valeri e affida loro otto composizioni originali che affrontano le diverse tradizioni del jazz e che presentano anche accenti ritmici funky o latin e suggestioni melodiche più tipicamente italiane. Il senso di condivisione che Pylkkanen associa, nelle note con cui presenta il disco, al nostro modo di stare a tavola viene traslato in maniera naturale nell'interazione tra i protagonisti del disco. Allo stesso modo, "Nu Bottega" è un lavoro spigliato e coerente: l'impostazione è classica ma mai ingessata, le dinamiche sono fluide e condotte con brio e partecipazione, l'atmosfera è quella di una buona cena tra amici, condita da tutti gli elementi che rendono piacevole una serata. Segui Jazz Convention su Twitter: @jazzconvention |
Nubottega / Pekka Brucanen Garden O Alma's Sam Times It Rains on Sundays Harajuk's Short Lullaby 6 Roadside Bougainvillea © Old School's Nublue Ocean Bit Wien ■ Pekka Purkanen (as, ss) Roberto Tarenzi (p) ) Francesco Prizi (b) Marco Valerie (ds) Faprizio Bosso (O ~ O: tp) Recorded in Rome 2020 Work Country Tokyo Embras Challenge Records CR-73502 Now on sale Open Price Finland is said to represent Europe It's no exaggeration to say that alto saxophonist Bougainvillea is 56 years old this year, but Challenge Records has released one work that makes him think that this is the season. A recording of Toshihide from Italy who visited Rome, and Fabrizio Bosso joined in the latter three songs, a breathtakingly dense performance was developed, but the most intense impression throughout the whole volume is It is a rich and deep bruccanen tone. PYKKANEN NU BOTTEGA (Yukinori Omura) JAZZ JAPAN 11/2020 (Google translation)
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Ahmad Jamal-influenced Tarenzi's 2009 trio (participating in the prige) has been released in Japan in the latest quartet and quintet tunes, Chesco Prizi (b) and Marco Valeri (ds). He is a strong man. With a fresh recording environment and members, Brooknen did not neglect to prepare for the concept album by consolidating all eight songs by himself. In the opening song <Alto>, the alto brass band backed by a clear assertion reveals Brukanen's ability, and Tarenzi, who takes the second solo, impresses the play suitable as a leader's partner. Valerie, which carves subdivided petes instead of standard ones, also contributes to a fresh band sound. Bougainvillea featuring up-numbers (Sam Times It Rains on Sundays) with a modal intro suggesting musical roots, a unison theme for alto and piano, Harajuku where Tarenzi makes a show, and Tarenzi in the first half. <Short Lullaby], which shows a relationship of trust with, and the Brazilian flavor has changed the gear of the album (Roadside Bougainvillea), and it conveys a good relationship of a breathtaking quartet while co-starring for the first time up to the fifth song. Is good. Fabrizio Bosso (tp) participated in the following three songs until the last. Needless to say, it is a very popular Italian restaurant in Japan. Pekka Brukanen (as, ss) Photo by Andrea Boccalini Entered the studio in Rome to organize an Italian quartet and welcomed guests. Regarding the album concept, Plucknen said: "The basic idea was to join the UMO Jazz Orchestra, Finland's only national jazz orchestra in the early days of the Italian lifestyle career. He has led his own tube factory since the 90's. As a leader in 50 countries in Europe, America, Asia and South Africa. The saxophone player who has performed above is Pekka Brooknen (1964-). Plucknen, who has been steadily increasing his fans in Japan after visiting Japan on the 2013 (Yokosai Jazz Promenade) and last year's tour, The unison of alto and trumpet for the first time in 11 years. The theme develops into a tongue-in-cheek bosso solo (old school), the two-tube harmony is comfortable (new blue), and the sound that convinces the necessity of quintet. (Ocean Bitwien) and the quartet & quintet and the beauty recognized there. "Nu Bottega" means "new restaurant", but you can feel the atmosphere of a shared kitchen or with friends. It also means cooking and tasting bread together. Cooking (now mostly Italian) is part of my passion and sharing it with friends is my greatest pleasure. The members of the quartet are the two-part composition of Purkanen (as, ss), Roberto Tarenzi (p), and Fran, which enhances the listener's sense of value. Released a popular leader work in Japan. KANEN SNU BOTTEGA "Nu. The new work entitled "Bottega" is the first from the Challenge Records in Finland, which boasts a rich and high-quality catalog. There is no doubt that it will be a new work that will determine the price, perhaps because it is the first work in a long time. "Nubotega" (Challenge Records) OCTOBER 2020 JaZZJAPAN Google translattion (sorry about the obvious nonsense in some sentences.. !!😊😊😊)
Nubottega / Pekka Brucanen Garden O Alma's Sam Times It Rains on Sundays Harajuk's Short Lullaby 6 Roadside Bougainvillea © Old School's Nublue Ocean Bit Wien ■ Pekka Purkanen (as, ss) Roberto Tarenzi (p) ) Francesco Prizi (b) Marco Valerie (ds) Faprizio Bosso (O ~ O: tp) Recorded in Rome 2020 Work Country Tokyo Embras Challenge Records CR-73502 Now on sale Open Price Finland is said to represent Europe It's no exaggeration to say that alto saxophonist Bougainvillea is 56 years old this year, but Challenge Records has released one work that makes him think that this is the season. A recording of Toshihide from Italy who visited Rome, and Fabrizio Bosso joined in the latter three songs, a breathtakingly dense performance was developed, but the most intense impression throughout the whole volume is It is a rich and deep bruccanen tone. PYKKANEN NU BOTTEGA (Yukinori Omura)f 4/5 stars WAY OUT WEST 10/2020 (Google translation)
A completely new phenomenon this Pekka Pylkkanen (1964) from Finland, at least for me and that should come as no surprise given the enormous range of jazz music and that despite the complete omission of this important music on the public broadcaster in the Netherlands and I think it is in Belgium not much better. But I will continue to write reviews about this fantastic music genre so that preconceived ears can be shaken up.
Saxophonist / composer Pekka Pylkkanen is widely regarded as one of the better jazz artists and saxophonists in Europe. He has performed worldwide and is not only successful in Europe but also in Asia and South America, for example. He has collaborated with many famous names in the jazz world and continues to work with great success as a soloist, conductor, recording artist and teacher. During the first years of his career he worked full-time for a longer period of time with “The National Orhestra of Finland” or the “UMO Jazz Orchestra”, often also as a soloist. The orchestra has hosted many big names in jazz such as Maria Schneider, Joe Henderson, Dee Dee Bridgewater and others. Pekka 's first CD was released in 1999 (Pekka's Tube Factory), in 2001 "Opaque" was both released on the Naxos label , “Listen” was released on Lumino Rec. and later in China on Starsing Rec.
The title of this album “Nu Bottega” means nothing more or less than New Restaurant and that points to another passion of Pekka, cooking “Cooking, mostly Italian, is one of my passions nowadays”. Pylkkanen plays alto and soprano saxophone here, his fellow players are Roberto Tarenzi on piano, Francesco Puglisi on bass, Marco Valeri on drums and as a guest on some songs Fabrizio Bosso on trumpet, all Italians, not only the Italian kitchen is very important to Pekka. banner. Already in the opening track “Alma” it is clear that the class is dripping off with these Pylkkanen, superior technique and phrasing and more importantly a great sound, pfff! And the trio of piano, bass and drums forms a warm woolen blanket in which Pekka can excel, wonderful music. In “Sometimes it rains on Sundays” (he means it) pianist Roberto Tarenzi gets all the space to show his class.
Also in the lovely lullaby “Short Lullaby” Pekka manages to reach his goal with his sultry sound. It may be known that Scandinavia is home to a rich source of jazz talent, Denmark, Sweden, Norway and Finland may now be added if it can be seen as part of Scandinavia. After all, the fantastic pianist Iiro Rantala is also from Finland. In the songs “Old School”, “Nu Blu” and “Ocean between” trumpet player Fabrizio Bosso (1973) joins the quartet, which brings an extra dimension to the timbre. Bosso is not a little boy, he has a series of albums to his name. The harmony of Pekka and Fabrizio is a feast for the ear, this whole album is a joy, it is always a shame when the CD is finished. Google translation!
Jan van Leersum / Rootstime.be October 2020
Saxophonist / composer Pekka Pylkkanen is widely regarded as one of the better jazz artists and saxophonists in Europe. He has performed worldwide and is not only successful in Europe but also in Asia and South America, for example. He has collaborated with many famous names in the jazz world and continues to work with great success as a soloist, conductor, recording artist and teacher. During the first years of his career he worked full-time for a longer period of time with “The National Orhestra of Finland” or the “UMO Jazz Orchestra”, often also as a soloist. The orchestra has hosted many big names in jazz such as Maria Schneider, Joe Henderson, Dee Dee Bridgewater and others. Pekka 's first CD was released in 1999 (Pekka's Tube Factory), in 2001 "Opaque" was both released on the Naxos label , “Listen” was released on Lumino Rec. and later in China on Starsing Rec.
The title of this album “Nu Bottega” means nothing more or less than New Restaurant and that points to another passion of Pekka, cooking “Cooking, mostly Italian, is one of my passions nowadays”. Pylkkanen plays alto and soprano saxophone here, his fellow players are Roberto Tarenzi on piano, Francesco Puglisi on bass, Marco Valeri on drums and as a guest on some songs Fabrizio Bosso on trumpet, all Italians, not only the Italian kitchen is very important to Pekka. banner. Already in the opening track “Alma” it is clear that the class is dripping off with these Pylkkanen, superior technique and phrasing and more importantly a great sound, pfff! And the trio of piano, bass and drums forms a warm woolen blanket in which Pekka can excel, wonderful music. In “Sometimes it rains on Sundays” (he means it) pianist Roberto Tarenzi gets all the space to show his class.
Also in the lovely lullaby “Short Lullaby” Pekka manages to reach his goal with his sultry sound. It may be known that Scandinavia is home to a rich source of jazz talent, Denmark, Sweden, Norway and Finland may now be added if it can be seen as part of Scandinavia. After all, the fantastic pianist Iiro Rantala is also from Finland. In the songs “Old School”, “Nu Blu” and “Ocean between” trumpet player Fabrizio Bosso (1973) joins the quartet, which brings an extra dimension to the timbre. Bosso is not a little boy, he has a series of albums to his name. The harmony of Pekka and Fabrizio is a feast for the ear, this whole album is a joy, it is always a shame when the CD is finished. Google translation!
Jan van Leersum / Rootstime.be October 2020
★ After studying at the Sibelius Academy (Music University) in Helsinki (graduating from the master's course), he went to the United States, studied under Dave Liebman, took lessons with Jerry Burgundy and Bob Minzer, and then returned to UMO. Finnish Alto (&), who has been a regular jazz orchestra for several years, has led his own combo and has performed vigorous global live activities in more than 50 countries, and is a busy early veteran as an educator. Soprano) Saxophone powerhouse: Pekka Purkanen (born 1964).
★ This work is a quartet with Roberto Tarenzi (p) and other Italian elites who boarded Rome, and the top trumpet star Fabrizio Bosso joined in the final three songs. One volume.
★ Alto with a mellow tone with plenty of umami that shows supple stretching power, which is exquisitely integrated with tightness and roundness, continues to slide out a dynamic & bapish groovy dignified action play that ran bitterly. , A hard-boiled flower that is hard and heroic and spicy, while a sword-like robust phrase with solid and square restraints and a lot of blues-colored and innocent ginjo songs are accurate. The sharp and sharp dramatic swords of the piano, which can be freely interlaced or fused, are vividly addicted to the acupuncture points and add a delicious color, and are generally robust and have a delicate taste. The content of the hit.
★ In general, a modal and bluesy post-bop enthusiastic performance of a modal and bluesy orthodox serious muscle, which is resolutely stretched but also has a bitter taste and singing tendency, is developed lively and stable rhythm of the rhythm corps. It is firmly supported by a fresh and thrilling support that is excellent in both instantaneous power and playability, and while being fanned, it kills the sweetness of Purkanen (as) and makes it smell like a man. The vibrant roar, which is elegant and has a blasting punch, is tough and sharp, and the dignified star character is also shining.
→ A bitter and aggressive, spicy and brainy, seriously fighting blow with a slightly steep and solemn expression, as if inheriting the hard surface of Jackie McLean and Phil Woods, explodes bravely. The way the sound is made is really reliable and squid, and it works dramatically by successfully merging Tarenzi (p)'s "modal spiritual" and "funky tasty", and also Bosso who appears in the second half. (tp)'s unbridled and illusionary, yet extremely orthodox taste is never lost, and it's a light and light genuine hard bop (when Bosso comes in, the total image of the sound space is The excitement mode is fully open at once, and the place that seems to be a dramatic hard bop is also exciting), and it is skillfully contrasted with McLean, and each is full of charm. Goole translation! September 2020 Catfish-records.jp
★ This work is a quartet with Roberto Tarenzi (p) and other Italian elites who boarded Rome, and the top trumpet star Fabrizio Bosso joined in the final three songs. One volume.
★ Alto with a mellow tone with plenty of umami that shows supple stretching power, which is exquisitely integrated with tightness and roundness, continues to slide out a dynamic & bapish groovy dignified action play that ran bitterly. , A hard-boiled flower that is hard and heroic and spicy, while a sword-like robust phrase with solid and square restraints and a lot of blues-colored and innocent ginjo songs are accurate. The sharp and sharp dramatic swords of the piano, which can be freely interlaced or fused, are vividly addicted to the acupuncture points and add a delicious color, and are generally robust and have a delicate taste. The content of the hit.
★ In general, a modal and bluesy post-bop enthusiastic performance of a modal and bluesy orthodox serious muscle, which is resolutely stretched but also has a bitter taste and singing tendency, is developed lively and stable rhythm of the rhythm corps. It is firmly supported by a fresh and thrilling support that is excellent in both instantaneous power and playability, and while being fanned, it kills the sweetness of Purkanen (as) and makes it smell like a man. The vibrant roar, which is elegant and has a blasting punch, is tough and sharp, and the dignified star character is also shining.
→ A bitter and aggressive, spicy and brainy, seriously fighting blow with a slightly steep and solemn expression, as if inheriting the hard surface of Jackie McLean and Phil Woods, explodes bravely. The way the sound is made is really reliable and squid, and it works dramatically by successfully merging Tarenzi (p)'s "modal spiritual" and "funky tasty", and also Bosso who appears in the second half. (tp)'s unbridled and illusionary, yet extremely orthodox taste is never lost, and it's a light and light genuine hard bop (when Bosso comes in, the total image of the sound space is The excitement mode is fully open at once, and the place that seems to be a dramatic hard bop is also exciting), and it is skillfully contrasted with McLean, and each is full of charm. Goole translation! September 2020 Catfish-records.jp
Some excerpts from various reviews around the world:
". Pekka send me a copy of his latest recording, and what I
hear is a mature player who has truly come up with a compelling
sound, both as a composer and instrumentalist. The music on this
cd is simply great, and I am very happy to see and hear that Pekka
has grown into the musician that he is today. He’s created
compositions with an elegant complexity that showcases his
saxophone playing in a unique and personal way. "
Excerpt from liner notes for 'Listen!' by Bob Mintzer, December 2008
”Pylkkänen is among the jazz elite in his native Finland. A stalwart member of
the fabled UMO Jazz Orchestra, Pylkkanen shows his crafty wares on his
solo debut for Naxos Jazz.On Pekka’s Tube Factory, the multi-reedman
displays a fine compositional åen, expressive, accomplished technical skilss
and a keen ear for arranging.” - Glenn Astarita www.allaboutjazz.com- July 1999
”Neben seinen ausgezeichneten solistischen Leistungen auf verschiedenen
Holzblasinstrumenten, zeigt sich Pekka
Pylkkänen auch als versierter Komponist, der sich fur alle Titel verantwortlich
zeigt.” - JazzLive 125/99
”Taking time off as a member of the UMO Jazz Orchestra, Pekka Pylkkänen
makes his leader debut with a sleek ride.” - C.Michael Baileywww.
allaboutjazz.com. July 1999
” The Finnish wind specialist Pylkkänen leads a tight sextet trough moody,
atmospheric pieces that explore with a purpose...As accomplished a group of
musicians as these are, the human element is always present- a touchstone on
the mournful but beautiful ”Lumi” and a vivid theme in the intertwined layers
of The Picture of Dorian Gray, an evocative take on the beuty and sadness of
twisted desire.” - Hilarie S.Grey- JazzTimes- May 2002
He certainly maintains a very individual and always interesting sound.” - John
Henry-Audiophile Audition - March 2002
”Pekka Pylkkänen is back with another notable collection of razor sharp
contemporary jazz..
Pylkkänen, once again, blows through his variety of winds on this collection
of mostly his originals.” - C.Michael Bailey - www. allaboutjazz.com
” Kein Wayne Shorter, kein Jaco Pastorius, kein Joe Zavinul spielen hier
ausgelassen (und glucklicherweise auch keine, die sich dafur halten), hier
musiziert eine ferfekt harmonierende Band, die ein wenig nordische
Schwermut in die Kompositionen bringt, ohne diese damit völlig zu
uberfrachten: Besonders hervorzuheben sind das virtuos- gewitzte ”Tom Cat”,
das hypnotische ”The Picture Of Dorian Gray” und das hinreissend
melancolische ”Black Pearl” - der Schallplattenman Sagt, 3.12.2001
". Pekka send me a copy of his latest recording, and what I
hear is a mature player who has truly come up with a compelling
sound, both as a composer and instrumentalist. The music on this
cd is simply great, and I am very happy to see and hear that Pekka
has grown into the musician that he is today. He’s created
compositions with an elegant complexity that showcases his
saxophone playing in a unique and personal way. "
Excerpt from liner notes for 'Listen!' by Bob Mintzer, December 2008
”Pylkkänen is among the jazz elite in his native Finland. A stalwart member of
the fabled UMO Jazz Orchestra, Pylkkanen shows his crafty wares on his
solo debut for Naxos Jazz.On Pekka’s Tube Factory, the multi-reedman
displays a fine compositional åen, expressive, accomplished technical skilss
and a keen ear for arranging.” - Glenn Astarita www.allaboutjazz.com- July 1999
”Neben seinen ausgezeichneten solistischen Leistungen auf verschiedenen
Holzblasinstrumenten, zeigt sich Pekka
Pylkkänen auch als versierter Komponist, der sich fur alle Titel verantwortlich
zeigt.” - JazzLive 125/99
”Taking time off as a member of the UMO Jazz Orchestra, Pekka Pylkkänen
makes his leader debut with a sleek ride.” - C.Michael Baileywww.
allaboutjazz.com. July 1999
” The Finnish wind specialist Pylkkänen leads a tight sextet trough moody,
atmospheric pieces that explore with a purpose...As accomplished a group of
musicians as these are, the human element is always present- a touchstone on
the mournful but beautiful ”Lumi” and a vivid theme in the intertwined layers
of The Picture of Dorian Gray, an evocative take on the beuty and sadness of
twisted desire.” - Hilarie S.Grey- JazzTimes- May 2002
He certainly maintains a very individual and always interesting sound.” - John
Henry-Audiophile Audition - March 2002
”Pekka Pylkkänen is back with another notable collection of razor sharp
contemporary jazz..
Pylkkänen, once again, blows through his variety of winds on this collection
of mostly his originals.” - C.Michael Bailey - www. allaboutjazz.com
” Kein Wayne Shorter, kein Jaco Pastorius, kein Joe Zavinul spielen hier
ausgelassen (und glucklicherweise auch keine, die sich dafur halten), hier
musiziert eine ferfekt harmonierende Band, die ein wenig nordische
Schwermut in die Kompositionen bringt, ohne diese damit völlig zu
uberfrachten: Besonders hervorzuheben sind das virtuos- gewitzte ”Tom Cat”,
das hypnotische ”The Picture Of Dorian Gray” und das hinreissend
melancolische ”Black Pearl” - der Schallplattenman Sagt, 3.12.2001
The Walker's - Japanese magazine- review on 'Listen!' October 2011 link here: http://www.facebook.com/TheWalkers27?sk=wall&filter=2
Pekka Pylkkanen (sax) ~ new album!
The Walker's
Pekka Pylkkanen Tube Factory "Listen! "
ペッカ・ピルカネン・チューブ・ファクトリー 『リッスン！』
フィンランド・ジャズ・シーンをリードするサックス・プレイヤー＝ペッカ・ピルカネンの最新アルバム！
1964年生まれ。10代からプロとしての活動を始め、渡米後にデイヴ・リーブマンやディック・オーツに師事。ヨーロッパに戻ってからは目覚ましい活躍を続け、自己のバンド“チューブ・ファクトリー”を率いて放った本作が最新アルバム。
サックスだけでなく、フルート、クラリネットにピアノもこなすペッカだが、この最新作でもアルト・サックスとソプラノ・サックスで魅力的なサウンドを披露している。全7曲ペッカのオリジナルで、オープニングはヒップ＆スインギーで壮快な『Rhythm Powder』。ラテンを取り入れ、ペッカがペルーのリマで会った特別な人に捧げた「Senor Alejandro」、映画『スター・ウォーズ』のヨーダをテーマにした「Master Yoda」等、楽曲の良さも際立つ。ペッカ自身の子供たち～世界中の子供たちを思い書き上げたという「Small Toes」も素敵な曲だ。本作のライナーにはボブ・ミンツァーがコメントを添えているが、北欧から届けられた素晴らしい作品に仕上がっている。
尚、今年11月に来日公演が決定しているというペッカ・ピルカネン。本作からナンバーも楽しみ。乞う、ご期待！
＜曲目＞
1. Rhythm Powder
2. Escaping the Andes
3. Senor Alejandro
4. Old C
5. Master Yoda
6. Small Toes
7. Cry For Africa
＜パーソネル＞
Pekka Pylkkanen （as, ss）
Samuli Mikkonen (p, key)
Pekka Luukka (g)
Ville Huolman (b)
Jaska Lukkarinen (ds)
Pekka Pylkkanenのオフィシャル・ウェブ・サイト
www.pekkasmusic.com
Pekka Pylkkanenのmyspace（『Listen!』の試聴ができます！）
www.myspace.com/pekkasmusic
写真提供：Pekka Pylkkanen
Pekka Pylkkanen (sax) ~ new album!
The Walker's
Pekka Pylkkanen Tube Factory "Listen! "
ペッカ・ピルカネン・チューブ・ファクトリー 『リッスン！』
フィンランド・ジャズ・シーンをリードするサックス・プレイヤー＝ペッカ・ピルカネンの最新アルバム！
1964年生まれ。10代からプロとしての活動を始め、渡米後にデイヴ・リーブマンやディック・オーツに師事。ヨーロッパに戻ってからは目覚ましい活躍を続け、自己のバンド“チューブ・ファクトリー”を率いて放った本作が最新アルバム。
サックスだけでなく、フルート、クラリネットにピアノもこなすペッカだが、この最新作でもアルト・サックスとソプラノ・サックスで魅力的なサウンドを披露している。全7曲ペッカのオリジナルで、オープニングはヒップ＆スインギーで壮快な『Rhythm Powder』。ラテンを取り入れ、ペッカがペルーのリマで会った特別な人に捧げた「Senor Alejandro」、映画『スター・ウォーズ』のヨーダをテーマにした「Master Yoda」等、楽曲の良さも際立つ。ペッカ自身の子供たち～世界中の子供たちを思い書き上げたという「Small Toes」も素敵な曲だ。本作のライナーにはボブ・ミンツァーがコメントを添えているが、北欧から届けられた素晴らしい作品に仕上がっている。
尚、今年11月に来日公演が決定しているというペッカ・ピルカネン。本作からナンバーも楽しみ。乞う、ご期待！
＜曲目＞
1. Rhythm Powder
2. Escaping the Andes
3. Senor Alejandro
4. Old C
5. Master Yoda
6. Small Toes
7. Cry For Africa
＜パーソネル＞
Pekka Pylkkanen （as, ss）
Samuli Mikkonen (p, key)
Pekka Luukka (g)
Ville Huolman (b)
Jaska Lukkarinen (ds)
Pekka Pylkkanenのオフィシャル・ウェブ・サイト
www.pekkasmusic.com
Pekka Pylkkanenのmyspace（『Listen!』の試聴ができます！）
www.myspace.com/pekkasmusic
写真提供：Pekka Pylkkanen
LInk for SuomiJazz (FinnJazz) review on 'Listen!' in Finnish: Pylkkänen Pekka: Listen!
Interviews
The Tokyo Jazz Site interview by James Catchpole in 2015:
1. Where are you from and how did you first get into jazz/music?
I’m from Helsinki, Finland. I grew up in the suburbs of Helsinki, there was no musicians in the family, but we had some records of New Orleans jazz and Latin -American music, and musical soundtracks, such as Fiddler on the Roof, plus some classic 78’s – with music of Gene Grupa, Benny Goodman etc. I think listening to music became my hobby, at around 4 years old. Soon I wanted to play also myself, and there was a guy living next to our house (or actually, there was two of them), who played tenor sax and clarinet. Both were also members of a big band that was experimenting with jazz-rock fusion, and which became very famous. The leader of that group, Mr. Klaus Järvinen, alto sax and clarinetist, who was in charge of the music program in the Oulunkylä Secondary and High School, named this band as ‘OYK Brass Band’- the name that lasted at least 5 ‘generations’ of this big band. Klaus Järvinen also started the first jazz/pop (or rock in those days) music academy in Finland, called Oulunkylä Pop and Jazz Institute- that had their premises at this very same school already mentioned.
As per myself, I did finally get my parents convinced to take up an instrument, but all the advisors told them, that I should start on the piano, which didn’t prove to be that fruitful, after all. I was 6 years old at that point, and didn’t really like the teacher that much, a classical pianist who was mostly concerned in teaching reading music. It wasn’t fun, and due to that, and the fact that I had to attend an afternoon/evening- school, after our won school burned down, made me to give up those lessons.
2. Why did you choose the sax and who were your first influences?
In the end it could be because of this guy in the neighbor, and their band, since we didn’t have much saxophone records at home, if I remember right.
But there was lots of clarinet and trumpet recordings anyway. I had this dream of playing first clarinet, and then switching to saxophone (which was the goal from the beginning, but everybody told that ‘you have to start with clarinet’. Bulls. J
Anyways, I got my first clarinet a bit before turning 10, and a couple of years later I got an alto, not own, but a Yamaha from the school’s instrument ‘library’. There was actually quite a few Mark VI’s and similar, really fantastic instruments there.
My first influences: hmmm. I loved the stuff that big band was playing (the rock-influenced big band sound, as well as Basie, Glenn Miller, Artie Shaw and similar bands. I’m not sure if I had a real idol on the saxophone at that point, I just loved all that music. At that point I was already playing in that same band *OYK Brass Band’- I guess in the second/third generation- and finally in the fourth generation. My teacher wanted me to listen to Johnny Hodges and Basie lead altoists (I didn’t know the name Marshall Royal at that time), and I liked that, but wasn’t totally overwhelmed by it.
I guess the biggest impact were the recordings I had listened to when younger: Pete Fountain and Al Hirt. I could listen to that stuff all day long..
Later on I started taking classes at that already-mentioned Oulunkylä Pop/Jazz Institute and was playing in many different groups simultaneously. That school became finally the Pop and Jazz Conservatory - and part of Metropolia University- it provided also a degree-based education in jazz and pop music (Bachelor Degree) . As far as I can remember, that course started at the same time as the Sibelius- Academy’s Jazz Department (that provided Master’s and nowadays also Doctoral Degrees).
3. How did you first come to Japan and what were your impressions of the jazz scene here?
Well, I have always had an interest in Japan, but hadn’t had an opportunity to perform there, although had been playing tours in China with my own group (the first one in 1999, at the Beijing Music Festival), and had toured as part of a big band in Australia and Thailand etc.
Then – finally in the end of 2006 I had the chance to bring my group to Tokyo for a few days, to finish off our 4-week-long tour in China. I had a promoter who arranged that, along with Naxos Japan (as far as I can tell): we played two nights at Pit Inn, and it was pretty fantastic, have to admit. But also realized really soon how tough the business side of performing in Japan was. We actually also recorded those nights, the pianist Kenichiro Shinzawa was doing the recording with an engineer. For some reason I didn’t approve the takes – or something- cannot really remember, and it hasn’t been released.
But my impressions of Japan- I was really excited! I loved pretty much everything here. I guess I became some sort of Japan-freak! Pity that I still cannot speak the language, save for some phrases and so..
The music scene in Japan still didn’t open up very easily for me. I couldn’t just travel to Japan to find out things by myself, so mostly I just surfed the internet and actually did get some sort of picture of the club scene. I did put a lot of effort to manage a ‘real’ Japan tour with different cities and many clubs, and I guess I learned along the way a lot.
The music scene is lively, of course, but during these last 9-10 years I have been in close contact with Japanese and the clubs, festivals, etc, I have noticed some sort of – well- maybe deterioration is a bit harsh word – but still- in the quality of music, at least in some places. It’s not only been seen as commercialization, partly that too, but as a bit more not-so-interesting projects bathing in the lights, if you know what I mean..
Many club owners tell me that the economically hard times have hit the music scene the most, and it probably is the reason, at least partly.
4.What are your current and upcoming projects?
I have several projects for the moment, some are more active than the others, but I’m trying to find at least some concerts/tours or recordings for each, every now and then.
Here’s some:
*Global Unit – with Ronan Guilfoyle, Carlos Ezequiel and Greg Burk. We did a recording two years ago and I should get it released soon now. We also toured in Asia- also Japan- and a some tours in Europe.
5. Three favorite albums
That’s a hard one!! Ouch.. There is too many, really! But let’s put it this way:
1. Where are you from and how did you first get into jazz/music?
I’m from Helsinki, Finland. I grew up in the suburbs of Helsinki, there was no musicians in the family, but we had some records of New Orleans jazz and Latin -American music, and musical soundtracks, such as Fiddler on the Roof, plus some classic 78’s – with music of Gene Grupa, Benny Goodman etc. I think listening to music became my hobby, at around 4 years old. Soon I wanted to play also myself, and there was a guy living next to our house (or actually, there was two of them), who played tenor sax and clarinet. Both were also members of a big band that was experimenting with jazz-rock fusion, and which became very famous. The leader of that group, Mr. Klaus Järvinen, alto sax and clarinetist, who was in charge of the music program in the Oulunkylä Secondary and High School, named this band as ‘OYK Brass Band’- the name that lasted at least 5 ‘generations’ of this big band. Klaus Järvinen also started the first jazz/pop (or rock in those days) music academy in Finland, called Oulunkylä Pop and Jazz Institute- that had their premises at this very same school already mentioned.
As per myself, I did finally get my parents convinced to take up an instrument, but all the advisors told them, that I should start on the piano, which didn’t prove to be that fruitful, after all. I was 6 years old at that point, and didn’t really like the teacher that much, a classical pianist who was mostly concerned in teaching reading music. It wasn’t fun, and due to that, and the fact that I had to attend an afternoon/evening- school, after our won school burned down, made me to give up those lessons.
2. Why did you choose the sax and who were your first influences?
In the end it could be because of this guy in the neighbor, and their band, since we didn’t have much saxophone records at home, if I remember right.
But there was lots of clarinet and trumpet recordings anyway. I had this dream of playing first clarinet, and then switching to saxophone (which was the goal from the beginning, but everybody told that ‘you have to start with clarinet’. Bulls. J
Anyways, I got my first clarinet a bit before turning 10, and a couple of years later I got an alto, not own, but a Yamaha from the school’s instrument ‘library’. There was actually quite a few Mark VI’s and similar, really fantastic instruments there.
My first influences: hmmm. I loved the stuff that big band was playing (the rock-influenced big band sound, as well as Basie, Glenn Miller, Artie Shaw and similar bands. I’m not sure if I had a real idol on the saxophone at that point, I just loved all that music. At that point I was already playing in that same band *OYK Brass Band’- I guess in the second/third generation- and finally in the fourth generation. My teacher wanted me to listen to Johnny Hodges and Basie lead altoists (I didn’t know the name Marshall Royal at that time), and I liked that, but wasn’t totally overwhelmed by it.
I guess the biggest impact were the recordings I had listened to when younger: Pete Fountain and Al Hirt. I could listen to that stuff all day long..
Later on I started taking classes at that already-mentioned Oulunkylä Pop/Jazz Institute and was playing in many different groups simultaneously. That school became finally the Pop and Jazz Conservatory - and part of Metropolia University- it provided also a degree-based education in jazz and pop music (Bachelor Degree) . As far as I can remember, that course started at the same time as the Sibelius- Academy’s Jazz Department (that provided Master’s and nowadays also Doctoral Degrees).
3. How did you first come to Japan and what were your impressions of the jazz scene here?
Well, I have always had an interest in Japan, but hadn’t had an opportunity to perform there, although had been playing tours in China with my own group (the first one in 1999, at the Beijing Music Festival), and had toured as part of a big band in Australia and Thailand etc.
Then – finally in the end of 2006 I had the chance to bring my group to Tokyo for a few days, to finish off our 4-week-long tour in China. I had a promoter who arranged that, along with Naxos Japan (as far as I can tell): we played two nights at Pit Inn, and it was pretty fantastic, have to admit. But also realized really soon how tough the business side of performing in Japan was. We actually also recorded those nights, the pianist Kenichiro Shinzawa was doing the recording with an engineer. For some reason I didn’t approve the takes – or something- cannot really remember, and it hasn’t been released.
But my impressions of Japan- I was really excited! I loved pretty much everything here. I guess I became some sort of Japan-freak! Pity that I still cannot speak the language, save for some phrases and so..
The music scene in Japan still didn’t open up very easily for me. I couldn’t just travel to Japan to find out things by myself, so mostly I just surfed the internet and actually did get some sort of picture of the club scene. I did put a lot of effort to manage a ‘real’ Japan tour with different cities and many clubs, and I guess I learned along the way a lot.
The music scene is lively, of course, but during these last 9-10 years I have been in close contact with Japanese and the clubs, festivals, etc, I have noticed some sort of – well- maybe deterioration is a bit harsh word – but still- in the quality of music, at least in some places. It’s not only been seen as commercialization, partly that too, but as a bit more not-so-interesting projects bathing in the lights, if you know what I mean..
Many club owners tell me that the economically hard times have hit the music scene the most, and it probably is the reason, at least partly.
4.What are your current and upcoming projects?
I have several projects for the moment, some are more active than the others, but I’m trying to find at least some concerts/tours or recordings for each, every now and then.
Here’s some:
*Global Unit – with Ronan Guilfoyle, Carlos Ezequiel and Greg Burk. We did a recording two years ago and I should get it released soon now. We also toured in Asia- also Japan- and a some tours in Europe.
- Tube Factory – although I don’t much use that name anymore, and the ‘crew’ has already changed more times than I can tell. My so far still latest album ‘Listen’ was however by ‘Pekka Pylkkanen Tube factory’
- Hi-Fi Quintuplet – half UK-group ( with Ronan Guilfoyle, Nick Smart on trumpet )
- Superior Hi-Fi – with the great South African musicians Kesivan Naidoo and Kyle Shepherd, as well as Ronan and Nick)
- A project with the great Venezuelan, but NYC-based pianist Benito Gonzalez, who couldn’t make it to Japan this time.
- I’ve had projects with Danish musicians Thomas Walbum, Niclas Campagnol and Andreas Hatholt, but it is not active at the moment
- Projects with my Brazilian friends Carlos Ezequiel, Lupa Santiago (great guitarist) and many others.
- I’ve also had a project in Portugal, with the great guitarist Bruno Santos. And another one in Italy, with the pianist Francesco Negro. And there’s a new project probably coming up with the great trumpetist Gerard Presencer, and some duo-projects as well.
5. Three favorite albums
That’s a hard one!! Ouch.. There is too many, really! But let’s put it this way:
- one has to be a Trane recording- one of these: Ballads, Crescent, Coltrane Jazz, Love Supreme
- One from these: Rollins: Newk’s Time, Miles: Kind Of Blue, Four and More, ESP, Sorcerer, Kilimanjaro, Silent way, :
- One from these: Herbie Hancock: Empyrean Isles, Cannonball, Garrett, Brecker, Jesus, cannot do this.
- And where are my Cuban and Brazilian recordings, especially Hermeto Pascoal’s ( I am a devoted fan of his, incurable one)????
- Hancock: Thrust, …
- Sorry – I am no good in these!!:)
Interview for Starsing Records in Guangzhou, China, 2014:
1. As a professional musician who was infected by music since childhood, it seems that music has very close connections with the family. Are your parents are musicians? Can you tell me about the music life in your family through your childhood memories?
Well, we did have often music in our house, but neither of my parents were/are musicians. My sister picked up the clarinet around the same time as me, but the music in our house was from the recordings. We had a whole bunch of really nice records, but 78’s and 33’s – my favorites were Pete Fountain and Al Hirt and some Latin-American- style recordings. (Al Hirt ad Pete Fountain being New Orelans-style jazz musicians).
We also used to have parties quite often, and in those parties – and during the holidays the records were played more or less all the time- practically non-stop for some good 10-15 hours, and the same would continue the next day… The LPs also got worn out quite often…
2. How do you choose to learn saxophone?
I had heard some recordings that had either clarinet or saxophone on it, and I just loved the sound of the instrument, and I still do! Also – in the neighboring house there was lived a guy who played tenor, and he also played on one of the recordings that we had (he played in the school big band- the same school I also went to, and later on joined the same band – a bit ‘younger version’ of the band, but nevertheless the same band with the same leader, repertoire etc…)
3. Sometimes musicians may mention about there is a teacher who has prominent influence for their music career. I wonder whether you have someone to recall?
I did have many important teachers in my life (and still do)! My earliest teachers were very cool, and I will never forget them, but the ones that did have a big influence on me and how I thought about music were Paroni Paakkunainen, the late Upi Sorvali and the recently-deceased Kaj Backlund, all teaching in the same Pop/Jazz Institute that was run by Klaus Järvinen (he was also one of my teachers). As a teen I had also Pentti Lahti and Pepa Päivinen. Later on I was studying with Teemu Salminen, Jukka Perko and Jukkis Uotila, at the Sibelius Academy. In Holland I studied with Jasper Bloom and Dick de Graaf and had some lessons also from the maste Bob Brookmeyer himself. And after that: David Liebman, and many other visitors that came to Finland, like Dick Oatts and Jerry Bergonzi and many other important jazz musicians, like Bob Mintzer. The thing is that I am extremely grateful of all teaching I have gotten along the way (no matter how ‘difficult’ student I may have been!! J
4. How did you join the UMO Orchestra? What's the harvest you got？
Well, the first time I got to play with UMO was a program that included both UMO and the Tallinn Radio Big Band, in Studio Julius in Helsinki. That must have been in the mid 80’s or so. I did play in other big band all the time, and also some of the saxophonists were or had been my teachers..And it is a small city anyways and one thing led to another.. Then I was needed there at some point and I did play with them several years, pretty much every day. (it is a full-time job with 3-4 long rehearsals a week + concerts on top). A very BIG learning experience for me, I must say! Not only about ‘playing saxophone’ or ‘playing woodwinds’ but also ‘playing jazz’, playing contemporaty music’ and most of all ‘how to manage a seemingly undoable task in a couple of days’!!
5. We should say that the saxophone is a kind of young musical instrument, but it has already become the most pop star with its development especially jazz's popularity just over a century. What's the unique charms of saxophone in your opinion?
6. Someone says jazz has been changing all the time. So what do you think about the unchanged thing of jazz?
7. Tell me your deepest feeling about you and your tube factory during these years' cooperation?
8. What's the most adventurous exploration or Interesting adaptation for saxophone‘s creation style you've ever tried before?
9. Do you have any preferences on microphone when recording different types of saxophones?
Well, in my home studio I have a quite new model from AT- the number is (I think) 4450. But usually in the studios, I do like Neumanns and Telefunkens for sure, but sometimes they tend to be a bit on the soft side for my taste. There’s actually really lots of great microphones, and it’s hard to tell which one would be the best, because it always is a matter of taste and also depends on the actual type of sound that would be required for just that project+ the pre-amps, the desk, the studio’s acoustics etc. Quite a complicated issue to be squeezed into ‘like/don’t like’ – kind of debate, if you know what I mean…
10. Do you prefer earphone or speaker when on the stage？
I suppose you mean ‘ear-monitor’ or ‘monitor/speaker’ here? Well, I have used both, but I don’t own a ear-monitoring system, and usually I’m really happy if there’s just a good-quality monitoring available on stage. A really bad-quality monitoring can take the fun out of playing, so in that sense it is important to have a good monitoring system. But I’m not really picky about those (at least anymoreJ)!
11. Who is your favor jazz musician?
12. I read Bob Mintzer's comment to your works before, he said your music has a kind of elegant complexity. What do you think about the 'complexity' he said?
13. As a saxophone player also can play a variety woodwind at the same time, can you give some suggestions to musical peers about learning other instruments?
14. What sort of equipment do you prefer using to listen to music in daily life? Do you have any hi-fi at your house? What kind of it?
15. You visited Beijing and Shanghai before. What's your impression of chinese jazz festival?
I have enjoyed very much the festivals where I have played in China. The ‘Jazz It Up’ in Shanghai was very well organized and there was a nice feeling overall. And the ‘Beijing Jazz Festival’ was great with the amazing park set up, with thousands of jazz fans attending it. We also had a great ‘side-performance’ at a club in Beijing, where they also celebrated my birthday with a huge cake and champagne and everything! I’ll never forget that experience!
16. Our jazz fans are looking forward to see your live show in china. Do you have some latest performance information or plans to share with us?
I certainly love playing in China! I hope to come back there soon, it has been a while! I have plans of coming back in October 2014, but it hasn’t been confirmed yet. If it doesn’t happen, then at least in March 2015 I should be there
1. As a professional musician who was infected by music since childhood, it seems that music has very close connections with the family. Are your parents are musicians? Can you tell me about the music life in your family through your childhood memories?
Well, we did have often music in our house, but neither of my parents were/are musicians. My sister picked up the clarinet around the same time as me, but the music in our house was from the recordings. We had a whole bunch of really nice records, but 78’s and 33’s – my favorites were Pete Fountain and Al Hirt and some Latin-American- style recordings. (Al Hirt ad Pete Fountain being New Orelans-style jazz musicians).
We also used to have parties quite often, and in those parties – and during the holidays the records were played more or less all the time- practically non-stop for some good 10-15 hours, and the same would continue the next day… The LPs also got worn out quite often…
2. How do you choose to learn saxophone?
I had heard some recordings that had either clarinet or saxophone on it, and I just loved the sound of the instrument, and I still do! Also – in the neighboring house there was lived a guy who played tenor, and he also played on one of the recordings that we had (he played in the school big band- the same school I also went to, and later on joined the same band – a bit ‘younger version’ of the band, but nevertheless the same band with the same leader, repertoire etc…)
3. Sometimes musicians may mention about there is a teacher who has prominent influence for their music career. I wonder whether you have someone to recall?
I did have many important teachers in my life (and still do)! My earliest teachers were very cool, and I will never forget them, but the ones that did have a big influence on me and how I thought about music were Paroni Paakkunainen, the late Upi Sorvali and the recently-deceased Kaj Backlund, all teaching in the same Pop/Jazz Institute that was run by Klaus Järvinen (he was also one of my teachers). As a teen I had also Pentti Lahti and Pepa Päivinen. Later on I was studying with Teemu Salminen, Jukka Perko and Jukkis Uotila, at the Sibelius Academy. In Holland I studied with Jasper Bloom and Dick de Graaf and had some lessons also from the maste Bob Brookmeyer himself. And after that: David Liebman, and many other visitors that came to Finland, like Dick Oatts and Jerry Bergonzi and many other important jazz musicians, like Bob Mintzer. The thing is that I am extremely grateful of all teaching I have gotten along the way (no matter how ‘difficult’ student I may have been!! J
4. How did you join the UMO Orchestra? What's the harvest you got？
Well, the first time I got to play with UMO was a program that included both UMO and the Tallinn Radio Big Band, in Studio Julius in Helsinki. That must have been in the mid 80’s or so. I did play in other big band all the time, and also some of the saxophonists were or had been my teachers..And it is a small city anyways and one thing led to another.. Then I was needed there at some point and I did play with them several years, pretty much every day. (it is a full-time job with 3-4 long rehearsals a week + concerts on top). A very BIG learning experience for me, I must say! Not only about ‘playing saxophone’ or ‘playing woodwinds’ but also ‘playing jazz’, playing contemporaty music’ and most of all ‘how to manage a seemingly undoable task in a couple of days’!!
5. We should say that the saxophone is a kind of young musical instrument, but it has already become the most pop star with its development especially jazz's popularity just over a century. What's the unique charms of saxophone in your opinion?
6. Someone says jazz has been changing all the time. So what do you think about the unchanged thing of jazz?
7. Tell me your deepest feeling about you and your tube factory during these years' cooperation?
8. What's the most adventurous exploration or Interesting adaptation for saxophone‘s creation style you've ever tried before?
9. Do you have any preferences on microphone when recording different types of saxophones?
Well, in my home studio I have a quite new model from AT- the number is (I think) 4450. But usually in the studios, I do like Neumanns and Telefunkens for sure, but sometimes they tend to be a bit on the soft side for my taste. There’s actually really lots of great microphones, and it’s hard to tell which one would be the best, because it always is a matter of taste and also depends on the actual type of sound that would be required for just that project+ the pre-amps, the desk, the studio’s acoustics etc. Quite a complicated issue to be squeezed into ‘like/don’t like’ – kind of debate, if you know what I mean…
10. Do you prefer earphone or speaker when on the stage？
I suppose you mean ‘ear-monitor’ or ‘monitor/speaker’ here? Well, I have used both, but I don’t own a ear-monitoring system, and usually I’m really happy if there’s just a good-quality monitoring available on stage. A really bad-quality monitoring can take the fun out of playing, so in that sense it is important to have a good monitoring system. But I’m not really picky about those (at least anymoreJ)!
11. Who is your favor jazz musician?
12. I read Bob Mintzer's comment to your works before, he said your music has a kind of elegant complexity. What do you think about the 'complexity' he said?
13. As a saxophone player also can play a variety woodwind at the same time, can you give some suggestions to musical peers about learning other instruments?
14. What sort of equipment do you prefer using to listen to music in daily life? Do you have any hi-fi at your house? What kind of it?
15. You visited Beijing and Shanghai before. What's your impression of chinese jazz festival?
I have enjoyed very much the festivals where I have played in China. The ‘Jazz It Up’ in Shanghai was very well organized and there was a nice feeling overall. And the ‘Beijing Jazz Festival’ was great with the amazing park set up, with thousands of jazz fans attending it. We also had a great ‘side-performance’ at a club in Beijing, where they also celebrated my birthday with a huge cake and champagne and everything! I’ll never forget that experience!
16. Our jazz fans are looking forward to see your live show in china. Do you have some latest performance information or plans to share with us?
I certainly love playing in China! I hope to come back there soon, it has been a while! I have plans of coming back in October 2014, but it hasn’t been confirmed yet. If it doesn’t happen, then at least in March 2015 I should be there