Label: Karkia Mistika, 2020

Personnel - Sami Sippola: tenor saxophone; Ville Rauhala: bass; Janne Tuomi: drums; Iro Haarla: piano.

The Finnish trio Hot Heros was formed in 2015, and its name adopted from a sign advertising those typically overstuffed sandwiches in Brooklyn, NYC. For their fifth release, Vodjanoi, the threesome - saxophonist Sami Sippola, bassist Ville Rauhala and drummer Janne Tuomi - are joined by the adroit pianist Iro Haarla (former right-hand collaborator of the late drummer/composer Edward Vesala), and the result of that successful collaboration translates into eight compositions intimately related through a contemporary sound based on folk jazz, post-bop and pop/rock elements. These are complemented by inspirations from nature and some recent trips to Lapland.

A highly lyrical setting is promptly established in the opening piece, Sippola’s “Kuulin Suden Ulvovan”, whose catchy sights of emotionally-charged pop and folk garnish the melodic jazz for a juicy atmosphere. The harmonic contribution of Haarla is elegant and works in perfection on top of the soft rhythmic lock step of bass and drums.

Sippola also wrote the subsequent track, “Karhuntanssi”, which induces some comparisons with the adult post-bop style of Jan Garbarek. It’s touching, desolate, passionate and sensitive, all at once.

Haarla contributes a single composition to the record, “Kullankaivajan Blues”, which she introduces in solitary contemplation, creating moments of attunement to be followed by the rest of the band. The descendant movement of the bass, when first joining her, is quite something, and an interesting debate occurs from then on, featuring a fluently spoken drum solo, terse arco bass interjections, tranquil pianism, and an energetic saxophone conversation delivered with empathy.

The thrilling, absorbing and sometimes edgy tones exhaled from Sippola’s horn can also be spotted on “Niin On Kehto Tyhjillaan”, a 3/4 folk tale penned by Rauhala. This particular piece embraces the bright-yet-profound momentum of the saxophonist’s playing as well as Haarla’s piano work, a thing of glory which she keeps up with further sobriety on the closer, “Vedenneito”, a Sippola piece marked by rubato lethargy.

In comparison with the remaining numbers, Rauhala’s “Murmansk” feels feverishly dreamy, providing a window into ruminative temperaments and slightly ominous tones, mainly brought in by the strong presences of bowed bass and saxophone clamors.

Hot Heros let the melodies breathe and their relaxed grooves and textures, here elevated by Haarla’s talents, make them a trio to watch in the future.

Favorite Tracks:
01 - Kuulin Suden Ulvovan ► 03 - Kullankaivajan Blues ► 04 - Niin On Kheto Tyhjilaan

Iro Haarla: piano; Trygve Seim: saxophone; Hayden Powell: trumpet; Ulf Krokfors: bass; Mika Kallio: drums.

I’ve always had a huge respect for the Finnish pianist, harpist, and composer Iro Haarla, admiring her approach to music (including composition and arrangement) since the time she used to work with her late husband, the avant-garde drummer Edward Vesala.
Classically trained, she prefers the contemporary to traditional as she seamlessly interweaves modern classical and chamber-style jazz.

Two years ago, we could find her interpreting wonderful psalms and prayers in Kirkastus (Tum Records), a duo album recorded with the saxophonist/flutist Juhanni Aaltonen.

Ante Lucem, her third album for the ECM Records, was written for symphony orchestra and jazz quintet and mirrors all the musical qualities of the artist in four separate, yet highly-connected pieces.
It was recorded at the Concert Hall of NorrlandsOperan in Umea, Sweden, with her competent quintet composed of habitual collaborators - Trygve Seim on saxophones and Ulf Krokfors on bass - and a couple of new additions - Hayden Powell on trumpet and Mika Kallio on drums, who replaced Mathias Eick and Jon Christensen, respectively.

“Songbird Chapel”, a compound of sweet-tempered jazz and zealous classical music, gains epic dimensions with the time. Seim had the permission to give one step forward in order to speak frankly through his timbre-oriented drives. Strong emotions are set free when the orchestra pushes the mood to befit wondrous cinematic frames.

Haarla, who had unleashed breezy harp sweeps in the previous tune, switches to a dramatic piano in “Persevering with Winter”, a 19-minute piece whose first step is given with slightly ominous tones, triggering instantaneous clouds of obscurity. It’s like opening a web-covered ark full of secrets. Beautiful unisons and sophisticated textures can be found inside. The horn players have a preponderant role here, whether soloing individually or plunging into noisy collective maneuvers.

The final piece, “Ante Lucem: Before the Dawn” has a slow, harmonious awakening. In an early phase, its conduct oscillates between contemplative and dreamy. However, and even before halfway, there’s a radical turn triggered by rumbling percussion, firm bass lines and sparse piano voicings. This environment couldn’t be more propitious for the horn section to explore with confidence and pleading attitude, before all returns to the initial melancholy.

Pushing the boundaries of modern composition, Haarla intersperses light and darkness within a structured sound essay that can be teasing, glacial, or methodically declamatory.
This album is simultaneously evocative and revivifying.

Favorite Tracks:
02 – Persevering With Winter ► 04 – Ante Lucem: Before the Dawn