Thursday, October 13, 2016

Free Agents - 1980 - £ 3.33

Free Agents 
 £ 3.33

01. Untitled 17:43
02. Untitled 4:15
03. Untitled 8:36
04. Untitled 6:16

Eric Random
Francis Cookson [aka Sinister Dexter]
Alan Deaves
Pete Shelley

PVC outer sleeve with sticker: GROOVY £3.33

Original Groovy LP never credited Free Agents anywhere. That wasn't known until the record was advertised in music papers like Sounds, and the inserts that came with later copies and other Groovy releases.

Side A live at York University (11/8/78) supporting Gang Of Four.
Side B studio recordings Graveyard Studios, Prestwich.

Front and rear covers of art (not credited) by Francis Cookson a la the original.

From Tony McGartland "Buzzcocks The Complete History" (1995, page 78):
"While [Buzzcocks] are mixing 'Love Bites', the rest of The Tiller Boys play support to Gang Of Four at York University. The gig, played by Francis Cookson and Eric Ramsden, is recorded and subsequently released on Groovy Records - the off-shoot of The Tiller Boys call themselves Free Agents, and the record is both called, and sells for, £3.33p. Despite [Pete] Shelleys absence from the live recording, the remaining tracks which make up the album feature Shelley, Cookson and Alan [Deaves] (guitarist/vocalist with The Worst), recorded at Graveyard Studios in Prestwich, Manchester."

Pete Shelley
b. Peter McNeish, 17 April 1955, Leigh, Lancashire, England. When the Buzzcocks disbanded in 1981, Shelley soon embarked on a variety of solo projects. In fact, his solo history extended before, and during, the Buzzcocks career. As one of the Invisible Girls, he helped out on John Cooper Clarke albums while the Buzzcocks were still active. Around the same time he also launched his own independent label, Groovy. On this he released Free Agents (subtitled Three Pounds And Thirty Three R.R.P., which was also its original price). This consisted primarily of tape loops and feedback, and general free-for-all improvisation. Meanwhile, on New Hormones (the Buzzcocks' original label) came The Tiller Boys EP, another of Shelley's pet projects. The second release on Groovy was Sky Yen, a solo album originally recorded by Shelley in 1974 using electronic instruments. Much akin to work by Kraftwerk, it prefaced the electronic feel of his later solo work. However, it was 1982's Homosapien, a weighty slice of electro-pop concerning bisexuality, that marked the high point in Shelley's solo career. It was produced by Martin Rushent as a launch for his Generic label, and caused much discussion of Shelley's sexuality, and a re-examination of his Buzzcocks lyrics.XL1 in 1983 was more tame, although it did boast the novelty of including a Sinclair computer programme that reproduced the lyrics. One review compounded matters by mentioning no less than five Buzzcocks titles in comparison - a trifle unfairly. Again, it was produced by Rushent, this time with a predominantly disco feel.After 1986's Heaven And The Sea Shelley sought the comfort of a band again, and attempted to retain anonymity in Zip. He re-formed the Buzzcocks in 1989, enjoying an artistic and critical renaissance with the studio recordings Trade Test Transmissions, All Set and Modern. In October 2000 he reunited with the Buzzcocks' co-founder Howard Devoto under the Buzzkunst moniker. The duo recorded a well-received album which owed little to their respective musical pasts.

Pete Shelley notes: 'More of a solo project by Francis Cookson. One side features live recording from Tiller Boys gig at YMCA London [w/] Barry Adamson, Eric Random, Francis Cookson [& Pete Shelley]. Other side studio recordings done at Graveyard Studio, Prestwich.Doodles by Francis.'
The following is from a Shelley interview by C.P. Lee in N.M.E. Feb 9, 1980, although this is Lee talking, not Shelley: "The solo album is entitled `Free Agents' and subtitled `Three pounds thirty three, R.R.P' which is (not surprisingly) also the price. `Free Agents' is a collection of tracks about which the sleeve and the label give no information whatsoever. It's a montage of feedback, tapeloops and drum machines, with possibly a bit of the T.V in the background (well, it was made at home). Experiments in rhythmic annihilation and free form improvisation with just a hint of Buzzcock attitudes in the framing of several of the structures."[Gez notes that C.P. Lee is ex-Albertos Y Los Trios Paranoias and journalist / personality.]
The C.P. Lee interview also mentions an album that was soon to be released called "Cinema Music And Wallpaper Sounds" recorded 1976.
Pete Shelley notes: '"Cinema Music And Wallpaper Sounds" was never released.'
Greg Earle notes: '6 pieces performed for a film soundtrack using guitars / effects / oscillators, drums and other noises. No vocals. It comes in a plain 12" (with hole) cover, much like a "white label" 12" single would. There is no writing on the record label, and there is a "cover" taped over the outer sleeve which basically looks like a page out of someone's notebook (lined paper, etc. ) that someone did some pen doodles on.'

Jukka Hauru - 1975 - Episode

Jukka Hauru 

01. Enema Syringe
02. When I Met My Wondergirl
03. Waltz Bourgeois
04. Episode
05. Elegy
06. Goodbye Pinochet

Teemu Salminen - flute, clarinet, soprano, tenor and baritone saxophone
Pekka Pöyry - soprano and alto saxophone (A1 and A2)
Jukka Hauru - guitar
Jukka Linkola - acoustic and electric piano, synthesizers
Esa Kotilainen - jousisyntetisaattori
Heikki Virtanen - bass
Pekka Pohjola - bass (A1 and A2)
Tomi Parkkonen - drums

Episode was a completely different beast. Eradicating any sense of the Hendrix inspired psychedelic nature of the first album, Hauru did what many early 70s artists did in the fusion era by slicking up his sound into a unit where complicated unison lines are practiced into sterility and virtuosity becomes prominent. Fortunately Hauru brought with him from Information his skill at balancing aggressive pieces with those more low key, although by now all focus is on fusion and jazz to the detriment of those zany, wild-flying pieces that made his debut such a joy. It's not to say the playing isn't any good, if anything it's certainly more mature, yet the restraint and lack of raw power takes the edge off in ways that adds to the loss of distinction. Information was a psych rock ensemble verging fusion, while Episode is after the arrival to the latter. There are still plenty of solo moments from guitar, sax and even an increase in the synthesizer/keyboard prominence, but the atmosphere here seems subdued. I suppose I'd have been more impressed had I heard this album first; it even has a smaller song line up. But overall, it's difficult to see this as anything but "yet another fusion album," particularly disappointing after such an amazing debut.
Undoubtedly Hauru went onto other things, but left no other solo albums under his name after these two. Certainly Information is highly recommended and fans of fusion should probably check out Episode as well. Hauru was truly one of the better unknown guitar players from Europe.

Jukka Hauru - 1972 - Information

Jukka Hauru 

01. Mai-Ling 6:16
02. Room 1972 1:52
03. Jamsession The Finnish Yes Federation's Skinheaded Board 1:33
04. No More Blues 6:55
05. Evil 6:08
06. Splitting 3:24
07. Information 4:35
08. Refilling Valve 3:40
09. What? 4:44
10. Waltz For The Straight Relatives 2:25

Bass – Heikki Virtanen (tracks: A1, B1 to B5), Tapani Tamminen (tracks: B5)
Double Bass – Tapani Tamminen (tracks: A3, A3, A5)
Drums – Reino Laine (tracks: A2 to B5), Tapani Ikonen (tracks: A1)
Guitar, Composed By, Arranged By, Producer – Jukka Hauru
Piano – Olli Ahvenlahti (tracks: A5)
Soprano Saxophone – Markku Marstela (tracks: A4), Sakari Kukko (tracks: A1)
Tenor Saxophone – Raimo Wallen (tracks: A1, A2, A4, B1 to B5)
Violin – Juhani Poutanen (tracks: A2, A5 to B5)
Vocals, Other [Initiations] – Matti Jakola (tracks: A3)

Recorded at Finnvox studios, Helsinki, July 1972.

Jukka Hauru is a forgotten figure in Finnish 70s rock, an artist long lost in the waves of Wigwam, Piirpauke and Pekka Pohjola albums that generally get the lion's share of attention. One of Hauru's albums was even released on the stalwart label of Finland, Love records. It's time to set the record straight. Hauru's debut, Information, was his prize moment. It's a guitar fan's paradise, a psychedelic rock album with some slight jazzy touches that includes wave after wave of Hendrix inspired soloing. Hauru is just absolutely brilliant, sort of the long lost brother of guitar sensation Jukka Tolonen. Riffing drums and bass set down tremendously dexterous performances over which Hauru wails like a madman, pushing the songs, from short to long, to tremendous heights. There is also a sense of humor prevalent on the album, as if Hauru didn't take himself so seriously - read titles like "Jam Session The Finnish Yes Federation's Skinheaded Board" and "Waltz for the Straight Relatives" (a piece heavily reminiscent of Flying Teapot-period Gong). But Information is not all about trio jams, although there are plenty here. Strings are brought in at times and there are also sax leads which help to break up the potential monotony of a guitar, bass and drums type of sound, interesting moments that add to the dynamic flow of the release, such as the piano piece on side 2. The way Hauru juxtaposes rather complicated ensemble sections with the free form, rocking jams works well to give the entirety a diverse flow. But in the end, it's Hauru's guitar show (as well as the less prevalent violin and sax solos), and he was just such a magnificent player, riffing at light speed over anything his backups throw at him. If you love good playing, this album is a no-brainer. Never was the intense riffing style of the earliest Mahavishnu so matched in energy. One of my favorite albums to come out of Finland... Get it!!!!

Wasama Quartet - 1983 - Dirty Date (Featuring Ed Palermo)

Wasama Quartet
Dirty Date (Featuring Ed Palermo)

01. Dirty Date 5:43
02. For You 6:50
03. Club Privé 6:09
04. Blue Funk 6:40
05. Soft Coco 8:03
06. La Maison Joie 1:30
07. Daisy Chain 3:49

 Recorded At – Soundtrack Studios, Helsinki

Alto Saxophone – Ed Palermo (tracks: 1 &4)
Double Bass – Olli-Pekka Wasama
Drums – Jukka Wasama
Guitar – Ilkka Niemeläinen
Reeds – Pentti Lahti

Wasama Quartet - 1980 - Wasama Quartet

Wasama Quartet 
Wasama Quartet

01. Hickory 4:30
02. Cherrytree 4:28
03. Con Dong 4:00
04. Super Slug 3:33
05. 7? 8? 4:44
06. Aschkopf 5:01
07. Cheyenne 3:01
08. T.H.E.C. 3:59
09. Goodbye Hickory 5:30
10. Black Oho!! 4:47

Acoustic Guitar – Ilkka Niemeläinen
Bass – Olli-Pekka Wasama
Drums, Percussion, Vocals – Jukka Wasama
Violin – Mikko-Ville Luolajan-Mikkola

Recorded October -79 at Soundtrack Recording Studios.

Wasama Quartet was founded in Helsinki, Finland in 1976. The band played a mixture of folk, ethnic music and jazz because of the various musical backgrounds of its members. The founding members were Mikko-Ville Luolajan-Mikkola (violin), Ilkka Niemeläinen (guitar), Olli-Pekka Wasama (bass) and Jukka Wasama (percussion). Luolajan-Mikkola left the group in the early 1980s and he was replaced by Pentti Lahti (flute, saxophone, clarinet). The band released albums in 1980 and 1983.

Uni Sono - 1975 - Uni Sono

Uni Sono 
Uni Sono

01. TVL 6:15
02. Chorea Urbana 8:30
03. Boulevard Blues 6:45
04. Jedi And Rekku (Redi Jekku, Pennut) 11:22
05. Iltatähti 9:31

Bass – Pekka Pohjola
Drums – Reino Laine
Electric Piano, Grand Piano, Synthesizer [Moog Satellite, String Synthesizer], Organ – Olli Ahvenlahti
Flute, Saxophone [Soprano, Alto, Melody], Other [Maestro Woodwind Sound System] – Paroni Paakkunainen*
Guitar – Nono Söderberg
Percussion – Reino Laine, Paroni Paakkunainen*

Recorded at Marcus Music AB, Stockholm, May 1975'
"Chorea Urbana" dedicated to Matti Kurkinen

Sort of a Finnish Fusion supergroup, set up in 1973 with Paroni Paakkunainen on sax/flute, Olli Ahvenlahti on synths/elctric piano, Reino Laine on drums, Mike Koskinen on trumpet, Piirpauke's Hasse Walli on guitar and Make Lievonen on bass.For unkown reasons though the line-up that made it to Uni Sono's sole self-titled album from 1975 was Paakkunainen, Ahvenlahti and Laine along with Pekka Pohjola on bass and Nono Soederberg on guitar.The album was released on the Hi-hat label.

''Uni sono'' is somewhat similar to pre-Bill Connors WEATHER REPORT lp's, smooth Jazz Fusion, which occasionally breaks into a minimalistic moods and ethereal soundscapes, due to the presence of Ahvenlahti there are maybe stronger bits of atmospheric synthesizers around.Regarding the veteran, experienced line-up, we should expect much more from such a formation, the combination of keyboards, sax soloing and funky lines on bass is not fully convincing and the album lacks certain levels of energy, ending up to be pretty monotonous and laid-back as a whole.Lots of electric piano, dreamy sax melodies and solos and sporadic guitar moves are contained in this one, but the atmosphere even tends towards Lounge Jazz at moments, making the album better as a background listening.Not very fond also of the individual and isolated instrumental noodling or the abstract improvisations.On the other hand, when the team decides to collaborate, the music becomes more cohesive, tight and interesting like in the opening ''Tvl'' or the second part of the 11-min. long ''Jedi and Rekku'' with the very good guitar solo of Soedberg and the pounding electric piano of Ahvenlahti.

The project came to an end the very same year, when Paakkunainen moved to USA to study in the Berklee School of Music.Pekka Pohjola of course continued his very interesting solo career and teamed up again with Olli Ahvenlahti in The Group.

Average Jazz Fusion, executed by an impressive line-up, but good moments are unfortunately few, as the team spent its time mostly in relaxed and non-risky ideas.Recommended to fans of early WEATHER REPORT.

Jukka Linkola Octet - 1982 - Lady In Green

Jukka Linkola Octet 
Lady In Green

01. Boogie Woogie Waltz 7:40
02. Blues For Oliver 4:39
03. Lady In Green 4:18
04. Ode To C.S. 5:17
05. Hawaii 5:41
06. Short Story 4:53
07. Eyes 6:26
08. Malaria 5:38

Esko Heikkinen
Ilkka Hanski
Jukka Linkola
Jukkis Uotila
Pentti Lahti
Teemu Salminen
Tom Bildo

All compositions on this album were composed during the years 1981 and 1982 with the subsidy of the Finnish Government particularly for this line-up except for A3 which was originally composed for the play "Peer Gynt" performed at the Helsinki City Theatre and afterwards arranged for the octet.
The suite "Festival Movements" including the Big Band arrangements of the compositions B2, B3, B4 won the first prize in the competition for jazz compositions in Finland 1981.
This record has been produced by the support of the Foundation for the Promotion of Finnish Music.

Recorded at Finnvox Studios, Helsinki, May 1982.

Four years after "Proto-funk" they came back with another record that charts more squarely in the big band style-- even more reminiscent of the German group Noctett, by this time, even in Finland, fusion was probably a dirty word...

But I would like to feature it because of the awesome track called "Hawai'i."  Surprisingly, it's not all about ukulele strumming, circles of fifths, and diatonic ditties with major chords a la Don Ho and Tiny Bubbles.  Like the "Seven Sacred Pools" of Joachim Kühn (footnote: the natives make a point of saying they are not sacred, this is an inappropriate misnomer like calling the White House a sacred temple) it's a serious composition that evokes the verdure, the clouds, the beautiful birds and the fresh rainshowers that appear so suddenly but depart so swiftly.  For those who have been there, this is a place that stays in the heart forever, as Joachim and Jukka probably realized.

The minute you step off the plane-- passing through the open-air Honolulu Airport with its mahogany walls and numerous palms, you will smell the unmistakable thick subtropical wind full of orchids, rainforest and warmth, a smell you will never forget for as long as you live.  In Hawai'i you will do the dutiful tourist activites-- seeing the volcano on the big island, the longest continuous erupting volcano in the world, drive through the lush rainforests and stare, slack-jawed, at the plummeting cliffs going down to the ocean on the 'road to Hana', trek through jungles to see brilliant huge waterfalls falling hundreds of feet down into cold fresh pools, watch the championship level surfers on the North Shore of Oahu and be awed by their skills-- which took years of daily practice to master, make no mistake about it (I've tried it, and it's really hard), taste the wonderful abundance of seafood and hopefully try the magnificent fish called Wahoo, the name supposedly derived from the island name of Oahu, which the natives there call Ono (meaning delicious), maybe you will see the mandatory-touristy luau and watch the dancers-- but this is just a superficial tasting...

It's only when you've spent a few weeks there, enjoying the friendliness of the locals and their universal 'hang loose' hand signal, finding completely empty white sand beaches with gorgeous waters, walking hours along rainforest trails, swimming in secret ponds at the foot of waterfalls, visiting enormous valleys in the central parts of certain islands, as majestic as the Grand Canyon, that you will understand, really understand... Hawai'i is a paradise on earth, as close as we will get to experiencing Eden.  Then when you return home to the boring daily job of 30-40 hours a week you use to waste time and buy food until you get old and retire, having to deal with angry coworkers, upset clients, insoluble problems you are required to fix, the horrid cold in our Northern Hemisphere, driving past the endless suburbs of home depots, Starbucks, and Burger Kings to drive home late at night with no forest anywhere nearby, you will miss Hawai'i-- I guarantee.  And the more you go there, the more deeply you will miss it...

How you'll yearn to go back, like Gaugain to Tahiti, or Rimbaud to Africa, to hear the sweet music, to smell those gorgeous orchids, walk through the forests with grand three-hundred foot wide monkey pod trees, grander than the cathedrals the Europeans spent hundreds of years building, sit on a rock at the bottom and pass hours just watching the forest in its element...

With regards to the sample song "Hawai'i" notice how the woodwinds-- as usual I should say-- evoke the clouds passing by, or a flock of birds flying away, with their turbulent, arpeggiated style.  As well, using the 'polytonality' of D on top of the key of C (the tritonal F sharp in fact) here makes one think of mists, showers, water, etc., due to the layering of one chord on top of the other, as if a reflection in a pool of water.  A very composed track for sure from the hand of this master:

Jukka Linkola Octet - 1979 - Protofunk

Jukka Linkola Octet 

01. Protofunk 6:15
02. Morning Song 5:21
03. Discantus 6:08
04. Smash 7:00
05. Dithyrambos 1 6:05
06. Dithyrambos 2 6:35
07. Dithyrambos 3 5:04
08. Athmos 5:46

Bass – Ilkka Hanski
Clarinet, Soprano Saxophone, Tenor Saxophone – Teemu Salminen
Drums – Jukka-Pekka Uotila
Flute, Flute [Alto], Alto Saxophone, Bass Clarinet, Piccolo Flute – Pentti Lahti
Keyboards, Composed By, Arranged By – Jukka Linkola
Percussion – Upi Sorvali
Trombone, Tuba, Horn [Baritone], Flugelhorn, Recorded By – Tom Bildo
Trumpet, Flugelhorn – Esko Heikkinen

Recorded at Finnvox Studios, Helsinki, June and August 1979

I must repeat how lucky I am to have such friends spread widely over the world, who can introduce me to artists and recordings I would be utterly unfamiliar with were it not for them.
It's impossible to keep on top of what we are trying to do: resuscitate the lost musical treasures from the past decades of rock history, from all over the world.  So I am eternally grateful that there are others to help me who will send material they find that is extraordinary and worth hearing.  This is a labor of love from beginning to end.  Also a labor of time, which I have in short supply, unlike the love for music, which I have in endless supply.  And um, love for my wife which is even more limitless.  .

This particular record-- is just incredible, He created it when he was only 21!

Here you will find some amazing fusion, chamber composition, intensity and energy, coming from the genius composer's hand.  The whole album uses an ancient Greek theme, although it's entirely instrumental, with such references as dithyrambos (a style of poem) and athmos (I remember from Univ. it means breath or soul, because it's the cognate of Indian or sanskrit atman and French 'ame', in fact, the English word breath probably derives from the first part of atman.  I read in a recent review article that there is still fierce disagreement, even though molecular genetics and new statistical analyses were hoping to clear up the issue, about who those Indo-Europeans were, who spread their language over all of Europe and half of Asia about 5000-8000 years ago.)

Notice in the discography he made two other albums with this lineup, one called "Lady in Green" in 1982 and another called "Scat Suite" from 1983 which I have heard, and I can relate to you that it is far more jazzy and far less satisfying, as you'd expect, for by this time fusion was on the way out all over the world.

When you have a look at the man's biography and discography (sans octet), you can see he was quite prolific. The album he made in 1980 with Otto Donner is highly recommended for the progressive fan, being similar almost to a weaker Samla Mammas Manna album.  It's called "Kuinka Myöhään Valvoo Blues?"

As a sample track I will present to you the first, Proto-Funk, which is a perfect representative of the remainder.  Sit back, turn it up loud, and think of how happy and beautiful the musical world was back then-- 35 years in the past, half a lifetime ago, and thank my friend, who knew enough to introduce us to this lost album.

From the back, I will reproduce most of the blurb:

This album is long overdue.  Jukka Linkola Octet, the little big band of comtemporary jazz, has paid its dues.  The group received particular attention at the Pori Jazz Festival 1978, where the Octet played engagingly both by itself and together with several internationally established musicians in the heated jam-sessions of the festival.

And now here is the first album of the JLO, filled with fire and sensitivity seldom heard even in live appearances.  Just listen to the intense but controlled power of the opening selection PROTOFUNK, the misty awakening optimistic rise of MORNING SONG, and the variable rhythms and moods of the DITHYRAMBOS suite.

As a composer, Linkola has been compared to Chick Corea.  Though there are similarities, this music is pure Linkola consisting of material whose originator knows his musicians and their abilities perfectly.  Do I dare compare him to Duke Ellington?  Anyway Linkola sure knows how to use the innumerable possibilities of sound combinations offered by his multitalened reed and brassmen...

by Jaakko Tahkolahti

Jukka Linkola - 1976 - Banana

Jukka Linkola

01. Prologi
02. Tapausten Alku
03. Edistyksen Juhlaa
04. Aita
05. Tottele Aitaa
06. Laulu Aidan Takaa
07. Valkoinen On Kaunista
08. Keskustelu / Lakko
09. Kylän Kuolema
10. Ei Mitään Enää
11. Epilogi Osa 1
12. Epilogi Osa 2

Bass - Ilkka Hanski
Guitar - Juhani Rantanen
Percussion - Jukka Linkola , Upi Sorvali
Piano, Synthesizer, Composed By, Arranged By - Jukka Linkola
Producer - Tommi Liuhala
Recorded By - Dan Tigerstedt
Saxophone, Flute - Pentti Lahti

Jukka Tapio Linkola (born July 21, 1955 Espoo, Finland ) is a Helsinki-based jazz pianist , bandleader and composer. He studied at the Sibelius Academy in Helsinki 1972-1980, and in addition has made a study trip to the United States. He served on the Helsinki City Theatre's conductor from 1979 to 1992.

Composer, conductor and pianist Jukka Linkola began his career in jazz, but since the 1980s he has become better known as a composer of serious music. His repertoire as a composer is exceptionally large. It contains not only orchestral works, concertos and chamber music but also operas, songs, musicals and jazz. In all, 40 recordings of Linkola’s works have so far been released. Linkola has composed a wealth of music for the stage. In 1976 he composed the music for a production by the Dance Theatre Raatikko called “Banana”.

He composed the musicals “Peter Pan”, “Kallion kimallus”, “Peer Gynt” and “Boris Godunov” and the ballet “Näkki” for the Helsinki City Theatre, the musical “Max and Moritz” for the Theatre 2000 in Tampere, “Antti Puuhaara” for the Tampere Theatre and the musical “King Lear” for the TTT-Theatre of Tampere. In 1989 the Finnish National Opera commissioned a ballet for the story by Astrid Lindgren “Ronia the Robber’s Daughter... [long biography follows]

So we see again how brilliant music can be when a classical education is combined with willingness to delve in the realms of jazz and rock. I'm not surprised to read that this is music for dance since it has that extreme variety and change that is typical of ballet. We start with a very atmospheric opening, a sustained piano note (Linkola plays all keys) leading into a very pohjola or wigwam-like sequence of piano chords. Side one progresses into some fairly soft conventional light fusion sounds. By track 5 it seems the experimentation session has gotten started with those typical smooth sounding dark grooves that we often hear in northern european jazz combining electric piano and a lot of minor seconds.
Side two then proceeds into the stratosphere of musical ingenuity. I believe the sixth song is a copy or direct quote of Debussy's Cathedrale Engloutie with the right and left hands playing same chords but I may be wrong. The sense of drama starts to really build up. Track 7 returns us to euphony with a sax and acoustic guitar melody accentuated with electric piano arpeggios sounding like ibises flying off. A long track ensues with all kinds of styles cycling throughout, a more classical composed opening moves into finnforest style electric jazz ending in a gorgeous electric guitar solo and drum break. The prologue is quoted from again with the sustained piano notes, with a really out of this world spacey piano composition in the middle that to me all on its own makes the whole work priceless. The album curiously closes out with some very conventional chord changes on a light fusion sound-- I would almost call it a throwaway song.

What a work! As usual I can only pray someday this kind of music can be regarded rightfully as on a par with the more famous composers in the canon of western music.
Again mention should be made of the brilliant album cover showing barbed wire in closeup. How this refers to banana [republic?] I don't know.

Pentti Hietanen & Teppo Hauta-aho Duo - Wasama Quartet - 2016 - Jazz-Liisa Volume 8

Pentti Hietanen & Teppo Hauta-aho Duo, Wasama Quartet 
Jazz-Liisa 8

01. Pentti Hietanen & Teppo Hauta-aho Duo - April Moon
02. Pentti Hietanen & Teppo Hauta-aho Duo - Shades On The Snow
03. Pentti Hietanen & Teppo Hauta-aho Duo - Pilvi
04. Wasama Quartet - Hickory
05. Wasama Quartet - Celene
06. Wasama Quartet - Witchi Tai To

Pentti Hietanen – piano
Teppo Hauta-Aho – double bass

Acoustic Guitar – Ilkka Niemeläinen
Bass – Olli-Pekka Wasama
Drums, Percussion, Vocals – Jukka Wasama
Violin – Mikko-Ville Luolajan-Mikkola

Black vinyl limited to 300 copies. Includes two insert sheets, poster and a download card.

Live at Liisankatu Studios, Helsinki.
Live broadcast on Channel 2,
Wednesday, November 17th, 1976, 8 PM to 8.40 PM.
Produced by Yle.
Hosted by Jaakko Tahkolahti.

Oton Kvartetti, Wasama-Tuominen Trio - 2016 - Jazz Liisa Volume 7

Oton Kvartetti - Wasama-Tuominen Trio 
Jazz Liisa Volume 7

01. Oton Kvartetti - Lydian Feeling
02. Wasama-Tuominen Trio - Balladi 1
03. Wasama-Tuominen Trio - El Kabong

Oton Kvartetti
Double Bass – Jorma Koivulehto
Drums – Heikki Timonen
Electric Piano [Fender Rhodes] – Jukka Linkola
Violin – Otto-Tapio Nevanlinna

Wasama-Tuominen Trio
Double Bass – Olli-Pekka Wasama
Drums, Percussion – Jukka Wasama
Tenor Saxophone – Tapio Tuominen

Black vinyl limited to 300 copies. Includes two insert sheets, poster and a download card.

Live at Liisankatu Studios, Helsinki.
Live broadcast on Channel 2,
Wednesday, June 20th, 1973, 8 PM to 8.40 PM.
Produced by Yle.
Hosted by Matti Poijärvi.

Jukka Linkola Octet - 2016 - Jazz-Liisa Volume 6

Jukka Linkola Octet 
Jazz-Liisa Volume 6

01. Morning Song 6:13
02. Pieni Kansanlaulu 8:42
04. Dithyrambos I 5:48
05. Dithyrambos II 7:08
06. Dithyrambos III 8:45

Alto Saxophone – Pentti Lahti (tracks: A2, B1, B3)
Bass Clarinet – Pentti Lahti (tracks: A1)
Clarinet – Teemu Salminen (tracks: B2)
Double Bass – Ilkka Hanski (tracks: A1, A2, B1, B2)
Drums – Jukkis Uotila
Electric Bass – Ilkka Hanski (tracks: B3)
Electric Piano – Jukka Linkola (tracks: A1, B1, B2, B3)
Flugelhorn – Esko Heikkinen (tracks: A1, B2)
Flute – Pentti Lahti (tracks: B1, B2), Teemu Salminen (tracks: A1)
Percussion – Upi Sorvali
Piano – Jukka Linkola (tracks: A2, B2)
Soprano Saxophone – Teemu Salminen (tracks: A1, B1)
Tenor Saxophone – Teemu Salminen (tracks: A2, B2, B3)
Trombone – Tom Bildo
Trumpet – Esko Heikkinen (tracks: A1, A2, B1, B3)

Live at Liisankatu Studios, Helsinki.
Live Broadcast on Channel 2, Wednesday, May 11th, 1977, 8 pm to 8.40 pm.
Produced by YLE.
Hosted by Matti Konttinen.

Clear vinyl limited to 150 as part of a set. Includes two insert sheets, poster and a download card.

Jupu Group - 2016 - Jazz-Liisa Volume 5

Jupu Group
Jazz-Liisa Volume 5

01. Tasot 4:29
02. Ahmoo 10:48
03. Ennystymätön 7:15
04. Cybele 11:08
05. Lokki 7:39

Double Bass – Ilkka Hanski (tracks: A2, B1)
Drums, Percussion – Upi Sorvali
Electric Bass – Ilkka Hanski (tracks: A1, A3, B2)
Electric Guitar – Janne Louhivuori
Electric Piano – Jukka Linkola (tracks: A1, A3, B1, B2)
Flute – Sakari Kukko (tracks: A2, B1)
Organ – Jukka Linkola (tracks: A2)
Piano – Jukka Linkola (tracks: A2)
Soprano Saxophone – Sakari Kukko (tracks: A1, A3, B1, B2)
Talking Drum – Sakari Kukko (tracks: A2)
Violin – Juhani Poutanen
Whistle – Upi Sorvali (tracks: B1)

Live at Liisankatu Studios, Helsinki.
Live Broadcast on Channel 2, Wednesday, October 2nd, 1974, 8 pm to 8.40 pm.
Produced by YLE.
Hosted by Matti Poijärvi.

Black vinyl limited to 300. Includes two insert sheets, poster and a download card.

KOM Quartet - 2016 - Jazz Liisa Volume 4

KOM Quartet 
Jazz Liisa Volume 4

01. Spoken Introduction
02. Varo Niitä
03. Lapsi / Kalevi
04. Mitä Sinä Sanotkaan
05. Interviewed
06. Älä Tuhlaa Aikaa

Bass – Tapani Tamminen
Drums – Ari Valtonen
Electric Guitar – Jukka Hauru
Piano, Electric Piano – Eero Ojanen
Vocals, Percussion – Pertti Melasniemi
Vocals, Violin – Eija Orpana

Recorded live at Liisankatu Studios, Helsinki.
Live broadcast on Channel 2, Wednesday April 23rd, 1975, 8 PM to 8.40 PM
Produced by Yle

Jukka Tolonen Ramblin' Jazz Band - 2016 - Jazz-Liisa Volume 3

Jukka Tolonen Ramblin' Jazz Band
Jazz-Liisa Volume 3

01. A Warm Trip With Taija 17:19
02. Ramblin' 21:50

Acoustic Guitar, Electric Guitar – Jukka Tolonen
Drums, Percussion – Reino «Reiska» Laine, Ronnie Österberg
Electric Bass – Heikki «Häkä» Virtanen
Flute, Alto Saxophone, Soprano Saxophone – Pekka Pöyry
Trumpet – Mike Koskinen
Violin, Electric Bass – Pekka Pohjola

Recorded live at Liisankatu Studios, Helsinki.
Live broadcast on Channel 2, Tuesday April 4th, 1973, 7.15 PM to 8 PM

Jazz-Liisa Volume 2

01. On Tämäkki Sano... 10:24
02. Totem Dance 14:08
03. Lisa 15:15

Recorded At – Liisankadun Studio

Congas, Percussion – Tapani «Nappi» Ikonen
Drums – Upi Sorvali
Electric Bass – Make Lievonen
Electric Guitar – Pekka Rechardt
Flute – Matti Jakola
Piano, Electric Piano [Fender Rhodes] – Olli Ahvenlahti

Recorded live at Liisankatu Studios, Helsinki.
Live broadcast on Channel 2, Wednesday November 21st, 1973, 8 PM to 8.40 PM
Produced by Yle

Unisono Quartet - 2016 - Jazz-Liisa Volume 1

Unisono Quartet 
Jazz-Liisa Volume 1

01. Long Tandem 10:13
02. Specially For 10:01
03. Totuuden Aarreaitta - Treasures Of The Truth 11:38
04. Incarnation 10:12

Recorded At – Liisankadun Studio

Drums – Reino «Reiska» Laine
Electric Bass – Make Lievonen
Piano, Electric Piano [Fender Rhodes] – Olli Ahvenlahti
Soprano Saxophone, Alto Saxophone, Baritone Saxophone, Flute – Paroni Paakkunainen

Limited-to-200 clear vinyl with poster. Also includes an insert and a download code.

Recorded live at Liisankatu Studios, Helsinki.
Live broadcast on Channel 2, Wednesday September 26th, 1973, 8 PM to 8.40 PM
Produced by Yle

A Finnish rockjazz band from the 1970s. Unisono was founded in 1973 by top Finnish jazz musicians: Seppo "Paroni" Paakkunainen, Mike Koskinen, Olli Ahvenlahti, Hasse Walli, Make Lievonen and Reiska Laine. This lineup existed only for a while and when Unisono went to record their first and only album in May 1975, the lineup was Paakkunainen, Ahvenlahti, Laine, Nono Söderberg and Pekka Pohjola.

Unisono was disbanded in August 1975 when Paakkunainen moved to USA to study in the Berklee School of Music

Nimbus - 2016 - Pop-Liisa Volume 8

Pop-Liisa Volume 8

01. Ode To Eagle
02. Pessimistinen Dialogi
03. Aamumaa
04. Heretic Fool
05. Myrskyjen Välillä
06. Feathered Friends

- Pasi Saarelma  vocals
- Pekka Rautio  organ
- Harri Suilamo  electric guitar
- Juha Jokiranta  bass
- Matti Jokiranta  drums

Releases information
Svart Records SRE011
On black and limited (200) red vinyl with poster
Includes mp3 download codes

Recorded live at Liisankatu studios, Helsinki.
Broadcasted on Channel 2, wednesday 16th Jan 1974.
Produced by Yle, hosted by Erkki Unde Lehtola.

Nimbus - 1974 - Obus


01. Ennustus (7:04)
02. Jalkisaados (4:04)
03. Muutos (5:06)
04. Epilogi (3:52)
05. Pessimistinen dialogi (6:50)
06. Yksinainen purjehtija (6:13)

- Harri Suilamo / guitars
- Pekka Rautio / keyboards
- Pasi Saarelma / vocals
- Juha-Pekka Jokiranta / bass
- Matti Jokiranta / drums

Nimbus, originally called Mafia, caught the interest of TASAVALLAN PRESIDENTTI bassist and Love Records producer Måns Groundstroem in 1972, and they made a 10-hour studio session in March 1973, but the session more or less failed. Later Love Records had no time for this minor band from Salo. Demos were succesfully sent to the small, non-prog-oriented label Satsanga Records (the one that later released also HAIKARA's controversial Iso Lintu album). The Finnish-language album Obus was recorded in just three days - and had no much marketing.
Nimbus' music is pure vintage-sounding Finnish prog/psychedelia of the early seventies, though surely not in the high level of TP or Wigwam, and featuring less of jazziness or eclectism. The circumstances weren't very favourable, and despite some warm reception among critics and especially the home area, Nimbus were destined to stay in the margin and to wither away within two years. I believe with the support of Love Records they would have reached much further.

'Ennustus' (= Omen) is a deeply atmospheric and psychedelic song with speech-approaching vocals. On this and some other tracks the keyboard player Pekka Rautio's brother Matti adds his violin to a great effect. The complex melodies and time signatures are even more fascinating in the next song. The band's warm sound with plenty of organ and electric guitar is really nice, and the vocals of Pasi Saarelma are pleasant, comparable to the sentimental vocals of British SPRING (or a cross between Finnish singers Kirka and Petri Pettersson).

Unfortunately the album is only about 33 minutes, and the six songs are quite similar on the long run. They all sound pretty good, but the song-writing - which lacks strong melodies and really memorable highlights - starts to lose its power during the album. The composer is the guitarist Harri Suilamo except for the final song 'Yksinäinen purjehtija' (= Solitary yachtsman) which is written by Pekka Rautio. It's perhaps slightly brighter and livelier in mood.