JUHA KUJANPAA

My closest comparison would be a modernized take on the master Swedes of instrumental folk rock in the 1970s, KEBNEKAJSE, with more intermingled jazz. It's all very listenable and mildly challenging, the best being the opening title cut, evoking photogenic pastoral low angled solar landscapes, and vibrant ones at that. I also enjoy the allusions to cultures just over the sea to the south, specifically Poland, on two tracks, and the more geographically proximal "Suomenmaa", translating as Finnish samba", where the intriguing jazzy aspects attain their peaks. It's only in the last 4 numbers that Juha seems to accept the ordinary; these pieces are baseline intriguing but they substitute ambience for verve and don't play to the strengths of this "big band".

At its best, this is superb genre-busting ethnic music, and, at its worst, it's still accomplished if unexciting. I'm going to lift it by its tales, up to 4 star status.

Most of the eight pieces on this album are a pleasure to listen to. Well, I tell you right away that I personally dislike the second track 'Trekators' just because of my general disliking for Balkan-flavoured music. To other listeners it naturally may work positively as a deviation from the whole. The album-opening title track features notable participations of kantele and wordless female vocalisation in addition to the excellent fusion ensemble. Also Verneri Pohjola on trumpet and Joakim Berghäll on saxophone are central on this peaceful and melodic track. In the very beautiful and serene 'Sepia' the harmonic voices are essential again, together with the piano.

Although not necessarily among my personal favourites, the 8-minute 'Morning Star' has pretty many-sided and dynamic arrangement, trumpet having the biggest solistic role. In the beginning of 'Gates of Heaven' guitar and and sax are having a hurriless dialogue while the composition in its impressive progression can indeed be compared to Pekka Pohjola. 'Matroskin' is one of the most charming tracks for its sonic brightness, the wordless vocals and the closing piano solo. 'In the Country' is a good example of the Finnish nature in Kujanpää's music, even more so as it features accordion. Moody 'Glow' ends the album in a serene and elegant way.

This album is warmly recommended to everyone with an interest on Finnish fusion and an appreciation for melodic sensitivity over restless edginess, especially if you wish to find something in the vein of Pekka Pohjola's later period and are not put off by the use of human voice -- ie. "humming" -- as an instrument (which some fusion listeners might find a bit cheesy).

Instrumental music with a pastoral feel. A mixture of (medieval) folk, world, prog, jazz, fusion and classical music. All instruments are analog and/or acoustic, and the production is crystal clear. There's a rockband somewhere in the music but only to accompany the rest of the music.

This music makes you want to dance in joy and walk or ride your bicycle in nature. When listening to this music all the problems in the world cease to exist.

There's so much joy and happiness in the music without making it sound cheesy. Anther bands that have that same approach is Wintergatan from Sweden (but they use more synths), although it can be played in a playlist together.

Finnish progressive folkmusic has always been a favourite 'genre' of me, and this artist and this album only establishes that love.

Highly recommended to people who like joyful and playful music. Not recommended to people who like doomy, gloomy stuff.

This is his debut composed during 2011-2012 and recorded in March 2012. Already by looking at the list of musicians and their instruments one knows to expect something special. The rock-based quartet (that uses also harmonium and mandolin) is accompanied by three violins and a viola, plus guest appearances of e.g. cello, flute, saxophone, clarinet and other wind instruments.

The first two tracks start in a very folkish way with violins, but pretty soon the 'rock' instruments join. There are two pretty good references in the Finnish prog history: PEKKA POHJOLA, especially the early output, and the orchestral popular music of ANSSI TIKANMÄKI (he's not in PA). To some lesser extent also PIIRPAUKE could be mentioned, but Kujanpää is not as Ethnically oriented. As a composer Kujanpää operates more or less in these directions without sounding too much of either of them. All musicians here are great, but it's the excellent electric guitar work of Timo Kämäräinen (generally seen as one of the best Finnish guitarist today) that often gets the attention in solistic moments. Overall the arrangements are very verstile and the music floats with joyful ease. For example 'Suomenmaa' is gorgeous. Peaceful 'Hääpolska' ('Wedding Polska') and the humorous 'Arkipäivän ylistys' ('Ode to Everyday') are among the folkiest ones. The latter features the accordion of Teija Niku.

This highly original music will surely win lots of friends among the international prog community. If the listener enjoys both fusion and the Ethnic folk elements, Juha Kujanpää is a name worth checking out!

There are many artists out there that explore various incarnations of vintage era progressive rock. While Kujanpaa most likely is a part of such a context, he does this in his own manner, blending elements from Scandinavian folk music in an elegant and effective manner, creating music with a dream-laden spirit that also maintains depth and enough details to please most with a taste for music of this kind. I'd suggest that those who tend to enjoy artists such as Camel should have a taste of this album, especially if they also tend to be fascinated by folk music in general and Scandinavian folk music in particular.