OLD WAYS, NEW WAYS

This is the fourth album by Finnish keyboardist and composer Juha Kujanpää whose musical style mixes jazz/fusion with folk ingredients. We're dealing with instrumental music comparable to PEKKA POHJOLA, so in my opinion the Jazz- Rock/Fusion category would be more adequate. And like it is with so many of his countrymen, Kujanpää's music has always had a recognizible Finnishness -- which of course is difficult to put in words. I haven't listened to the previous album Niin Kauas Kuin Siivet Kantaa (2017), but it looks like Kujanpää has become more and more confident as a composer, arranger and bandleader. The overall mood is fairly relaxed and peaceful, but without sacrificing the organic sonic richness and dynamics in the compositions.

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).