HARPO JARVI

While still working on their next album, Harpo Jarvi decided to take a sidestep for some fun and have produced this EP which contains two instrumental tracks called "Big Bangus" and "Baby Bangus", and no prizes whatsoever for thinking that one may be somewhat longer than the other. Although we still have Nick Johnson (bass, guitar, synth) and Jim Miles (piano, Fender Rhodes, Hammond organ, synth), I notice drummer Dan Ilges is no longer involved and his place has been taken by Ernesto Doural. When I reviewed 'Babuska Noir' I said they reminded me very much of Egg and Hatfield & The North, but now they have taken their music in a different direction, inspired by the sounds of vaporwave. They've tried to take those sounds, drawing from trip-hop, downtempo, lounge, RnB, and smooth jazz, and repackage them up into two psych-prog numbers.

One thing I noticed when playing this is that they have been influenced by genres I generally never listen to, yet somehow, they have brought all these together into something which is immensely listenable to and enjoyable from the first play. "Big Bangus" may be some 12 minutes long, but it never overstays its welcome, creating a world which draws the listener in. The rhythm section provides the foundation, but it is the synths and piano which are very much the melodic leads, and although there are some noticeable dance elements contained it never pulls too far away from the soft jazz/prog/psychedelic mix which works very well indeed. The bass provides the warmth which removes some of the sterility, and they have managed to provide a sound which is totally encompassing without being stifling at all, with just a hint of freshness which allows the music to breathe. I am not sure how indicative this release is going to be of their next album, and it is going to be intriguing to see where they go from here.

As any musician will tell you, it is always difficult to get the publicity required to turn their passion into more than just a hobby, and even more so when it comes to playing music in a genre still generally disregarded by the mass media. Then, if their band is unable to be noticed by the "right" people they cannot even get noticed within that community, which brings us to Harpo Jarvi. I loved their 2021 album, 'Abuelo Blanc', but on ProgArchives it has been reviewed by just two people (I am one of them), and here I am getting to their third more than six months since it was released and no-one else has written about it at all. That has nothing to do whatsoever with the music on offer from this St. Louis, Missouri, based trio but more about there being just so much music out there that at times gems like this fall by the wayside, so let's see if I can encourage anyone to investigate this offering (available through Bandcamp).

The trio are still Dan Ilges (drums), Nick Johnson (bass, guitar, synth) and Jim Miles (vocals, Fender Rhodes, Hammond B3 organ, synth, alto sax, flute), although this time they have also brought in a guest saxophonist in Dan Johnson who plays on one song. They are not a traditional progressive band (surely that is a dichotomy in itself) but bring in influences instead from wherever they wish, so while there are Eastern influences on "Breeders" there is also dance, and electronic, jazz, rock, fusion and so much more. However, all these styles are blended in such a way they make total sense and instead of being at odds with each other, instead they are allowing each element to shine even brighter due to the contrast being provided, while there is also distinct layering, so everything is clear, distinct, and never muddied. As I said last time, all three are wonderful musicians, all playing roles which keep the arrangements balanced and allows everyone the space they need to shine without ever allowing the light to shine on them too brightly as individuals. This is complex yet balanced music, which is inviting, allowing the listener to easily enter their world and when inside discover there is even more to uncover than they initially realised. It is the offset of each of the instruments as they allow the main melodies to be developed which really are at the heart of this. In many ways this feels very English, as there is no doubt, they have been paying close attention to the likes of Egg and Hatfield & The North, as they also bring in psychedelic elements to their jazzy fusion progressive style. The use of particular keyboard sounds does evoke feelings of the Seventies, but with a fresh and modern approach, the end result being yet another wonderful album from an underground prog band who are clearly deserving of far greater attention.

Although I am fully aware that this St. Louis-based trio have just released their third album, I am miles behind on my listening so am only just catching up on the second, which was released in 2021. They comprise Dan Ilges (drums), Nick Johnson (bass, guitar, synth) and Jim Miles (vocals, Fender Rhodes, Hammond B3 organ, synth, alto sax, flute) and is apparently quite a step change from the debut which was instrumental as this is mostly songs with vocals (although there are also lengthy instrumental passages). On PA, reviewer Matti bemoans the fact that his was the only review to date and given that was published at the end of last year and mine is the next, I definitely concur.

Trios are a musical entity where there is never any room to hide, and all three of these guys are incredible musicians, and more importantly they all play equally relevant roles so not only is this wonderfully complex and inviting music, but it is incredibly balanced. When focussing on the vocals one realises it is the keyboards which are driving them, but the bass is providing intricate counter melodies which offset them, while the drums are true percussion where the drummer is a real musician as opposed to "just" a timekeeper, and keeps pushing everything along as he provides a fluid foundation. Although there is a great deal going on in an album which is touching multiple bases within the prog scene, for some reason it never feels too involved and even with space at a premium it never becomes too much.

The use of Hammond B3 and Fender Rhodes gives the music something of a jazz fusion vibe, as does some of the arrangements, but there are also some psychedelic elements and some serious nods to the likes of Hatfield & The North. The music does sound dated due mostly to the keyboard choices, but there is nothing wrong with that, and the result is an album which is easy to listen to the first time of playing yet there is real depth which only becomes apparent with repeated plays. This is most certainly a prog band who are worthy of far greater attention.

"There once was a band / Jim, Nick, and Dan / They liked to groove / They liked to jam" - The group's bandcamp page.

I'm surprised by the low reviewing & rating activity for this relatively new band from St. Louis. I was kindly asked to review their second album, and I feel both perplexed and privileged to be the only reviewer this far. Even though I have somewhat ambivalent feelings for this album, I certainly think this highly talented band would deserve more recognition in our prog site. Haven't heard their 2019 debut album, but judged by this one I'd rather put them under Eclectic Prog or even RIO/Avant-Prog than Psychedelic/Space Rock.

Abuelo Blanc (equally odd title as the band name; I wonder where Jarvi comes from, as 'Järvi' is lake in Finnish) contains five tracks between 5 and 11½ minutes in length. 'Forest Mom, Part I' immediately convinces the prog listener by its flexible and eclectic musical nature. The trio really grooves. Dan Ilges is a fantastic drummer with a superb complexity in his versatile playing, Nick Johnson shines especially on bass, and Jim Miles plays his Fender Rhodes, Hammond B3 and synthesizers in a colourful way. The elements of fusion, pop and eclectic prog mingle merrily and dynamically. Jim's vocals in this opening song are OK.

'Funk Hell' is built on a meaty funk groove. Sad to say that Jim's singing gets very strained, heavy and honestly rather ugly to my ears. The otherwise interesting piece is in my opinion ruined by the aggressivity towards the end. But then comes the album's highlight, the instrumental with a Canterbury-like playful title: 'Aspartame as Part a' Me'. The tempo is slightly more relaxed than on the album in general which only makes the 8-minute piece more enjoyable. This music is both modern and timeless as it flirts with the classic Canterbury prog, bands such as Hatfield & The North or National Health. Also 'Hellgrammite' contains cool fusion elements and amazing playing, but -- unfortunately, from my point of view -- the going gets too heavy and restless, and the vocals again get nasty.

'Goodnight, Margaret' (9:22) is aptly more nocturnal in atmosphere, without being sleepy or serene at all. Thick layers of synths are dominating, sonically I sense some resemblance with the 80's new wave (Simple Minds, Thomas Dolby). The restrained low key singing suits well to the dark-toned mood.

For all that's great in this energetic and risk-taking music I'm rating this four encouraging stars, despite the fact that there are moments I dislike it.

HARPO JARVI are Nick Johnson (bass, keys, guitar), Jim Miles (keys, flute), and Dan Ilges (drums), coming from St. Louis, Missouri. What makes this album to a special exemplar? Yet being their debut apparently, this is showing many faces music-wise. 'Toe Zone' consists of five instrumental songs, offering compositional skills and jamming attitude as well. Charming melodies and flute contributions are given, while they are operating rather relaxed throughout. A very strong rhythm work is striking on the other hand, no contradiction here. A special note is indicated concerning Nick Johnson's impressing bass playing. This makes my day especially. A funky slap style appears again and again, or let's take the deep space bass on Smokey The Bear, my current favourite.

Something extraordinary, I mean they are brilliantly mixing jazz attitude with space rock ambiance. A real masterpiece. In combination with the following dramatic Drums In The Deep this builds the album's central axis. Physically, though regarding inspiration in the same way, I'd say. And they couldn't find a better track title anyway. Rose Of Jericho moreover appeals due to a prosperous synthesizer and guitar interaction. Big Oil makes use of a more funky flow, where the longest and closing tune Evelyn appears with a strong lounge feeling. Altogether it leads into the conclusion that this HARPO JARVI dudes have delivered a standout progressive rock album in 2019.