VIEWS

And this one then, the second (but the first collaborator's) review for the final PEKKA POHJOLA studio album. A taste of ignorance, compared to the large number of the early PP albums. Views was not a "band album" in the way the preceding Pewit was, instead the recordings were made in a half year's timespan with hardly the musicians of even each individual piece present in the studio at the same time. This boundary-free approach was the manager Tapio Korjus's idea. By the way, the long guest list includes Pekka's sons Ilmari on trombone and Verneri on trumpet. The three leaflet paintings are again by his dear Rita.

7-minute 'Waves' is beautifully serene, classically oriented, moody and Finnish-sounding opener featuring e.g. Laura Hynninen's harp, cello and Tapani Rinne's soprano sax. Very peaceful all the way compared to many Pohjola classics, and for that exact reason a nice addition to his catalogue. 'The Red Porche' originally written in 1993 for a stage play on Charles Bukowski, is exceptionally a funky, good humoured SONG with lyrics (vocals by Sami Saari, Kim Lönnholm and Pemo Ojala). My darling said it reminded her of the Ghostbusters song! There's also the certain FRANK ZAPPA-like wit in this well done performance. You gotta like it if you firstly accept such unexpectable move from Pekka Pohjola.

'Metropolitan' (14:05) is an elegant, many-coloured composition with elements reminding of American (Las Vegas style) entertainment music. There are strings, horns, reeds and a pretty unspectacular synth backing, but placed in an elegant manner along the way, ie. not building too massive sound layers. Not among the finest or the most original music he ever wrote, but very pleasant.

The title track (7:34) is also rather mellow; the sound is very fresh and suitably light. It is notably less adventurous or crescendo-like than several Pohjola classics, but enjoyable. You don't always need such virtuosity or dynamics! The final track 'Us' (11:32) ought to have some more power in order to save the album from being too toothless. Yes, especially the brass brings some spine, and the distinctive bass in the middle is an unmistakable Pekka Pohjola moment. Again, not necessarily among the greatest Pohjola compositions ever, but very good and easy to enjoy. This concerns the whole album that indeed has a wide scattering of ratings. It leaves me with a positive feeling, hence four stars.

Jazz-Rock Fusion legend Pekka Pohjola's final contribution to humankind finds the genius going back to his truth, to his soul. Though this is mostly jazz-rock fusion, there is a lot of jazz and smooth jazz-pop here as well.

1. 'Waves" (6:56) gorgeous soprano sax in the lead over piano and orchestra. (14/15)

2. "The Red Porsche" (5:00) funk-jazz from the 1980s--clearly inspired by the Ghostbusters soundtrack. (8.5/10)

3. "Metropolitan" (14:05) opening very much like an AFTER CRYING classically-influenced piece, piano and Pekka's bass take over the second and third minutes--though jazz horns play a very strong role as well. I'm reminded of several 1970s television and film soundtracks as I listen to this. At the five minute mark a kind of "Birdland" bass and layered horns take the lead. These horn arrangements are pretty cool--very sophisticated. Strings are also nice. The old- fashioned big band feel only gets stronger as the piano takes the lead soloist position. At 11:20 things return to the AFTER CRYING orchestral motif of the opening. (26/30) 4. "Views" (7:34) pretty and well composed but a little too saccharine/syrupy for me--more "jazz lite" than progressive rock or even Jazz-Rock Fusion. (12.75/15)

5. "Us" (11:32) easily the most unique, refreshing, and nonderivative song on the album (which is GOOD), I can definitely hear some of the idiosyncratic tastes for melody and rhythm that seems common to all Finns in this excellent song. By the time we're deep into the fifth minute I'm feeling a very strong PAT METHENY GROUP vibe. This is really awesome! Fun and upbeat and makes me want to dance! Then at the 6:00 mark all but piano and occasional space synth flourish support an excellent jazz bass solo. Things amp up for a little bridge just before the eight-minute mark before we get another shift--a downshift into. This is such a delightful song! Though the congealment of the final ninety seconds again brings me back to 1970s film scores (think Arthur or St. Elmo's Fire), it's still wonderful to hear. (19.75/20)

Total Time: 45:37

A-/4.5 stars; a near-masterpiece of jazz-rock fusion from one of the old masters!