The one word that best
describes Mika Pohjola’s debut as a leader is “original.”
The melodic strength of Pohjola’s material suggests
sources in the traditional music of Finland, where he was
born, and Sweden, where he first studied jazz with a
Spanish instructor. “I’m not interested in
writing variations on the folkloric material,” Mika
insists, “but I like the idea of a general folk
audience. So I write my own folk material.”
Pohjola’s strength is his ability to
make something new of these influences and concepts.
The empathy of the trio — plus guest guitarist Mick
Goodrick on six tracks (including the three different
sightings of “The Bear” that serve as strategically
placed interludes) — reinforces the unity of the
compositions.
Pohjola, as a pianist, is a master of
tension and release, bassist Bruno Råberg (Full Circle,
Orange Then Blue) complements and swings, drummer Robert
Dani (Enrico Rava, Devil Doll) delivers both power and
delicacy, and guitarist Goodrick is his unpredictably
delightful self, whether burning, rambling or singing
lyrically.
Original music, unique concepts,
extraordinary playing — it all adds up to one of the
most persuasive debut albums in recent memory.
The one word that best
describes Mika Pohjola’s debut as a leader is “original.”
The melodic strength of Pohjola’s material suggests
sources in the traditional music of Finland, where he was
born, and Sweden, where he first studied jazz with a
Spanish instructor. “I’m not interested in
writing variations on the folkloric material,” Mika
insists, “but I like the idea of a general folk
audience. So I write my own folk material.”