EMMI KAROLIINA UIMONEN

Vocal Jazz / Fusion • Finland
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Emmi Karoliina Uimonen is a pianist, composer and singer, who works on jazz and modern classical music. She leads 2018 founded jazz ensemble Emmi U. Quintet, that will release their debut album later in 2019. She graduated as barchelor of music from Sibelius Academy global music program and now continues her master studies.

from http://jazzfinland.fi
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EMMI KAROLIINA UIMONEN Emmi U. Quintet : My Bird album cover 4.00 | 1 ratings
Emmi U. Quintet : My Bird
Fusion 2019
EMMI KAROLIINA UIMONEN Emmi U. Trio : Junassa album cover 3.50 | 1 ratings
Emmi U. Trio : Junassa
Vocal Jazz 2023

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EMMI KAROLIINA UIMONEN Reviews

EMMI KAROLIINA UIMONEN Emmi U. Trio : Junassa

Album · 2023 · Vocal Jazz
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Matti P
Junassa (=In a train) is the second album of Emmi Uimonen, relatively young Finnish jazz pianist and composer. Her debut My Bird (2019) was a quintet work for piano, violin, alto sax, bass and drums, I haven't listened to it. This time she also sings and is accompanied by double bassist Juuso Rinta and drummer Ville Luukkonen. Tenor saxophonist Adele Sauros guests on two tracks.

In addition to her seven own compositions Emmi has written new lyrics to the moody Finnish traditional melody (known as 'On suuri sun rantasi autius'), that's the 2nd track here. The opening title track is a fine example of Emmi's songwriting. The airy jazz groove meets a slightly Joni Mitchell reminding melodic song substance. The trio plays so well together that the music would function instrumentally, too. That said, I do like her voice, it feels natural and effortless and also bends into wordless, scat-like expression.

'Kysyt miksi' (=You ask why) has a lot of poignant questioning about the uncertain future of mankind, including the environmental worries. Her lyrics in general are thoughtful, but the music never feels like a mere background for vocals. Piano stays fairly equal in the trio, not leaving the excellent rhythm section in its shadow. Luukkonen uses his sticks in a colourful way.

Several pieces have instrumental sections but the compositional structures don't wander into highly surprising directions. The sax on tracks 6 and 8 naturally adds some sonic variety. Nevertheless, despite all my praises above, in the end this solid album doesn't manage to really impress me in the emotional level, and a slight feeling of evenness sets in. This may however change with repeated listenings as the songs become more distinctive from each other.

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