siLLy puPPy

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139 reviews/ratings
KING CRIMSON - In The Court Of The Crimson King Jazz Related Rock | review permalink
GUNESH - Вижу Землю (I See The Earth) World Fusion | review permalink
AREA - Arbeit Macht Frei (Il Lavoro Rende Liberi) Jazz Related Rock | review permalink
MILES DAVIS - Bitches Brew Classic Fusion | review permalink
SLY AND THE FAMILY STONE - Life (aka M'Lady) Funk | review permalink
AREA - Caution Radiation Area Jazz Related Rock | review permalink
WEIDORJE - Weidorje Jazz Related Rock | review permalink
FISHBONE - Fishbone Jazz Related Rock | review permalink
NATIONAL HEALTH - Of Queues and Cures Jazz Related Rock | review permalink
NATIONAL HEALTH - National Health Jazz Related Rock | review permalink
ALICE COLTRANE - Ptah, the El Daoud Avant-Garde Jazz | review permalink
DIXIE DREGS - What If Classic Fusion | review permalink
CHARLES MINGUS - The Black Saint and the Sinner Lady Post Bop | review permalink
SUN RA - Space Is the Place Progressive Big Band | review permalink
HIROMI - Hiromi's Sonicbloom ‎: Time Control Classic Fusion | review permalink
MAGMA - Magma (aka Kobaïa) Jazz Related Rock | review permalink
YES - The Yes Album Jazz Related Rock | review permalink
SOFT MACHINE - The Soft Machine Jazz Related Rock | review permalink
SOFT MACHINE - Volume Two Jazz Related Rock | review permalink
FISHBONE - The Reality of My Surroundings Jazz Related Rock | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Jazz Related Rock 70 4.31
2 Classic Fusion 10 4.05
3 (Post-70s) Eclectic Fusion 9 3.72
4 World Fusion 9 3.94
5 Jazz Related RnB 4 3.13
6 Jazz Related Improv/Composition 3 4.67
7 Hard Bop 3 3.83
8 Post Bop 3 4.83
9 Latin Rock/Soul 2 4.25
10 Nu Jazz 2 4.00
11 Pop Jazz/Crossover 2 3.50
12 DJ/Electronica Jazz 2 4.00
13 Funk 2 4.25
14 Big Band 2 4.00
15 Bop 2 3.75
16 Bossa Nova 1 3.50
17 Cool Jazz 1 5.00
18 Boogie Woogie Piano 1 5.00
19 Acid Jazz 1 3.50
20 Avant-Garde Jazz 1 5.00
21 Gospel Jazz 1 4.00
22 Exotica 1 4.50
23 Jazz Related Blues 1 3.00
24 Jazz Soundtracks 1 4.00
25 Latin Jazz 1 4.00
26 Progressive Big Band 1 5.00
27 Ragtime 1 3.50
28 Third Stream 1 4.00
29 Vocal Jazz 1 3.50

Latest Albums Reviews


Album · 1987 · Jazz Related RnB
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MADHOUSE was a pseudonym of the late great purple funk master Prince who was much more famous for dominating the pop charts and cranking out one R & B hit after another in the 80s and 90s. However it is little known is that all throughout the 80s, the purple one was quite interested in releasing an all instrumental jazz-funk album that resulted from extra tracks that were created from countless other recording sessions. Originally intended to be released as a band named The Flesh with an eponymous album title, the idea was scrapped and it was modified to MADHOUSE. Two albums were released. The first one titled 8 and the second 16. While the second album was more of a band effort with contributions from Sheila E, Matt Fink and Levi Seacer Jr, on 8 it was basically a one man show with PRINCE handling all instrument duties except for the sax and flute parts which were covered by Eric Leeds. There are 8 tracks and each one is simply titled 1, 2, 3 etc.

8 is somewhat of a mellow lounge lizard mid tempo affair and never really rocks out. Think Weather Report and you’re getting close. The music generally consists of a steady drum beat with the jazzified rolls accenting cadences accompanied by a thick atmospheric synthesized sound swooping around in the background. PRINCE shows off his funk chops with sinewy bass riffs and masterful piano playing techniques. While the music flows freely and doesn’t get into the complexities of highly adventurous jazz-fusion bands such as Return To Forever, there are little outbursts of syncopation and familiar jazzy riffs with the funk features never far from the dominating flow of things. Although this was a PRINCE dominated album, this was a band in a live setting and they actually opened up for PRINCE himself and donned Godfather type costumes that added a gansta imagery to their persona.

I’m amazed at how i’ve missed this one in the past being somewhat buried under the bulk of the gazillion albums PRINCE released during his truncated life. This one offers a a glimpse into the purple one’s deeper musical appreciation into more progressive arenas with jazz dominating his R & B soundscapes. However well done MADHOUSE 8 is, it still lacks a certain distinguishing originality and merely proves PRINCE was capable of musical styles beyond the funky pop hits he was churning out in the 80s. The emphasis is more on the pop side than the jazz despite those elements popping up in impressive outbursts from time to time. After all is said and done i would prefer if there were more upbeat tracks and that really let it all loose. Everything on 8 seems a little reserved and a tad too easy listening oriented for its own good and could easily be tagged with the oft loathed “smooth jazz” tag. Still though, MADHOUSE 8 is a decent listen that all PRINCE fans should acquaint themselves with.


Album · 2012 · Jazz Related Rock
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VYACHESLAV POTAPOV or simply shortened to VP is a one man show from Almaty, Kazakhstan who released a series of albums in the 2000s in his own DIY fashion. WATER WORLD is his sixth release and what a major improvement in terms of both production and compositional finesse. When i say one man show i really mean that. Not only does VP construct all the tracks in his own eccentric style but plays all the instruments. One will hear guitar, bass, piano, drums and other percussion and many forms of sampling. Not only is VP gifted as a musician but is also responsible for his own cover art and this one depicting three green children on lily pads and intricate detail of waterfalls is not only a beautiful vision of the fantasy in the true progressive rock spirit. With WATER WORLD, everything came together and VP not only caught the attention of the prog world for his exquisite compositional and production skills but has been solicited by other artists for album artwork as well. While WATER WORLD is the sixth release of VP, it is the first to be issued on a physical format. The digital album was released in 2012 but the physical copy albeit lagging behind its initial release is finally seeing the light of day in the tender year of 2017.

Despite being a totally instrumental album, WATER WORLD is actually a concept album about two different civilizations on a planet in some far away place. They are known as the Krokuts and the Hunty. While it is impossible to comprehend the story through a mere listening of this sophisticated and dizzying complex music, VP has given me the green light to give his little story behind each track that hopefully will translate the music ideas into the heads of those who aren't music nerds! WATER WORLD is quite the eclectic mix of sounds and honestly is totally unique as i can't think of anything else i've ever heard that is an equivalent. Musically this one is all over the map with jazzy fusionist tendencies that also incorporate symphonic touches, ethnic influences, tribal drumming and absolutely bizarre transitions as one style tends to overlap with others and sometimes change things up quickly. This is music for musicians as the time signatures are so bouncy and ever changing that its practically impossible to predict where any given musical meandering will lead. Overall there is a strong jazz-fusion component in how the tracks are constructed with everything from Weather Report airy passages playing out to more erratic Return To Forever type of craziness but instrumentally speaking this is more of a rock / electronic hybrid with guitar and bass shining through in times of heaviness but ambient and ethereal atmospheres also permeating throughout.

I could have NEVER figured out the storyline by the music alone. It's far too nebulous and only with the tutelage of VP could i ever hope to assemble a sense of meaning to each track. To make this easy i have listed each track with the thematic explanation of VP in his own words. His English is very poor and i left his Google translations intact as not to corrupt the meanings. I explain a bit of the music afterwards.


FIRST track "Intro (Unusual Island)"

ship was off course and got lost in a thick fog. In the morning when the fog, the sailors saw a miracle-island. In the center of this island stood a giant size lot of trees woven together and resembled a huge castle.

Musically: starts out as ocean sounds. Waves churning, seagulls with a simple piano line providing the musical setup and ends with a crazy guitar entering at the last second and fading out


SECOND track "Vegetational Town - a: Great & Magnificient"

landed and began to explore unknown lands. All the flora and fauna differed from what they knew before.

Musically: begins the complex time signatures and changes in tempo with a frog croaking in the background. A funky bass line picks up a rhythm and then all prog hell breaks loose with mellotrons providing atmosphere, a jazzy rock with avant-prog touches. The music meanders into very complex arenas. I hear some Steve Howe inspired guitar licks, Zappa-esque jazz-fusion and even Chic Corea style keyboard runs and ultimately ends with crickets chirping in the background.


THIRD track "Vegetational Town - b: Stem"

the study, the sailors met a miracle of nature - the tree, the stems of which gave off a glowing liquid that flowed on the ground and freezing was a very beautiful crystals. People have greed began to fill the backpacks and pockets of this strange breed. They do not know that for the local inhabitants it was the sacred tree, and exuding a fluid sacred tears of the gods.

Vegetational Town - including: Invasion of the Field Mice Night, when the sailors took a break. During a night's sleep, they are attacked by hordes of rodents. So people know that the island is not only beautiful but also dangerous.

Musically: begins with an ambient swirling effect of synthesizers in the background and then a jazzy interaction between the guitar and bass. Sounds somewhat like a psychedelic Return To Forever type of sound. The track continues mostly in jazz-fusion mode but picks up tempo with more rockin' percussion and bass.


FOURTH track "Night Revelation Of Antackena"

about the uninvited aliens, the tribe Khunts turned for advice to his sorcerer Antakhena. Night Adelroth did the ceremony and learned that the aliens had defiled gods currently taking tears of the gods. He got really pissed. It gave people the rodents to scatter them around the island.

Musically: Tribal drums in frenetic speeds are joined by a much slower bass line but picks up fairly quickly and jumps into a frenetic jazz-fusion riff of the guitar with heavy bass and percussion staying chilled out in comparison. It picks up steam at midpoint


FIFTH track "Geyser"

the same time. Race Krokus also held a ceremony. In their bogs were sacred geyser through which they learned about the aliens.

Musically: starts out slow with clean Floydian guitar lick and cymbals that quickly jump into a more jazz-fusion oriented mood setting. It becomes quite the frenetic jazz-fusion track with all the instruments creating a tempestuous rhythmic dance. The track goes through several shifts of rhythm changes as well as the usual eclectic mix of heavy bass lines with syncopated jazz-from-hell type keyboards


SIXTH track "Games of Herbs"

beginning of a new day or early morning. I describe as rostitel'nost'û wakes up with first rays of the sun. As dew plays on every blade of grass and every leaf.

Musically: starts off with birds singing as a guitar line gently emerges into the limelight and has a rather Baroque J.S. Bach type of feel to it. Lots of different keyboard sounds dance together. Perhaps a lost Brandenburg Concerto? Well for a while at least. Remains classically rhythmic but becomes jazzy. Really amazing musical mixture here.


SEVENTH track "Wandering"

a new day and two tribes are feuding with each other Khunts (humanoid) and Crokus (crocodilopolis) gathered for talks. They decided for a short time to stop the war in order to join forces against the aliens. They decided with General witchcraft to inflict on people the magic that has the property of oblivion.

Musically: a steady beat guided by frenetic guitar and groovy bass line. The keys provide atmosphere and tension builds as the recurring groove ratchets up. A brief pause and the keys become the frenetic rhythmic caffeine addicts for a while. While the general rhythmic drive stays the same, it's quite brilliant how the instruments pass the baton taking the lead and carrying it. In the middle of the track everything stops and a drumming display gradually gives way to a new jazzy guitar segment with heavy rockin' drums.


EIGHTH track "Water World"

: The Taming of  the Geysers ii: ... and on the Water Surface To finish the job they collectively appeal to the mistress of the watery World. Mistress of the watery World through a ritual of "dance on water", which the sailors fall into oblivion. At first this dance is energetic and contains convulsively. The dance Mistress of the watery World produces the Taming of the Geysers. Then the dance turns into a plastic and beautiful ritual (... and on the Water Surface).

Water World. - iii: Detection woke up on the deck of his ship. They can't remember what happened with them before. Around thick fog. At this time two children of the tribe take care of Khunts found by a sailor, whom they found in the woods at night. That is why the sailor left on the island, about him no one knew.

Musically: morning sounds as birds and wolves do their thing and then a quickened groovy bass line meets a piano that seems like it's in its own world. Many counterpoints going on very early. Jazz-fusion feast of the senses with this one. There are many breaks in mood but tempo remains rather steady throughout. Style stays in jazz-fusion as well with a steady rock drum beat allowing the keys and guitars to perform jittery acrobatics all around it. Like most of this album, words don't do it justice. Too removed outside of the listener's experience to convey any sense of musical progressions.


The good: WATER WORLD musically is a brilliant blend of electronic rock and jazz-fusion dished up with heavy doses of avant-prog sensibilities and sounds like no other album i've ever heard. The compositions are quite good and sophisticated and really do deliver an exciting flow of ideas within the context of the genre fusions mentioned.

The bad: unfortunately despite leaps and bounds above previous albums, this still sounds like a homemade product and in need of a more sophisticated production level. Often DIY albums sound as such because they are lacking the proper percussive drive and i feel that is also the case with WATER WORLD. The drum antics are adequate but it sounds programmed. Also i found it impossible to glean any sort of concept album as it's all instrumental and relied on the artist's input to understand it.

When all is said and done, WATER WORLD is an excellent piece of instrumental music that lover's of electronic rock, classical and jazz should appreciate quite well as the complexities of weaving these styles together is phenomenal however this is a rather heady album that requires extreme attention paid to the details for any sense to be had from it. There are really no periods of breathing room and is indeed a challenging album to appreciate, however if you are looking for something unique from an isolated geographical setting of the world, then by all means check out this fascinating sci-fi tale of different worlds all told in a Pekka Pohjola sort of narration by notes sort of way. It's really worth the effort.

UTOPIANISTI The Third Frontier

Album · 2016 · Jazz Related Rock
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Third time is a charm for UTOPIANISTI as they reach the pinnacle of their creative energies on THE THIRD FRONTIER. Once again band leader and head honcho Markus Pajakkala seeks out another cast of musical talent for a whole new jazz-rock fusion experience that reels the listener in with heavy horn-laden hooks and groovy driving percussive rhythms and delivers a sonic splendorous jazzy journey through the jungles of sound. While the previous album had a whopping 31 musicians and vocalists clogging up every possible nanosecond of the album, this one was trimmed down to a mere 7 instrumentalists and two additional vocalists. While the other albums were self released this one found a home on the Pohjola Records label, former label of none other than the legend Pekka Pohjola himself. THE THIRD FRONTIER refines all of the ideas, compositional styles and genre blending to perfection. One of the reasons this album works so well is that much of the material was played live previously allowing the band members to simmer the material down into a scrumptious consummation of content. Gone is the everything-including-the-kitchen-sink approach and instead we have a perfectly balanced jazz-rock fusion album that still channels the zeitgeist of classic 70s fusion while remaining steadfastly contemporary replete with outstanding musicianship crafted with crystal clear production and mixing. The musicians on THE THIRD FRONTIER basically recorded this album live in a cabin by a lake in the Finnish countryside where they were all entrenched in the charms of their own personal Rancho Relaxo where they ate good food and hit the sauna before bed time. It sounds like my kind of party actually :)

After a psychedelic sounding intro the feisty cover depicting title “Voodoo Mammoths From Neptune” showcases the first seductive swanky sax groove that gently beckons the guitars, keys and bass in a game of tug-of-war to see who can carry the melodic development in a pass the torch kinda way. This whimsical Canterbury styled jazz-rock scene is only one of many jazz styles on display at the Pajakkala sonic museum of jazz-rock. While swing is in no short supply on the album, its dance with psychedelic organ runs on “Dr. Gravity’s Evil Plan” is just divinely delicious as the saxes, flutes and clarinets slowly ratchet up the tension to a climax that once dropped brings a fuzz guitar and bass out of the murky din to expose a most satisfying heavy psychedelic rock underpinning. While Canterbury whimsical titles are the name of the game on THE THIRD FRONTIER, further references to the greats like Hatfield and the North come fully into play with the erratic tinkling keyboards on “Universe For Dummies” that also showcases the angelic diva Suvi Väyrynen doing her best Amanda Parsons and adding an extra dimension to the track that takes the wild and groovy bass and drums culminating with a tasty guitar solo in the clouds and above. The following short track follows the Hatfield and the North theme with Dave Stewart inspired keyboards on “White Dwarf” that basically serves as an intro for the next track.

“Life As We Thought We Knew It” gracefully ratchets up the Canterbury styled jazz-rock with psychedelic touches and remains reserved in the tempo as it simply creeps along with oddly shaped time signatures punctuating a rather sparse canvass as the dominate bass and drum groove allows the swing style horn section to blurt out the recurring melody. “A Hundred Rabbits” on the other hand heads into funk rock territory as the bass and guitar deliver the solid rhythmic background with Latin-jazz flavored percussion and a sultry sax sizzling around every musical curve with Suvi Väyrynen once again joining again with her over-the-top siren vocals sending the track into heavenly bliss territory. “Spanking Season” picks up the steam with an avant-jazz-blues groove with a great Captain Beefheart vocal impression by Pharaoh Pirttikangas and is a sequel to the track on Utopianisti II but has different vocals and different musical parts even though it has similar riffs.“13 Demons In The Disco Dimension” is my favorite track on the album with a groovin’ synth funk basis and hard driving rhythm and addictive melody including vibraphone and marimba that includes the most dazzling guitar solo i’ve heard on a jazz-fusion album since John McLaughlin dazzled the world in his Mahavishnu Orchestra as Antero Mentu delivers one of the most off-kilter stylistic guitar solos i’ve heard in a long time. The album closes with the more subdued closer “The Last Reflection” that ends the album with the listener gently coming down from the jazz-fusion heavens and delivered back to Earth in a mellow mint-under-your-sleepy-time-pillow sort of way.

I can understand why some jazz-fusionists may not find this appealing. UTOPIANISTI is all about groovy, catchy melodic rhythmic developments that swing and allow a whole series of instrumental interactions to reach their full potential and may even find it slightly over-calculated in how slick it’s all pulled off. I, on the other hand, LOOOOOVE this album and find it to be sheer perfection for what is intended. The grooves and hooks are instantly addictive. The complexities of instrument interplay add layers of sonic tension and there are just enough progressive twists and turns carefully laid out in the right places to make this one extremely satisfying experience. As with the previous two releases, if crazy psychedelic reality distorting jazz-fusion is what you’re craving then this won’t fill the bill. If you crave a warm and welcoming swinging sultry good time of seasoned musicians having the time of their lives making great music together at a cabin on a lake and creating a diverse palette of retro meets contemporary, then this will not disappoint. Every track on here is carefully crafted and polished to perfection. I can’t seem to get enough of this one lately.

UTOPIANISTI Utopianisti II + Utopianisti meets Black Motor & Jon Ballantyne

Album · 2013 · Jazz Related Rock
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UTOPIANISTI II picks up where the eponymous debut left off only this time main man / band leader Markus Pajakkala got even more ambitious with his number of guest musicians and there are no less than 31, yes! 31(!!!) different vocalists and instrumentalists including an entire big band section and opera singers. The album is completely a studio album and many of the musicians had never even met, so UTOPIANISTI II was truly the studio project of Pajakkala taking his project that he began as a student at Helskinki’s Sibelius Academy to the next level. And what a big fat sound this one has! Pajakkala himself plays drums, percussion, tenor and baritone saxophones, flute and alto flute, bass clarinet, mellotron, various ethnic instruments, keys and vibraphone. The rest of the band includes 2 bassists, 4 guitarists, an additional organist, tons of vocals and others who play sitar, marimba, vibraphone, congras, accordion, fiddle, trumpet, trombone and extra saxophones! Whew! No they don’t play everything at once! The music is designed for a rotating cast of musicians to play their parts at select times but this is indeed a big band style of jazz-rock fusion so it indeed has a big, fat, beefy sound. Once again the jazz-rock basis is mostly based in easily accessible swing style where groovy, funky rhythms are easily digestible and the avant-garde comes in with the other instruments interacting. Although strange time signatures and other-worldly segments aren’t totally eschewed, this type of sound rests squarely in hooking you and taking you for a ride.

Right from the beginning with “Mekonium Fist” it’s apparent that this album is a huge step up from the first with not only more palatable grooves and rhythms but by the sheer force of the musicians on board. The beat is strong and so is the brass. This first track comes off as some 90s swing revival on steroids only has a heavy rock guitar added to the mix with a sizzling guitar solo that could rightfully grace any particular heavy metal sound. The second track “The Vultures Were Hungry” plays a rather Diablo Swing Orchestra move and adds a group of opera singers to the big band swing section only they up DSO and have not only female divas but a male baritone as well! The tracks are quite varied and laid out quite well so the listener remains thoroughly entertained. Next up is the tender starting “Pohjola” which is obviously a tribute to the great Pekka Pohjola in not only the title but in jazz-fusionist compositional style taking the music back to the 70s complete with appropriate organ runs and the proper zeitgeist touches. The next track “Tango Succubus Pt 2” changes things up totally and as you can probably guess is a tango only with a male opera singer and vibraphones joined by the brass section. And such is the entire album, chock full of hitherto unthinkable possible fusion where the world is a grocery store and UTOPIANISTI II is the shopping cart where all of the genres and styles play together awaiting check out.

While UTOPIANISTI II is a major step up from the less ambitious debut, this one suffers from being bloated with way too much of a good thing with a whopping time length of near 79 minutes of jazz-fusion doing a dance with almost every type of musical genre imaginable. Inevitably unless done to perfection an album this long loses steam at times. For example, certain tracks like the traditional Finnish folk track “Kynttilöitäkin Vain Yksi” sound out of place and frankly unnecessary as do some of the lesser tracks that fail to have strong hooks. Not to mention that some of the tracks just don’t gel so well next to each other. Despite the album not being perfect however Pajakkala paints the picture of what jazz-fusion dreams are made of. Great care is paid to the details with a crystal clear production and so much creative prowess lurks around every corner that it becomes dizzifying. Not only are there references to the jazz-fusion and swing greats of the past but surprises such as the Captain Beefheart inspired segments on “Spanking Time.” There are plenty of tributes to jazz greats themselves with John Coltrane being heavily represented as well. Some tracks like “Mechanoid Makeout Music” show not only a Canterbury type of whimsy but the music itself is quite unorthodox with a jittery almost Latin-jazz rhythmic type of freneticism with an Ornette Coleman type of free-jazz sax attack. “U.L.J.C. (The Unnecesssary Leftover Jam Compilation)” that ends the album is quite fun as is this album for the most part. While UTOPIANISTI II isn’t perfect by any means but there is more than enough strong material on this one to entice any enthusiastic jazz-fusion freak out there and while not as well polished as the followup “The Third Frontier,” UTOPIANISTI II is an extremely strong set of eclectic numbers just waiting to blow your mind.


Album · 2011 · Jazz Related Rock
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UTOPIANISTI is the project of Markus Pajakkala emerging from Tampere, Finland where he hunts down the absolute most brilliant musicians from every nook and cranny of the musical world and gives a serious boost to the jazz-rock fusion scene with some of the most addictive creative compositions that i’ve experienced this decade. Every album is designed for a rotating cast of musicians on each album. While the project only began in 2010, fertile grounds were afoot and the project released it’s very first eponymous album the following year. While Pajakkala appears alone on the album cover, this is hardly a one man show but includes a huge cast of no less than 18 musicians covering bass, guitar, sitar, xylophone, marimba, vibraphone, clarinet, alto sax, trumpet, trombone, french horn, accordion, fiddle, violin, viola and cello. However when it comes to writing the music itself, this is Pajakkala’s baby and he plays band directer much like the role of Frank Zappa in the day. This album is his early work that emerged as a school project while he was studying music at the Sibelius Academy, a prestigious music school in Helsinki.

Despite being a mere debut, Pajakkala had a firm grip on his vision and worked it out meticulously. While his main instruments are the flute and saxes, on this one he also plays drums, keyboards and contributes vocals as well where they show up. The music is mostly based in jazz-rock fusion but this is really a smorgasbord of genres that incorporate everything from Balkan gypsy, klezmer and heavy rock to heavy doses of experimental touches. Tracks range from the heavy rock oriented “Plutonium First” that has a rather 50s rock ’n’ roll feel to it with a heavy brass and rock section making it feel more like a 70s TV adventure show theme to the funky bass chop led “Avaruuden Shammaanit” which sounds like a swing band got a sudden itch to incorporate 60s style funk into the mix although the jazzy time signatures keep it all in the grounds of challenging music despite the instantly addictive grooves. While most tracks are fairly upbeat with heavy percussive and bass driven rhythms accompanied by heavy brass section, a few tracks like “Waltz For FZ” are more laid back without feeling too slow or sappy.

I have to admit that i’m not as keen on this debut since my UTOPIANISTI journey began with perfection of “The Third Frontier.” While everything on this debut is extremely professional and well executed, the album as a whole doesn’t come off as outstanding as the following releases. While i’m totally impressed that this album was basically a school project brought to fruition via the passionate conduits of quite the number of musicians involved, i don’t think the compositions are as well developed and of the caliber that the next couple albums would include. This one has plenty of excellent fusion ideas stirring in the pot but no one has quite turned up the heat enough just yet to fully unify the possibilities that can be heard in the nascent processes. Still though, an impressive debut that paves the way for things to only get better. Personally i’d probably skip this and head straight to the second album modestly titled “UTOPIANISTI II” since most of the ideas presented here are present and perfected later. It should also be stated that this is melodic jazz with syncopation, dissonance and other jazzy characteristics but much more on the accessible side of the fence with groovy, funky rhythms that are designed to be addictive upon first listening. Those seeking a psychedelic detachment from reality should look elsewhere.

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