FunkFreak75 Markus Pajakkala is back (finally!) with an album of music inspired by his explorations of African music and rhythms. He has even employed a bunch of Temperi, Senegalese, and Mauritanian musicians as collaborators to go along with his usual rhythm section of Anssi Solismaa, Jaakko Luoma, and newcomer Ville Hatanpää on drums!

1. "Greenwash" (4:48) with the odd combinations of sounds--squishy, spacey synths, weird organ, African percussion, et al. --I'm not even sure what I'm listening to! In the end it's really a fairly typical West African jazz-rock cake that happens to have frostings from the crazy imaginings of a crazy Finn covering the top and filling the layers in-between. It's fun and entertaining, at times reminding me of the spirit in DON PULLEN's "Kele mou bana." (8.875/10)

2. "All Whale Panel" (4:06) a song that is trying to project the feeling of a being a live song from an outdoor all-night rave or dance party from some celebrated Tiesto-like DJ. Definitely a top three song. (9.125/10)

3. "Yegaa Intro" (1:35) 4. "Yegaa Nu Betaa" (4:33) expressing an easy joy that is not only infectious but danceable. A top three song for me based solely on the spirit invoked by Ismaila Sané's vocal calls. (8.875/10)

5. "Cleptocrats" (4:24) nice, infectious grooving instrumental music that feels like the musical soundtrack to a travel montage. More of the horn section interplay with Markus' weird organ. Could've been a top three. (8.875/10)

6. "Jaa Di Burung" (5:35) slowed down grooviness with enough space to really hear and focus on individual instruments--all of them! Really well constructed and rendered. Markus' baritone sax play really shines here. My other top three song. (9.125/10)

7. "Hit It With The Pinky." (4:05) starts out sounding like a Mario Brothers video game soundtrack stuck in some kind of pause mode, but then the "big" band jumps on board (8.75/10)

8. "No Culture, No Soul" (8:26) a near-Jamaican groove stuck on repeat while Ozrics-like "space jungle" noises flit in and out of the sonic field. Coordinated horns step in from time to time to take over the lead but then disappear for longer spans of time allowing the baseline groove to continue to pacify and hypnotize us into a ganja-like stupor. Impressive musicianship and sound engineering throughout. (17.5/20)

9. "Kakistocrats" (5:08) aside from the farfisa organ, this one taking us back into a more traditional (or just old) sounding Afro-jazz-rock fusion. Nice trumpet soloing in the second and third minute from Olli Helin which is then followed by Inari Ruonamaa's delicate alto sax and Ismaila Sané's percussion work in the fourth. Is Makus trying to reproduce Ray Manzarek's organ sound from the earliest days of The Doors? (8.75/10)

10. "Le Nuit Des Morts-Vivants" (9:50) a percussion-based tune that sounds like something familiar despite also traipsing into the territory of old-fashioned spy-detective movie soundtracks. It's laid back, and the foundational groove is definitely (surprisingly) simple, allowing for the solos to shine a little brighter--of which guitarist Matti Solo gets a nice one to fill the fourth minute before Olli's effected trumpet takes a turn. IN the end, the song is really a vehicle in which to display Markus' inventive engineering of a song around Ismaila Sané's surprisingly sneakily- polyrhythmic percussion play. With almost every band member getting a turn in the spotlight this is really a more traditional jazz song. And the solos are pretty good! (17.5/10)

Total Time: 52:34

The music, though definitely fun and entertaining, seems often more simplistic and slowed down (for the benefit of the musicians?) than I was expecting. (Markus Pajakkala music is usually anything but slow and simple!) This allows for a surprisingly easy listen. Also, it seems at times that Markus is creating this music more for the display of the talents of his bevy of international musicians. I'd love to hear these guys really break out: play at top notch, breakneck speeds (as I suppose they're capable). Maybe that will come with a future album release. B/four stars; an excellent collection of African-infused jazz-rock.

FunkFreak75 The next (third) album from the incredibly talented Finnish avant jazz composer/bandleader, Markus Pajakkala. I find myself liking this album much better than the previous albums because of it's conhesive flow. On II each and every song sounded and felt so different--which makes a lot of sense considering the use of completely different musicians on each and every song. Also, the increased presence of the operatic vocalization of female vocalist Suvi Väyrynen (on three songs) gives the album a bit of a Zeuhl (UNIVERSAL TOEM ORCHESTRA) or Canterbury (AMANDA PARSONS, ELIZABETH GASKIN and THE NORTHETTES) flavor--which I love. I just think Markus has probably matured, clarified his vision, and polishing his songs as well or even better than before (he has always shown impeccable attention to detail in the engineering room).

1. "Voodoo Mammoths From Neptune" (4:25) has such clarity in its sound production! It is an odd, cinematic piece with a nicely extended introductory section which allows the listener to get hooked in for the ride. Simply stunning sound! (9/10) 2. "Dr. Gravity's Evil Plan" (4:01) treads more into cinematic jazz like a good spy thriller--or a spoof of a whodunnit. Great ensemble timing opens before multiple trumpets are given solo lines--at the same time! At the end of the second minute some nice organ play bridges into the next section. (Again, the clarity of sound distinction is remarkable!) Awesome organ play gives way to flute while the background ensemble keeps things so tightly glued together! How Markus gets this kind of collaboration from his band is remarkable! Awesome, simple bass line near the forefront holds it all together so well. (10/10)

3. "Universe For Dummies" (5:52) opens with some staccato arpeggi from the electric bass before the wonderful vocalise of Suvi Väyrynen betrays the composer's Canterbury intentions. Great weave of some quite disparate threads--like from horns, vibraphone and electric guitar--breaks into full force at the one minute mark. Very much like a song from INNER EAR BRIGADE. Great soli (and from some odd instrumental choices/sounds) parade around the foreground while bass and organ continue tip-toeing around with the foundational bob and weave. Truly an astounding song! (10/10)

4. "White Dwarf" (1:24) slows things down as an electric piano (Rhodes?) solos slowly before being joined by reed instruments. Cool sound! (9/10)

5. "Life As We Thought We Knew It" (4:55) opens with a metronomic electric piano riff which is built upon by horns, vibes, guitars and cymbals. Very pretty. At 1:32 the volume turns up though the play of the horn section gives it all a kind of CHICAGO feel--if however briefly. At 2:38 things get more serious. This could be right off of FROGG CAFÉ's 2010 classic, The Bateless Edge (which makes me beg for the presence of some lyrics--like "Terra Sancta"). Nice song! (9/10)

6. "A Hundred Rabbits" (5:03) opens with a little funk coming from the rhythm section of bass, drums, congas, vibes and clavinet. These are shortly joined by horns and woodwinds and, a bit later, the synth-horn-like vocalizations of Suvi. Things are toned down a bit toward the end of the second minute to allow for the isolation of a flute solo. HUBERT LAWS would be proud! A little bass solo bridges our way into a protracted solo from a seething electric guitar. HENDRIX would be proud! Awesomely woven into the funky horns until it finally fades away into the background so that Suvi and the horns can take us out. Awesome song! (10/10)

7. "Spanking Season" (2:33) the first song I heard from the album has vocals! Odd, cabaret-like vocals--not unlike the stylings of HUMBLE GRUMBLE, PINGVINORKESTERN, KNIFEWORLD or MAJOR PARKINSON. Fun, funny, laughable and eminently clever song! Great solo from a 'Space Invaders' synthesizer toward the end. (9/10)

8. "13 Demons In The Disco Dimension" (3:12) opens with some odd radio clip before a campy melody and odd time rhythm establish a kind of Zappa-esque envirnoment--sophisticated, highly disciplined, and sleek. Not my favorite song but I truly respect and understand it. (8/10)

9. "The Last Reflection" (7:00) Has a bluesy soul and proggy feel to it, as the whole band seems to ride as one wave while the drums are free to play beneath! The delicate part in the fourth minute which opens up space for the vocalise soloations of the gorgeous voice of Suvi Väyrynen is perfection! Great restraint is shown throughout this song from both the composer and his musicians. Even the climax starting at 5:15 shows great emotion and sympathetic feel from all: horns, bass, drums, organ, electric guitar--I can really feel it from all of them! Amazing! (10/10)

All in all, Markus Pajakkala has packaged together a masterpiece of incredibly well contrived and well executed theatric jazz. Consistently, this is one of the best ensemble performances of very sophisticated music that I've heard in a while. Definitely one of the funnest albums of the year (so far).

Five stars; a true masterpiece of progressive music.

FunkFreak75 Another submission of quirky avant music that people are allowing to be included into the "progressive rock" genre with similarities to Pingvorinkestern, Humble Grumble, UneXpect, Atomic Ape, Major Parkinson, Knifeworld, and even the modern Univers Zero--though Utopianisti is much more closely aligned to true jazz, if of the avant-garde stylings. All these groups are very talented, very tight, and very entertaining. But, gone are the smooth, slow developing songs--especially the long-playing "epics." Now seems to be the new era of staccato, stop and start, avant-garde and theatric production. It's as if today's bands are trying to pack nine minutes of music, story, and emotion into four minute songs. Is this the new prog?

My favorite songs include: "Pohjola" (8:09); "Bisphenol A" (4:11); "The Sundays of Love and Peace" (5:14);"Kynttiloitakin Vain Yksi" (6:16), and my favorite; "U.L.J.C. The Unnecessary Leftover Jam Compilation" (9:38).

A masterpiece of modern avant-jazz composition and performance. Upbeat, quirky, and unusual. However, this is just not my favorite kind of music.

3.5 stars rated up for quality.

siLLy puPPy 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.

siLLy puPPy 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.