SAMPO HIUKKANEN — Bow Code (review)

SAMPO HIUKKANEN — Bow Code album cover Album · 2024 · Fusion Buy this album from MMA partners
4/5 ·
Matti P
Violin has a peculiar status in my music taste. While I enjoy classical music in general, I'm not fond at all of violin as a solo instrument, and especially the fast, virtuotic solo violin pieces by e.g. Paganini *really* annoy me. But taken to the context of progressive rock or jazz fusion, I tend to enjoy violin very much. I appreciate the music of the legendary fusion violinists Jean-Luc Ponty and Jerry Goodman, the alumni of Mahavishnu Orchestra, so it feels very natural that I enjoy this debut album of the young Finnish, classically trained violinist and composer SAMPO HIUKKANEN (b. 1987).

The mentioned artists offer a good comparison to Bow Code in which violin is accompanied by keyboards, bass and drums. The quartet plays wonderfully together as a tight unit. Nobody is left in a shadow. The biggest star is understandably Hiukkanen's lovely-sounding violin, but the music completely avoids the sour taste of indulgent showing off of one's technical capacity. It is music with a mature substance.

The two-minute 'Introduction' instantly sets the album's fascinating tone and sonic beauty in which the participation of each musician is essential. 'Forest Life' is gorgeous, too. Anssi Tirkkonen's drum work could be compared to Manu Katché, and Sauli Hämäläinen's synthesizers bring a fresh, spatial and at times a mysterious level to the overall sound while the violin is by and large responsible of the terrific, soaring melodies.

The third track 'Gaze' (starting delicately in a way that draws attention to Oskari Siirtola's cool bass) features the sensual vocals and lyrics of Veronika "Veni" Szász. The smooth song -- containing a lengthy instrumental part led by violin -- is a delightful addition to an otherwise instrumental album.

The heavy, r&b reminding beat in 'Heavy Cream' makes the track my least fave of the eight, but on the other hand it expands the album's spectre of moods. 'I' starts with multi-levelled violins in a chamber music style and suddenly turns into something edgier and, in a way, shamanistic or tribal, featuring sharp pizzicato parts and human voice. 'Whales' is a more conventional fusion piece where the violin does both clear melodies and complex, improv-sounding soloing. The repetitive end section perhaps overstays its welcome a bit.

At this point the album craves for ballad-like serenity, and my wish is fulfilled by the melancholic, slow-tempo 'Aviate'. 'Abuh-Ending' has an exciting, other-worldly atmosphere reminiscent of 'Introduction' which neatly ties up the album.

If you enjoy synths added to jazz fusion and violin-playing fusion artists such as Jean-Luc Ponty, you are warmly recommended to check out this album.
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