PEKKA POHJOLA — Flight of the Angel (review)

PEKKA POHJOLA — Flight of the Angel album cover Album · 1986 · Jazz Related Rock Buy this album from MMA partners
3.5/5 ·
Matti P
Flight of the Angel ended PEKKA POHJOLA's most productive era that had started in the seventies; his next album was Symphony No. 1 (1990), an attempt to be a serious art music composer. His amateurish symphony hasn't received very positive feedback from the art music circles. Elements from the classical music have naturally always been present in his unique Fusion, also in this five-track album that features some strings too, although not very notably.

'How About Today?' is a rollicking up-tempo composition, very rock oriented in sound; Seppo Tyni's electric guitar is in the centre. I wouldn't place this one high in Pekka's scale, or in the scale of Fusion in general. The title track is unsurprisingly a delicate and more thoughtful piece, built on a simple melody -- not unusual in his composing style -- but the way the music grows grander before returning to gentler touch is very fine. One could think there's not enough substance for 6 ½ minutes, but there is.

'Il Carillon' is a solo piano composition (played by the respected pianist Liisa Pohjola, Pekka's aunt). It has some Sibelius influence and Debussy-like impressionism.

'Pressure' is very easily recognized as a typical Pekka Pohjola composition with the heavily repeated leitmotif and its stretching to the limit. It's a matter of taste whether there are enough ideas for 10 ½ minutes. Well, he's done similar things more succesfully too. The synths are central in the sound. The progressivity comes mostly as dynamic changes, not in the melodies.

The best is saved for last: 'Beauty and the Beast' (10:54) is a highly progressive track full of rich details; the arrangement is many-sided, from the funkiness of brass to the exciting synth patterns and the strings in the final section. And above all is the gorgeous bass playing! This is the masterpiece of this album which as a whole is more uneven than most of his earlier works.

(Edited from my 2014 review in ProgArchives, where I've reviewed almost each album of my legendary countryman.)

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