JUHANI AALTONEN — Juhani Aaltonen ja Sointi Jazz Orchestra : Saarnaaja (review)

JUHANI AALTONEN — Juhani Aaltonen ja Sointi Jazz Orchestra : Saarnaaja album cover Album · 2019 · Progressive Big Band Buy this album from MMA partners
3.5/5 ·
Matti P
Saxophone & flute player Juhani "Junnu" Aaltonen (b. 1935) is a legendary figure in Finnish jazz. In the late 60's - early 70's he was an original member in Tasavallan Presidentti, Finland's biggest classic prog/jazz-rock act besides Wigwam. Being less of a composer than a sought-out session musician and beloved collaborator, in his long career including also a multitude of albums released under his own name, he has worked closely with composers such as Heikki Sarmanto, Edward Vesala, Henrik Otto Donner and Arild Andersen.

The composer of this particular album is a less known name to a listener, Rasmus Soini. The CD's liner notes tell about the birth of "Saarnaaja" (= The Preacher). In January 2014 Aaltonen visited the music college of Espoo to talk of his ideas and visions of music. Soini, working there as a teacher,was deeply impressed by Junnu's wise words, and a year later he started to compose a conceptual instrumental work for the Sointi Jazz Orchestra he had founded and for Junnu as the soloist.

Like several of Heikki Sarmanto's major works often featuring Aaltonen, this is an orchestral piece of pure Third Stream, ie. music between -- or representing both -- art music and jazz. The large orchestra consists of woodwind and brass, plus piano, double bass and drums. Junnu's role as a soloist on tenor sax and alto flute is naturally very central since he was the muse and inspiration of the whole project. The work is in five parts, some with a poetic title taken from Junnu's lecture, e.g. 'Turning weaknesses into strengths' (Pt. 2), 'I'm gliding above chords' (pt. 4) and 'Music like a prayer' (Pt. 5), freely translated by me.

The overture begins with dramatic low notes from the brass section, quieting down for Junnu's tenor solo and soon returning to do angular, fast-paced dialogue with the sax. The piano and rhythm section join for the last minutes of this very free jazz spirited movement that ends with a chaotic crescendo. Part 2 is a more accessible and melodic movement, balancing between the big orchestral sound and airier group-oriented moments with tenor sax as a soloist.

'Play like the surface of the pond remains unbroken' (Pt. 3) is a gentle movement focusing at first on flute and piano only, later with an increasing backing of brass and woodwinds. I personally would have preferred to keep the movement lighter and more chamber-like all the way.

Pt. 4 continues the wide dynamics of the alteration between solo spots and the brass-heavy sound of the orchestra. On the final movement Junnu plays both flute and tenor sax, and the music sometimes has a sermon-like atmosphere.

I am not a fan of brassy big band sound, so this album doesn't quite meet my taste, but taken more objectively it is a respectable, highly dynamic work filled with Junnu's sensitive playing and orchestral grandiosity.
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