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:..:... Supplier : SER 2005 Release Date : 05/07/2005 ...:..:
: : Ripper : SER 2005 Street Date : 03/23/2005 :..:...
...:..: Genre : Jazz Source : CD : :
: : Label : TUM Records Tracks : 14 Tracks ...:..:
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:..:... Language : English Size : 81,9 MB :..:...
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Eero Ojanen and Teppo Hauta-aho both belong to the first generation of
modern jazz musicians in Finland. They met in 1962 during the famed
Monday night jam sessions organized by Jazz Club 62 in Korso, a small
town some 30 kilometers from Helsinki. Teppo Hauta-aho, a young
bassist still learning his way around his instrument, actually came
from Korso whereas Eero Ojanen traveled to the jam sessions from
Helsinki. Regulars also included Hauta-ahoÆs neighbor, saxophonist and
flutist Seppo ôBaronö Paakkunainen, and drummer Reino Laine from
Helsinki. Other frequent participants at these Monday night jam
sessions included saxophonists Unto Haapa-aho and Antero Stenberg,
pianist Nacke Johansson and guitarist Juhani Vilkki, all key figures
on the Finnish jazz of the 1960s. These early jam sessions at Jazz
Club 62 created a bond among the participants that still lasts today.
The common language of these jam sessions was bebop but very soon
other influences started to creep in as well. Many of the participants
in the jam sessions, including Ojanen and Hauta-aho, attended the John
Coltrane QuartetÆs concert in Helsinki in 1962 and were blown away by
the impact of this new music. With Teppo Hauta-aho, early influences
also included Charles Mingus and Scott LaFaro. With Eero Ojanen, early
influences included Bud Bowel and other bebop pianists, but
increasingly also Bill Evans. Later, Keith Jarrett made a big
impression on Ojanen who was a member of the Pekka P÷yry Quartet (with
Teppo Hauta-aho and Reino Laine) opening for the Charles Lloyd Quartet
(with Keith Jarrett) when it played a concert in Helsinki in 1967.
Throughout the 1960s, Ojanen and Hauta-aho continued to play together,
often with Seppo Paakkunainen and Reino Laine also included in the
same groups. After Hauta-aho started studying at the Helsinki Sibelius
Academy in 1963, their common activities increasingly shifted to
Helsinki, including participation in jam sessions at the legendary Old
House Jazz Club (aka MΣyrΣnkolo), which featured literally everybody
who was somebody in Finnish modern jazz of that time. During the 1960s
and early 1970s, Ojanen and Hauta-aho played and recorded together in
numerous ensembles including the Juhani Vilkki Sextet and Quartet, the
Pekka P÷yry Quartet, the Kaj Backlund Big Band and the Juhani Aaltonen
Quartet.
Despite the creative highs of the 1960s and the early 1970s, life was
not easy for an improvising musician in Finland. Many jazz musicians
chose to take on vocations outside of music whereas others joined some
of the more adventurous rock groups emerging around this time. During
the early 1970s, Ojanen and Hauta-aho also went their separate ways
even though they continued to play together from time to time in more
informal settings. Eero Ojanen became a key participant in FinlandÆs
new song movement that had strong political overtones. He also
continued his career as a theater composer and musician that had
already started in the late 1960s and still continues today. Over the
years, Ojanen has written the music for more than 50 plays and a
number of movies often utilizing his background as a jazz musician. In
fact, the band responsible for backing KOM TheaterÆs plays and
concerts during OjanenÆs tenure at the theater in the 1970s was
typically comprised of jazz musicians playing the music they knew
best.
Similarly, Teppo Hauta-aho chose to pursue a professional life outside
of jazz. After receiving his diploma from the Sibelius Academy in
1970, Hauta-aho continued his career as a member of the Helsinki
Philharmonic Orchestra that had already started in 1965 and served as
a member of the Finnish National Opera Orchestra from 1975 until his
retirement in 1999. During these years, Hauta-aho also became highly
regarded for his compositions in the realm of classical music, often
featuring the double bass as a solo instrument. However, Hauta-aho
never gave up his interest in improvised music and continued to lead
or co-lead his own ensembles throughout these years. He also played
with many internationally well-known artists, including his membership
in Quintet Modern and the Cecil Taylor Quintet.
In 1991, the circle closed with Ojanen and Hauta-aho again returning
to frequent collaboration. In addition to performing as a duo at
various jazz clubs and festivals during the 1990s, Ojanen and Hauta
-aho provided live accompaniment to the performance of classic silent
movies, including Finnish films from the 1920s and Luis Bu±uelÆs An
Andalusian Dog, in connection with various film events. In 1995, the
two were invited to perform in South America and asked an old friend
going back to the times of Jazz Club 62, Seppo Paakkunainen, to join
them for the trip that included performances in Chile, Argentina and
the United States. Thereby, Trio Nueva Finlandia was born. Trio Nueva
Finlandia was active throughout the 1990s and we are fortunate to have
concrete evidence of its music in the form of Ha! û WhatÆs going on?
(Leo Records), a compilation of live recordings from the years 1995
-1997.
Alongside Trio Nueva Finlandia, Ojanen and Hauta-aho also continued to
work as a duo and this recording is a result of an impromptu session
held in June 1998. At the time, bassist Barre Philips and saxophonist
Norbert Stein had just visited Finland playing freely improvised music
with Ojanen and Hauta-aho. At least partially, the music on this
recording was inspired by the openness and creativity of those
sessions. In a way, the music is improvised music at its purest: no
recording engineer, no written music, no preconceived notions of what
the music is going to be. Just two musicians with their instruments in
a room with two recording devices and two microphones ready to capture
the moment. Eero Ojanen himself says the following:
ôFreely improvised music is music born from the inspiration of the
moment. By definition, the music is always unique and you can never
repeat it the same way twice. You must live in the moment of the
music, or the moment has already gone and you can never catch it
again. Of course, there will be new moments but they will never be
exactly the same as the one you missed. You cannot jump into the same
spot in a flowing river twice. Concentration is crucial.
To play out of nothing. What is it really? You have to start from
something: one note, one musical idea or one musical figure. That
something then becomes a seed from which improvisation can begin to
develop and grow. One musical idea leads to another and after a while
you just let the music flow and live a life of its own.
In freely improvised music, we do not make any plans beforehand. That
is why we never know what is coming: will the music start to live, or
is the improvisation only dead fingering of an instrument? When Teppo
and I improvise together, each of us tries to keep his own thing going
while also listening to the other so that the result is a kind of a
contrapunctual twine. It is a discussion where each of us keeps his
own point of view but has respect for what the other one has to say.
Free improvisation is always a risk, but it is a risk that we love
taking!ö
So, here you have it. Two old friends swapping stories and reflecting
shared and separate experiences. Always with good humor and customary
modesty.
http://www.tumrecords.com
Tracks:
01. Haloo - Haloo! (5:22)
02. A Definitive Story (5:07)
03. An Ironic Story (4:18)
04. A Positive Story (4:07)
05. A Senseless Story (3:07)
06. No Story (5:17)
07. A Sad Story (5:30)
08. A Firefly Story (5:06)
09. Why? Why Not! (5:34)
10. A Double Story (4:39)
11. A Thunder Story (3:54)
12. A Damped Story (2:59)
13. A Sunday Story (3:52)
14. End Of The Beginning (3:13)
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