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Ilmiliekki Quartet: Ilmiliekki Quartet
ByIt is the quartet's twentieth anniversary, and the four Finnish mainstays are obviously celebrating it in a big, if subtle way. None of what they do on this self-titled album is predictable, yet the styles and idioms they traverse aren't unknown. There are some swinging nods here and there, harking back to traditional post-bop approaches on "Three Queens," with a touch of today's New York improvised jazz scene in its rumbling and tumbling rhythmic foundation. One may recognize a touch of Pohjola's peer, Israeli trumpeter Avishai Cohen, or the other neighbored horn player Ralph Alessi in the moody explorations of tone and timbre on "Sgr A*" and "Aila," with their soft splashes of dissonance in alternatingly dark and contemplative harmonic frameworks. But just when mist and obscurity on "Aila" seem to take over (and there may be a slight overuse of echo and reverb at play, for mystifying purposes of course), the horn breaks through the clouds in rescuing fashion and lets the sunlight through, singing a folk hymn with a uniquely Scandinavian quality to it that's simultaneously breathtaking and heartbreaking. Subtle left turns are among the band's signatures and that boundless melancholy returns on "Night Song," a slowly and percussively constructed wakening of melody that erupts in wailing trumpet cries.
Pohjola's trumpet takes center stage for many passages across this record and his attack has a raspy hiss to it, proudly revealing the breath at the sound's root rather than trying to hide it away. Breakage in the horn's sustain, whispered repetitions in some of its barely audible phrases and the fearlessness with which it then rips through the framework that surrounds it add to a remarkable sense of overall dynamism and tension within the musical structures as well as between the players. For Pohjola's accompanists do not just stand by and observe the action, but constantly react to his impulses and respond with their ownbe it through the careful stacking of harmonic tensions on keys midway through "Sgr A*," the collective and explosive deconstruction at "Aila"'s showdown or with gentler gestures, revealed in Lötjönen's firm but flexible bass patterns throughout "Sgr A*" or "Kaleidoscopesque," and represented in the group's bold rhythmic and harmonic fragmentation as portrayed in "Night Song" and across other instances on the album, which are juxtaposed with the ascetically dotted foundation that pulls through "Follow The Damn Breadcrumbs," with its cynical title hinting at the song's stubborn pulse.
But when everything is said and done, melody reigns. On the slippery slope that is "Three Queens," the tossing and twisting subject wrapped around piano and horn sets the tone. "Kaleidoscope" reflects the same concept, creating a complementing figure in service of bookending. When the dark curtains on "Aila" are finally pulled back, the pureness that protrudes from the trumpet is startling. "Sgr A*" is dominated by the simplest of motifs made up of three notes, the first repeated and a subsequent whole note a step up, which is then sequenced through a harmonic cycle, inverted, imitated and then repeated again. It is there in "Night Song" too, clearly stated by the trumpet in a monologue that surrounds itself with whispered accompaniment, soft brush strokes, crystalline piano splashes and earthy double bass ruminations. The song's finale is a secret proclamation, an ode to the concept of melody and melodic development itself. The same could be said for Ilmiliekki Quartet, who would overcome any obstacle to make their inner melodiousness known.
Track Listing
Three Questions; Sgr A*; Aila; Follow the Damn Breadcrumbs; Night Song; Kaleidoscopesque.
Personnel
Album information
Title: Ilmiliekki Quartet | Year Released: 2022 | Record Label: We Jazz Records
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Ilmiliekki Quartet
Album Review
Pat Youngspiel
We Jazz Records
Verneri Pohjola
Tuomo Prättälä
Antti Lötjönen
Olavi Louhivuori
Avishai Cohen
Ralph Alessi