Iho
Olarin/Finland, Ryko/US
A striking recording. Kalaniemi's backing band, Aldargaz, is the best
of the bunch in Finland, a small place with plenty of great
artists. Timo Alakotila contributes harmonium, grand piano,
arrangements, and a few of the best songs on the album. The
stellar fiddler Arto Järvela is there, along with bassist Tapani
Varis and guitarist Olli Varis (more mature and showing signs of
greatness!). While not a regular member of the band, the presence
of mandolin player Petri Hakala is also felt throughout the
album.
The original quintet has been working together for years, and
have become an intuitive force that lends itself to the more
complex arrangements and intricate melodies that mark the new
work. They are joined on record by string and brass ensembles for
a few tracks, giving an orchestral fullness to "Napoleon" (Real Audio file) a
traditional tune that shows all the character of an Alokotila
production. The other is "Linjärv," which starts as a jazzy,
Swedish tinged accordion solo that shows off why Kalaniemi is one
of the best in the world, and then grows into a strange blend of
acoustic power pop and classical chamber music. Perhaps at the
core of the new album is the lush "Green Score," a tune that
literally brought tears to the eyes of a friend listening to it
live a few years ago. This composition by Timo Alakotila seems at
first just nice and breezy, but builds almost imperceptibly into
something indescribably romantic, not in a cheesy cinematic way,
but on a more mature, personal path. Kalaniemi's playing has
never been more expressive, the songwriting never stronger than
it is on Iho. - CF
Ahma is a composers' album, with contributions from Kalaniemi, a number of new works by pianist Timo Alakotila and one each from guitarist Olli Varis and bassist Tapani Varis. The writing runs from the exuberant ("Ahma" and the brief burst of hyper-energy that is "Kampi") to the pastoral ("Kaamos"), from the romantic ("�ngskär") to the austere (T. Varis' "Nautilus"). It is also an arrangers' album, and the collaboration of Kalaniemi and Alakotila has never been stronger on that front. The six piece ensemble Aldargaz includes Petri Hakala on mandolins and Arto J�rvel� on violin, and the group is as fine-tuned as they could be; Aldargaz has hit its stride, with enough time now to have developed that unifying sixth sense that marks great ensemble playing. They are aided and abetted by the fiddlers from JPP and occasional outbursts from a drummer and a horn section, all pulled tightly together by arrangements that can surprise and one or twice amaze. Ahma finally takes Kalaniemi out of the "folk" music box and into the broader world of popular composer and musician, and she seems poised to move even further outside in the future. � Cliff Furnald