Pekka Pohjola

Holding a mirror up to the past can be burdensome. But it can also be a revelation. Both applied to trumpeter Verneri Pohjola as he took the bull by the horns last year and interpreted his father’s music at the Viapori Jazz Festival and at the Tampere Jazz Happening. No mean feat, as Pekka Pohjola (1952—2008) remains one of the revered icons of the 1970s European prog rock scene. The stakes were high but Verneri pulled the concerts off with flying colours.

Two jazz professionals, journalist Andreas Müller and label manager Dave Stapleton, had a brief chat about Finnish jazz prior to Jazzahead! 2017, the international jazz expo and showcase festival taking place from 27 until 30 April in Bremen, Germany.

Progress is all about trying out new things, as every forward-thinking artist intrinsically knows. Nevertheless, a case could be made that it is not enough if only the vanguard embraces the unknown. Perhaps all could take a page out of Pepa Päivinen, Janne Tuomi and other open-minded musicians’ book.

The earthy tones of Pepa Päivinen’s saxophone are a cornerstone of Finnish jazz. To date [2003], the man has released three albums as a leader and made himself a name through various projects of differing sizes. He has performed for twenty years in the ranks of the UMO Jazz Orchestra and worked along the way with bandleaders like Jukka Tolonen, Edward Vesala and Anthony Braxton.

“The world's best bass player”. Pekka Pohjola had this dinned into him all through the seventies: he was the Jaco Pastorius of the North, a man who was, if he felt like it, capable of performing miracles with his bass. Most of the time he simply didn’t feel like it, glossing over the tricky prestissimo bass solos because he felt the work as a whole was most important.