Love remains…In 1993, three musicians from Sweden, Esbjörn Svensson, Dan Berglund and Magnus Öström formed the band e.s.t.. Svensson and Öström had known each other ever since their first steps into music as children. Neither of them could have anticipated that e.s.t. would become the most influential band in European jazz of the noughties. And when the band formed they probably didn't think they were particularly ‘jazz’ either; all they wanted to do was to play the music which united their passions: rock, pop, classical, folk, improvisation. In the following 15 years, e.s.t. would play thousands of concerts worldwide, release ten studio albums and several live recordings, win awards, gold discs. We all know how the story ends.
Finnish trumpet star Verneri Pohjola has earned a formidable reputation as one of Europe's most creative and original jazz innovators for his commanding sound, expressive tone and the rich intensity of his improvisations. Following a series of highly successful and praised albums he releases The Dead Don't Dream in 2020, his fourth album for Edition Records. The new record incorporates influences from his last three albums into one definitive and beautifully crafted statement. The band, featuring Tuomo Prattala on piano, Antti Lotjonen on bass and Mika Kallio on drums, share a deep sense of collaboration and a common purpose. They are explorers of sound through Verneri's captivating and vibrant music, balancing freedom and composition, expression and voice. It's a defining work of art for Verneri, for Finnish culture and a statement of intent for an artist immersed in the world of European Jazz.
Confirming his status as one of the leading improvisers on the European scene, the Finnish trumpeter releases a new album featuring Kit Downes, Jasper Høiby, Olavi Louhivuori and co-produced by Tuomo Prättälä.
Finland's Verneri Pohjola got five stars in these pages last year for his sumptuously colourful big-band album Aurora. Ancient History is for the trumpeter's quartet with the daring pianist Aki Rissanen, and though it isn't as atmospheric, it has a comparable thematic strength and plenty of compelling improvising. The only cover is of Björk's lyrical Hyperballad, which Pohjola explores in half-valve slurs and sighs (he has affinities with Norway's Arve Henriksen and America's Ambrose Akinmusire) mingled with hints of postbop phrasing against a scramble of free percussion.