MIKA POHJOLA, MIGUEL ZENON, BEN MONDER, FERNANDO HUERGO: Landmark

Mika Pohjola, Miguel Zenon, Ben Monder, Fernando Huergo

Landmark

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"From odd-metered Zappa-esque romps to soothing ballads, fusion vehicles to 4th century hymns, rhythmic rock-fueled jams." (Bill Milkowski). Featuring Ben Monder, Fernando Huergo, Miguel Zenon, Roberto Dani and Johanna Grüssner.

tracks

1 Landmark
2 Screen Play
3 A Ballad About Something
4 Future Apparent
5 Psalm 549 - Isämme Kiitos Päivästä
6 Old Couples Lullaby
7 Young in the 80's
8 Passing Recline
9 Summer Garden
10 MikaSonik Theme
11 Retrospectives
12 Reppurin Laulu
13 Landmark (Radio Edit)

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TIME OUT NEW YORK
Finnish transplant Mika Pohjola has been spoiling for a breakthrough for some time now, and the pianist-composer might just register one with the release of his aptly titled new disc, Landmark.

THE VILLAGE VOICE
Always kicks back for substantial improvisations and quirky compositional gambits that avoid the usual head-solo-head routine.

ALL MUSIC GUIDE EXPERT REVIEW
This remarkable disc features Mika Pohjola's crafty MikaSonik ensemble, with Miguel Zenón on alto sax and flute, Ben Monder on guitar, Fernando Huergo on bass, and Roberto Dani on drums, with Johanna Grüssner contributing haunting vocals on occasion. Pohjola plays Fender Rhodes and other electric keys in addition to acoustic piano; on "Landmark" and "Retrospectives" he doubles certain melodies on harpsichord, as he has done on two previous albums (he may well be the first musician to employ the arcane instrument in a modern jazz ensemble, although Herbie Hancock played an electric harpsichord on a couple of unissued Miles Davis tracks in the late 60s.) Compositionally, Pohjola's work is involved yet infectious and profoundly melodic, driven by the virtuosity and strong personalities of his players. On tracks like "Screen Play" and "Future Apparent" the band purveys a hip, appealing species of electric jazz; the fluid melodies and richly layered sounds are somewhat reminiscent of Kurt Rosenwinkel's The Enemies of Energy. Pohjola's mellower side comes through on "A Ballad About Something" and "Old Couples Lullaby." In contrast, he makes loud mischief on the rhythmically skewered punk of "Young in the 80s" and conveys a peculiar, semi-rubato feel on the evocative "Summer Garden" (which features Monder and Dani in a duo exchange toward the end). Pohjola also works wonders with Grüssner's voice on an inspired arrangement of the fourth century Ambrosian hymn "Psalm 549," as well as the Finnish-titled "Reppurin Laulu" ("Vagabond's Song"), the lyrics of which are in the dead Karelian language. The highly recommended Landmark sets the bar very high for creative music in the year 2002. --David R. Adler

ALL ABOUT JAZZ
Pianist/composer, Mika Pohjola represents one of those rare entities in modern music as his often-complex compositional style generally yields straightforward and easily attainable results. A musical mind at work for sure; however, Pohjola's uncanny knack for integrating sonorous melodies with multi-layered and intricately formulated arrangements elicits notions of listener-friendliness.

With his latest effort, Pohjola garners strong support from New York City-based guitarist, Ben Monder, alto saxophonist, Miguel Zenón, and others for a multifarious and deeply stylized program. On the opener 'Landmark,' Pohjola employs harpsichord, synths and Fender Rhodes piano atop the rhythm sections' bustling pulse and Johanna Grüssner's harmonious wordless vocals. Here and throughout, Monder and Zenon engage in lilting choruses, poignant lines and make excellent use of space and depth. Conversely, Pohjola acts as the painter via his quaintly executed synth treatments, and acute sense of swing and rhythm. Meanwhile, Johanna Grussner provides the Midas touch on several pieces including the quasi hymn-like, folk melody titled, 'Reppurin laulu.' The divergent mix continues on the hard driving 'Young in the 80's,' as Monder puts the pedal to the metal for some blistering, supercharged guitar work in concert with Pohjola and Zenón, anthem-like choruses.

The pianist provides lucid imagery with a maturely stated melody on 'Old Couples Lullaby;' whereby Monder's dusky mid-tone electric and Ms. Grüssner's warm vocalise trigger the emotive elements. Overall, there's a lot to get excited about during this superbly crafted set, largely due to the leader's creative spirit and unassailable infatuation with the jazz vernacular! Recommended. --Glenn Astarita

JAZZ REVIEW
I really don't like to label anyone or categorize an artist, but I have to say it, Mika Pohjola is a modern progressive jazz genius. This is now the third album I have heard by this Finnish born keyboard player and it is unequivocally his most ambitious and complete work to date. Implementing the harpsichord is very unusual and it's done in a very subtle and convincing way. That aspect alone puts this music in a progressive niche. After listening to literally hundreds of jazz CDs I have found a prevailing common denominator, when a saxophone is present it seems to put all the other instruments into the background. This recording is no exception to that. "Landmark" is superbly inventive jazz music, and Pohjola acts as a conductor at times letting the rest of the band go their merry way to improvise as they see fit, which falls right in line with what the maestro is trying to accomplish. Pohjola's incredible diverse and melodic keyboards aren't given the ability to be the focus and main attraction. If there is any criticism that I could offer it is only one thing, next time out Mika, let your talent be more upfront, you deserve it. I know this probably goes against the grain and is not the nature of the artist. For sake of brevity I just want to say that I think this man is in command of his craft; I just want to hear him alone playing a few compositions with no accompaniment. Okay, I am being selfish; I really want to focus on just his playing without any other instruments to pull me away.

KEITH HANNALECK
There is an underground alternative jazz scene that is beginning to bubble over the surface and its starting to leak into all the different areas of music and culture. It's based in Manhattan New York. People like Mika are leading the way. When you get a four star review with the All Music Guide you have made the grade. This gentleman has arrived in a big way. I knew that he would, and the deserving recognition was just around the corner after the last release. Yes, I knew that he was special, and so will you when you hear his music. This is the perfect title for this CD; it is no doubt a Landmark release.

LEE PROSSER
Landmark is a remarkable fusion of contemporary jazz motifs that highlight the creative genius of composer-pianist, Mika Pohjola. This collection features 13 memorable songs performed to perfection by this gifted pianist and his fellow musicians.

These are long, enjoyable and entertaining songs, and one that is sure to catch the attention of jazz audiences is "Summer Garden," and also, the intricate "Landmark." For something unusual and pensive, there are "Psalm 549," "Old Couples Lullaby," and "Retrospectives" which has a running time of 7:58 minutes.

Every performer on this new CD collection is perfect for the music, and the voice performances of Johanna Grussner will surprise and delight listening audiences with its sensitive approaches. Miguel Zenon gives some fine expressions with alto saxophone and flute as does Ben Monder on guitar, and Fernando Huergo on bass. Roberto Dani is outstanding on drums and percussion.

Those who enjoy the music and performance stylings of pianist Mika Pohjola will find this new collection a showcase for his fine talents as both composer and pianist. Mika Pohjola just keeps turning out excellent contemporay jazz recordings, and LANDMARK is another example of how good a jazz artist he is.

For piano and performances enjoyment, LANDMARK is a five-star winner. Congratulations to Mika Pohjola and his group for a job well done! Excellent.

________________________

LINER NOTES by BILL MILKOWSKI
Pianist-composer Mika Pohjola has for the past six years been part of a very vital jazz scene that exists in downtown Manhattan. Set in close proximity to the hallowed Village Vanguard and the tourist-friendly Blue Note jazz club, this alternative scene is nevertheless light years away in terms of attitude, style and approach to the music. Some extraordinarily fresh and exhilarating music is being created on this scene on a nightly basis by such like-minded colleagues as guitarists Ben Monder, Pete McCann and Brad Shepik, saxophonists Tim Berne, Chris Cheek, Dave Binney, Donny McCaslin and Tony Malaby, bassists Ben Allison, Chris Dahlgren and Drew Gress, pianists David Berkman and Frank Kimbrough, drummers Matt Wilson, Jim Black, Tom Rainey and Michael Sarin along with such renegade bands as Sex Mob, Mr. Lucky, Lan Zang, Paradox Trio, Pachora and Slowpoke. Add Pohjola's Mikasonik to the list.

All of these upstart composers and forward-thinking improvisors regularly perform at such intimate, low profile venues in downtown Manhattan as Detour, Small's, Tonic, the Internet Cafe, the Knitting Factory, Rue B and Cornelia Street Café. And while their music draws liberally from the jazz tradition -- improvisation being a prime ingredient in the mix -- it also includes elements of rock, avant garde, European classical, world music, funk, pop and (in Pohjola's case) Finnish folk music.

An inventive composer and savvy marketeer of his own music, the transplanted Helsinki-born pianist has brought a wealth of ideas and boundless enthusiasm to the downtown scene since arriving in New York in 1995. Along the way he has documented his progress with a string of impresses releases -- 1996's Myths and Beliefs, 1997's On the Move, 1998's Announcement, 2000's Live at the Blue Note, and 2001's daring duo project Sound of Village. His latest, Landmark, which documents his dynamic working quintet, MikaSonik, is his most potent and adventurous yet.

With Ben Monder on guitar, Miguel Zenón on alto sax and flute, Roberto Dani on drums, Fernando Huergo on bass and special guest Johanna Grüssner on vocals, Pohjola has assembled a crackling, flexible crew that can easily run the gamut from odd-metered Zappa-esque romps to soothing, romantic ballads, from Passport-ish fusion vehicles to 4th century Gregorian hymns, from lilting lullabies to searing rock-fueled jams, from evocative, cinematic themes to scintillating Swedish vocalese.

While much of the music here is quite demanding, this skilled unit navigates Pohjola's tricky meters and intricate unison lines with seasoned aplomb. And though it may be strictly composed and meticulously arranged material, there is still plenty of room within these structures for the soloists to blow, notably guitar monster Monder and the pungent-toned alto burner Zenon. Pohjola has high praise for his bandmates in Mikasonik:

BEN MONDER -- The guy who takes what I write a little further. Ben always improves a song. Sometimes he sets the standard for how it is. He's very much in charge for how the song is going to sound. Even if, surprisingly, he plays very little at times. He's the guy who states the song in terms of melody, and he has such a beautiful tone that he always brings it across with a classy kind of authority.

MIGUEL ZENÓN -- Another guy who bears the melody in this band. And I like his way of improvising, especially live. That's very inspiring because Miguel has so much energy. He's played with a lot of salsa bands and he brings that kind of fiery energy to this band. Also, to his credit, he's always working on something musical. Even if he doesn't have his instrument he's always listening to something and writing down something. He's always thinking, always working. That's inspiring to me.

FERNANDO HUERGO -- He's a guy who really cares. There are few people who care as much about how to get the music into shape. Fernando is definitely one I respect for that reason. I've played with him for two years and because he comes from a sort of Latin/Brazilian type angle -- very different from my origin -- he is a very rhythmic player. So it's great to have him in the band because he gives the music a backbone. It sits in a completely different way than how I may have originally envisioned it.

ROBERTO DANI -- To me, Roberto is a very colorful player. Instead of playing whatever pattern or style, he always thinks about the melody of the song. And he really concentrates on each song. So he customizes his playing to each song, which I find to be sort of unique. Because a lot of people play really well but for some reason I still hear that generic even eighth note in their ride cymbal. And I just respect so much when somebody wants to put that little extra effort to make it sound totally different. Maybe start with the ride cymbal or with some percussion or maybe play some hand drum or whatever. Play nothing in the beginning. That's also a very important choice that a drummer can make, or anybody in the band. And Roberto really spends time figuring those things out. Also, when he finds a particularly interesting place to take a solo, he might tell me, 'This is a good place for me here.' Or sometimes if I say, 'Take a drum solo here,' he might say, 'I don't think that's a good idea.' He's very concerned about the compositional aspects and the arranging part of the music. And I really appreciate his feedback. To me, that's where the drummer really starts making music, when he is allowed to be not so concerned about the time.

JOHANNA GRÜSSNER -- She is one of the best vocalists I've ever met at singing in harmony with herself. I didn't have to do any corrections on her at all, and these are not easy melodies. She's a Swedish speaker but she also can sing in Finnish and Carelian. She has really put a nice color on the whole thing by creating those overdubbed vocal choirs.

Released in January 2002, composer & pianist Mika Pohjola's seventh album Landmark with his current working group MikaSonik "is a dedication to the beautiful spirit of New York City" Pohjola says. "There is a certain drive for pushing boundaries here," he explains. "And I would rather say pushing boundaries than breaking rules because the rule, whether it's an observation, assumption or theory, is from the past. So if you're breaking the rule the best you can do is come to that state of today. However, pushing boundaries is more like observing what is going on and trying to take it a little further.It's like a rubber band, it never breaks, and it's not supposed to break.

But when stretching it a little further you see that there's always room for more exploration." Indeed, he does some serious boundary pushing on provocative pieces like the title track, "Landmark," "Future Apparent," the raucous, anthemic "Young in the '80s" and the suite-like "Retrospectives." Pohjola has assembled a crackling, flexible crew that can easily run the gamut from odd-metered Zappa-esque romps to soothing, romantic ballads, from Passport-ish fusion vehicles to 4th century Gregorian hymns, from lilting lullabies to searing rock-fueled jams, from evocative, cinematic themes to scintillating Swedish vocalese.

While much of the music here is quite demanding, this skilled unit navigates Pohjola's tricky meters and intricate unison lines with seasoned aplomb. And though it may be strictly composed and meticulously arranged material, there is still plenty of room within these structures for the soloists to blow.

The son of a Helsinki-based jazz guitarist with a great record collection, Mika Pohjola was hip to the music of Art Tatum and other jazz greats at an early age. At age 15, he moved to Stockholm, Sweden to study jazz piano with Alvaro Is Rojas, who taught him the mechanics of improvisation and harmony. After a five-year residency in Stockholm, he moved to Boston to attend the Berklee College of Music, where his jazz mentors Gary Burton and Herb Pomeroy helped him arrive at the next level. Mika also credits piano teacher Ed Bedner with expanding his awareness of touch and tone on the instrument during his years of study in Boston. In retrospect, Pohjola views his term at Berklee as a generally positive eye-opening experience. "It very much reflects real life, and real life is not that glamorous," he says. "When I was at Berklee I came to realize that the music business was not at all glamorous. It wasn't like, 'Oh, and then when I get really good I'm going to be signed by a big label and I'll be set.' That's like the last thing for musicians to think about. It's the first thing to learn and the last thing to ever think about. So don't start playing music if you don't love it. Because playing well and being famous or having deals has nothing to do with each other. It certainly helps if you can play but there are so many other factors. And those people who are making the decisions in the music industry are overly aware of these other factors."

As an alternative to running in the major label sweepstakes, Pohjola has remained fiercely independent while aggressively marketing himself through his website (www.jazz.what.cc) and by reaching out to his mailing list with a barrage of information about upcoming gigs, recordings and activities. "And if somebody is interested in what I'm doing, we see where it goes," he says.

After his arrival in New York, Mika naturally gravitated to the downtown scene and soon carved out a niche for himself with his eclectic brand of jazz. He now feels a strong affinity for the spirit of exploration that permeates the downtown scene. "There is a certain drive for pushing boundaries here," he explains. "And I would rather say pushing boundaries than breaking rules because the rule, whether it's an observation, assumption or theory, is from the past. So if you're breaking the rule the best you can do is come to that state of today. However, pushing boundaries is more like observing what is going on and trying to take it a little further. It's like a rubber band, it never breaks. And it's not supposed to break. But you're supposed to stretch it a little further so you see how it goes, how far it can get without breaking."

Indeed, he does some serious boundary pushing on provocative pieces like the title track, "Landmark," "Future Apparent," the raucous, anthemic "Young in the '80s" and the suite-like "Retrospectives." Says the composer-arranger of his modus operandi on Landmark, "It's all music. I do recognize differences between genres of music but I don't think that it's the same thing as recognizing, say, different nationalities. There is a difference but it's nothing worth putting any energy in analyzing why it is that way. What we call classical music... meaning in the European tradition.... is one very interesting part of my life, not because I'm from Europe but just because I started playing that. I've always been drawn more to the French impressionism tradition. A lot of that sound world, which has, in terms of harmony, melody and rich textures, appeals to me. For example, I listen to a lot of organ music from France. And of course, that's not in the jazz tradition. But at the same time, what is of the jazz tradition and what is not from the jazz tradition is not that important to me.

"In fact, I don't listen to much jazz lately," he continues. "These days I'm listening to a lot of Tom Waits, actually. And also I like Radiohead. And then there is a Swedish band which Ben Monder has played for me. It's a hardcore heavymetal band..very interesting, not because I want to start playing that way but because it expands the horizon for what music can be. And even if I don't like all of it, I try to make note of it...that it exists, at least as one extreme. That way I find myself. I think, 'Oh wow! I should consider that aspect too. Maybe that's something to explore.' And I try to find something new from it. That's how I basically operate."

Presently, Pohjola operates in two strikingly different contexts -- his freewheeling duo with percussionist Yusuke Yamamoto (Sound of Village) and the more strictly defined context of Mikasonik. "These two bands are opposites for me and I need them both," he says. "Because I need the kind of open ended playing which is based on nothing at all and I also need the more architectural context in which I work out every little detail and have the largest influence on how the music is going to sound. In Mikasonik, the other guys in the band do have ideas and input. On 'Summer Garden,' for instance, Ben takes a little coda by himself so that kind of thing does happen. And when the guys know the songs intimately, they can do anything they want with them. At that point I'm not a composer anymore, I'm just a conductor of the band. And their interpretation is fine with me."

With Landmark, Pohjola strikes an appealing balance between heady architecture and heartfelt improvisation.


BILL MILKOWSKI is a regular contributor to Jazz Times magazine. He is also the author of "JACO: The Extraordinary and Tragic Life of Jaco Pastorius" (Backbeat Books) and "Swing It! An Annotated History of Jive" (Billboard Books)

reviews

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  • This Landmark is a benchmark!
    author: Roland Kreuscher

    Not much more to mention, but perhaps to repeat/emphasize: Yes, VERY recommended if you like W. Shorter and his W.Report.-compositions, Hermeto Pascoal e Grupo(!!!) and Zappa's less funny but more serious(?), complex, melodic jazzy titles like 'little umbrellas', 'grand wazzoo' or (almost) 'jazz from hell'. This CD is a must!

  • Pohjola keeps pushing the limits of good fusion jazz ever further!
    author: Richard Poulin

    Landmark is up to my expectations after getting his superb ''Announcement'' and becoming already a devoted fan. It's intelligent fusion jazz that incorporates so many different styles that one cannot do anything else but listen and get amazed at how imaginative this wonderful pianist is. A treasure chest of excellent, innovative music.

  • Smooth but has extraordinary presence, vitality and color.
    author: Akiko Pavolka

    This album is smooth but has extraordinary presence, vitality and color. The recording sound is terrific. His compositions create a facinating musical world. All the musicians involved are amazing. A wonderful record, I highly recommend it.

  • highlight the creative genius of composer-pianist
    author: Lee Prosser, Jazz Review

    LANDMARK is a remarkable fusion of contemporary jazz motifs that highlight the creative genius of composer-pianist, Mika Pohjola. This collection features 13 memorable songs performed to perfection by this gifted pianist and his fellow musicians. These are long, enjoyable and entertaining songs, and one that is sure to catch the attention of jazz audiences is "Summer Garden," and also, the intricate "Landmark." For something unusual and pensive, there are "Psalm 549," "Old Couples Lullaby," and "Retrospectives" which has a running time of 7:58 minutes. Every performer on this new CD collection is perfect for the music, and the voice performances of Johanna Grussner will surprise and delight listening audiences with its sensitive approaches. Miguel Zenon gives some fine expressions with alto saxophone and flute as does Ben Monder on guitar, and Fernando Huergo on bass. Roberto Dani is outstanding on drums and percussion. Those who enjoy the music and performance stylings of pianist Mika Pohjola will find this new collection a showcase for his fine talents as both composer and pianist. Mika Pohjola just keeps turning out excellent contemporay jazz recordings, and LANDMARK is another example of how good a jazz artist he is. For piano and performances enjoyment, LANDMARK is a five-star winner. Congratulations to Mika Pohjola and his group for a job well done! Excellent.

  • substantial improvisations and quirky compositional gambits
    author: Gary Giddins, The Village Voice

    The Finnish keyboardist and composer has released a diverse new CD, Landmark (Abovoice), with guitar, saxophone or flute, rhythm, and a singer who multilayers her voice for Gregorian-style melodies. He favors trebly harmonies and occasionally veers close to a lightweight modality, but always kicks back for substantial improvisations and quirky compositional gambits that avoid the usual head-solo-head routine.

  • Just check out...
    author: Time Out New York

    "Mika Pohjola... has tons of ideas -- just check out the groovy harpsichord and DX7 sampling on the new cd by his band MikaSonik (Landmark is the disc's name)."

  • Pohjola represents one of those rare entities in modern music
    author: Glenn Astarita, All About Jazz

    Pianist/composer, Mika Pohjola represents one of those rare entities in modern music as his often-complex compositional style generally yields straightforward and easily attainable results. A musical mind at work for sure; however, Pohjola’s uncanny knack for integrating sonorous melodies with multi-layered and intricately formulated arrangements elicits notions of listener-friendliness. With his latest effort, Pohjola garners strong support from New York City-based guitarist, Ben Monder, alto saxophonist, Miguel Zenon, and others for a multifarious and deeply stylized program. On the opener “Landmark,” Pohjola employs harpsichord, synths and Fender Rhodes piano atop the rhythm sections’ bustling pulse and Johanna Grussner’s harmonious wordless vocals. Here and throughout, Monder and Zenon engage in lilting choruses, poignant lines and make excellent use of space and depth. Conversely, Pohjola acts as the painter via his quaintly executed synth treatments, and acute sense of swing and rhythm. Meanwhile, Johanna Grussner provides the Midas touch on several pieces including the quasi hymn-like, folk melody titled, “Reppurin Laulu.” The divergent mix continues on the hard driving “Young In The 80’s,” as Monder puts the pedal to the metal for some blistering, supercharged guitar work in concert with Pohjola and Zenon’s anthem-like choruses. The pianist provides lucid imagery with a maturely stated melody on “Old Couples Lullaby”; whereby Monder’s dusky mid-tone electric and Ms. Grussner’s warm vocalise trigger the emotive elements. Overall, there’s a lot to get excited about during this superbly crafted set, largely due to the leader’s creative spirit and unassailable infatuation with the jazz vernacular! Recommended.

  • Landmark sets the bar very high for creative music
    author: David Adler, All Music Guide

    AMG EXPERT REVIEW: This remarkable disc features Mika Pohjola's crafty "MikaSonik" ensemble, with Miguel Zenon on alto sax and flute, Ben Monder on guitar, Fernando Huergo on bass, and Roberto Dani on drums, with Johanna Grüssner contributing haunting vocals on occasion. Pohjola plays Fender Rhodes and other electric keys in addition to acoustic piano; on "Landmark" and "Retrospectives" he doubles certain melodies on harpsichord, as he has done on two previous albums (he may well be the first musician to employ the arcane instrument in a modern jazz ensemble). Compositionally, Pohjola's work is involved yet infectious and profoundly melodic, driven by the virtuosity and strong personalities of his players. On tracks like "Screen Play" and "Future Apparent" the band purveys a hip, appealing species of electric jazz; the fluid melodies and richly layered sounds are somewhat reminiscent of Kurt Rosenwinkel's The Enemies of Energy. Pohjola's mellower side comes through on "A Ballad About Something" and "Old Couples Lullaby." In contrast, he makes loud mischief on the rhythmically skewered punk of "Young in the 80s" and conveys a peculiar, semi-rubato feel on the evocative "Summer Garden" (which features Monder and Dani in a duo exchange toward the end). Pohjola also works wonders with Grüssner's voice on an inspired arrangement of the fourth century Ambrosian hymn "Psalm 549," as well as the Finnish-titled "Reppurin Laulu" ("Vagabond's Song"), the lyrics of which are in the dead Karelian language. The highly recommended Landmark sets the bar very high for creative music in the year 2002. -- David R. Adler

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