Advertisement
Advertisement

Freelektron: Live At Tenho

In brief:
"...thoughtful, intensely beautiful and for all its brevity, stuffed with great music"

Notoriously, Jimi Tenor took his working name from the youngest Osmond, not from Hendrix, but the man born Lassi O. T. Lehto hasn’t been held back by the association. His work is beyond category, taking in jazz, pop, electronica, world-music situations and, most frequently, in-between states that are completely sui generis.

This remarkable live LP, recorded four years ago, will be a revelation to those who see Tenor as a kind of Finnish Gary Numan. It’s thoughtful, intensely beautiful and for all its brevity, stuffed with great music.

Advertisement

The key to the group’s success is drummer Ilmari Heikinheimo, whose electronic kit helps create the illusion that a bass player is also present. Low, slow rumbles anchor the music on the opening Tenho, which Tenor takes mainly on flute. Like Juhani Aaltonen, the senior man in Finnish jazz, he’s made the instrument something of a speciality, using an intonation that ranges between concert correctness and the wilder shores you might associate with someone like Robert Dick.

The later tracks tend to be freer and more confrontational but there is no Interstellar Space stuff here. The music remains pleasingly earthbound and almost folkish in the familiar manner of Finnish jazz, which has never hesitated to make use of native elements alongside bop and blues modalities. Tenor has never been a virtuoso. His interest lies in the song rather than the solo, but he’s capable here, as before, of some beautifully shaped and formally satisfying improvisation.

Discography
Tenho; Kaipuu Part One; Kaipuu Part Two; Lumous; Hurmos; Glamor (36.03)
Jimi Tenor (ts, f, syn); Ilmari Heikinheimo (d, elec d, pc).
Jazzaggression JALP723

Latest audio reviews

Advertisement

More from this author

Advertisement

Jazz Journal articles by month

Advertisement

Jimmy Rowles Trio: The Nocturne Session

In a world full of pianists, Rowles' idiosyncratic approach to rhythm and harmony produced a style that was almost unclassifiable
Advertisement

Obituary: Pharoah Sanders

Sam Feehan pays tribute to the late saxophonist, whose often ferocious and abrasive sound concealed deep spirituality and lyricism
Advertisement

John Mayall and the Wimpy Bar Blues

Despite the endorsement of Red Holloway, the late British bluesman wasn't always charitably received by the local jazz establishment
Advertisement

Life Through The Eyes Of A Jazz Journalist – Scott Yanow

Mr Yanow's jazz memoirs include long interviews with Freddie Hubbard, Maynard Ferguson and Chick Corea and a portrait of Roland Kirk
Advertisement

Louis Armstrong’s Black & Blues

Sacha Jenkins' sharply produced documentary should hold the attention of anyone, be they Wonderful World passerby or seasoned jazz buff
Advertisement

JJ 11/60: In My Opinion – Wynton Kelly

Sixty years ago, Wynton Kelly, pianist with Gillespie, Miles Davis and Wes Montgomery, reacted to music by Art Tatum, Benny Carter, Thelonious Monk, Count Basie, Jelly Roll Morton and others
"...thoughtful, intensely beautiful and for all its brevity, stuffed with great music"Freelektron: Live At Tenho