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Ouranos - Under the Firmament:

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(Eng):

The Greek word ”ouranos” means firmament. Every piece on this recording depicts, in

some way, events that occur above the Earth. There are things we may not see but still

effects our lives.

(Fin):

Sana ”ouranos” on kreikankieltä ja tarkoittaa taivaankaarta. Koko levyn jokainen kappale

kuvaa jollakin tapaa maan pinnan yläpuolella tapahtuvia ilmiöitä, joita emme ehkä näe,

mutta aistimme ne kuitenkin elämäämme vaikuttavina elementteinä.

(Swe):

Det grekiska ordet ”ouranos” betyder himlens valv. Varje stycke i denna inspelning

beskriver, på något sätt, skeenden som tar plats ovanför jordens yta, saker man kanske

inte förnimmer men som ändå har en inverkan på oss.

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Reviews:

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Allaboutjazz:

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Iro Haarla Ouranos Ensemble, featuring Aija Puurtinen: Under The Firmament.

 

By Dan McClenaghan January 18, 2025.

 

Finnish pianist Iro Haala has a gift for assembling superb jazz ensembles. Her on-record successes—including Kolibri (TUM Records, 2015) and Vespers (ECM Records, 2011)—are brought together, in part, by "considering the chosen musicians' Individualism and soloistic assurance." Duke Ellington did that. So did Charles Mingus. Forming a combination of different personalities, adept at music and possessing artistic souls, then channeling the collective into a quest for excellence gives the finished product the potential to breathe, to become a living and spiritual entity. This is what Haarla does. Her small ensembles are idiosyncratic, perhaps odd-sounding to an ear brought up on Art Blakey or Horace Silver or Miles Davis. And if it is odd, it is the best kind of odd—meditative and often haunting, dreamy and spacious enough to allow examinations of the solos, collaborative enough to maintain the mood of the ensemble voice. This brings us to Under The Firmament, by the Iro Haala Ouranos Ensemble. A "firmament" is defined as "the sky, especially when regarded as a tangible thing." On an initial listen, the cohesiveness of the group's sound is evident. So is the strength of the individual personalities. It is a quartet, with Haarla on piano. Vocalist Aija Puurtinen sits in on three numbers. On "Deliverance," written by the group's bassist and Haarla's husband, Ulf Krokfors, she sings like a woman possessed, initially under control but soon fraying around the edges, working a hornlike, everywoman elocution interwoven with Jone Takamaki's gritty, breath-of-the-beast reed playing. The Haarla-penned opener, "On High With Birds Of Passage," is an expansive and mesmerizing tone poem with eyes set on the sky. The same goes for "Northern Lights," Haarla's "La Valle de la Luna," the "Green Comet," "At the Mercy of Air Currents" and "Lost Satellite." The title tune closes the disc. Vocalist Puurtinen sings a dirge; saxophonist Takamaki plays one. They and the band sound as if their metabolisms are linked as they make their music under a night sky filled with stars and planets. Then the singer whispers herself out of existence, ending a remarkable six- minute prayer. This cohesive album can be—and should be—taken as a whole. It is so different it defies description in its hypnotizing, surreal, dream- state articulation. It is a work created by a band that shares a rare kind of musical DNA. And speaking of DNA, there is a real sharing of that stuff of life: Drummer Aniida Versala is Iro Haarla's daughter, and the daughter of drummer Edward Versala (1945 -1999). She follows in big footsteps, doing it with an unusual verve, not only as an instrumentalist but also as a composer. Her "Lost Satellite," a highlight if one must be mentioned, does indeed evoke images of a complex chuck of errant metal set adrift, tumbling in space, traversing the dark firmament, its multiple facets reflecting the moonlight, turning itself—from an earthbound perspective—into an unfixed star.

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SuomiJazz.com/Pentti Ronkanen.

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Haarla, Iro: Ouranos – under the firmament

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Kun ajat ovat raskaat, on hyvä nostaa katsetta yksityisestä yleiseen, ylemmäksi omasta pienestä, ehkä ahdistavastakin maailmasta. Iro Haarla ja hänen Ouranos Ensemblensä katsovat maapalloa niin ylhäältä, ettei ihmisen luomia rajoja enää näy. Tekemällä tehtyjä nuo rajat ovat aina olleet, eikä ihmislajin kehitys hyvältä näytä, tekemällä tehdään vielä pitkään.

Kehitysoptimismia ei näinä aikoina ole paljoakaan ilmassa, mutta on mahdoton ajatus että toivon voisi tai saisi kokonaan heittää. Kaikenlaiseen idealismiin on muodikasta suhtautua kyynisesti, mutta kyynisyys on aina ollut halpaa ja helppoa, vaikeampaa on välittää ja vaikuttaa. Ja taide, se voi yhä edes yrittää näyttää tietä ihmiskunnalle.

Ouranos on taivaankansi, Ouranos Ensemblen musiikki nousee maan pinnalta sinne ”kanteen”, sfääreihin. Kappaleiden nimissä ja teemoissa vilahtelevat korkealla liihottavat linnut, revontulet, ilmavirtaukset, kuu, satelliitit ja komeetat. Haarlan huimassa luonnontieteellisessä perspektiivissä ihminen pienenee. Jos mennään peräti taivaankantta puhkomaan, tämä omituinen eläinlaji on vain mitätön häivähdys kosmisessa ikuisuudessa, mutta juuri nyt, juuri tässä, olemme itsellemme kovin tärkeitä. Voisimmeko edes yrittää täyttää oman roolimme kunniallisesti?

Musiikillisesti Under the firmament -albumilla liikutaan minimalistisesta melankoliasta voimallisiin näkyihin, eikä mikään ole yhdentekevää. Säveltäjänä Haarla osaa maalata maiseman muutamalla säästeliäällä siveltimenvedolla, mutta albumin mitassa myös yhtyeen muusikoiden taidokkuus ja heittäytyminen tulevat täysin hyödynnettyä. Haarlan piano, Jone Takamäen puhaltimet, Ulf Krokforsin kontrabasso ja Aniida Vesalan lyömäsoittimet pystyvät yhdessä luomaan tavattoman vaihtelevia ja rikkaita kuvia.

Vierailevaksi laulusolistiksi kolmelle kappaleelle on valikoitunut Aija Puurtinen, joka ei pyri muuntautumaan jazzlaulajaksi, vaan saa välittää viestinsä genrevapaasti tulkiten. Ja aivan kuten yhtyeen jokainen soittaja, Puurtinenkaan ei tavoittele minkäänlaisia taidonnäytteitä, vaan tärkeintä on sanoman ja tunnelman välittäminen.

Piskuinen kiviplaneetta kiertää häviävän pienessä aurinkokunnassa. Ihmiskunta katsoo kaikkeuteen omasta näkövinkkelistään, luo itselleen oman taivaankannen, ouranoksen. Katseen suuntaaminen maan pinnalta ylös ja ulos on kiehtonut lukuisia säveltäjiä, ja nyt on Iro Haarlan vuoro luoda kokonainen musiikillinen maailma tämän tähyilyn herättämien ajatusten pohjalta.

Haarlan taide nousee maan pinnalta, suhteellistaa kokemamme, puhuttelee. Albumista kasvaa ääripäänsä yhdeksi sulattava ehyt kokonaistaideteos, ehyt, vaikuttava ja kestävä.

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Salt Peanuts/Jan Granlie

 

IRO HAARLA OURANOS ENSEMBLE : Ouranos – Under The Firmament:

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Den finske harpisten og pianisten Iro Haarla, har vært en viktig del av den finske jazzen siden hun var en viktig del av ektemannen Edvard Vesala mange, musikalske prosjekter.Hun er en fremtredende utøver, komponist, arrangør og bandleder. I sin lange karriere som en av de mest særegne kreative kreftene i den moderne skandinaviske jazzen, har hun spilt inn plater for ECM Records, finske TUM-Records og Svart Records.

Ifølge presseskrivet vever Iro Haarla Ouranos Ensemble en enormt fargerik verden av lyd rundt Haarlas melodier og ønsker oss velkommen til et nytt sonisk territorium. Det musikalske uttrykket til ensemblet er sterkt og dypt, bestående av finske anerkjente musikere.Det greske ordet Ouranos betyr himmel (eller himmelhimmel, som kommer opp på Google Translater). Hvert stykke på innspillingen, skildrer, ifølge det samme presseskrivet, på en eller annen måte hendelser som skjer over jorden. Ting vi kanskje ikke ser, men som vi likevel oppfatter som noe som påvirker livene våre.Med seg i ensemblet har Haarla med seg bassisten Uffe Krokfors, som har fulgt henne i mange år, tenorsaksofonisten og fløytisten Jone Takamäki, vokalisten og lydmakeren Alja Puurtinen og trommeslageren Aniida Vesala.

Og de starter med den litt «skumle» «On High with Birds of Passage», men en spennende intro med tenorsaksofon (med mye bruk av luft) og piano. Og når Krokfors kommer inn med sin nydelige basslyd, er i alle fall denne lytteren fornøyd (og vi er bare i starten). Og herfra og ut er dette en nydelig plate, hvor Haarlas pianospill leder an på en fremragende måte. Og når Krokfors legger an et slags riff i bassen, får vi finsk jazz slik vi husker den fra tidligere tider, fra Edvard Vesalas tidlige tider, med utmerket spill over hele linja.

I andresporet, «Deliverence», starter det hele med vokalen til Alja Puurtinen, over et fint trommespill, før Haarlas fine pianospill kommer inn sammen med Krokfors sitt mektige bass-spill. Takamäki kommer inn og vi får en utsøkt komposisjon hvor vokalen ligger tett på noen av de beste vi husker fra 1980- og 1990-tallet, som for eksempel Patti Smith. Mektig saksofonspill, og vi får (nesten) en fornemmelse av det Neneh Cherry gjorde sammen med The Thing. De fortsetter med «Circulation», og piano og bassen som går rett inn i margen av kroppen. Og også her er Haarlas pianospill mektig og usedvanlig flott. Og det er hele vegen en nydelig dybde i spillet, før lekne trommer og en klagende tenorsaksofon overtar. Og tenorsaksofonsoloen her er ytterst kraftig og «tung», og ikke minst «rå», som noen av de tøffeste gutta på 1960- og 1970-tallet. En fremragende komposisjon hvor Haarla og Krokfors styrer det hele med tunge hender.«Northern Light» er noe disse musikerne kjenner godt. Og her får vi en versjon av nordlyset med drivende trommespill i starten, som roer seg før Takamäkis fløyte tar over, og vi får alle de nyansene vi kan ønske oss rundt nordlyset. En nydelig duo mellom trommer og fløyte, før de er over i «Lost Satellite», som starter med perfekt elektronikk over bassen, før den «utenomjordiske» elektronikken blir assistert av de andre musikerne. Og hele vegen lages det en spennende historie fra «out of space». Ytterst spennende og fint!I «At the Meercy of Air» oppholder vi oss definitivt utenfor vår egen klode. Det føles nesten som vi sitter i et romskip og kikker ned på jorden som vi kan se at er i ferd med å ødelegges. Nydelig tenorsaksofon over et aldeles nydelig bass-spill, og med Haarla som styrer det hele fra pianokrakken, før vi får «La Valle de la Luna», en rolig sak med strykebass og piano i front. Og når fløyten kommer inn, med mye luft og som ikke en «vanlig» sølvfløyte, men en hocchiku-fløyte, før vi en nydelig sekvens med bassen, før Haarla kommer inn med nydelig spill, som forteller oss sin betraktning av månen. Vakkert!Så følger «The Green Comet» som starter helt der nede fra intet, før vi får en fin låt hvor man bør legge merke til det fine pianokompet under tenorsaksofonspillet, som kunne vært gjort av Pharoah Sanders eller, kanskje, en relativt ung Jan Garbarek, som nettopp var inspirert av Sanders, og som gjorde platen Triptykon med Edvard Vesala og Arild Andersen i 1992. For tenorsaksofonspillet her er som hentet rett fra Garbareks tidlige periode.Så følger tittelsporet «Under the Firmanent» som avslutning, med mer nydelig vokal fra Alja Puurtinen over piano og bass, før tenorsaksofonen kommer inn, og vi får den perfekte avslutningslåten på en «konsert» vi vil huske lenge.Det er ingen tvil om hva som allerede nå bør bookes til neste åre Tampere Jazz Happening, etter sigende det siste året for bookingsjef Juhamatti Kauppinen. For dette er musikk jeg mer enn gjerne vil høre på konsert, Det er moderne jazz med klare røtter bakover i historien, særlig på grunn av det utmerkede tenorsaksofonspillet til Puurtinen, bass-spillet til Krokfors og pianospillet og komposisjonene til Iro Haarla.En maktdemonstrasjon, hvor musikerne virkelig «setter skapet på plass! Og en usedvanlig spennende reise ut i det ytre rom. Og en ytterst vakker reise!

 

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Iro Haarla (piano), Jone Takamäki (tenor saxophone, hocchiku flute, toppophone, persian ney), Ulf Krokfors (double bass), Aniida Vesala (drums, kalimba, percussion)

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Stereogum/Philip Freeman

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Iro Haarla Ouranos Ensemble - "Deliverance" (Feat. Aija Puurtinen)

 

​Finnish pianist Iro Haarla has made albums for ECM, Svart, and TUM; her music has a stately beauty that brings to mind the frigid landscapes of her home country, but also invites you in like a cabin with a roaring fire. This latest release is on her own Willa Silva label and features her husband, Ulf Krokfors, on bass, alongside saxophonist and flutist Jone Takamäki, vocalist Aija Puurtinen, and drummer Aniida Vesala (her daughter with her first husband, legendary Finnish drummer/composer Edward Vesala). Keeping the music in the family in this way gives it a palpable intimacy; everyone’s on the same page, even when they seem to be at cross purposes. On “Deliverance,” Puurtinen’s lyrics emerge like prayers, vanishing into echo as Vesala’s drums and cymbals build drama behind her, eventually summoning Takamäki, whose saxophone emits cries of animalistic distress as Haarla and Krokfors turn it all into moody beauty.

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Eric Taffyn:

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Iro Haarla Ouranos Ensemble “Ouranos - Under the Firmament”

 

 

Well I am back from another fortnight working on an iron ore mine, the first week spent training operators on diesel electric trucks, just another truck yet very quirky in the extreme and possibly very dangerous to those unwary of their characteristics in braking, reaction time and steering, not a time of much listening. Night shift was not much better, mainly weather interrupted periods withs periods of repair and catch up production, at least I knew there would be some wonderful things waiting for me at home musically.

 

 

Now I have always been an admirer of Iro Haarla’s albums on ECM, “Northbound”, “Vespers” and “Ante Locem”, albums filled with a unique vision of music, no one else sounds quite like Iro or composes like her, not that it is just the possible “strangeness” which is the attraction but more the singular vision of music which she creates, and in the company of such ECM greats as Trygve Seim, Mathias Eick, and Jon Christensen, one hears how she is respected from the “old” and new generation of European musicians that play her pieces.

 

 

Well, waiting for me was a new Iro Haarla album, “Ouranos - Under the Firmament”. Often with musicians who have recorded for ECM, I get the feeling that their other work on other labels is slightly inferior, at least in vision somehow, not a blanket statement but for me it is a case that most musician’s ECM albums deserves an almost sacred place in their catalogue. This is not an ECM album, yet the beauty, musicianship, compositions contained are such that this is more than a worthy partner to those albums in the ECM catalogue, in short a singularly beautiful album.

 

 

The Ouranos Ensemble is a quartet featuring Jone Takamäki on tenor, hocchiku flute (sounding similar to the Japanese shakuhachi), toppophone, and Persian ney, Iro Haarla on grand piano, no harp recordings on this set, long time associate Ulf Krokfors on double bass and her daugher Aniida Vesala on drums, kalimba and percussion. The quartet is joined by vocalist Anja Puurtinen on three tracks.

 

 

 Really have a sense of things not seen but felt and experienced listening to this album, it is very beautiful, although I wouldn’t say pretty, the music is too deep to be pretty but definitely beautiful in what it states, and just as importantly, what it doesn’t state, this is music, notes expressed through space and time. I also got the sense of a healing process in the music although this was not stated, healing in time, in relationships, in understanding, it is an acknowledgement of the ability of creativity to heal. One of the ironies of life is that it takes a tremendous amount of discipline, understanding, trust, respect to create music as freely as this. Although the pieces on the whole are composed, one feels the freedom the musicians have in contributing to the final music we hear on the album.

 

 

The first track, “On High with Birds of Passage”, is simply beautiful. One feels the courage making this the first track. Piano and hocchiku flute freely interacting before joined by the wonderful bass playing of Ulf Krokfors. This will become the track for you on first hearing, such a wonderful composition played beautifully.

 

 

This is followed by “Circulation” which starts of with wistful piano joined in again by some firm bass, it then becomes a very strong piece when the tenor, sounding urgent and some strong drumming join in as well. “The Green Comet”, sounding very free yet focused, towards the end, we are left with a resounding beauty of what we have experienced. “Deliverance Part 1 and 2”. Again a sense of space with the vocalist joining the quartet for both parts.

 

 

Possibly the highlight of the album for me but I can see that changing depending on my mood and more listening is “La Valle De La Luna”, An utterly beautiful introduction, again the sense of space, the space needed to hear, see and understand clearly. Each musician shapes the music yet it is shaped by reverence, there is no sound which is unnecessary. After the intro, bass and exotic woodwinds, we sense something heard before yet totally new, again, you are hearing music, although composed, is played freely, the feeling of reverence pervades this piece. A beautiful piece. The next track, “Lost Satellite”, formed by percussion, both patterns and seemingly random, then joined in by the other instruments, as much as it gives the impression of passing debris, there is beauty, the beauty lies in the lost remnants to be found as all remnants have their own story.

 

 

The final track, “Under the Firmament”, a wonderful ending to a great album. I hear hints of Stephen Sondheim’s “Send in the Clowns”, such is the beauty of the melody. Aija Puurtinen does a wonderful job on the vocals with this, strong yet wistful in turns. One realises the beauty of our past experiences if we take time to look, feel and experience all those elements that have given us life.

 

 

Final word, this is one of the albums of 2024 for me, beautiful compositions, great musicianship, wonderfully crafted. It sits well with her ECM albums yet retains its individual feel of being a new album, a new experience. The album feels very whole and complete, almost a family affair in a way, an album of healing, love and hope.

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