Iiro Rantala

“Lost Heroes”

(ACT 9504-2)

The rise of Scandinavian jazz over recent years has been well documented with Norwegian musicians achieving particular prominence. To date Finland has been largely ignored but the country has a rich jazz tradition dating back to Edward Vesala and beyond. 2011 is shaping up to be a good year for Finnish jazz with the signing to ACT of trumpeter Verneri Pohjola and pianist Iiro Rantala. Pohjola’s ACT début “Aurora” has already been reviewed very favourably by the Jazzmann. Rantala’s album is very different but scarcely less noteworthy, a solo piano performance that touches many bases and one which is a worthy addition to recent solo piano triumphs by label mates Vijay Iyer and Gwilym Simcock.

I must confess that Rantala is a new name to me but he is an important figure in his native land where he even has his own television show! On the international jazz scene he made a considerable impression as the leader of Trio Toykeat, one of the most irreverent and entertaining piano trios on the circuit and with several albums to their credit, recorded over the course of an eighteen year career.

Rantala now brings his formidable technique to this solo recording, a celebration of both his jazz and Finnish national heroes, all sadly now no longer with us.. Those honoured on this record range from Jean Sibelius to Jaco Pastorius but with the emphasis largely on jazz. Many of the names include fellow pianists and although some are predictable there a few surprises too. However the most salient factor is that Rantala brings plenty of himself to these performances and his homages transcend mere pastiche. Rantala’s liner notes outline the stories behind the writing of each composition-eight originals plus “Donna Lee”, here dedicated to Art Tatum and Toots Thielemans’ “Bluesette” for Oscar Peterson. It’s obvious from these short verbal vignettes that this is a highly personal recording, the concept of which was strongly encouraged by ACT label boss Siggi Loch. 

The first tribute is to a musician that Rantala considers to be both a jazz and a national hero, the late, great Finnish bassist Pekka Pohjola, father of Verneri. A major figure on the Finnish jazz scene Pekka is something of a national institution. Classically flavoured the piece also owes something to Sibelius with the romanticism of the theme offset by occasional left hand depth charges. Rantala strikes a good balance between melody and rhythm throughout the album, qualities Pohjola brought to his own writing and playing.

Rantala’s “Waltz For Bill (for Bill Evans)” concentrates on the melodic,classically influenced side of Evans’ music. Unashamedly romantic it’s also a moving tribute to a recently deceased Finnish friend, one Visa Nurmi.

Trio Toykeat was celebrated for its humour and there’s something of this in “Can’t Get Up” Rantala’s tribute to maverick electric bassist Jaco Pastorius, a musician that the then thirteen year old Rantala first discovered at the Pori Jazz festival in Finland back in 1983. The humour stems from the fact that the piece is played on the bass keys of the piano only. It’s highly effective and something of a technical tour de force.

Rantala’s poignant tribute to Esbjorn Svensson, “Tears For Esbjorn” represents a total contrast. Infused with an acute melancholia this is music that is direct and simple and which goes straight to the heart of the matter. Almost inevitably it is also profoundly moving. 

“Thinking Of Misty”, dedicated to another piano hero Erroll Garner is altogether more light hearted but there’s a great deal of rhythmic sophistication behind the easy going charm.

“Jean and Aino” is a homage to Finland’s national composer Jean Sibelius and his wife Aino. The couple survived two world wars, the loss of a child and Jean’s battles with alcohol. Living in virtual isolation in the forest Aino acted as Sibelius’ muse and was the catalyst behind many of his finest works. Rantala’s great romantic ballad honours the couple’s relationship rather than directly referencing Sibelius’ work. Like “Tears For Esbjorn” it is relatively simple but eminently effective. 

Rantala paces his programme well, alternating poignancy with humour,measured economy with dazzling technical feats. Hence the next piece is “Donna Lee” (by Charlie Parker or Miles Davis, take your pick), delivered here by Rantala in the bravado style of Art Tatum. Tatum still sounds astonishing today and this is a delightfully playful tribute to the master. Rantala doesn’t mention it but there’s also a certain symmetry here with the Jaco Pastorius inspired piece. Jaco delivered a stunning version of “Donna Lee”, accompanied only by Don Alias’ percussion, on his eponymous 1976 album, effectively his major label début.

“One More Waltz For Michel Petrucciani” marks a return to Rantala’s gentler style, an achingly beautiful tribute to the remarkable French pianist whose talent as a pianist and composer transcended the physical infirmities that saw him dead at the tender age of thirty six. Rantala captures the essence of Petrucciani’s quintessential Gallic qualities in this hauntingly beautiful performance.

Toots Thielemans’ “Bluesette” represents a rather different take on the waltz form with Rantala delivering the piece in the flamboyant style of Oscar Peterson. Rantala regards Peterson as a “father figure of jazz piano” and his inclusion on the list of “Lost Heroes” is relatively predictable. Not so opera singer Luciano Pavarotti who is the dedicatee of the closing “Intermezzo”. Rantala obviously rates opera very highly as an art form and this unashamedly melodic and romantic closer possesses considerable crossover appeal.

“Lost Heroes” represents an impressive ACT début for Rantala. It’s a highly accessible record that encompasses several different styles and moods but without any compromise of Rantala’s artistic integrity. Some may find the concept a little contrived but for me Rantala’s obvious sincerity and flawless technique quickly dispel any lingering doubts. “Lost Heroes” has been universally well received and rightly so, Rantala looks set to become an increasingly influential figure on the international jazz scene.

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