tunto

Cadence Magazine

2018 July edition

MATTI WALLENIUS, who plays accordion, balalaika, charango, clay whistle and a wide array of stringed instruments, leads a group he calls Tunto on ILONA [Aani Records aa-x-032]. This is a record which incorporates little jazz but is quite infectious with 10 tracks [44:47] of rhythmic music played by different musicians out of a line up of 13 total. The jazz element is most present when saxes are employed, always over a carpet of rhythm. Music to accompany (or inspire) you to go into the kitchen and join in with sticks on pots and pans. Wallenius has been putting his music out since the mid 90s. This was my first exposure to it. Curious.

VICTIMOFJAZZ.BLOGSPOT.FI

Tunto: Ilona

Ce trupă „jazz & world” melodioasă, plăcută și percusivă, acești scandinavi atrași de sudul și estul Europei („Abrazo Musica”, „Moscow Music”), Africa de Nord („Moroccan Train Twist Music”) sau Orientul Mijlociu („Bazaar Music”)!
„Ilona” are dublu sens (o specialitate a „casei”), atât numele feminin des întâlnit la maghiari cât și conotațiile lui „ilo” care înseamnă în finlandeză „joy”, adică „bucurie”. Ceea ce și transpare din plin în muzica lor exotică („Mammoth/Kakadu/Lagoon Music”), cu accente cinematice (coperta se pare e preluată dintr-un film semnat de Aki Kaurismäki).

ALLABOUTJAZZ.COM

Tunto: Ilona

Anthony Shaw - May 10, 2018

★★★½

The latest album from Matti Wallenius and Tunto is again primarily centered on his melodious guitar work and the quirky tunes that he and his long-standing reedist Petri Heimonen have come up with. They are all rambling journeys down exotic paths (here often Hispanic or Arabic) where a rich palette of earthy acoustic rhythms are wound together behind the riffs of Wassenius's guitar, multifarious stringed instruments, and various accompanying reeds.

Ilona has to be seen as part of the canon that Wallenius has created with Heimonen under the aegis of Tunto. This is their fifth offering, and all sail rather close to being classified as 'easy listening,' as well as a type of ethnic folk-jazz. This is not to deride either genre, since there is obviously a place for lighter shades of jazz, and all Tunto albums are exquisitely recorded and presented. "Ilona," apart from the female name, is something of a play on the Finnish for 'joy' (ilo) and the album's cover photo figure may be the inspiration for the name, although the title may be Wallenius' s play on the concept of hidden treasures or pleasures. (All their albums feature somewhere the band's name printed in braille text, which is certainly suggestive!) The album has superb clarity and a rich array of timbres, from the laconic sauntering bass, often picked up by the bass clarinet, but it does feel as if the composer has not stepped out of his comfort zone on this album. Or maybe he just knows what he does well!

So, after initial pleasure at seeing Wassenius and company back on the sales counter, there is slight regret that they don't seem to have discovered any new formula to entertain listeners. That said, Ilona is as good a starting point to Wassenius's own dark, laconic, Scandinavian humor as the previous albums. The tunes bounce and tumble in a constant flow of polyrhythms and deft textures, occasional abrupt reorientations, and a perpetual flow of quirky acoustic tweeks.

The stark cover picture could be from an Aki Kaurismäki film, which would suit the humor of the title tracks, so it's a pity that the liner notes are minimalistic. Is Ilona a mythic figure from somewhere exotic, south or east? Or is she the colorful housefrau of the cover, worn down by domestic duties but indulging in gentle daydreams of secret pleasures offscreen? The theme for this album is maybe unimportant; it is sweetly performed, and recommended for burdened AAJ listeners who will be happy to put their feet up, don their slippers and drift away with Tunto's gentle polyphonic rhythms, taking them somewhere indefinable, probably south and or east!

SATAKUNNAN KANSA

Ilari Tapio – 6.5.2018

Tunto: Ilona

★★★★


Kumpi on levyn ja kumpi esittäjän nimi? Miksi kannessa on takaapäin otettu kuva vladivostokilaisen hotellisiivoojan näköisestä matamista? Mistä tässä on kyse?

Kyse on – hetkinen, pitää laskea – kuuttatoista instrumenttia soittavan Matti Walleniuksen Tunto-yhtyeen viidennestä albumista. Se onkin varsinainen seikkailu. Wallenius ja kumppanit matkailevat reippaalla retkimielellä orientista oksidenttiin ja takaisin. Välillä twistataan junassa Marokossa ja välillä vedetään hidasta poskitangoa Buenos Airesissa.

Paremmin kuin omasta tuotannostaan Wallenius tunnetaan muiden muassa Tapani Rinteen, Wimme Saaren ja Vando Suvannon kokoonpanojen kitaristina. Onneksi meillä kuitenkin on ilonamme myös Tunto.

SUOMIJAZZ.COM

Pentti Ronkanen – 2.5.2018

Tunto: Ilona

★★★★☆


Matti Walleniuksen Tunto tekee sen jälleen. Kolmessa vartissa reissataan tehokas musiikkimatka Marokosta Moskovaan. Tunto ei kuitenkaan hae autenttisuutta, vaan sulattaa innoituksensa lähteet yhdeksi: tällainen on maailma ja ennen kaikkea musiikin maailma Walleniuksen näkökulmasta katsottuna.

Wallenius soittaa tutusti hurjaa soitinmäärää, pääasiassa erilaisia kielisoittimia. Edellisen levyn tavoin multipuhaltaja Petri Heimonen on kuuluvin yhteistyökumppani. Kymmenkunta vierasta häilähtää musiikin kulussa, heistä eniten osumia saa basisti Tero Siitonen neljällä kappaleellaan.

Tunto on matkannut elektrojazzista luomumpaan ilmaisuun, lähtökohtana ovat useimmiten akustisten soittimien soinnin kauneusaspektit. Groovehakuisuus, rytmisen kudoksen mukaansatempaavuuden ensisijaisuus on ennallaan. Samalla teokset elävät ja muuntuvat kulussaan, uutta ärsykettä syötetään kuulijalle pitkin matkaa, joten musiikki säilyttää freesiytensä.

Tyypillinen Tunto-musiikki on teemoiltaan pelkistettyä, mutta sointikuvaltaan runsasta. Konsepti toimii. Ilona on hienon levysarjan vahva lenkki, viehättäviä ja viekoittelevia pieniä helmiä täynnään.

Built with Berta.me