Tag Archives: Jimi Tenor

Switched On – Jimi Tenor: Multiversum (Bureau B)

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reviewed by Ben Hogwood

What’s the story?

After two collections of career-spanning retrospectives, Jimi Tenor teams up once again with Bureau B. This time the material is brand new, and the label have allowed him free reign within the slight confines of synthesizer, flute and saxophone. He has such a diverse musical history that he could turn his hand to pretty much any form of electronic, jazz or even modern classical, but here his choices tend towards a blend of electronic and jazz.

Working with a typically instinctive approach, Tenor delivered the album within a few months from his Helsinki studio, using drum machines and synthesizer loops as a support for all sorts of treble-range activity.

What’s the music like?

Full of character. Jimi Tenor writes with a good deal of flair and always with a sense of humour, and his solos are packed with melodic content but also unexpectedly poignant moments.

The range of music is impressive, from the ultra-cool Gare du Noir and Monday Blue, with their easygoing vibes, to the upfront Slow Intro, where Tenor employs a fake choir. This leads to Life Hugger, with a flute-led swagger to the Krautrock groove. When the vocals are employed the approach is the same, with Unchartered Waters more song-based and Birthday Magic adding a humourous nod and a wink.

RajuRaju has a short attention span, with frenetic beats countered by rich ensemble passages. It is followed by the longest track, The Way To Kuusijärvi, a lovely slice of mellow flute and keys that give us the chance to kick back and indulge. This being Jimi Tenor, though, there is always some activity underfoot, and the skittish beat means we can’t relax too much! The saxophone solo, when it comes, is a beauty.

Does it all work?

Yes. With most constraints off the table, Jimi Tenor’s ability to think instinctively makes for consistently involving listening. His music is always interesting and full of melodic content, and the humour tops it off. On occasion Multiversum can get a bit ragged, but that’s a small price to pay for some infectiously good vibes.

Is it recommended?

It is. Jimi Tenor’s partnership with Bureau B is clearly good for him – and with the music as colourful as its cover, we can expect a good deal where this came from.

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Switched On – Jimi Tenor: Deep Sound Learning (1993 – 2000) (Bureau B)

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reviewed by Ben Hogwood

What’s the story?

Bureau B have already had an extended look at Jimi Tenor’s legacy from the 1990s in last year’s NY, Hel, Barca – a fruitful foray into his impressively consistent archive. Deep Sound Learning visits a similar era, casting its eye over unreleased tracks from DATs sent by the Finnish artist to Warp Records, his label at the time. Warp preserved the tracks they didn’t use on his albums of that era, so this is a set of previously unheard music from the Tenor vaults.

What’s the music like?

Once again the music of Jimi Tenor is notable for its bold exploration and freedom, and the 19 tracks here cover all sorts of stylistic terrain. The saxophone often features, pulling some of the tracks towards deeper jazz, while many of these pieces of work venture into house and funk.

Colour is an important ingredient of the music, which is never dull, and never coasts. Exotic House Of The Beloved starts off by showing its age in a good way, with a chunky profile and funky beats. Dub de Pablo by contrast is a low slower, with a nocturnal air. Another Space Travel indulges Tenor’s love of a wobbly synth line, while Travellers Cape has an appealing bounce to its rhythm.

The Tenor saxophone blesses a few tracks with its presence, not least the evocative Sambakontu, or setting the scene on Downtown.

Does it all work?

More often than not. Sometimes the music is easily dated, which can be a good thing, but the standard is high. Only a track like O-Sex, with some familiar clichés, sounds like an offcut from the 1990s.

Is it recommended?

Yes. Deep Sound Learning is an ideal companion to last year’s exploration of Jimi Tenor’s early works, and shows just how consistent he could be – and how much fun he had while doing so. There will be something for everyone in this set, that’s for sure.

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Switched On – Jimi Tenor: NY, Hel, Barca (1994-2001) (Bureau B)

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reviewed by Ben Hogwood

What’s the story?

NY, Hel, Barca are the abbreviations of the three cities Finnish producer Jimi Tenor has called home at some point in his life. They also form the title of a retrospective looking at his early career, a double album bringing together music made largely before signing to Warp. That means pride of place for Take Me Baby, the track that got him signed – but which we find is not typical of his output of that period. It is therefore up to Bureau B to give a balanced overview from his first six albums in total.

What’s the music like?

In a word, eclectic – but many more words are needed to do justice to the sheer variety of the sounds here. When Tenor (real name Lassi O. T. Lehto) embarked on his solo career in the early 1990s the presence of jazz was strong in his music, but this selection shows how he has used it to infuse a variety of genres.

Tenor can be something of a master in deep house (A Daughter Of The Snow), but thinks nothing of more wild, experimental musings like Tesla, where the saxophone takes centre stage. There is chunky and cheeky house, the best of which is a genuine anthem, Age Of The Apocalypse – and uncomfortably suitable for the present day, facing its demise but having a great time while doing so! Spell casts off its cares for a few funky choruses, Rubberdressing is as elastic as its name implies, while Sugardaddy throws a few glam rock rhythms into the mix. Then there is Take Me Now – still a deadpan winner 26 years on.

Does it all work?

Most of the time. Some of Tenor’s earlier productions show their age, especially the more salacious house tracks – but overall this is a really rewarding and stimulating collection of music. It is well chosen and well programmed, but shows off his original instincts. None of this music is routine, and a lot of it is really good fun.

Is it recommended?

Very much so. An excellent collection of a producer who has been a deserved mainstay of electronica’s top table for more than two decades, and whose music can cover a wide selection of dancefloors. It should encourage listeners to delve even further into his considerable early output. I know I will!

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This Spotify playlist very helpfully brings together all the tracks on Jimi Tenor’s collection:

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You can buy this compilation from the Rough Trade website here