Artist: Jukka Gustavson, Street Level
Album: Natural High
Genre: Jazz Fusion, Jazz Rock
Release Date: 2021
Audio Format:: FLAC (tracks) 24 bit, 44,1 kHz
Duration: 53:28
Total Tracks: 10
Total Size: 587 MB

Tracklist:

1-01. Jukka Gustavson – Downtown Jungle (06:40)
1-02. Jukka Gustavson – First Love (04:59)
1-03. Jukka Gustavson – Oaktree Park Four (03:56)
1-04. Jukka Gustavson – Attention (05:45)
1-05. Jukka Gustavson – Hectic Tact (02:57)
1-06. Jukka Gustavson – Foolish Kids (07:24)
1-07. Jukka Gustavson – Lilac Time – A Romantic Walk In The Old Town (05:11)
1-08. Jukka Gustavson – In the Movement (04:40)
1-09. Jukka Gustavson – It’s Jimmy (04:58)
1-10. Jukka Gustavson – Jig-Saw Puzzle Street (06:52)

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Jukka Gustavson is one of the key figures in the Finnish prog history. After participations as a vocalist and an organist in several bands in Porvoo or Helsinki area he joined WIGWAM in the summer of 1969. His contribution to four classic WIGWAM albums (Hard N’ Horny 1969, Tombstone Valentine 1970, Fairyport 1971 and Being 1974) is essential. GUSTAVSON’s style was fruitfully different from the other leading member, British-born Jim PEMBROKE, who leaned towards tighter, pop-oriented song structures. GUSTAVSON wrote more esoteric and jazzier music, and he was often compared to his main influence Steve WINWOOD of TRAFFIC, especially as a vocalist. The ultimate WIGWAM classic, Being, is for the most part GUSTAVSON’s work. Both GUSTAVSON and bassist Pekka POHJOLA left WIGWAM in favour of notable solo careers, whereas WIGWAM changed the style considerably towards pop under the guidance of Jim PEMBROKE and the new guitarist Pekka RECHARDT (Nuclear Nightclub 1975 was a big commercial success).Jukka GUSTAVSON started his solo output with the album ….jaloa ylpeytt”a ylet”an…. ylev”a”a n”oyryytt”a nousen (1978); the title could be translated Noble pride I reach… sublime humility I rise. The music was composed for the ballet work Yksin yhdess”a (Alone Together) and it reflects GUSTAVSON’s interpretations of the Bible. Next year he became a Jehovah’s Witness. Instrumental album Valon vuoksi (1979) was composed for a dance piece coreographed by his wife Leena GUSTAVSON. Third album Toden toistoa (1981) features also vocals, but the music is bright and airy fusion.

The next album came over a decade later: Bluesion (1992) puts emphasis on piano and features some experimental pieces with sound effects and speech parts. In my opinion that album suffers from too sparse instrumentation and a lack of direction, but the fifth album Kadonnut h”avi”am”att”omiin (1995; Lost in the imperishable) is among his very best. It also could be described as progressive rock instead of a stronger jazz orientation which he has favoured in this millennium.

GUSTAVSON plays several keyboards including electric piano, Hammond and Moog, and he is considered one of the finest keyboardists in the Finnish jazz scene. Without a question he deserves a place in the ProgArchives category of Jazz Rock/Fusion as a highly personal musician with a many-sided output full of progressive elements.