The Progressive Stork
Tarkus no. 26, September 2003
Record collectors know the game where they are to write a list of N albums they would take to the desert island (without thinking where they would find electric power to run the audio equipment). Regardless of how small N number would be I’d put on my list the first album of Haikara.
The group that’s name means “stork” in English was established in 1971 by Vesa Lattunen and Markus Heikkerö. Vesa was at that time a member of Lahti Symphony Orchestra (playing contrabass), Markus was playing percussion and also was a painter – every fan of Haikara knows his surrealistic LP covers. The first Haikara’s line-up was: Vesa Lattunen: piano, organ, guitars, bass, vocal - Markus Heikkerö: drums, percussion – Vesa ‘Wellu’ Lehtinen, former member of Charlies: lead vocal, tambourine, cowbell – Harri Pystynen, also a member of Lahti Symphony Orchestra: flute, tenor saxophone – Timo Vuorinen: bass. All music was written by Lattunen and lyrics by Lehtinen.
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| Haikara in 1972: Vesa 'Wellu' Lehtinen, Harri Pystynen, Timo Vuorinen, Markus Heikkerö and Vesa Lattunen. |
Their first excellent album is a combination of prog, Finnish folk, classical music and some additions of military marches! This is no joke as Harri Pystynen was playing one year in Lahti Military Brass Band. This specific marching rhythm you can especially hear in opening Köyhän Pojan Kerjäys [The Begging of The Poor Boy]. The most characteristic for Haikara is distinctive brass section that magnificently interplays with guitar and organ. Distinctive is also Lehtinen’s vocal. In pompous Luoja Kutsuu [Creator Calls] he sings together with Lattunen making lofty atmosphere. My favourite is Yksi Maa -Yksi Kansa [One Country - One Nation] with light, delicate beginning. As the music goes on the weight is growing evolving into heavy part with guitar and sax solos and marching finale. The whole thing then repeats again. Wonderful! Jälleen On Meidän [Again Is Ours] is falling into psychedelic areas with heavier guitar, sax interplay and more aggressive vocal. The last Manala [Hell] is difficult to describe. Surely, it is the most complex and mature composition – often compared to King Crimson (Larks’ Tongues in Aspic era).
Geafar was recorded without Vesa Lehtinen who left the group to re-join Charlies. His place took Auli Lattunen – Vesa’s sister. There are much different opinions among Haikara’s fans about this album. Some consider it as one of the greatest on Finnish prog scene, some are disappointed as the group went into different direction. That’s true, Geafar is different than other Haikara’s works. I’d say it is more difficult to get into but then giving you great impression. The most distinguish is 14-minute title composition.
Undeservely, the third Iso Lintu [The Big Bird] (that was recorded with Lahti Symphony Orchestra) has an opinion of uninteresting album with mostly poppy tracks. In fact, I find it more influenced by the first one than Geafar. Yes, it is simpler, less developed and cannot compete with the group’s masterpiece but there are some very good compositions with doze of romanticism, especially with a sorrowful atmosphere Kuinka Ollakaan [How About That], Romanssi [Romance] or Aamu [Morning] (reminds of King Crimson’s Moonchild). Romanssi is a part of suite for a group and orchestra Kuutamo [Moonlight] that was recorded for the radio and the tapes exist! so maybe some day we will be able to listen to it.
The band broke up in 1974 and although Lattunen completed another line-up they didn’t record more albums – only two singles presenting simple and poppy music.
Surprisingly, Haikara re-born with the new album Domino released in 1998. Lattunen plays on it often acoustic guitar. Long parts are dominated by Jan Schaper’s saxophone whose play reminds of Kenny G. The music is melodic and optimistic except, the best in my opinion, almost 10-minutes Gloria Deo where rhythmic section (Tommi Mäkinen – bass and Jukka Teerisaari - drums) sound more distinctive than on other compositions. Anyway, it was great to listen to Haikara again.
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Tuhkamaa [Ash-land] released after 3 years was for me undoubtedly progressive album of the year. The band was supported with Hannu Kivilä (cello) and Saara Hedlund (vocals). Especially, cello brought a new spirit and became a balance for the saxophone and guitar. Also its low sound together with low vocal of Lahtunen electrify – like in Valtakunta [Kingdom] or Klovni [Clown]. Probably most famous is Kosovo – instrumental composition with drum roll sound and Balkan folk influences. Excellent album.
Later Haikara has been involved in musical projects of various artists: "A Tribute to Finnish Progressive Rock - Tuonen Tytär" [Death’s Daughter] (they recorded a new version of Yksi Maa -Yksi Kansa) and Colossus’ project "A Finnish Progressive Rock Epic - Kalevala" (will be released by Musea very soon). Actually, the band is working on another Colossus’ project: "The Spaghetti Epic" basing on Sergio Leone famous western Once Upon a Time in the West.
Interview with Vesa Lattunen
And here is the nice surprise for Haikara’s fans – interview with the group leader, Vesa Lattunen. Vesa being very busy with new musical ideas and rehearsals found time to answer several questions and explain many details from Haikara’s life, from their debut until the latest projects.
Piotr Tucholski: Checking information about Haikara I found you played various instruments throughout your carrier: guitars, contrabass, keyboards and more – which one was (is) your favourite one?
Vesa Lattunen: I use keyboards mainly in composing and on stage. I prefer the guitar. My degrees I made with contrabass.
The first album of Haikara is called a real masterpiece. People find influences from King Crimson, Van def Graaf Generator, Frank Zappa... Great names. I find something similar to music of Russian composers like Prokofiev or Mussorgsky... Under whose influence you were during composing this great album?
We made the first album when I was playing in Lahti Symphony Orchestra. There I got to know all the great classical composers. Prokofiev’s Romeo and Julia made a big impact on me but I think Sibelius was even stronger. So, I got the idea to combine these two kinds of music (classical and rock).
Can you describe the atmosphere while preparing the first album? Did you realize it will be so remarkable record?
We were for the first time in a recording studio so it was all new. At first the label people had difficulties to formulate this music. Then the record got great reviews and was nominated "the album of the year" on the radio. To the band it was a big surprise.
Now Haikara’s music style is classified to a broad definition of progressive rock. But how was your music categorized in early 70’s?
The funniest term I’ve heard was “SAUNAPROGE”. Certainly it was from the beginning very national and very Finnish.
You mentioned that in 1972 you were already a member of Lahti Symphony Orchestra. There were the examples of the musicians that shared the interests in classical and rock like Rick Wakeman. However he dropped classical career and became a rock session musician. How did it happen that you managed to play in two so different “bands” at the same time (concerts, recording sessions, rehearsals)?
I had no problems with it. I have even used in one of Haikara’s concert half of the Lahti Symphony Orchestra (composition Kuutamo).
How the leaving of Vesa Lehtinen affected the group?
Well, he was a very colorful and original singer. So, it was a big loss.
The second album Geafar is much different than the rest of Haikara’s output. As if you started musical researches and went into more psychedelic direction. How can you assess this record now?
It was a VERY ambitious record (my sister was the singer) and in some cuts the goal was higher then we could achieve. We even still play one of them (Change) at the gigs. Maybe it was psychedelic because it was the first time I started painting “mind-pictures” with music.
The third Iso Lintu is a very underrated album. I found opinion it is into pop-rock but in fact there are compositions reminding atmosphere from the first work. It looks like after Geafar you decided to come back more to the style you developed at the beginning?
Well, the record company wanted short tracks so I had to make a compromise. I think Romanssi and Fur Hanna still sound good. As a composer its just a professional thing to make any kind of music... Of course progressive style is closest to me.
Romanssi is a part of your composition for group and symphony orchestra Kuutamo that was recorded. Do you see a real chance that it will be issued in near future (maybe on CD together with Iso Lintu)?
We are negotiating about releasing the CD of Iso Lintu with small company but without Kuutamo. They are impressed with this album so we will see.
The LP sleeve on Iso Lintu is much different than surrealistic painting visions of Markus Heikkerö. Why he didn’t designed sleeve also for this album?
It was the company director’s idea. That’s why I had my eyes closed on the photo!
You had tourneé in East Germany in 1974. How do you remember that time?
It was a great tour. In some towns we were the first rock group to perform. It was very funny because the communist party leaders were sitting in the front row. We were told not to play Jimi Hendricks because the crowd went wild. In one big festival in Dresden there were soldiers with machineguns in front of the stage. There was a translator with us but for some reason he didn’t want to translate Yksi Maa - Yksi Kansa (remember Hitler’s slogan: "Ein Folk - Ein Land!!!")
I found information that the band broke up in 1974 during this tour. Is it true? Iso Lintu was issued next year still with Heikkerö and Vuorinen in line-up?
The breakup was after Iso Lintu.
What was the reason of the break up.
I think the main reason was that the drummer and the bass player wanted to play more commercial music to make more money. So I continued with Harri Pystynen (because I had registered the band name) and he really believed in my music. The drummer and bass player tried to take the name Haikara from me behind my back. So it was a really bad feeling to do the last gigs.
Could you tell me what you were doing when Haikara was disbanded? Did you play solo or with other musicians?
Of course I continued composing. I made music for at least 3 plays in the Lahti Town Theatre. Also played some solo gigs (with acoustic guitar). Even now I do acoustic gigs in a duo called VESAJAKE.
After looong break Haikara came back with the 4-th album. The music is dominated with Jan Schaper’s saxophone what is different from earlier records where the instruments greatly interplay with each other. Why did you decide to do so?
I guess I needed something to combine the album together and Jan’s alto sax was right for it. By the way, the monk choir at the beginning of Gloria Deo came to me in a dream.
For many proggers Tuhkamaa was the best album of 2002. So, I’d like to ask you if there is a chance that Haikara’s fans will see another album soon?
Mellow Records is asking about the same thing. I think after Spaghetti Epic we start to rehearse the new one. I have some themes for it already in my head.
I wish to thank you and Haikara for great trip into 70’s Finnish progressive and then back to present!
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