Aki Rissanen - Imaginary Mountains (2025)

By Neil Duggan
Finnish pianist Aki Rissanen has built an impressive discography through collaborations with artists including Rick Margitza, Dave Liebman and Randy Brecker, contributing to 18 albums as either leader or co-leader. Yet he is perhaps best known for the part he plays in leading one of European jazz's most distinctive piano trios, the Aki Rissanen Trio.

The album Imaginary Mountains, the title of which is a nod to the influence of Keith Jarrett's Personal Mountains (ECM, 1989), features jazz with classical influences from Rissanen's early training and also reflects his interest in electronic sounds. This is the fifth release from the trio, which features bassist Antti Lotjonen and drummer Teppo Mäkynen. Their long-time collaboration, both in the studio and on the road, is reflected in their tightly focused interplay, mixed with freely improvised sections.

The trio's distinctive identity becomes immediately clear with the opening title track. Though acoustic piano anchors their sound, Rissanen expands the palette with a vintage 1970s Yamaha CP-70 electric grand piano to provide additional textural layers. This classic instrument, a favorite among notable keyboardists like George Duke, Billy Joel and Alicia Keys, provides the granular quality that helps set this recording apart from its predecessors. Rissanen's adventurous approach to instrumentation is not new territory for him, having explored the rare Omniwerk on a previous release.

"No Regretz" demonstrates the tight interplay that is the trio's hallmark, with each musician having an equal voice in the musical flow. Mäkynen adds a driving beat that moves from relentless to sympathetic; the creative Lötjönen supports Rissanen without crowding his short piano phrases and reflective improvisation. That interplay finds a more brooding shape in the brief "1905."

"For E," a tribute to Erik Satie, emerges as a highlight through its rhythmic stop-start piano phrases that emerge and retreat from the central melody, while inventive tempo shifts create mounting tension, enhanced by the Yamaha's textural contributions. Lötjönen and Mäkynen provide restraint on "Withforest" and compelling grooves on "Glitch In The Heavens," while the improvisational interplay reaches a high point on "High Expectations." The album concludes with "İki Keklik," a mellow reinterpretation of a traditional Turkish folk song.

This fast-moving album constantly shifts direction, seeking your attention through its intensity and improvisational prowess. While it does not always offer easy listening, Rissanen's creative passages over the relentless rhythmic drive conceal pockets of genuine beauty that emerge more clearly with repeated listening.