Kalle Kalima (Guitarist)
Touring
Last 25 years have been busy years for Kalima, touring mostly in Europe but also in Africa, Asia and Americas. Kalle Kalima (b. 1973 in Helsinki, Finland) has worked with trumpeters Tomasz Stanko and Leo Wadada Smith, sax players Juhani Aaltonen, Anthony Braxton, Frank Gratkowski and Mikko Innanen, trombonist Conny Bauer, bass players Greg Cohen, Sirone and Chris Jennings, guitarist Marc Ducret, composers Michael Wertmüller and Simon Stockhausen, pianist Jason Moran, drummers Jim Black and Tony Allen and singers Andreas Schaerer, Jelena Kuljic, Theresa Kronthaler, Claron Macfadden, Linda Sharrock as well as with Ensemble Resonanz, B´Rock, NDR Big Band and Jazzanova DJs.
Recordings
Kalimas has been working intensively with the Swiss virtuoso vocalist Andreas Schaerer in last years. They released „Evolution“ (ACT) with Tim Lefvebre in 2023 and toured in trio and duo. Further new releases in 2024 are „Halogen“ (We Jazz) by Lampen (duo with drummer Tatu Rönkkö) and „Ilmonique“ (Tyxart records) by duo with pianist Achim Kaufmann. The album “Flying like Eagles” with Knut Reiersrud on guitar, Jim Black on drums and Phil Donkin on bass was released in 2019 and the record release concert was in the Philharmony of Berlin. Kalima´s Trio “Long Winding Road” with bass player Greg Cohen (Tom Waits, Ornette Coleman) and Max Andrzejewski was touring in 2016 with the “High Noon” album (ACT). The group Klima Kalima with Oliver Steidle and Oliver Potratz won ”Neuer Deutscher Jazzpreis” in 2008 and has released five albums. The sixth one will be released in 2025. Kalima is member of “A Novel of Anomaly” (w Andreas Schaerer, drummer Lucas Niggli and Accordionist Luciano Biondini). The group is releasing their second album „Anthem for No Man´s Land“ in 2025. Kalima is a member of ROKC quartet (album ROWK) with Ronny Graupe (gtr), Oli Steidle (drs) and Chris Pitsiokes (sax). The trio „Johnny La Marama“ with Eric Schaefer (drs) and Chris Dahlgren (bs) has released 4 albums and has collaborated with Novoflot Opera company.
Prizes and Educational work
Kalima is also leading K-18, a Finnish group with quarter-tone accordion that won Jazz- Emma in Finland in 2013. With his solo program “Pentasonic” he plays guitar through electronics into 5 amps surrounding the audience. Kalima received the „Ted Curson“ prize of Pori jazz festival (FI) in 2016. He is a member of the group “Kuu” with Christian Lillinger, Jelena Kuljic and Frank Möbus which claimed positive resonance with their second album “Lampedusa Lullaby” and the third one „Artificial Sheep“. They were nominated for German Jazz Prize in 2022. He has a trio “Tenors of Kalma” with Jimi Tenor, Finnish underground pop star. Their first album “Electric Willow” was released in early 2015 and brought Kalima “Echo –Jazz” Prize nomination in 2016 and the second one „Sounds of Salo“ was also positively received. Kalima was nominated for German Jazz Prize for Guitar in 2022. Kalima is a professor of jazz guitar at the university of Lucerne since 2017.
Press
„Kalle Kalima & K-18 are harmonic chameleons changing colors, textures and lyrical direction at will to effectively captured the cinematic moods of the various films while working strictly in the audio format, the visuals are left up to the listener, 5 stars.“ Brent Black, Critical Jazz.com 6/14 “Kalima is a virtuoso who can do anything from single lines to electronicly altered hyper slide guitar…” (Thomas Wörtche, Jazzpodium 4/03) “A record that documents Kalle Kalima´s flexibility, ability and amazing maturity both as a guitarist and as a band-leader” (Jazzdimensions.de 2001, Carina Prange about “Hippycone”). “…with his guitars Kalle Kalima proves to be a far reaching story-telling talent” (Jazzpodium Nr. 2 02/01, Frithsjof Strauß) “Presenting a combination of reckless abandon and structural thinking, Kalle Kalima (b. 1973) is one of the most fascinating Finnish musicians at the moment. …the guitarist has managed to formulate a unique sound both as a musician and as a tunesmith. Currently residing in Berlin, Kalima plants the roots of his music deeply in the Nordic landscapes and the hectic urban life of the German capital.” (Helsinki happens 01/01, Petri Silas, Finnland.)
Selected Discography
Nuijamiehet . (2000) Fiasko Records FRCD-2.
Momentum Impakto. “Haw Haw” (2000) Jazz4ever LC 065
Kalima Trio with Marc Ducret. “Hippycone” (2000) Silence-0004
Johnny La Marama (2003) Meta Records
Soi: “Pehmeä” (2003) Texicalli Records
Kalle Kalima (2004) “Klima Kalima Helsinki on My Mind” Zyx Music
Johnny La Marama (2006) ”…Fire” Traumton
Soi: “Koiperhonen” (2006) Texicalli
Klima Kalima: “Chasing Yellow” (2007) Enja
Jazz Paracites: “Very Early” (2008) Jazzwerkstatt
Kalle Kalima Pentasonic: “Iris in Trance” (2009) La Lune
Johnny La Marama: “Bicycle Revolution” (2009) Traumton
Kalle Kalima with K-18: “Some Kubricks of Blood” (2009) TUM
Klima Kalima: “Loru” (2010) Enja
Kalle Kalima with K-18: “Out to Lynch” (2012) Tum
Klima Kalima :”Finn Noir” (2013) Enja
Kuu: “Sex gegen Essen” (2014) Shoebill Records
Kalle Kalima with K-18: Bunuel de Jour (2014) Tum
Johnny La Marama: Il Purgatorio (2014) Traumton Records
Tenors of Kalma: Electric Willow (2015) Enja Records
Kronthaler: Living loving Maid (2015) Sony Classical
Kalle Kalima: High Noon (2016) ACT
Kuu!: Lampedusa Lullaby (2018) ACT
Kalle Kalima & Knut Reiersrud: Flying like Eagles (2019) ACT
Kuu!: Artificial Sheep (2021) ACT
Klima Kalima: “Live on Planet Berlin” (2022) Enja
Andreas Schaerer with Kalle Kalima inviting Tim Lefvebre: Evolution (2023) ACT
Tenors of Kalma: Sounds of Salo (2023) Enja
Kronthaler: Some Call Him Johnny Grey (2024) BMC
Achim Kaufmann and Kalle Kalima: Ilmonique (2024) Tyxart Records
Lampen: Halogen (2024) We Jazz Records
www.kallekalima
Press:
„Kalle Kalima & K-18 are harmonic chameleons changing colors, textures and lyrical direction at will to effectively captured the cinematic moods of the various films while working strictly in the audio format, the visuals are left up to the listener, 5 stars.“ Brent Black, Critical Jazz.com 6/14
“Kalima is a virtuoso who can do anything from single lines to electronicly altered hyper slide guitar…” (Thomas Wörtche, Jazzpodium 4/03)
“A record that documents Kalle Kalima´s flexibility, ability and amazing maturity both as a guitarist and as a band-leader” (Jazzdimensions.de 2001, Carina Prange about “Hippycone”).
“…with his guitars Kalle Kalima proves to be a far reaching story-telling talent” (Jazzpodium Nr. 2 02/01, Frithsjof Strauß)
“Presenting a combination of reckless abandon and structural thinking, Kalle Kalima (b. 1973) is one of the most fascinating Finnish musicians at the moment. …the guitarist has managed to formulate a unique sound both as a musician and as a tunesmith. Currently residing in Berlin, Kalima plants the roots of his music deeply in the Nordic landscapes and the hectic urban life of the German capital.” (Helsinki happens 01/01, Petri Silas, Finnland.)
Kalle Kalima, composer
Kalle Kalima (b. 1973 in Helsinki, Finland) has composed for his jazz groups as Klima Kalima, Kalle Kalima & K-18, Kuu! and Tenors of Kalma. These compositions can be heard on various albums released by these groups. Kalima has composed orchestral music for Opera Lyon, Ensemble Resonanz (Chamber Ensemble of Elbphilharmony in Hamburg) Jousia Ensemble and B´Rock. He has composed chamber music for Zafraan Ensemble, String Trio of Munich Symphony and big band music for NDR Big Band, Umo Big Band among others.
Orchestral Works
Kalima was commissioned by B´Rock orchestra to compose „Lamento of Dry Rivers“. in 2023 which was played at Beethovenfest Bonn as well as in Thüringer Bachwochen in Erfurt. He arranged „St Johns Passion“ of J. S. Bach for B´Rock in 2024. The production which was called „In your Hands“ was a co-operation with Tall Tales Company. The Premiere was at Bachfestival Dordrecht (NL). His music theater piece for Opera Ensemble „Dido & Aeneas, remembered“ was commissioned by Opera Lyon and played in Lyon eight times in March 2019. The piece was also played at Ruhrtriennale in August 2019 and film version of it was produced by Opera Flanderen in Antwerpen in March 2021. His composition “Louhi” for (for string orchestra and electric guitar) Ensemble Resonanz was commissioned by “Ansbacher Bach Woche” in 2017 and was played also at other festivals in Europe in 2017 and 2018 and by Philharmony of Konstanz. “Kata Heian Nidan” for string orchestra was commissioned by Jousia Ensemble in Helsinki and also played by Pekka Kuusisto and St. Paul Chamber Orchestra in USA in 2014.
Chamber Music and Solo Pieces
He was commissioned in 2022 to compose chamber music for Zafraan Ensemble. On the 3.6.22 following pieces were premiered: ADAC, Queen of hearts, FU2 PTN. Kalima composed „Checks and Balances“ for Ensemble Resonanz String Quartett and Electric guitar ( Premiere8/21) and „Eiskorallen“ for Sonar String Quartett and Electric Guitar ( Premiere 10/21). „Matrix“ for guitarist Otto Tolonen (9/21). This piece was published by Edition Margaux. Kalimas ongoing collaboration with Mezzosoprano Theresa Kronthaler and bassist Oliver Potratz has resulted in arrangements of Monteverdi, Purcell and Händel on albums „Living Loving Maid“ (2015, Sony classic) and „Some Call Him Johnny Grey“ (2024, BMC Records) which is nominated by the „Schallplattenkritik“ on their quarter yearly list. His piece “Shinaz Malbuch” for String Trio of Munich Symphony and electric guitar was commissioned by Echolot Festival in 2017. The piece „Free Dive“ for String Trio, electronics and two improvising solists was first played in Munich 2017.
Big Band Music
He was commissioned be the UMO Big band for „KGB-Suite“ which was premiered in February 2024 in Finland. He was commissioned be the NDR Big Band to compose 60- minute Suite „Pulp Friction“ which was premiered in 2012 and played constantly by different Big Bands in Europe ever since. This suite will be released by the NDR Big Band in 2025. He was commissioned by UMO Big Band to compose „Dance Suite for Domestic Animals“ (2009) and „Lietsonta“ (2013).
PRESS for the composing work:
DE VOLKSKRANT, 2024
„In Your Hands“ sounds like an unlikely combination on paper, but is just so improbably beautiful that it constantly takes your breath away.
Dido & Aeneas, Remembered, 2021 (Opera Film Version)
„…and 45 minutes of new music by Finnish jazz guitarist-composer Kalle Kalima. Kalima adds noise and eerie mood music, plays screeching fusion solos, but he also opens up Purcell’s baroque at the edges, creating an ingenious cross-pollination. Marton’s arrangement was shown live in Lyon in 2019 and during the Ruhrtriennale. For Opera Vlaanderen, he reimagined his directing as a live opera film: Dido and Aeneas was streamed live on Saturday from various ‘sets’ in the Antwerp opera. A rare sensation in corona time: this would not have been better live. The brilliant lighting and camera work, the chosen perspectives, the extreme close-ups, the scene changes and the claustrophobia of the missing overview, they all contribute to a brilliant music film…“ NRC 05/21 (original in Dutch) „
He asked the Finnish composer and guitarist Kalle Kalima to compete with Purcell with new work. Like in the overture. Always daring, but here it works wonderfully. Kalima does not try to make baroque music, but wrote very exciting contemporary music. Classically mixed with a dash of jazz and the occasional African rhythms.“ 27.4.21 De Tijd, Koen van Boxem
Dido & Aeneas, Remembered, 2019
„Als zweites Stück des Festivals „Vies et destins“ zeigt die Opéra de Lyon – nein, nicht Purcells Dido and Aeneas, sondern ein neues Stück mit dem passenden Titel Didon et Énée, remembered. Es basiert auf Purcells Musik und Libretto, verwendet aber nicht ganz alles davon. Dazu kommen Musik des finnischen Komponisten Kalle Kalima, die teils mit purcellschem Material arbeitet, und Texte aus Vergils Aeneïs in englischer (teils französischer) Übersetzung, die der Geschichte Aspekte, die in Purcells schon sehr knappem Libretto abhandengekommen sind (z.B. die Götterwelt), wiedergibt. Konzeption und Inszenierung stammen von David Marton. Einer der musikalischen Höhepunkte war für mich, direkt vor dem berühmten Lamento, eine von Kalima stammende Version der selben Nummer für Chor, der das Stück simultan als eine Art Kanon mit sehr eng gestaffelten Einsätzen singt – ein wenig wie eine verschmierte Fassung. Und damit sind wir bei der Musik, die mir ausgesprochen gut gefallen hat – da standen immer wieder Schnittke und Philip Glass Paten, Purcells und Kalimas Klänge bildeten aber ein stringentes Ganzes. Wie sich z.B. aus dem dissonanten, wilden Streichercluster, der den Abend eröffnet, erst ganz allmählich Purcells Ouvertüre herausschält, ist toll komponiert (denn es korrespondiert genau mit dem szenischen Erinnerungsvorgang) und v.a. vom Orchester in ebenfalls kleiner und barocker Besetzung unter Pierre Bleuse wunderbar und offensichtlich mit Begeisterung gespielt. Als zusätzliche Orchesterfarbe fungiert die von Kalima selbst gespielte EGitarre, die meist liegende Klänge oder Geräusche beisteuert; zu einer Nummer setzt sich der Dirigent gar als Sologeiger auf den Bühnenrand.“ (Operalounge.de, Samuel Zinsli.) “
Louhi 2017
“Hätte Johann Sebastian Bach, lebte er heute, auch für Saxophon oder gar die Elektrogitarre komponiert? Nur so viel ist sicher: Bach war experimentierfreudig und hat einiges zur Weiterentwicklung der in seiner Zeit gebräuchlichen Instrumente beigetragen. Er war überdies ein eifriger Bearbeiter eigener und fremder Werke, der bei seinen Arrangements immer neue Instrumentenkombinationen verwendete. Der finnische Komponist und Jazz-Rock-Pop-Musiker Kalle Kalima hat während der diesjährigen Bach- woche in Ansbach zwar nicht Bach auf seiner E-Gitarre gespielt, aber im Auftrag des Festivals (und der Musiktage Hitzacker) ein im Geiste Bachs gehaltenes Stück für Streichorchester und E-Gitarre geliefert. In seiner Komposition „Louhi“ jagt Kalima die gleichnamige Hexe aus dem finnischen Nationalepos „Kalevala“ durch fünf barocke Tanzsätze, wie sie auch Bach in vielen seiner Suiten benutzt hat. Allerdings hielt er sich nur vage an den Formenkanon von Bourrée, Gigue oder Gavotte. Er entfachte, von wenigen ruhigeren Passagen mit eingängigen Melodiepartikeln abgesehen, eine wilde Hexenjagd. Seinem Instrument entlockte Kalima teils nach Noten, teils improvisatorisch nach Jimi- Hendrix-Manier jaulende, wispernde, klirrende Klänge, phasenweise solistisch, meist aber im Zusammenwirken mit den fabelhaften Streichern des Hamburger „Resonanz“-Ensembles. Die vom Publikum freundlich aufgenommene Uraufführung von „Louhi“ war der sich am weitesten Richtung Gegenwart vorwagende Beitrag zur jüngs- ten Bachwoche. Die Gemeinde der Bach- verehrer besteht jedoch keineswegs nur aus Puristen.“ (Frankfurter Allgemeiner Zeitung, 9.8.2017, Georg Imdahl.)
“Kalle Kalimas „Louhi“ lässt sich als Spiegelbild der Gegenwart hören. Kalima zeichnet es vielschichtig. Da ist der Furor von Maschinenrhythmen, da sind denaturierte Streicherklänge, Geräusche, Glissandi, hohes Pfeifen, Sirren. Das alles in einen polyphonen, rhythmisch intrikaten Ablauf gebracht. Kalima schreibt herausfordernde Stimmverläufe. Er schichtet auch Ausdruckslinien übereinander, lässt vielerlei Vertrautes anklingen, baut aus Zerfallenem, aus Musikresten der Hoch- und Populärkultur neue Schönheiten, zerkratzt, verzerrt und nicht sonderlich dauerhaft, aber dann doch eben: Schönheiten – nicht zuletzt, weil er so expressiv E-Gitarre spielt, auf ihr improvisiert. Das Ensemble Resonanz, herb, kernig, zupackend im Klang, steht ihm souverän zur Seite.” (Westmittelfranken, 5.8.2017, Thomas Wirth.)
Kata Heian Nidan, 2014
„Such tension permeated the Kalima work that opened the program, 2013’s “Kata Heian Nidan.” With improvisatory interludes akin to free jazz for string orchestra, it expanded the orchestral palette with several sorts of sounds one wouldn’t expect. While challenging, it proved a worthwhile visit to the world of a Nordic musical adventurer.“ (Twin Cities.com 1.112014, Rob Hubbard.)
Living Loving Maid, 2015
“Sensationell aber ist ihre Begleitung: Kalle Kalima, der finnische Gitarrist mit Wohnsitz Berlin, sonst um keine Noise-Attacke aus seiner E-Gitarre verlegen, erinnert hier wieder einmal daran, was für ein vorzüglicher, wandlungsfähiger und sensibler Musiker er ist. Seine Gitarren klingen im einen Augenblick nach dem schwirrenden Endlos-Legato eines Robert Fripp, im nächsten hart und hohlkörprig wie im Country. Man hört: Kalimas eminent vielstimmiger Sound entsteht zuallererst in den Fingern. Wie es ihm gelingt, dieser harmoniesatten, melodietrunkenen Musik ergeben zu dienen und sich doch in jedem Takt die Freiheit des Improvisators zu nehmen, in dessen Spiel die Musikgeschichte bis zum Jazz und allen Varianten des Rock allgegenwärtig ist: Das ist absolut meisterhaft.” (Hamburger Abendblatt, 9.4.2015, Tom R. Schultz.)
UMO Jazz Orchestra and Kalle Kalima 2009
„Kalima’s six pieces were collectively entitled Dance Suite for Domestic Animals, being part of a wider series of music at the art’s center under the title Party in Art And Art in Party. Taking a near traumatic personal experience with farmyard creatures as his initial inspiration, Kalima’s titles bear witness to his approach to the construction of the whole piece. Opening with “Mad Cow Limbo,” then “Red Bull Tango” and concluding the first half with “Chicken Vindaloo,” the music offered ample room for rigorous workouts by band soloists on alto-sax, clarinet, trumpet and tenor sax. The last section also included an extended contribution on tablas and congas from veteran percussionist Mongo Aaltonen, whose work has enlivened many local jazz and rock recordings over the years. Driving the rhythms in an Easterly direction brought yet another dimension to this thoroughly European musical event.
The concluding section included “Stock Market Crash on the Planet Boo Boo,” “Eternal Unification of Two Guitar Cables,” and “XL Swing with Fries.” Here again were solid rhythms, glimpses of melody and in the second piece a hypnotic tranquility built between Kalima’s guitar solo and band drummer Markus Ketola, underlining the value of sparseness among large agglomeration of musicians. Kalima reveals that he has absorbed a wealth of influences over his 35 years, citing particularly Frank Zappa, Duke Ellington, Gil Evans, Mingus and Ligeti, not to mention his former local mentors and composers, bassist Teppo Hauta-Aho and guitarist Raoul Björkenheim. With a palette encompassing such variety it is truly inspiring to listen to a musician who has expanded his own resources into a composer’s ample toolkit, and yet still retains his individual touch and style. Keep it up Kalle! (Antony Shaw, All About Jazz, 14.10.2009)