"The 70s was a very hectic period for me as alongside different band projects I also worked as a studio musician. This album was something I needed to do, a break from all of it, something of my own, my artistic statement", says Nono S-derberg, looking back.
The mid 1970s was an interesting period in Finnish music. The first wave of Finnish progressive rock that had started in the late 60s ended the very moment Wigwam enteredtheir deep pop era with Nuclear Nightclub (Love Records, 1975). At the same time Finnforest was carrying the torch of the second wave of Finnish progressive rock with their jazz-influenced sound and their acclaimed first album Finnforest (Love Records, 1975). Esa Kotilainen (who also played on Nuclear Nightclub) had acquired a moog synthesizer and everyone wanted a piece of him. As a result Kotilainen painted dreamy landscapes with his synthesizer to many albums in the mid 70s. Altogether many Finnish albums of the time have a very dreamy, sort of a floating atmosphere. If you listen to Nuclear Nightclub, Finnforest, Unisono's Unisono (Hi-Hat, 1975) and Nono (Hi-Hat, 1976) in a row you know what this means.
Nono has always felt like a companion album to Unisono. In addition to that both the albums are jazz fusion and were released through the same label, they also have much in common regarding the compositions - and musicians (Nono S-derberg, Olli Ahvenlahti).
Before his debut album guitarist Nono S-derberg (b. 1945) had already played for approximately 10 years in different pop and jazz groups, including Matti Oiling Happy Jazz Band, Utopia, The Needles and Jussi & The Boys. The Needles was S-derberg's first band and in it he played the bass instead of the guitar. He switched from the bass to the guitar in 1967. In the early 70s he started working as a music teacher in Oulunkyla Pop & Jazz Academy. Around the same time he wrote the first compositions and sketches for his debut album.
Svart Records are happy to reissue the Nono album for the first time since it's original issue in 1975.
