Krakowskie refleksje zagranicznych artystów z Not Two Records

Krakowskie refleksje zagranicznych artystów z Not Two Records

Autor tekstu: Marcin Kaleta


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Satoko Fujii & Natsuki Tamura

Satoko Fujii — fortepian
Natsuki Tamura — trąbka

"In Krakow In November" (2006)

Wydawca: Not Two Records

Słucham tej płyty bez opamiętania. Brzmi bowiem, jakby powstała tuż po zagładzie Hiroszimy i Nagasaki.

Wszystko rozpoczyna marsz żałobny: "Strange Village". Fortepian przestrzega, że zbliża się rozstanie. Natomiast trąbka cokolwiek się waha, by na to przystać, ostatecznie jednak nabrzmiewa niesamowitą boleścią i rozpaczą. I wspólnie zapowiadają opustoszenie i osamotnienie.

Potem nastaje istny szkwał. Free jazzowy "A North Wind" to już wściekły skowyt bólu.

"Morning Mist" przynosi uspokojenie. Pogodzenie się z koniecznością. Gdzieniegdzie prześwitujące słońce... Dopiero płaczliwa trąbka przypomina, że to... Nazajutrz (fani SF rozumieją). Po Dniu Gniewu. Dniu Zagłady. Po końcu świata. Nie ostało się nic prócz melodii mgieł rannych, skrwawionych, spopielonych.

"Ninepin". Zmiana tonacji. Trochę jak Chopinowskie mazurki. I tęsknota. Przynaglenie. A może jednak istnieje sposób, by coś odzyskać? Cokolwiek.

Szybko pozbawia nas złudzeń jakby nieskładny "A Holothurian", przeistaczając się w lamentację.

Tytułowy "In Krakow, In November" od początku popada w rezygnację. Patos uprzedza wspomnienie tego, co dobre, ale skazane na nieistnienie. Spacerujemy wzdłuż rzeki, pogrążeni w ciemności, wiedząc wszakże, że "jeśli Miasto padnie a ocaleje jeden / on będzie niósł Miasto w sobie po drogach wygnania / on będzie Miasto".

Stąd i pobudka w "Explorer". Niezdecydowana. Lecz nieustępliwa. Burzy się i wzdyma.

I wreszcie "Inori". Kiedyś gdzieś wszystko rozpoczniemy od początku. To, co minęło, odżyje. Może i trwa noc, ale słusznie pisał natchniony mądrością biblijnych proroków Jan Kochanowski: "nie już słońce ostatnie zachodzi".

Duet z Japonii: Satoko Fujii — fortepian oraz Natsuki Tamura — trąbka, nie jest szczególnie znany w naszym kraju. Ubolewam nad tym, jak zawsze, gdy coś naprawdę wartościowego umyka uwadze. Oczywiście nie wszystkie albumy małżeństwa doceniam. Niemniej ten wyróżnia się szlachetnością i rzadko spotykanym pięknem.

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Dominik Duval 

Dominik Duval — kontrabas

"Songs for Krakow" (2007)

Wydawca: Not Two Records

Dominic Duval (1944-2016) był amerykańskim kontrabasistą jazzowym. Przez kilka godzin można by opowiadać, z kim i co nagr(yw)ał. Zamiast tego ad rem: 8 listopada 2007 roku uczestniczył w magicznym koncercie w Klubie Alchemia na krakowskim Kazimierzu. Jego formacja, Trio X (pozostali członkowie to Joe McPhee — saksofon tenorowy i trąbka kieszonkowa oraz Jay Rosen — perkusja), wespół z Mikołajem Trzaską na saksofonie altowym i klarnecie basowym (co dało pełnoprawny kwartet), przedstawiła magiczny repertuar, który złożył się na dwupłytowy magiczny album pt. "Magic" (2009). O nim nie zamierzam jednak teraz pisać. Albowiem dokładnie tydzień wcześniej Duval postanowił w tymże klubie zarejestrować "Songs for Krakow" (2007).

Przebywał zatem w podwawelskim grodzie dłużej. Oczarowany miastem, dedykował mu solowy album. Jak na kogoś, kogo pasjonował nade wszystko free jazz, przedłożył materiał wyjątkowo konkretny. Nie zajmują go eksperymenty. Gra palcami lub smyczkiem, acz tym akurat rzadziej. Utwory, chociaż nie najkrótsze, wydają się zwarte. Oddane zamyśleniu, podporządkowane skupieniu, powierzone uduchowieniu... Również intymne — ostatni, co ciekawe: jedyny na płycie standard, poświęca pamięci rodziców, do których kilka lat później dołączy. Tę muzykę należy odtwarzać bezustannie. Przemawia przez nią miasto, w którym powstała, z tym wszystkim, co je stanowi, odkąd istnieje. Dzieje się to za sprawą kogoś, kto je odwiedził, wyjechał bezpowrotnie, a jednak... wśród nas został.

T

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Wszystkie trzy wymienione w niniejszym tekście płyty wydała krakowska wytwórnia Not Two Records (MW774, MW778, MW816). Tak się mi wydaje, że cały jej katalog wypadałoby przedstawić: to nieprzebrana skarbnica jazzu najwyższej jakości.

Przemek Dyakowski / Leszek Możdżer / Sławek Jaskułke - Melisa (2007)

Przemek Dyakowski, Leszek Możdżer, Sławek Jaskułke

Przemek Dyakowski – saksofony
Leszek Możdżer – fortepian w utworach 1, 3, 6, 8, 9
Sławek Jaskułke – fortepian w utworach 2, 4, 5, 7
Dominik Bukowski – wibrafon
Janusz Mackiewicz – kontrabas
Tomek Sowiński – perkusja
Irek Wojtczak – flet w utworze 3

Wydawca: Outside Music

"Melisa" (2007)

Autor tekstu: Marcin Kaleta

Najprzyjemniejszy polski jazzowy album wszech czasów? Kandydatów wskazać można oczywiście wielu. Państwo na pewno mają własne preferencje i własnych faworytów. Przy okazji, proszę pod postem na FB wpisywać propozycje.

Ja tymczasem zgłaszam "Melisę" (2007) Przemka Dyakowskiego. Znajdziemy tu granie delikatne, stonowane, nieśpieszne. Jak muśnięcie płatków róży. Albo poświata neonów w spokojnej metropolii nocą. Księżyca. Świecy. Bądź niczym poranna rosa. Letni leniwy powiew. I szelest liści. Fascynująco. Porywająco. Kołysząco. Unosząco. Uwodząco.

Lecz granie niebanalne. Przesądzają o tym czynniki elementarne: wybitna pianistyka (Leszek Możdżer w pięciu utworach, Sławek Jaskułke w czterech) oraz wibrafonistyka (Dominik Bukowski), do tego aktywna i kreatywna sekcja rytmiczna (Janusz Mackiewicz na kontrabasie i Tomasz Sowiński na perkusji), wreszcie saksofony lidera rodem z lat 50. Jeszcze flet, incydentalnie (Irek Wojtczak). Utworów mamy dziewięć: jeden jest tradycyjny, po dwa napisali Dyakowski, Możdżer i Bukowski, jeden pochodzi z opery Feliksa Nowowiejskiego, za bonusowy zaś odpowiadają pospołu: nigeryjsko-polski poeta, muzyk i pedagog Larry Ok Ugwu, ponadto Dyakowski z Możdżerem.

Dla mnie ta pozycja była niezwykłym zaskoczeniem. Wcześniej słuchałem Przemek Dyakowski Take It Easy V: "Ach, to był szał..." z piosenkami Jerzego "Dudusia" Matuszkiewicza w wykonaniu Joanny Knitter. W porządku: miłe, lecz zbyt powszednie, mocno estradowe i przygoda, póki co, jednorazowa. Z kolei "Melisa" otulała mnie i osnuwała przez kilka tygodni. Do takiej muzyki się wraca — dla wytchnienia, relaksu. Działa niczym napar z melisy, czyli pomaga ukoić nerwy, uporać ze zdenerwowaniem czy stresem. Żadnych zbędnych popisów, niczego awangardowego. Prostota. Nastrój. Melodia. Powab. Kwintesencja przyjemności.

W tej opinii nie jestem odosobniony. Marek Dusza z pisma "Audio" przyznał najwyższą notę 5/5 w obu kategoriach: wykonanie i nagranie. Bo też materiał został znakomicie zarejestrowany. Do tego przyczynił się Możdżer i dlatego zapewne lider pozwolił mu zanucić na koniec, w "Larry, The Rebel of Love". To już jednak nie był najlepszy pomysł. Nawet ktoś go tam wyśmiał w trakcie (albo on sam siebie). Z tym że nadal przebywamy w krainie jakiejś baśni, stąd można mu wybaczyć. A i odbiorcom to wszystko bardzo się spodobało, o czym świadczy status tzw. złotej płyty w 2008.

Może zatem warto zainteresować się najnowszą pozycją w katalogu Allegro Records: Przemek Dyakowski Take It Easy VI: "Ludmiła", z repertuarem śp. Ludmiły Jakubczak? Zapowiedź brzmi zachęcająco: "Wykorzystując stylistykę swingową, czyli znak rozpoznawczy naszego zespołu, podjęliśmy próbę nadania kompozycjom Jerzego Abratowskiego, Hanny Skalskiej czy Władysława Szpilmana nieco innego koloru, zachowując jednak ogromny szacunek do oryginałów".

Jaromír Honzák Quartet - A Question To All Your Answers (2007)

Jaromír Honzák Quartet

Michał Tokaj - piano
David Dorůžka - guitar
Jaromír Honzák - double bass
Łukasz Żyta - drums

A Question To All Your Answers

ANIMAL MUSIC 005



By Adam Baruch

This is the third album as a leader by Czech Jazz bassist / composer Jaromír Honzák and his first release on the excellent Czech label Animal Music. The album was recorded by a Czech/Polish quartet which also included Czech guitarist David Dorůžka and Polish pianist Michał Tokaj and drummer Łukasz Żyta, both of which played with him on this album's predecessor "Present Past". Clarinetist Tomáš Čistecký, flautist Lucie Čistecká and pianist Vojtěch Procházka appear as guests. The album presents eight original compositions, all by Honzák. Seven on the tracks were recorded at the excellent Studio Tokarnia and engineered by Jan Smoczyński, with the usual superb sound quality. The last track was recorded at the Czech Radio and features the a.m. guests.

Honzák, whom I have been watching closely since many years, proudly continues the Czech Jazz Bass tradition, established by internationally known bassists like George Mraz (really Jiri Mraz) and Miroslav Vitous, but also less known outside of their homeland like Luděk Hulan, František Uhlíř, Karel Vejvoda, Petr Korinek and others. His beautifully round notes and chronometric pulsations are always a guarantee of a perfect rhythm section anchor in the numerous recording he took part in.

But on this album Honzák great forte are his wonderful compositions, which are beautifully woven, versatile and most importantly open enough to be stretched and explored by the quartet members, often towards unexpected directions. As a result this album is a superb ride into the unforeseen, with each track taking the listener on a new adventure. Not losing the sense of melody and coherence, the music has so much freedom and breathing space that the flexibility is endless.

Of course the leader gets fantastic support from the quartet members; Dorůžka, here fourteen years younger than today, is already a bright star on the European scale, while Tokaj and Żyta, despite their relatively young age at the time were already seasoned veterans, capable of playing virtually anything. Together the quartet sounds like an organic unit and in retrospect I'd love to hear this experience repeated again. Overall this is a brilliant album from start to finish, a perfect reflection of 21^st Century European Jazz at its best. Fourteen years later it still sounds perfectly fresh and sparkling with ingenuity, like a gem it is. Absolutely not to be missed!

Theo Jorgensmann & Oles Brothers – Alchemia (2007)

Theo Jorgensmann & Oleś Brothers

Theo Jorgensmann - basset clarinet
Marcin Oleś - double bass
Bartłomiej Brat Oleś - drums

Alchemia

HATOLOGY 646


By Adam Baruch

This is the fourth album by Polish Improvised Music heroes, brothers Marcin Oleś (double bass) and Bartłomiej Brat Oleś (drums) collectively know as Oleś Brothers, with the German clarinetist/composer Theo Jorgensmann. The music was recorded live at the legendary Alchemia club in Krakow, which in the first decade of the new Millennium served as one of the epicenters of the Polish avant-garde scene, and includes five original compositions: two composed by Jorgensmann, one each by Marcin and Bartłomiej and one co-composed by Marcin and Bartłomiej.

This music was recorded just two months after the live recording that produced the "Live In Poznan 2006" album and covers mostly the same material and yet these two dates are quite dramatically different. The Alchemia concert is a pinnacle of this trio's cooperation at the time, summarizing a process of development from the first encounter to the close intimacy achieved herein. The relaxed and contemplative atmosphere of this session and the expanded versions of the compositions, which are present on this album, create a magic moment which was encapsulated for eternity. The special ambience of the club itself might be also responsible for the extraordinary amalgam achieved here by the trio.

This music is also much more "organized" than that presented on the earlier recordings, with a clear emphasis on the compositions and structures rather than the on improvised parts that dominate the earlier recordings. Of course there is plenty of improvisation and wonderful expanded solo sections, but the music, at all times, stays within clearly defined melodic and rhythmic patterns, even at the very climax and up-tempo frenzy. This wonderful balance between the freedom of improvisation and the structure, mostly imposed by the rhythm section, is absolutely stunning.

Of course the individual abilities of these extraordinary musicians are at full display throughout this album, as always. It's worth to listen to this album several times, each time concentrating on just one of the participants in order to be able to fully absorb their individual contributions. But of course only the glorious threesome achieves the full synergy, and the proper way to listen is to try and absorb this synergy into our brains.

This is surely one of the finest examples of the European avant-garde scene at the time it was recorded and a true gem of an album, which has but a few equals. The fact that the prestigious Swiss Hat Hut label decided to include it in its roster is surely an acknowledgment of eminence, which in this case was fully earned. The hearsay has it that Hat Hut has another Oleś Brothers session in their vaults that remains unreleased – now that is a crying' shame!

Wojciech Konikiewicz – My Room 101 (2007)

Wojciech Konikiewicz

Wojciech Konikiewicz - keyboards
Marcin Lamch - bass
Przemyslaw Pacan - drums

 My Room 101

KONTRA BAND



By Adam Baruch

This is the debut album by Polish Jazz keyboardist/composer Wojciech Konikiewicz and his trio called Transgroove, which also includes bassist Marcin Lamch and drummer Przemyslaw Pacan. The album presents eight original compositions (and a bonus remix of the opening track), all by Konikiewicz.

The music is a keyboards-soaked Groove, Funk, Jazz-Rock Fusion, which has been the modus operandi of Konikiewicz since years. Layers upon layers of keyboards supported by a tight, funky rhythm section are a vehicle which carries a series of lengthy and well developed keyboard solos soaring above with passion. In contrast to most Groove recordings however, this music offers a very diverse melodic content, which Groove music seems to carry little about in most cases. The melancholic and lyrical acoustic track (where Konikiewicz plays acoustic piano) is one of the highlights of the album.

Konikiewicz is an absolute wizard with his synthesizers, able to create an infinite variety of sounds and colors, which is truly amazing. The music on this album sparkles with new ideas constantly, and there is not a dull moment for the entire duration of the album. Same goes for the many moods and atmospheric soundscapes, which seem to float in front of the listener like an imaginary movie.

The rhythm section is quite ideal for these proceedings, switching between straightforward timekeeping to delicate accompaniment on the more lyrical tunes. Lamch plays a superbly melodic acoustic bass solo on one track but is forceful and funky on other occasions. The same can be said about Pacan as well. The level of interplay and musical respect between the trio members is remarkable.

This album should reestablish the reputation of Konikiewicz as one of the best among the veteran Polish Jazz musicians. Hopefully he will be able to grace us with new recordings more often than earlier, as we are nor getting any younger. Lovers of Groove, Funk and just great keyboards oriented music should find this irresistible!

Oles Brothers / Theo Jorgensmann – Live in Poznan 2006 (2007) ****

Marcin Oles - bass
Bartlomiej Brat Oles - drums
with
Theo Jorgensmann - clarinet

FENOMMEDIA 006





By Adam Baruch

This is the third album by Polish Improvised Music heroes, brothers Marcin Oles (bass) and Bartlomiej Brat Oles (drums) collectively know as Oles Brothers, with the German clarinetist / composer Theo Jorgensmann. The music was recorded live and includes eight original compositions: four composed by Bartlomiej and two each by Marcin and Jorgensmann.

The music presents a wonderful Free Jazz / Improvised Music setting, full of great melody lines, exciting improvisations, fiery displays of virtuosic abilities and telepathic conversation between the musicians involved. Jorgensmann is a very dynamic, but non-aggressive player, who sounds wonderfully melodic even if he improvises freely, which creates an exceptionally easy-going atmosphere, rarely present on Free Jazz albums.

The Oles Brothers are famous for being the best Polish rhythm section in Free Jazz / Improvised Music environment and this album clearly shows why. They are not only technically perfect but more importantly superbly musical, and as a result the music doest not offer a soloist supported by a rhythm section setup but rather a trio of equally important parts playing together as one.

Large part of the material included here is a live version of the same material recorded by this trio on their previous album "Directions", which was recorded in a studio. Those two albums are a splendid manifestation of how music is influenced by circumstances, the presence of an audience and so on. Basically these two albums should be combined into a double CD release – perhaps when reissued at some later date.

Overall this is one of those instant "classics" which simply leave nothing out and are pieces of Culture captured for posterity. Wonderful listening experience from start to finish!

Shofar - Shofar (2007)

Raphael Rogiński - guitar
Mikolaj Trzaska - saxophone, clarinet
Macio Moretti - drums

KILOGRAM 014







By Adam Baruch

Shofar is an ancient Jewish instrument, usually made of ram's horn, which has been part of the Jewish tradition since its origins. It is mentioned in the Bible frequently and was used to announce holidays and other special events, but later on the sound of the shofar has been also associated with Jewish mourning for the destruction of the Temple and the Diaspora. Hearing the intense and deeply moving sound of the shofar is a mitzvah for any Jewish person. In the contemporary Hebrew language the word Shofar has an additional meaning, referring to a means of communication spreading ideology, bearing news and expressing the opinion of a group of people. It can be a person (announcer, spokesman, representative) or a medium (newspaper, radio station, etc.).

Regardless of the motivation, which stood behind naming the Polish ensemble Shofar, in retrospect it somehow encompasses both of the meanings of the idiom. Founded by guitarist Raphael Roginski, who also leads the excellent ensemble Cukunft, the trio also includes the iconic musician Mikolaj Trzaska and drummer Macio Moretti. This is their debut recording, which consists of their unique interpretations of six pieces taken from the enormous collection of the great Jewish ethnomusicologist Moshe Beregovsky and two famous Jewish liturgical pieces.

The sound of the trio amalgamates several quite diverse backgrounds: Roginski's guitar and Moretti's drums have a distinct Rocky feel whereas Trzaska is deeply embedded in Jazz and Improvised Music. However, there is no clash whatsoever here and the musicians manage to create a unique and quite specific ambience, which transforms the traditional Jewish music into contemporary world of musical expression, without trivializing it in the process, which is often done by the numerous Polish so called Klezmer ensembles, which often never go anywhere beyond being a chaltura (i.e. a worthless and artistically insignificant enterprise).

The onset of Shofar, which followed in the footsteps of Cukunft, announced (like a shofar does) the Renaissance of the contemporary Jewish music in Poland, that in retrospect turned out to be a most fruitful and fascinating development on the local scene, which is exploding with activity in many other musical areas as well. Is spite of the fact that there are practically only very few Jews living in Poland these days, the Jewish Culture, which bloomed on the Polish soil for almost a thousand years, has been apparently implanted into the local cultural fabric so deeply that even the Holocaust didn't manage to destroy it. The seeds planed in that soil are now breaking out with an astonishing vitality. Both Roginski and Trzaska were about to create many other Jewish-related projects later on, including a second album together.

But beyond the historical significance of this album, this is also superb music. The vitality and intrinsic joy of the Eastern European music passes over with full glory to the world of sound created by Shofar, which is also full of reflection, mystery and melancholy, mixed with the humor and ecstasy eminently present in Jewish music. The individual statements by these three musicians are of course first-rate but their magic exists primarily as members of the collective ensemble.

This album, although recorded only less than a decade ago, is already a part of a classic statement made on the Polish Jazz scene, opening a new chapter of the convoluted Jewish-Polish cultural (and otherwise) relationships, made in memory of the countless shofar blasts that reverberated over the Polish soil in the past Millennium.

Piotr Baron – Salve Regina (2007) ****

Piotr Baron - saxophone
Leo Smith - trumpet
Darek Oleszkiewicz - bass
Marvin Smith - drums

CELESTIS





By Adam Baruch

Music and religion go hand in hand since the early days of human history and religion has always been a major force and inspiration for artistic activity, musical and otherwise. But as far as Jazz is concerned, the obvious links between religion and music have been, more often than not, hidden either subconsciously or purposefully. Polish Jazz saxophonist / composer Piotr Baron is one of the few Jazz artists who wears his religion on his sleeve, openly and consistently voicing his Christian belief, both as a person and an Artists, which is beautifully demonstrated by this album.

As the title suggests this album presents three versions of the "Salve Regina" antiphon, tracing its development over time, starting with its earliest 11^th Century incarnation via a 16^th and lastly 18^th Century ones. In addition the album also includes two traditional religious hymns and two original compositions by Baron, which open and then close the album, both kept in similar spiritual mood as the rest of the album.

But if the subject matter of this music is highly unusual, the actual performances are even more astounding, since the music was recorded in the USA and features a quartet, which also includes the Polish (but resident in US) bassist Darek Oleszkiewicz and two American Free Jazz heroes: trumpeter Leo Smith and drummer Marvin Smith (not related to each other). Nolan Shaheed, who was the sound engineer on this recording, plays cornet on one track. This Polish-American quartet is one of the very few of its kind, which features musicians form two continents and from completely different backgrounds playing highly improvised music, which requires a unity of soul and mind of a higher sphere, which evidently was achieved herein.

This music, although mostly highly improvised, originates in the religious music, stating the melody at the start of each of the tracks and then moves away into the free spirit zone, where the musicians stretch out and make their individual statements as well as improvise collectively. The level of individual performances is obviously stellar, but Baron respectfully takes a step back from the position of the leader, allowing the trumpeter to be the dominant soloist on this album. Oleszkiewicz is simply brilliant, carrying the music almost single-handedly as the steady chord and rhythm indicator, allowing the other players complete freedom. His beautiful tone and solos are simply breathtaking. The drummer also keeps a low profile most of the time, as appropriate for this spiritual music, which has not an iota of aggression or unnecessary haste. When Baron does solo, his superb sound and fluidity wholly complete the music, respectfully wondering in the lyrical plane, which reflects his devotion.

Although not an easy piece of music, this is brilliant artistic experience, which true Jazz connoisseurs should be delighted with anytime anywhere and a superb example of music, which has a meaning way beyond the actual sounds. Thank you, as usual, Mr. Baron!

Soundcheck – Soundcheck II (2007)

Maciej Kocinski - saxophone
Krzysztof Dys - piano
Andrzej Swies - bass
Krzysztof - Szmanda - drums

BCD 15





By Adam Baruch

This is the second album by young Polish Jazz quartet Soundcheck, which comprises of saxophonist Maciej Kocinski, pianist Krzysztof Dys, bassist Andrzej Swies and drummer Krzysztof Szmanda. It includes ten original compositions, six of which are by the saxophonist, one by the drummer and three are co-credited to the quartet.

Following up the exceptional debut album was no easy task, but the quartet managed to overcome the famous "second album crisis" with flying colors. This album again presents a series of excellent compositions, which are superbly executed, being much more thought-out, with the three tracks (intro-interlude-outro) enclosing the entire musical content under a unified concept. The music is intended to represent the quartet's search for the meaning of their music, as much as meaning of life. It also reflects their musical inspirations and discloses their influences, like the music of John Coltrane, to whom the longest track on the album is dedicated.

Several changes between this album and the debut are evident, all being a verification of the quartet's rapid development and refining process, all of them for good. The music is definitely more relaxed, with a lot of space and less strict melodic dependency, showing a lot of freedom and allowing much more expanded improvisations. The quartet becomes also more unified, as far as interplay and group performances are concerned. Dys is heard soloing much more often than on the debut album and the rhythm section is much more part of the entire music-making process rather than mostly providing just the rhythmic support. Swies, as usual plays some amazing bass lines.

The music is again the focal point with a series of brilliant compositions, which simply scream "Polish Jazz" time after time, emphasizing the finest qualities of it. Sophistication, lyricism and this time even almost Scandinavian composure. There is less World Music influence this time, but perhaps the quartet will return to that path again in the future.

Overall this is another triumphant achievement for the quartet and for young Polish Jazz, which is alive and kicking like never before. Every true lover of Jazz on this planet will find this music as much enjoyable as it is fascinating. Great stuff!

Irek Wojtczak - Outlook (Allegro Records, 2007) by Adam Baruch

Irek Wojtczak

Irek Wojtczak – saxophones, flute
Piotr Mania- piano
Patryk Stachura – bass
Kuba Staruszkiewicz – drums

Outlook (Allegro Records, 2007)

This is an excellent album by Polish Jazz saxophonist / flautist / composer Irek Wojtczak and his quartet Outlook, which also includes pianist Piotr Mania, bassist Patryk Starucha and drummer Kuba Staruszkiewicz. The album comprises of six original compositions, three of which are by Wojtczak and the other three are co-credited to all the quartet members.

Wojtczak is one of the busiest players on the local scene and is featured on quite a few recordings made in the last decade, both as a leader and a sideman, which span very versatile musical settings, proving that he feels comfortable in any situation. His technical proficiency and musical maturity are truly admirable, as are his compositional skills.

This particular recording is kept in a "retro" Jazz-Rock Fusion atmosphere, emphasized by the excellent utilization of the electric piano, re-creating the ambience of early days of the genre à la Herbie Hancock. But the music is completely original and up to date, with brilliant melody lines, which serve as a vehicle for expanded improvisations by the leader and the pianist. The rhythm section is also first class, providing just the right amount of support for the soloist during their solos and keeping the entire show appropriately slick and funky.

Overall this album is a most pleasant listening experience, with intelligent and aesthetically satisfying music and first rate playing. Both mainstream and Jazz-Rock listeners should find listening to this album a valuable experience. Wholeheartedly recommended!

By Adam Baruch
http://www.adambaruch.com/



Track listing: 1. Walking 2. Supersonic 3. 55-54 4. Jungle in the Cathedral 5. For Leon 6. Vamp

RGG - Unfinished Story (Ecnalubma, 2007)by Adam Baruch

RGG (band)

Przemyslaw Raminiak - piano

Maciej Garbowski - bass
Krzysztof Gradziuk - drums

Unfinished Story (Ecnalubma, 2007)

This is the 3rd album by the Polish Jazz ensemble RGG, which consists of pianist Przemyslaw Raminiak, bassist Maciej Garbowski and drummer Krzysztof Gradziuk. As the title suggests, it is dedicated to the memory of the great Polish Jazz pianist / composer Mieczyslaw Kosz, who died tragically at the ridiculous age of 29, leaving behind him just a handful of recordings and a memory of a brilliant musician, who was destined for greatness, but missed the opportunity; an unfinished story indeed.

The Polish Jazz scene produced a multitude of tribute albums over the years, most of which commemorate the Godfather of Polish Jazz, pianist / composer Krzysztof Komeda. Many of these albums are excellent and worth listening to, but the decision made by RGG to follow a less obvious path (which seems to me their favorite modus operandi) and create a tribute to a much lesser known figure is truly courageous and admirable, especially in view of the fact that rather than present their interpretation of the music composed by Kosz, they created an "in spiritu" homage.

Of the twelve tracks on the album only two are compositions by Kosz and one is a classical piece, which he used as a basis for improvisation (see "Reminiscence", his only album released during his lifetime). The rest of the album is all original and was mostly composed by Raminiak, Garbowski or co-composed by these two. Two tracks are group improvisations and are credited to the trio. The members of RGG concentrate on the less obvious side of the Kosz musical heritage. Although mostly portrayed as a romantic and lyrical player in the Bill Evans vein, he also displayed an enormous longing for the free form improvisation, keeping the melodic fluidity intact, an element RGG members explore to the max. Therefore, although the album is seemingly almost romantically melodic, this is just a clever illusion masterfully created by the RGG musicians. In fact an attentive listening will reveal that most of the music is full of free elements, amalgamated in a way that emphasizes an "organized and orderly freedom".

As usual, RGG members display a phenomenal interplay, switching the spotlight from one instrument to another, changing tempi and melodic hints, all of that with elegance and flair, which keep them apart from most other piano trios in Jazz today.

Although not explicitly specified on the album's cover, it was recorded in the legendary Studio Tokarnia and engineered by Jan Smoczynski, the studio owner, a guarantee of superb sonic quality. The musical quality is of course beyond reproach, and this album joins the other albums by RGG as some of the most important Polish Jazz recordings and superb gems of piano trio Jazz.

By Adam Baruch 

http://www.adambaruch.com/

Track listing:

1. Sunrise [09:53]
2. Reminiscence [04:44]
3. Psalm III [05:19]
4. Signs [05:53]
5. Only Sadness Is Beautiful [03:39]
6. Threedom [05:33]
7. Loneliness [05:24]
8. Fate (Fryt BB-C) Travels [02:49]
9. Ikar's Flight [01:06]
10. We May Meet Up In The Sky [06:06]
11. Unfinished Story [04:38]
12. Polovitzan Dances [03:08]

Aga Zaryan - Picking Up The Pieces (2007)

Aga Zarvan - vocals

Nolan Shaheed  - trumpet
Larry Koonse - guitar
Darek "Oles" Oleszkiewicz - doublebass
Darryl Munyungo Jackson - drums, percussion

Picking Up The Pieces (2007)

This is the 2nd album by the undeniable present-day diva of Polish Jazz, vocalist Aga Zaryan. Recorded almost five years after the debut album, which is an agonizingly long break especially in the initial stage of her career, the album is both a conceptual continuation of the debut and a giant step in her artistic development. The eleven tracks are again predominantly standards with just two originals: one by guitarist Larry Koonse with lyrics by Zaryan and the other by bassist Darek Oleszkiewicz. Koonse and Oleszkiewicz are the main accompanying musicians with percussionist Munyungo Jackson and cornet player Nolan Shaheed contributing on some tracks.

Musically the album is much more challenging than the debut, especially in view of the fact that Zaryan gives up the security of the usual piano-led quartet as her support group and presents mostly a series of intimate duets with the bassist or the guitarist or trios with both of them present. As already mentioned, only a few tracks are further ornamented with percussion or cornet sounds. Her rapport and affinity with her cohorts is absolutely stunning and deeply moving, being examples of the rare intimacy and telepathic musical cooperation like that of pianist Bill Evans and bassist Scott LaFaro.

The overall relaxed and intimate atmosphere hides of course a multitude of exquisite instants of sheer musical joy and there are absolutely no dull moments here from start to finish. One can hardly decide what to savor first: the beauty of the music, the sophistication of simplicity, the twists and idiosyncrasies, the elegance or the charm. Whichever way one looks at this music, it is utterly fascinating without a trace of being a cliché or a déjà vu.

In retrospect this is definitely a milestone recording in the history of contemporary Polish Jazz music and Aga Zaryan's illustrious career so far. It remains a timeless beauty and a favorite album, which I intend to revisit time and again. Extraordinary!

Side Note: This album was originally recorded in Los Angeles in 2006 and released the same year on an independent label. This version of the album is released on Blue Note in 2010, after the legendary Jazz label signed Aga Zaryan as the first Polish Jazz artist in its roster. The sound quality is simply marvelous!

By Adam Baruch
http://www.adambaruch.com/

Tracklisting:
1. Day Dream
2. Throw It Away
3. Picking Up The Pieces
4. Woman's Work
5. Answer Me
6. The Man I Love
7. Here's to Life
8. It Might As Well Be Spring
9. Sophisticated Lady
10. Suzanne
11. Tender As a Rose

Radek Nowicki Quartet - Live (Jazz Forum, 2007)

Radek Nowicki Quartet 

Radek Nowicki - soprano saxophone
Michał Tokaj - piano
Michał Jaros - double bass
Michał Miśkiewicz - drums

Live (Jazz Forum, 2007)

On releasing his CD, Nowicki was aged thirty-one—exactly the same age as Coltrane at the time of his first original album. A pure coincidence and, of course, of no particular significance, and yet it seems like a good omen. After all, if this somewhat accidental record is so good, then what might we expect from those that are meticulously planned... In any case, this is a very mature debut, not only in respect to his performance skills […] and compositional talent. We should also emphasise Nowicki’s general approach to music, his way of thinking and treating jazz […]. Nowicki’s compositions lead to open structures. Aerial and Moonrose are characterised by an aesthetically effective, rough-edged lyricism […] 

By Adam Poprawa, Odra



Track listing:
1. Aerial (Radek Nowicki) 13:14
2. Footprints (Wayne Shorter) 15:26
3. Moonrose (Radek Nowicki) 11:36
4. ESP (Wayne Shorter) 09:28

Irek Wojtczak - Outlook (Allegro Records, 2007) by Maciej Nowotny

Irek Wojtczak – saxophones, flute 

Piotr Mania- piano
Patryk Stachura – bass
Kuba Staruszkiewicz – drums

Outlook (Allegro Records, 2007)

Irek Wojtczak is still young but his career is very interesting example of how young generation avoid being classified in one genre only. He is doing equally fine in experimental "Freeyo" (2009) or "Jebał Was pies" (2010), free jazz "Trio+2" (2011), avantgarde "A-Kineton" (2012) and mainstream releases like this one titled "Outlook". This is just a sample of many more recordings he did during his career but nonetheless proving not only his immense versatility but also that his skills are highly valued by other artists. It is important to note that in all these projects there were involved best musicians and that they may be counted as most important in jazz music in Poland  in recent years.

What distinguish "Outlook" from all previously mentioned discs is that it is Wojtczak's own album, second (as far as I gathered), after "Look to the Sky" (2004) while in 2011 he issued his last disc "Direct Memory Access". This last album was disappointment to me, it was too eclectic, lacked internal coherency. On the other hand when I had the opportunity to listen to material from this record played live during recent JazzArt Festival in Katowice it made very good impression on me! It was very interesting and creative mixture of modern jazz and Polish folk music, so well moulded as nobody else did since such great recordings of the past as Namysłowski's "Kuyaviak Goes Funky". 

"Outlook" is less looking for something new but rather exploring mainstream jazz field but it does so with an astonishiong skill indeed. Everything here is on very high level: great, though young, musicians (pianist Piotr Mania deserves exceptional praise), deep interplay between them, inspiring tunes all composed by the leader. If Wojtczak one day unites in certain future project of his this incredible technical proficieny of "Outlook" and creativity of "Direct Memory Access" or some of his free jazz projects, Polish jazz will obviously gain an artist of the greatest calibre. That is at least what I would like for him to happen!

By Maciej Nowotny
http://kochamjazz.blox.pl



Track listing:
1. Walking
2. Supersonic
3. 55-54
4. Jungle in the Cathedral
5. For Leon
6. Vamp

Piotr Zabrodzki / Artur Lawrenz - Trylobit (Multikulti, 2007)

Piotr Zabrodzki / Artur Lawrenz (duo)

Piotr Zabrodzki - piano
Artur Lawrenz - drums

Trylobit (Multikulti, 2007)

[...] Artur Rubinstein argued with Igor Stravinsky about the nature of the piano. "Piano is utility instrument which sounds exactly like drums" - said Stravinsky to the horror of Rubinstain. Young pianist Piotr Zabrodzki would probably take Stravinsky side in this argument. He had showed it already on recording documenting his project with Japanese drummer of legendary Ruins duo Tatsuya Yoshida. In this duo called Trylobit his place is taken by Zabrodzki friend from Bydgoszcz Artur Lawrenz whose beat is dense, watchful and inspiring. Parallels with Ruins may be found in two jazz-noise torpedoes which open and close this disc. The other four songs are less swift with improvisations meandering mostly along McCoy Tyner paths with typical for him powerful attacks on left side of the keyboard. Trilobites are extinct arthropods covered with calcareous shell. Zabrodzki and Lawrenz music aims to break fossilized heads and tastes. [...]

Track list:
1. Otoczak 2:43
2. Banda Skorupiaków 6:56
3. Ordowik 12:29
4. Nil Admirandum 8:51
5. AX 900-C 6:30
6. Tadek Niejadek kontra Jurek Ogórek 4:15

By Jędrzej Słodkowski (transl. Maciej Nowotny)
source: Gazeta Wyborcza

Pink Freud – Punk Freud (2007)

Pink Freud (band)

Wojciech Mazolewski - bass, percussion
Tomasz Zietek - trumpet
Tomasz Duda - saxophone, bass clarinet
Marcin Masecki - Hammond B3, Wurlitzer electric piano
Kuba Staruszkiewicz - drums

Punk Freud (2007)

This is the 5th album (and the first on Universal) by Polish ensemble Pink Freud, which managed to gain considerable popularity on the local scene, both with Jazz and non-Jazz listeners and critics alike. Formed in 1998 by bassist / composer Wojciech Mazolewski, the group changed its lineup several times over the years but succeeded to maintain its popularity and gradually achieved a cult following and a large fan base.

Musically the group offers a unique amalgam of genres and musical directions, originating with Jazz and improvisation, but also encompassing elements of Punk Rock, dub, jungle, drum and bass and electronic music. In many respects it is a direct continuation of the Yass movement, which flourished in Poland in the 1990s, and could be referred to as post-Yass. Since Yass was initially intended as an expression of rebellion against the established Jazz canons, which many young musicians felt to be stagnant, post-Yass took the rebellion a bit further out, emphasizing the cross-genre trend, groove and even dance elements, which resulted in the music being much more widely accessible. As opposed to the intellectual image that Jazz is usually associated with, this music is intelligent fun music, with some Jazz associations, and should be treated as such, no more and no less. 

On this album Pink Freud appear as trio with the leader and two other founding members: trumpeter Tomasz Zietek and drummer Kuba Staruszkiewicz. Saxophonist Tomasz Duda appears on five of the ten tracks and two female strings players guest on two of the tracks. Nine of the ten tracks on this album are original compositions by the participants and the last track is their interpretation of a Charles Mingus tune. The music is a typical Pink Freud mix of musical ideas, stylistically all over the place, but unified by the highly energetic and expressive delivery. The music definitely retains the rebellious spirit and often lacks the precision and flawlessness a Jazz fan might expect, but one must not forget this music is not about these qualities at all and therefore should not be judged by them. The ultimate question is the overall impression and effect this music has on a listener and if it is successful to make the listener spend an hour having fun while listening, it achieved its goal. Let's make no mistakes here; parts of this music are quite complex and advanced, requiring attentive listening and seriously challenging the listener's ear. Some listeners will mentally "skip" these parts at first, but might (hopefully) discover them later. Regardless of what one might think about Pink Freud and their music, one thing is sure: they can not be ignored. Definitely worth investigating!

Tracks:
1. Dziwny jest ten Kraj 3:13
2. Sex Przemoc Lek i Niemoc 6:22
3. Piasek Piasek Kupa Piasku 2:41
4. Velvet 4:35
5. Wszystko Plynie (intro woda) 2:50
6. Wszystko Plynie 4:02
7. PowiedzialElk 1:50
8. PornoPogoda 4:33
9. PoliceJazz 3:55
10. Canon 11:27

By Adam Baruch
http://www.adambaruch.com/

Piotr Lemanczyk - Village Time (2007)

Piotr Lemańczyk - double bass

Adam Pierończyk - tenor saxophone
Maciej Grzywacz - guitar
Krzysztof Gradziuk - drums

Village Time (2007)

Yet another project by excellent double bassist Piotr Lemańczyk accompanied by his longtime companions: guitarist Maciej Grzywacz and drummer Krzysztof Gradziuk. The recording focus however is on guest saxophonist Adam Pierończyk, one of the most charismatic instrumentalists in Polish jazz. Unfortunately his presence is rather scarce on this album or his aggresive, all-or-nothing style does not fit well with cool and mellow jazz as preferred by Lemańczyk. The outcome of this collaboration if of course of high quality but not up to high expactances one could have after simply going through splendid line-up.

Tracklist:
1.Foreground 2.No matter blue 3.Freak out zone 4.Smile of bliss 5.Able to fly 6.Turn to the mind 7.Better half

By Maciej Nowotny
http://kochamjazz.blox.pl

Mateusz Kolakowski - Ad Libitum (2007)

Mateusz Kołakowski - piano

Ad Libitum (2007)

Mateusz is 21 years old and currently studying classical piano at the music Academy of Katowice. He was the winner of 3rd prize at the International Chopin Competition in Antonin, Poland (1996), and at the Padereweski Competition in Katuuzy (1997). In 1997, he was made a laureate of "Vertuosi per musica di pianoforte" (Usti). He has also performed Beethoven & Mendelssohn concertos with the Polish Youth Symphony Orchestra in Erkelenz, Germany.

Mateusz toured the USA every year from 1998 to 2005, playing in places such as The Knitting Factory in New York City; The Jazz Bakery in Los Angeles, California; Sandy's in Chicago, Illinois; and the 7th Vail Jazz Festival in Vail, Colorado. In 2002, he received a scholarship for the summer Jazz program at Berklee College of Music in Boston, Massachusetts.

At the 2002 Martial Solal competition in Paris, Mateusz won the prize for "The most promising pianist." He has participated in the Montreux Jazz Festival in Switzerland twice, receiving an honorable mention in the Jazz Piano Competition in 2002 and playing with the Oles brothers as the house pianist. During his run as house pianist, Mateusz performed in 14 trio concerts in the "Montreux Jazz Club," playing with Stanley Jordan, among others.

In 2003, his solo recital in Prague was recorded by Czech Radio during the "8th International Festival of Jazz Piano." A CD of the performance "14th Spring" was released in Poland by Jazz Forum. He won the "Jazz Frederyk" in 2002, a prize awarded by the Polish Ministry of Culture. Mateusz has received wide acclaim from leading jazz critics:

"![Mateusz] has accumulated and been blessed with the wisdom to use his harmonic knowledge to achieve believable jazz ends." -Doug Ramsey, Jazz Times (2003)"I was impressed with his touch, harmonic sense, and in particular, his poise-remarkable for one so young."-

Track listing:
1 Nardis 4:48
2 Landmark 9:24
3 14th Spring 9:03
4 Sophisticated Lady 8:45
5 Well You Needn't 12:02
6 Double Kiss 4:15
7 Free for Two 7:17

By Dan Morgenstern

http://www.jazzforum.com.pl/

Piotr Wojtasik - Circle (2007)

Piotr Wojtasik - trumpet

Zbigniew Namysłowski - soprano saxophone (3)
Francois Theberge - tenor saxophone (2, 6-8)
Henryk Miśkiewicz - bass clarinet (5)
Andrzej Jagodziński - piano
Jean Jacques Avenel - bass
John Betsch - drums
Paul Wertico - percussions (1-3, 7, 8)
Tomas Celis Sanchez - percussions (3-6, 8)
Barbara Witkowska - harp (1, 3- 5, 7, 8)

Musicians of Teatr Rozrywki in Chorzów City -
Jerzy Jarosik - flute
Beata Brachman-Szymczyk - flute
Aleksander Komorowski - clarinet
Wojciech Front - bassoon
Marek Kuc - french horn

Circle (2007)

"In 2008 he won a Fryderyk for Jazz Musician of the Year, as well as winning Best Jazz Record for the album Circle". ( http://www.culture.pl )

Track listing: 1. Circle (Piotr Wojtasik); 2. 509 (Piotr Wojtasik); 3. Nicholais Dance (Maciej Sikała); 4. Goose by Goose (Andrzej Jagodziński); 5. Two Pieces with Beatrice (Joachim Mencel); 6. For My Mother (Maciej Sikała); 7. Japanis (Adam Pierończyk); 8. Final (Piotr Wojtasik)

Ecstasy Project – Europae (Monotype Records, 2007)

Ecstasy Project (band)

Rafal Gorzycki - drums
Lukasz Gorewicz - violin
Tomasz Pawlicki - flute
Pawel Nowicki - vibes
Pawel Urowski - double bass

Europae (Monotype Records, 2007)

This is the 3rd album by the Polish ensemble Ecstasy Project, founded and led by drummer / percussionist / composer Rafal Gorzycki. Gorzycki, who is also active in other musical projects, like the excellent Sing Sing Penelope ensemble, formed Ecstasy Project as a vehicle for his compositions, which lay in the fuzzy area between Jazz and contemporary Classical music. The ensemble includes also flautist Tomasz Pawlicki, vibraphonist Pawel Nowicki, violinist Lukasz Gorewicz and bassist Pawel Urowski, and is capable of performing the complex music and creating an atmosphere that bridges between chamber contemporary Classical music and modern Jazz, moving between the two smoothly and seamlessly. The music, almost entirely composed by Gorzycki, is quite intricate at times, but does not cross the point of total alienation to the less experienced listener, keeping enough melody and rhythm to hold on through the more difficult passages. Of course listeners with more experience in Classical music will find this music familiar and quite enchanting from the very first listen. As the title suggests, this is very European music, encapsulating the musical traditions the 19th and 20th Centuries, from neo-romanticism, via atonal experimentation and minimalism, right into the avant-garde. And yet the music is not over-intellectual and leaves a lot to feeling and atmosphere, keeping the overall emotional level alive and aesthetically satisfying. Definitely worth investigation for more adventurous listeners!

Track listing: 1. Maestoso non troppo (7:02); 2. Sempre adaggio (7:38); 3. Allegro vivace animato (4:23); 4. Solo misterioso (1:31); 5. Adlibitum - Allegretto rallentando (9:04); 6. Solo con espressione (1:28); 7. Moderato recitando (9:11); 8. Solo con dolore (1:13); 9. Andantino grazioso cantabile (5:22); 10. Andante con melanconia (6:32)

By Adam Baruch

www.adambaruch.com