Jakub Gucik - Vastitas Borealis (2020)

Jakub Gucik

Jakub Gucik - cello

Vastitas Borealis

IPT 4/2020 CD

By Adam Baruch

This is the second album by Polish cellist/composer Jakub Gucik, following his debut released earlier in 2020, this time recorded completely solo cello, without any electronics. The album presents ten tracks, named after features of Martian landscape, all assumed to be by Gucik (although nothing is specifically mentioned on the album’s artwork, which is as cryptic as the music).

The music is quite fascinating, although solo cello can by trying for even the toughest listeners. With the minimalist and quite meditative character of the music, it requires patience and concentration, but eventually is very rewarding. Obviously Gucik is very courageous to expose himself in such “naked” environment and such unconventional music, and Avant-Garde is supposed to be groundbreaking, which in this case fully justifies the circumstances.

The ten tracks offer pre-composed structures, which are then improvised upon and explored, although not in the conventional Jazzy approach, but rather extensively using contemporary Classical Music toolbox, or spontaneous invention. There are some elements of serialism and minimalism of course, but nothing justifies the classification of this music as belonging to a specific genre. It is first and foremost something created by Gucik’s inner feelings and associations, being of course quite remarkable, as such.

This is a very personal and delicate music, which requires total submission on both emotional and cerebral plains, in order to "get" this music in the first place and then enjoy it, for what it is; repeated listening sessions might prove to be necessary. Overall this album is a bold, risky statement, which deserves praise both for its originality and intrinsic beauty, which combined with the debut certainly marks Gucik as an Artist worth attentive following. Two hits in a row in one year do not happen that often these days.

Kasia Kadłubowska/Dominik Bukowski - Transient (2015)

Kadłubowska/Bukowski

Kasia Kadłubowska - marimba, vibraphone, bendir
Dominik Bukowski - vibraphone, marimba

Transient

DUX 1221

By Adam Baruch

This is the debut album by Polish marimba player/composer Kasia Kadłubowska recorded in a duo format with renown Polish Jazz vibraphonist/composer Dominik Bukowski. The album presents nine compositions, two of which are original compositions (one each) by Kadłubowska and Bukowski and the rest are by contemporary Classical composers like Terry Riley, Philip Glass, Steve Reich, Arvo Part, Eric Satie and American marimba player/composer Paul Smadbeck.

As the names of the composers suggest, the music is mostly contemporary Classical Music, with belongs to the Minimal Music idiom. Although most of the music was not originally written for marimba or vibraphone, it was arranged and transcribed for these instruments by Kadłubowska and Bukowski.

Marimba and vibraphone, although both percussion instruments, are of course capable of playing melody and harmony, which means that the music offers a lot of melodic content, kept within the limitations of Minimal Music, which calls for slowly developing themes and cyclic repetition. It can be quite demanding on the listener, who is not a priori a fan of the genre, but it is great for relaxation and meditation, in addition to its strictly musical values.

Both Kadłubowska and Bukowski play with incredible feeling and obvious virtuosity, and despite the intrinsic lethargy of the music, the albums offers a diversified listening experience to open-minded listeners. Minimal Music has its fans around the world and enjoyed a peak of popularity during the New Age explosion between the 1970s and 1990s, but a steady interest in it remains in the Classical field over the years.

Bukowski’s appearance on this album, which is rather unexpected since his main field of activity if Jazz, proves his diversity and well schooling, as well as highly aesthetic approach to music in general. The two original composition stand proudly shoulder to shoulder with the well-known Classical material, adding another level of credibility to this album. I have no idea why it took six years for this album to arrive on my operating table, but as usual better late than never, as it is definitely worth exploring and a great fun to listen to.

Patryk Lewi Quintet - Logosonus (2021)

Patryk Lewi Quintet

Patryk Lewi - guitar
Michał Borowski - saxophone
Paweł Odoszewski - keyboards
Bartosz Łazarski - bass
Kacper Majewski - drums

Logosonus

PRIVATE EDITION 2021

By Adam Baruch

This is the debut album by Polish Jazz guitarist/composer Patryk Lewi, recorded in a quintet setting with saxophonist Michał Borowski, keyboardist Paweł Odoszewski, bassist Bartosz Łazarski and drummer Kacper Majewski. The album presents seven tracks, all original compositions by Lewi.

The music is contemporary Fusion, based on highly melodic themes, which offer some irregular rhythmic complexity and typical Polish melancholic vistas, which develop very slowly and sometimes hesitantly, but overall coherently and pleasant on the ear. There is definitely very little risk-taking or breaking of new ground, but the music flows smoothly from one tune to the next and offers a relaxed listening experience.

Lewi suffers from a slight Pet Metheny poisoning, but has a nice sound and uses plenty of synthesized effects, which make things a bit more diversified. The rest of the crew plays along amicably, supporting the leader without trying to steal the show. The saxophone parts are somewhat weary and the group would have sounded better as a quartet, where the keyboardist could have shown more of his ability, but that is just my personal point of view. Overall a solid debut, with plenty of potential, but Lewi definitely needs a few more years to polish his armor. For fusion and guitar freaks this is worth checking out.

Marek Konarski - Konarski & Folks (2021)

Marek Konarski

Marek Konarski - tenor saxophone
Artur Tuźnik - piano
Damian Kostka - double bass
Kuba Gudz - drums
Ania Rybacka - vocal (8)

Konarski & Folks

PRIVATE EDITION 2021

By Adam Baruch

This is the debut album as a leader by Polish Jazz saxophonist / composer Marek Konarski, recorded in a quartet setting with pianist Artur Tuźnik, bassist Damian Kostka and drummer Kuba Gudz. Vocalist Ania Rybacka guests on one track. The album presents nine tracks, seven of which are original compositions by Konarski and two are his arrangements of Polish Folk songs.

Konarski spent several years studying and playing in Denmark and Finland and upon his return to Poland he formed this quartet with musicians he met over the years, all of which are by now experienced representatives of the young Polish Jazz scene.

The music is all well within the strict Jazz mainstream idiom, with some Folkloristic influences. As expected, it is highly melodic and offers beautiful themes, which ideally suit Konarski’s saxophone performances, which feature a wonderful sweet, soulful tone. The rhythm section supports the leader superbly, with Tuźnik excellent piano playing supplying the continuity and flow that keeps the music tightly together.

I find Konarski’s treatment of the Polish Folklore motives rather dated, to be honest, somewhat similar to what Zbigniew Namysłowski already perfected over five decades earlier, and many other Polish Jazz musicians handled way more successfully and innovatively over the, but of course it still has a lot of charm.

Overall this is a very pleasant and wonderfully performed Jazz album, with excellent playing by all the participants and a wide appeal to Jazz listeners across the entire range of the genre. It firmly proves the strength of the local scene and is definitely worth to be explored. 

Ślina - 42'00" (2021)

Ślina

Matylda Gerber - alto, tenor & baritone saxophones
Filip Zakrzewski - electric guitar
Mikołaj Nowicki - bass, synth
Stanisław Olek - drums
Michał Skrzypczyński - synth

42'00"

GUSSTAFF GRAM 2107

By Adam Baruch

This is the second album by Polish Improvised Music quartet Ślina, which comprises of saxophonist Matylda Gerber, guitarist Filip Zakrzewski, bassist Mikołaj Nowicki and drummer Stanisław Olek. Synthesizer player Michał Skrzypczyński appears as guest. This time the album presents three tracks, which remain uncredited and therefore assumed to be co-composed by the participating musicians.

The music continues the concept introduced on the quartet’s debut from 2019, which offers a slowly developing musical continuity, building up towards a climax, which sounds like meditation music and requires complete submission and concentration in order to listen to all the detailed performances or alternatively simply ignoring the details and flowing passively on the sonic waves.

Since the musical concept and overall aesthetics of the music are no longer surprising, it does not stir the same sensation the debut managed to create, but on the other hand the conceptual consistency and the attempt to expand it should be appreciated.

The Rock undercurrents, created by the electric guitar, are now even more potent with the addition of the synthesizers, and the music brings fond memories of the British Prog ensembles of the late 60s/early 70s like Third Ear Band, early Soft Machine, Comus, Incredible String Band and others, which of course emphasizes the "nihil novi sub sole" principle, for those who know their music in depth. Nevertheless, this is still very exciting (despite its intrinsic sluggishness) music, different from most other stuff within the Polish Avant-Garde scene. Although the slogan of Gusstaff Records, the label that released this album, is "unnecessary music" (no pun intended), this music certainly is quite necessary in every sense and definitely worth being heard.

Zbigniew Seifert - Live Recordings 1973 & 1976 (2021)

Zbigniew Seifert

Zbigniew Seifert - violin
and others

Live Recordings 1973 & 1976

SWR JAZZHAUS 479

By Adam Baruch

This is a sensational archive album by Polish Jazz violinist/composer Zbigniew Seifert. It presents live recordings from the vaults of the German SWR broadcasting corporation. The first four tracks are performed by a duo comprising of Seifert and legendary German trombonist Albert Mangelsdorff, captured at the 1976 Donaueschingen Musiktage, produced by my friend and Mentor Joachim Berendt. Two of the pieces are spontaneously improvised and the other two are composed one each by Seifert and Mangelsdorff. The fifth track, recorded at the 1973 New Jazz Meeting in Baden-Baden, also produced by Berendt (at his home town), finds Seifert as a member of an international Jazz-Rock Fusion sextet with New Zealand (resident in UK at the time) pianist Dave MacRae, Dutch keyboardists Jasper van`t Hof, Belgian guitarist Philip Catherine, who also composed the tune they perform, German bassist Peter Trunk and British drummer John Marshall.

The duo tracks are simply sensational, a beautiful example of the “Art of the Duo” idiom and Improvised Music at its best. Mangelsdorff was already a veteran pioneer of the duo (and solo) formats by that time, but as far as Seifert was concert this is certainly a rare occasion to hear him is such naked intimate setting, although a few months earlier Seifert recorded his solo violin album, which was still unreleased at the time.

The sextet track reflects perfectly what Seifert was into at the time, playing and recording with European musicians, who recognized his exceptional talent, and paving his way to the international career he was destined for, which sadly never materialized when his lost his battle with cancer.

The SWR vaults are a treasure chest of superb live music, which is being constantly released on records. In this case the material is especially important due to the relatively limited recorded legacy by Seifert, which means that every bit of his music is priceless, especially when recorded at such high sound quality as the music on this album.

Overall this is an absolute essential piece of the Polish Jazz recorded history, which dedicated fans will nor willingly miss. But it is recommended to all European Jazz fans since it reveals the incredibly high level of creativity and versatility the genre enjoyed in the 1970s. Wholeheartedly recommended! 

Marek Kądziela Jazz Ensemble - Marek Kądziela Jazz Ensemble (2021)

Marek Kądziela Jazz Ensemble

Marek Kądziela - guitar
Maciej Kądziela - alto axophone
Jacek Namysłowski - trombone
Paweł Puszczało - double bass
Radosław Bolewski - drums

Marek Kądziela Jazz Ensemble

AUDIO CAVE 2021/004

By Adam Baruch

As hard as it is to believe, this is only the second album as a leader by Polish Jazz guitarist/composer Marek Kądziela, this time recorded in a quintet setting with his brother saxophonist Maciej Kądziela, trombonist Jacek Namysłowski, bassist Paweł Puszczało and drummer Radosław Bolewski. The album presents eight original compositions, all by Marek Kądziela.

During the second decade of the 2000s Kadziela participated in numerous recordings and co-led several Polish and international ensembles, as diverse as Hunger Pangs, Jazabu, K.R.A.N. and KaMaSz as well as his own ADHD. These recordings present a restless, searching spirit, who is constantly trying to re-invent himself and drive towards uncharted territory, crossing genres with ease and competence. Over the years I have had the pleasure to listen to him live as well, which often exposed other aspects of his wide-ranging musical personality. There is no doubt that during that time he established himself not only as one of the leading Polish guitarists, but also as an important leader and trendsetter.

In many respects this album (as Kądziela himself states on the album’s liner notes) is an amalgamation of his experiences up to now, with an emphasis on composition, as much as on his guitar playing skills. The rather unusual sounding ensemble highlights his originality as a sound creator, which enhances the acoustic quintet with skillful use of electronics, creating a modern, somewhat rough and toothed exterior, which hides the melodic contents, without damaging it.

The individual performances are all absolutely stunning, with the leader moving between Wes Montgomery and Jimi Hendrix and back in an instant, always being himself. Namysłowski is a surprise as his playing is more open and daring than usual and the rhythm section does a wonderful job driving the music forward and filling the blanks.

Overall this is a wonderful modern Jazz album, full of great music and intricate individual performances, not easy on the ear and demanding attentive listening, but highly rewarding. Although Kądziela made a giant step forward in his career, deep down he is still a Blues/Rock kid who loves to show his guitar licks, which I personally love as much as all the serious stuff he is playing. Having said that, this album is almost completely free of any Fusion accents, announcing the leader’s full commitment to the Jazz idiom. Hats off! 

Piotr Damasiewicz Into The Roots - Śpiwle (2020)

Piotr Damasiewicz Into The Roots

Piotr Damasiewicz - trumpet, harmonium, percussion
Zbigniew Kozera - bass, drums
Paweł Szpura - drums
Jan Ryt - bag pipe, tin whistle

Śpiwle

L.A.S. 002

By Adam Baruch

This is an album by Polish Jazz trumpeter/composer Piotr Damasiewicz recorded in a trio format with bassist Zbigniew Kozera and drummer Paweł Szpura. Bagpipe player Jan Ryt guests on one track. The album presents six original compositions, all by Damasiewicz. The music was recorded live in a remote village in Polish Beskid Mountains, but the sound is wonderfully clear and authentic. There is some confusion between the running order of the tunes on the album’s artwork, but this is a minor issue.

Damasiewicz managed to establish a position for himself on the local scene as one of the leading Improvised Music / Free Jazz activists and recorded several important albums over time, which for me personally are quite a mixed bag. However, this album immediately proved to be my favorite Damasiewicz album so far. Perhaps the immediacy and intimacy of this recording are more appealing to me than his large ensemble works and other recordings, where he probably tried to say too much.

The album’s title is definitely very appropriate as far as this music is concerned, as it really goes back to the roots. The question which roots is not really relevant, as this music goes back to perhaps the very deepest roots of music itself, with primitive, repetitive and enthralling rhythmic patterns, which were best preserved in African music and from there arrived into Jazz. Perhaps there are also Polish roots here, inspired by the mountains and Folklore traditions surrounding this recording. Damasiewicz manages to incorporate all these elements into highly effective and mesmerizing, hypnotizing music. His trumpet improvisations on top of the steady rhythmic patterns sound more honest, revealing and moving than ever before, at least for me.

The music is somewhat reminiscent to the early attempts to create Jazz-World Fusion by the great pioneers of Jazz, obviously sound-wise closest to the recordings by Don Cherry. By following that path Damasiewicz finds the best of himself in the minimalist trio setting, with his trumpet playing being the clear focus of the entire journey. Strangely, or perhaps not, this is also the most coherent and melodic album he recorded so far, perhaps unintentionally, but undoubtedly highly effective.

Overall this is a wonderful album from start to finish, accessible to a much wider audience than earlier albums by Damasiewicz, and despite its seeming simplicity, his most effective contact with his listeners ever. Beautiful and challenging don’t have to be a contrasting, as this album clearly shows. This music makes you want to dance! Well done!

Andrzej Przybielski & Oleś Brothers - Short Farewell: The Lost Session (2021)

Andrzej Przybielski & Oleś Brothers

Andrzej Przybielski - trumpet
Marcin Oleś - bass
Bartłomiej Oleś - drums

Short Farewell: The Lost Session

AUDIO CAVE 2021/001

 

By Adam Baruch

This is an archival album presenting recordings made by the legendary Polish Jazz trumpeter Andrzej Przybielski, with the superb rhythm section consisting of bassist Marcin Oleś and his twin brother Bartłomiej Oleś (collectively known as Oleś Brothers). These recordings were considered lost for all these years until now, and after being miraculously recovered and restored, are presented here for the first time. The album presents eleven original compositions, one twelve minutes long and the others running from just under half a minute and up to about four minutes. Three of the compositions are credited to Przybielski, six to Oleś Brothers, one to the trio and finally one to Bartłomiej Oleś.

Przybielski and Oleś Brothers recorded together several times, going back to the turn of the Millennium. First they recorded two albums with the Custom Trio, which featured the Oleś Brothers: “Free Bop” and “Andrzej Przybielski & Custom Trio”. At the time the music included here was recorded (2003), they recorded the album “Abstract” and some years later (2010) they recorded the album “De Profundis”. This album is of course a precious addition to their common recorded legacy and a historic document of the outmost importance.

Przybielski, who died in 2011, was one of Polish Jazz most idiosyncratic figures, a fearless Avant-Gardist and a loner, who was rejected by the local Jazz mainstream and its establishment and as a result was offered relatively few opportunities to record and perform, always acting on the artistic fringe. His sublime technique allowed him to play with heartbreaking lyricism and uncompromising honesty, which sadly was recognized by but a few. I was extremely lucky and fortunate to meet and work with Przybielski during the recording of “The Book Of Job” album, which left an immense impression on me at the time.

It is great to see that Przybielski and his music are not forgotten and are preserved by those who knew and worked with him, carrying the legacy to the next generations. Projects, like this one, are beautiful examples of preservation of High Culture, especially in days when the world is being drowned is mindless excrements.

For true fans of Polish Jazz and European Avant-Garde, this album, despite its short playing time, is an absolute must, of course, literally worth its weight in gold. It would be sacrilegious to treat this music as accidental “leftovers” and it deserves to be treated with love and respect. A great memorial gesture celebrating the tenth anniversary of Przybielski’s premature departure.

Michael Kornas - After Darkness/Comes Light (2021)

Michael Kornas

Michael Kornas - piano
Kamila Drabek - bass
Bartłomiej Dybel - drums

After Darkness/Comes Light

SOLITON 1096

By Adam Baruch

This is the debut album by young German (resident in Poland) pianist/composer Michael Kornas, recorded in a classic piano trio setting with Polish rhythm section comprising of bassist Kamila Drabek and drummer Bartłomiej Dybel. The album presents seven original compositions, assumably by Kornas (no info on the artwork), lasting only slightly over half an hour, which is a bit short for a full album, especially a debut.

The music is pretty straightforward mainstream Jazz, based on rather simple melodic themes, which serve as basis for the trio’s performances. The music is mostly lethargic and develops sluggishly, which can be trying for the listener. Obviously these are early days for Kornas as a composer and his ideas need polishing and stylistic diversity, which hopefully will come with time.

The performances are fair, with Kornas concentrating on playing the chords rather than improvising extensively. The rhythm section supports the leader amicably, obviously being more experienced, trying not to disturb the flow of the music. Drabek takes a few bass soli, more than customary for a piano trio album, which are ornamenting the proceedings a bit.

Overall this album is more of a “teaser” than a full-blown offering, and should be probably treated as such. Perhaps recorded a bit to early the music might have been polished with more live performances, but obviously the pandemic prevented that. All the best in the future!