Irek Wojtczak Quintet - Play It Again (2018)

Irek Wojtczak Quintet

Irek Wojtczak - tenor & soprano saxophones, bass clarinet
Tomasz Dąbrowski - trumpet
Piotr Mania - piano
Adam Żuchowski - double bass
Kuba Staruszkiewicz - drums

Play It Again



FSR 2018/06

By Adam Baruch

This is a live recording by a quintet led by Polish Jazz saxophonist/composer Irek Wojtczak, which also includes trumpeter Tomasz Dąbrowski, pianist Piotr Mania, bassist Adam Żuchowski and drummer Kuba Staruszkiewicz. The quintet plays music that was recorded by the "American" quintet led by Wojtczak, which recorded the splendid "Folk Five" album for the For Tune label slightly over a year before this music was recorded. As the title suggests, this recording is another attempt to play almost the same music that was recorded for the "Folk Five" album, but this time by an all-Polish quintet. The album presents eight tunes, all originating in Polish Folklore and arranged by Wojtczak, six of which were already recorded on "Folk Five" and two are new tunes used here for the first time.

The musical concept is of course quite clear: Jazz-World Fusion which transfers some of the treasures of Polish Folklore into the Jazz idiom, an idea that is quite common in Polish Jazz since its Genesis. As usual, some efforts dealing with this concept worked out better than others, but overall the seven or so decades of Polish Jazz produced a sizable and highly original amount of superb music created under this moniker. The aforementioned "Folk Five" album was definitely one of the highlights of that idiom and the attempt to try and repeat the magic that happened on that album was a bold and audacious undertaking. I am happy to say that Wojtczak and his cohorts not only managed to recreate the magic, but also managed to take the music to a higher plane.

There is of course no doubt as to the quality of the music or the level of the execution, they are both simply extraordinary. Therefore the comparison between the two versions of the music must touch upon the fundamental differences between American and European Jazz, of which these two albums are a textbook example or even a paradigm. One might of course say that such comparison is a priori unfair, as the Polish Jazz musicians are way more familiar and culturally accustomed to the Polish Folklore element of the music than their American counterparts. But such argument is simply irrelevant, as these two albums clearly show. These albums are different not because the lack of familiarity with Polish Folklore by the American musicians, but by the intrinsic attitude towards improvisation and even more broadly towards music making, between the American and the European Jazz musicians.

As a result of these fundamental differences "Folk Five" remains an excellent, very well played album, whereas "Play It Again" shows where the same music can get to, when played without the restrictions the American Jazz tradition imposes even on the best musicians. The flair, elegance, imagination, feeling and openness present on this album takes it to a completely new level of awareness and creativity.

But comparisons aside, this is above all a masterpiece of modern Polish/European Jazz, which takes the Jazz-World Fusion idiom light years ahead in comparison to its rather humble beginnings, clearly showing that Polish Jazz is a stronghold of originality, imagination and musical ingenuity. This is an absolute must to every Polish Jazz fan and a supreme gem of an album for all seasons. Hats off!

Rito - Rito (2017)

Rito

Piotr Pawlak – guitar, electronics
Kuba Staruszkiewicz – drums, percussion
Michał Gos – drums, percussion
Jacek Stromski – drums, percussion, tabla, udu

Rito

NASIONO 92/2017

By Piotr Wojdat

Zanim zacznę rozbierać na czynniki pierwsze kolejną płytę na łamach serwisu Polish Jazz, powinienem podkreślić, że za naturalny punkt odniesienia dla zeszłorocznego wydawnictwa zespołu Rito należy uznać album tria Gostrosta sprzed sześciu lat. Stworzyło go trzech perkusistów związanych z alternatywną sceną trójmiejską: Kuba Staruszkiewicz, Michał Gos oraz Jacek Stromski, których nazwiska z pewnością znane są słuchaczom Pink Freud, Mazzoll & Arythmic Perfection, Apteki czy Kur. Muzyka zawarta na "Bum!" w całości opierała się na zestawach perkusyjnych, kalimbie, udu oraz przedmiotach użytku codziennego. Żadne inne instrumenty nie zostały dopuszczone do głosu - co już samo w sobie było oryginalnym pomysłem. Jak się jednak okazało, zawartość płyty nie sprowadziła się tylko i wyłącznie do ciekawego zamysłu twórczego, a imponujące było też wykonanie.

Rito to projekt muzyczny tych samych trzech perkusistów. Dołącza do nich jednak jeszcze Piotr Pawlak, który z gitary elektrycznej potrafi zrobić naprawdę dobry użytek i kiedy trzeba wspomaga się elektroniką. Jego wkład w zawartość albumu jest znaczący. Dzięki tym staraniom nie mamy już tylko do czynienia z muzyką transową, rytmiczną i surową w swojej wymowie. Gitara oraz elektronika poszerzają pole artystycznego rażenia, co skutkuje tym, że słuchacz przenoszony jest w różne wymiary muzycznej psychodelii. Czasami ma ona charakter post-rockowy, kiedy indziej znowu przytłacza intensywnością na miarę dokonań twórców noise’u, by w momentach wyciszenia kierować się w stronę ambientu. Instrumenty perkusyjne wprowadzają z kolei w rytualny trans - i nie tylko dlatego, że nazwa zespołu Rito w języku esperanto oznacza rytuał. Staruszkiewicz, Gos oraz Stromski nie tylko grają na zestawach perkusyjnych, ale posiłkują się też tablą, udu oraz analogowym syntezatorem Tempest.

Muzyka zawarta na "Rito" pochodzi z koncertu, który odbył się w 2015 roku w Teatrze Wybrzeże w Sopocie. Trzeba przyznać, że dzieło imponuje rozmachem artystycznym oraz nieoczywistą wymową i przestrzenią dźwiękowa. Nie bez powodu zostało też wydane akurat przez wytwórnię Nasiono Records, która specjalizuje się w promowaniu muzyki psychodelicznej i eksperymentalnej z Trójmiasta. Jestem przekonany, że “Rito” jest jednym z lepszych przykładów na to, jak sztuka potrafi działać na wyobraźnię i jak silne emocje może wywoływać. I choć z jazzem nie ma nic wspólnego, poza składem personalnym, to zapewne przypadnie też do gustu słuchaczom Innercity Ensemble, Starej Rzeki, Columbus Duo czy Kristen.

Olo Walicki - Kot (czy też kotka?) (2014)

Olo Walicki

Wacław Zimpel - clarinets, harmonium
Stefan Wesołowski - harmonium
Olo Walicki - double bass, harmonium, voice
Allegra Kabuki - voice
Serhij Żadan - voice
Kuba Staruszkiewicz - drums

Kot (czy też kotka?)

By Michał Pudło

Dziwnym zbiegiem okoliczności nigdy nie zdołałem zaprzyjaźnić się z muzyką Olgierda Walickiego. Odkąd sięgam pamięcią, kontrabasista sytuował się na obrzeżach moich poszukiwań. Niebieski Lotnik? W porządku, być może Walicki tworzył od 1989 roku Niebieskiego Lotnika, ale na jedynym wydanym przez grupę albumie (ujmujące „Love Surprise”) na basie zastąpił go Wojtek Mazolewski. Szwagierkolaska? Chciałbym to przemilczeć. Nagrania z Łoskotem? Kilka kapitalnych płyt (zwłaszcza koncertówka z bydgoskiego klubu Mózg), ale w świetle reflektorów przeważnie stał Mikołaj Trzaska. Współpraca z Namysłowskim? Ponownie, reflektory. Upływający czas okazał się dla Walickiego przychylny – z instrumentalisty przeistoczył się w pełnoprawnego kompozytora i jego kariera potoczyła się w interesującym kierunku. Aktualnie ma na koncie muzykę na potrzeby teatru, ścieżkę dźwiękową do filmu i słuchowisko radiowe. Interdyscyplinarną dyskografię zasila właśnie projekt z pogranicza muzyki improwizowanej i poezji: „Kot (czy też kotka?)”.

Połączenie muzyki i poezji? Nie brzmi zachęcająco, zwłaszcza gdy typowe albumy z gatunku „poezji śpiewanej” sprowadzają się najczęściej do niepotrzebnego epatowania ckliwym patosem i muzycznej sztampy najniższych lotów. Próbując wpasować się w tak określoną konwencję Walicki popełniłby życiowy błąd. Ale hej!, kto podejrzewałby muzyka wywodzącego się ze środowiska yassowego o takie pomyłki? „Kot (czy też kotka?)” świetnie broni się przed tego typu zarzutami, ponieważ jest to album w całości przemyślany – „by tak rzec”: koncept-album, 37-minutowa suita w 9 częściach na trzy harmonia, klarnety, kontrabas, perkusję i wokal (Gaba Kulka, ukrywająca się pod pseudonimem Allegra Kabuki, czyta i śpiewa poezję w kilku językach).

Pomysł Walickiego na prezentację poetów nominowanych do nagrody „Europejski Poeta Wolności 2012” może się podobać. Harmonium, obecne bezustannie w tle, wytwarza specyficzną aurę. Jednostajny szum instrumentu nadaje poezji wymiar metafizyczny, można odnieść wrażenie, że wszystkie zegary świata wstrzymały swe mechanizmy, by wsłuchać się w rytm i brzmienie słów. „To Beckettowski zabieg”, podpowiada wyobraźnia. Sporo też minimalizmu wkrada się w momentach nie-poetyckich. Olo Walicki potrafi nie tylko rozwijać cierpliwie obiecującą frazę, ale i generować iście spektralne przydźwięki, podczas gdy Wacław Zimpel, poza iskrzącymi solówkami, umiejętnie schodzi na drugi plan, by poimitować wydechem szum wiatru. Te właśnie eksperymenty i różnorodność zabiegów recytatorskich decydują o wyjątkowości albumu, który – i tu pojawia się moja dobra rada – najlepiej słuchać po pierwsze „od deski do deski”, po drugie ze znajomością sensu poezji (polskie tłumaczenia znajdziemy we wkładce do płyty).

Milosc – Milosc DVD (2012) ****

Tymon Tymanski - bass
Mikolaj Trzaska - saxophone
Jacek Olter - drums
Leszek Mozdzer - piano
Maciej Sikala - saxophone
Jakub Staruszkiewicz - drums

AGORA 9788326812972





By Adam Baruch

This is the DVD version of the film "Milosc" by Polish director Filip Dzierzawski, which is a documentary about the Polish Jazz ensemble Milosc, which was the most influential group on the Polish Jazz scene in the 1990, revolutionizing the approach to Jazz in the country, establishing the Yass sub-genre and most importantly waking up the local scene from the mainstream lethargy, which was overwhelmingly dominating the scene for almost two decades that preceded the 1990s.

Milosc was formally founded in April 1988, when the group which included bassist Tymon Tymanski and saxophonist Mikolaj Trzaska changed its name to Milosc. Soon after the group was joined by clarinetist Jerzy Mazzoll, who left after a brief stay and then the drummer Jacek Olter and pianist Leszek Mozdzer joined the group creating the core quartet of Tymanski / Trzaska / Olter / Mozdzer, which recorded the group's debut album. A year later the quartet expanded into the full stable lineup when saxophonist Maciej Sikala joined them to create the quintet version of Milosc. After several fruitful years and a series of brilliant albums, two with legendary American trumpeter Lester Bowie, the group started to disintegrate, when Mozdzer left in 1998 to pursue a solo career, Olter died tragically after a long mental illness and Trzaska left the group in 2001. A year later the group played its last gig and formally announced the end of its activity in July 2002, after fourteen years of existence.

The documentary, which was filmed during a four years period (2008-2012) pays tribute to the group's history and to the individual personalities, focusing on the meeting of the Milosc members organized in order to prepare for a concert by the legendary original lineup, less Olter of course who was replaced by drummer Jakub Staruszkiewicz. The documentary moves between the scenes captured during these rehearsals, historic footage and interviews with individual members, speaking their minds out. The director wisely avoids any external commentary, simply presenting the reality portrayed by the camera, leaving the spectator free to reach his own conclusions. Although not a typical documentary by any standard, the film presents a cohesive and intelligent document, which highlights several profound observations about people, music and culture.

Milosc was all about freedom. Considering the fact that the group was established at the crucial point of modern Polish political history, when the oppressive Socialistic Regime was about to collapse and Poland was finally to achieve its new political Freedom, Milosc expressed the same feeling of upheaval, but on an artistic plane. Polish Jazz, which exploded with incredible vitality and freedom of expression in the 1960s, slowly ran out of steam as a result of economic and social hardships and by the late 1970s and 1980s it was almost completely devoid of any truly spirited, adventurous, inspired activity and completely immersed into ambitionless mainstream. The young generation of Polish Jazz musicians and fans was about to rebel against this stagnant state of affairs and Milosc was one of the first and most successful demonstrations of this rebellion.

Although initially associated with Free Jazz, Milosc never actually played Free Jazz, surely not close to its American origins established by Albert Ayler, Eric Dolphy and John Coltrane. The group was an amalgam of many musical influences and created a unique and new approach and stylistic expression, which eventually was christened Yass. And Yass was more clear about what it didn't want to be rather than about what it wanted to be, a rebellion against "pretty" melodic, carefully planned, well defined by harmonic conventions music. No more of that old-fashioned bullshit! Yass was "dirty", imperfect, spontaneous, unconventional and constantly changing, but it did not exclude the element of melody and standard meters. Free? Yes by all means, but definitely not Free Jazz.

From the very start Milosc was an impossible combination of conflicting strong personalities and diametrically different musical approaches. Why it managed to exists for such a long time is a mystery and a miracle. But musical miracles do happen and when they do, the listeners are the ones to collect the crops. The musicians, initially euphoric, start to suffer at some point and then simply can't take it any more. The key conflict inside Milosc was always the clash between Trzaska and Mozdzer: a rebel and visionary and a classically trained hipster. This fundamental conflict was what brought Milosc to its knees, but it wasn't of course the only factor. Poland and its cultural environment went through a dramatic change following the fall of the Socialist Regime, and a new reality emerged; politically, socially and of course culturally. This new reality opened up new possibilities and closed the lid on many others, which existed earlier. Such dramatic environmental changes have a profound impact on people, and musicians are people after all.

The 2008 meeting between the Milosc members, which is the focal theme of this film, shows how profound these changes are, so profound that although they are able to play together, they are unable to communicate as human beings. Separated by an unbreachable chasm Trzaska and Mozdzer are further apart that ever, the former representing the Polish avant-garde scene still being its non-formal leader in every sense and the latter representing the absolutely opposite ad-nauseam commercialism; a clash of Titans, which simply has no peaceful solutions.

So is this a film about failure? About ideas and values that get outdated? Personally I don't think so. Yes, sometimes not everything works as planned, but that does not necessarily mean a failure and in some rare occasions failures can be magnificent. I still very much believe that the same values that stood behind Milosc: freedom, pioneering search for artistic truth, personal integrity and the courage to do your own thing, are as much valid today as they have always been. Opportunism and conformism have always been and still are the root of evil.

This film is a wonderful piece of musical history, which sheds some light on a much neglected period in the history of Polish Culture. Although perhaps unintended, it also spotlights some profound artistic and ethic dilemmas, leaving the resolutions to the spectators. An absolute must to all Polish Jazz connoisseurs, wherever they might by!

Irek Wojtczak – The Bees' Knees (2013)

Irek Wojtczak - tenor & soprano saxophones, bass clarinet

Kamil Pater - guitar

Adam Zuchowski - bass

Kuba Staruszkiewich - drums

Sopocka Odessa 008





By Adam Baruch

Jazz is the Art of the unexpected and unexpected is exactly what the listener will get while listening to this music. Although saxophonist / composer Irek Wojtczak, a native of the Baltic Tricity, has an established reputation on the contemporary Polish Jazz scene, he certainly does not allow anybody to conveniently put him and his music in a tight niche, which would characterize his music. Constantly developing, probing and expanding his milieu, which over time covered such diverse areas as mainstream Jazz, Jazz-World Fusion, Jazz-Rock Fusion and experimental Free Jazz, Wojtczak with his chameleonic ability to fit in any environment and to do it splendidly, is a superb example of a modern Jazz musician.

The music presented here is first and foremost an expression of individual freedom within the boundaries of a collective. The four musicians truly play together here, but at the same time allow each other a lot of individual space. There are clearly defined melodies and chord changes, but the music turns and twists constantly in each and every direction – harmonic, rhythmic and thematic. There are impressive solos, elegant group improvisations and intelligent moves on behalf of all the participants. Wojtczak, who composed all the music herein, is a very liberal leader, which results in collective creativity rather than musical conformity or obedience. The choice of the guitar, rather than piano, as the quartet's harmonic instrument suits Wojtczak's music ideally in this case. All that remains is to hop on and enjoy the ride!

Side Note: The above are my liner notes for this album. I was honored to be asked by Irek to write them and thank him for his confidence.

This album, recorded with guitarist Kamil Pater, bassist Adam Zuchowski and drummer Kuba Staruszkiewicz, is in many respects a direct continuation of the previous meeting between Wojtczak and Pater, which produced the superb "A-Kineton" album, and expands the cooperation between these two musicians even further. It presents eight original compositions, all by Wojtczak, which span a wide range of moods and emotions, all being Free spiritually, but firmly attached to melodic themes, creating a unique overall effect of elegant anarchy. The solo work and the team work of all the quartet members are simply amazing.

Wojtczak emerges here as a rightful member of the elite of Polish Jazz, a status he earned fair and square by years of playing with countless other musicians as a sideman and leader, recording and most importantly constantly developing, always embracing new ideas and never allowing himself to be trapped for too long in one place.

This piece of music is the epitome of modern Jazz, well beyond Fusion, Free and any other specific sub-genre, as it encompasses them all; a true amalgam. Definitely not to be missed!

Polish-Jazz blog provides media patronage for new album by Irek Wojtczak !!!

Irek Wojtczak

Irek Wojtczak - saxophones, bass clarinet
Kamil Pater - guitar
Adam Żuchowski - double bass
Kuba Staruszkiewicz - drums

The Bees' Knees (2013)




By Adam Baruch

Jazz is the Art of the unexpected and unexpected is exactly what the listener will get while listening to this music. Although saxophonist / composer Irek Wojtczak, a native of the Baltic Tricity, has an established reputation on the contemporary Polish Jazz scene, he certainly does not allow anybody to conveniently put him and his music in a tight niche, which would characterize his music. Constantly developing, probing and expanding his milieu, which over time covered such diverse areas as mainstream Jazz, Jazz-World Fusion, Jazz-Rock Fusion and experimental Free Jazz, Wojtczak with his chameleonic ability to fit in any environment and to do it splendidly, is a superb example of a modern Jazz musician.

The music presented here is first and foremost an expression of individual freedom within the boundaries of a collective. The four musicians truly play together here, but at the same time allow each other a lot of individual space. There are clearly defined melodies and chord changes, but the music turns and twists constantly in each and every direction – harmonic, rhythmic and thematic. There are impressive solos, elegant group improvisations and intelligent moves on behalf of all the participants. Wojtczak, who composed all the music herein, is a very liberal leader, which results in collective creativity rather than musical conformity or obedience. The choice of the guitar, rather than piano, as the quartet's harmonic instrument suits Wojtczak's music ideally in this case. All that remains is to hop on and enjoy the ride!

Leszek Mozdzer & Tymon Tymanski Polish Brass Ensemble - Chopin Etiudy Przystanek Woodstock (2012)

Leszek Mozdzer & Tymon Tymanski Polish Brass Ensemble

Antoni Ziut Gralak - trumpet
Bronislaw Duzy - trombone
Marcin Slusarczyk - alto saxophone
Ireneusz Wojtczak - soprano and tenor saxophone
Leszek Mozdzer - piano
Ryszard Tymon Tymanski - double bass
Kuba Staruszkiewicz - drums

Chopin Etiudy Przystanek Woodstock (2012)

By Monika Okrój

This recording is influenced by four personalities and, respectively, four musical circles as represented by Frederic Chopin, Leszek Możdżer, Tymon Tymański and... Jurek Owsiak. Joining together in order to revive Chopin timeless music the project may be seen as searching for common ground between the classical music, modern jazz, yass and… rock influenced mass festivals. To be able to grasp better how such a diversity might work let us look closer at the protagonists of this unique enterprise: 

Leszek Możdżer's improvisations on Chopin's works are among the best in this genre, and certainly the most original. His first album "Chopin - impresje" (1994) was reissued to commemorate the composer's 200-birth year as a "Impressions on Chopin" (2010). Pianist often includes the reminiscences of those albums in his concert repertoire. 

The meeting of Leszek Możdżer with Ryszard Tymon Tymański again on one stage is also significant. Their musical roads came together in the late 80, when formed already legendary jazz band from Tri-city "Miłość" („Love”), from which hatched the concept of "yass" (merger of jazz, punk rock and folk) and subsequently spread over a fair part of then young music scene. 

And there is also Jurek Owsiak – a great figure of Polish charity, the founder of "Wielka Orkiestra Świątecznej Pomocy”. It is a foundation which every year collects money to help the sick, especially children, by buying the necessary equipment for hospitals. His foundation since 1995 also organizes fully sponsored festival “Przystanek Woodstock”, inspired by the Woodstock, with music - willy-nilly - rather different from jazz. 

When Leszek Możdżer was asked to give a concert at the festival, he didn't hide his embarrassment: “this is a specific festival - said in an interview for the Polish Radio Dwójka - hundreds of thousands of free people under the stage. It was a heavy mental strain for me, even though I was only an hour on stage, the whole half a year I was disturbed by this term. I didn't know how it will look like. Two days before the concert I wrote arrangements. I knew that if I take “hooligan-boys” to the team and we play together on the big stage, we will be understood". 

In result, the concert was listened by 200 thousand of people, what can be heard on the recording full of cheers, whistling, vibrant reactions. The evidence of what was happening at this festival is a voice of Jurek Owsiak, or rather what remained from it. Możdżer always so very eloquent and talkative on stage, this time adapted his announcements to the omnipresent noise; sometimes it sounds funny for a jazz fan - "Etude in E-major, E-major, which we love and respect”. So what about the music? The arrangements are various and Chopin's themes - if they occur - very clear. In the original pieces, particularly in etudes, it is possible to hear many, both rhythmical and melodic layers which attests to their richness. This “hooligan” approach to the very sensitive matter on the one hand deprives them of such value, but on the other hand gives back the pure essence. Educational role? Why not? 

In the recording, we find several themes arranged literally, but there are also others, that contain only shreds of themes and chords, as for example Etude in G-flat major, Op 25 no 9, which begins with a strong, funky drum solo, and then develops vigorously along hardbop lines. Another Etude in C major Op 10 no 7, very "brillante" in its essence, is the one where we can hear the melody in parts of wind instruments, sounding like a big band, in a midst of which we can hear Możdżer’s improvises. In the opening Etude C major Op 10 no 1 the pianist fiery plays the original in the background, when the band firmly plays vertical chords. Each piece is actually a separate story, has its own tension, is a source of concern and curiosity, as the famous Etude in C minor Op 10 no 12 “Revolutionary”, played in kind of "tempo rubato" and completely free. And just here, the bass solo of Tymon Tymański makes the silence in the audience. 

The band manages to sneak in an unusual way the wonderful themes even in a pretty romantic version: Prelude in E minor Op 28 no 4, very often played by jazz musicians, was played here almost like a ballad. It's incredible in the end, when Leszek Możdżer plays original Etude in E major Op 10 no 3 - the best proof that Chopin's music was received with approval, that the great music stands no artificial borders. Celebrating 200th years since the birth of this arguably most famous of Polish composers, this album is the most credible evidence that the clashes of different cultures and aesthetics could give great results indeed!

Tracklist:
1. Etiuda C Op. 10 Nr 1
2. Etiuda F Op. 10 Nr 9
3. Etiuda E Op. 10 Nr 3
4. Etiuda C Op. 25 Nr 12
5. Etiuda Ges Op. 25 Nr 9
6. Etiuda C Op. 10 Nr 7
7. Etiuda C Op. 10 Nr 12
8. Preludium E Op. 28 Nr 4
9. Etiuda E Op. 10 Nr 3 Solo

Gostrosta - Bum! (2012)

Gostrosta (trio)

Jacek Stromski - big drum, bamboophone, udu, gongs, sham drum, tambours
Kuba Staruszkiewicz - drums, glasses, drum machine, percussion, air
Michał Gos - drums, gongs, percussion, water strings, kalimba

Bum! (2012)

By Maciej Nowotny

This is one of the most interesting recordings in this year 2012! Three young but well known drummers from Tri-City formed this band: Michał Gos, Kuba Staruszkiewicz and Jacek Stromski. Staruszkiewicz name is perhaps most recognizable from his collaboration with Wojtek Mazolewski's Pink Freud (check for example "Monster Of Jazz") as much as in many projects by Tymon Tymański or Leszek Możdżer. Although his drumming is built upon solid rock base he is enough versatile to fit as much in avantgarde as maintream jazz or even pop music. 

Michał Gos is much more consistent and focused mainly on avant jazz. He worked a lot with musicians associated with yass movement like Jerzy Mazzoll or Olo Walicki. But his own projects are among the bravest (and the craziest!) of all music which happens to be realeased in Poland (check for example "Freeyo" or "Jebał Was pies"). Jacek Stromski is the least known of these three on our jazz scene. Up to this moment he worked mostly with rock or indie pop bands but some of them were significant like Apteka, Kury or Poganie.

But all this seems really unimportant when confronted with the music on this CD which is above all free in spirit. Rhythms as created by trio interweave each other saturating music with immense internal energy. Music is coherent and it is possible to imagine some high-octane narration which could accompany it. It certainly would be a little psychedelic story, perhaps self-ironic, at the same time fresh and easy to listen for all kind of audiences, not only focused on jazz. Creative stuff indeed!

Sample of music:

Film about how the music was created with some text spoken in Polish:

Track listing: 1. wd-40; 2. due; 3. c; 4. 4; 5. wu; 6. annapurna; 7. hanami; 8. extreme silence; 9. IX; 10 bum!

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

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

Pink Freud - Alchemia (2008) by Adam Baruch

Pink Freud (band)

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

Alchemia (2008)

This is the 6th album 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. 

This album, which was recorded live at the legendary Jazz club "Alchemia" in Krakow, finds Pink Freud in an expanded quintet lineup, with trumpeter Tomasz Zietek and drummer Kuba Staruszkiewicz supported by saxophonist Tomasz Duda (who recorded with the group earlier) and brilliant young keyboardist Marcin Masecki. Five of the six expanded tracks (all over 10 minutes long) on this album are originals by the band members and the remaining one is their interpretation of a Joe Zawinul tune. In many respects this album is a "back to the roots" experience for the band, which returns to extensive Jazz improvisation, which although always present at the root of their music, was often subdued on their previous albums. The special atmosphere and ambience of the club and above all the presence of Masecki transform the band into a full-fledged Jazz combo and a great one at that. The trumpet / saxophone front line enables the players to stretch out, supported comfortably by a full rhythm section, with Masecki supplying some breathtaking solo spots as well. The emotional and more importantly musical level of the band heard here surpasses everything they managed to achieve earlier, and is truly exquisite. True to their basic approach, the band emphasizes personal expression and spontaneity rather that elaborate skills or scholarly musical background. For listeners, who can appreciate such approach to music, this is quite an experience. But this music is important enough to be heard by any music connoisseur and definitely should be re-visited for in-depth listening experience. Great stuff!

Tracklist:
1 Police Jazz 12:30
2 Punk Freud 11:29
3 Mademoiselle Madera 10:05
4 Muzyka Pięciu Przemian 10:45
5 Boogie Woogie Waltz 13:50
6 Rozmowy z Kapokiem-Noc 9:57

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

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/

Pink Freud - Sorry Music Polska (2003)

Pink Freud (band)

Tomasz Ziętek - trumpet
Wojciech Mazolewski - bass
Kuba Staruszkiewicz - drums
Paweł Nowicki - electronics

+
DJ Wojak - sample
Sławomir Jaskułke - piano 

Sorry Music Polska (2003)

I’m really glad to present you here this amazingly good album from Pink Freud. Formed inGdansk, Poland, in 1998, this eclectic trio is surely one of the most interesting electro-jazz combos to emerge in Europein the last decade. Pink Freud have already released four albums: Zawijasy (2000), Live in Jazzgot, Sorry music polska(2003) and Jazz fajny jest (2005). Their actual line-up is: Wojtek Mozolewski (bass, loop, sampler), Tomek Zietek (trumpet and prepared trumpet), Kuba Staruszkiewicz (drums).

«Pink Freud’s music combines the inexhaustible energy of the music of the 1960s and 1970s with contemporary influences sought wherever possible, from grunge to hip hop. Formalized, rich compositions and modern sound generated by electronic instruments leave the musicians enough room for spontaneity, individualism and the wild and crazy improvisations so typical of jazz. A narrative structure to compositions and a wide array of electronic instruments are distinctive features of Pink Freud’s music. The musical sense of humour and detachment from the sounds produced are the features by which the band’s style can be recognized. Pink Freud have become famous for their totally new and sometimes completely crazy interpretations of well-known musical motifs, like Nirvana’s Come As You Are [included in the album presented here – for all you rock fans out there: believe me, this track alone is worth the listen!] and Gershwin’s My Man’s Gone Now.» (Warsaw Voice)

«There must be a lot of intelligence in these musicians to create music, play with it and enjoy it at the same time.» (Gazeta Wyborcza)

Track listing:
1.-Madmoiselle Madera
2.-Jazz Fajny Jest
3.-Come As You Are
4.-Pong
5.-Tribute To Don Johnson
6.-My Man's Gone Now
7.-Taniec Muletty
8.-Kocie Języczki
9.-Muzyka Pięciu Przemian
10.-Rozmowy Z Kapokiem (Bonus Truck)

Irek Wojtczak - Direct Memory Access (Nasiono, 2011)

Irek Wojtczak - reed isntruments

Tomasz Ziętek - trumpet

Direct Memory Access (Nasiono, 2011)

Irek Wojtczak, reedist, is player whom I hold in high esteem. Only recently he took part as sideman in such successful projects as free jazz "Freeyo" (2009) with Michał Goś and Wojtek Mazolewski, mainstream on Krystyna Stańko "Secretly" (2010) or ethnojazz Wojciech Staroniewicz "Afreakan Project" (2011). I only mentioned few out of many and it is then no surprise he came to conclusion that time has come for project under his own name. In this undertaking he is backed first of all by trumpeter Tomasz Ziętek who is not only playing on this album but also together with Wojtczak arranged more than half of all tunes. They are backed by magnificent pack of Polish jazz players with names like Przemek Dyakowski, Kuba Staruszkiewicz, Michał Goś, Adam Żuchowski, Piotr Mania, Tymon Tymański, Sławek Jaskułke, Leszek Możdżer, Dominik Bukowski appearing. The only musician not present here is Tomasz Stańko, I am joking of course, but judging by list of players who took part in this recording it should be one of the best albums in recent years. List of players is yet incomplete because "Direct Memory Access" provides kind of ethnojazz music we find here also quite numerous pack of Polish folk players, few musicians with African background and even a choir of Tibetan monks! And string quartet!! I wonder how Irek Wojtczak managed to finance this incredible cast? This is truly fantastic organizational achievement!!!

But from musical point of view it is unsatisfactory. Strange blend of music genders, featuring crowd of players, it leaves impression of chaos and lack of direction. Arrangements are pop-like, music is written to be easy-to-listen and one wonders for what purpose all these fantastic players were gathered here? To play such trivial, shallow and uncomplicated notes? Doubtful as doubtful is artistic effect of all this tremendous effort...

Pink Freud - Monster Of Jazz (2010)

Over the years Pink Freud gained such a reputation on Polish jazz scene that their every record is impatiently awaited and immediately recognized. New Monster Of Jazz album that came to shops in May is no exception as it again totally surprises all admirers of Pink Freud's music and it proves that their creativity is truly unbounded. 

What is really so unique as far as music on this album is concerned? Opposite to their last album titled Alchemia (reviewed already on this site) which was purely acoustical venture in the field of fusion jazz, this album is using all kinds of electronic, experimental and recording tools to strengthen, enliven and stretch the body of modern version of fusion music in order to what? Yes, the idea is really breathtaking!. In order to contain in its language not only jazz but also rock, punk, nu jazz and other musical genres. This is in fact what Monster Of Jazz is all about: melting in one pot all music streams that musicians are dedicated to and draw out of this pot something new and unprecedented as far as jazz, as far as music is concerned. In this attitude towards jazz they are clearly travelling the razors's edge between courage similar in style to the one that was once displayed by Miles Davis and debauchery of such modern artist as Steven Bernstein and his colleagues from Sex Mob and other bands similar.

Because of such a ambiguity that is innate in this music which is both so creative and simultaneously so close to kitsch, I believe it must cause strong and diversified response from the listeners starting from shock and disgust and ending in awe and admiration. I am clearly on the other end and that is why I shall encourage you with all my heart to listen to this record. Before I present you a small sample of music from this CD let me add that when compared to their above mentioned Alchemia album two new musicians reinforced the band in persons of Adam Baron (flugelhorn, tenorhorn, trombone) and Jerzy Rogiewicz (vibraphone). With this addition the personnel of the band amounted to six people matching the other Polish excellent new and young band Contemporary Noise Sextet, probably the only other one that should be and could be compared to Pink Freud in terms of artistic impact on Polish jazz scene and similarities of its style.

Author: Maciej Nowotny
http://kochamjazz.blox.pl/html

Pink Freud - Alchemia (2007)

Pink Freud consists of Wojtek Mazolewski (b), Tomasz Ziętek (tr) and Kuba Staruszkiewicz (dr) who on this live recording in famous Alchemia jazz club in Cracow are accompanied by Tomek Duda (s) and Marcin Masecki (p). If you look for what is best but unknown in polish jazz you should run for this album.The music first repelled me, I was astonished by its intesity and density. So I decided not to buy it. But it remained in my mind and haunted me day by day so in the end I returned to the shop and bought it. Since then I cannot help but return to it and listen to it over and over again. It works like sirens call on me! 

Why I was repelled is that this music is inspired as much by jazz as by funsion and punk rock. I also rather disliked previous discs of Pink Freud that were even more rock-like, progressive and ironic. I like irony very much in life as well as in music but if there is too much of it I found myself bored because I feel like artists play game with me, having nothing to say on their own. But with this record these musicians go wholeheartedly jazz which in my opinion shows that they became mature and treat listerners seriously. In effect we are served the dish cooked with excellent ingredients: top rate, young musicians, vamp compositions but with a lot space for improvisation, live recording in legendary location. And it tastes good, really gooood!

I attach video of Police Jazz composition of Wojtek Mazolewski giving the glimpse of how the play and what is the atmosphere on their concerts:



And interpretion of Nirvana's Come As You Are in the style characteric for their previous recordings: