Józef Skrzek & Tomasz Szukalski – Ambitus Extended (reedycja: 2008)

Józef Skrzek & Tomasz Szukalski 

"Ambitus Extended" (2008, reedycja)

Józef Skrzek – instrumenty klawiszowe, gitara basowa
Tomasz Szukalski – saksofony: tenorowy i sopranowy, klarnet basowy

Wydawca: Metal Mind Productions

Autor tekstu: Marcin Kaleta

Album ponadczasowy. Znamienity. Unikatowy. Kultowy. Niestety, powszechnie nieznany.

By pojąć jego rangę, potrzeba przypomnieć (lub wyobrazić) sobie PRL z przełomu lat 70. i 80. W tym okresie spotykają się dwaj artyści wybitni, należący wprawdzie do odmiennych światów, niemniej sporadycznie współdziałający. To rówieśnicy: Józef Franciszek Skrzek (ur. 1948) oraz Tomasz Szukalski, ps. "Szakal" (1948-2012).

Pierwszy jest multiinstrumentalistą. Przede wszystkim specjalizuje się w grze na instrumentach klawiszowych i syntezatorach, ponadto gitarze basowej. To założyciel zespołu SBB, wymienianego wśród najistotniejszych w historii reprezentantów rocka progresywnego, eksperymentalnego, symfonicznego. Również kompozytor muzyki filmowej, zwłaszcza do filmów Piotra Szulkina pt. "Golem" (1979) czy "Wojna światów – następne stulecie" (1981). W ogóle postać, która "swoją twórczością integruje pokolenia", nadal aktywna.

Drugi to jeden z największych na świecie saksofonistów. Współtworzył słynne formacje: Zbigniewa Namysłowskiego, Tomasza Stańki, następnie Quartet z Kulpowiczem i Trio z Karolakiem, nagrywając płyty, które obecnie uważa się za najważniejsze w dziejach polskiego jazzu, np. "Winobranie" (1973), "TWET" (1974) czy "Time Killers" (1984). Wspomnieć o nim warto również w związku ze wzruszającym "Zamyśleniem" (2003) kwintetu Wojciecha Majewskiego. Podczas jego solówek, jak wspominał Paweł Brodowski, "ludzie płakali", ale nie stronił przecież od free jazzu.

Skrzek zapraszał Szukalskiego do współpracy kilkakrotnie: w trakcie występów SBB, potem by nagrać własną "Józefinę" (1980), ponadto przy okazji ww. projektów kinowych. Zaczęli wreszcie dawać recitale jako duet. Pisze Michał Wilczyński: "Z tych wspólnych koncertów zrodziła się idea nagrania albumu. Takiego, który zaintrygował i środowisko jazzowe, i rockowe". Tak oto powstał "Ambitus Extended" (zarejestrowany w 1981, wydany w 1983 przez Helicon).

Pod względem stylistycznym jest dziełem konsekwentnym — "wysublimowane fusion", jak to ujęła redakcja portalu Jazzarium.pl. Jednak za każdym razem muzycy kreują inny klimat. Jest zatem tajemnica, jest rozkochanie, tęsknota, zamyślenie, smutek. Występują momenty uwielbienia, niejako modlitewne, uduchowione, dziękczynne. Albo o niesłychanym natężeniu piękna, poruszające i wzruszające. Lecz z drugiej strony mamy iście kosmiczne lub psychodeliczne eskapady. Pomysłowość nie zna tutaj granic, niczym wszechświat.

Różnorodność tę wzmaga dobór instrumentów. Zatem Szukalski gra na saksofonach tenorowym i sopranowym, także na klarnecie basowym, a gdzieniegdzie wydaje się, że sięga... po dudy szkockie. Gra raz lirycznie tudzież subtelnie, to znowu szaleńczo, ekstremalnie. Również Skrzek korzysta z rozległego asortymentu: Fender Piano, Hohner Clavinet D6, Polymoog, Micromoog, a jeszcze pogrywa (zazwyczaj funkowo lub rockowo) na basie. Zawsze czuje i rozumie partnera. Dopełniają się idealnie.

Niemniej mamy do czynienia z syntezą żywiołów: demonicznego Szukalskiego, któremu nic co ziemskie ani ludzkie nie było obce, z anielskim Skrzekiem — zapatrzonym w jakieś oddale, galaktyki bądź zaświaty (proszę zwrócić uwagę na fotografię wewnątrz folderu: mrok spowijający pierwszego oraz światłość promieniująca od drugiego). Jak niesamowity repertuar powstał, podkreślają nawet co poniektóre tytuły: "Słodka Pultyna", "Szczęśliwi z miasta N." czy mój faworyt: "Trąbka i skrzaty wśród kacprowej chaty". A całość zyskuje za sprawą doskonałego pomysłu Metal Mind Production, by w reedycji z 2008 materiał studyjny wzbogacić o nagrania koncertowe.

Karierę tego fenomenalnego tandemu przerwał stan wojenny, wprowadzony 13 grudnia 1981. Nie pierwszy to i nie ostatni przypadek, kiedy czynniki polityczne bądź historyczne utrudniają i/lub uniemożliwiają działalność kulturalną. To trochę dramat naszej ojczyzny. Na Zachodzie rzadko polskie dokonania udaje się spopularyzować. Zawodzą też... rodacy. Porażająca większość po takie nagrania nie sięgnie nigdy. Wybiorą wytwórców mizerii.

Niekiedy aż trudno uwierzyć, że w tym kraju – mimo tak niesprzyjających warunków – powstają równie znakomite dzieła.

Józef Skrzek/Tomasz Szukalski – Ambitus Extended (2008)

Józef Skrzek/Tomasz Szukalski

Józef Skrzek - keyboards, bass
Tomasz Szukalski - tenor & soprano saxophones, bass clarinet

Ambitus Extended

METAL MIND 0540



By Adam Baruch

This is a reissue of the album recorded by the duo that brought together two legendary musicians: founder and leader of SBB, bassist/keyboardist Józef Skrzek and one of the Giants of Polish Jazz, saxophonist Tomasz Szukalski, who came to fame as member of ensembles led by Tomasz Stańko and Zbigniew Namysłowski. Skrzek and Szukalski played together on and off since the mid 1970s but in the tense pre-Martial Law period (1980-1981) the duo recorded this album and several other projects together and performed live quite often. This remastered edition of the album was expanded by six previously unreleased live tracks, recorded shortly before the recording of the original album material.

The music was co-composed by Skrzek and Szukalski and mostly improvised on pre-conceived melodic motifs, and features extensive soloing by Szukalski and wonderful keyboards work by Skrzek. Stylistically it moves between Blues, Fusion, Progressive Rock and Jazz, always beautifully harmonic and deeply moving. Szukalski was the absolute Master of melodic improvisation, like his idol Ben Webster, and had no equals on the Polish scene at that time (or even to this very day). His untimely death was a great loss for Polish/European Jazz.

In spite of its minimalistic scope and approach, the album is full of absolutely thrilling musical ideas and virtuosic performances, and remains to this very day a milestone achievement of Polish Jazz/Fusion/Blues-Rock history. This reissue brings back to life a piece of Polish music history and is of course a must have for Polish music fans/collectors.

Wojciech Majewski Quintet - Zamyślenie (2018)

Wojciech Majewski Quintet 

Wojciech Majewski - piano
Robert Majewski - trumpet
Tomasz Szukalski - tenor saxophone
Palle Danielsson - bass
Michał Miśkiewicz - drums
Grzegorz Turnau - vocals (9)

Zamyślenie


SONY MUSIC 2018

By Krzysztof Komorek

Kwintet Wojciecha Majewskiego zadebiutował w roku 2001 zaskakującą i gorąco przyjętą płytą "Grechuta". Dwa lata później, w zmienionym składzie, zespół nagrał album "Zamyślenie", który w roku bieżącym pojawił się w wersji odświeżonej i wzbogaconej o nagrane dekadę później wersje dwóch solowych utworów pianisty. 

"Zamyślenie" ceni się, pamięta o nim. Mam jednak wrażenie, że pomimo to do płyty tej wraca się zdecydowanie zbyt rzadko. A przecież atutów ma to wydawnictwo bez liku. Chociażby sam zespół złożony z wytrawnych muzyków. Robert Majewski na trąbce, Tomasz Szukalski na saksofonie, sekcja rytmiczna z legendarnym Palle Danielssonem i Michałem Miśkiewiczem. Wreszcie gościnny występ Grzegorza Turnaua, śpiewającego finałową piosenkę do tekstu Bolesława Leśmiana. Nie popadając w przesadę można skład ów nazwać gwiazdorskim. 

Nie bez znaczenia pozostaje świetna muzyka. W większości autorstwa lidera kwintetu (znakomite, trzyczęściowe "Pożegnanie", kapitalnie zagrane solo w "Pożegnaniu Strawińskiego"). Okraszona utworami klasyków: Komedy, Niemena i Grechuty. Wybranymi rozważnie, poza niemenowską kompozycją raczej mało znanymi i ogranymi (bo przecież renesans "Niekochanej", tu połączonej z tytułowym "Zamyśleniem" Majewskiego w jedną całość, nadejdzie dopiero wiele lat później przy okazji wiadomego albumu zupełnie innego muzyka). 

Wreszcie rewelacyjne wykonanie. Fantastyczny Szukalski, kapitalnie współpracujący i uzupełniający się z Robertem Majewskim. Wspaniały w utworze "Bema pamięci rapsod żałobny", porywająco rozegranym w duecie fortepian/saksofon. Wspomniany Robert Majewski, świetny – co już nadmieniałem – w kooperacji z saksofonem. Bezbłędnie prezentujący się kolejny duet Danielsson/Miśkiewicz. No i oczywiście sam lider Wojciech Majewski. Perfekcyjny w prezentacji solowej, w duetach i w przewodzeniu całemu zespołowi. 

Znakomita płyta, którą przede wszystkim nie odbiera się jako archiwalną ciekawostkę. To także dzisiaj świeża, oryginalna i wyróżniająca się propozycja. Bez problemu mogłaby się ukazać jako nowość i szybowałaby wysoko w rocznych podsumowaniach. Warto skorzystać więc z pretekstu wznowienia i odświeżyć znajomość z "Zamyśleniem".

Tomasz Stańko – A Farewell To Maria (Soundtrack) (1994)

Tomasz Stańko

Tomasz Stańko - trumpet
Tomasz Szukalski - saxophone
Janusz Skowron - keyboards
Adam Cegielski - bass
Cezary Konrad - drums
and others

 A Farewell To Maria



GOWI 12

By Adam Baruch

This is an album by legendary Polish Jazz trumpeter Tomasz Stańko, which presents the music used as a soundtrack of an obscure Polish TV movie "A Farewell To Maria", directed by Filip Zylber. The music is performed by a large cast of top Polish Jazz musicians, like saxophonist Tomasz Szukalski, keyboardist Janusz Skowron, bassists Andrzej Cudzich and Adam Cegielski, drummer Cezary Konrad and others, as well as a string quartet. The album comprises of thirteen relatively short tracks, which appear within the film.

The music is a wonderful example of the strength of Stańko the composer and is based around the leitmotif, which is, as always, a heartwrenching ballad that Stańko masterly created. But the album also includes several additional melodic and improvised pieces, which create a diverse and fascinating musical experience. In contrast to many soundtrack albums, this one works perfectly well by itself, detached from the cinematic layer.

The performances are all top notch, again as expected, and in many respects this album firmly belongs to the mainstream of Stańko's recorded heritage. It's a great pity that this album so little known by Stanko's fans and the fact that it is impossible to find a copy of this album is a crying shame. Grab it if you can find it!

Krzysztof Sadowski – Three Thousands Points (2015)

Krzysztof Sadowski

Krzysztof Sadowski - keyboards
Liliana Urbańska - flute, vocals
Wojciech Bruslik - bass guitar
Tomasz Szukalski - saxophone
Winicjusz Chróst - guitar
and others

Three Thousands Points (Polish Jazz Vol.47)


GAD 031

By Adam Baruch

This is a reissue (first time on CD) of the third album by Polish Jazz keyboardist/composer Krzysztof Sadowski recorded with an ensemble called Organ Group, which also included flautist/vocalist Liliana Urbańska, saxophonists Vesselin Nikolov and Tomasz Szukalski, guitarist Winicjusz Chróst, bass guitarist Wojciech Bruslik, drummers Zbigniew Kitliński and Wojciech Morawski and finally percussionists Andrzej Zieliński and Bożena Bruszewska. The reason for the long lineup is the fact that the album was recorded during two separate sessions with two different lineups.

This album was released at the time as part of the legendary "Polish Jazz" series (as Vol.47) and included originally only four tracks, the first of which gave the album its title and was a twenty one minutes long suite originally found on side A of the LP. The three tracks on side B were shorter and spanned between three to nine minutes in duration. Two of the compositions were originals, both composed by Sadowski; one was a Keith Jarrett tune and one was a Classical piece. This remastered reissue adds three bonus tracks recorded at the Polish Radio.

The music on this album shows Sadowski at full swing as a Jazz-Rock Fusion musician, firmly based in the Fusion idiom, which was pretty well established by then both on the Polish scene and abroad. He expands his arsenal and uses electric piano and early synthesizer (ring modulator) gadgets. The flute parts are more daring and the vocalese more developed, clearly following the work of Urszula Dudziak. Nikolov adds a tinge of Balkan spice and Szukalski blows away like only he could, touching upon Free at times. The rhythmic support is very Rock oriented and the overall sound and feel of the music resembles to some extent the best Fusion ensembles active in the West but maintains an East European identity both harmonically and melodically.

In retrospect the album is a great document of the time at which it was recorded, proving that in spite of the relative separation from what was happing beyond the Iron Curtain, Polish Jazz was responding rapidly to the changes in the Jazz idiom, often with ferocity and ingenuity, which were impossible to hold back by the political regime. The grammar mistake in the English version of the title (preserved for historic consistency) is a nice reminder of Socialist bureaucracy (an insider's joke). As usual it is my duty to thank GAD Records for taking care of the Polish Jazz heritage, who is sadly a lonely rider on that trail. This superb music definitely needs to be fondly remembered and discovered by new generations!

Wojciech Majewski – Opowiesc (2009)

Wojciech Majewski

Wojciech Majewski - piano
Robert Majewski - trumpet
Tomasz Szukalski - saxophone
Jacek Niedziela - bass
Krzysztof Dziedzic - drums

Opowieść

4EVERMUSIC 130


By Adam Baruch

This is the third album by Polish Jazz pianist/composer Wojciech Majewski, recorded in a classic quintet format with trumpeter Robert Majewski (Wojciech's brother), saxophonist Tomasz Szukalski, bassist Jacek Niedziela and drummer Krzysztof Dziedzic. The album presents a solo piano piece which is followed by a seven-part Jazz suite performed by the quintet. It was recorded at the Studio Tokarnia and engineered by Jan Smoczynski, with superb sonic quality, as expected.

The music is all kept within the mainstream tradition, with certain Classical Music accents, but those are quite marginal. The melodic themes are basically vehicles for extended solos played by the quintet members. It is hard to follow the "suite" concept musically, as it lacks a clear coherence, but nevertheless the music is interesting and flows gently from one part of the suite to the next. There are the obvious Polish Jazz characteristics, like lyricism and melancholy, in which this music is completely drenched, clearly defining its origin and tradition.

The true forte of this album is the incredible musicianship, which is not surprising considering these are some of the best and most experienced second generation Polish Jazz musicians. Especially interesting is the presence of Szukalski as this is one of the last recordings in which he participated before his tragic death. The album is full of superb solos and ensemble performances, which are truly inspired. Majewski dedicates this album to the memory of his Father, the legendary Polish Jazz trumpeter Henryk Majewski, who died shortly before this music was recorded.

Overall this is an interesting experiment in composing an extended Jazz suite-like composition, beautifully performed by first class musicians, an effort which deserves to be heard by Jazz connoisseurs all over the world.

Quartet – The Quartet (2009) ****1/2

Tomasz Szukalski - saxophone
Slawomir Kulpowicz - piano
Pawel Jarzebski - bass
Janusz Stefanski - drums

ANEX 302






By Adam Baruch

The Quartet was formed by the rhythm section of Zbigniew Namyslowski's so called "third quartet", i.e. pianist Slawomir Kulpowicz, bassist Pawel Jarzebski and drummer Janusz Stefanski, with the addition of saxophonist Tomasz Szukalski, one of Poland's all-time greatest Jazz musicians and a spectacular player of rare quality. Although Szukalski naturally dominated the sound of the ensemble, it was Kulpowicz who was the spiritual leader and the sole composer of all the original material they performed. Spiritually the music was soaked in the John Coltrane legacy, with Szukalski playing lengthy "wall of sound" solos, supported passionately by the rhythm section, with Kulpowicz vamping a la McCoy Tyner, Jarzebski delivering virtuosic bass parts and Stefanski raising all hell behind it all, which engulfed the overall effect with incredible power and overwhelming strength of expression, similar in character to the Coltrane late period recordings.

In spite of the fact that The Quartet was undoubtedly the most important Polish Jazz ensemble in the late 1970s, their recorded legacy is truly pitiful and includes this live album recorded in 1978 and their sole studio album, recorded in Finland in 1979 and released by the tiny independent Finnish label Leo Records (which released also two albums by Tomasz Stanko from the same period). Therefore the double CD full of superb archival radio and concert recordings by this ensemble, also entitled simply "The Quartet", released in 2013 by Polskie Radio is an absolute marvel and a must have for every Polish / European Jazz connoisseur.

Following the ensemble's breakdown in mid-1980, the Polish Jazz scene will never again experience this kind of music, so close in spirit, sound and emotion to the epicenter of Modern Jazz created by Coltrane. The Quartet's brief three and a half years period was the closest ever moment in which Polish Jazz would become very close to American Jazz of a decade earlier, both in spirit and in practice. The Quartet somehow managed to put aside the omnipresent Polish melancholy and lyricism, which dictates most of the unique music created under the Polish Jazz banner. Usually, when Polish Jazz musicians try to imitate their idols from across the pond, they fail rather miserably, with The Quartet being the only exception, which proves the rule.

Young Polish Jazz musicians should study this music note by note – this is universally sublime document of human expression, freedom and power of creation, which happens rarely. Inspired by Coltrane's music, this creation sparks a life of its own, which stands shoulder to shoulder with the original, without any inferiority complexes whatsoever. It is not a copy of the source; it is a thankful gratitude for the inspiration itself.

Side Note: The Poljazz label, which originally released this album, was active for 20 years (between 1972 and 1991) and was owned by the Polish Jazz Society. Considering the fact that the music industry in the Socialist State was centralized and totally controlled, with just one State owned music company producing all the albums, the possibilities to record and release Jazz albums were extremely limited. Poljazz was conceived and founded in order to allow for many more Jazz (and other) albums to be released independently from the State owned Polskie Nagrania / Muza and as such revolutionized the music industry at the time, being the only such enterprise in Eastern Europe. The Polish label Anex reissued many of the original Poljazz albums on CD, bringing this fabulous music back to life.

Quartet – The Quartet (2013) *****

Tomasz Szukalski - saxophone

Slawomir Kulpowicz - piano

Pawel Jarzebski - bass

Janusz Stefanski - drums

POLSKIE RADIO 1246-47






By Adam Baruch

This is the first installment in a series of releases documenting the recorded legacy of the great Polish Jazz pianist / composer Slawomir Kulpowicz, most of which is released for the first time. Kulpowicz, who died prematurely in 2008 at the age of 56, was a victim of cancer. He was a member of groups led by the top Polish Jazz players like Zbigniew Namyslowski and Tomasz Stanko and led / co-led his own ensembles like The Quartet, In-Formation and also cooperated with many other musicians over the years. He was an avid follower of John Coltrane's music and kept in touch with Coltrane's wife Alice Coltrane. Following his visit to India, Kulpowicz discovered Indian music and the spiritual aura of India, which became his own.

The Quartet was formed by the rhythm section of Zbigniew Namyslowski's so called "third quartet", i.e. pianist Slawomir Kulpowicz, bassist Pawel Jarzebski and drummer Janusz Stefanski, with the addition of saxophonist Tomasz Szukalski, one of Poland's all-time greatest Jazz musicians and a spectacular player of rare quality. Although Szukalski naturally dominated the sound of the ensemble, it was Kulpowicz who was the spiritual leader and the sole composer of all the original material they performed. Spiritually the music was soaked in the John Coltrane legacy, with Szukalski playing lengthy "wall of sound" solos, supported passionately by the rhythm section, with Kulpowicz vamping a la McCoy Tyner, Jarzebski delivering virtuosic bass parts and Stefanski raising all hell behind it all, which engulfed the overall effect with incredible power and overwhelming strength of expression, similar in character to the Coltrane late period recording.

In spite of the fact that The Quartet was undoubtedly the most important Polish Jazz ensemble in the late 1970s, their recorded legacy is truly pitiful and includes one live album recorded in 1978 and released by the Poljazz label (reissued by the Anex label) and their sole studio album, recorded in Finland in 1979 and released by the tiny independent Finnish label Leo Records (which released also two albums by Tomasz Stanko from the same period). Therefore this double CD full of superb radio and concert recordings by The Quartet is an absolute marvel and a must have for every Polish / European Jazz connoisseur.

Following the ensemble's breakdown in mid-1980, the Polish Jazz scene will never again experience this kind of music, so close in spirit, sound and emotion to the epicenter of Modern Jazz created by Coltrane. The Quartet's brief three and a half years period was the closest ever moment in which Polish Jazz would become very close to American Jazz of a decade earlier, both in spirit and in practice. The Quartet somehow managed to put aside the omnipresent Polish melancholy and lyricism, which dictates most of the unique music created under the Polish Jazz banner. Usually, when Polish Jazz musicians try to imitate their idols from across the pond, they fail rather miserably, with The Quartet being the only exception, which proves the rule.

Young Polish Jazz musicians should study this music note by note – this is universally sublime document of human expression, freedom and power of creation, which happens rarely. Inspired by Coltrane's music, this creation sparks a life of its own, which stands shoulder to shoulder with the original, without any inferiority complexes whatsoever. It is not a copy of the source; it is a thankful gratitude for the inspiration itself.

Bringing this music out of the vaults is commendable, although keeping it in the vaults for so long was simply criminal. Such treasures of the Polish Cultural heritage should be exposed in all their glory. Hopefully the people in charge of the Polish Radio archives realize that.

S.P.P.T Chalturnik / Polish Radio Jazz Studio Orchestra – S.P.P.T Chalturnik / Polish Radio Jazz Studio Orchestra (2009) ***1/2

Jan Ptaszyn Wroblewski - saxophone / composer / arramger / bandleader
Janusz Muniak - saxophone
Zbigniew Namyslowski - saxophone
Tomasz Szukalski - saxophone
Wojciech Karolak - keyboards
Jan Jarczyk - piano
Bronislaw Suchanek - bass
Czeslaw Bartkowski - drums

POLJAZZ / ANEX 312

By Adam Baruch

The material presented on this album originates from two separate LPs released by the Poljazz label, each contributing one side of the original LP. The logic behind it is that the original Poljazz releases often included two sides of completely unrelated material, artificially combined for a variety of reasons, mostly economic. These two sides of two separate LPs are connected by the central personality behind the music, the Polish Jazz saxophonist / composer / arranger / bandleader Jan Ptaszyn Wroblewski.

Wroblewski was the founder and leader of the band S.P.P.T Chalturnik, which was formed in order to present Jazz with a humorous and tongue in cheek attitude, featuring well known standards as well as original material by the leader. The band included the absolute crème de la crème of the Polish Jazz scene: saxophonists Janusz Muniak, Zbigniew Namyslowski and Tomasz Szukalski, keyboardist Wojciech Karolak, bassist Bronislaw Suchanek and drummer Czeslaw Bartkowski. The wonderful arrangements and whimsy performances are all brilliant, especially in view of the fact that they show that Jazz doesn't have to be treated always so seriously.

Wroblewski was also the director of the Polish Radio Jazz Studio Orchestra during the years 1968-1978, which was one of the most important incubators and places of refuge for the young Polish Jazz musicians under the Socialist regime, providing them with a steady income. The orchestra performs a very ambitious piece of music composed by the young pianist Jan Jarczyk called "A Double Concerto For Five Soloists And Orchestra", which features as soloists top Polish Jazz players of the time: violinist Zbigniew Seifert, saxophonist Tomasz Szukalski and Janusz Muniak and trumpeter Tomasz Stanko. Legendary American drummer Stu Martin also participates in the recording. The music is a very interesting example of early Orchestral Jazz works, which combine contemporary Classical techniques with Free Jazz improvisation.

Side Note: The Poljazz label, which originally released this album, was active for 20 years (between 1972 and 1991) and was owned by the Polish Jazz Society. Considering the fact that the music industry in the Socialist State was centralized and totally controlled, with just one State owned music company producing all the albums, the possibilities to record and release Jazz albums were extremely limited. Poljazz was conceived and founded in order to allow for many more Jazz (and other) albums to be released independently from the State owned Polskie Nagrania / Muza and as such revolutionized the music industry at the time, being the only such enterprise in Eastern Europe. The Polish label Anex reissued many of the original Poljazz albums on CD, bringing this fabulous music back to life.

Sławomir Kulpowicz - Complete Edition (2013)

Sławomir Kulpowicz - piano

In-Formation Trio (1CD)
Private Balet Music (1CD)
The Quartet (2CD)
Sławomir Kulpowicz & Shujaat Khan (1CD)

Sławomir Kulpowicz - Complete Edition (2013)

Text by Maciej Nowotny

Sławomir Kulpowicz was a significant figure as far as jazz piano in Poland is concerned. Born in 1952 he studied in Katowice Music Academy. At the beginning of his career he played with Zbigniew Namysłowski which here is the thing approximately of the same caliber as in the US playing with Art Blackey & The Jazz Messangers. Very soon however he started to work on his own and in 1977 set up a band unpretentiously named The Quartet which turned out to be a great success indeed. In this set we got full CD of mostly unpublished music of this legendary combo together with other recordings documenting his rich career spanning over 30 years and ended in 2008 by premature death.

The Quartet remains a highlight of the whole set. Its style was influenced as much by Kulpowicz as by Tomasz Szukalski. Szukalski is a true giant on Polish jazz scene and can be compared in influence he exerted on it only with such figures like Krzysztof Komeda or Tomasz Stańko. With Stańko he collaborated on most of his albums made in 70ties. Among them "TWET" or "Balladyna" stand out as most important recordings of that era as much in Polish as in European jazz. This powerful duo was supported by rhythm section consisting of drummer Janusz Stefański and double bassist Paweł Jarzębski. The uniqueness of the music of The Quartet owes a lot to strong personalities of both Kulpowicz and Szukalski. Kulpowicz style may be described as something between Bud Powell and Franz Liszt with an addition of McCoy Tyner. As you recall this last pianist was a long time companion of John Coltrane. Kulpowicz found in Szukalski a partner whom Coltrane found in Tyner. But although the music of The Quartet is clearly inspired by American jazz as played by John Coltrane's band it is by no means the imitation which shall become evident upon rehearsing other CDs of this set.

CD titled "Private Ballet Music" shows Kulpowicz in solo recital.  On this album Kulpowicz, drawing much from jazz solo albums by his famous contemporary Keith Jarrett, also pays homage to classical music. Since then it has become necessary for Polish jazz pianists to record sometime during their carreers a solo album mixing jazz and classical music. Albums by Adzik Sendecki, Leszek Możdżer or recently Sławek Jaskułke or Marcin Masecki are good examples of such phenomenon.

Next CD Kulpowicz recorded with Indian sitar virtuoso Shujaat Khan. But for Kulpowicz it was much more than just copying Coltrane's interest in Eastern cultures. It was also a true spiritual venture which added the authenticity to this recording which as far as Polish jazz is concerned is one of few successful ventures into world music territory.

I especially like the fourth part of this set with CD of In-Formation Trio in which Kulpowicz was supported by double bassist Witold Szczurek (Rek) and drummer Czesław Bartkowski. I find music they played as highly original not being one of multiple offsprings of Bill Evans Trio but going its own unique way. That makes this whole set actual even after many years since its recording and one of key albums in history of Polish Jazz.

Grzegorz Karnas – Sny (2004)

Grzegorz Karnas - vocals, composer, arranger
Michal Tokaj - piano
Damian Kurasz - guitar
Robert Kubiszyn - bass
Sebastian Frankiewicz - drums
guests:
Tomasz Szukalski - saxophone
Jerzy Malek - trumpet
Adam Oles - cello

DEBIES 002

By Adam Baruch

This is the second album by Polish Jazz vocalist / composer / arranger Grzegorz Karnas, one of the most unique and talented representatives of the young generation of the local Jazz scene. Born in the southern Polish province of Upper Silesia, Karnas graduated form the Jazz Institute at the Katowice Academy of Music, where a large percentage of the young Polish Jazz musicians get their initial graduate education. His debut album "Reinkarnasja", released in 2000, created quite a stir on the local scene and immediately established him as one of the most significant newcomers.

He is accompanied on this album by a superb team of excellent players: pianist Michal Tokaj (who plays the Fender electric piano here rather than his usual acoustic piano), guitarist Damian Kurasz, bassist Robert Kubiszyn and drummer Sebastian Frankiewicz. In addition several guest artists also participate: legendary veteran saxophonist Tomasz Szukalski, trumpeter Jerzy Malek, cellist Adam Oles (a future close collaborator, who also hails from Silesia), vocalist Patrycja Gola and congas player Bogusz Wekka.

The album consists of twelve pieces, ten of which were written (music & lyrics) by Karnas, one was co-written by Karnas and Oles and one is a standard. Karnas wrote all the arrangements, which are quite unusual and beautifully atmospheric. Of course Karnas' vocal performances are the focal point of the album, but his ability to involve all these wonderful players to become an integral part of the overall result is absolutely astounding. Szukalski plays wonderfully here, but for me Tokaj and his incredible electric piano phrasing are the cherry on the cake.

Karnas is a unique vocalist, a power of Nature. Although many of the tricks of the trade he so skillfully utilizes can be traced back to other great vocalists, like the great Bobby McFerrin and the Polish diva Urszula Dudziak, but he is truly original. First and foremost he completely disregards any conventions, allowing himself a total freedom as far as his vocal expressions are concerned. Regardless if he sings lyrics, vocalese, scat or just utters sounds from his throat, there are no rules involved. His pronunciation of the lyrics is completely off the wall and probably would give his primary school Polish language teacher a heart attack, but the effect is overwhelming. He also twists the melody any way he wants and his disregard of "proper" timing is simply scandalous; and yet all these elements put together create an amalgam, which is just so beautiful and intelligent, that any experienced music connoisseur simply melts away.

Vocal Jazz or more exactly interesting and challenging vocal Jazz is unfortunately a rarity on contemporary Jazz scene and therefore any Artists of the level presented by Karnas is a most welcome addition. People who truly love music will love this music immediately and unconditionally. Not to be missed!

Jazz Choral / Tomasz Szukalski – Borzomski Wawoz / Body And Soul (Polish Jazz Vol. 91 Deluxe) (2006)

Tomasz Szukalski - saxophone
Artur Dutkiewicz - piano
Andrzej Cudzich - bass
Marek Stach - drums

Jazz Choral Vocal Group

Muza PNCD 1091



By Adam Baruch

This unusual and very interesting album by the superb Polish saxophonist / composer Tomasz Szukalski, who sadly died this year, presents him in a double setting: first as a guest artist accompanying the Georgian vocal group Jazz Choral and than as a leader of his quartet, which includes also pianist Artur Dutkiewicz, bassist Andrzej Cudzich and drummer Marek Stach.

The album starts with six pieces performed by Jazz Choral; First three tracks are sung a cappella and the remaining three are performed with Szukalski and an unidentified rhythm section (piano, bass and drums). The vocal tracks are followed by three tracks performed by Szukalski and his quartet, two of which are standards and one is an original composition by the leader.

Jazz Choral were a vocal group similar to the Polish group Novi, which existed on the local scene twenty years earlier, and several other ensembles which based their performances on perfectly matched harmonies and swinging melodies. Their performance is spotless and quite virtuosic, with a nostalgic touch. Szukalski spices their music with excellent solos, which can only be constructed by a musician of his statue.

The three tracks by Szukalski and his quartet highlight his incredible power as a player, clearly emphasizing his post-Coltrane legacy and incredible versatility. Listening to him play, now that he is gone, is truly moving to everybody familiar with the Polish Jazz scene. His premature death is a great loss!

This album was recorded during the transition period between Poland finally freed itself from the Socialist regime, and was somehow "lost" in the turmoil. This reissue brings back to life a piece of music, which should not be forgotten. Definitely worth investigation!

Blues Duo - Sz-Sz (1989)

Blues Duo

Tomasz Szukalski - saksofony
Janusz Szprot - fortepian

Sz-Sz (1989)

By Maciej Nowotny

Tomasz Szulaski is probably THE best saxophonist in Polish jazz history. He earned this reputation while playing with Tomasz Stańko, Zbigniew Namysłowski and countless others. His incredible versality allowed him to fit well as much in Stańko's free jazz "Balladyna", on Namysłowski's mainstream "Kuyaviak Goes Funky" or, recently, on Aga Zaryan's pop "My Lullaby". His own project swere not always so succesful. There were excellent ones like collaborations with Józef Skrzek (check "Ambitus") and less succesful like this one with Janusz Szprot. The difference is that Józef Skrzek, though not jazz musician himself, had enough charisma and individuality to counterbalance Szukalski overpowering presence. While Szprot is just very able accompaniator. And nothing more. Enough for so many ordinary musicians but it revealed to be too little for such a genius as Szukalski. In consequence this album is entirely one-sided: it comprises one after another splendid saxophone improvisations of Szukalski and one after another meagre, pale, insufficiant piano lines by Szprot. Unfortunately (for this recording) jazz is always team effort. Without interplay the music lacks depth and in consequence fails to engage the listener. Excellent album but it could be great. It is a pity it isn't...

Tracklisting:
1. Amazing Grace
2. Backwater Blues
3. Trouble In Mind
4. Sz-Sz Blues
5. Left Alone
6. Goin Home
7. Make Me A Pallet On Your Floor
8. Nobody Knows You When You Are Down And Out
9. Proof Of Man
10. Barefoot Boy From Queens Town
11. Blue Moon

Jazz Choral and Tomasz Szukalski - Borzomski Wawoz & Body and Soul (1989)

Jazz Chorał (choir) and Tomasz Szukalski Quartet

Jazz Chorał (Gruzja) - Aleksander Kiładze-conductor

Tomasz Szukalski - saxophones

Artur Dutkiewicz - piano

Andrzej Cudzich - double bass

Marek Stach - drums,

Borżomski Wąwóz & Body and Soul (1989)

During recent World Championship chess match Vishy Anand when asked about some weak move he made in only game lost to Boris Gelfand he answered: "In bad position all moves seem bad". And this phrase very well applies to this album by Tomasz Szukalski. The leader (Tomasz Szukalski) was one of the most talented musicians in whole Polish jazz history. His partners (Artur Dutkiewicz, Andrzej Cudzich, Marek Stach) were cream de creme of then young jazz musicians in Polnad. The idea was brilliant: to infuse Polish jazz with World music (Georgian choir conducted by Aleksander Kiładze) which then (and still is!) was rising in popularity. But it all didn't work as expepted. Why? 

Because it was done in wrong time! Last years of communism in Poland were gloomy and uninspired. The politics by General Jaruzelski was directed to destroy all individuality, creativity, to cut all links with Western thought as much politically as culturally. In Poland there were promoted only mediocrity, the art became conservative and reactionary. Unfortunately this spirit diffused itself also into jazz music. The progress in jazz music stopped. All eyes were turned back. The quality of jazz was measured by how faithfully it copied Afroamerican masters. 

In this atmosphere even for such a talented man as saxophonist Tomasz Szukalski the task proved to be too difficult. Consequently the music on this album is disappointing: Georgian folk element (splendid in itself!) is not coherent with jazz as played by Szukalski Quartet (splendid in itself!). There are moments  when they meet together and then pure magic starts but for the most time it sounds artificial, superficial and lacks the direction. 

By Maciej Nowotny

http://kochamjazz.blox.pl 

Tracklisting: 1. Borżomski Wąwóz [02:38] 2. Gurijska (A. Kiładze - sł. lud.) [02:18] 3. Spojrzenie ukochanej (G. Cabadze - I. Karalaszwili) [04:39] 4. Hymn dla Słońca (A. Kiładze - W. Gogołaszwili) [03:01] 5. Szczęśliwy poranek (A. Kiładze - L. Beradze) [03:01] 6. In A Mellow Tone (D. Ellington - E. Gabler) [03:51] 7.  Body And Soul (J. W. Green, E. Heyman, F.Eyton, R. Sour, oprac. T. Szukalski) [07:58] 8. Pieśń portugalska (A.P. Vargas, oprac. T.Szukalski) [05:49] 9. Blues wymyślony na działce (t. Szukalski) [09:57]

Aga Zaryan - My Lullaby (2002)

Aga Zaryan – vocals

Tomasz Szukalski – tenor sax
Michał Tokaj – piano
Darek Oleszkiewicz – bass
Łukasz Żyta – drums

My Lullaby (2002)

This is the debut album by the undeniable present-day diva of Polish Jazz, vocalist Aga Zaryan. Recorded over a decade ago, when Zaryan was completely anonymous, it exhibits for the first time an outstanding talent, fresh and innocent on one hand and remarkably mature and daring on the other. Backed up by a classic Jazz quartet, Zaryan performs ten standards, which were arranged by pianist Michal Tokaj. The other quartet members are veteran Polish Jazz saxophonist Tomasz Szukalski, bassist extraordinaire Darek Oleszkiewicz and drummer Lukasz Zyta.

The fact that Zaryan received her primary school education in UK enables her to sing in English, free from a foreign accent, which often annoys English-speaking audiences. But the lack of a foreign accent is by far not what is so remarkable about this album. It is the choice of material and the highly personal interpretation of the songs, which is strikingly original and aesthetically pleasing. She is able to twist and turn the familiar tunes around her small finger so to speak, with ease and elegance which is simply charming and highly sophisticated.

Another forte of the album is Zaryan's extraordinary rapport with the quartet members, especially with bass player Darek Oleszkiewicz. Several of the tunes are by and large duets between the vocals and the bass and those are simply breathtaking. Szukalski is an ideal partner as well, constructing concise but wonderfully structured solos, always brilliantly complimenting the music. The entire quartet does a truly beautiful job, supporting the singer without overshadowing her for even a single moment. Such wonderful balance between a vocalist and her group is extremely rare and contributes immensely to the overall success of this recording.

In retrospect one can easily hear all the elements, which over time amalgamated into present day Aga Zaryan and her outstanding abilities. This debut album 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 Warsaw in 2001 and released in 2002 on an independent label. This version of the album is a 2007 remaster, 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. To See A World; 2. Waltz For Debby; 3. I’ve Got The World On A String; 4. My Lullaby; 5. You And The Night And The Music; 6. I Put A Spell On You; 7. Never Said (Chan’s Song)/Trust Me; 8. Still We Dream (Ugly Beauty); 9. I Hear Music; 10. Polka Dots And Moonbeams 

The Quartet - Loaded (1979)

The Quartet (band)

Tomasz Szukalski - tenor & soprano saxophone
Sławomir Kulpowicz - keyboards
Paweł Jarzębski - double bass
Janusz Stefański - drums

Loaded (1979)

Tomasz Szukalski nicknamed "Szakal" (Jackal) is a legend of Polish jazz. His contribution to its development and eventual glory is no less valuable than Komeda, Stanko or Namysłowski's. It is however very difficult to describe his carreer. He was so creative and simultaneously prolific that it would require a whole book to provide a reader with an extensive information about different projects he took part in. Let us then note that on Polish scene he worked with every significant player (and many insignificant) but the most fruitful relationship he established with Tomasz Stańko. He appeared on most of Stańko outstanding recordings of 70ties which are arguably his best at all notwithstanding glorious discs he recorded for ECM afterwards. It is important to note that as much on these albums as on any other Szukalski, who rather seldom acted in the role of leader on his own, was somebody far more valuable than just a very good sideman. His personality was so unique, powerful and charismatic that he co-created every project he was involved in. 

But this album is by no means dominated by Szukalski only. Musicians taking part in its recording are partners of an equal status. Pianist Sławomir Kulpowicz is a rare example among excellent stock of Polish jazz pianists of the artist interested as much in musical as in spiritual side of jazz. He travelled extensively world-wide fascinated by folk music, for example to Africa and the Middle East, where both those components are still alive and closely interwoven. It comes as no surprise then that in jazz he felt particularly interested in experiments conducted by John and Alice Coltrane.

Janusz Stefański is one of view drummers in classical period of Polish jazz (60ties and 70ties) who could keep up with rhythmic innovations that came from the US scene in those times. He is present on countless recordings of this era made by such giants as Seifert, Stańko, Urbaniak, Kosz and others. What should be stressed is his incredible versality since he was able to provide equally empathic support for Seifert bop, Kosz cool and Stańko free jazz lines. Bassist Paweł Jarzębski is perhaps the least known of all four but he should be remembered at least from his collaboration with Zbyszek Namysłowski on some of his best recordings including "Kuyaviak Goes Funky" (1975). And Namysłowski is famous for picking up for his ensambles only creme-de-creme of Polish musicians. Many of those he invited to his bands and who debuted with him made afterwads stunning careers as much on Polish as on international scene with Jarzębski no exception to this rule.

This album is second and last recorded by this band after self-titled "The Quartet" issued a year before. Although The Quartet did not survive martial law imposed on Poland in 1981 by gen. Jaruzelski, its input to Polish jazz phenomenon is crucial. It embodies what was best in this classical era of this music in Poland: fantastic proficiency of musicians, authencity, straighforwardness and creative relationship with such masters of American jazz as John Coltrane, Sonny Rollins or McCoy Tyner. With its passing completely new period in Polish jazz began, time of obvious decadence but not without certain interesting signs of life. Life which eventually has come back to Polish jazz in its full glory in 90ties. It is clear that without such a legacy as created by "Loaded" of The Quartet this renaissance would be impossible or at least less inspiring...

Tracklist:
01. Mr. Person
02. Macondo
03. The Promise
04. Train People

By Maciej Nowotny

http://kochamjazz.blox.pl

Wojciech Karolak – Easy! (Polish Jazz Vol.81 Deluxe, 1974)

Wojciech Karolak - Hammond & Farfisa Vip organs, Fender piano 

Orchestra conducted by Jan 'Ptaszyn' Wróblewski -
Jan Ptaszyn Wróblewski - conductor
Tomasz Szukalski - soprano saxophone (solo 2)
Tomasz Stańko - trumpet (solo 1)
Zbigniew Namysłowski - alto saxophone (solo 5)
Janusz Muniak - reeds

Easy! (Polish Jazz Vol.81 Deluxe, 1974)

This relatively little known but excellent album presents Polish Jazz keyboardist / composer / arranger / bandleader Wojciech Karolak in a relaxed atmosphere and in company of the crème de la crème of the Polish Jazz musicians of the period that he cooperated with on many occasions before. The idea was to present a less complex / sophisticated music performed by top Jazz players, but in retrospect the result surely surpassed all the intensions and expectations and this is definitely some of the best of his work. 

Recorded at a time when the Jazz-Rock Fusion in Poland was rapidly developing and achieving the peak of its creativity, spearheaded by Michal Urbaniak and his group, of which Karolak was a member. It is hardly surprising therefore that this album includes many of the characteristics of the early 1970s Polish Fusion, which of course in term was strongly influenced by the pioneering and groundbreaking work done by Miles Davis at the time, which served as a model to the entire worldwide music community. 

Although perhaps more melodic than the Urbaniak's recordings, this album has plenty of innovative moves, like the usage of early synthesizers, electric piano and of course his organ, excellent brass arrangements on some tunes and superb soloing by the musicians involved, which include trumpeter Tomasz Stanko, saxophonists Zbigniew Namyslowski, Janusz Muniak and Tomasz Szukalski, drummer Czeslaw Bartkowski and many others. Karolak composed seven of the eight tracks on this album with one track being contributed by the great Jan Ptaszyn Wroblewski. Lovers of Polish Jazz should be rejoiced by the fact that this album was reissued as part of the extended legendary Polish Jazz series. A must!

Track listing:1. A Day In The City [05:28]; 2. (DACP 796) Endless Transit [04:17]; 3. Instant Groove [07:09]; 4. Strzeż się Szczeżui [03:58]; 5. Easy [05:57]; 6. Why Not Samba [04:16]; 7. Seven Shades Of Blue [04:04]; 8. Goodbye [06:30]

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

Piotr Wojtasik - Escape (1999)

Piotr Wojtasik - trumpet

Tomasz Szukalski - soprano & tenor sax
Maciej Sikala - soprano & tenor sax,
Sławomir Kurkiewicz - bass
Krzysztof Dziedzic - drums

Escape (1999)

The leading trumpet of Polish jazz scene, Piotr Wojtasik, is very well known as a virtuoso, whose live improvisations are widely admired. He is also the composer of several pieces: ”The Waltz”, “Plum Orchard”, “First Rehearsal”, “Almost Touching It”... To be sure, his every improvised solo in a small composition, though based on someone else’s ideas. The present disc brings three more Wojtasik’s original compositions, one of them a major one in three parts, “Escape”, after which this disc is named. It shows at the same time his partly introverted nature and his deeply felt attitude toward surrounding turbulence of contemporary life, one wishes sometimes to escape from. From the strictly musical point of view it is a very successful combination of improvisatory freedom with the attractive ensemble sections and general structure. As he himself admits, the shaping of “Escape”ripened gradually in discussions and rehearsals with his present sidemen, Tomasz Szukalski, Maciej Sikała, Sławomir Kurkiewicz and Krzysztof Dziedzic. The colors of this music are not only unique and beautiful (in spite of piano’s absence) but assaulting our imagination. There’s a poignantly vigorous soprano-saxophone’s incantation (part I) and anguished pulsations of bass and drums underneath; the initial motif: a,f,b,d, forms a basis from which the tenor’s rebellious improvisations stem. The drums link the first part with the second, and a very attractive straight-ahead begins, jumping sporadically off the tonal barriers. We are about to admire the trumpet’s and tenor’s solo-flights, the rows of running fourth-all these full of half-defined meaning, asking for some kind of allegoric film. And finally a bass solo that guides us to part lll. The structure and expression complement each other throughout. A characteristic call (e,a,f,g) three times repeated and answered each time by a frenzy of voices, leads to a kind of psalm, where the peculiar polyphonic “free” occurs, with tenor exhortations running out of it.

The conclusion is definitely hopeful, even triumphant. Farther items on this CD add to the message of “Escape”, however differently. “Horizon”, the next Wojtasik composition starts with a broadly outlined unison theme. It unfolds on two levels. The polyphonic treatment used here resembles a kind of two-parts invention. There are two fine tenor solo improvisations with a trumpet solo in between. The sounds symbolizing movement and space entwine the return of the main theme. in October 1960 John Coltrane recorded three complete sets in the space of barely one week ;”Coltrane Plays The Blues”, “My Favorite Things” and “Coltrane’s Sound” that included the unique and beautiful John’s ballad, “Central Park West”. Wojtasik and his partners give it a very subtle and ingenious treatment. The main theme is harmonized and there are exquisite polyphonic overlapping at the end of each solo improvisations-the recurring theme which at last grows to end the piece. The third composition by Wojtasik, “Celebration”, runs in 5/4 time, sporadically colored by the sound of a conch. The ostinato groove, enhanced by subdued drums, is subjected to kind of transformation and embellished by trumpet and soprano improvisation. One may imagine the celebration sounds coming from a distant African village. The arranged and “free” sections of this piece equally contribute to the peculiar mood. The last item on this CD comes from Billy Harper, an emotional and inventive tenor-man. Wojtasik and Harper used to play together recently and both men developed a real musical affinity documented by recording the “Quest” in 1996. Harper’s “Illumination” starts here with flourish-like phrases. One is sure to enjoy two sizeable tenor solos, the first by Sikała, the second by Szukalski, as well as the brilliant trumpet improvisation by the leader-all these punctuated by introductory theme’s phrase. The music sparkles and shimmers with varying instrumental colors. 

Track listing: 1. Escape 2. Horizon 3. Central Park West 4. Celebration 5. Illumination

source: http://www.polishjazz.com

Ewa Bem – Loves The Beatles (Polish Jazz Vol.84 Deluxe, 1984)

Ewa Bem - vocals, background vocals (1, 2, 6-8, 10-12 ), percussion (50)

Marek Stefankiewicz - Fender Rhodes, acoustic piano (1, 9)

Winicjusz Chróst - guitars (1, 2, 6-7, 9, 11), drums programming (2, 6-7)
Arkadiusz Żak - bass guitar (1, 9)
Tomasz Szukalski - tenor sax (1, 6, 9-10, 12)
Wojciech Karolak - Fender Rhodes (2), acoustic piano (2, 6), synthesizers (4, 6, 7)
Wojciech Kowalewski - percussion (2-6, 8, 10-12) drums (3-5, 7-8, 10-12)
Jerzy Kaczmarek - Fender Rhodes (3-5, 8, 10-12), synthesizers (3-5, 8, 10-12), acoustic piano (11)
Romuald Frey - guitar (3-5, 8, 10-12)
Mieczysław Jurecki - bass guitar (3-5, 8, 10-12)
Henryk Majewski - trumpet (3-6, 8, 10)
Stanisław Mizeracki - trumpet (3-5, 8, 10)
Dariusz Macioch - trombone (3-5, 8, 10)
Roman Syrek - trombone (3-5, 8, 10)
Andrzej Jagodziński - French Horn (9)

Loves The Beatles (Polish Jazz Vol.84 Deluxe, 1984)

This is quite an unusual album on which Polish Jazz singer Ewa Bem undertakes the difficult task of interpreting twelve songs by the Beatles, a concept which usually very quickly turns into a disaster. However, this time the result is quite surprising, with the original songs being arranged often very faraway from their original form, rhythm and atmosphere, which is actually quite interesting and certainly shows a lot of potential. Bem’s vocal qualities are beyond reproach and she is supported by an excellent team of the best Polish players, like saxophonist Tomasz Szukalski, trumpeter Henryk Majewski and many others, which contributes significantly to the overall result. In retrospect the use of synthesizers, which is the dreaded trademark of the 1980s, sounds pretty dated today, but that unfortunately can’t be helped. It is certainly interesting to revisit this album to get a fresh perspective as to what can be done with Pop material in the Jazz sphere. Worth investigating!

Track listing: 1. I Will [04:31]; 2. Here, There And Everywhere [03:57]; 3. Get Back [01:56]; 4. A Hard Day's Night [03:14]; 5. Something [03:16]; 6. You're Going To Lose That Girl [03:41]; 7. Drive My Car

[03:31]; 8. The Fool On The Hill [03:03]; 9. I'll Follow The Sun [03:50]; 10. Blackbird [03:40]; 11. Here Comes The Sun [02:37]; 12. Strawberry Fields Forever [04:13]

By Maciej Nowotny

http://kochamjazz.blox.pl

Karolak / Szukalski / Bartkowski – Time Killers (Polish Jazz Vol.89 Deluxe, 1985)

Karolak / Szukalski / Bartkowski

Wojciech Karolak - organ, synthesizer
Tomasz Szukalski - tenor & baritone saxophones (6)
Czesław "Mały" Bartkowski - drums

Time Killers (Polish Jazz Vol.89 Deluxe, 1985)

This is the only album by Polish Jazz supergroup Karolak / Szukalski / Bartkowski, which united three veterans of the local scene: keyboardist / composer Wojciech Karolak, who wrote and arranged all the music included on this album, saxophonist Tomasz Szukalski and drummer Czeslaw Bartkowski. The album has a very unique sound due to the unusual instrumentation, as well as a superb groove, which is usually associated with American recordings. Karolak performs the difficult task of both soloing and accompanying his partners, using the organ bass pedals to supply the bass parts. Szukalski again proves his excellent taste and technical abilities, especially on the track where he plays the baritone sax. Bartkowski is stable like a rock and drives the music forward constantly, with his usual virtuosity. This music sounds remarkably fresh almost thirty years after it was recorded, and it's probably only a matter of time before some DJ lays his hands on this stuff and makes people dance to it. Highly recommended!

Track listing: 1. Anniversary Blue; 2. Double - B; 3. Gem; 4. State Train;  5. Trata-Tata; 6. Pass into; 7. Silence; 8. Time Killers

By Adam Baruch
www.adambaruch.com