Wojciech Jachna & Ksawery Wójciński – Conversation With Space (2018)

Wojciech Jachna & Ksawery Wójciński

Wojciech Jachna - trumpet, flugelhorn
Ksawery Wójciński - double bass
Tomasz Glazik - tenor saxophone

Conversation With Space

FSR 2018/04


By Adam Baruch

This is the second duo album by Polish Jazz duo: trumpeter/composer Wojciech Jachna and bassist/composer Ksawery Wójciński. Saxophonist Tomasz Glazik guests on one track. The album was recorded in two Warsaw locations (Ladom/Mózg) associated with Free Jazz/Improvised Music and presents eleven original compositions co-credited to the duo members and one traditional tune arranged by the duo members.

Some people following the Polish avant-garde music scene might be quite surprised by the music presented on this album, since it is overall remarkably melodic and tame, and as such accessible to a wide scope of Jazz listeners. The short pieces, averaging about three minutes each, are based on a clear melodic line and the improvisations are kept within the scope of the basic melody, both harmonically and rhythmically. The traditional/religious hymn is perhaps the most surprising piece of the entire album and a brilliantly executed amalgam of improvisation and medieval music.

Both musicians display tremendous skills and imagination, which is evident every step of the way. Jachna continuously develops his trumpet chops and watching his progress over the last two decades was an uplifting experience. Wójciński is able to create a cascade of sounds from his bass and his plucking technique is ferocious. But even more important than their individual abilities is their cooperation, which fully belongs in the "Art of the Duo" idiom. Despite the limitations imposed by just two instruments in action, this music is complete and full and needs nothing to make it better. The trio on the single track where the saxophone is added is also excellent, but definitely not superior to the rest of the tracks.

Overall this is a beautiful example of highly spirited Improvised Music at its best, which should make all connoisseurs of the genre perfectly happy. Hopefully listeners from other spheres of interest will also take a while and listen, as this music is definitely too good to be ignored. The Polish FSR label continues to document the Polish/European Improvising Music scene with dedication and passion, for which it and the people running it deserve our gratitude and praise. Wholeheartedly recommended!

Jaząbu – Łódź Kosmiczna (2017)

Jaząbu

Wojciech Jachna - trumpet, flugelhorn
Tomasz Glazik - tenor saxophone
Marek Kądziela - guitar, electronics
Jacek Buhl - drums, percussion

Łódź Kosmiczna



AUDIO CAVE 2017/009

By Adam Baruch

This is the debut album by Polish avant-garde Jazz quartet Jaząbu, which consists of trumpeter Wojciech Jachna, saxophonist Tomasz Glazik, guitarist Marek Kądziela and drummer Jacek Buhl. The album presents ten original compositions/improvisations, which are not credited on the album's artwork and therefore assumed to be all co-composed by the four quartet members.

The music is quite typical Free Jazz/Improvised music offering, with short melodic lines stated at the beginning of the tracks, which are then developed into group improvisations and feature solos by the individual quartet members. Some of the tracks lack even the basic melodic theme and are completely improvised. The music appears to be working best when it is more contemplative and introvert, and as such delivers a deeply atmospheric musical aura. The more energetic pieces sometimes move into chaotic intensity. The lack of bass, which is only partly compensated by the guitar, creates a fluid, less rigorous rhythmic setting, which suits this music well.

Jachna and Glazik were members of the legendary Sing Sing Penelope ensemble, which was active since the turn of the Millennium, and their musical attitude was largely influenced by their formative years. Jachna and Buhl recorded several albums together in duo and trio formats and all three of them come from similar background. Kądziela is a bit of an outsider here, having been mostly associated with young Polish Jazz musicians active on the Danish scene, but since his return to Poland he is certainly more active on the local scene in several quite diverse environments. Together they represent an interesting amalgam of talent and musical experience, which definitely has a lot to offer.

Although I was not overwhelmed by the music on this album, probably mostly due to the fact that although beautifully performed it offers little innovation, I believe that their future offers might be much more exciting, considering their potential. Of course the album offers some great moments and impressive soloing and the connoisseurs of the Polish avant-garde scene should be quite happy with this music, which more than anything proves that Polish musician are still searching and making an effort to cover uncharted territory, rather than succumb to lethargy.

Janusz Zdunek – Numery (2017)

Janusz Zdunek

Janusz Zdunek - trumpet, synth
Bogumiła Ludwińska - alto saxophone
Mariusz Godzina - tenor saxophone
Tomasz Glazik - baritone saxophone
Jarosław Ważny - trombone, voice


Piotr Wróbel - tuba
Ireneusz Kaczmar - bass
Rafał Baca - drums

Numery

SP 0217

By Adam Baruch

This is an album by Polish trumpeter/composer Janusz Zdunek, recorded in an octet setting with six brass players (Zdunek on trumpet, trombonist Jarosław Ważny, saxophonists Bogumiła Ludwińska, Mariusz Godzina and Tomasz Glazik and tuba player Piotr Wróbel) and rhythm section: bassist Ireneusz Kaczmar and drummer Rafał Baca. The album presents eleven original compositions, all by Zdunek. One of the tracks features Rap style lyrics. The musicians on the album are old Zdunek's cohorts from his Yass ensembles 4 Syfon and Marienburg and Rock group Kult.

The music is consistent with earlier albums by Zdunek, presenting more or less the same mixture of Jazz, Rock, Yass and Funk influences, which are almost danceable, played with great feeling of Groove and a Funky approach, but basically adding very little to the musical arsenal, which Zdunek presented already in the past, except perhaps for a few Klezmer influenced pieces.

The large brass section could have been used to create a much richer and multilayered environment, but sadly it is mostly limited to playing long unisono lines behind Zdunek's trumpet solos, which are not interesting enough to keep the listener on his toes. The rhythm section keeps the music moving forward in a hypnotic Funky Groove, which is really excellent, but after a while becomes somewhat repetitious.

Overall this is a nice, listenable album with a lot of brass sounds and Groovy/Funky rhythms, which many listeners should be able to enjoy and perhaps even dance to. More entertainment that Art, but nevertheless definitely worth investigation!

Glabulator – A Day Without Hours (2013) ****

Tomasz Glazik - tenor saxophone, bass clarinet, modular

Jacek Buhl - drums, percussion

KUKUNAMUNIU

By Adam Baruch

This is the debut album by the experimental Polish Jazz duo Glabulator, founded in 2005 by saxophonist Tomasz Glazik (4Syfon, Sing Sing Penelope) and drummer Jacek Buhl (4Syfon and many others), two of the most respected activists on the avant-garde scene in the town of Bydgoszcz and its legendary club "Mozg". Following a long period of inactivity since 2007 the duo combined forces again in 2012 and recorded this album in the studio located in the same club, which includes ten original compositions / improvisations credited to the duo.

The music is quite diverse, ranging from completely improvised pieces to almost danceable melodic exercises, which are nostalgic reminiscences of the Yass period. Glazik plays tenor saxophone, bass clarinet and synthesizers and creates a wide range of sounds and effects, creating often the effect of a whole ensemble. Buhl, who is one of my favorite drummers on the Polish scene, presents again his incredible musicality and virtuosic control of his array of percussive instruments. Together they create an ambience of adventure, which keeps the listens in full suspense throughout the entire album.

This music beautifully combines the concept of freedom with the elements of melody and rhythm, which are the basic building blocks of music, and therefore is able to be attractive to a relatively wide range of open-minded listeners, which is usually quite difficult to achieve in the Free / Improvised Music environment.

This is yet another document of the incredible vitality and versatility of the Polish Jazz scene, which seemingly knows no borders and simply explodes with both established and new talent. Listeners who have been following the careers of the duo members will find this album as another interesting step in their development. For others this is a wonderful opportunity to discover the magical world of Glabulator and take an enchanted voyage with them.

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

Glabulator

Tomasz Glazik - tenor saxophone, bass clarinet, modular
Jacek Buhl - drums, percussion

Jeden Dzień Bez Godzin (2013)

Glabulator was founded in 2005 by Tomek Glazik and Jacek Buhl. Their music is based on improvisation and the experimental sounds of the saxophone, bass clarinet, synthesizer, drums and percussion. Their last performance was in November 2007 at the third edition of the "Muzyka z Mózgu" ("Music of the Brain") festival, which was recorded and repeatedly broadcast by TVP Kultura. It has taken some time for them to re-appear since their last project, but they have now released their debut album "A Day Without Hours", which was recorded in October 2012 at the MÓZG recording Studio in Bydgoszcz. Most of the material consists of the improvisation of the tenor saxophone, bass clarinet and drums. There are also regular pieces using loops and the modular. All this is set in a melancholy, free yass suspension.

Tracks:

01. Przeziębiony słoń
02. Samotne serce
03. Chaotyczny spacer
04. Bob trapezowe oko
05. Linie papilarne
06. Chwilowe zejście
07. Marabut i jego syn
08. Uwertura c-moll
09. Jeden dzień bez godzin
10. Piosenka partyzancka

Sing Sing Penelope – Sing Sing Penelope (2005)

Sing Sing Penelope (band)

Daniel Mackiewicz - electric piano, analog synth
Tomasz Glazik - tenor & baritone saxophones, synth
Wojciech Jachna - trumpet
Patryk Węcławek - bass, percussion, kalimba
Rafał Gorzycki - drums

Sing Sing Penelope (2005)

This is the debut album by the sensational Polish ensemble Sing Sing Penelope, founded in Bydgoszcz in 2001 by four musicians: keyboardist Daniel Mackiewicz, bassist Patryk Weclawek, drummer / percussionist Rafal Gorzycki and saxophonist Tomasz Glazik. They were joined in 2003 by trumpeter Wojciech Jachna and the quintet lineup, which recorded this album, was born. Obviously based on the Jazz-Rock and modern Jazz roots, this ensemble acts as a creative unit and treats their original music (credited to all the five members) as an experimental canvas, expanding it into new and uncharted territory. Rather that use well established patterns and musical structures they try to innovate constantly, which puts them apart from most of their contemporaries. Combining melodic themes, pulsating rhythms and a lot of freedom in the improvisations they mange to create something fresh, challenging and often unexpected, which will be their trademark in all their future recordings. In fact this little known (at the time of its release) album marks the birth of was to become the most interesting ensemble active on the Polish scene in the first decade of the 21st Century. By now this is already a classic recording, which sadly is very difficult to find today. A must!

Link to samples of music:  http://www.singsingpenelope.com/records/sing_sing_penelope.html 

Track listing: 1. Hosanna - 13:06; 2. Kabunga - 9:0; 3. Struktury pana b - 13:22; 4. Das boot - 6:47 

By Adam Baruch
www.adambaruch.com

Sing Sing Penelope – This Is The Music / Volume 1 (2012)

Sing Sing Penelope (band)

Wojciech Jachna - trumpet
Aleksander Kamiński - soprano saxophone
Tomasz Glazik - tenor saxophone, bass clarinet
Daniel Mackiewicz - rhodes, tabla, percussion
Patryk Węcławek - bass
Rafał Gorzycki - drums
DJ Strangefruit - live electronics
Sebastian Gruchot - violin

This Is The Music / Volume 1 (2012) 

This is the 6th album by the brilliant Polish ensemble Sing Sing Penelope, formed and led by drummer Rafal Gorzycki, which includes also trumpeter Wojciech Jachna, saxophonists Aleksander Kaminski (new member) and Tomasz Glazik, keyboardist Daniel Mackiewicz and bassist Patryk Weclawek. Two guest artists, who played on the ensemble's previous recordings, are also present here: violinist Sebastian Gruchot and DJ Strangefruit from Norway on live electronics. It seems that SSP (as they are known in this age of shortcuts) can do no wrong and this album is every bit as grand as everything else they attempted previously, which after six albums and ten years amounts both to a substantial body of music as much as their impeccable reputation. The music, contributed collectively or individually by all participants, is as usual a completely original mix of styles and sub-genres, disregarding boundaries and freely moving from one territory to another. Atmospheric / ambient electronic sounds over strong, pulsating rhythmic patterns and Jazz solos on top seems to be shortest way to describe this music, although it manages to escape any simple depiction, which of course means there is interesting stuff happening here. In many respects this album sums up the decade of the ensemble's existence, covering everything from their Jazz-Rock efforts, through the Free Jazz improvisations and recent ambient vistas. In retrospect SSP emerge as perhaps the most interesting phenomenon of the first decade of the 21st Century on the Polish scene, being the most consistent, searching and completely disregarding fads group of young musicians around. An absolute must to any serious Jazz listener, wishing to reach beyond the obvious!

Sample of music: http://www.singsingpenelope.com/mp3/Mini.mp3

Track listing: 1. Bread; 2. Blue Hypergiant; 3. Mini Song; 4. This Is The Music; 5. Vennesla; 6. Skarb

By Adam Baruch

www.adambaruch.com

Sing Sing Penelope – Music For Umbrellas (Monotype Records, 2006)

Sing Sing Penelope (band)

tomasz glazik - tenor & baritone saxophones, flute, synth 

rafał gorzycki - drums
wojciech jachna - trumpet, flugelhorn
daniel mackiewicz - electric piano, synth, organ, tabla, percussion
patryk węcławek - bass, double bass, kalimba, percussion
sebastian gruchot - violin (track 2)

Music For Umbrellas (Monotype Records, 2006)

This is the 2nd album by the incredible Polish Jazz ensemble Sing Sing Penelope, led by drummer Rafal Gorzycki and also including trumpeter Wojciech Jachna, saxophonist Tomasz Glazik, keyboardist Daniel Mackiewicz and bassist Patryk Weclawek. Violinist Sebastian Gruchot guests on one track. They play all original music, composed mostly by Gorzycki and Jachna or credited to the ensemble. Stylistically this is an incredible mixture of many elements from Jazz, Rock, Ambient, RIO and other areas, completely eluding any attempt of pinpointing or categorization. They are definitely one of the most interesting and most consistently excellent ensembles currently active on the Polish scene, which of course is a major compliment. All these players are excellent instrumentalist, the music is fresh, unusual and truly intelligent, but in spite its complex nature manages to embrace the element of melody, which is often mostly lost in adventurous attempts tried by others. I suppose that if Frank Zappa was alive today, he'd have loved to play with these young musicians behind him, but so would a lot of other great musicians. In any case this, and the other recordings by this group, is a beacon of hope that not all is lost in music in the 21st Century. Absolutely not to be missed!

Tracklisting: 1. Chickens [5:33]; 2. Fis & Love [10:22]; 3. La Couchette [7:53]; 4. Black Minority [7:26]; 5. Walce Bydgoskie [9:20]; 6. Summa Musica [10:16]

By Adam Baruch

http://adambaruch.com/

Sing Sing Penelope / Andrzej Przybielski – Stirli People – In Jazzga (Monotype Rec., 2009) by Adam Baruch

Sing Sing Penelope (band)

Andrzej Przybielski - trumpet, flugelhorn, cornet, pocket trumpet

Wojtek Jachna - trumpet
Tomasz Glazik - tenor & baritone saxophones
Daniel Mackiewicz - electric piano, organ, percussion
Patryk Węcławek - bass
Rafał Gorzycki - drums, percussion

Stirli People – In Jazzga (Monotype Rec., 2009)

This phenomenal recording presents a somewhat unlikely cooperation between young Polish ensemble Sing Sing Penelope and the dark prince of Polish Jazz avant-garde, genius trumpeter / composer Andrzej Przybielski (now sadly departed). Sing Sing Penelope, formed by Polish drummer / composer Rafal Gorzycki also includes brilliant trumpeter Wojciech Jachna, saxophonist Tomasz Glazik, keyboardist Daniel Mackiewicz and bassist Patryk Weclawek. They recorded three albums since the mid-2000s, all of which are excellent, and this is their fourth release. 

Przybielski was a key figure on the Polish avant-garde scene since the 1960s, and his scarce, but mostly brilliant recorded legacy is a prime example of the Eastern-European Jazz at its most creative best. The music created by the young members of the ensemble and the veteran trumpeter is a wonderful surprise, completely unexpected not only due to the age and musical background differences but mainly because of the vibrancy and vitality of the result, which resembles the power and verve of the early electric Miles Davis ensembles. The sound is very modern and up to date, mostly up tempo and sometimes quite Rock oriented, but always within the Jazz aesthetic and always simply radiant. Of the seven composition presented on the album Przybielski is credited with three, another three are co-credited to him and the group and the last one is by the group. 

The most striking feature of the album is of course the double trumpet front line, which is simply phenomenal. Jachna already proved his ability as a player on several albums featuring his unique talents and playing alongside a genius such as Przybielski must have proven a unique inspiration, which is evident from the result. Przybielski himself simply plays beautifully all the way and this recording is definitely one of his best moments. As much as two saxophones lineups are very popular in Jazz, a two trumpets ones are almost inexistent, which is a great pity, as this recording proves beyond any doubt. But of course all the participants of this recording deserve to be praised, as everybody contributes towards the unprecedented success. Overall this is one of the strongest Polish Jazz albums recorded recently and a grand memorial to the talents of Andrzej Przybielski, who received almost no recognition before his untimely and tragic death. Definitely a must to every connoisseur of Polish and Eastern-European Jazz!

Track listing: 1. No, a reszta gdzie? [00:25]; 2. W arce [06:19]; 3. Stirli People [18:57]; 4. Do krwi [04:16]; 5. Góru [09:38]; 6. Talkin' Part II [06:05]; 7. Hosanna SSP [10:45]

By Adam Baruch

http://adambaruch.com/

Sing Sing Penelope – We Remember Krzeselko (2008) by Adam Baruch

Sing Sing Penelope (band)

Tomasz Glazik - tenor & baritone saxophones, flute, synth
Wojciech Jachna - trumpet, flugelhorn
Daniel Mackiewicz - electric piano, synth, organ, percussion
Patryk Węcławek - bass, double bass, percussion
Rafał Gorzycki - drums
Sebastian Gruchot - violin (track 1,3,4,7)

We Remember Krzeselko (2008)

This is the 3rd album by excellent Polish ensemble Sing Sing Penelope, led by drummer / composer Rafal Gorzycki, one of the most versatile and diligent Polish musicians, who also created and leads other ensembles, like Ecstasy Project. Gorzycki incorporates Jazz tradition with contemporary Classical music, Avant-garde, Rock, Punk and a myriad of other genres and sub-genres, completely ignoring conventions, like many of his Polish contemporaries on the off-centre music scene. 

His recording legacy in the last decade is quite prolific, presenting many quite contrasting, but always intriguing musical vistas. This album is definitely one of the most interesting of his recordings, and one of the best albums coming out of Poland in the first decade of the 21st Century. On this album the ensemble includes trumpeter Wojciech Jachna, saxophonist Tomasz Glazik, keyboardist Daniel Mackiewicz and bassist Patryk Weclawek. Violinist Sebastian Gruchot guests on four tracks. The music, all original of course, is a stunning amalgam of Modern Jazz, Avant-Rock, RIO, contemporary Classical; in short completely beyond classification. Somehow all this makes perfect sense musically and leaves the innocent listener completely stunned. The strange thing is that this music might appeal to Jazz and Rock (especially Progressive Rock) audiences with equal might, but certainly it's extremely unlikely someone might stay indifferent to it.

In short this is a blast of an album, which took me by complete surprise and made me return to it several times already. As to the album's title, I have no idea what the ensemble really meant, even after watching the short video included on the album, but my guess would be that it's a pun on the many Polish Jazz albums dedicated to the memory of Krzysztof Komeda, including the famous "We`ll Remember Komeda" album? In any case this album is an absolute must!

Track listing: 1. "No Title" – 06:35; 2. "James Bond" – 07:25; 3. "Talkin'" – 04:05; 4. "Farewell Dutch Hering" – 10:24; 5. "It Has Just Begun, Doctor" – 10:28; 6. "Third Man On The Moon" – 07:43

By Adam Baruch

http://adambaruch.com/

Spejs - Rozwinał mi sie turban (Biodro, 2010)

Spejs (band)

Tomek Glazik - sax, electronics

Karol Szaltis - keyboards

Jacek Buhl - drumms

DJ Awry Sz

Audun Ramo - bass

Sebastian Gruchot - violin

Rozwinął mi się turban ((Biodro, 2010)

This project definitely deserves close examination! Musicians involved are first rate: Tomek Glazik is excellent sax-man who played with such good avantjazz groups as Sing Sing Penelope or Contemporary Noise Sextet; drummer Jacek Buhl is crucial player in Polish avantgarde and his latest release "Unfinished Books" is among top three best Polish jazz albums this year; Sebastian Gruchot is talented violinist who as Glazik is associated with Sing Sing Penelope. The project begun in fertile musical scene focused around legendary Mózg club located in Bydgoszcz.

What kind of music this Polish-Norwegian band delivers? It is deeply rooted in yass movement with its iconoclastic yet self-ironic attitude therefore it sounds fresh and brave. It is also very noisy, with strong electronic component, often chaotic and unstructured which may sound for unprepared ear difficult and edgy. There is plenty of improvisation on this record which is inspiring but it doesn't necessarily mean that this collective freedom brings much beauty to the surface. In fact it often doesn't which is to certain extent deliberate but it is also good example of what Tomasz Stańko once described (having in mind some of his own albums from 70ties) as type of free jazz "interesting for one or two movements but tiresome in the long term". As you probably know I am rather critical toward typical mainstream jazz as it is too predictable but I am also distanced from free jazz that chooses to be uncommunicative. Still, I feel like there is great potential in this band if they stop to stick too closely to long gone yass heritage and engage in dialogue with present audience that looks in jazz less for revolution but more for good, classy yet ambitious entertainment.

Check following video for sample of this band's music:

Author of text: Maciej Nowotny

http://kochamjazz.blox.pl/html

Contemporary Noise Sextet - Ghostwriter's Joke (2011)

I love this band so please bear in mind that my opinion is biased: in this case the problem is that I had expectations too high. First record of then Contemporary Noise Quintet "Pig Inside Gentleman" (2006) simply turn my jazz gusto upside down. It was simply tour-de-force, something completely new in Polish music, a perfect blend of jazz, rock, pop, film music: it was sexy as hell and yet appealed to such a conneiseurs as I pretend to be. Because of its originality it was either loved or hated but the most important is that nobody remained  indifferent. 

With their next record "Unaffected Thought Flow" (2008) the band expanded into six regular members (plus guests). It resulted in even more diversified sound quite unlike for group operating on the vestiges of jazz and popular music. With this record even skeptics became convinced that Contemporary Noise Sextet is new significant force in Polish jazz and they began to be counted among strongest young bands such as Pink Freud or Sing Sing Penelope (Tomek Glazik and Wojtek Jachna played in both SSP and CNS). The success of those two albums helped them also to be recognized abroad which resulted in German Denovali Rec. and Japanese Zankyo Rec. issuing their CD as well as their own Polish Electric Eye Rec.

Their third issue, "Theater Play Music" (2008), was quite different story and is still waiting to be described on this blog. So let me now focus now on their newest album: what is it like?

First of all it confirms thoroughly that they developed their own language, immediately recognized after listening to first bars of the music: a dream fulfilled for any players. Film music connotations are even stronger than before: one rehearsal after another I tried to imagine a narrative that might fit to this dynamic and story-telling music.

On the other hand I must confess that  music on this record moved from typical jazz spatiality to rock aggressiveness and thus lost some of its grip over me. I never liked rock, I hate loudness and din, I despise ostinato pulse present from first to last second of this album. One could expect that such evolution of the band's sound may happen as shortly before recording of this album the artists involved in this project reactivated their former band Something Like Elvis, a legend of Polish postpunk scene. 

Well, it is sad, but I simply feel like my old friends went their own way, quite separate from my gusto, but I appreciate their decisions and bid them farewell. Could it be that we shall meet again in a future...? 

Check this film about making of the album containing a sample of music:

Sing Sing Penelope + Andrzej Przybielski - Stirli People in Jazzga (2008) by Maciej Nowotny

I am not a professional jazz critic, I make money elsewhere. But if I were one, I would choose always to listen to music from concert first before issuing my opinion about musician or band. Best example is Tomasz Stańko music as recorded for ECM: I am not that great fun of it. It's too monotonous for me, too monochromatic and monosyllabic. Yeah, that was a joke but to be honest I always find Stańko during concerts many times better than on any CD. If music is well played live it engages not only our mind but also body, down to its smallest cell, every part of it begin to resound, sway, dance, illuminate! I believe true jazz lovers know what I mean... Do you?

So speaking shortly if I have a choice I shall always go for live recordings. And that's why out of all albums of excellent Sing Sing Penelope band I choose this one as the best (the same story is with Pink Freud's live CD titled "Alchemia"). But that's not everything which makes this album so extraordinary, because apart from being recorded live in legendary Mózg (in Bydgoszcz) and Jazzga (in Łódź) clubs, its musical appeal is augmented by presence of trumpeter Andrzej Przybielski.

He is known in Poland under nick name "Major". His style formed in 70ties when he collaborated with giants of Polish pop scene like Czesław Niemen and SBB. His sound is most influenced by Miles Davis trumpet as we know it from such legendary albums as "Bitches Brew" or "Tribute to Jack Johnson". He finds himself best when surrounded by musicians who love to play together producing trance-like rhythms, an atmosphere of other-worldness, of spiritual detachment and trip to outer space. That is at least how he sounds on this recording where he not only follows steps of Great Mage from his 70ties period but is also pushing boundaries much further entering free jazz dimensions never or rarely visited by Miles. Can you imagine attitude more faithful to the soul of jazz than one displayed by Przybielski and his young companions?

I am sure we will hear more great music from Tomasz Glazik (sax), Rafał Gorzycki (drums), Wojciech Jachna (trumpet), Daniel Mackiewicz (piano & percussion), Patryk Węcławek (bass) but unfortunately not from Andrzej Przybielski any more. He departed as of yesterday - 9th Februrary 2011 - leaving all jazz lovers in Poland in state of deep shock. Regardless of countless recordings he made so far and his 65 years, we hoped to hear still more fantastic music in future from him. But it ends here ... or perhaps not as stated his long time companion Piotr Baron who on Facebook wrote on this occasion: "Farewell in Heaven Major". This short note in its humbleness is the only tribute I can offer to this man of note...

Track listing: Track listing: 1. No, a reszta gdzie? [00:25]; 2. W arce [06:19]; 3. Stirli People [18:57]; 4. Do krwi [04:16]; 5. Góru [09:38]; 6. Talkin' Part II [06:05]; 7. Hosanna SSP [10:45]

Check this fragment of concert with material from the album to get to know how great loss we are forced to accept:

By Maciej Nowotny

http://kochamjazz.blox.pl/html

  

Contemporary Noise Sextet - Unaffected Thought Flow (2008)

I already wrote about this band on occasion of their previous recording Pig in Gentleman. This time they changed format a little adding to the previous quintet of musicians (Kuba Kapsa - p, Tomasz Glazik - sx, Wojtek Jachna -tr, Paweł Urowski - b, Bartek Kapsa - dr) Kamil Pater (g). He already appeared on PIG but now plays CNS on permanent addition. He is excellent player who was part of famous progressive rock band  called Ecstasy Project and recorded Dziki Jazz last year, the album regarded by many as one of the most important ventures in the field of mainstream, avant-garde and free jazz in Poland.

Although many fans of CNS were afraid whether they will be able to keep the standard they attained in their first album this band proves by this issue that they are able to deliver high quality and creative jazz on regular basis. This album not only continues good job they started in PIG but they even pushed the whole further including into their music idiom not only jazz and film music but also rock, drum&bass or trip hop. This is exactly a mixture you would like to hear while being in some good club with nice and intelligent girlfriend on Saturday evening in one of big european cities. Cool and sexy stuff from Poland, definitely not to be missed!!!

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

Contemporary Noise Quintet - Pig Inside The Gentleman (2006)

 

With this record Contemporary Nosie Quintet made quite an impact on polish scene because there were before them almost no recordings in such style. This style may be described as blend of jazz, improvised and film music. It reminds me of such bands I heard recently as french-japanese United Future Organization, british Nostalgia 77 or american Hypnotic Brass Orchestra. 

The band was created by Kapsa brothers who are very well known on polish rock scene as they created one of the most important young rock bands of recents years called Something Like Elvis. It was big surprise when at the height of popularity of this band they decided to finish it and start new one dedicated to jazz. Beacause of the success of their previous creation they had not no diffculty in inviting to the band  excellent jazz musicians. They were joined by saxofonist Tomek Glazik who played in top jazz avant-garde band Sing Sing Penelope (I wrote about them in this blog), trumpeter Wojtek Jachna (also Sing Sing Penelope) and bassist Paweł Urowski (who last year recorded excellent album titled Dziki Jazz - Wild Jazz). Guests taking part in this recording are no less prominent as they comprised young but very talented guitarist Kamil Pater, trombonist Marcin Muras and double bass player Radosław Manthey.

One may only admire creativity of all these guys moving freely between different styles being able to reconcile punk  agressivness with jazz sense of space and improvisation. What is even more admirable that Kapsa brothers set up their own record company called Electric Eye which issued this album and is developing quite well. Additionaly recording was made in their own studio in Szubin and one must appreciate its high level as nonetheless loud character of music, its sense of space and granularity is more than satisfactory.

By Maciej Nowotny

http://kochamjazz.blox.pl

Sing Sing Penelope - We Remember Krzeselko (2008) by Maciej Nowotny

One of the reasons that polish contemporary jazz scene is relatively unknown to international audience is that it is so much avant garde. The reason lays in "Brain", but I am not thinking only about this misteriuos organ located usually in our head but rather of the famous music club located in Bydgoszcz, in northern part of Poland, foggy and cold Pomerania.

So it happened in Poland that after 50ties when polish jazz was born, 6oties when it reached maturtity and blossomed, 70 ties when it went abroad and become known in other countries, in 80ties it became stagnant and closed to musical developments that took place outside the genre. It coincided of course with the dramatic situation in the country which after the Solidarity movement was crushed by gen. Jaruzelski in 1981 became very bleak, grey and uninspired place to live in. Then year 1989 happened and the communism was over but it took many years before country started to recover from the gloom of the past.

In such a dire conditions few crazy poeple like Ryszard Tymon Tymański, Leszek Możdżer, Maciej Sikała and Mikołaj Trzaska from Tricity (consisted of Gdynia, Sopot and heroic Gdańsk) formed a group called Love (Miłość) that was to change the course of history o polish jazz. As well-known critic Tomasz Szachowski once wrote: "Miłość began a creative ferment, it gathered a group of believers, it led to the creation of a new stream in Polish jazz. Today this stream gathers at least over ten musicians, it has its own record company (Biodro Records), its own festival ("Muzyka z Mózgu" / "Music from the Brain"), and a number of clubs of which "Brain" located in Bydgoszcz is the most important." This new movement was called yass in opposite to jazz and was always alternative to main stream, avant garde, experimental and free. Though Sing Sing Penelope is a band that belongs to second generation of young polish yass players it retains all characteristical features of its founders.

Sing Sing Penelope consissts of following players:

Tomasz Glazik - tenor & baritone saxophones, flute, synth

Wojciech Jachna - trumpet, flugelhorn
Daniel Mackiewicz - electric piano, synth, organ, percussion
Patryk Węcławek - bass, double bass, percussion
Rafał Gorzycki - drums
Sebastian Gruchot - violin (track 1,3,4,7)

All these guys are excellent players, very well educated, very creative and active in multiple projects and bands that play similar progressive music like Pink Freud, Contemporary Noise Quartet, Ecstasy Project or Robotobibok. These bands all form the core of polish avantgarde which is another interesting aspect of thriving polish jazz scene which cerainly should draw more attention from foreign listeners and recording companies.

Please listen to cover track from this album, a song composed on the occasion of funeral rite of little chair ("krzesełko"). This shows what young artists think about generally sad and reflective tone of polish jazz and classical music ;-)

By Maciej Nowotny

http://kochamjazz.blox.pl/html