Record Reviews

MARCIN BANASZEK ~ STATIONS OF THE CROSS AKADEMIA MUZYCZNA W KRAKOWIE 017 ~ POLAND ~ Jazz Recorded: 2016 Released: 2017 This is the debut album by Polish pianist / composer Marcin BanaszekFind albums by this artist, recorded in a classic piano trio format with bassist Andrzej ZielakFind albums by this artist and drummer Karol DomanskiFind albums by this artist. The album presents fourteen original compositions, all by Banaszek, which form a suite dedicated to the religious images depicting the fourteen Stations of the Cross passed by Jesus on the day of his crucifixion. The music is deeply poignant, almost lethargic, moving slowly from one piece to another, inspiring reflection and perhaps even prayer. Full of melancholy and tranquility, the melodic contents is kept on a steady subdued level both harmonically and rhythmically. As a religiously inspired project this music makes sense but separated from the context it is somewhat monotonous. As a melodic mainstream Jazz this music has several drawbacks: the melodies are very similar, most of the tracks are too short to allow for in depth improvisation and the dynamics is almost absent. As such this music presents a serious challenge to Jazz connoisseurs, who expect excitement, variety and challenge from the music they listen to. The performance is also very minimalistic, with the piano taking over almost completely and the rhythm section present mostly only in the background, almost unheard. The only lengthy piece on the album is an example how this music might have sounded under a different approach, and is the best track on the album. Overall this is an unusual piano trio album, which works well under its religious concept but on its own is somewhat limited. However, many piano trio connoisseurs might find it interesting and since people like many different forms of Jazz, it is definitely worth investigating.

Updated: 01/03/2018Posted: 01/03/2018

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LUKASZ BOROWICKI ~ WANDERING FLECKS FOR TUNE 0095 (Barcode: 5902768701937) ~ POLAND ~ Jazz Recorded: 2015 Released: 2016 This is the second album by young Polish Jazz guitarist Lukasz BorowickiFind albums by this artist. Following the debut album recorded in a trio format, this album presents a quartet effort, with Danish flugelhornist Mads la CourFind albums by this artist and Polish bassist Mariusz PrasniewskiFind albums by this artist (who also appears on the debut) and drummer Karol DomanskiFind albums by this artist. The album includes ten original compositions, eight of which are by Borowicki and two are improvisations credited to the quartet members. In contrast to the debut, this album is much more relaxed and organized, probably since there is no pressure to prove anything this time. The compositions are lyrical and much closer to the European Jazz idiom, with breathing space and freedom being the most important ingredients in addition of course to the personal abilities of the participants. The addition of the flugelhorn expanded the ensemble´s possibilities considerably and Borowicki could have hardly find a better partner for his musical explorations that the amazing Dane, who has caught my ear already and who is definitely worth following carefully. The quartet is very tight together, which is quite remarkable considering the complex, both harmonically and rhythmically, music they perform. The rhythm section truly supports the soloists as well as builds up the platform on which the entire structure securely advances in time. As the result the instrumental work is nothing short of amazing. It is hard to believe that this album was recorded by such young musicians. Borowicki also presents an impressive compositional palette and the overall level of his tunes is very notable. His compositions serve as ideal vehicles for the musicians to play their best. The interplay between the guitar and the trumpet is especially exciting, as are their respective solo parts. Both Borowicki and la Cour have a distinctive sound and approach and on this album they simply complete each other perfectly. It is a joyful feeling to hear music of such quality, especially when it comes from musicians who are at early stages of their careers. The maturity and talents displayed here are all exemplary. As a result this is another great album released by the For Tune label, and certainly one of the strongest releases this year on the Polish Jazz scene. Congratulations!

Updated: 08/08/2016Posted: 08/08/2016

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JAKUB DYBZYNSKI EQUILATERAL TRIO ~ INTUITIVE INVERSIONS HEVHETIA 0135 (Barcode: 8588005257923) ~ POLAND ~ Jazz Recorded: 2015 Released: 2016 This is the debut album by Polish Jazz clarinetist / composer Jakub DybzynskiFind albums by this artist recorded with his trio called Equilateral TrioFind albums by this artist, which also includes bassist Mariusz PrasniewskiFind albums by this artist and drummer Karol DomanskiFind albums by this artist. All trio members are graduates of Music Academies in Denmark, where many young Polish Jazz musicians study and often also stay in the last decade, and where this album was recorded. Together they perform eight original compositions, all by Dybzynski. The music is quite diverse and moves between melodic modern Jazz and open compositions which are closer to Free Jazz. Some compositions have a steady swinging rhythmic drive others are much less restrained rhythmically, in short an interesting mixture of melodies, rhythms and musical freedom, which works out very well. Dybzynski is a skilled player, but for the moment lacks the finesse displayed by the veteran Polish Jazz clarinetists. He is however certainly on the right track and will surely gain the necessary experience in the years to come. His compositional skills are already quite mature, and the material on this album is definitely very promising. The rhythm section is really excellent and handles the complex rhythmic patterns with ease and elegance, carrying the music steadily even during the free form passages. They are perfect accompanists to the delicate clarinet sound, delivering an overall powerful message to the listener. The open, free form compositions are the most impressive parts on this album, and hopefully will be more prominent in the future recordings by the trio. But even on the steady swinging tunes the trio plays interestingly enough to keep the listener fully engrossed in the music. The clarinet is sadly not as popular in Jazz as it deserves to be, and hearing young musicians pursuing the great clarinet Jazz tradition is very encouraging. This is definitely an impressive debut and hopefully will be followed up by no less impressive recordings in the feature. Well done!

Updated: 18/11/2016Posted: 18/11/2016

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JAZZPOSPOLITA ~ PRZYPLYW AUDIO CAVE 2020/001 (Barcode: 5905669566988) ~ POLAND ~ Jazz-Rock Fusion Recorded: 2019 Released: 2020 This is the seventh album by Polish ensemble JazzpospolitaFind albums by this artist, led by bassist Stefan NowakowskiFind albums by this artist, which also includes keyboardist Michal ZaleskiFind albums by this artist, guitarist Lukasz BorowickiFind albums by this artist and drummer Karol DomanskiFind albums by this artist. The album, recorded following a period of hiatus, personnel changes and inactivity, seems to find the ensemble back in full form. It presents eight original compositions, four composed by Nowakowski, three by Borowicki and one by Zaleski, which is a change as on the earlier albums the music was always co-credited to the entire lineup. The album is dominated by the beautiful sound of Borowicki´s guitar, who recorded four splendid albums as a leader before joining Jazzpospolita. Stylistically the music is somewhat more Jazz oriented than the earlier albums by the ensemble, but preserves both the Rock and Ambient subtext, which dominated the early releases and which brought them the popularity they enjoyed for an entire decade. Zaleski provides a rich harmonic background for the guitar front lines and the rhythm section keeps the music flowing steadily. The music is difficult to classify, as it easily belongs to a wide range of sub-styles of Fusion and even Progressive Rock on one hand and at the same time is pretty unique. Beautiful melodic riffs repeated over energetic rhythmic patterns are hypnotic enough to engulf the listener and keep him enchanted as long as the music is playing and leaves him wishing for more. It is great to see Jazzpospolita back on the scene and I hope to catch them live again soon, as their live shows are always a remarkable experience. For their many fans this album is a solid continuation of their earlier efforts, but it is also a great opportunity for new listeners to get exposed to their music, which never fails to satisfy.

Updated: 20/03/2020Posted: 20/03/2020

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JOANNA KUCHARCZYK ~ MORE FISK 001 ~ POLAND ~ Jazz Recorded: 2013 Released: 2013 This is the debut album by young Polish Jazz vocalist Joanna KucharczykFind albums by this artist, accompanied by a piano trio with Czech pianist / composer Vit KristanFind albums by this artist, bassist Max MuchaFind albums by this artist and drummer Karol DomanskiFind albums by this artist. The album presents nine original songs, four of which were composed by Kristan, three by Kucharczyk, one co-composed by them both and the remaining one by Domanski. Kucharczyk wrote (or in two cases co-wrote) the lyrics to all the songs, which are all in English (see the Side Note below). The songs are pretty straightforward mainstream efforts, where the ones composed by Kristan are significantly better and more eloquent that the others. Most of the material is soaked in the typical Slavic melancholy, which although deeply touching and beautifully atmospheric, tends to get somewhat repetitive and almost boring after a while. The trio performs the music with elegance and sensibility, again Kristan clearly arising as the most experienced and obviously talented player, deeply romantic and bringing to mind recollections of the young fellow Czech virtuoso Emil ViklickyFind albums by this artist when he was at the same age. The rhythm section does its job very well, with the firm bass pulsations and dynamic drumming perfectly suiting the music and pushing it forward, especially during the less exciting moments. Kucharczyk emerges sadly as a limited vocalist, not taking any risks and providing little, if any, excitement. She employs almost no vocal devices other than simple singing, which of course is not nearly enough considering contemporary vocal standards. She struggles desperately with the English texts (which she wrote herself), losing time after time... I´ll give Kucharczyk the benefit of the doubt, considering this is her debut album, and if she records her next album with Polish lyrics I´ll be ready to listen to "more". I truly pray she gets the message and wish her success with all my heart. Until then, adieu… Side Note: I find it really disturbing when vocal Jazz albums originating from Poland feature English lyrics, and even more so if these are original lyrics written by the vocalists themselves (as opposed say to Jazz standards where the lyrics are already out there as part of the original songs). In almost all such cases the results sound simply ridiculous, incomprehensible and sometimes are even plainly painful to listen to. Why on earth would anybody, who is not a natural English speaker, want to sing in that language is a total mystery to me? It is plainly obvious that the articulation, the pronunciation and the accent will be always against you no matter how hard you try, so why do it at all? For Polish vocalists singing in English is a challenge, which makes them concentrate on trying to pronounce the foreign language, rather than simply sing, as they would do when singing in their mother tongue. And then there is the question why write lyrics in English, a foreign language that the writer knows only to a degree, usually almost embarrassingly superficially? No wonder that most such lyrics are shallow, primitive and pitiful. The assumption that if one can sing (which in itself is often a question) gives one the right to suddenly write their lyrics is completely unjustifiable. Usually one should restrain from writing publically unless one has something significant to say. The Polish Cultural Heritage includes thousands upon thousands of superb poems written over time by magnificent masters of the language, old and new alike. Why not use that legacy in your own work, sing in Polish and forget all that "singing in English" folly? And if you don´t like your own language, sing wordless vocalese, shout, meow and scat, do anything but please don´t sing in English! It´s beyond my comprehension why nobody learns from the mistakes of others and why the people giving guidance to the singers (producers, managers, fellow musicians and most importantly teachers) don´t discourage these self-destructive decisions? Well, c´est la vie…

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