Record Reviews

STANISLAW ALEKSANDROWICZ ~ RELATIVITY THEORY AKADEMIA MUZYCZNA POZNAN 1-04 ~ POLAND ~ Jazz Recorded: 2021 Released: 2022 This is the debut album as a leader by young Polish Jazz drummer / composer Stanislaw AleksandrowiczFind albums by this artist, recorded with his quintet which also includes saxophonists Maciej KocinskiFind albums by this artist and Wojciech BraszakFind albums by this artist, trumpeter Patryk RynkiewiczFind albums by this artist and Italian bassist Flavio GullottaFind albums by this artist. Before releasing this album Aleksandrowicz took part in several recordings featuring musicians from the Poznan Jazz scene, by ensembles like Kwasny DeszczFind albums by this artist, AnomaliaFind albums by this artist and Unleashed CooperationFind albums by this artist, all of which are excellent achievements on their own. The album presents a six-part suite composed by the leader. The music is somewhat resembling the modern Jazz movement that characterized the revolutionary Polish Jazz development in the 1960s, spearheaded by the Godfathers of the movement like Krzysztof KomedaFind albums by this artist and Tomasz StankoFind albums by this artist. The long tracks, based on sketchy melodic themes and dedicated mostly to both individual and group improvisation, almost but not quite Free, driven by strong pulsations by the rhythm section, all these create a déjà vu sensation of some early Polish Jazz albums of the period. Of course this does not mean that Aleksandrowicz is trying to copy that music, but rather refer to it respectfully, with his own personal flavors. The pianoless quintet, with three horns at the helm and a highly dynamic rhythm section behind them creates a unique sound on the contemporary Polish Jazz scene, managing splendidly to overcome the lack of a harmonic instrument. Much credit goes to Gullotta, who succeeds to create a perfect background on which the horns can weave their improvisations and allows Aleksandrowicz to ornament the music with his percussive inventions, rather than keep time. The music keeps the listener at a constant state of hypnotic attention, moving from one part of the suite to another smoothly and coherently. The concept of the quintet as an ensemble, rather than a collection of individuals, is achieved in full and the result sounds as organic as one might expect from any ensemble performing music together. As it often happens, drummers can be surprisingly interesting composers, way beyond the “bloke with sticks” image, which this album proves beyond any doubt. Overall, this is a splendid debut effort, consolidating the position of Aleksandrowicz as one of the young Polish Jazz musicians, who deserve to be watched and followed. So far everything associated with his name proved to be highly deserving, and one can only wish him many further successes.

Updated: 25/09/2022Posted: 25/09/2022

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ASCETIC ~ ASCETIC AUDIO CAVE 2023/008 (Barcode: 5908298549667) ~ POLAND ~ Jazz Recorded: 2022 Released: 2023 This is the debut album by young Polish Jazz quartet AsceticFind albums by this artist, led by clarinetist / saxophonist Mateusz RybickiFind albums by this artist, and also including pianist Tomasz KaczmarekFind albums by this artist, bassist Ju GhanFind albums by this artist and drummer Jan SlowinskiFind albums by this artist. The album presents ten tracks, which although based on ideas suggested by the leader, are all co-credited to the four members of the quartet. One of the tracks is based on a 15th Century traditional song. The music was excellently recorded at the Monochrom Studio. The music is an absolutely classic Jazz quartet recording, which offers an atmosphere and tonality of the Polish Jazz sometime in the late 1960s, when modern Polish Jazz was born. The delicate, almost hypnotic melodies, the relaxed, as if intentionally slowed down tempi, the wonderful clarinet / saxophone soli, which avoid unnecessary complexity and showing off, but push the melody to the very edge, the excellent harmonic support by the piano, the solid, stable bass pulsations and supportive but not overbearing drumming – it is all there to make the music just perfect from start to finish. I often complain that the young Polish Jazz musicians are not taking enough risks lately and seem somewhat out of steam, but perhaps reexamining the classics can be every bit as inventive, as breaking new ground, which is exactly what is happening here. The clarinet, which sadly has been pushed aside so often, proves that in the right hands it can be as innovative and daring as all the saxophone family, and with its specific tonality it is surely more heartwrenching. It would be trivial to compare this music to the music of John ColtraneFind albums by this artist or Krzysztof KomedaFind albums by this artist (which I have already noticed in the scribblings by my colleagues), since naturally every Polish Jazz musician is inadvertently influenced by these Giants; it is important to see what these young musicians have to say beyond the tradition, even when they pay “in the tradition”. And they certainly have a very individual and personal statements to offer, all of which are present herein, for those willing to listen. Overall, this is a brilliant debut recording, by any standard, and a surprising attempt to re-construct / de-construct the classic Jazz quartet statement, on an unprecedented scale, even if the musicians are not aware consciously of what emerged as a result of their creative effort. When the dust settles, this album is certainly here to stay as one of the most significant statements on the Polish Jazz scene this year, if not beyond. Time will tell, but in the meantime my warmest thanks to you Gentlemen, for your talents and determination. Hats off!

Updated: 29/07/2023Posted: 28/07/2023

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ATOM STRING QUARTET ~ FADE IN KAYAX 050 (Barcode: 5907678818096) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2011 Released: 2012 This is the debut album by the Polish Jazz string quartet called Atom String QuartetFind albums by this artist, comprising of violinists Mateusz SmoczynskiFind albums by this artist and Dawid LubowiczFind albums by this artist, violist Michal ZaborskiFind albums by this artist and cellist Krzysztof LenczowskiFind albums by this artist, which introduced a novel and revolutionary concept on the local scene combining the Classical Chamber music tradition and Jazz. The violin has been used in Jazz over the years, although not nearly often enough as this noble instrument truly deserves, but a concept of a string quartet which plays improvised music is actually pretty rare and has but a few parallels worldwide. The album was recorded live at Polish Radio Katowice and presents ten compositions, one of which is a standard, two are arrangements of compositions by the Godfather of Polish Jazz Krzysztof KomedaFind albums by this artist and the rest are original compositions: two each by Lenczowski and Zaborski, one each by Lubowicz and Smoczynski and the remaining one co-composed by Lenczowski and Smoczynski. The initial impact of this music is quite overwhelming, especially to listeners who are familiar with Classical music or Chamber music in particular, in parallel to their Jazz exposure. The string quartet is the "holy grail" of Classical music and such unconventional usage of the quartet as heard herein is truly surprising at first. But as the music takes the listener further and further into this unique world of sound, a transformation occurs from surprise and awe into joy and delight. Hearing a string quartet swing is an unearthly experience, recommended to every Classical music lover. Of course all four individual members of the quartet display virtuosic abilities and their combined performance is nothing short of amazing. Since they don´t play Classical Chamber music it is impossible and improper to compare them to those quartets which do so. Atom String Quartet is a class in itself and until another quartet arrives doing what they do, which is highly improbable, they are safe from comparisons. Since the music is mostly original, the quartet also has a lot to offer on the compositional platform, which is yet another aspect of their strength. They manage to bring forward a diverse scope of musical influences in their original compositions, not only from Classical music but also from Jazz and even Rock (Lenczowski is also a gifted Jazz-Rock / Fusion guitarist), which make their program interesting and full of unexpected surprises. There is no doubt that this is an exceptional album, which breaks new ground and opens new possibilities and yet comes from deep respect of existing musical tradition. Events like this are very rare and therefore they should be celebrated accordingly by all music connoisseurs. One can only hope that this music will reach listeners beyond the local Polish scene, as it so much deserves.

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ATOM STRING QUARTET ~ PENDERECKI FILHARMONIA SZCZECIN 008 (Barcode: 602508182679) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2019 Released: 2019 Despite the fact that the Atom String QuartetFind albums by this artist is one of the most household names on the Polish music scene in the last decade since their inception in 2010, this is surprisingly only the 6th album released under the quartet´s moniker. However, the still relatively young members of the quartet: violinists Dawid LubowiczFind albums by this artist and Mateusz SmoczynskiFind albums by this artist, violist Michal ZaborskiFind albums by this artist and cellist Krzysztof LenczowskiFind albums by this artist, already amassed a most impressive recording legacy of over thirty albums, covering a broad stylistic range, in which they participated either individually or collectively, and which is a most impressive achievement for just one decade by any standard. The essence of the Atoms (as the quartet is fondly referred to by the locals) is perhaps mostly characterized by the dichotomy (imaginary of not) between their Classical roots and other musical idioms, Jazz in particular, in which they were involved with so far. This album is not their first encounter with contemporary Polish Classical Music of course and followers of the Atoms are already familiar with their treatments of works by Witold LutoslawskiFind albums by this artist, but at the same time also with their interpretations of music by Polish Jazz Giants such as Krzysztof KomedaFind albums by this artist or Zbigniew SeifertFind albums by this artist, not ignoring the original compositions by the quartet members, which often dance on the thin wire stretched over the chasm dividing "serious" music from the rest of the world. Polish Jazz and the musicians involved with the genre display an obvious obsession with Polish Classical Music, by far more evident and noticeable than any other local European Jazz scene. One might speculate if this is a result of the inferiority complex, which many Jazz musicians suffer from, cultivated by the music education establishment ruled by Classical Music fanatics, or by the love of Polish musical tradition (your guess is as good as mine), but the fact is that the amount of Polish Jazz albums dealing with music of Frederic ChopinFind albums by this artist (just as an example) is staggering if not to say ridiculous. Maestro Krzysztof PendereckiFind albums by this artist is of course quite a different pair of galoshes; his brilliant music is always challenging and intricate, and the fact that some of the Polish Jazz musicians are willing to tackle this difficult subject is a proof not only of their phenomenal technical / virtuosic skills but more importantly their intellectual faculties. The first serious and a most passionate treatment of Penderecki´s work was undertaken in the recordings by Polish Jazz pianist Piotr OrzechowskiFind albums by this artist (a.k.a. PianohooliganFind albums by this artist), such as "Experiment: PendereckiFind albums with this title" or "24 Preludes & ImprovisationsFind albums with this title", and this album is a most welcome follow up on the same ambitious path. The music selected for this album concentrates mostly on early works (from 1950s and 1960s but also more recent compositions), chamber and solo pieces for wind instruments and the lovely music composed for the 1965 Polish movie "The Saragossa Manuscript" (which I remember seeing in the cinema accompanied by the leading actor Zbigniew CybulskiFind albums by this artist, who smuggled me in – I was under aged then). All the string arrangements were done by the quartet members of course. The decision to concentrate on the early works, which obviously are less Avant-Garde oriented than the Maestro´s later compositions, and also less grandiose, is one of factors contributing to success of the project. Obviously the huge scale orchestral works would have been almost impossible to transcribe onto the string quartet format, or perhaps the Atoms plan further explorations of Penderecki´s music, which will cover later works. The future will tell. One might ponder if this music has any relationship to Jazz? Well, on the face of it, there is very little, if anything, that might strike a Jazz fan as "familiar". The arrangements are kept well within the Classical Music idiom, staying authentic and close to the source, with no obvious improvisation element, which is considered crucial for Jazz. But when examined more closely the music is definitely Jazzy in spirit even if less so in body, which means that this music crosses the genre boundaries in the listener´s head rather than within the recorded notes. Confused? Great! Overall, this is definitely a beautiful piece of Art, divinely conceived and executed by Masters of the trade. Sublime music and musicianship of the highest class and above all uncompromising and challenging and yet accessible to any open minded music lover. Of course one expects nothing less from the Atoms these days, which is the price to be paid for Fame and Glory. As somebody who stood behind these wonderful musicians from day one and every step of the way, it is enormously satisfying to see them being able to grow continuously and stay forever restless. God speed!

Updated: 27/06/2024Posted: 21/09/2019

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ADAM BALDYCH & YARON HERMAN ~ THE NEW TRADITION ACT 9626 (Barcode: 614427962621) ~ POLAND ~ Jazz Recorded: 2013 Released: 2014 This is the debut album by Polish / Israeli duo comprising of violinist Adam BaldychFind albums by this artist and pianist Yaron HermanFind albums by this artist. The album presents nine tracks, five of which were composed by Baldych, two are Classical pieces and the remaining two are Polish Jazz standards. Baldych arranged all the music, except for the closing piece which was co-arranged by him and Herman. It is pretty clear from the very onset of the album that this music is only marginally Jazzy and the intention is to take a few steps back and examine the sources of contemporary music, regardless of their stylistic origins. Both players follow a rather minor and minimalistic approach, stating the melodies and improvising delicately and non-aggressively. One can interpret the album´s title in many ways of course; personally I believe that music fuses all its elements developed over time in a continuous process, and therefore "The New TraditionFind albums with this title" is simply an amalgam of all the traditions that existed beforehand, as this music clearly demonstrates to be possible. Tradition simply re-invents itself inside every Artist anew. Since all the original music on this album was composed by Baldych, he points out the musical direction of this album and therefore the tradition in this case involves his sources: European Classical music, Polish Folklore and of course Polish Jazz. Baldych pays tribute to the Godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist as well as the great Polish Jazz violinist Zbigniew SeifertFind albums by this artist. Thanks to the great musicality of Herman, he plays along splendidly, not only on the obvious sonic level, but way beyond proving to be a "twin spirit" in every way. Of course we have two great virtuosi players here, so the individual performances are also important, but the musicians clearly try to avoid flashy exhibitionism, sticking to the "less is more" approach at all times. This is no doubt "pretty" music, but it manages not to cross over to the kitschy domain, which always looms in the background of all Jazz-Classical Fusion projects. As usual it is all a matter of personal integrity of the musicians involved. This album should be easily accessible to quite a wide audience, as most Classical music lovers should find it appealing no less than the Jazz buffs. In any case this is music for connoisseurs and those few, who still listen to music seriously and passionately. Our Culture might be in a retreat, but as long as we have people like Adam & Yaron making music, not all is lost.

Updated: 01/03/2019Posted:

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BASTARDA ~ XB LADO ABC C/32 ~ POLAND ~ Jazz-Classical Fusion Recorded: 2023 Released: 2025 This is the 10th album by Polish trio BastardaFind albums by this artist, which comprises of clarinetist Pawel SzamburskiFind albums by this artist, cellist Tomasz PokrzywinskiFind albums by this artist and contrabass clarinetist Michal GorczynskiFind albums by this artist. This time the album puts on the “operating table” ten soundtracks of movies by Polish directors, composed by Polish composers. The timeframe spans between 1964 and 1999 and the genres span comedy, horror, drama, thriller and everything in between, which makes this album a tribute to Polish cinematic music, with a unique, as always, treatment applied by Bastarda, which takes the music to other spheres, if not the stratosphere. The album was released on the defunct (and now hopefully revived) Lado ABCFind albums on this label label, and offers a stunning sound quality. In less than a decade Bastarda managed not only to record and release ten brilliant albums, but to create a whole unique universe of cross-genre music, which sets them apart from almost everything else happening in music worldwide. Their extremely powerful minimalism, which is more potent than silence, they are able to express an infinite range of emotions, which are impossible to be communicated in any other way, but through music. The unique combination of their talents, sensibilities and virtuosic musical expressionism is absolutely unprecedented. This album strengthens everything they did earlier on, and when one imagines, that they can’t outshine their earlier work, they nonchalantly, by just a few reserved, delicate blows of air into the clarinet or strokes of bow on strings prove one wrong. For example, just listen to their interpretation of the theme by Krzysztof KomedaFind albums by this artist’s theme from Roman PolanskiFind albums by this artist’s “Rosemary’s Baby”, a piece of music every music fan must have heard thousands of times, and you will discover it can be expressed completely differently than ever before and in a way which twists your guts. Overall, ten albums later, Bastarda is still the most fascinating, sophisticated, moving, and continuously enlightening ensembles on the Polish music scene, which deserves a much wider recognition and appreciation home and worldwide. Yes, there are many brilliant Polish ensembles in Jazz and other genres, but there is only one Bastarda.

Updated: 04/04/2025Posted: 04/04/2025

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MATEUSZ BLISKOWSKI ~ IMAGINARY LANDSCAPE NOT ON LABEL ~ POLAND ~ Jazz Recorded: 2023 Released: 2024 This is the debut album by Polish Jazz guitarist / composer Mateusz BliskowskiFind albums by this artist, recorded in a trio setting with bassist Grzegorz NadolnyFind albums by this artist and drummer Piotr BiskupskiFind albums by this artist. The album presents ten tracks, nine of which are original compositions by Bliskowski and one is by Krzysztof KomedaFind albums by this artist. The music is based on melodic compositions, inspired by the “beauty of Nature”, as the composer states in the album’s liner notes. Elegantly and intimately played by the trio, the music balances between sound and silence, and offers a delicate, but touching statement, which requires patience and attention from the listener. The rhythm section, which includes older and experienced musicians, does a perfect job, keeping the music on the track but staying respectfully as much as possible in the background, keeping the intimacy of the session intact. Bliskowski plays an amplified guitar, but sticks primarily to an acoustic sound, playing sparingly and avoiding unnecessary pyrotechnics. Overall, this is an interesting debut album, which shows potential and determination. Bliskowski needs to find a more precise stylistic preference and expand his compositional horizons, but he certainly shows that he knows what his preferences are, which of course is very important. For guitar lovers, this is quite an unusual album, which manages to eschew all the Fusion mannerisms, which plague most guitar players. Well done!

Updated: 06/08/2024Posted: 06/08/2024

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JAN BOKSZCZANIN ~ KOMEDA INSPIRATIONS ARMS 09 (Barcode: 5900238791082) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2010 Released: 2010 This magnificent album is an astonishing tribute to the music of the great Polish composer Krzysztof KomedaFind albums by this artist, the Godfather of Polish Jazz and one of the most important figures of the European Jazz scene. Organist Jan BokszczaninFind albums by this artist, born in Russia and living in Poland, famous for his Church Organ performances and recordings of Classical Music, undertakes here an unprecedented project of presenting the music of Komeda in a completely new light, transposing it into contemporary Chamber-Jazz, quite afar from it´s Jazz origins. Of course Komeda´s music is often played by Jazz musicians (sadly mostly only in his native country), but such ambitious undertaking, as presented here, has never been attempted so far. In retrospect, this project proves the true greatness and depth of Komeda´s music, which transpires as being beyond and above any genre classification. The album includes thirteen pieces of music, eight of which are original Komeda´s compositions and the rest are new pieces composed by contemporary composers, who were inspired by him and his music. Bokszczanin carefully assembled a group of instrumentalists, mostly Jazz players, which consists of trumpeter Robert MajewskiFind albums by this artist, saxophonists Pawel GusnarFind albums by this artist and Tomasz SzukalskiFind albums by this artist and flautist Ryszard BorowskiFind albums by this artist. Four of the tracks include vocals, performed by the excellent Grazyna AuguscikFind albums by this artist, who not only sings the song´s lyrics (written by Polish poetess Agnieszka OsieckaFind albums by this artist) but also adds some vocalese a la early Urszula DudziakFind albums by this artist. The album was recorded at the Reformed Evangelical Church in Warsaw, with the majestic sound of the organ serving as the base element of all the music, with the other instruments playing on top of this basic sound layer. The sensitive and intelligent arrangements were written partly by the participating musicians and partly by other contemporary Polish composers / arrangers. Overall this is obviously a work of love, admiration and respect, a tribute in the true meaning of the idiom. For people familiar with Komeda´s music, this is a revelation, for those unfamiliar with it; this is a heavenly gate which marks a great entry point towards it. It is a rare occasion indeed that an album gave me so much pleasure upon first listening and I´m sure to return to it repeatedly in the future. It goes without saying that I recommend this music to anyone with a pair of ears and some gray matter between them. If anything is essential, this is it!

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PIOTR DAMASIEWICZ ~ MNEMOTAKSJA FOR TUNE 0028 ~ POLAND ~ Jazz Recorded: 2009 Released: 2014 This is the debut album by the Polish Jazz quartet led by trumpeter / composer Piotr DamasiewiczFind albums by this artist, which also includes saxophonist Gerard LebikFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Wojciech RomanowskiFind albums by this artist. The music was conceived and created around 2008 / 2009, when the quartet played and rehearsed inside the Baptist Church in the center of Wroclaw, and where it was also eventually recorded live but without audience. It was available as an obscure private edition in a CD-R version and finally got its long overdue formal release, after a careful remix and sonic improvement by the excellent For Tune label. The album consists of ten original compositions, nine of which are by Damasiewicz and one by Garbowski. There is no doubt that Damasiewicz manages to establish a well deserved position as one of the top young Polish Jazz trumpeters on the contemporary scene, which is not by any means self-understandable considering the truly fierce competition and incredible flow of talent in that area. It is worth to compare this album with the trio recording Garbowski and Damasiewicz made at about the same time, called "ElementsFind albums with this title", which to some extent has a similar atmosphere. Stylistically the album sounds quite "retro", resembling the glorious moments when modern Polish Jazz was at the first peak of its aesthetic and artistic development, led by the Godfathers of the genre like Krzysztof KomedaFind albums by this artist, Tomasz StankoFind albums by this artist and others. The compositions are very much in the same mood as the music played then: romantic, minimalistic, delicate and full of lyricism and intrinsic melancholy. The same elements that made that music created half a Century ago completely eternal and outside of the time scale, are at work here as well. This music might have been made any time between the 1960s and now and would have fitted perfectly, being simply aloof from fads and fashions. The performances are also exceptional in every respect, both individually and collectively. Everything is kept in a relaxed, but disciplined mode, with conversation between the musicians being kept at the epicenter. The solos are inconspicuous, emerging slowly from the melodic heads, gently prompted by the superb rhythm section, which demonstrates an incredible affinity towards the music at all times, being as much creative as the two horns every step of the way. Garbowski has already an established record as one of the leading Polish Jazz bassists, but Romanowski, who also cooperates with another superb Polish Jazz trumpeter, Artur MajewskiFind albums by this artist, is a true discovery herein. Overall this is definitely one of the strongest and most significant statements on the Polish Jazz scene in the last decade, even though Damasiewicz has moved on in the meantime towards more improvised music beyond any stylistic conventions. Even if this album should remain as his only contribution to modern Polish Jazz in the true sense of the Jazz tradition, it will still be a remarkable achievement. This is also one of the most remarkable albums in the fast growing catalogue of the For Tune label, certainly from a historic perspective. Undoubtedly this is an album every true connoisseur of Jazz will cherish in his collection and return to repeatedly.

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PIOTR DAMASIEWICZ / POWER OF THE HORNS ~ POLSKA ASTIGMATIC 011 (Barcode: 5902860142300) ~ POLAND ~ Jazz Recorded: 2018 Released: 2019 This is the second album by Polish trumpeter / composer Piotr DamasiewiczFind albums by this artist and his Power Of The HornsFind albums by this artist ensemble and their first studio recording. It features a nonet version of the ensemble which also includes saxophonists Maciej ObaraFind albums by this artist, Adam PindurFind albums by this artist and Gerard LebikFind albums by this artist, trombonist Pawel NiewiadomskiFind albums by this artist, pianist Dominik WaniaFind albums by this artist, bassists Ksawery WojcinskiFind albums by this artist and Jakub CywinskiFind albums by this artist and Australian born drummer Samuel HallFind albums by this artist. The album presents four (one in two parts) original compositions, all by Damasiewicz. The debut album "AlamanFind albums with this title", recorded live in 2012 (i.e. six years earlier), was the first release of the now legendary For TuneFind albums on this label Records label, and created quite a stir at the time. It was recorded by an eleven-piece version of the ensemble, which included only five of the musicians present on this new recording and presented just three expanded tracks, characterized by extensive improvisations. The raw power of the horns and super-sized rhythm section combined with the youthful excitement associated with the occasion managed to create some magic moments, which the recording certainly reflected, but which did not prove to have a long-lasting value. In retrospect the status of "…one of the most captivating albums in the history of Polish jazz…" is certainly a hype rather that an objective statement. The new album is a complete about face and presents perfectly well-behaved, modern mainstream Jazz, with smooth performances but limited level of enthusiasm. Of course this is a perfectly legitimate approach; considering the time that passed since the debut; maturity, age and experience certainly have their influence. Yet Damasiewicz seems to cling to the past by including on this album older material, like the title tune which originates from 2014 and even one composition already presented on the debut, which perhaps indicates a shortage of new material. But regardless of the past connections, the music on this album is based on rather basic melodic elements, repeated continuously with little variations, except for the ensemble dynamics. The "wall of sound" approach of the debut is now replaced by a more chamber like approach typical of Polish Jazz from the 1960s, and a retro sound and ambience. Damasiewicz dedicates the compositions on the album to the Godfathers of Polish Jazz: Krzysztof KomedaFind albums by this artist, Tomasz StankoFind albums by this artist and Tomasz SzukalskiFind albums by this artist and to his teacher Piotr WojtasikFind albums by this artist, all of whom obviously influenced his musical path, which is well reflected within the music on this album, and which, as already stated, often ventures into the climates invented and developed by his Mentors and which characterize Polish Jazz or at least its early days. The album´s title seems to suggest that the music on this album is the continuation of that magic "Polishness" that Polish Jazz offers at its core; a daring statement by all means, which will be judged by history alone. The individual performances by the leader and the ensemble members are, as expected, highly professional, but if not for the excellent, as always, contributions by Wania, who in the period separating these two recordings made one giant step after another, the music would have became almost banal, a déjà vu of sorts. Considering the astonishing level of the musicianship on the Polish Jazz scene, something more spectacular would have been needed in this music to become "…sublime and unique…". The album´s liner notes, from which all the above quotes are taken, is fascinating, full of hints, allegories and references – definitely worth reading!

Updated: 22/12/2019Posted: 22/12/2019

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DAREK DOBROSZCZYK ~ SIMPLE DELIGHTS NOT ON LABEL 807 (Barcode: 5902596839529) ~ POLAND ~ Jazz Recorded: 2013 Released: 2014 This is the debut album by Polish Jazz trio led by pianist / composer Darek DobroszczykFind albums by this artist, which also includes bassist Jakub MielcarekFind albums by this artist (who also plays in a free form atmosphere with trumpeter Piotr DamasiewiczFind albums by this artist and the EraseFind albums by this artist quartet) and drummer Grzegorz MaslowskiFind albums by this artist (who is also a member of the Bartosz PernalFind albums by this artist / Michal SzkilFind albums by this artist quintet). Guitarist Przemyslaw HanajFind albums by this artist guests on one track. The album includes eight tracks, four of which are original compositions by Dobroszczyk, one is by Krzysztof KomedaFind albums by this artist, one by StingFind albums by this artist and two are standards. The album is kept well within the modern piano trio idiom, as established by such luminaries as the Keith Jarrett trio or Esbjorn Svensson trio, which are listed among the trio´s influences. The music is mostly very melodic and shows melancholic influence popular with Scandinavian modern Jazz composers. But considering the crystal-clear sound and the obvious talents displayed by these young players, one can hope that this is not an attempt to imitate but just a starting point of their venture together. The original compositions are all interesting and well suited for the piano trio format, although it is yet early to determine if they will be unique enough to become the composer´s trademark. The overall aesthetics and atmosphere of the album certainly points out a path, which the trio intends to follow. Considering that this is their debut recording, they certainly show a lot of hope and potential. Although perhaps not very innovative or groundbreaking, this is nevertheless a very well played and beautifully recorded pleasing listening experience, which Jazz enthusiast should enjoy without reservation. It is also a remarkable debut effort and therefore worthy of well deserved praise.

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EABS ~ REPETITIONS (LETTERS TO KRZYSZTOF KOMEDA) ASTIGMATIC 003 ~ POLAND ~ Smooth Jazz Recorded: 2016 Released: 2017 This is the debut album by young Polish Jazz ensemble EABSFind albums by this artist, a septet consisting of vocalist / keyboardists Marek PedziwiatrFind albums by this artist, who also arranged all but one of the tracks, drummer Marcin RakFind albums by this artist, guitarist Vojto MonteurFind albums by this artist, bassist Pawel StachowiakFind albums by this artist, turntablism performer Spisek JednegoFind albums by this artist, saxophonist Olaf WegierFind albums by this artist and trumpeter Jakub KurekFind albums by this artist. Veteran Polish Jazz violinist Michal UrbaniakFind albums by this artist appears as a guest on one track. As the title suggests, the album consists entirely of music composed by the Godfather of Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist and presents nine pieces of Komeda´s music, written originally mostly for theatre and cinema. The music is accompanied by extensive liner notes, which carefully present the concept and the historic background about the individual compositions, written by Sebastian JozwiakFind albums by this artist, which is a most welcome example of how to treat musical projects seriously. This album faces two potential difficulties common to most Komeda related projects: firstly the Polish Jazz scene is practically overflowed with endless attempts to interpret Komeda´s music accumulating to a plethora of albums varying immensely in quality from total flops to brilliant achievements. Secondly, and more importantly, each new Komeda related project has to offer something never attempted before, which should at least try to expand the Komeda legacy into unchartered territory. EABS take Komeda´s music into the contemporary easy side of Jazz, bordering at times with Smooth Jazz and Pop and incorporating Hip Hop, Soul and Funk, samples, loops and other contemporary Pop paraphernalia. At times this is all highly effective, but the final result varies from track to track. Sadly the treatment of the original music starts to repeat itself and once the listener passes about half of the album, the tension and factor of surprise wear down. But to be fair, the album presents many interesting moments and overall is a great fun to listen to. It is beautifully executed and recorded, and offers a solid aural experience. The Urbaniak solo parts on the track he plays on are a great reminder of his abilities. Does this album stand out from all the other Komeda related projects? I´ll leave this question open to be answered by the album´s listeners. It is definitely worth to be listened to, even repeatedly and if it eventually brings hordes of new young listeners to the music of Komeda, it has fulfilled its higher calling. This is definitely recommended to all young or at least young at heart listeners and offers a commendable debut effort.

Updated: 16/09/2017Posted: 15/09/2017

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EABS ~ SLAVIC SPIRITS (LIMITED EDITION) ASTIGMATIC 009 ~ POLAND ~ Jazz Recorded: 2019 Released: 2019 A couple of years ago (in 2017) a young Polish Jazz ensemble from Wroclaw, called EABSFind albums by this artist, released their debut album "Repetitions (Letters To Krzysztof Komeda)Find albums with this title" which created quite a stir in the local jazz swamp. Subsequently the ensemble released a couple of LPs with material still connected to Krzysztof KomedaFind albums by this artist´s music, which together with the debut they call the "Komeda Triptych". The original septet lineup: keyboardist Marek PedziwiatrFind albums by this artist, drummer Marcin RakFind albums by this artist, guitarist Vojto MonteurFind albums by this artist, bassist Pawel StachowiakFind albums by this artist, trumpeter Jakub KurekFind albums by this artist, saxophonist Olaf WegierFind albums by this artist and percussionist also in charge of sound fx Spisek JednegoFind albums by this artist (a.k.a. Piotr SkorupskiFind albums by this artist) was expanded to an octet with the inclusion of British flautist / saxophonist TenderloniousFind albums by this artist (a.k.a. Edward CawthorneFind albums by this artist), which released their genuine second album. It presents original compositions by the band members, two by Pedziwiatr, one each by Stachowiak and Monteur and three collective compositions; altogether seven tracks lasting just under forty four minutes. More about the music later… Similarly to the debut, the Limited Edition of this album includes an extensive essay by Sebastian JozwiakFind albums by this artist, the executive producer of the album, who is an organic member of the ensemble, their spokesman and sort of spiritual guru. The almost 300 pages long massive essay (in bilingual Polish / English version) printed in a book form is in fact an integral part of the release and presents the intellectual / historic / philosophical aspects of the subject matter, complimenting the musical content of the album, which as the title suggests tries to explore the "Slavic Spirit" in a multi-plane analysis attempt. More about the book later… My reaction to the debut album (which can be read by clicking on the link above) was somewhat reserved but overall encouraging. I clearly stated my subjective pros and cons but I obviously misjudged the hysterical / hyperbolical / fanatical hype that was created around that album at the time of its release by what can be collectively called the Polish Jazz media and beyond. I refused, as always, to follow the crowd and pay allegiance to vox populi that claimed the album was a Godsend and a monumental event on the Polish Jazz scene, which I found overtly exaggerated. The predicted wave of internet hate that followed was a small price to pay for my intellectual liberty. Considering the average level of professionalism in contemporary Polish Jazz musical journalism and criticism, which is sadly inversely proportional to the level of the music itself, and the omnipresent herd mentality which dominates it, I have always proudly maintained an independent point of view, helped by the geographical distance and total lack of dependence on the social / economic / political and even religious constrains acting upon people living in Poland. Therefore I admit that I was quite surprised to find a copy of the album in my daily heap of albums arriving in the mail – which I interpret as a sign of trust in every case when someone asks for my opinion. Whenever I write a review of an album recorded by Polish musicians and / or composed by Polish composers there is a high probability that the phrases "Polish lyricism" or "Polish melancholy" might appear within the text, which is only natural since Polish Music generally across all genres, but especially so within the Polish Jazz idiom, offers a spirituality which is probably indescribable in words (see "Dancing about Architecture"), but is very easily recognizable while listening to it. With this album EABS go on a journey of discovery of this particular musical Polishness, which they expand into musical Slavic Spirituality. Although Poles and the various ethnic Polish minorities are of course part of the Slavic peoples, they are in fact a minority within the Slavic global identity and therefore perhaps this generalization is slightly overstretched. Nevertheless the idea is to define the Slavic Spirituality musically, by the music on this album, as well as by the text which examines its other aspects. The music is diametrically different from what the ensemble offered on their debut. It does not include any vocal parts, no Hip Hop, almost no electronics except for some limited sound effects, in short it makes an almost complete about-face towards mainstream melodic Jazz, which features extended soloing by the keyboards, the saxophones and the trumpet. The three short collective improvisations serve as introductions to the extended main compositions that follow. The four main compositions are developed slowly towards a final climax featuring group improvisation. The melodic themes are undoubtedly lyrical and melancholic, well structured and admittedly beautiful. That said the question arises if this music is an epitome, a classic / archetypical example of Polish Jazz, which defines its Slavic Spirituality? In all fairness I feel that such a lofty ambition would be beyond the true scope of this music. I´d even say that any attempt to define an entire Cultural aesthetics by one piece of music, regardless how ingenious it might be, is a priori futile. The text accompanying the album is however much closer to the goal it sets before the reader. It is by no means a scholarly, academic research, impeccably organized and proposing a deterministic outcome. It is a complete opposite; a collection of personal (or rather collective) reflections on the subject of ethnic spirituality, historic processes, religious believes and myths, Paganism and Christianity and many others. The development of contemporary Polish music and its connection to the Slavic Spirituality is approached via an examination of the key personalities that shaped its fate, most extensively Czeslaw NiemenFind albums by this artist (a deeply spiritual person) in the chapter entitled "Inspirations". The opening track and each of the four main compositions on the album has a chapter dedicated to it, which explains in depth the Slavic believes, cults and deities connected to the names of the tracks. Although reading the entire text is challenging, it is also intellectually rewarding and highly educational, full of facts and ideas which probably never occurred to most people before coming across it. The chapter dealing with the Slavic aspects of Polish music is a must read to all connoisseurs, especially the younger ones who did not experience that music during their lifetime. The most important aspect of the text is that is does not try to indoctrinate or impose any views or ideologies on the reader. It presents an impressive collection of facts and views, but leaves the interpretation of the above to the reader himself. If anybody got finally here, it is time to summarize; this is a very ambitious project, which combines excellent music with well written text related to the subject the music and the text are dedicated to. The music is enjoyable and accessible, superbly performed and offering a rewarding listening experience, which many listeners might enjoy repeatedly. Probably fewer people will have the stamina required to read the entire test attentively, although it is most highly recommended. Overall a splendid piece of dedicated work, which hopefully this time will be appreciated for what it is but not unnecessarily overhyped, which can only case grief and damage in the long term. Well done Gentlemen!

Updated: 01/07/2021Posted: 24/06/2019

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IZABELLA EFFENBERG ~ IMPRESSIONS IN COLOURS GLM 365 (Barcode: 4014063436528) ~ POLAND ~ Jazz Recorded: 2021 Released: 2024 This is a 2CD album by Polish (resident in Germany) multi-instrumentalist / composer / music activist Izabella EffenbergFind albums by this artist, recorded with several German musicians and featuring the Polish / Japanese vocalist / songwriter Yumi ItoFind albums by this artist. The album presents twenty-two tracks, all but two composed by Effenberg and one each composed by Krzysztof KomedaFind albums by this artist and Lars DanielssonFind albums by this artist. Izabella Effenberg emerged on the European Jazz scene just about a decade ago and during that relatively short period of time she proved to be not only an outstanding musician and composer, but also an important activist, recording Artist, educator and festival organizer, which of course is a highly commendable and unique achievement. Despite the fact that Izabella plays the vibraphone, one of the most difficult instruments within the Jazz milieu, she continuously expands her interest in the entire mallet family, expanding way beyond the obvious with trying new and uncharted territory and introducing experimental new instruments, like glass harp, array mbira and others, incorporating them into her set of performing tools. The presence of Ito is a true proverbial cherry on top! By using such a wide collection of instruments within her performances and recordings, Izabella is able to create one of the most unique and unparalleled arrays of sonic experiences, which keep the audiences electrified and astounded time and again. Her compositions are perfectly suited for her instrumental abilities and offer the listeners a magic, unforgettable aural voyage. Overall, this is a remarkable musical experience, which presents a wide range of diverse mallet instruments, masterly performed and composed by Effenberg. It combines Jazz with many other genres, offering a stunning kaleidoscope of sound and ideas. I am proud to be her keen follower since her early days and a Friend, always proud of her remarkable achievements. Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 04/12/2024Posted: 04/11/2023

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MACIEJ FORTUNA ~ JAZZ FROM POLAND VOL. 1 FM 012 (Barcode: 5903240365050) ~ POLAND ~ Jazz Recorded: 2013 Released: 2015 This is a beautiful album by leading Polish Jazz trumpeter Maciej FortunaFind albums by this artist, recorded with his acoustic quartet, which also includes pianist Krzysztof DysFind albums by this artist, bassist Jakub MielcarekFind albums by this artist and drummer Przemyslaw JaroszFind albums by this artist. Since the album is intended as a tribute to the great Polish Jazz composers, it presents seven compositions by prominent Polish Jazz figures, such as Krzysztof KomedaFind albums by this artist (two compositions), Zbigniew SeifertFind albums by this artist (three compositions), Janusz MuniakFind albums by this artist (one composition) and Maciej SikalaFind albums by this artist (also one composition); these four representing three generations of post-WWII modern Polish Jazz musicians / composers. In the liner notes of this album Fortuna mentions the dilemma, which many Polish Jazz musicians struggle with, whether to play Jazz according to the well defined formula originally defined by the American Jazz precursors or play original music with different influences and tendencies, like those characteristic of Polish Jazz for example. This album is his answer, clearly pointing towards the originality and individual search rather than repeated replication of past formulae. Although Fortuna and his cohorts treat the compositions with a great amount of freedom and individuality, the spirit of this wonderful music, its intrinsic Polish melancholy and lyricism, are well preserved and brought from the past to contemporary musical environment. As usual on all albums by Fortuna, his trumpet performances are the focal point of the music. His virtuosic and almost superhuman abilities keep surprising his listeners with each new release and one wonders how far can he still travel from here. The three musicians playing with Fortuna on this album are also incredible by any standard. The young Dys emerges in the last couple of years as one of the leading contenders for the narrow pedestal of top Polish Jazz pianists and the rhythm section does a phenomenal job to keep up with these two "crazy" Geniuses, keeping the music swinging and pulsating, even in its most free form manifestations. Almost on every album by Fortuna that I reviewed over the years I couldn´t stop myself from drawing some parallels between Fortuna and Tomasz StankoFind albums by this artist. On this album these parallels are stronger and more obvious that ever before, especially in view of the fact that Stanko played in Komeda´s ensembles and is subconsciously always associated with his music. Hearing Fortuna playing Komeda immediately brings Stanko to mind, and with deep satisfaction I can say that Fortuna bears the torch without any inferiority complexes. This is a second edition of this album, which was initially released as a limited private edition and is now released on the open market, which of course means that it should be immediately grabbed by every Polish Jazz fan, as albums of this quality do not pop in the open very often.

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GRIT ENSEMBLE ~ KOMEDA DECONSTRUCTED RECART 0015 (Barcode: 5908285287145) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This is a debut album by young Polish Jazz septet called Grit EnsembleFind albums by this artist, led by bassist Patryk PilasiewiczFind albums by this artist, with trumpeter Kacper GrzankaFind albums by this artist, saxophonist Maciej SokolowskiFind albums by this artist, pianist Krzysztof DysFind albums by this artist (Jakub KrolikowskiFind albums by this artist on one track), vibraphonist Piotr RakowskiFind albums by this artist, guitarist Piotr ScholzFind albums by this artist and drummer Andrzej KoniecznyFind albums by this artist. As the title suggests, the music played on this album was composed entirely by the Godfather of Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist and includes compositions which were originally written as film scores, Komeda´s most famous contribution to Polish Culture, beyond the strict Jazz milieu. The album presents nine tracks, seven of which are the ensemble´s interpretations of Komeda´s compositions and the additional two are remixes of two of the tracks. Any attempt to deal with Komeda´s music is a priori a perilous enterprise for numerous reasons, the most obvious one being that it has been attempted previously on hundreds of albums by thousands of Polish and foreign musicians, including the best ones out there. Therefore being original and saying something innovative about the music of Komeda is almost impossible today and works only in truly exceptional cases. When combined with a pretentious album title like in this case, the album is controversial, at least to me, before listening to even one note of its music. Sadly listening to the music justified my reservations, at least to some degree. I think I am familiar with the term "deconstruction" in the musical sense, and honestly there is not a trace of that process in the music presented on this album. In fact in most cases the original melody is stated quite straightforwardly without even much improvisation and the following free form passages seem hardly related to the themes, definitely not being deconstructions, not to mention the remixes, which simply make no sense to me at all. Nevertheless the music presented on this album has its merits and is definitely worth listening to; it simply does not fulfill what is promised on the album´s cover. Of course the musicians involved in this project are all excellent performers, and do altogether a splendid job. Dys, who is one of the most impressive upcoming performers on the local scene, demonstrates his exceptional abilities all along, with the rest of the crew following suit. Perhaps taking on Komeda´s music was simply "a bridge too far" in this case? It takes a certain maturity, life´s experience and perspective to handle such lofty tasks. I imagine that the same ensemble playing original compositions by its members might be able to produce a very impressive result, as there is certainly a lot of talent and passion involved. Therefore I do look forward to hear more musical projects by this ensemble in the future.

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J.A.S.S. TRIO ~ KOSMODROM INFRA ART ~ POLAND ~ Jazz Recorded: 2013 Released: 2014 This is the debut album by the young Polish Jazz trio, called J.A.S.S. TrioFind albums by this artist, which consists of violinist Stanislaw SlowinskiFind albums by this artist, bassist Justyn MalodobryFind albums by this artist and drummer Adam StepniowskiFind albums by this artist. The album presents nine original compositions, all credited collectively to the trio, and one arrangement of a Krzysztof KomedaFind albums by this artist theme. The album is packaged in a round metal can, which is a nice, although definitely not a new gimmick. The music is mostly freely improvised, based on basic melodic themes, which serve as skeletons and reference points for the improvisations. The pieces created by the trio could be perceived as imaginary soundtracks created on the spot. The violin is obviously at the center of attention, but the excellent rhythm section is an integral part of the creation and keeps the music afloat. Together the trio members achieve a magical, eerie atmosphere, which sometimes sounds like electronic ambient music, but the rhythmic pulse keeps the listener on his toes and emphasizes the Jazz reference behind this music. They often use a drone / repetitive effect to create an unearthly ambience, which is both enchanting and scary. The individual contributions are all first rate, and as usual, considering the young age of the musicians, quite phenomenal. The entire concept and musical adventure undertaken by this trio is highly unusual and openly bold, which happens very rarely these days. Hopefully they will solidify and purify their musical ideas in time, to produce even more wonderful music than on this album, which has a few weaker moments, having an adverse effect, like the pretentious closing track which is thirteen minutes of white noise – who do they think they are after all? Overall this is a surprising debut, which shows tons of potential, to be explored in the future. Not bad at all!

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JACHNA / CICHOCKI / UROWSKI / KRAWCZYK ~ THE RIGHT MOMENT REQUIEM 099 ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This is the debut album by a Polish Jazz quartet comprising of trumpeter Wojciech JachnaFind albums by this artist, pianist Jacek CichockiFind albums by this artist, bassist Pawel UrowskiFind albums by this artist and drummer Mateusz KrawczykFind albums by this artist. The quartet performs nine original compositions: three by Cichocki, two each by Urowski and Jachna and another two co-composed by all four members of the quartet. Saxophonist Wojciech Piorkowski guests on one track. The music is a typical contemporary modern Polish Jazz, somewhat more "conventional" than what one might expect from such names as Jachna and Urowski, but nevertheless excellent. This musical environment serves as a perfect opportunity to hear Jachna play more melodically than on most of his recordings, showing one more of his excellent qualities as a trumpeter. The atmosphere of this recording and the music bring a fond memory of the modern Polish Jazz period of the 1960s, especially the revolutionary Krzysztof KomedaFind albums by this artist and Tomasz StankoFind albums by this artist recordings. All the tunes herein have the same melancholic touch of Polish lyricism, which was so archetypal of that period, and which makes them sound quite "retro". It is difficult to say if this effect was intentional, but regardless of the actual intentions, the "spiritual" similarity is very apparent. The performances are, as expected, excellent from start to finish and although Jachna´s trumpet is the most evocative instrument, all four members of the quartet are superb instrumentalist and the quartet plays together like a dream, even when the music gets to be complex and demanding. Cichocki, whom I have not heard earlier, is especially impressive as a newcomer and I certainly hope to hear a lot more of him in the future. Overall this is a superb album, which definitely stands among the best achievements of the current year, even if it is not especially innovative or groundbreaking. Such music continues a tradition that is worth preserving invigorates it and refreshes it with new creative powers. These still relatively young musicians are already the main creative power of the Polish Jazz scene, and the next generations are already puffing on their necks. These are good times for Polish Jazz and it´s great to be alive while they last!

Updated: 28/05/2020Posted:

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JACHNA / TARWID / KARCH ~ SUNDIAL III HEVHETIA 0186 (Barcode: 8588005258593) ~ POLAND ~ Avant-Garde Jazz Recorded: 2018 Released: 2019 This is the third album by the excellent Polish Jazz trio consisting of trumpeter Wojciech JachnaFind albums by this artist, pianist Grzegorz TarwidFind albums by this artist and drummer Albert KarchFind albums by this artist. This time the trio is expanded into a quartet with the inclusion of the veteran saxophonist Irek WojtczakFind albums by this artist. The album, recorded live, presents nine original compositions, all composed or co-composed by the trio members. It is quite a challenge to follow the two superb albums which the trio recorded earlier with another extraordinary piece of music, which will continue the same level of emotional depth and sophistication. This is perhaps the reason why the trio members decided to reinforce their ranks with the addition of Wojtczak, who has achieved a remarkable level of respect and appreciation on the Polish scene, being one of the most creative and open-minded musicians on the scene. In retrospect this decision proved to be most fruitful and successful musically. The music on this album is even more open and adventurous than on the two earlier albums, still offering a pre-composed skeleton but relaying more on spontaneous improvisation than ever before. It is therefore further removed from the Contemporary Classical tendencies followed earlier on and moves toward Avant-Garde contemporary music, with an emphasis on both group and individual improvisation. The melodic themes become more minimalist and nebulous, strongly related to the Krzysztof KomedaFind albums by this artist legacy he defined in the mid-1960s. I am pretty sure this music would put a smile on his face. As usual, the individual contributions by the trio members are highly inspired and perfectly executed. Wojtczak integrates with the trio completely and unconditionally, becoming entirely naturally an integral part of the music making unit. Obviously his presence enhances and deepens the overall sound and adds new possibilities, which are immediately sized upon by the trio members. One could hardly hope for a more innate combination of improvising powers than this. The future will tell weather Wojtczak joins the trio on a permanent basis, turning it into a quartet or this was just a one time only collaboration, but the potency of this ensemble is fully exposed on this album. It is only natural that musicians of this caliber refuse to stand still and keep searching constantly, and therefore it is completely normal to see the music evolving and developing from one album to the next. As long as they manage to keep it interesting, inspiring and deeply satisfying, like in this case, we should be grateful and feel blessed that such music is being made. Overall this is a remarkable album, certainly marking a noteworthy event in the 2019 list of Polish Jazz releases and deserving the admiration and respect reserved only for the very best of its kind. Thank you for the music, as always!

Updated: 24/05/2019Posted: 24/05/2019

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WOJCIECH JACHNA ~ EMANACJE MULTIKULTI MPI 043 (Barcode: 5907529223536) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2015 Released: 2018 This is a solo trumpet album by Polish Jazz trumpeter / composer Wojciech JachnaFind albums by this artist. The album examines the relationship between sound and space and was recorded in several locations around Jachna´s home town of Bydgoszcz, like the Synagogue and the Water Tower, and other locations with a specific architectural design, which influences the acoustics. The album presents fourteen relatively short improvisations on themes, mostly composed by Jachna (eight tracks). Guitarist Jakub ZiolekFind albums by this artist guests on one track, which was composed by Ornette ColemanFind albums by this artist. For several years now Jachna has been consistently paving his way towards the top of the Polish Improvised Music / Jazz trumpet scene, obviously influenced by the two major / celebrated Polish Jazz trumpet figures, sadly both not with us any more: his hometown hero Andrzej PrzybielskiFind albums by this artist and of course Tomasz StankoFind albums by this artist. It is not surprising therefore that a composition by each of these two great musicians is present next to each other on the album. Also present is a composition by the godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist. As a result Jachna seems to pay tribute to the Masters, recognizing their influence, along with his own contributions, which mark his own path. The music was recorded three years before the album´s release, which means that Jachna released several albums after this music was recorded, allowing us a glimpse into the past. The sound of the trumpet reflected by the acoustics of the various architectural structures is a lonely journey, minimalist and introvert, but full of emotion and beauty, which should keep all Improvised Music enthusiasts perfectly happy. Jachna has a rare talent to express his emotions and musical ideas clearly and effectively, which is even more powerful in the solo setting. This album is a document of an experiment, which proves that Jachna is at all times searching for new ways to express his music. Overall this is an unusual and interesting album, which is definitely worth investigating by Polish Jazz, Improvised Music and trumpet connoisseurs the world over.

Updated: 05/01/2019Posted: 05/01/2019

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ANDRZEJ JAGODZINSKI ~ MUZYKA POLSKA NOT ON LABEL (Barcode: 9788393067428) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2009 - 2010 Released: 2011 This is a beautiful and very ambitious album by Polish Jazz pianist / composer Andrzej JagodzinskiFind albums by this artist and his trio with bassist Adam CegielskiFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist, also involving the great vocalist Grazyna AuguscikFind albums by this artist and two Classical Music soloists: flautist Jadwiga KotnowskaFind albums by this artist and harpist Anna Sikorzak-OlekFind albums by this artist, as well as the AUKSO Chamber OrchestraFind albums by this artist conducted by Marek MosFind albums by this artist. The album presents a seven part Jazz suite for piano trio, voice, string orchestra and soloist, which attempts to "define" what "Polish Music" means in general and especially in the Jazz context as what we understand under the term "Polish Jazz". Five parts of the suite are based on Polish Folk tunes, one is a Krzysztof KomedaFind albums by this artist composition and one is a tune composed by Marcin JanuszkiewiczFind albums by this artist. Jagodzinski and Auguscik arranged the vocal parts and Jagodzinski wrote the elaborate piano trio / string orchestra arrangements. The concept behind this album obviously points towards the conclusion that contemporary Polish Music / Polish Jazz are a synthesis of the Polish Folk tradition with contemporary music forms. The Polish Folk tradition is most obviously identified with the Polish Folklore dances, such as kujawiak, mazurka, oberek and others, but also with the intrinsic Polish melancholy and lyricism, which create its unique characteristics, which are instantly recognizable to a trained ear. Regardless of the concept, this album is first and foremost a true celebration of music, crossing and bridging between Folklore, Jazz and Classical Music and doing it in an impressive, intelligent and truly beautiful way. All the parts and ideas fall together into an amazing amalgam, which is a delightful listening experience. The album is also a wonderful platform to enjoy the individual contributions by the participating musicians. Auguscik again proves that she has very little competition on the local scene and her wonderful sensitivity and power of expression are simply stunning. Her appearance on this album is somewhat prophetic in the sense that her album "Inspired By LutoslawskiFind albums with this title", which was recorded four years after this one, would deal with the same subject matter. Jagodzinski, who also plays accordion on this album, and his trio cohorts, as well as the soloists and orchestra all perform spotlessly and harmoniously, with obvious dedication and joy of creation. This is the best album by far that Jagodzinski recorded during his splendid career, and one of the best attempts to create a coherent musical concept, dedicated to Polish Music. Personally I´d love to see more such attempts done by other musicians. Discovering one´s musical roots and traditions is surely preferable to imitating other cultures. This album is a pure delight from start to finish and I recommend it wholeheartedly to every Polish Jazz fan, as it reveals many of the innermost secrets about what Polish Jazz really means.

Updated: 11/01/2023Posted:

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WITOLD JANIAK ~ CINEMA MEETS JAZZ NOT ON LABEL ~ POLAND ~ Jazz Recorded: 2012 - 2013 Released: 2013 This is the third album by Polish Jazz pianist / composer Witold JaniakFind albums by this artist, and his debut recording in the piano trio format. There are actually two different trios present on this album, one with bassist Wojciech PulcynFind albums by this artist and drummer Cezary KonradFind albums by this artist and the other with bassist Andrzej ZielakFind albums by this artist and drummer Kamil MiszewskiFind albums by this artist. All the tracks were recorded at the excellent Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, which guaranties the highest sound quality. The album includes nine tracks, all of which are, as the title suggests, famous movie themes arranged by Janiak for the piano trio. Playing cinematic music in a Jazzy manner is of course a treacherous ground, since such projects have been attempted numerous times in the past, and by the absolute top Jazz players all over the world. Therefore the idea is hardly innovative or original and anybody attempting such a project has to be prepared to offer some bonus values, like extraordinary virtuosic performance or highly inventive arrangements. Sadly this album offers none of the above. Of course Janiak and his rhythm sections are skilled players with years of experience behind them, which results in excellent performances, but the music lacks sparkle and inspiration. This is painfully evident on the trio´s interpretation of Krzysztof KomedaFind albums by this artist´s theme from Rosemary´s Baby, which has been performed incessantly by other Polish Jazz musicians. Overall the album presents some pleasant and well played piano trio Jazz, but fails to cross over into prominence.

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JASKULKE SEXTET ~ KOMEDA RECOMPOSED NOT ON LABEL (Barcode: 5900378715009) ~ POLAND ~ Jazz Recorded: 2018 Released: 2018 This is the debut album by a Polish Jazz sextet led by pianist / composer Slawomir JaskulkeFind albums by this artist, which also includes five excellent musicians of the young Polish Jazz generation: trumpeter Emil MiszkFind albums by this artist, saxophonists Piotr CheckiFind albums by this artist and Michal Jan CiesielskiFind albums by this artist, bassist Piotr KulakowskiFind albums by this artist and drummer Roman SlefarskiFind albums by this artist. The album presents eight original compositions by Jaskulke, which were, as the album´s title suggests, "inspired by the creations" of Krzysztof KomedaFind albums by this artist, the Godfather of modern Polish Jazz. The titles of the eight compositions clearly define (for the Komeda erudite) the specific Komeda´s compositions which were the source of the related inspirations. To be perfectly honest I´ve just about had it with the various Polish Jazz Komeda related projects. Komeda has been mercilessly re-composed, de-composed, un-composed and mercilessly mutilated each and every possible and impossible way for decades and he really deserves some piece and quiet to be appreciated exactly for what he had to say by himself. Of course this is just my personal opinion, but hey, enough is enough! Having said all that, this album is by all means a nice piece of Polish / European Jazz, mostly due to the exceptional performances by these young musicians, who sound as if they have been at it since decades. The album offers many superb solos and extraordinary ensemble playing. The music, however, is pretty predictable and the Komeda quotations are a bit corny. Nevertheless it is a very pleasant listening experience altogether, but the somewhat pretentious title is not reflected in these pretty standard mainstream offerings. Overall this is a very pretty, melodic, easy on the ear Jazz album, which has very little to do with Komeda´s urgency and restlessness, but is very listenable and with Komeda´s name in the title will be highly praised by Polish "critics" and fans alike.

Updated: 24/11/2019Posted: 01/08/2018

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SLAWOMIR JASKULKE ~ EUROPA 67/21 NARODOWE CENTRUM KULTURY 5905279869219 (Barcode: 5905279869219) ~ POLAND ~ Jazz & Poetry Recorded: 2021 Released: 2021 This is an album by Polish Jazz pianist / composer Slawomir JaskulkeFind albums by this artist, recorded in a classic Jazz quintet setting with trumpeter Emil MiszkFind albums by this artist, saxophonist Piotr CheckiFind albums by this artist, bassist Adam ZuchowskiFind albums by this artist and drummer Slawomir KoryznoFind albums by this artist. The Neo QuartetFind albums by this artist, a string quartet playing electric string instruments, and actor Tomasz BorkowskiFind albums by this artist, who recites poetry, are also on board. The album presents six tracks, all original compositions by Jaskulke. The concept behind the album is an attempt to “remake” one of the most iconic Polish Jazz albums of all time, Krzysztof KomedaFind albums by this artist’s “Meine Susse Europaische HeimatFind albums with this title” Jazz & Poetry masterpiece, produced by my Friend and Mentor Joachim BerendtFind albums by this artist, which presented Komeda’s compositions accompanying contemporary Polish Poetry (translated into German), recorded in 1967, hence the album’s title. This album utilizes six of the same poems (in original Polish version), which were included on the a.m. album, and the same quintet instrumentation, but all the music is new and composed by Jaskulke and adds the string quartet. This is the second album by Jaskulke, which proposes to “remake” Komeda’s music, following the 2018 album “Komeda RecomposedFind albums with this title”. The sheer boldness of attempting to “remake” an icon might seem suicidal, to say the least. The result should be judged on its own merit, rather than in comparison to the source of inspiration, as such comparison simply does not materialize itself. My opinion about producing new versions of Komeda’s music is widely known, so I won’t repeat it herein. The music is overtly melodic, full of sentimental lyricism and melancholy, which falls easy on the ear but lacks the depth suitable for the accompanying poetry. The performances are spotless, as expected from the participating musicians, but not particularly exciting. I wandered why this album was completely unnoticed at the time of its release, thinking it was all due to the pandemic, but now after hearing the music I see there were other reasons… Overall, this is another Komeda inspired album, which contributes little to his memory, despite the fact that the music is fine and the performances are highly professional. I certainly don’t regret buying a copy, if only to hear my beloved poetry.

Updated: 29/12/2023Posted: 04/12/2023

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MACIEJ KADZIELA ~ THE TASTE OF THE WORLD MULTICULTI MPJ 014 (Barcode: 5907796319796) ~ POLAND ~ Jazz Recorded: 2015 Released: 2016 This is the second album by young Polish Jazz saxophonist Maciej KadzielaFind albums by this artist, recorded in a quartet setting with pianist Artur TuznikFind albums by this artist and Swedish rhythm section: bassist Johannes VahtFind albums by this artist and drummer Olle DernevikFind albums by this artist. Polish saxophonist Grzech PiotrowskiFind albums by this artist guests on two tracks. The quartet was formed in Copenhagen, where these musicians studied together at the local Music Academy and summarizes Kadziela´s experiences during his stay in Denmark. The album presents ten original compositions, all by the leader. The album immediately strikes the listener as a mature and serious offering, which presents Kadziela playing with remarkable fluidity and confidence, completely uncommon among Jazz musicians of his age group. The rest of the quartet members stand shoulder to shoulder with the leader, supporting him amicably and intelligently all the way through. Beautifully lyrical piano by Tuznik, solid and virtuosic bass layer keeping the music on solid ground at all times by Vaht and explosive but always at the right measure percussive ornamentation by Dernevik are an excellent examples of what team work is all about. The music is typical modern European Jazz, dancing elegantly on the verge of mainstream melodic lines and free vistas, creating a wonderful tension and keeping the listener on edge throughout the entire duration of the album. The melodic layer tends to be filled with typical Polish melancholy, but the energetic performances by the musicians save it from being overtly lethargic. Some Scandinavian elements are also clearly audible, which of course makes perfect sense considering the quartet´s lineup and common history. Some references to the compositions of Krzysztof KomedaFind albums by this artist and the playing of John ColtraneFind albums by this artist are inevitable, but those are subtle and Kadziela will soon find his very own original voice as a composer and saxophonist. Overall this is a most impressive album, full of wonderful playing, searching and experimenting, as appropriate for Jazz. Definitely one of the best Polish Jazz releases so far in 2016, and beyond. Hopefully more of such splendid music will follow suit in not too distant future. I can´t wait already!

Updated: 26/10/2016Posted: 23/09/2016

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KAPELA YANINA ~ THE SEARCHERS FOR SOMETHING… GOWI 56 (Barcode: 786497356225) ~ POLAND ~ Jazz-Rock Fusion Recorded: 2000 - 2001 Released: 2002 This is the second recording by the Polish Jazz-Rock Fusion quartet Kapela YaninaFind albums by this artist led by the veteran guitarist / composer Janusz Yanina IwanskiFind albums by this artist with saxophonist Lukasz KluczniakFind albums by this artist, bassist Marcin LamchFind albums by this artist and drummer Przemyslaw PacanFind albums by this artist. They perform eight compositions, six of which are originals by Iwanski, one is a group composition by all four players and the remaining one is by Krzysztof KomedaFind albums by this artist. Stylistically and musically this album is a direct continuation of their debut effort called "2001Find albums with this title", which was recorded a couple of years earlier. It uses the same formula of playing long and extended improvisations, with the saxophone being the leading voice, and the guitar setting up the background, playing almost ambient chords and the rhythm section supporting the free / ambient structures with steady Funk / Rock oriented pulsations. The overall effect of this music is truly unique, combining seemingly incompatible elements into one coherent whole. In comparison with the debut, this album is more open and less constrained, but of course looses the element of surprise (or rather shock) which of course every new direction, musical or otherwise, is able to achieve only once. Listeners familiar with Polish Jazz are able to compare the version of Komeda´s "Kattorna" performed here with the original recording by the composer on his legendary "AstigmaticFind albums with this title" album, recorded 35 years earlier. Of course, depending on the listener´s taste and open-mindedness the comparison might result in a verdict anywhere between sacrilegious to genius. Whatever the result, it´s pretty obvious that this is simply excellent music any way one looks at it. Although roughly belonging to the Jazz-Rock Fusion genre, it goes much further beyond what is usually considered as part of that genre, adding elements of Free improvisation, Rock fierceness, Far East meditative moods and a plethora of other, probably mostly subconscious revelations. In retrospect is clear that Kapela Yanina was one of the most interesting groups, which were active on the Polish Jazz scene over time. The two early albums and the additional album they recorded following a ten years long break, "Yanina Free WaveFind albums with this title", all belong to the canon of Polish Jazz recordings. This is an important piece of the puzzle, which is Polish Jazz, and anybody interested in it should definitely have this album in their collection. Apparently this album is still available and therefore I urge everybody to grab a copy ASAP, as this is definitely too good to be missed. Act now or be repentant later!

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HANS KOLLER / FREE SOUND ~ PHOENIX MPS 602498134382 (Barcode: 602498134382) ~ AUSTRIA ~ Jazz Recorded: 1972 Released: 2003 Hans KollerFind albums by this artist was the most internationally famous Austrian jazz musician. Born in 1921, he was active on the European scene since the mid-1940’s, playing mostly jazz modeled on then contemporary American jazz. However by the mid-1950’s Koller already established a new European jazz vocabulary, like some of his pioneering European peers: Lars GullinFind albums by this artist in Sweden, Krzysztof KomedaFind albums by this artist in Poland, Martial SolalFind albums by this artist in France and many others. By the end of 1950’s Koller almost completely removed himself from the musical scene, devoting his life to painting, which was his alter-ego vocation. Only a decade later, when the free jazz movement started to spread in Europe, he returned to active performing and recording, finding this new style challenging enough for him to contribute his input. This album, recorded 1972, marks his return to full-time jazz duties and is a pivotal step not only in his personal career, but also in the entire European free jazz movement. Koller clearly defines the basic difference in approach to free jazz between the American “school”, which is highly emotional, wild and often purposely excessively chaotic and extremist, and the European “school”, which is more subdued, elegant, delicate and firmly connected to melodic structures. The entire quartet – sax / piano / bass / drums - (with three musicians much younger that the leader) performs music composed mostly by Koller and bassist Adelhard RoidingerFind albums by this artist, which retains enough melodic contents to be coherent, but adds incredible intensity and tension. A true must for serious jazz connoisseurs. Side Note The legendary German MPSFind albums on this label (Musik Produktion Schwarzwald) label, founded by Hans Georg Brunner-SchwerFind albums by this artist (HGBS) in 1963, first as SABAFind albums on this label Records and later on from 1968 as MPS Records, was the most important independent European record label, which had an enormous contribution to the development of European Jazz. For many years MPS cooperated with the legendary German producer / author Joachim BerendtFind albums by this artist, my Friend and Mentor, whose visionary approach and open-mindedness brought the crème de la crème of the Jazz (in the broadest meaning of the word) musicians from all over the world to the label. Between 1963 and 1983 MPS produced about five hundred albums, many of which are among the most important Jazz recordings on this planet. In 1983 the MPS catalog was sold to UniversalFind albums on this label, which sadly resulted in all those artistic treasures to almost disappear from the face of the earth – a situation not only tragic but culturally criminal. Universal reissued a part of the MPS albums (probably 128 titles) on CD between 1999 and 2011 under the "Most Perfect Sound Edition" moniker. Since 2008 the German Promising MusicFind albums on this label label released some of the MPS recordings, but at a very slow pace. In 2014 the German company Edel AG bought the MPS catalogue from Universal and released a series of 25 MPS albums on CD with a new slipcase graphic design, which brought all those excellent albums back to life. In 2015 Edel AG started to record and release new albums under the MPS moniker. In 2016 Edel AG released a series of 10 classic MPS albums on CD, which were beautifully remastered and re-packaged, presenting the original artwork and liner notes, as well as new liner notes and photographs. An obvious labor of love, these reissues are what the MPS catalogue truly deserves. This project was continued in 2017 with another series of 10 classic MPS albums released on CD. In later years some new reissues were released sporadically. Over the years many SABA / MPS albums were reissued in Japan, which is often the only available source for these albums today, but that is a story in itself.

Updated: 28/05/2025Posted:

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KRZYSZTOF KOMEDA ~ ASTIGMATIC (POLISH JAZZ VOL.05) MUZA 905 ~ POLAND ~ Jazz Recorded: 1965 Released: 2004 This music, encapsulated for eternity in a piece of plastic, is one of the great milestones of human Culture, an ultra-rare eruption of human genius. Recorded by a quintet led by Polish pianist / composer Krzysztof KomedaFind albums by this artist, the legendary Godfather of Polish Jazz, this is definitely the most important piece of music recorded in Eastern Europe, which changed the face of Culture far beyond what most people realize. Universally accepted as a model and artistic / aesthetic climax by generations of Jazz musicians in Komeda´s native Poland and far beyond the country borders, this modern Jazz recording influenced innumerable minds and prompted endless artistic processes. The album includes just three pieces of music: the title track; "Kattorna", which was a theme in the soundtrack of a movie by the Danish director Henning CarlsenFind albums by this artist; and "Svantetic", a tune dedicated to the Swedish poet Svante ForsterFind albums by this artist, Komeda´s friend. The quintet included trumpeter Tomasz StankoFind albums by this artist, saxophonist Zbigniew NamyslowskiFind albums by this artist, German bassist Gunter LenzFind albums by this artist and Swedish drummer Rune CarlssonFind albums by this artist. Playing in every possible grouping, from solo to a full quintet, these brilliant and inspired musicians manage to achieve a whole, which is so much more than a sum of its parts. The result goes way beyond soloing, improvising, interplaying and exchanging ideas; it is a sort of group creation, which builds upon the basic structures, which are the mesmerizing Komeda´s melodies and soaring infinitely towards a musical heaven. There is everything here: melody, harmony, freedom and structure, rhythm and space, all simultaneously represented without conflicting and fighting for supremacy. Such harmonious music-making is indeed very rare and therefore priceless. One might wonder how this wonderful music happened in Poland of all places. Well the reasons for this are numerous and complex, but of course genius knows no geographical limitations and catalyzed by the fertile intellectual background of the 1960s Poland, struggling with Socialist regime and longing for Freedom, Jazz became an escape route, which in this case found its true vocation. Of course the fact that Stanko and Namyslowski were (and thank God still are) exceptionally gifted musicians helped to materialize the potential of Komeda´s music. One might as well look into Komeda´s fascination (and adoration) of the music and life of John ColtraneFind albums by this artist, who served as a beacon and a model in the composer´s path to inner enlightenment. And yet Komeda did not succumb to Coltrane´s (or indeed the entire American Free Jazz movement) ideas blindly and unconditionally, as did many of his peers. He decided to incorporate the struggle for Freedom, which was a central scheme in Coltrane´s philosophy (both musical and personal) with his deep European cultural roots and heritage, building his very personal bridge between Cultures. This is why his music works so well, regardless if it´s a concert played in a Jazz club or a movie soundtrack. It is simply transcending stylistic or circumstantial limitations, as any higher level of Art is able to do. The fact that this music was created almost fifty years ago is a sad reminder of how little progress (if any) we managed to achieve since. In face of this fact we should cherish the great achievements of our Culture and keep them close to our hearts. This is definitely one of those great achievements, so let´s treat it accordingly. Absolutely essential!

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KRZYSZTOF KOMEDA ~ ASTIGMATIC (POLISH JAZZ VOL.05) POWER BROS 00163 (Barcode: 5906295856030) ~ POLAND ~ Jazz Recorded: 1965 Released: 1998 This music, encapsulated for eternity in a piece of plastic, is one of the great milestones of human Culture, an ultra-rare eruption of human genius. Recorded by a quintet led by Polish pianist / composer Krzysztof KomedaFind albums by this artist, the legendary Godfather of Polish Jazz, this is definitely the most important piece of music recorded in Eastern Europe, which changed the face of Culture far beyond what most people realize. Universally accepted as a model and artistic / aesthetic climax by generations of Jazz musicians in Komeda´s native Poland and far beyond the country borders, this modern Jazz recording influenced innumerable minds and prompted endless artistic processes. The album includes just three pieces of music: the title track; "Kattorna", which was a theme in the soundtrack of a movie by the Danish director Henning CarlsenFind albums by this artist; and "Svantetic", a tune dedicated to the Swedish poet Svante ForsterFind albums by this artist, Komeda´s friend. The quintet included trumpeter Tomasz StankoFind albums by this artist, saxophonist Zbigniew NamyslowskiFind albums by this artist, German bassist Gunter LenzFind albums by this artist and Swedish drummer Rune CarlssonFind albums by this artist. Playing in every possible grouping, from solo to a full quintet, these brilliant and inspired musicians manage to achieve a whole, which is so much more than a sum of its parts. The result goes way beyond soloing, improvising, interplaying and exchanging ideas; it is a sort of group creation, which builds upon the basic structures, which are the mesmerizing Komeda´s melodies and soaring infinitely towards a musical heaven. There is everything here: melody, harmony, freedom and structure, rhythm and space, all simultaneously represented without conflicting and fighting for supremacy. Such harmonious music-making is indeed very rare and therefore priceless. One might wonder how this wonderful music happened in Poland of all places. Well the reasons for this are numerous and complex, but of course genius knows no geographical limitations and catalyzed by the fertile intellectual background of the 1960s Poland, struggling with Socialist regime and longing for Freedom, Jazz became an escape route, which in this case found its true vocation. Of course the fact that Stanko and Namyslowski were (and thank God still are) exceptionally gifted musicians helped to materialize the potential of Komeda´s music. One might as well look into Komeda´s fascination (and adoration) of the music and life of John ColtraneFind albums by this artist, who served as a beacon and a model in the composer´s path to inner enlightenment. And yet Komeda did not succumb to Coltrane´s (or indeed the entire American Free Jazz movement) ideas blindly and unconditionally, as did many of his peers. He decided to incorporate the struggle for Freedom, which was a central scheme in Coltrane´s philosophy (both musical and personal) with his deep European cultural roots and heritage, building his very personal bridge between Cultures. This is why his music works so well, regardless if it´s a concert played in a Jazz club or a movie soundtrack. It is simply transcending stylistic or circumstantial limitations, as any higher level of Art is able to do. The fact that this music was created almost fifty years ago is a sad reminder of how little progress (if any) we managed to achieve since. In face of this fact we should cherish the great achievements of our Culture and keep them close to our hearts. This is definitely one of those great achievements, so let´s treat it accordingly. Absolutely essential! Enhanced CD with CD-ROM contents!

CD 1 Remastered Essential Recommend To A Friend

KRZYSZTOF KOMEDA ~ ASTIGMATIC IN CONCERT POWER BROS 00173 ~ POLAND ~ Jazz Recorded: 1965 Live recordings by the Krzysztof KomedaFind albums by this artist Quintet at the Jazz Jamboree festival in Warsaw and Montmartre club in Copenhagen. The quintet just recorded his composition "Astigmatic", as well as the music to the film "Kattorna", and these recordings provide us with a glimpse at the live versions of these compositions. With Michal UrbaniakFind albums by this artist and Tomasz StankoFind albums by this artist and two different rhythm sections. Enhanced CD with CD-ROM contents!

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KRZYSZTOF KOMEDA ~ BALLADS POWER BROS 00185 ~ POLAND ~ Jazz This album presents the Krzysztof KomedaFind albums by this artist Trio performing at the Warsaw Jazz Jamboree Festival in 1962. It is a wonderful opportunity to hear the great Polish pianist / composer in a most intimate situation as close to his music as possible. The material includes mostly Komeda´s wonderful compositions, including the music he composed at that time for Roman PolanskiFind albums by this artist´s film "Knife In Water".

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KRZYSZTOF KOMEDA ~ BALLET ETUDES BE! JAZZ 6087 (Barcode: 4251160250873) ~ POLAND ~ Jazz Recorded: 1963 Released: 2004 This is a reissue of the iconic debut album by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist. This was not only Komeda’s full album debut release, but also the first Polish Jazz album released outside of Poland. The album was recorded in a quintet / quartet setting, with Polish saxophonist Jan Ptaszyn WroblewskiFind albums by this artist and bassist Roman DylagFind albums by this artist, Swedish drummer Rune CarlssonFind albums by this artist and Danish trumpeter Allan BotschinskyFind albums by this artist (in quintet only). It was recorded in Copenhagen on May 3rd, 1963 and released on the Danish MetronomeFind albums on this label label. The album presents three tracks, all original compositions by Komeda. The title track, originally composed for the 1962 Jazz Jamboree festival appearance, lasts for almost twenty-two minutes and was of unprecedented length and complex structure for the time. It was recorded in the quintet setting. The remaining two tracks were recorded in the quartet setting. One of them is the legendary “Crazy Girl” from the soundtrack of the “Knife in the Water” 1962 Polish film directed by Roman PolanskiFind albums by this artist. The album’s liner notes were written by Danish poet / film director Jorgen LethFind albums by this artist, who was familiar with the Polish Jazz scene. The music remains as revolutionary and prophetic as it was at the time of its recording, and lost absolutely nothing of its glory over time, which brilliantly exemplifies the fact that Jazz Music did not change radically in these sixty years, nor did it make a significant conceptual movement forward (or in any other direction). Komeda’s genius, although sadly appearing only briefly on the Jazz timeline, created enough impact to influence the shape of thigs on the Polish / European Jazz scene, which firmly lasts to this very day. This album was reissued time and again, reappearing here and there unexpectedly, often completely illegally, with diverse sound quality, questionable graphic design and proper historic background information. This specific German edition offers good sound quality and is available, albeit pricey. Nor sure about the legality… The ultimate reissue edition is still waiting to be made. Overall, this is a monumental historic document about the breakthrough of the Polish / European Jazz, searching for its identity independent from the American Jazz tradition and opening a new chapter in its history. For Polish Jazz fans / enthusiasts / connoisseurs this is a true Holy Grail. Side Note: On a personal side of this album – I was given a copy of this album, autographed by Komeda and Polanski, for my 12th Birthday in December of 1963. I already had a collection of vinyl albums, including Polish and foreign releases, and the collector’s plague was already well planted at that age. When our family was expelled from Poland in 1967, we were allowed to take only US$ 5 per person and a small crate of family possessions, which was strictly controlled by Polish custom officers. I naturally tried to take my vinyl collection with me, taking the most valuable (to me) items, including this album, but to my dismay and despair, the customs people confiscated the album, as well as all my original early Beatles albums, which I received from my aunt in London, claiming that they were illegally imported into Poland and were not allowed to leave the country. I was allowed to take only the albums manufactured in Poland, so obviously I took all the early Polish Jazz Series albums, which I had. That incident did not break my collector’s passion, which only grew with time, but it left a bitter taste on my way to Freedom. It also did not blemish my love of the Polish Culture, which I cultivated even when living abroad. Sometimes I wonder where the autographed copy of this album eventually found its home?

Updated: 05/04/2024Posted: 05/04/2024

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KRZYSZTOF KOMEDA ~ BALLET ETUDES / BREAKFAST AT TIFFANY`S POWER BROS 00155 ~ POLAND ~ Jazz Recorded: 1962 - 1963 These 1962-1963 recordings present Krzysztof KomedaFind albums by this artist´s compositions for theatre. Same as with his fantastic film music, these expressive and wonderfully lyrical works are extreamly beautiful and intelligent at the same time. Performed by the cream of Polish jazz players, including Tomasz StankoFind albums by this artist, Michal UrbaniakFind albums by this artist, Zbigniew NamyslowskiFind albums by this artist a.m.o. Enhanced CD with CD-ROM contents!

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KRZYSZTOF KOMEDA ~ BARIERA – SOUNDTRACKS FROM JERZY SKOLIMOWSKI / JANUSZ NASFETER MOVIES POWER BROS 00199 (Barcode: 5906295856429) ~ POLAND ~ Jazz Recorded: 1965 - 1966 Released: 2009 Although primarily identified as the soundtrack composer of the movies directed by Roman PolanskiFind albums by this artist, Polish pianist / composer Krzysztof KomedaFind albums by this artist cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country´s intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. Komeda´s soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. All the albums with Komeda´s soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda´s tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtrack of the movie "Bariera (Barrier)" by the director Jerzy SkolimowskiFind albums by this artist and the soundtrack of the movie "Niekochana (Unloved)Find albums by this artist" by director Janusz Nasfeter. Brilliant stuff!

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KRZYSZTOF KOMEDA ~ CRAZY GIRL POWER BROS 00165 (Barcode: 4011550716521) ~ POLAND ~ Jazz Recorded: 1960 - 1964 Released: 1998 This album collects early recordings by Polish pianist / composer Krzysztof KomedaFind albums by this artist, the legendary Godfather of Polish Jazz. Recorded live at the Warsaw Jazz Jamboree festival in 1960 (five tracks) and 1961 (eight tracks) it captures Komeda in the transition period when his abilities as a piano player / bandleader and most importantly composer come to full fruition. His ability to compose haunting melody lines and create a lyrical atmosphere is already clearly evident. These are basically piano trio recordings with bassists Adam SkorupkaFind albums by this artist and Roman DylagFind albums by this artist and drummers Andrzej ZielinskiFind albums by this artist and Leszek DudziakFind albums by this artist. The great Swedish saxophonist Bernt RosengrenFind albums by this artist joins the trio on six tracks and US guitarist Jimmy GourleyFind albums by this artist joins them on two tracks. Four tracks included here were included in the soundtrack of the Roman PolanskiFind albums by this artist movie "Knife In The Water". The last track on the album was recorded during Jazz Jamboree 1964 by the legendary Komeda quintet, which included at that time trumpeter Tomasz StankoFind albums by this artist, saxophonist Michal UrbaniakFind albums by this artist, bassist Janusz KozlowskiFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist, playing the composition "Sophia´s Tune" Komeda dedicated to his wife Zofia. The music includes mostly Komeda originals (just four standards are played), which are of course all heavenly. The excellent recording quality and the lack of applause make this album sound like a studio recording. This is an absolutely vital piece of music history, which is a must to any connoisseur of modern Jazz, and Polish Jazz in particular. A must! Enhanced CD with CD-ROM contents!

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KRZYSZTOF KOMEDA ~ JUTRO PREMIERA – SOUNDTRACKS FROM JANUSZ MORGENSTERN / EDWARD ETLER MOVIES POWER BROS 00201 (Barcode: 5906295856436) ~ POLAND ~ Jazz Recorded: 1962 - 1964 Released: 2009 Although primarily identified as the soundtrack composer of the movies directed by Roman PolanskiFind albums by this artist, Polish pianist / composer Krzysztof KomedaFind albums by this artist cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country´s intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. Komeda´s soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. All the albums with Komeda´s soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda´s tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtrack of the movie "Jutro Premiera (Opening Tomorrow)" by director Janusz MorgensternFind albums by this artist and two soundtracks to documentaries "Kraksa (Crash)" / "Okolice Peronow (Near The Station)" by director Edward EtlerFind albums by this artist. Brilliant stuff!

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KRZYSZTOF KOMEDA ~ KATTORNA – SOUNDTRACKS FROM HENNING CARLSEN MOVIES POWER BROS 00189 (Barcode: 5906295856375) ~ POLAND ~ Jazz Recorded: 1964 - 1967 Released: 2009 Although primarily identified as the soundtrack composer of the movies directed by Roman PolanskiFind albums by this artist, Polish pianist / composer Krzysztof KomedaFind albums by this artist cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country´s intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. Komeda´s soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. All the albums with Komeda´s soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda´s tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtracks of three movies: "Kattorna (Kittens)", "Sult (Hunger)" and "People Meet And Sweet Music Fills The Heart" by Danish director Henning CarlsenFind albums by this artist. Komeda´s incredible talent as a film composer was discovered by the Scandinavian film makers and other intellectuals and Komeda spent considerable periods of time in Scandinavia in the mid-1960s, which was unprecedented for any Polish musician. Unfortunately the music for the first film directed by Carlsen, which Komeda composed the music for: "Hvad Med Os (What About Us)" is not included on this album and was not released to date. Komeda was also supposed to compose the music for a fifth film by Carlson, but his tragic death prevented this from happening. The music from "Kattorna", in a different version, can be also found on the legendary "AstigmaticFind albums with this title" album by Komeda. Brilliant stuff!

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KRZYSZTOF KOMEDA ~ KNIFE IN THE WATER - SOUNDTRACKS FROM ROMAN POLANSKI MOVIES POWER BROS 00175 ~ POLAND ~ Jazz The names of Krzysztof KomedaFind albums by this artist and Roman PolanskiFind albums by this artist were associated forever by the powerful combination of the director`s work and the composers`s music, which enriched and emphasized the atmosphere. This CD includes soundtracks from the first 3 films Polanski directed in Poland: "Two Man And A Wardrobe", "When Angels Fall" and "Knife In The Water". Sheer genius. Enhanced CD with CD-ROM contents!

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KRZYSZTOF KOMEDA ~ KRAKSA GAD 301 (Barcode: 5903068125607) ~ POLAND ~ Jazz Recorded: 1956 - 1965 Released: 2024 This is an archival album by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist, which presents soundtracks that he composed to three films by Polish Jewish director of documentary movies Edward EtlerFind albums by this artist: “Kraksa” (1963), “Okolice Peronow” (1964) and “Twarz Wroga” (1965) and finally music to a nature documentary from 1956, performed by his sextet. The first two of these were previously released on the Power BrosFind albums on this label label in 2009. The names of the musicians, who recorded the music, are unknown, but obviously they were members of his ensembles active at the time and include trumpeter Tomasz StankoFind albums by this artist and saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist. The music offers fragments of themes and their variations, as usual in cinematic albums, but the genius of Komeda is immediately obvious, and like everything he ever composed, it is pure magic. Of course the full power of this music can only be experienced by watching the movies accompanied by the music, but it is strong enough to stand on its own, as this album proves. Overall, this is an important document of Komeda’s work and although adds only a relatively little portion of previously unreleased material, for Komeda enthusiasts and completists it is a must have item.

Updated: 27/01/2025Posted: 27/01/2025

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KRZYSZTOF KOMEDA ~ KRZYSZTOF KOMEDA W POLSKIM RADIU VOL.01 – NAGRANIA PIERWSZE 1952-1960 POLSKIE RADIO 1861 (Barcode: 5907812248611) ~ POLAND ~ Jazz Recorded: 1952 - 1960 Released: 2014 This is the first installment in a new series of albums launched by the Polish Radio, which presents radio recordings by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist. Komeda is of course the most familiar name associated with Polish Jazz and his legacy is of crucial importance to Polish and European Jazz. Considering the fact that Komeda´s studio recordings are relatively scarce, the radio recordings are in fact the main source of his recorded legacy, as they include among others the Jazz Jamboree festival appearances by Komeda and his various ensembles over the years. As the title of this volume suggests, it collects sixteen tracks of the early recordings by Komeda, fourteen of which present him as a bandleader of his groups that vary from a trio to a sextet format. Two additional tracks showcase him as a member of the legendary MelomaniFind albums by this artist group. All these tracks are Jazz standards except for only one original composition co-credited to Komeda and Jan Ptaszyn WroblewskiFind albums by this artist, another Polish Jazz legendary figure. As a result the music on this album is all about Komeda the pianist, rather than his traditional role of a composer first and performer later and shows his development as a piano player. The musicians that were the band members of these ensembles led by Komeda are the first, pioneering generation of post-WWII Polish Jazz players, most of which disappeared from the scene to be replaced by the second, then very young generation, that was about to revolutionize Polish Jazz completely by the mid 1960s. These pioneers include the Melomani members: saxophonist Jerzy MatuszkiewiczFind albums by this artist, trumpeter Andrzej WojciechowskiFind albums by this artist, bassist Witold KujawskiFind albums by this artist (died 2011) and drummer Witold SobocinskiFind albums by this artist. Also worth mentioning are bassist Jozef StolarzFind albums by this artist (died 2011) and drummer Jan ZylberFind albums by this artist (died 1997). The only know names on the Polish Jazz scene appearing on this album and still active today are the a.m. Wroblewski and vibraphonist / composer Jerzy MilianFind albums by this artist. Overall this album, although important from obvious historic reasons, does not reflect the "true" Komeda genius, which was about to blossom slightly later, when Komeda started to write his own fabulous music and formed his new ensembles with the top new players of the day. The recordings are splendidly restored and remastered and nicely packaged in an elegant digipak / slipcase. Dates, places and lineups are faithfully included and even personal liner notes by young Polish Jazz critics are present, but there is no in-depth background material about Komeda and his music, however considering the plentitude of published material and several excellent books on the subject, an intelligent listener can easily bridge the knowledge gap. The only small reservation one might have is the fact that these recordings have been already released many times, more or less legally on the somewhat untamed Polish music market, which means they is already owned by the serious Polish Jazz collectors, probably more than once.

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KRZYSZTOF KOMEDA ~ KRZYSZTOF KOMEDA W POLSKIM RADIU VOL.02 – MUZYKA BALETOWA I FILMOWA – CZESC PIERWSZA POLSKIE RADIO 1862 (Barcode: 5907812248628) ~ POLAND ~ Jazz Recorded: 1959 - 1963 Released: 2014 This is the second installment in a new series of albums launched by the Polish Radio, which presents radio recordings by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist. Komeda is of course the most familiar name associated with Polish Jazz and his legacy is of crucial importance to Polish and European Jazz. Considering the fact that Komeda´s studio recordings are relatively scarce, the radio recordings are in fact the main source of his recorded legacy, as they include among others the Jazz Jamboree festival appearances by Komeda and his various ensembles over the years. Recorded between 1959 and 1963 this volume collects only original music that Komeda composed for ballet and cinema and performed with his groups during the 1961 edition of the Jazz Jamboree festival in Warsaw (one track), the 1962 edition (four tracks) and 1963 edition (one track). The remaining two tracks are radio studio recordings. The music includes the following compositions: "Ballet Etudes", written by Komeda to be performed by a Jazz ensemble accompanying ballet dancers, which had its premiere during the 1962 Jazz Jamboree with dancers from the Warsaw Opera, theme from the film "Innocent Sorcerers" directed by Andrzej WajdaFind albums by this artist and the monumental music from the debut full length film "Knife In The Water" directed by Roman PolanskiFind albums by this artist. As any Polish Jazz enthusiast knows, this is the cradle of modern Polish Jazz and includes some of its most defining moments, as well as the essence of Komeda, the composer. The list of the musicians participating in these recordings reads like the who´s who of early modern Polish Jazz: vocalist Wanda WarskaFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist, trumpeter Tomasz StankoFind albums by this artist, bassists Roman DylagFind albums by this artist, Adam SkorupkaFind albums by this artist, Jan ByrczekFind albums by this artist and Maciej SuzinFind albums by this artist, drummers Leszek DudziakFind albums by this artist, Czeslaw BartkowskiFind albums by this artist and Tadeusz FederowskiFind albums by this artist and percussionist Jozef GawrychFind albums by this artist. Three Swedish musicians also participate: saxophonist Bernt RosengrenFind albums by this artist, trombonist Eje ThelinFind albums by this artist and drummer Rune CarlssonFind albums by this artist. Overall this is a collection of brilliant music, superbly performed, which is an absolute revelation to anybody who loves Jazz. It is a fundamental piece of every decent Jazz record collection. The recordings are splendidly restored and remastered and nicely packaged in an elegant digipak / slipcase. Dates, places and lineups are faithfully included and even personal liner notes by young Polish Jazz critics are present, but there is no in-depth background material about Komeda and his music, however considering the plentitude of published material and several excellent books on the subject, an intelligent listener can easily bridge the knowledge gap. The only small reservation one might have is the fact that these recordings have been already released many times, more or less legally on the somewhat untamed Polish music market, which means they is already owned by the serious Polish Jazz collectors, probably more than once.

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KRZYSZTOF KOMEDA ~ KRZYSZTOF KOMEDA W POLSKIM RADIU VOL.03 – KRZYSZTOF KOMEDA & JERZY MILIAN POLSKIE RADIO 1863 (Barcode: 5907812248635) ~ POLAND ~ Jazz Recorded: 1957 - 1963 Released: 2014 This is the third installment in a new series of albums launched by the Polish Radio, which presents radio recordings by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist. Komeda is of course the most familiar name associated with Polish Jazz and his legacy is of crucial importance to Polish and European Jazz. Considering the fact that Komeda´s studio recordings are relatively scarce, the radio recordings are in fact the main source of his recorded legacy, as they include among others the Jazz Jamboree festival appearances by Komeda and his various ensembles over the years. Recorded between 1957 and 1963 this volume collects recordings which involve the cooperation between Komeda and vibraphonist / composer Jerzy MilianFind albums by this artist, a key member of Komeda´s ensembles and a bandleader of his own right, who also achieved the legendary status of one of the Godfathers of modern Polish Jazz. The album presents three tracks recorded during the 1963 Jazz Jamboree Festival by Milian with Komeda´s trio (bassist Maciej SuzinFind albums by this artist and drummer Leszek DudziakFind albums by this artist), another three tracks recorded a year earlier at the 1962 Jazz Jamboree Festival by Milian´s quintet (guitarist Wojciech LechowskiFind albums by this artist, bassist Tadeusz WojcickiFind albums by this artist and drummer Leszek Dudziak) and finally one earlier radio recording from 1957 by Komeda´s sextet (saxophonist Jan Ptaszyn WroblewskiFind albums by this artist, trombonist Zdzislaw BrzeszczynskiFind albums by this artist, bassist Jozef StolarzFind albums by this artist and drummer Jan ZylberFind albums by this artist). Of course Komeda plays piano and Milian plays vibraphone on all tracks. Six of the tracks are standards and only one is an original composition by Komeda. Obviously the emphasis here is on the performing abilities and the interplay between Komeda and Milian, rather than on the abilities of the two as composers, which are in retrospect more important. Milian´s virtuosity is pretty obvious, as is his incredible feel for Swing and Bebop at the time. Milian was definitely the closest musical partner Komeda had during the first period of his activity, before forming his groundbreaking ensembles by mid 1960s, which where influenced by Avant-Garde experimentation. Milian´s extensive achievements as composer / arranger during the years following his involvement with Komeda constitute another fascinating chapter of the Polish Jazz history. Overall this is a collection of excellent Jazz music, superbly performed, which is an absolute delight to anybody who loves Jazz. It is a fundamental piece of every decent Polish Jazz record collection, especially in the case of the younger generation of listeners, which is just getting acquainted with the enormous legacy of Polish Jazz. The recordings are splendidly restored and remastered and nicely packaged in an elegant digipak / slipcase. Dates, places and lineups are faithfully included and even personal liner notes by young Polish Jazz critic (Roch SicinskiFind albums by this artist) are present, but there is no in-depth background material about Komeda and his music, however considering the plentitude of published material and several excellent books on the subject, an intelligent listener can easily bridge the knowledge gap. The only small reservation one might have is the fact that these recordings have been already released many times, more or less legally on the somewhat untamed Polish music market, which means they is already owned by the serious Polish Jazz collectors, probably more than once.

Updated: 12/04/2019Posted:

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KRZYSZTOF KOMEDA ~ KRZYSZTOF KOMEDA W POLSKIM RADIU VOL.04 – SOPHIA`S TUNE POLSKIE RADIO 1864 (Barcode: 5907812248642) ~ POLAND ~ Jazz Recorded: 1963 - 1964 Released: 2014 This is the fourth installment in a new series of albums launched by the Polish Radio, which presents radio recordings by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist. Komeda is of course the most familiar name associated with Polish Jazz and his legacy is of crucial importance to Polish and European Jazz. Considering the fact that Komeda´s studio recordings are relatively scarce, the radio recordings are in fact the main source of his recorded legacy, as they include among others the Jazz Jamboree festival appearances by Komeda and his various ensembles over the years. Recorded in 1963 and 1964 during the sixth and seventh edition of the seminal Jazz Jamboree Festival in Warsaw, this collection showcases the legendary Komeda Quintet, which in many respects was the quintessential vehicle, which presented Komeda´s music at its pinnacle. The quintet included, besides Komeda of course, trumpeter Tomasz StankoFind albums by this artist, saxophonist Michal UrbaniakFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist, who play on both dates, and bassist Maciej SuzinFind albums by this artist who plays on the 1963 date and Janusz KozlowskiFind albums by this artist who plays on the 1964 date. The album includes only five compositions, all originals by Komeda, which get an extended treatment which stretches around seventeen minutes for three of the tunes, twelve minutes for the fourth and six minutes for the tune which gives the album its titles, dedicated to Komeda´s wife Zofia. This is obviously some of the most important Jazz music recorded in Poland during the early days of modern Polish Jazz, but also some of the most important European Jazz, which was shaping out at the time as a new wave of independent thinking, based on American Jazz tradition, but expanding the known realm with new ideas and European legacy, melancholy, folklore and other prominent factors, which eventually were to create a completely new genre altogether. Komeda´s outstanding ability to weave beautiful melodies, combined with the virtuosity of his quintet´s members, reach unprecedented emotional and aesthetic levels, which to this day can hardly be matched. This music is a cradle of modern European Jazz, ultra modern and even Avant-Garde at the time, which almost completely rebels against American mainstream Jazz, simply doing whatever feels right, in complete disregard of conventions and stylistic limitations. The tunes develop almost spontaneously, often from a riff or a chord sequence, which hints of the melodic theme, which is often developed later on and sometimes remains hidden behind the chord changes and is never actually stated in full. The rhythmic patterns change several times during each tune, often without warning. Such dramatically novel approach is amazingly bold even today, almost fifty years later. Overall this is a collection of excellent Jazz music, superbly performed, which is an absolute delight to anybody who loves Jazz. It is a fundamental piece of every decent Polish Jazz record collection, especially in the case of the younger generation of listeners, which is just getting acquainted with the enormous legacy of Polish Jazz. The recordings are splendidly restored and remastered and nicely packaged in an elegant digipak / slipcase. Dates, places and lineups are faithfully included and even personal liner notes by Polish Jazz critic Maciej NowotnyFind albums by this artist are present, but there is no in-depth background material about Komeda and his music, however considering the plentitude of published material and several excellent books on the subject, an intelligent listener can easily bridge the knowledge gap. The only small reservation one might have is the fact that these recordings have been already released many times, more or less legally on the somewhat untamed Polish music market, which means they is already owned by the serious Polish Jazz collectors, probably more than once.

Updated: 12/04/2019Posted:

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KRZYSZTOF KOMEDA ~ KRZYSZTOF KOMEDA W POLSKIM RADIU VOL.05 – MUZYKA BALETOWA I FILMOWA - CZESC DRUGA POLSKIE RADIO 1865 (Barcode: 5907812248659) ~ POLAND ~ Jazz Recorded: 1961 - 1964 Released: 2015 This is the fifth installment in a new series of albums launched by the Polish Radio, which presents radio recordings by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist. Komeda is of course the most familiar name associated with Polish Jazz and his legacy is of crucial importance to Polish and European Jazz. Considering the fact that Komeda´s studio recordings are relatively scarce, the radio recordings are in fact the main source of his recorded legacy, as they include among others the Jazz Jamboree festival appearances by Komeda and his various ensembles over the years. Eight of the ten tracks on this album were recorded between 1961 and 1964 during the forth to seventh edition of the seminal Jazz Jamboree Festival in Warsaw, this collection showcases legendary Komeda ensembles (quintet / trio), which in many respects were the quintessential vehicles, which presented Komeda´s music at its pinnacle. Two additional tracks were recorded in the Polish Radio Studio, both featuring vocals, the second of which is especially interesting as it presents an early recording by vocalist Urszula DudziakFind albums by this artist. The musicians, besides Komeda of course, include top Polish Jazz musicians at the time: trumpeter Tomasz StankoFind albums by this artist, saxophonist Michal UrbaniakFind albums by this artist, bassists Maciej SuzinFind albums by this artist and Roman DylagFind albums by this artist, drummer Czeslaw BartkowskiFind albums by this artist, vocalist Wanda WarskaFind albums by this artist and others, as well as Swedish musicians: saxophonist Bernt RosengrenFind albums by this artist and drummer Rune CarlssonFind albums by this artist. The music is of course selected to reflect Komeda´s involvement with composing music for cinema, theatre and ballet. A few bonus tracks are also added, which are not connected with the above, but present rarely heard Komeda´s recording. Overall this is a collection of excellent Jazz music, superbly performed, which is an absolute delight to anybody who loves Jazz. It is a fundamental piece of every decent Polish Jazz record collection, especially in the case of the younger generation of listeners, which is just getting acquainted with the enormous legacy of Polish Jazz. The recordings are splendidly restored and remastered and nicely packaged in an elegant digipak / slipcase. Dates, places and lineups are faithfully included and even personal liner notes by Polish Jazz critic Filip KosinskiFind albums by this artist are present, but there is no in-depth background material about Komeda and his music, however considering the plentitude of published material and several excellent books on the subject, an intelligent listener can easily bridge the knowledge gap. The only small reservation one might have is the fact that these recordings have been already released many times, more or less legally on the somewhat untamed Polish music market, which means they is already owned by the serious Polish Jazz collectors, probably more than once.

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KRZYSZTOF KOMEDA ~ KRZYSZTOF KOMEDA W POLSKIM RADIU VOL.06 – MUZYKA FILMOWA ORAZ JAZZ I POEZJA POLSKIE RADIO 1938 (Barcode: 5907812249380) ~ POLAND ~ Jazz Recorded: 1965 - 1967 Released: 2016 This is the sixth installment in a new series of albums launched by the Polish Radio, which presents radio recordings by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist. Komeda is of course the most familiar name associated with Polish Jazz and his legacy is of crucial importance to Polish and European Jazz. Considering the fact that Komeda´s studio recordings are relatively scarce, the radio recordings are in fact the main source of his recorded legacy, as they include among others the Jazz Jamboree festival appearances by Komeda and his various ensembles over the years. The first part of the music included here originates in the Polish Radio recording session from 1967, which presents the Komeda Quintet with trumpeter Tomasz StankoFind albums by this artist, saxophonist Zbigniew NamyslowskiFind albums by this artist, bassist Roman DylagFind albums by this artist and Swedish drummer Rune CarlssonFind albums by this artist. The quintet performs four original Komeda compositions. The second part was recorded live during the 1965 Jazz Jamboree Festival and features the Komeda Quartet with Stanko, bassist Janusz KozlowskiFind albums by this artist and Carlsson. The quartet performs two original Komeda compositions. Three of the quintet tracks can be associated with the Polish Jazz & Poetry movement, the last quintet track and the first quartet track are both examples of cinematic music Komeda created for movie soundtracks and the last bonus track is a live performance of Komeda´s most famous tune "Astigmatic", which gave the title to his groundbreaking debut album. The Komeda Quintet present on this album recorded an entire album in the Jazz & Poetry idiom, which was produced by the legendary Joachim Berendt. That album called "Meine Susse Europaische HeimatFind albums with this title" was released in West Germany and became in time one of the most iconic Jazz & Poetry recordings in Polish and European Jazz. All of the music on this album is of course some of the most prophetic and revolutionary European Jazz ever recorded, and as such deserves to be a part of every decent music library on this planet. The recordings are splendidly restored and remastered and nicely packaged in an elegant digipak / slipcase. Dates, places and lineups are faithfully included and even personal liner notes by Polish Jazz critic Roch SicinskiFind albums by this artist are present, but there is no in-depth background material about Komeda and his music, however considering the plentitude of published material and several excellent books on the subject, an intelligent listener can easily bridge the knowledge gap. The only small reservation one might have is the fact that these recordings have been already released many times, more or less legally on the somewhat untamed Polish music market, which means they is already owned by the serious Polish Jazz collectors, probably more than once.

Updated: 05/07/2016Posted: 05/07/2016

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KRZYSZTOF KOMEDA ~ KRZYSZTOF KOMEDA W POLSKIM RADIU VOL.07 – LITANIA POLSKIE RADIO 1939 (Barcode: 5907812249397) ~ POLAND ~ Jazz Recorded: 1967 Released: 2016 This is the seventh installment in a new series of albums launched by the Polish Radio, which presents radio recordings by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist. Komeda is of course the most familiar name associated with Polish Jazz and his legacy is of crucial importance to Polish and European Jazz. Considering the fact that Komeda´s studio recordings are relatively scarce, the radio recordings are in fact the main source of his recorded legacy, as they include among others the Jazz Jamboree festival appearances by Komeda and his various ensembles over the years. The music presented here is part of the very last recordings made by Komeda before his death, all done in October 1967, which was a very busy time for him just before he left Poland for the US on December 17, 1967 and returned already in a comatose state following his tragic accident in October 1968. Between October 7 and October 10, 1967 the Komeda Quintet with trumpeter Tomasz StankoFind albums by this artist, saxophonist Zbigniew NamyslowskiFind albums by this artist, bassist Roman DylagFind albums by this artist and Swedish drummer Rune CarlssonFind albums by this artist recorded in Baden Baden, Germany the seminal album "Meine Susse Europaische Heimat: Dichtung Und Jazz Aus PolenFind albums with this title", which was produced by my Friend and Mentor Joachim BerendtFind albums by this artist. The album was originally planned to be recorded in May 1967, and most sources state this as the recording date, but due to Komeda´s illness the recording was in fact postponed and took place as stated above. This album created a great stir behind the Iron Curtain and presented openly Polish Jazz and Polish Poetry to the Western public for the first time. Dylag, who was living in Sweden at the time, and Carlsson arrived in Germany from Sweden invited especially for this recording and continued together with the rest of the Quintet (riding two cars) to Warsaw, where the Komeda Quartet (Quintet less Namyslowski) played a concert on October 14, 1967 during the Jazz Jamboree Festival. The concert included Komeda´s extended composition "Night Time, Day Time Requiem" dedicated to the memory of John ColtraneFind albums by this artist, composed shortly after Coltrane´s death in July 1967, which is included here. Immediately following the Jazz Jamboree appearance, most probably on October 16 or 17, 1967, the Quintet recorded a session at the Polish Radio studio, which included six tunes, including "Litania" and another version of "Night Time, Day Time Requiem", both of which are included here. The other four tunes were already included on the previous album of this series The Quartet also recorded a concert for the Polish Television, which also presents "Night Time, Day Time Requiem" and a mega rare interview with Komeda conducted by Polish Jazz critic and broadcaster Roman WaschkoFind albums by this artist. Considering the fact that Dylag and Carlsson had visas to stay in Poland for just one week, and left Poland immediately before the visas expired, it is certain that all the music recorded in Poland was recorded within that particular week. The music reflects beautifully the development of Komeda as a pianist / composer / bandleader in the last period of his activity. Coltrane´s death had an immense influence on Komeda, who was a great admirer of the American Giant and followed his path of discovery closely. The piece dedicated to Coltrane is spiritually the closest piece of Polish Jazz music to the music of Coltrane during his latest period. It is fascinating to compare the two versions of "Night Time, Day Time Requiem"; the earlier live version, played by the Quartet, is masterly performed but still not fully emotionally developed, while the emotional elements erupt on the second version, recorded just days later by the Quintet. Therefore this album is certainly one of the most important Komeda albums, catching Komeda at his absolute peak as a composer with the magnificent "Litania" and performer with the music dedicated to Coltrane. The recordings are splendidly restored and remastered and nicely packaged in an elegant digipak / slipcase, but there is no in-depth background material about Komeda and his music; however considering the plentitude of published material and several excellent books on the subject, an intelligent listener can easily bridge the knowledge gap. The only small reservation one might have is the fact that these recordings have been already released many times, more or less legally on the somewhat untamed Polish music market, which means they is already owned by the serious Polish Jazz collectors, probably more than once. Side Note: On the album´s liner notes the two versions of "Night Time, Day Time Requiem" are listed in reverse order to the order they actually appear on the CD. Also the recording date of the studio version of "Night Time, Day Time Requiem" is listed as 1968, which is not possible as stated above.

Updated: 05/04/2024Posted: 02/10/2016

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KRZYSZTOF KOMEDA ~ KRZYSZTOF KOMEDA W POLSKIM RADIU VOL.08 - SUPLEMENT POLSKIE RADIO 2256 (Barcode: 5907812240387) ~ POLAND ~ Jazz Recorded: 1957 - 1989 Released: 2019 This is the eighth and final installment in a new series of albums launched by the Polish Radio, which presents radio recordings by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist. Komeda is of course the most familiar name associated with Polish Jazz and his legacy is of crucial importance to Polish and European Jazz. Considering the fact that Komeda´s studio recordings are relatively scarce, the radio recordings are in fact the main source of his recorded legacy, as they include among others the Jazz Jamboree festival appearances by Komeda and his various ensembles over the years. The music presented here portrays the early recordings made by Komeda and some bonus material. It includes six tracks recorded by the Komeda sextet at the Polish Radio in Poznan (probably in 1957); similarly to some of the tracks present on the first volume of this series, and feature saxophonists Stanislaw PludraFind albums by this artist and Jan Ptaszyn WroblewskiFind albums by this artist, vibraphonist Jerzy MilianFind albums by this artist, bassist Jozef StolarzFind albums by this artist and drummer Jan ZylberFind albums by this artist. Four of these tracks are standards, one is by Milian and one by Komeda. One track recorded by the USSR Radio in Moscow in 1957 features also his sextet (exact lineup unknown). Another track was recorded by his trio (exact lineup unknown) in Warsaw in 1963. The last track is a song written by Komeda and sung by Kalina JedrusikFind albums by this artist accompanied by a group led by him, recorded in Warsaw in 1967. There are also three bonus tracks: a recording of a film theme by Komeda by the orchestra of Polish Radio in Lodz from 1989, a recording of a song from the soundtrack of "Rosemary´s Baby" by pianist Mieczyslaw KoszFind albums by this artist during the Jazz Jamboree Festival in Warsaw in 1971 and finally a fascinating interview with Komeda (twenty-six minutes long) from 1967 (about a year before his tragic death), in which he talks about his development as a musician and the unique character of Polish and European Jazz. Of course the interview is in Polish, which sadly makes it impossible for non-Polish speakers to enjoy it. Although somewhat uneven and historically hectic, this album offers previously unavailable material and is a must have for all Komeda completists.

Updated: 20/06/2020Posted: 17/06/2020

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KRZYSZTOF KOMEDA ~ MEINE SUSSE EUROPAISCHE HEIMAT: DICHTUNG UND JAZZ AUS POLEN ANEX 401 (Barcode: 5907513047957) ~ POLAND ~ Jazz & Poetry Recorded: 1967 Released: 2012 This is not just an album; for people who love Polish Jazz and Polish Culture, this is a monumental piece of Art and History… And for Polish Jazz this is probably the most important recording ever made, surely as far as international exposure of Polish Jazz is concerned. This album was devised, planned and eventually completed thanks to the efforts of Joachim BerendtFind albums by this artist, a German writer, critic, producer (and my dear personal Friend and Mentor), one of the most important figures on the European Jazz scene during its formative years. Berendt, a devoted intellectual, was an enthusiastic supporter of early multi-media collaborations involving Jazz, especially in the Jazz & Poetry realm, fell in love with Polish Jazz from the moment he heard it during the groundbreaking second Sopot Jazz Festival in 1957, which he attended accompanying a delegation of German Jazz players. The plans to make this album were planted in his mind then and there, but unfortunately the Iron Curtain, the invisible great divide splitting Europe in two during the Cold War era, was stronger than the goodwill of the people who wanted to make it happen. It took a whole decade until Berendt was able to invite pianist / composer Krzysztof KomedaFind albums by this artist and his group, which included trumpeter Tomasz StankoFind albums by this artist, saxophonist Zbigniew NamyslowskiFind albums by this artist, bassist Roman DylagFind albums by this artist and Swedish drummer Rune CarlssonFind albums by this artist, to his SWF radio studio in Baden-Baden to finally record the music. In parallel Berendt invited the German translator Karl DedeciusFind albums by this artist, who was the most important and pioneering translator of Polish and Russian literature and poetry into the German language, to select and translate the poems, which were to be combined with Komeda´s music and recited by actor Helmut LohnerFind albums by this artist. Dedecius made a brilliant job, obviously a labor of lave for him, both as a translator and editor, selecting twenty four poems by Polish poets, many of which were at the time relatively obscure and politically "problematic" for the Socialistic regime. In retrospect two of these poets: Wislawa SzymborskaFind albums by this artist and Czeslaw MiloszFind albums by this artist were eventually to be awarded the Nobel Prize in literature – not a bad guess indeed. By the time this album was recorded Komeda was of course already the undisputed Godfather of modern Polish Jazz, as well as a world-famous composer of film music, most notably those directed by Roman PolanskiFind albums by this artist, but also many others. His quintet was one of the best European Jazz ensembles at the time, which of course is clearly evident on this recording. Komeda´s themes are perfect companions to the poems, full of lyricism and deep emotions, expressive and often quite free form, enabling the soloists to expand the basic structure into improvised passages. The album was originally released in West Germany by EMI / ColumbiaFind albums on this label in 1967 and the original vinyl is a super-rare collectors´ item. This new edition adds as bonus tracks three of the themes used on the original album, recorded in extended instrumental versions by the same quintet, which are of course sensational. The album is beautifully packaged in a book-like digipak, which includes the original liner notes by Berendt and many splendid photographs. The texts (both Polish and the German translations) of the poems are unfortunately not included (except one), which is a pity, but obtaining all the copyrights was probably too much of a nightmare. An extended essay about this album should have also been appropriately written. The fact that this album was not available (at least in a proper form) for forty five years is a shame and this new edition falls under "better late than never" category. Polish Jazz connoisseurs should of course be delighted, finally being able to savor this timeless piece of Art. I can´t imagine any serious Polish Jazz enthusiast not having this album in their collection. I think I can see the late Joachim Berendt smiling, somewhere in the "higher sphere", seeing his brain-child resurrected…

Updated: 29/12/2023Posted:

CD 1 Digipak Remastered Bonus Tracks Essential Recommend To A Friend

KRZYSZTOF KOMEDA ~ MEMORY OF BACH POWER BROS 00157 ~ POLAND ~ Jazz Recorded: 1956 - 1967 A selection of various pieces recorded between 1956 and 1967, includes Krzysztof KomedaFind albums by this artist´s first ever composition "Memory Of Bach" recorded at the legendary first jazz festival in Poland and also some of his film music from the Roman PolanskiFind albums by this artist´s early film "Knife In The Water". As usual the music is brilliant and incredibly sophisticated. Enhanced CD with CD-ROM contents!

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KRZYSZTOF KOMEDA ~ MOJA BALLADA POWER BROS 00161 ~ POLAND ~ Jazz Recorded: 1961 - 1967 This album presents mostly Krzysztof KomedaFind albums by this artist´s film music recorded between 1961 and 1967 and includes music from Roman PolanskiFind albums by this artist´s "Knife In The Water" and music to animated films. A great showcase of Komeda´s sensitivity as a composer and his special feel for the film industry and its needs. With Tomasz StankoFind albums by this artist, Michal UrbaniakFind albums by this artist. Enhanced CD with CD-ROM contents!

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KRZYSZTOF KOMEDA ~ NIGHTIME, DAYTIME REQUIEM POWER BROS 00159 ~ POLAND ~ Jazz This recordings from 1967 present the Komdeda sextet at its prime with Tomasz StankoFind albums by this artist, Michal UrbaniakFind albums by this artist and Zbigniew NamyslowskiFind albums by this artist - probably the best Polish jazz ensemble of all times. The title track is Komeda´s homage to John ColtraneFind albums by this artist after his tragic death and the rest are from the legendary recording which presented Polish jazz to the world for the first time. Enhanced CD with CD-ROM contents!

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KRZYSZTOF KOMEDA ~ PEOPLE MEET AND SWEET MUSIC FILLS THE HEART (SOUNDTRACK) GAD 060 (Barcode: 5901549197808) ~ POLAND ~ Soundtracks Recorded: 1967 Released: 2017 This is an archival release of the previously unreleased soundtrack composed by the Godfather of modern Polish Jazz, Krzysztof KomedaFind albums by this artist, which accompanied the film with the above title, by Danish director Henning CarlsenFind albums by this artist, premiered in November of 1967. It was the last cooperation between Komeda and Carlsen, which continued for several years and produced some of the most striking European soundtracks ever to be recorded. The album presents the nineteen short pieces, which were incorporated within the film, as well as five bonus tracks which are outtakes or alternate versions from the recording sessions. The music was recorded in Denmark by a band and a string section, the lineups of which are unknown. The music is typical Komeda cinematic work, which includes several wonderfully melodic themes and a series of musical fragments needed as background music for the film´s scenes. None of these themes "made it" into the classic Komeda standards, which became a part of the rich legacy of Polish Jazz, simply for the reason that this music was never released on record and was not played by Komeda´s groups, as he left for the US soon after the film was released. It was the last European film Komeda composed the soundtrack for, followed by a brief, but brilliant Hollywood career, tragically cut short by his death just a year and a half later. Although not entirely within the Jazz idiom, the music is mostly closely related to Jazz, even on the background pieces, with the Jazz pulse present, with varying degrees of explicitly. The band features flute, saxophone, trumpet and a rhythm section, and on a few tracks also a string section, which of course also emphasizes the Jazzy side of the music. Komeda´s modern European Jazz was ideally suited to the European cinema of the mid 1960s, which was also trying to find its own esthetic and artistic quality different from the established American values. For the many fans of Komeda all over the world this album is an absolutely essential addition to their collection and a wonderful missing piece of the puzzle. Elegantly packed and accompanied by intelligent liner notes, which present the historical background information about this music, this is a true gem. GADFind albums on this label Records make history again!

Updated: 08/03/2020Posted: 24/01/2018

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KRZYSZTOF KOMEDA ~ POLISH RADIO JAZZ ARCHIVES VOL.04 POLSKIE RADIO 1600 (Barcode: 5907812246006) ~ POLAND ~ Jazz Recorded: 1957 - 1962 Released: 2013 This is the fourth installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venue, the annual Jazz Jamboree Festival and many other festivals as well. The material presented here was recorded between 1957 and 1962 and presents the iconic figure of the Godfather of Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist. Of the twelve recordings, first five are studio radio recordings and seven are live recordings from the 1961 and 1962 Jazz Jamboree Festivals. Most of the material was recorded in a trio / quartet setting except for the four 1957 recordings, which were recorded by a larger ensemble. The remastering work is incredible and the sound quality brigs this music back to life at its full bloom, which of course is great news for the numerous Komeda fans all over the world. The music presents a retrospective look at Komeda´s early phase, which shows the remarkable development of his immense talent both as a player and a composer. The transition from the early period when Komeda is performing American Jazz standards into the later period when he plays almost exclusively his original compositions shows the birth of European Jazz, of which Komeda was one of the earliest leaders, caught live in action. It also shows his role as a composer of film music, including his early score to the Andrzej WajdaFind albums by this artist film "Innocent Sorcerers" and his monumental music for the Roman PolanskiFind albums by this artist debut film "Knife In The Water". This is the Holy Grail of Polish Jazz, which certainly deserves to be kept alive and passed from generation to generation as part of the Artistic heritage, Polish and Worldwide alike. However, some questions arise as to the actual selection of the material for this release; although I have been assured by the people in charge of the production of this album, that all the music included herein is previously unreleased, it is hardly conceivable considering the plethora of Komeda releases (legal, semi-legal or completely bootleg) over the years, with the extended "complete" Komeda series by both Power BrosFind albums on this label and PoloniaFind albums on this label labels and even the Polskie Nagrania / MuzaFind albums on this label 3CD set of Komeda performances at Jazz Jamboree, released in 2011, which seems to duplicate some of the music included here, and of course the lack of a proper booklet with proper liner notes, photographs and other well deserved details, which this monumental music truly deserves. Polish Radio really should have made a better judgment and more of an effort here. A pity! As usual with this series, this is a great document of the era and an integral part of the Polish Jazz saga, which deserves to be told and studied. My advice is to get hold of this gem ASAP, as Polish CDs are often out of print before the paint dries on the booklets.

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KRZYSZTOF KOMEDA ~ PRAWO I PIESC – SOUNDTRACKS FROM JERZY HOFFMAN / EDWARD SKORZEWSKI MOVIES POWER BROS 00203 (Barcode: 5906295856443) ~ POLAND ~ Jazz Recorded: 1964 - 1965 Released: 2009 Although primarily identified as the soundtrack composer of the movies directed by Roman PolanskiFind albums by this artist, Polish pianist / composer Krzysztof KomedaFind albums by this artist cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country´s intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. Komeda´s soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. All the albums with Komeda´s soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda´s tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtrack of the movie "Prawo I Piesc (The Law And The Fist)" by directors Jerzy HoffmanFind albums by this artist / Edward SkorzewskiFind albums by this artist, two soundtracks to animated movies "Sztandar (Standard)" / "Rondo (Roundabout)" by director Miroslaw KijowiczFind albums by this artist and the soundtrack to the movie "Pingwin (The Penguin)" by director Jerzy Stefan StawinskiFind albums by this artist. Brilliant stuff!

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KRZYSZTOF KOMEDA ~ PRZERWANY LOT – SOUNDTRACKS FROM LEONARD BUCZKOWSKI MOVIES POWER BROS 00205 (Barcode: 5906295856450) ~ POLAND ~ Jazz Recorded: 1963 - 1964 Released: 2009 Although primarily identified as the soundtrack composer of the movies directed by Roman PolanskiFind albums by this artist, Polish pianist / composer Krzysztof KomedaFind albums by this artist cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country´s intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. Komeda´s soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. All the albums with Komeda´s soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda´s tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtracks of two movies "Smarkula (Chit Of A Girl)" and "Przerwany Lot (The Broken Flight)" by director Leonard BuczkowskiFind albums by this artist. Brilliant stuff!

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KRZYSZTOF KOMEDA ~ ROMAN TWO POWER BROS 00169 ~ POLAND ~ Jazz Live recordings from 1965 at the Montmartre club in Copenhagen. Krzysztof KomedaFind albums by this artist´s quintet with Michal UrbaniakFind albums by this artist and Tomasz StankoFind albums by this artist perform an extended version (over 25 minutes long) of one of Komeda´s most famous compositions "Crazy Girl". The composer and his musiciand were at the peak of their power at these concerts. Enhanced CD with CD-ROM contents!

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KRZYSZTOF KOMEDA ~ ROSEMARY`S BABY - SOUNDTRACKS FROM ROMAN POLANSKI MOVIES POWER BROS 00183 ~ POLAND ~ Jazz At last available two of Krzysztof KomedaFind albums by this artist´s most famous film scores he composed for the Polish director Roman PolanskiFind albums by this artist: "Rosemary´s Baby" and "Fearless Vampire Killers". Polanski just moved to Hollywood to direct those films and obviously he asked Komeda to write the music for his films, as he did when he was making films in Poland. Komeda went to Hollywood to score both movies and it is there he had the tragic car accident that severed his life and illustrious career. Enhanced CD with CD-ROM contents!

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KRZYSZTOF KOMEDA ~ SOPHIA`S TUNE POWER BROS 00167 (Barcode: 4011550716729) ~ POLAND ~ Jazz Recorded: 1965 Released: 1998 This album presents a live recording by a quintet led by Polish pianist / composer Krzysztof KomedaFind albums by this artist, the legendary Godfather of Polish Jazz, recorded live at the Copenhagen Montmartre Jazz club. At that time Montmartre was one of the most important European Jazz venues and had the privilege of hosting the crème de la crème of worldwide Jazz performers, which testifies as to Komeda´s reputation in Scandinavia. The quintet also includes trumpeter Tomasz StankoFind albums by this artist, saxophonist Michal UrbaniakFind albums by this artist, Danish bassist Bo StiefFind albums by this artist and drummer Simon KopelFind albums by this artist. They perform three original Komeda compositions, one of which ("Svantetic") gets an expanded treatment of over 20 minutes. The same composition was recorded later the same year as part of the legendary "AstigmaticFind albums with this title" album. The remaining two compositions are: "Repetition", which was recorded a couple of years later on the also legendary "Meine Susse Europaische Heimat" album of Jazz and Polish poetry (produced by Joachim BerendtFind albums by this artist) and "Sophia´s Tune" dedicated to Komeda´s wife Zofia. The performances are absolutely stunning as this is European Jazz at its absolute peak, eons ahead of its time and light-years ahead of anything else played at the time. Stanko´s trumpet, already at that time, prophesizes the fact that he will have no competitors, as we can witness now, almost 50 years later. Komeda´s music is so completely enthralling and engulfing that is remains completely untouched by time, resistant to fads and fashions and intrinsically timeless. This time capsule, which we are lucky to be able to listen to, is a Godsend. Absolutely essential! Enhanced CD with CD-ROM contents!

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KRZYSZTOF KOMEDA ~ WHAT`S UP MR. BASIE POWER BROS 00171 ~ POLAND ~ Jazz Recorded: 1963 Live recording of Krzysztof KomedaFind albums by this artist´s Quintet at the Warsaw Jazz Jamboree, with Michal UrbaniakFind albums by this artist and Tomasz StankoFind albums by this artist. The title track was composed for the Dannish film "What About Us" directed by Henning CarlsenFind albums by this artist. Also included is the composition "II", which is of course the Roman sign for the digit 2 and was called "Roman Two" as a joke. Enhanced CD with CD-ROM contents!

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KRZYSZTOF KOMEDA ~ WYROK – SOUNDTRACK FROM JERZY PASSENDORFER MOVIE POWER BROS 00197 (Barcode: 5906295856412) ~ POLAND ~ Jazz Recorded: 1962 Released: 2009 Although primarily identified as the soundtrack composer of the movies directed by Roman PolanskiFind albums by this artist, Polish pianist / composer Krzysztof KomedaFind albums by this artist cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country´s intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. Komeda´s soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. All the albums with Komeda´s soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda´s tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtrack of the movie "Wyrok (The Sentence)" by the director Jerzy PassendorferFind albums by this artist. Brilliant stuff!

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KRZYSZTOF KOMEDA ~ LIVE IN BLED 1965 GAD 279 (Barcode: 5903068125096) ~ POLAND ~ Jazz Recorded: 1965 Released: 2023 The archival material presented on this album is a highly important document of the Eastern European Jazz scene, which thrived behind the Iron Curtain in the 1960s. It sheds light not only on the pioneering work of pianist / composer / bandleader Krzysztof KomedaFind albums by this artist, the Godfather of Polish Jazz, but also on the entire Jazz scene that managed to exist against all odds under the Socialist Regime, including the presence of Jazz clubs, festivals, concerts and even recordings released by the State owned record labels. The music, which is all previously unreleased, was recorded in June 1965 at the 6th edition of the International Jazz Festival in former Yugoslavia, one of the Eastern Bloc countries that boasted a booming music scene and was considered as the most liberal and Western oriented country behind the Iron Curtain. The festival, which was inaugurated in 1960, was held at the picturesque Slovenian town of Bled, and was one of the biggest such festivals, hosting both local and international Jazz musicians. Polish Jazz musicians were a permanent feature of the festival, including the Polish quartet led by pianist Andrzej KurylewiczFind albums by this artist with singer Wanda WarskaFind albums by this artist in 1962, the quintet / trio led by pianist Andrzej TrzaskowskiFind albums by this artist in 1963 and the Polish Jazz QuartetFind albums by this artist in 1964, before the concert by Komeda and his quintet in 1965. The lineup of the quintet included, alongside Komeda, trumpeter Tomasz StankoFind albums by this artist, saxophonist Janusz MuniakFind albums by this artist, bassist Roman DylagFind albums by this artist and drummer Andrzej DabrowskiFind albums by this artist and the performance consists of just two extended pieces: “Kattorna” (17:20) and “Svantetic” (21:32), both composed by Komeda and both appearing on his Polish debut album “AstigmaticFind albums with this title”, recorded some six months later and released as part of the legendary “Polish Jazz” series, an album which is often considered as the most iconic Polish Jazz recording of all time. For every Komeda follower, the comparison between this recording and the “Astigmatic” album is absolutely called for and unavoidable. The obvious differences are as follows: the three different musicians present on the studio recording: saxophonist Zbigniew NamyslowskiFind albums by this artist, bassist Gunter LentzFind albums by this artist and drummer Rune CarlssonFind albums by this artist, the much shorter versions of the compositions (7:20 and 15:50 respectively) and last but not least the spontaneity and sense of Freedom prevailing on this recording, as opposed to the tension and rigidity present on the studio recording. This, combined with the much better sound quality this recording offers, results simply in a much more striking version of “Astigmatic”, which of course is a sensational discovery, considering the fact that this music was hidden in the vaults for almost sixty years. The individual performances by the musicians are also quite different. Stanko is way fierier, Komeda soloes more extensively, and the Polish rhythm section of Dylag / Dabrowski is absolutely more inventive and interesting than the German / Swedish one, in short, again, this recording is simply a superior version of “Astigmatic”. Listeners less familiar with Komeda and his musical world, will find here a musician / composer fascinated with the revolutionary Jazz developments, which happened across the Atlantic, mostly those involving the prophetic work of John ColtraneFind albums by this artist. Komeda, perhaps like no other East European Jazz musician, managed to amalgamate the African spirituality, which obsessed Coltrane in the last feverish period of his life, with the European spirituality of lyricism and romanticism, creating a new form of expression, which although existed for a relatively brief period of time, managed to upturn and revolutionize Polish Jazz forever and overflow the borders of his country across the whole of Europe. Every new piece of recorded material by Komeda, which reveals a previously unknown window into his creativity and Art, is a true Holy Grail of European Jazz. But when it is as significant as the music presented here, it becomes an instant classic and a true treasure of Jazz history, important not only to Polish Jazz but to the entire Jazz universe, being a guiding light, which no true Jazz enthusiast can afford to miss. Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 21/02/2024Posted: 21/02/2024

CD 1 Remastered Recommend To A Friend

WOJCIECH KONIKIEWICZ ~ PORTRAITS OF R. NOT ON LABEL (Barcode: 5902904120011) ~ POLAND ~ Jazz Recorded: 2000 Released: 2001 This is a beautiful and sadly completely obscure solo piano album by Polish Jazz pianist / composer Wojciech KonikiewiczFind albums by this artist. It comprises of thirteen impressions composed by Konikiewicz as musical "illustrations" to an exhibition of thirteen paintings and sculptures portraying the great Polish film director Roman PolanskiFind albums by this artist, which was held in the Adi Art gallery in Lodz. The music created by Konikiewicz to accompany the exhibition turned it into a multi-media happening. The figure of Polanski is of course synonymous with Polish Jazz, since his films always featured soundtracks performed by Polish Jazz musicians and composed usually by the Godfather of Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist. Therefore the presence of this music as part of the artistic homage to Polanski makes perfect sense. The music is very lyrical and contemplative, flowing gently from one impression to another, somewhat in contrast to the tempestuous character of Polanski himself. Perhaps Konikiewicz is able to see the gentle side of the great director or responds to the artwork at the exhibition, but whatever the reason the music is definitely non aggressive. Based on rather veiled melodic themes, these impressions are more about letting the musical flow embrace the listener and carry him along on a subconscious voyage of emotional happening. Calling these pieces impressions is much more accurate than calling them improvisations, as they are a result of a continuous process of subconscious flow of creation, unbounded by the need to improvise on a actual given themes or chord changes. This is very personal music and as such requires openhearted and attentive listening and a kind of mental submission to let the music enter into the listener´s soul. Once such a process takes place, the aesthetic experience is fully realized. I can only recommend to people to try and find a copy of this album, which surely won´t be easy, in order to listen to enjoy this music and to discover yet another side of Konikiewicz, who obviously is a multifaceted Artist.

CD 1 Recommend To A Friend

LUKASZ KORYBALSKI ~ CMM ALLEGRO 034 (Barcode: 5901157049346) ~ POLAND ~ Jazz Recorded: 2015 Released: 2017 This is the debut album as a leader by Polish Jazz trumpeter / composer Lukasz KorybalskiFind albums by this artist, known primarily for his work as composer of cinematic music. This album presents the music Korybalski wrote for the film "Cale Mnostwo Milosci" (hence CMM), performed by a quintet which features the leader on trumpet and also includes saxophonist Borys JanczarskiFind albums by this artist, pianist Michal TokajFind albums by this artist, bassist Andrzej SwiesFind albums by this artist and drummer Lukasz ZytaFind albums by this artist; a most formidable team. Saxophone icon Zbigniew NamyslowskiFind albums by this artist and percussionist Bogusz WekkaFind albums by this artist guest on one tune each. The album presents six original compositions, all by Korybalski. The music is absolutely stunning from start to finish, typical melancholic Polish Jazz very closely reminiscent of early cinematic music by Krzysztof KomedaFind albums by this artist, with the same melodic hooks one just can´t stop humming after the music is over. The similarity is so close, that if I didn´t know what album is playing, I´d suspect that a newly discovered Komeda album is on. This is not only reflected by the music, the melodic approach and the harmonic progressions, but also by the way the quintet performs the music, which has a tinge of wonderful "out fashioned" nostalgia to it. Even the one relatively "free" composition on the album is spiritually almost identical to Komeda´s famous composition "Astigmatic". The instrumental performances are all top notch. Korybalski displays some Miles Davis modal influences, all being in the most elegant form, Janczarski has a warm and smooth tone and Tokaj, one of Poland´s best pianists, sadly relatively rarely heard on albums, is a dream. The superb rhythm section cements the lineup with amicable support for the soloists and wonderful drive. Albums like this one are a persuasive proof that contemporary melodic mainstream can be intelligent, creative, fascinating and aesthetically fulfilling. It simply has something that sets it apart from thousands of other mainstream albums, firmly standing in a class of its own. It also shows why European Jazz left the American Jazz in a fifty years slumber. Overall this is one of the best Polish Jazz albums that I have had the pleasure to listen to in many years. It is perfect in every way, it bridges the tradition with contemporary ideas, it pays tribute to its cultural background and sources; in short it is it! Absolutely not to be missed!

Updated: 09/04/2017Posted: 09/04/2017

CD 1 Digipak Recommend To A Friend

JOACHIM KUHN NEW TRIO ~ BEAUTY & TRUTH ACT 9816 (Barcode: 614427981622) ~ GERMANY ~ Jazz Recorded: 2015 Released: 2016 This is the debut album by German pianist / composer Joachim KuhnFind albums by this artist and his new trio with Canadian (resident in Paris) bassist Chris JenningsFind albums by this artist (born 1978) and German drummer Eric SchaeferFind albums by this artist (born 1976), which continues the classic Jazz trio setting Kuhn shared for over three decades with French bassist Jean-Francois Jenny-ClarkFind albums by this artist and drummer Daniel HumairFind albums by this artist. The album presents twelve relatively short pieces, four of which are original compositions by Kuhn, five are Jazz standards (two by Polish Jazz composer Krzysztof KomedaFind albums by this artist, see below), two are Rock standards (by The DoorsFind albums by this artist) and one is a contemporary Pop song (by Stand High PatrolFind albums by this artist). The trio featuring musicians separated from the leader (born 1944) by a whole generation and more results in a much invigorated approach to the idiom, which seems to present to him no great challenge at all. During his entire career Kuhn had no problem with cross-style / country / age differences, being one of the most diverse and adaptive European musician of all times. For Jazz piano trio lovers this album is, as expected, an absolute must, since Kuhn´s playing remains one of the most illustrious examples of this High Art, and supported respectfully and amicably by excellent younger, but already highly experienced players, Kuhn is ably to stretch his wings and soar to celestial spheres. As to the "Polish angle", the fact that Kuhn decided to include two compositions by Komeda is not accidental. While still living in East Germany and before moving to West Germany, Kuhn spent several months in 1964 living in Prague and in 1965 living in Warsaw, where he met the top Polish Jazz musicians active at the time. He was present as the studio session that produced Komeda´s iconic "AstigmaticFind albums with this title" album and met Zbigniew NamyslowskiFind albums by this artist, which resulted in the recording of the legendary "Live At Kosmos, BerlinFind albums with this title" album. Kuhn took part in Warsaw´s Jazz Jamboree Festivals in 1964 and 1965. Overall this is a classic Jazz piano trio album, and another superb addition to the wonderful recording legacy of the Great European Jazz Master. Highly recommended!

Updated: 18/07/2020Posted: 18/07/2020

CD 1 Digipak Recommend To A Friend

JOACHIM KUHN NEW TRIO / ATOM STRING QUARTET ~ KOMEDA ACT 9972 (Barcode: 614427997227) ~ GERMANY ~ Jazz-Classical Fusion Recorded: 2022 Released: 2023 This is an album by German Jazz pianist / composer Joachim KuhnFind albums by this artist and his (not so) New Trio with Canadian bassist Chris JenningsFind albums by this artist and drummer Eric SchaeferFind albums by this artist and the Polish Atom String QuartetFind albums by this artist, which comprises of violinists Dawid LubowiczFind albums by this artist and Mateusz SmoczynskiFind albums by this artist, violist Michal ZaborskiFind albums by this artist and violinist Krzysztof LenczowskiFind albums by this artist. As the title suggests, the album is dedicated to the music of the Godfather of Polish modern Jazz, pianist / composer Krzysztof KomedaFind albums by this artist. The album was recorded live at the Berlin Philharmonic, and presents nine tracks, eight of which are Komeda’s compositions and one is a composition by Joachim Kuhn, dedicated to the memory of his older brother (and my Dear Friend) clarinetist / composer Rolf KuhnFind albums by this artist, who sadly departed almost exactly a year ago. The seeds of this album were planted almost sixty years ago: in December of 1965, the twenty-one years old Joachim Kuhn was invited to take part in the most important East European Jazz festival at the time, the annual Jazz Jamboree in Warsaw, where he performed with his trio. Kuhn, who still lived in East Germany (DDR or GDR) at the time, was considered a prodigy and a rebellious pioneer, playing Free Jazz / Improvised Music, which for some strange combination of political circumstances, was allowed at the epicenter of Eastern Block’s stern Cultural censorship and oppression, similar in many ways to what happened at the time in the neighboring Socialist States, as far as Jazz Music was concerned. In Warsaw, Kuhn met many Polish Jazz musicians, most importantly Krzysztof Komeda, who also performed at the festival with his quintet. Komeda invited Kuhn to attend the recording session for his epic debut album “AstigmaticFind albums with this title”, which was held a couple of days after the quintet’s appearance and recorded at the same Philharmonic Hall. As a result, Kuhn was among the first people to hear the album and even to discuss the music with Komeda shortly after it was recorded. Less than a year later Kuhn would join his older brother in West Germany and later move to Paris and Komeda would leave for Hollywood, where his cinematic career promised to explode, only to be dead, following a tragic accident, by April 1969. Their musical paths never crossed again but, as said earlier, the seeds of this album were planted. The link to the Atom String Quartet, Poland’s most versatile, inventive, prestigious and unique string quartet, is also obvious, following the duo album recorded by Joachim Kuhn and Mateusz Smoczynski in 2019, called “Speaking SoundFind albums with this title”, which evidently planted another seed. I have repeatedly criticized the almost brutal, often opportunistic misuse of Komeda’s music and memory by numerous musicians over the years, which not only did not pay tribute to Komeda’s Genius and revolutionary contribution to European Jazz, but in some cases tarnished it completely. Therefore, it gives me deep pleasure to say that this album beautifully fills all the requirements to serve as an appropriate tribute to Komeda and his legacy. The carefully selected material depicts both the revolutionary aspects of Komeda’s Avant-Garde approach to Jazz, but also reflects his wonderful lyricism and deep Polish melancholy, which are the base of most of Komeda’s cinematic music. The album offers the entire content of “Astigmatic” (three compositions) and the "Roman II" piece as examples, which reflect the former as well as the beautiful ballads from the soundtracks of Roman PolanskiFind albums by this artist’s movies like “Rosemary’s Baby” or “Knife in the Water”, which reflect the latter. The idea of using a string quartet as part of the arrangements of Komeda’s music seemed extremely risky at first, especially being exposed in the past to some horrific attempts in that direction, but upon hearing the result my instinctive reservations melted without a trace. Obviously adding individual string instrument soloing is much more straightforward, but Kuhn’s arrangements skillfully utilize the entire quartet to enhance the dramatic effects of the music. Nevertheless, it takes the extraordinary skills of all four “Atoms” to achieve such a level of fusion, like what can be witnessed herein, which emphasizes their unique capabilities. It seems that Kuhn manages to sound more like Komeda would have liked to sound himself. Komeda’s virtues as a composer and visionary overshadow his role as a piano player and he lacked perhaps the virtuosity and spark as a pianist, which Kuhn certainly has plenty of. As a result, Komeda’s music on this album sounds in many respects more invigorated than ever before, perhaps even elevated to another level by sheer concentration of musical talent and sincerity, which dominates this album. Since I have had the pleasure of hearing every album Kuhn ever recorded, I must say that this album is not only one of his best ever, but also one of his most wholehearted ones. It certainly is a kind of a life circle closure for Kuhn, although I do wish him many more years of successful career and happy life. Overall, this is a monumental recording for the true Jazz enthusiasts and lovers of the genre. Polish Jazz fans will find here an exquisite reminder of their beloved and legendary pioneer, German Jazz fans will discover a little known chapter in Kuhn’s life, which left a significant mark on his future career, European Jazz lovers will find here everything European Jazz stands for: versatility, innovation, pursuit of excellence and aesthetics and true love of all forms of music, and finally for all Jazz lovers, a beacon of true talent, which is eternal and omnipresent. This is an absolutely essential piece of music in every serious music collection!

Updated: 04/08/2023Posted: 04/08/2023

CD 1 Digipak Recommend To A Friend

ROLF KUHN ~ SOLARIUS EDEL CONTENT 4029759080473 (Barcode: 4029759080473) ~ GERMANY ~ Jazz Recorded: 1964 Released: 2012 This is a reissue (first time on CD) of the seminal album by legendary German clarinetist / composer Rolf KuhnFind albums by this artist (born 1929), recorded with a quintet, which also included his younger brother pianist / composer Joachim KuhnFind albums by this artist (born 1944) and bassist Klaus KochFind albums by this artist and two Polish Jazz legends: saxophonist Michal UrbaniakFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist. The album presents six pieces: three original compositions by Rolf Kuhn, two original compositions by Joachim Kuhn and one arrangement of a folk tune. Over the years this album achieved a legendary status and became a highly sought after collector´s item, because of its political implications, as well as being one of the earliest East European Jazz recordings and an important cornerstone of European Jazz in general. The album was recorded three years after the Berlin Wall, which divided the city until 1989, was constructed and served during that period not only as a symbol of division of Germany into two separate States living in a constant state of political tension, but in fact also as a symbol of the imaginary Iron Curtain, which divided the European Continent into two opposing political camps, engaged in the Cold War, which periodically threatened to become "hot". Rolf Kuhn left East Germany (or DDR as it was called at the time) in 1950, shortly after Germany was split into two separate states, and moved to West Germany. For several years he lived and performed in the USA, establishing his position as one of the top clarinet players in the world. Upon his return to West Germany he continued his prolific career. Meanwhile his younger brother Joachim Kuhn lived in DDR and led his own trio, which was a pioneering Free Jazz outfit at the time. The fact that the meeting of the Kuhn brothers captured on this album happened is one of those "against all odds" situations that often happened in East Europe. This was by all means a meeting of the Giants of East European modern Jazz, with Urbaniak arriving from the legendary Krzysztof KomedaFind albums by this artist quintet, Bartkowski from the no less legendary Zbigniew NamyslowskiFind albums by this artist quartet, Koch who played in the Joachim Kuhn trio and finally the two brothers, who despite the age difference are true musical twins. Together the quintet plays some of the best modern European Jazz ever captured on record, with great melodies expanded into lengthy solos played perfectly by all the musicians involved. Listeners familiar with the Polish Jazz scene will find this music quite similar to the Komeda and Namyslowski albums receded around that time, which present the same formula and even sound very similar to this album. Rolf Kuhn plays some of the best Jazz clarinet ever and no true Jazz connoisseur can honestly afford not to have this album in his collection. The rapport and incredible telepathic communication between these musicians, as well as the incredibly tight musical environment that pushed the players to their limits resulted in one of the all time best Jazz albums recorded in East Europe, which lost absolutely nothing of its beauty and incredible power in the five decades that passed since. They don´t make music like that any more, which means this is an absolute must and an essential piece of music history! Side Note: As all the East European countries under the Socialist regime, East Germany, or DDR as it was known at the time, had only one state owned and controlled Music Company, which released most of its productions on the AmigaFind albums on this label label. Among the many Amiga releases the legendary "orange J" series was dedicated to Jazz recordings, many of which were licenses from the West, but others were original productions, mostly of Jazz made in DDR. Some of these releases, like the one described above, were absolute gems. Following the unification of Germany, the Amiga albums disappeared from the face of the earth and only in 2012 a German label reissued 15 Amiga Jazz albums on CD. They are all worth checking out!

Updated: 11/05/2016Posted: 22/03/2016

CD 1 Essential Recommend To A Friend

LESZEK KULAKOWSKI ~ CODE NUMBERS MUSIC VOX ~ POLAND ~ Jazz Recorded: 2009 Released: 2010 This is a wonderful piano trio album by Polish Jazz pianist / composer Leszek KulakowskiFind albums by this artist with bassist Piotr KulakowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist (of RGGFind albums by this artist fame). The album presents thirteen original compositions, all by Kulakowski, some quite short, like outlines if a musical idea which is repeated four times, others lengthy and expanded with elaborate improvisations. The album was recorded at the Studio Tokarnia and was engineered and mastered by Jan SmoczynskiFind albums by this artist, as usual with spectacular sonic results. Kulakowski is a musician of many diverse preferences, moving between the pure Jazz idiom and Jazz-Classical Fusion, feeling comfortably in both situations. Although this album presents him in seemingly "pure" Jazziness, both his playing and his compositions always incorporate a certain element of contemporary Classical music, even if not stated openly. He is a master of melody, but also of atmosphere and suspense, which keeps the listener in a state of anticipation. Personally I find this ability quite remarkable as it emerges in Kulakowski´s work with such intensity for the first time since the works of Krzysztof KomedaFind albums by this artist, the Godfather of Polish Jazz, were created in the late 1960s. The music also champions the typical Polish lyricism and intrinsic melancholy, which although omnipresent in Polish Jazz, are rarely revealed with such exquisiteness and compassion, as in the music presented here. The performances are all quite brilliant, with the piano often performing without accompaniment, and when the whole trio is present, the rhythm section often takes a deliberate step back, respectfully keeping the piano in the spotlight. Of course when the rhythm section does step in full swing, the musicians sound like one coherent unit. Gradziuk displays his usual virtuosic, yet reserved ability to keep time in a most inspired way and even is his solo tries not to outshine his colleagues. The bassist also performs wonderfully, providing those magnificent riffs that keep the anticipation in the air. The whole thing is simply brilliant. This music should be heard by every piano trio connoisseur on this planet, as it is definitely has to offer many novel ideas and deeply moving music, which deserves to be discovered and shared. Not to be missed!

CD 1 Digipak Recommend To A Friend

LESZEK KULAKOWSKI ~ KOMEDA VARIATIONS FOR TUNE 0148 (Barcode: 5906395808632) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2019 Released: 2020 This is an album by veteran Polish pianist / composer / arranger / bandleader Leszek KulakowskiFind albums by this artist. It presents a live concert recording of Kulakowski´s arrangements of film music by the Godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist, for a Symphony Orchestra. These arrangements were originally written by Kulakowski in 2001 and performed the same year by the Lodz PhilharmonicFind albums by this artist with the participation of the brilliant Polish Jazz trumpeter Tomasz StankoFind albums by this artist as a soloist. Almost twenty years later the concert was repeated and recorded, this time with slightly changed arrangements featuring a Jazz quartet with Kulakowski on piano, bassist Adam KowalewskiFind albums by this artist and drummer Tomasz SowinskiFind albums by this artist, and the sadly departed Stanko replaced by three trumpeters: Piotr WojtasikFind albums by this artist, Tomasz DabrowskiFind albums by this artist and German Christoph TitzFind albums by this artist, playing with the Sinfonia BalticaFind albums by this artist Philharmonic Orchestra, directed by Radoslaw DronFind albums by this artist. The genius film music by Komeda is of course a wonderful subject matter, and in Kulakowski´s hands (or rather mind) it metamorphoses into its Classical form gracefully and "willingly", proving the greatness of both the composer and the arranger. The transformation sounds absolutely naturally and manages to bring to light many aspects of the original compositions, which often remain hidden in their Jazz interpretations. Although the arrangements may appear bold and "invasive" in some ways, they are absolutely justified and artistically coherent. The performances are also absolutely brilliant from start to finish. The balance between the orchestra and the quartet is perfect all along the way and the focus on the trumpet soli is holding the internal tension and creates a superb continuity, which keeps the listener mesmerized. Having three trumpeters, each with his idiosyncratic approach, adds another layer of diversity to the entire project. Kulakowski spices the proceedings with his superb piano solos, full of delicate touches and melancholic twists. It is a well known fact that Komeda´s music has been abused and mistreated many times by Polish Jazz musicians, thinking that by playing his music they would be automatically immune from criticism. It gives me a great joy to see (and hear) Komeda treated with respect and love, and mastery and imagination, which he truly deserves, like in this case. Overall this album is an instant classic, a must have by Polish Jazz fans and Komeda admirers all over the world and a sublime example of Polish / European Jazz ingenuity, which does hesitate to reach boldly beyond the obvious. Well done my Friend!

Updated: 22/12/2020Posted: 22/12/2020

CD 1 Recommend To A Friend

LESZEK KULAKOWSKI ~ SLAP & CARESS MUSIC VOX 001 ~ POLAND ~ Jazz Recorded: 2005 Released: 2005 This is an excellent quartet recording by the Polish pianist / composer / educator Leszek KulakowskiFind albums by this artist with the superb veteran vibraphonist Dominik BukowskiFind albums by this artist, bassist Piotr KulakowskiFind albums by this artist and drummer Jacek PelcFind albums by this artist. The album includes nine original compositions, all by Leszek Kulakowski. Kulakowski is recognized as one of the most respected Polish Jazz musicians, with many achievements as a leader of his own ensembles, composer of Jazz and Jazz-Classical Fusion pieces and distinguished Jazz educator since many years. This album presents just one of his diverse activities in the field, i.e. small ensemble Jazz. The piano / vibraphone quartet, a sadly neglected lineup, opens up many possibilities of expression, which would be otherwise unattainable and Kulakowski makes the best out of this opportunity. The keyboards / vibraphone dialogue is the focal point of this music, which allows the melodic themes to be separately developed by both players simultaneously. The excellent rhythm section supports the soloists sympathetically and elegantly, maintaining the delicate balance between the foreground and the background. Overall the performances are first-rate and the level of professionalism is amazing, as expected. But of course the real forte of this album is the superb level of the compositions, which are all simply stunning. Kulakowski manages to construct his own language, which encompasses elements of Jazz and contemporary Classical idioms, even if those are somewhat hidden beneath the surface. These are hardly the average ditties, which often appear on Jazz albums only to disappear into obscurity soon after. They all have a character and maintain a level of intellectual curiosity, which deserves all praise. Kulakowski is often associated with the Polish Jazz legend Krzysztof KomedaFind albums by this artist in many contexts. Although his compositions are not directly derived from Komeda´s legacy, they show the same conciseness and ability to condense a deeply emotional musical message into a seemingly simply melodic theme. And of course Komeda also had a vibraphonist in his early groups – the legendary Jerzy MilianFind albums by this artist. Capish? So here we have a beautiful mainstream Jazz album, which is full of great music, excellent performances and sophisticated, delicate scents of European Jazz at its best. Who can ask for anything else in these circumstances? Oh well, a bottle of good wine would be nice…

CD 1 Slipcase Recommend To A Friend

ANDRZEJ KURYLEWICZ ~ TRIO POLSKIE RADIO 0226-0227 (Barcode: 5901448112261) ~ POLAND ~ Jazz Recorded: 2000 Released: 2007 The legendary Polish Jazz pianist / composer Andrzej KurylewiczFind albums by this artist is one of the godfathers of the great Polish Jazz movement, starting from the 1950s. Sadly his role is often almost forgotten and certainly much less appreciated that that of his counterpart pianist / composer Krzysztof KomedaFind albums by this artist, who managed to achieve some international exposure and prominence. Kurylewicz is a formidable force and his skills as pianist / composer / arranger / conductor are truly admirable. He also composed music for cinema, theatre and TV as well and contemporary Classical music. Unfortunately his recorded legacy of Jazz performances is rather limited and therefore the outmost importance of this superb album, which documents his return to Jazz piano after several years of absence, with his brilliant trio with bassist Pawel PantaFind albums by this artist and drummer Cezary KonradFind albums by this artist. These absolutely stunning recordings present the trio playing a set of original compositions and standards, played with finesse and taste completely unmatched. Of course the age and experience of the veteran musician have a lot to do with this (he was almost 70 by the time of this recording) but the talent and above all his incredible feel for Jazz, melody and improvisation, which are simply beyond what most other musicians have to offer. In his own compositions Kurylewicz is deeply rooted in the Polish musical tradition, which incorporates folklore and Classical music. His interpretation is typically European; elegant, sophisticated, clever and moving and this music simply uplifts the listener to another plane. The album also includes several video clips taken during the recording sessions of this album, which are also a great pleasure to watch. In short this is a great example of Polish (and European) Jazz at its finest moments, which should be treasured by Jazz connoisseurs around the world. A must!

CD 1 Mini-Sleeve Recommend To A Friend

LEBOWSKI ~ CINEMATIC NOT ON LABEL (Barcode: 5703451019571) ~ POLAND ~ Progressive Rock Recorded: 2010 Released: 2010 Subtitled "Music To A Non-Existent Movie", this is an excellent debut album by Polish Prog group LebowskiFind albums by this artist, which consists of guitarist / composer Marcin GrzegorczykFind albums by this artist, keyboardist / composer Marcin LuczajFind albums by this artist, bassist Marek ZakFind albums by this artist and drummer Krzysztof PakulaFind albums by this artist. Vocalist / violinist Katarzyna DziubakFind albums by this artist guests on two tracks. As the group´s name ("The Big Lebowski" – Joel Coen´s 1998 brilliant movie – a non-confirmed guess?) and the album´s title / subtitle suggest, the band is deeply involved with cinematography and indeed the album´s Prog / Ambient vistas should be ideal as soundtracks, but they do hold their ground as a great stand-alone instrumental album. The music is beautifully melodic and rich, with layers upon layers of instrumental sound placed one of top of another, creating a full-body sound. The usage of various keyboards is tasteful and manages to avoid "overdoing", which usually plagues most keyboard-oriented albums. The guitar plays most of the leads, changing its sound from delicately acoustic to heavy-metal, but never being obtrusive. Bass and drums keep the massive sound together beautifully, gluing everything to perfection. The musical themes are diverse and present a wide spectrum of harmonic approaches and rhythmic subtleties, keeping the listener on his toes for the entire duration of the album. The various tracks are "spiced" with dialog samples from Polish and International movies, paying a loving homage to the "industry of dreams". As to the "Polish angle", although not mentioned anywhere on the album´s liner notes, I could sense the spirit the great Krzysztof KomedaFind albums by this artist hovering all over the music, especially a slight déjà-vu of his divine "Rosemary´s Baby" soundtrack. In spite of the fact that they are separated by time and circumstance, somehow my mind made a connection there. But sentiments aside, this is an absolutely formidable album, which should delight every serious music lover, even those who usually don´t listen to Prog, as this music crosses-over any genre limits. Satisfaction guaranteed!

CD 1 Digipak Recommend To A Friend

LENA LEDOFF ~ KOMEDA CHOPIN KOMEDA MTJ 10956 (Barcode: 5906409109564) ~ POLAND ~ Jazz Recorded: 2011 Released: 2011 This is a stunning album by pianist Lena LedoffFind albums by this artist, who was born in Russia and lives in Poland since the mid 1990s. She combines the music by two Polish iconic composers, Frederic ChopinFind albums by this artist and Krzysztof KomedaFind albums by this artist, creating an amalgam by playing their compositions intertwined into unique medleys on solo piano. Born 121 years apart (Chopin 1810, Komeda 1931), the former a virtuoso pianist and composer of Classical music and the latter a virtuoso pianist and composer of Jazz music, these two geniuses might have nothing in common to a naked eye. And yet they share so much, even the fact that both of them died tragically at a ridiculous young age before they reached 40. But of course what unites them is their passion for music and their common roots in the heritage of Polish music, its melancholy, lyricism and intrinsic sadness. Chopin´s music has been performed by many Polish Jazz musicians since many years. One might even say that it has been abused to a certain extent, as some of these Jazz interpretations were completely senseless and in the worst cases simply ridiculous. Ledoff´s idea to combine the music of these two composers rather than transform Chopin´s music into something Komeda might have written is exactly the right thing to. Her intellectual and artistic integrity remains intact, as her treatment of both composers is deeply respectful and her courage to look for the common ground between them is simply inspiring. For people, who are familiar with the music by both composers these mixed medleys are simply orgasmic. Ledoff keeps switching between the respective composition, playing a few phrases form Chopin and moving to Komeda´s enchanted melodies and so back and forth. The listener is unable to predict (at least initially) what her next move will be and therefore this emotional seesaw between expectations and familiarity is absolutely brilliant. This is definitely one of the most ambitious, ingenious and satisfying recordings of the last few years. Original, daring and brilliantly executed, the music is simply overwhelming from start to finish. Ledoff deserves out thanks for enabling us to discover with her the infinite connections between Chopin and Komeda. I, for one, am eternally grateful. This album is an absolute must for every connoisseur of Classical-Jazz Fusion, those who love Chopin and dare to hear him in a new setting and those who love Komeda and are intrigued to discover, where he comes from – in short all lovers of Polish music at its best. A wonderful gem, a Godsend!

CD 1 Digipak Essential Recommend To A Friend

LIGHT COORPORATION ~ 64:38 RADIO FULL LIV(F)E RER LC05 ~ POLAND ~ Jazz-Rock Fusion Recorded: 2013 Released: 2016 This is the fifth album by the excellent Polish ensemble Light CoorporationFind albums by this artist, led by guitarist Mariusz SobanskiFind albums by this artist. This lineup of the ensemble features also saxophonist Pawel RogozaFind albums by this artist, vibraphonist Mariusz GregorowiczFind albums by this artist, bassist Krzysztof WaskiewiczFind albums by this artist and drummer Milosz KrauzFind albums by this artist. The album was recorded live in the Polish Radio studio in Poznan, which is named Krzysztof KomedaFind albums by this artist Studio after the Godfather of Polish Jazz, who made his early recordings there. The ensemble performs seven original compositions, all composed by the leader. The music presents reworked versions of compositions that previously appeared on the ensemble´s first and third albums and completely improvised pieces credited to all five members of the ensemble. This album definitely marks a shift towards improvised music, taking the ensemble further away from their initial Progressive Rock and Fusion image. This constant chameleonic ability to change the musical approach has been one of the greatest assets of Light Coorporation since their inception. Although instrumentally limited only to five instruments, the ensemble creates wide and diverse sound structures. The addition of the vibraphone (Gregorowicz is the only new member of the ensemble who did not appear on any of the previous albums) changed the overall sound significantly, bringing it even closer to traditional Jazz sound. I have no idea if Sobanski was influenced by the presence of the vibraphonist Jerzy MilianFind albums by this artist as a member of the early Komeda combos, when he decided to add vibraphone to this new lineup, but whatever the reason was, it had a major influence on the overall result. As already stated above this album emphasizes Free improvisation, which constitutes a major part of the music. However, the music is still very coherent and based on composed parts, which enables the listener to follow up the developments without getting lost within the havoc that is often projected by Improvised Music projects. Some basic riffs and electric guitar parts go back to the Fusion idiom, but everything here is more hinted than explicitly stated, which of course makes life interesting for the listener. Overall this is another superb release by Light Coorporation, which is surely one of the most interesting, unconventional and sadly underrated ensembles active in Europe today. The album was released again on the prestigious British ReRFind albums on this label label, which consistently supports the band. I wholeheartedly recommend to open-minded listeners to investigate this album, as well as the previous releases by Light Coorporation, as they all are still completely valid and lost nothing of their original charm. Well done again!

Updated: 05/11/2016Posted: 05/11/2016

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LIPINY SYNDICATE ~ LIPINY SYNDICATE NOT ON LABEL ~ POLAND ~ Jazz-Rock Fusion Recorded: 2014 Released: 2015 This is the debut album by Silesian quartet called Lipiny SyndicateFind albums by this artist, led by guitarist / composer Tomasz BienekFind albums by this artist with violinist Tomasz MuchaFind albums by this artist, bassist Simon NowakowskiFind albums by this artist and drummer Ryszard RajcaFind albums by this artist. The album presents seven compositions, five of which are originals composed (in one case co-composed) by Bienek, one is a Krzysztof KomedaFind albums by this artist composition and one is an off-shot of a BeatlesFind albums by this artist tune. The music played by Lipiny Syndicate is a surprisingly original mixture of Fusion, Folklore and Psychedelia, which is distinctly original from anything else currently being played on the Polish scene. Additionally the sound of the quartet is also completely unusual, full of reverb and echo, electric and yet full of acoustic ambience. This is some of the most bizarre sound I have heard in a long time and I absolutely love it. It is somewhat similar to the early violin-based Jazz-Rock ensembles, like Flock, Hands, Curved Air, It`s A Beautiful Day and others, which brings warm waves of nostalgia and longing to the times when music was music. Bienek´s compositions are all solid, with good melody lines, serving as ideal vehicles for the extended treatment they receive by the quartet. Mucha performs most of the Jazzy improvised parts, always playing with flair as appropriate for a virtuoso performer, with Bienek playing complex guitar chords behind him. The rhythm section sticks mostly to Rock patterns, which fit the music ideally, with the bass filling the bottom part of the spectrum with a solid foundation and the drums leading the music forward at a steady pace. There are many mini-quotations hidden within the music, taken from Silesian Folklore, Hassidic Klezmer tunes, Reggae songs and a myriad of other sources, which are delightful and humorous, proving that this music is meant to be fun. Overall this is a most likeable album, which can be listened to repeatedly and allows the listener to discover its hidden gems time after time. It is so different from most other stuff played today that it deserves to be discovered and enjoyed. Satisfaction guaranteed!

CD 1 Digipak Recommend To A Friend

ROBERT MAJEWSKI ~ PLAYS KOMEDA GOWI 29 (Barcode: 786497164820) ~ POLAND ~ Jazz Recorded: 1995 Released: 1996 Polish Jazz musicians are well aware of the enormous contribution made to modern Jazz in their country by the Genius pianist / composer Krzysztof KomedaFind albums by this artist, the Godfather of modern Polish Jazz. Therefore they play tribute to the great man quite often, either by including his compositions or dedicating entire albums to Komeda´s music. This is one of such album, recorded by the great Polish Jazz trumpeter Robert MajewskiFind albums by this artist with his quintet, which comprises of saxophonist Henryk MiskiewiczFind albums by this artist, pianist Wojciech MajewskiFind albums by this artist, (the brilliant!) bassist Zbigniew WegehauptFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist (if you are wondering, than yes, two pairs of brothers). The quintet plays pretty straight-forward modern Jazz, not trying to take Komeda´s wonderful compositions far away from their original form, emphasizing the superb melodic quality of the music. These are all master musicians, something that is evident from start to finish, and they play their hearts out, which of course enhances the musical contents enormously. Wegehaupt, as usual, is simply stunning and his bass lines go straight to the listeners belly; he´s surely one of the best out there. Overall this is a great album, which every Jazz fan on this planet should enjoy greatly and with Komeda´s music present, things just can´t get much better. Wholeheartedly recommended!

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WOJCIECH MAJEWSKI ~ REMEMBRANCE FOR TUNE 0094 (Barcode: 5902768701449) ~ POLAND ~ Jazz Recorded: 2004 - 2013 Released: 2016 This is an archival album presenting a live recording by a quintet led by pianist / composer Wojciech MajewskiFind albums by this artist, which also included his brother trumpeter Robert MajewskiFind albums by this artist, saxophonist Tomasz SzukalskiFind albums by this artist, bassist Jacek NiedzielaFind albums by this artist and drummer Krzysztof DziedzicFind albums by this artist. The concert, which took place at a Polish Radio studio, was part of a promotion effort for the album "ZamyslenieFind albums with this title", recorded by the same quintet and released a few months earlier. For this release the album was enhanced by the inclusion of one original track from that album, which features the vocals of the incredible Grzegorz TurnauFind albums by this artist, a couple of solo piano pieces recorded by Wojciech Majewski a decade later and finally by a fragment of a historic radio broadcast, featuring the Polish Rock legend Czeslaw NiemenFind albums by this artist accompanied by Wojciech Majewski and Szukalski. The music was mostly composed by Wojciech Majewski, but includes also a composition by Niemen, a couple of compositions by the legendary Polish bard Marek GrechutaFind albums by this artist and one composition by the Godfather of modern Polish Jazz Krzysztof KomedaFind albums by this artist. The music is, as expected, top notch from start to finish, and presents the peak of the second generation of the Polish Jazz scene, both on the instrumental and compositional levels. All five players are absolute masters of their respective instruments, but obviously the performances by Szukalski are at the centre of attention, as he is sadly no longer with us and this album emphasizes the incredible loss Polish Jazz suffered with his premature death. As such, this album is a great tribute to his talents. Wojciech Majewski as a composer is in many respects the epitome of the mainstream Polish Jazz, encapsulating the lyricism, melancholy and exquisite melodies, which are its main characteristics. This album also shows how Polish Jazz, often within the Jazz & Poetry idiom, is interconnected with other aspects of the Polish Culture. The inclusion of works by Grechuta and Niemen are by no way incidental and emphasizes these intricate associations. Overall this is a highly important release, not only as far as the beautiful music it presents, but also as a wonderful historic document shedding light on the Polish Jazz scene in particular and Polish Culture in general. The For Tune label deserves to be especially praised for this release, which no doubt is a very significant addition to the label´s catalog. I hope more releases of such character will follow. This is an absolute must to all fans of Polish Jazz, but Jazz connoisseurs the world over should also enjoy this music immensely, as it knows absolutely no borders.

Updated: 19/07/2016Posted: 19/07/2016

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BERNARD MASELI SEPTET ~ GOOD VIBES OF MILIAN FOR TUNE 0151 (Barcode: 5906395808663) ~ POLAND ~ Jazz Recorded: 2017 Released: 2021 This is an album by veteran Polish Jazz vibraphonist / composer Bernard MaseliFind albums by this artist and his septet, which comprises of four vibraphonists (Maseli, Bartosz PieszkaFind albums by this artist, Dominik BukowskiFind albums by this artist and Karol SzymanowskiFind albums by this artist) and a rhythm section (pianist Boguslaw KaczmarFind albums by this artist, bassist Michal KapczukFind albums by this artist and drummer Marcin JahrFind albums by this artist), a classic “Summit” format, which I utilize since many years in my Singer Jazz Festival, and which was initially devised by my Friend and Mentor Joachim BerendtFind albums by this artist. The album is a tribute to one of the Godfathers of Polish Jazz, vibraphonist / composer / bandleader Jerzy MilianFind albums by this artist, a pillar of modern Polish Jazz and one of the greatest composers, especially of orchestral Jazz, on the European Jazz scene. It presents a live recording of a concert recorded a few years back, which offers seven tracks, six of which were compositions by Milian (one co-composed with Krzysztof KomedaFind albums by this artist, another iconic figure of Polish Jazz) and one composed by Pieszka. The sound quality and clarity is excellent. The artwork features Milian’s wonderful paintings, an Artform Milian embraced after retiring from active performing life, which are reproduces in full color, for the first time in the many years of For TuneFind albums on this label Records history ;) The lines notes by Krzysztof BalkiewiczFind albums by this artist are well written and informative. The music holds no surprises, perfectly executed by the professional team and beautifully weaved by the Master composer, with the expected focus on the vibraphone (and marimba) as the tool of delivery. The vibraphone is a very dominant instrument and the thought of four vibraphone playing simultaneously is pretty scary; fortunately, most of the time it is just one of the four vibraphones (or two of them) that plays at a given moment, which makes the music perfectly audible and balanced. Since the listener is not present at the performance, it would have been nice to have a list of who is soloing on which track, but credits aside, all the players do a perfect job, as does the excellent rhythm section, driving the music steadily and securely. Overall this is an important tribute to the composing Genius of Milian and a very pleasant listening experience. For vibraphone enthusiasts this is of course a true feast. Of course it is also a well-deserved tribute to Polish Jazz history. Well done Gentlemen!

Updated: 29/12/2023Posted: 17/07/2021

CD 1 Slipcase Recommend To A Friend

JERZY MILIAN ~ BAZAAR (POLISH JAZZ VOL.17) MUZA 1017 ~ POLAND ~ Jazz Recorded: 1969 Released: 2005 This is the debut album by veteran Polish Jazz vibraphonist / composer Jerzy MilianFind albums by this artist, one of the godfathers of modern Jazz in Poland. Milian started to play in the 1950s and was a member of the legendary sextet led by Krzysztof KomedaFind albums by this artist, who persuaded him to move from piano to vibraphone. In time Milian became one of the top vibraphone players in Europe as well as an excellent composer with highly personal style. His music was always quite sophisticated and unusual, quite ahead of its time. The early Komeda influence was replaced later on by his own original compositional direction, which flirted with Cool, Third Stream, contemporary Classical and World Music. This album presents eight of his original compositions (one co-composed with Komeda) performed by a trio, which includes bassist Jacek BednarekFind albums by this artist and drummer Grzegorz GierlowskiFind albums by this artist. Two members of the legendary Polish vocal group NOVIFind albums by this artist: vocalist Ewa WanatFind albums by this artist and flautist Janusz MychFind albums by this artist also participate. This is a splendid example of European Jazz, which was rapidly developing in Eastern Europe by late 1960s and which still sounds great regardless half a century later. Highly recommended!

CD 1 Digipak Remastered Recommend To A Friend

JERZY MILIAN ~ BAZAAR (POLISH JAZZ VOL.17) GAD 017 (Barcode: 5901549197204) ~ POLAND ~ Jazz Recorded: 1967 - 1969 Released: 2014 This is a newly remastered reissue of the debut album by Polish Jazz vibraphonist / composer Jerzy MilianFind albums by this artist, which was originally released in 1969 as part of the legendary Polish Jazz Series by the state owned Polskie NagraniaFind albums on this label / MuzaFind albums on this label label. The album was recorded in a trio format, with Milian playing vibraphone and marimba, bassist Jacek BednarekFind albums by this artist (who also plays the oriental gidjak on one tune) and drummer Grzegorz GierlowskiFind albums by this artist. Two members of the legendary Polish vocal quartet NOVIFind albums by this artist: Ewa WanatFind albums by this artist (who adds vocals on five tracks) and Janusz MychFind albums by this artist (who adds flute on one track) also participate in the recording. The original album presents eight original compositions, seven of which are composed by Milian and one is co-composed by him and Krzysztof KomedaFind albums by this artist. This expanded edition adds four tracks, recorded couple of years earlier for the Polish Radio, two of which are his original compositions, one is his arrangement of a Kurt WeilFind albums by this artist song and another is his arrangement of a Frederic ChopinFind albums by this artist nocturne. Milian, who started his career on the Polish Jazz scene about fifteen years before this album was recorded, first came into prominence as a member of several ensembles led by Krzysztof Komeda. It was Komeda who persuaded Milian to drop the piano as his main instrument and switch to the vibraphone, thus enabling him to become a member of his ensembles. Later on Milian developed a prolific international career as a vibraphonist and as a composer, being one of the best known Polish Jazz musicians outside of Poland. Many of his achievements are documented by the ongoing archival "Jerzy Milian Tapes" series released by GADFind albums on this label Records, which also released this reissue. In retrospect this is definitely one of the most idiosyncratic albums in the Polish Jazz Series, presenting one of the first occurrences of the Polish / European Chamber Jazz, which was an amalgam of modern Classical and Cool Jazz elements with many different less audible influences, like early World Music, Free Jazz, Ambient (before it was even called that) and others. The vocal parts by Wanat are completely spine-chilling, typical of her brilliant and unique style, which was the crucial ingredients of the NOVI magnetism. It is definitely a must to all Polish Jazz enthusiasts, wherever they might be on this globe (and beyond). This album was already reissued a decade earlier, without the bonus tracks, but the entire run of CD reissues (incomplete by the way) of the original Polish Jazz Series LPs disappeared immediately after being released. The fact that these recordings are unavailable is shameful, and a sad testimony to the fact that State owned Cultural treasures are simply being disgracefully completely wasted!

CD 1 Remastered Bonus Tracks Recommend To A Friend

JERZY MILIAN ~ MILIANALIA (POLISH JAZZ VOL.88 DELUXE) MUZA 1088 ~ POLAND ~ Jazz Recorded: 2003 Released: 2006 This is a beautiful solo album by the virtuoso Polish vibraphonist / composer Jerzy MilianFind albums by this artist, one of the godfathers of modern Jazz in Poland, which was recorded to celebrate his 70th Birthday. Milian started to play in the 1950s and was a member of the legendary sextet led by Krzysztof KomedaFind albums by this artist, who persuaded him to move from piano to vibraphone. In time Milian became one of the top vibraphone players in Europe as well as an excellent composer with highly personal style. His music was always quite sophisticated and unusual, quite ahead of its time. The early Komeda influence was replaced later on by his own original compositional direction, which flirted with Cool, Third Stream, contemporary Classical and World Music. This album presents eight of his original compositions performed solo on a variety of instruments including vibraphone, marimba and various percussion and string instruments. Not an easy listen, this music requires attentive listening and concentration, since the melodic motifs are quite elusive at times. But altogether this is a charming album, which I enjoy listening to very much. Highly recommended!

CD 1 Digipak Recommend To A Friend

LESZEK MOZDZER ~ IKAR: LEGENDA MIETKA KOSZA (SOUNDTRACK) OUTSIDE MUSIC 010 (Barcode: 5903111494216) ~ POLAND ~ Soundtracks Recorded: 2018 Released: 2019 This is the soundtrack of the Polish movie "Ikar: Legenda Mietka Kosza" created by Polish Jazz pianist / composer Leszek MozdzerFind albums by this artist. It is constructed of twenty eight short excerpts, most of which were composed by Mozdzer, but also including some Classical Music pieces, a theme by Krzysztof KomedaFind albums by this artist, couple of compositions by Mieczyslaw KoszFind albums by this artist, the protagonist of the movie and a couple of popular Polish Pop songs. The music is performed by Mozdzer and a few additional players as well as the Orkiestra Sinfonia VarsoviaFind albums by this artist. There are also several dialogue excerpts performed by the actors taking part in the movie. The movie tells the life story of Mieczyslaw Kosz, Polish Jazz pianist / composer who was perhaps the most enigmatic figure ever on the local scene. Blind at twelve and dead at twenty nine Kosz left a brilliant but extremely limited recorded legacy and his tragic death has been a source of speculation, with suspected suicide. I have not seen the movie yet, and therefore can´t say anything about the soundtrack´s compatibility with the actual visual contents, but being familiar with the story line and the book on which the movie is based, the music seems to belong to another universe entirely. Whereas tragedy, depression and deep sadness were the prime characteristics of life that Kosz experienced, the music sounds like a soundtrack to a romantic movie, with green pastures and herds of white sheep in the background. The most astounding aspect of this music is that is has absolutely nothing to do with Jazz (with just a few debatable exceptions), which was after all the center of the artistic achievement Kosz managed to accomplish and the musical environment he strived to develop. Why on earth a soundtrack of a movie about Kosz is not primarily based on his compositions and played by a Jazz combo featuring a pianist who plays Jazz? For those in the dark I can only recommend to listen to the RGGFind albums by this artist album "Unfinished Story – Remembering KoszFind albums with this title", which is an example of what could have happened. The sugary string arrangements, the endless piano arpeggios and the schmaltzy melodies are in my opinion hardly compatible with the memory of Kosz, who should be better remembered for what he really was – a bright comet on the Polish Jazz firmament, a man with a magic touch and a tormented spirit, a brief visitor who left us a part of his soul before he moved on. Blessed be his memory.

Updated: 22/12/2019Posted: 22/12/2019

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LESZEK MOZDZER ~ KOMEDA ACT 9516 (Barcode: 614427951625) ~ POLAND ~ Jazz Recorded: 2011 Released: 2011 Polish pianist / composer Leszek MozdzerFind albums by this artist enjoys a superstar status in his country and his albums are listened to not only by the hardcore Jazz enthusiasts, but by a wide music-loving audience, which otherwise avoids listening to Jazz recordings. Mozdzer keeps changing his stylistic and aesthetic approach to music in general and Jazz in particular, expanding the boundaries of the genre, often quite dramatically, with excursions into ambient, neo-romanticism and new age, which of course results in much broader circles of potential listeners. But in spite of his chameleonic nature, his abilities as a piano player are beyond reproach: he is a virtuosic and exceptional player in every sense. The instrument seems to surrender itself completely to him and his hands on the keyboard often make an impression of belonging to a superhuman four-armed Shiva. This album finds Mozdzer interpreting the music of another Polish Jazz Legend, pianist / composer Krzysztof KomedaFind albums by this artist. He performs eight of the better known Komeda´s compositions, alone at the piano, which for him is a well-proven setting. He successfully repeats his dazzling achievements, with deeply personal rendition of Komeda´s legacy, which surely will again find many enthusiastic listeners and overall acclaim. However, as much as I like Mozdzer as a musician and this album as a showcase of superb solo performance, I must admit that his interpretation of Komeda´s music is in my opinion completely misguided. As far as I understand Komeda and his work, it is all about essence and spirit, almost minimalistic in nature, allowing for the intellectual interpretation to fill the gaps and build upon the skeletal outlines. Traditionally, Polish Jazz musicians interpreting Komeda, tried to stick to the basics, for what they were: pure essence, with Komeda´s cohort Tomasz StankoFind albums by this artist leading the way as prominently evident in his recordings of Komeda´s music. Mozdzer almost completely covers up Komeda´s brilliant simplicity by dressing the music with layer upon layer of musical adornments and trinkets, which overwhelm the listener, but suffocate the essence. But again, that is only my opinion, which I´m sure will be quite different from what most people think. All things considered, this is still a grand solo piano album!

Updated: 01/12/2021Posted:

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JANUSZ MUNIAK ~ CRAZY GIRL POLJAZZ / ANEX 322 (Barcode: 5907513047773) ~ POLAND ~ Jazz Recorded: 1986 Released: 2009 This is the third album as a leader by the veteran Polish Jazz saxophonist / composer Janusz MuniakFind albums by this artist, recorded live with his quartet, which also included pianist Wojciech PuszekFind albums by this artist, bassist Zbigniew WegehauptFind albums by this artist and American drummer George BucknerFind albums by this artist. They play only four compositions, one of which is an original by Muniak, another is by the Godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist (the title track) and the remaining two are standards. Although well played the album offers no innovation whatsoever and is simply one more Bebop set, which is quite forgettable. The leader plays some mighty solos, which are, as always in his case, quite incredible and virtuosic, but the overall effect remains pretty unremarkable. The album also suffers from a pretty amateurish sound quality, which often victimized live Polish Jazz recordings, with mobile recording equipment in the Socialist country being sadly sub-standard. Nevertheless it is a document both of the times and of Muniak´s legacy, and therefore definitely worth listening and enjoying his bravado performances. Side Note: The PoljazzFind albums on this label 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 NagraniaFind albums on this label / MuzaFind albums on this label and as such revolutionized the music industry at the time, being the only such enterprise in Eastern Europe. The Polish label AnexFind albums on this label reissued many of the original Poljazz albums on CD, bringing this fabulous music back to life.

Updated: 01/06/2018Posted:

CD 1 Digipak Remastered Recommend To A Friend

JANUSZ MUNIAK ~ PLACEBO POLJAZZ / ANEX 325 (Barcode: 5907513047803) ~ POLAND ~ Jazz Recorded: 1982 Released: 2009 Polish saxophonist / composer / bandleader Janusz MuniakFind albums by this artist was one of the most important Polish Jazz figures during the early post WWII period, which flourished in the 1960s / 1970s. He was part of the emerging revolutionary movement of Polish Jazz, where he played along such legendary pioneers as Andrzej TrzaskowskiFind albums by this artist, Krzysztof KomedaFind albums by this artist and Tomasz StankoFind albums by this artist. Since the late 1970s Muniak leads his own groups and records as a leader. This is his second album as a leader and since then he continued to record a plethora of albums over the years, both as a leader and sideman. He also owns his own Jazz club in Krakow, called "U Muniaka", which is one of the oldest continuously active Jazz venues in the country. This album presents Muniak in a quartet setting, with pianist Wojciech PuszekFind albums by this artist (playing the Fender Rhodes electric piano), bassist Andrzej CudzichFind albums by this artist and drummer Krzysztof ZawadzkiFind albums by this artist. They perform four lengthy originals, all by Muniak, which allow for extended improvisations, mostly by the leader. The presence of the electric piano sets the overall ambience of this recording, pushing it slightly towards Jazz-Rock Fusion, but the leader keeps the situation in check and well within the modern mainstream bounds. Muniak´s performances on both the soprano and tenor saxophones are first rate as are those by the rhythm section, creating together some excellent, but not very innovative modern Jazz, which most Jazz listeners should enjoy. Side Note: The PoljazzFind albums on this label 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 NagraniaFind albums on this label / MuzaFind albums on this label and as such revolutionized the music industry at the time, being the only such enterprise in Eastern Europe. The Polish label AnexFind albums on this label reissued many of the original Poljazz albums on CD, bringing this fabulous music back to life.

CD 1 Digipak Remastered Recommend To A Friend

JANUSZ MUNIAK ~ QUESTION MARK (POLISH JAZZ VOL.54) MUZA 1054 (Barcode: 5907783420542) ~ POLAND ~ Jazz Recorded: 1978 Released: 2007 This is the debut album as a leader by the great Polish saxophonist / composer Janusz MuniakFind albums by this artist, one of the forefathers of modern Polish Jazz. His legacy includes the membership in such legendary Polish ensembles as those led by Andrzej TrzaskowskiFind albums by this artist, Krzysztof KomedaFind albums by this artist and Tomasz StankoFind albums by this artist as well as leading his own groups. He is accompanied here by his quintet, which includes pianist Pawel PerlinskiFind albums by this artist, guitarist Marek BlizinskiFind albums by this artist, bassist Andrzej DechnikFind albums by this artist and drummer Jerzy BezuchaFind albums by this artist, all excellent players themselves. Muniak has a completely unique, natural style of improvisation, which is passionate and highly expressive, putting him somewhat aside in a class of his own besides the other distinguished Polish saxophonists, like Zbigniew NamyslowskiFind albums by this artist for example. His compositions incorporate beautifully Polish folklore and the Jazz tradition, often unintentionally, but always brilliantly. This is on of the strongest albums in the legendary Polish Jazz series, which is a very high distinction by any standard. This is a must to lovers of Polish and Eastern-European Jazz and a timeless masterpiece.

CD 1 Digipak Remastered Recommend To A Friend

ZBIGNIEW NAMYSLOWSKI ~ AIR CONDITION POLJAZZ / ANEX 317 (Barcode: 5907513047728) ~ POLAND ~ Jazz-Rock Fusion Recorded: 1980 Released: 2009 One of the Godfathers of Polish Jazz, saxophonist Zbigniew NamyslowskiFind albums by this artist, remained firmly in the position of the leading Jazz figure in his country for several generations. Starting in the early 1960s as member of the legendary Krzysztof KomedaFind albums by this artist quintet and later leading his own groups, Namyslowski kept his ears open constantly to follow the developments on the ever changing worldwide Jazz scene and his groups always included young talented players, who became his disciples. The group Air ConditionFind albums by this artist included the immensely talented keyboardist Wladyslaw SendeckiFind albums by this artist, guitarist Dariusz KozakiewiczFind albums by this artist, bassist Krzysztof ScieranskiFind albums by this artist and an extended percussion section, and played a kind of Jazz-Funk, which could move an elephant´s ass, not falling behind any of the US groups playing in the same vein. This album was intended for the US market, where it was released (along with several other Polish Jazz albums) by the Inner CityFind albums on this label label, admittedly without much commercial success. As usual, Americans were simply not ready to recognize any kind of Jazz happening outside of their home turf. In retrospect, this album is still a lot of fun and as Funky as they get. Sendecki´s keyboard wizardry is stunning, as always, and the leader plays plenty of nasty sax chops. Recommended!

CD 1 Digipak Remastered Recommend To A Friend

ZBIGNIEW NAMYSLOWSKI ~ ASSYMETRY NOT ON LABEL ~ POLAND ~ Jazz Recorded: 2006 Released: 2006 This is a brilliant album by veteran Polish saxophonist / composer Zbigniew NamyslowskiFind albums by this artist, one of the Founding Fathers of modern Polish Jazz active on the scene since the late 1950s. First as a member of the legendary Krzysztof KomedaFind albums by this artist ensemble and later as a leader, Namyslowski was always a superb musician and an intriguing composer. His early work was often characterized by incorporating Polish folklore motifs into his compositions, which was highly unusual at the time in US or Western Europe, but relatively common behind the Iron Curtain. This amazing album, as the (slightly twisted) title suggests, is all about odd meters, you know all those 7/4, 5/4, 7/8 and other crazy rhythmic patterns that only highly skilled musicians are able to play correctly. As much as they are a nightmare to play, they are surely a wonder to listen to and enjoy and this albums offers nine lengthy tunes, one better that the other. Performed by a brilliant quintet: trombonist Jacek NamyslowskiFind albums by this artist (yes the next generation), pianist Slawomir JaskulkeFind albums by this artist, bassist Michal BaranskiFind albums by this artist and drummers Grzegorz GrzybFind albums by this artist and Pawel DobrowolskiFind albums by this artist (on two tracks only), the music is simply divine, clever and enjoyable, all at the same time, which of course id pretty rare. It certainly seems that Namyslowski is getting younger with age, a rare quality indeed. Brilliant!

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ZBIGNIEW NAMYSLOWSKI ~ LOLA GOWI 30 (Barcode: 786497164622) ~ POLAND ~ Jazz Recorded: 1964 Released: 1996 This sensational album was the first Jazz recording made behind the Iron Curtain ever to be released in Western Europe. Considering all this happened in 1964 (with the Cold War raging between the West and the East) it was a truly momentous occasion. Saxophonist Zbigniew NamyslowskiFind albums by this artist, aged 25 at the time, as well as the other members of his quartet: pianist Wlodek GulgowskiFind albums by this artist, bassist Tadeusz WojcikFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist (all three aged 21) were representatives of the first generation of post-WWII Polish Jazz, which was developing with at a feverish paste in spite of the serious limitations of personal and artistic freedom prevailing in their country. Against all adds Polish Jazz was rapidly becoming a force, which could not be ignored, creating some of the most interesting and revolutionary music ever. Led by the great pianist / composer Krzysztof KomedaFind albums by this artist, the Godfather of modern Polish Jazz, the scene exploded with talent and extraordinary inventiveness, which is splendidly documented by this album, among others. Just a year after this album was recorded Namyslowski would record with Komeda, his Mentor, as a member of his quintet the album "AstigmaticFind albums with this title", probably the most important Eastern European Jazz album ever made. But back to this wonderful recording; Namyslowski composed five of the eight pieces on this album, Gulgowski composed two others and one is a standard. His compositions are brilliant in every respect, superbly melodic and often incorporating folkloristic motifs, which was quite prophetic at the time. The level of musicianship is simply stunning and highly inspired, with the overall atmosphere reminiscent of John Coltrane albums, which is hardly surprising considering he was of course Namyslowski´s biggest influence. Listening to this album it´s almost impossible to believe that it was made almost 50 years ago – this music is completely resistant to time. I still remember listening to it, being just 13 years of age, and I´m still deeply moved every time I hear it again. A masterpiece in every respect and an essential piece of music, forever! Side Note: This album was originally released in UK on the Decca label and went quickly out of print. Over the years it became an extremely rare and sought after collectors´ item, especially in Poland. This CD edition is therefore a blessing!

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ZBIGNIEW NAMYSLOWSKI ~ NICE & EASY ITM 14125 (Barcode: 4250079711253) ~ POLAND ~ Jazz Recorded: 2008 Released: 2009 This superb album by Polish saxophonist / composer Zbigniew NamyslowskiFind albums by this artist was recorded with a quintet comprising of young musicians including his son trombonist Jacek NamyslowskiFind albums by this artist, pianist Slawomir JaskulkeFind albums by this artist, bassist Andrzej SwiesFind albums by this artist and drummer Grzegorz GrzybFind albums by this artist. It presents ten new original compositions by Namyslowski. It was recorded at the excellent Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist – a guarantee of sonic fidelity. At the time of the recording Namyslowski was almost seventy years old, being one of the few remaining last Mohicans of the first post-WWII Polish Jazz generation still active on the local scene. There is absolutely no evidence on this recording of Namyslowski´s age, surely not in the negative sense. He seems to be completely confident both as a composer and a performer and stands hip to hip with the "youngsters" not giving up an inch. It is hard to believe that the same person took part in the legendary 2nd Sopot Jazz Festival in 1957 and was a member of the Krzysztof KomedaFind albums by this artist quintet that recorded "AstigmaticFind albums with this title" in 1965, and yet these are just a few of Namyslowski´s amazing career milestones. Namyslowski´s compositions were always his forte, as he manages consistently to present a completely unique musical signature, which includes many different characteristics, like the odd meters he so often uses or the unexpected tempo changes, all those on top of beautifully structured melodies, which are simply magnificent. Therefore the musicians playing with him are supplied with a perfect vehicle for their respective solos. Although the music conceptually belongs to mainstream Jazz, it always comes with a twist which makes it anything but predictable or simplistic. On the contrary these tunes take a while to get used to and have a wonderful quality of growing on the listener with every listening session. The quintet performs like a dream, obviously inspired and directed by the Master. These young and extremely talented musicians keep the splendid tradition of the Polish Jazz alive and kicking, this time also learning from the best. Namyslowski continues his tradition to lead groups comprising of young musicians, which keep him invigorated and at the same time serve as a hothouse growing generation after generation of new players. The album was released on the German ITM label and the album´s booklet includes liner notes by the excellent Jazz critic Bert Noglik, who is familiar with Namyslowski´s music since many years. All in all this is a superb modern Jazz album, which should keep happy even the sternest Jazz connoisseurs, and of course deserves a honorable place in any serious Jazz collection alongside the earlier albums by this great Artists. A must!

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ZBIGNIEW NAMYSLOWSKI ~ THE LAST CONCERT POLONIA 002 ~ POLAND ~ Jazz Recorded: 1991 Released: 1992 This is a brilliant album by veteran Polish saxophonist / composer Zbigniew NamyslowskiFind albums by this artist, one of the pillars of modern Jazz in his country. A superb player and a gifted composer, Namyslowski first as a member of the Krzysztof KomedaFind albums by this artist´s group and later as a leader of his numerous ensembles created excellent music and served as a model to generations of Jazz players in his country. This album, one of very few live recordings by Namyslowski, was captured at Warsaw´s Jazz Jamboree festival and features one of the strongest quartets Namyslowski ever led, with pianist Janusz SkowronFind albums by this artist, bassist Zbigniew WegehauptFind albums by this artist and drummer Cezary KonradFind albums by this artist. Violinist Maciej StrzelczykFind albums by this artist joins the quartet on a couple of tunes. All seven compositions performed are by Namyslowski and portray his wonderful sense of melody, polyrhythmic approach and tendency to incorporate World Music elements in his music. Two of the tracks are over 10 minutes long, which allows plenty of space for extensive improvisations. I have no idea why this album is entitled "The Last ConcertFind albums with this title" (perhaps this was the last concert with this particular quartet?), as this certainly wasn´t Namyslowski´s last live performance and he´s still playing brilliantly twenty years later, to the delight to his many admirers and fans, as well as writing great music. For lovers of Polish Jazz, this is an absolute classic, which should be a part of any decent Jazz collection. Highly recommended!

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ZBIGNIEW NAMYSLOWSKI ~ ZBIGNIEW NAMYSLOWSKI QUARTET (POLISH JAZZ VOL.06) MUZA 306 ~ POLAND ~ Jazz Recorded: 1966 Polish saxophone giant Zbigniew NamyslowskiFind albums by this artist was an original member of the Krzysztof KomedaFind albums by this artist Quintet and his international status as a jazz virtuoso is well established. Namyslowski plays in an astounding variety of styles, from melodic to free, always with dexterity, passion and superb timing. He is also a most gifted composer and his ability to incorporate Polish folk tunes into his modern jazz compositions is truly astounding. This album from 1966 is his first Polish recording, after a debut album recorded in UK a year earlier. All the compositions are originals and the performances brilliant. This was a true giant step in the development of the Polish Jazz scene.

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MAREK NAPIORKOWSKI / ARTUR LESICKI ~ CELULOID V 009 (Barcode: 5903111377076) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This is the fifth album as a leader (or co-leader in this case) by Polish guitarist / composer Marek NapiorkowskiFind albums by this artist, one of the most respected musicians on the local scene. This time Napiorkowski teams up with another Polish guitarist / composer Artur LesickiFind albums by this artist, and as a duo they deliver a series of wonderful tunes, dedicated, as the title suggests, to the Polish Cinema and the music associated with Polish Cinematic Art. The album´s nine tracks feature music from six classic Polish movies (or TV series), composed by such luminaries as Krzysztof KomedaFind albums by this artist, Tomasz StankoFind albums by this artist, Wojciech KilarFind albums by this artist, Andrzej KurylewiczFind albums by this artist and others, directed by no less iconic figures such as Roman PolanskiFind albums by this artist, Andrzej WajdaFind albums by this artist and others. Both Napiorkowski and Lesicki contribute one original composition each, with the title tune (by Napiorkowski) repeated twice. The intimate and delicate duet setting creates a truly magical atmosphere, with the perfect balance between the acoustic and touches of electric sound, melody and improvisation, lyricism and inspiration. In fact this is definitely one of the best guitar duo albums I had the pleasure to listen to ever since I can remember. It is a perfect example of a case when two musicians simply amalgamate into one completely symbiotic and integral musical unit. Although obviously at some moments one of the players does play the lead and the other accompanies him, interchangeably of course, they are at all times simply one instrument, producing a coherent and fused soundscape. The music selections as well as the original compositions are all beyond reproach and the affectionate and intelligent treatment applied by the musicians awards everything such great music deserves: respect, love and personal involvement. Although seemingly basic and simple, the resulting music is full of intricacies that can be revealed only by very attentive and open-minded listening, which this exquisite album truly deserves. It is such a pleasure to see Napiorkowski move forward and try new things on his musical path. Compared to the complexity and sophistication of his previous album "Up!Find albums with this title" the intimacy and modesty of this album might appear as strikingly different, and yet Napiorkowski manages to preserve the quality and total dedication in full, regardless of the external form of his work. There are but a few musicians around with such class. In short this is simply a gem of an album, which enchants and uplifts spiritually from the very first to the very last note delivered. Superb sound quality and production turn it into a superb aesthetic treasure, which should not leave any listener unmoved. Hats off to both magicians!

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O.N.E. ~ ONE AUDIO CAVE 2020/007 (Barcode: 5908298549063) ~ POLAND ~ Jazz Recorded: 2019 Released: 2020 This is the debut album by Polish Jazz ensemble O.N.E.Find albums by this artist comprising of five female representatives of the young generation of the local scene: saxophonist Monika MucFind albums by this artist, violinist Dominika RusinowskaFind albums by this artist, pianist Paulina AtmanskaFind albums by this artist, bassist Kamila DrabekFind albums by this artist and drummer Patrycja WybranczykFind albums by this artist. The album presents seven pieces, three composed by Muc, two by Atamanska, one traditional tune and one composition by Krzysztof KomedaFind albums by this artist. The music is quite characteristic of the young Polish Jazz scene; full of melancholy and folkloristic influences, strictly melody based but with open space for improvisation and soloing. The rather unusual instrumental lineup (see violin) creates a particular sound, which takes time to get used to. These Ladies have of course perfect schooling and a lot of playing experience behind them, which results in spotless execution, both by the front line and the rhythm section. The original compositions are well structured, albeit a bit hesitant in their nature, which results in a certain lack of focus, as far as the album as a whole is concerned. But considering the fact that this is a debut offering, this is a minor point and can be easily forgiven. This album offers a perfect opportunity to exam the timeless issue of "Women´s Jazz", which always annoys me. I´d rather leave gender out of music the same way we should avoid dealing with race or religion. We should concentrate on giving woman equal opportunity instead. As this album proves, women can be certainly as creative, adventurous and clever as men in every aspect of life. Overall this is an important debut, which hopefully will open a recording continuance for this gathering of Jazz Amazons (daughters of Harmonia), for the years to come. Definitely worth investigating!

Updated: 31/03/2022Posted: 18/05/2020

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OBARA INTERNATIONAL ~ LIVE AT MANGGHA FOR TUNE 0022 ~ POLAND ~ Jazz Recorded: 2013 Released: 2013 This is the second album by the international quartet led by Polish Jazz saxophonist / composer Maciej ObaraFind albums by this artist, called Obara InternationalFind albums by this artist, which also includes the superb Polish pianist Dominik WaniaFind albums by this artist and a Norwegian rhythm section: bassist Ole Morten VaganFind albums by this artist and drummer Gard NilssenFind albums by this artist. The album, which was recorded live, comprises of six pieces, five of which are original compositions by Obara and the remaining one is by Krzysztof KomedaFind albums by this artist, to whom this group dedicated their debut album, simply called "KomedaFind albums with this title". The music is placed somewhere between Free Form and contemporary Modern Jazz of the European variety. Most of the tunes get an expanded treatment, which includes extensive solo and group improvisations, and last around ten minutes each except one tune which is almost twice as long and the closing track which is a brief farewell. Although the melodic content is clearly recognizable, it is kept somewhat in the background, as if on a separate plane, and the improvisations are the focal point of this music, changing in tempi and intensity, but always out there on the forefront. The level of musicianship involved herein is truly admirable and of the highest standing by any standard. This is by far not easy music and the amount of technique, talent and sophistication required in order to play it is simply astounding, not to mention the emotional tension. The entire concert portrays a wonderful flow of energy between the quartet members and of course the combined creative power of the quartet is even greater than the sum of the individual statements. Personally I enjoy the contributions by the pianist most of all. Wania, whom I´ve been watching carefully for a few years now, is definitely one of the greatest promises of Polish Jazz and is destined to get places. His brilliant work on this album, both as a soloist and as an ensemble member, is simply outstanding. Obara is a great player as well, of course, but his melancholy and mellow tone often seem to push the music somewhat backwards into the mainstream conformity. The Norwegian rhythm section is solid and reliable, when needed, and inventive and spontaneous when the music calls for it, in short they play splendidly, as only the Scandinavian rhythm sections can. Overall this is another musical gem that the Polish For Tune label manages to put out for the world to hear and admire. The sound quality, separation and warmth are incredible considering the fact that this is a live recording. European Jazz connoisseurs are expected to lick their fingers upon exposure to this wonderful music. Well done gentlemen! BTW Obara´s Polish quartet uses the excellent RGGFind albums by this artist rhythm section: bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist, which of course is also a dreamy team, so where is their next album I ask?

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MACIEJ OBARA ~ UNLOVED ECM 2573 (Barcode: 602557645620) ~ POLAND ~ Jazz Recorded: 2017 Released: 2017 This is the fourth album by the Polish Jazz saxophonist / composer Maciej ObaraFind albums by this artist and his international quartet, which also features Polish pianist Dominik WaniaFind albums by this artist and Norwegian rhythm section: bassist Ole Morten VaganFind albums by this artist and drummer Gard NilssenFind albums by this artist. It is the first studio recording by the quartet, as the three previous albums, all released on the Polish For TuneFind albums on this label label, were live recordings. It is of course also the first album by the quartet released on the German ECMFind albums on this label label. The album presents seven tracks, six of which are original compositions by Obara and one (the title track) is a relatively infrequently recorded composition by the Godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist. The music was recorded at the legendary Rainbow Studio in Oslo with Jan Erik KongshaugFind albums by this artist in charge of the sonic quality. Obara´s numerous earlier recordings, including the three albums with the quartet present here, established his position on the Polish Jazz scene as a restless explorer, a rebel and a fearless avant-gardist, who constantly pushed the borders of contemporary Polish / European Jazz. These recordings were uncompromising, adventurous, soaked in free-form and Avant-Garde expressionism, and yet deeply rooted in the Jazz idiom´s tradition. The fact that this is a studio recording, as already mentioned above, and taking into account the decisive role of Manfred EicherFind albums by this artist, ECM´s supreme boss, who assumed the role of "musical producer" on this album, were obviously bound to have an effect on the outcome, but probably nobody could have imagined how dramatic the transformation was about to become. The album is clearly divided into two sections (sort of A / B sides of an LP), with the first section (first four tunes) presenting deeply melancholic and introvert music, nicely rounded melodically and harmonically, but alas somewhat pale and monotonous, and the second part (last three tunes) being more ambitious and vibrant, but still not up to par with Obara´s earlier recordings. Gone is the fire and brimstone and the Obara heard on this album is all gentleness and sweetness, delicately uttering lovable notes, who seems to have lost completely the identity he worked for years to establish. Is this the next stage of development for Obara and his quartet? Quite possibly, but his old identity will be sadly missed. But not everything is lost as far as this album is concerned. Wania manages to escape unspoiled and his work here is as brilliant as always, pure genius in fact. When he solos the music suddenly comes alive and sparks are flying. His brief interludes move elegantly into free-form, albeit briefly, finding the way back within a few bars. In many respects this album is as much Wania´s triumph as it is Obara´s underachievement. Sadly Wania´s brilliant work is not enough to save the album from the lethargic flow of "nice notes". The rhythm section is also excellent proving that playing in a much more relaxed environment is still within their capability and can be done intelligently and excitingly. And of course the sound quality is as heavenly as one might expect. I am deeply saddened by the fact that this, obviously flagship recording by Obara, turned out to be less than I´d have hoped for. I can only hope that everything will turn for the better in the future. Side Note: I have to admit that I was completely and utterly flabbergasted by the mass hysteria on the Polish Jazz scene surrounding the fact that this album was released on ECM. It is true that Obara is only the third Polish Jazz leader to have his album released by ECM (preceded by Tomasz StankoFind albums by this artist and Marcin WasilewskiFind albums by this artist), but what does it really mean? Firstly it means that Manfred Eicher is simply not familiar enough with the burgeoning Polish Jazz scene and its world class talented musicians. If he was familiar with them, he would have surely invited some of them to record for his label, especially in view of the fact that dozens of Polish Jazz albums released by small independent Polish labels are way more interesting and meaningful than most of ECM releases in the last couple of decades. Secondly it means that ECM is still considered by many people as a leading recording label, whereas in fact it lost its legendary status and influence many years ago. As pioneering and groundbreaking as the label was in the first couple of decades of its existence, bringing up scores of Jazz musicians to the attention of music connoisseurs, the label´s impact and leadership vastly diminished in time. Just ask yourself how many albums in the ECM catalogue do you know / own that were recorded in the 1970s / 1980s and how many albums you know / own that were recorded since 2000? Do the same with a list of recording artists who released albums on ECM in these two periods? The statistics are abundantly clear. And lastly it means that Polish Jazz scene is completely consumed with the inferiority complex that has always haunted it, looking somewhere else for excellence and example rather than paying tribute to its own Artists and showing them the appreciation they really deserve. Many Polish Jazz fans are still convinced that only Afro-American musicians can play Jazz and everything happening at home is secondary and meaningless, whereas in fact that is completely contrary to the truth.

Updated: 12/04/2019Posted: 30/11/2017

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OLEJNICZAK / SENDECKI EUROPEAN QUARTET ~ BIRTHDAY LIVE #2 BLUE NOTE ~ POLAND ~ Jazz Recorded: 2012 Released: 2013 This is a live recording at the Blue Note Poznan Jazz club, celebrating the club´s fourteenth Anniversary, by a wonderful quartet led by two extraordinary Polish Jazz heroes: saxophonist Andrzej OlejniczakFind albums by this artist and pianist Wladyslaw SendeckiFind albums by this artist, with French bassist Laurent VernereyFind albums by this artist and British drummer Mark MondesirFind albums by this artist. Olejniczak and Sendecki share some of the glory days of the Polish Jazz in the 1970s, when they were both members of the legendary Extra BallFind albums by this artist ensemble and founders of the no less legendary Sun ShipFind albums by this artist ensemble. Both living now outside of Poland (Olejniczak in Spain and Sendecki in Germany) they are still an integral part of the Polish Jazz phenomenon, as this album proves beyond any doubt. The album includes seven pieces, two each by Olejniczak, Sendecki and Krzysztof KomedaFind albums by this artist and the remaining one being a folk tune arranged by Sendecki. The members of this quartet are some of the finest European Jazz musicians and the resulting album is simply exceptional in every respect. The music is all excellent from start to finish, modern full-fledged and highly spirited Jazz with numerous superb solo spots and an exceptional live ambience, which happens only rarely. It is obvious that everybody had a wonderful time and the musicians are simply giving everything they have, sharing, supporting and challenging each other constantly in perfect harmony and with telepathic thoughtfulness. Although the two soloists are naturally in the center of attention, one must immediately recognize the incredible role of the outstanding rhythm section, which stands shoulder to shoulder with the soloists at all times. The saxophone and piano solos are all sensational and there is no exaggeration whatsoever in that statement. In many respects these performances are absolute classics, which should be taught at music schools as examples of what real Jazz is all about, especially European Jazz, as this is, again in many respects, a revelation of the European elegance and sophistication that makes all the difference. This music is completely devoid of ego trips and attempts to prove who can play faster or louder or prettier, it is simply a perfect teamwork, which is always the ground upon great Jazz music is firmly based. The last tune on the album is dedicated to the memory of the great Polish Jazz bassist Zbigniew WegehauptFind albums by this artist, who was not only a friend of the Polish musicians but also a dear personal friend of mine and whose tragic and premature death left a scar in the hearts of all of us. There is not much more that needs to be said here, except for Gracias, Danke, Merci, Thanks and of course Dziekuje to all the people involved for this heartbreakingly beautiful music.

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OLES BROTHERS / CHRISTOPHER DELL ~ KOMEDA AHEAD FSR 2014/01 ~ POLAND ~ Jazz Recorded: 2013 Released: 2014 It is extremely difficult to communicate anything truly innovative about Krzysztof KomedaFind albums by this artist´s music. Since the tragic death of the Godfather of modern Polish Jazz over four decades ago, his enigmatic compositions have been the subject of a vast number of recordings in Poland as well as other countries, where his music was discovered. These recordings cover every Komeda compositions in every possible instrumental settings and stylistic sub-genre, ranging from works of pure genius to unspeakable pastiches. Therefore one should not be surprised by the fact that Jazz connoisseurs approach every new recording of Komeda´s music with extreme caution. Bassist Marcin OlesFind albums by this artist and his twin brother drummer Bartlomiej OlesFind albums by this artist have paid their dues on the European Jazz scene since the onset of the 21st Century, slowly climbing to the well earned position of one of the top European Jazz rhythm sections. But they are also both formidable composers and activist, spinning a web of international contacts and collaborations, many of which resulted in recording of a succession of fabulous albums over the time. One of such meetings was with the German vibraphonist / composer Christopher DellFind albums by this artist, which led to this Komeda project to be commissioned by the Berliner Jazzfest in 2011, where it was debuted in November of that year. The concept behind this project was to show Komeda as a composer of complex, expanded musical forms, as reflected by the four long tracks on this album, as well as a weaver of concise magical melodic miniatures, as those presented by the four short tracks. These two facets of Komeda´s work have never been presented earlier as complimenting each other. The actual performance of the music is also completely unique and innovative. First there is the overall low key, low volume, completely acoustic approach, with each and every note being a crucial piece of the complete puzzle. Secondly there is the minimalism, a reserved approach stating that "less is more" and emphasized by the intrinsic inner calmness of the vibraphone, probably the most delicate and intimate instrument at our disposal. There is not a single note here that sounds redundant or unnecessary. And lastly there is a gorgeous freedom of expression, which is the predominant factor of this music, unrestricted by melody, harmony or rhythm. The Komeda fans will have no trouble to hear the familiar themes in this music, but at the same time they will be able to hear those themes stretched and expanded into previously untraveled territories. It seems that Oles Brothers & Christopher Dell managed to achieve the goal of discovering and exposing more of the eternal beauty and charm hidden in Komeda´s music, and we, the listeners should be grateful for such discoveries. This music, with its elegance and eloquence, is a superb example of what Culture is all about. Side Note: The above are the original liner notes, which were supposed to accompany the music as initially intended. However, as it often happens, the somewhat convoluted fate of this album´s release resulted in selecting different liner notes sometime along the line. Since I deeply love the music, as evident in my writing above, I feel that publishing them here is appropriate.

Updated: 02/01/2017Posted:

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OLES BROTHERS / CHRISTOPHER DELL ~ GORECKI AHEAD AUDIO CAVE 2018/005 (Barcode: 5905669566544) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2017 Released: 2018 This is an album by twin brothers: bassist Marcin OlesFind albums by this artist and drummer Bartlomiej OlesFind albums by this artist, collectively known as Oles BrothersFind albums by this artist, who are synonymous with the Polish Jazz since the break of the 21st Century, recorded with German vibraphone virtuoso Christopher DellFind albums by this artist, with whom they cooperate since many years. As the title suggests, this album is dedicated to the trio´s interpretations of music by the great Polish contemporary Classical Music composer Henryk GoreckiFind albums by this artist. The album presents eleven of Gorecki´s pieces, performed by the trio, and is appropriately entitled "Gorecki AheadFind albums with this title", following the trio´s previous album "Komeda AheadFind albums with this title" dedicated to the music of Krzysztof KomedaFind albums by this artist. The first public performance of some of the pieces present on this album happened just a day before this music was recorded, during the trio´s concert in the Nozyk Synagogue in Warsaw, which was the opening concert of the 4th Singer Jazz Festival, of which I am the Artistic Director. Towards the end of that concert, which presented the material recorded on "Komeda Ahead", I was suddenly notified that I need to go and open another concert in another venue, which would make it impossible for me to properly close the trio´s concert. In an instantaneous decision I asked the trio to just go on and play until my return, which they graciously, albeit with some surprise, agreed to, and of course since the Gorecki project was to be recorded the next day, they indeed continued the concert playing the music one can now hear on this album. I was then taken by the Chief of Security of the Festival rushing across Warsaw ignoring red lights and travelling against the traffic direction, opened the other concert and safely returned to hear some closing moments of a Gorecki piece and then had the pleasure to formally close the concert with the entire audience participating in a standing ovation, which lasted for many minutes. Of course this album is anything but another typical Jazz-Classical Fusion project. Oles Brothers and Dell are way beyond the usual triviality and shallowness that often characterizes such projects and their attitude towards the music of other composers, both in the case of Komeda and now Gorecki, is to completely absorb and naturally transform their music into a new dimension, which becomes as much theirs as it originally was the composer´s. Even in a case when the listener is familiar with the original music, the trio´s interpretations take him into a completely new universe, where the original music is completely altered harmonically and rhythmically. This album is another masterpiece, which expands the Oles Brothers´ and Christopher Dell´s long list of achievements, which covers the entire rich tapestry of contemporary Jazz, completely ignoring genre borders. The music is demanding and requires attentive listening, but at the same time it is immensely rewarding and aesthetically fulfilling, something that Culture should always strive to do. I feel happy to be able to call these musicians my friends and following their careers has been always an absolutely delightful and educational experience. This album is an absolute must to every sophisticated Jazz, but not only, connoisseur, who looks for deeply emotional and intellectual experience every time music is in the air! Superb stuff!

Updated: 24/04/2018Posted: 24/04/2018

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OLES BROTHERS / BARTOSZ PIESZKA ~ KOMEDA AHEAD NOT ON LABEL ~ POLAND ~ Jazz Recorded: 2021 Released: 2021 In 2013 Oles BrothersFind albums by this artist, i.e. bassist Marcin OlesFind albums by this artist and drummer Bartlomiej OlesFind albums by this artist, recorded the “Komeda AheadFind albums with this title” album with the great German vibraphonist Christopher DellFind albums by this artist. Jumping eight years forward, the “Komeda Ahead” project was revived, this time with Polish vibraphonist Bartosz PieszkaFind albums by this artist, and a tour by that trio was commemorated by a limited “special tour edition” CD, which is a kind of “remake” of the prior recording. The new recording includes six compositions by Krzysztof KomedaFind albums by this artist, all of which are also present on the aforementioned album. It is of course quite natural to compare the two recordings, but honestly that would completely miss the point of the music. Each of the Oles Brothers projects is so completely unique, that every performance they give, and I have had the pleasure to be present at many of those, is entirely different, and in this case we have a case of participation of two different musicians, so a priori any comparison would be futile. As I have stated repeatedly, Komeda’s music has been abused so many times by Polish Jazz musicians, that over time I have developed an allergy to Komeda related projects, with only a very few exceptions, and of course Oles Brothers are exceptional in every sense, so they are on the shortlist. Pieszka is a highly educated and experienced musician, but most importantly he is able to create an intimate rapport with the Oles Brothers, which is the basis of the music they create together, on this album or any other album they recorded. The trio treats Komeda’s music with respect and obvious reverence, as appropriate, and the minimalist approach leaves the listener to connect the dots in his mind. As a result, this album stands completely on its own right, as continues the exceptional recorded legacy of the Oles Brothers, even if it’s just a tour “memento”. Overall, for the many Oles Brothers followers, this album is a must in their collection, and for the Polish Jazz fans, this is a wonderful example of how Komeda’s music should be treated; respectfully, imaginatively and aesthetically. Thank you for the music and for many years of Friendship!

Updated: 02/10/2022Posted: 02/10/2022

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ADAM PIERONCZYK ~ KOMEDA – THE INNOCENT SORCERER JAZZWERKSTATT 104 (Barcode: 4250079758715) ~ POLAND ~ Jazz Recorded: 2009 Released: 2010 This is an album by Polish Jazz saxophonist / composer Adam PieronczykFind albums by this artist dedicated to the music composed by the Godfather of Polish Jazz pianist / composer Krzysztof KomedaFind albums by this artist. Pieronczyk recorded the album with an international quintet, which also features American saxophonist Gary ThomasFind albums by this artist, Brazilian guitarist Nelson VerasFind albums by this artist, American bassist Anthony CoxFind albums by this artist and Polish drummer Lukasz ZytaFind albums by this artist. Together they perform six compositions (one repeated twice), all composed by Komeda. The Polish Jazz scene produced dozens of albums dedicated to the music of Komeda. Many of these records are pretty derivative and often not in par with Komeda´s memory, but some are simply brilliant, and this is definitely one of the latter. Pieronczyk manages to transform Komeda´s music into new dimensions, completely unconventional and unexpected, which is very effective and creates a new perspective of Komeda´s music. The unique lineup of the quintet, which includes two saxophonists and guitar, which replaces the piano one would expect to be present on an album dedicated to Komeda´s music, is just one of the surprises on this album. Then there is the fact that the tempi of each of the compositions are changed dramatically from the original ones, often using World Music influences like bossa nova and Cuban rhythmic patterns. The fact that this album includes two American Jazz players and manages to incorporate them into this very non-American music is also a very significant contribution. They both leave their Bebop roots behind and step boldly into the new territory, contributing beautifully. Since these are all very talented musicians, the fact that everybody contributes excellent solos and plays along splendidly with the others is of course no surprise whatsoever. The amalgam of Polish, American and Brazilian musical cultures works out wonderfully and Komeda´s music is again verified as being beyond National borders and as all great music successfully transcends any Cultural diversities and as such this is a very significant tribute to Komeda´s music. This album deserves an honorable place in every serious collection of Polish Jazz recordings.

Updated: 09/01/2017Posted: 09/01/2017

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RGG ~ UNFINISHED STORY – REMEMBERING KOSZ ECNALUMBA ~ POLAND ~ Jazz Recorded: 2007 Released: 2007 This is the 3rd album by the Polish Jazz ensemble RGGFind albums by this artist, which consists of pianist Przemyslaw RaminiakFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. As the title suggests, it is dedicated to the memory of the great Polish Jazz pianist / composer Mieczyslaw KoszFind albums by this artist, who died tragically at the ridiculous age of 29, leaving behind him just a handful of recordings and a memory of a brilliant musician, who was destined for greatness, but missed the opportunity; an unfinished story indeed. The Polish Jazz scene produced a multitude of tribute albums over the years, most of which commemorate the Godfather of Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist. Many of these albums are excellent and worth listening to, but the decision made by RGG to follow a less obvious path (which seems to me their favorite modus operandi) and create a tribute to a much lesser known figure is truly courageous and admirable, especially in view of the fact that rather than present their interpretation of the music composed by Kosz, they created an "in spiritu" homage. Of the twelve tracks on the album only two are compositions by Kosz and one is a classical piece, which he used as a basis for improvisation (see "ReminiscenceFind albums with this title", his only album released during his lifetime). The rest of the album is all original and was mostly composed by Raminiak, Garbowski or co-composed by these two. Two tracks are group improvisations and are credited to the trio. The members of RGG concentrate on the less obvious side of the Kosz musical heritage. Although mostly portrayed as a romantic and lyrical player in the Bill EvansFind albums by this artist vein, he also displayed an enormous longing for the free form improvisation, keeping the melodic fluidity intact, an element RGG members explore to the max. Therefore, although the album is seemingly almost romantically melodic, this is just a clever illusion masterfully created by the RGG musicians. In fact an attentive listening will reveal that most of the music is full of free elements, amalgamated in a way that emphasizes an "organized and orderly freedom". As usual, RGG members display a phenomenal interplay, switching the spotlight from one instrument to another, changing tempi and melodic hints, all of that with elegance and flair, which keep them apart from most other piano trios in Jazz today. Although not explicitly specified on the album´s cover, it was recorded in the legendary Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, the studio owner, a guarantee of superb sonic quality. The musical quality is of course beyond reproach, and this album joins the other albums by RGG as some of the most important Polish Jazz recordings and superb gems of piano trio Jazz.

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KRZYSZTOF SADOWSKI ~ AND HIS HAMMOND ORGAN (POLISH JAZZ VOL.21) MUZA 1021 ~ POLAND ~ Jazz Recorded: 1970 Released: 2006 This is the first album on the legendary Polish Jazz series, which is dedicated to the Hammond organ, the godfather of the electronic keyboards and probably the most significant new instrument, which dominated Jazz and Progressive Rock in the late 1960s and early 1970s (although available since the 1930s). Keyboardist Krzysztof SadowskiFind albums by this artist belongs to the first post WWII generation of Polish Jazz musicians, debuting in the 1950s and active on the local scene for many years. He combined his love of Jazz and Rock, playing with the leading ensembles of both genres with equal dedication and success. This album presents his Hammond organ performances in two different environments: Side A of the original LP captures him accompanied just by drummer Andrzej DabrowskiFind albums by this artist and the duo moves through a Rocky set, which includes a BeatlesFind albums by this artist medley. Side B finds him accompanied by the Polish Radio Jazz Studio OrchestraFind albums by this artist, led by saxophonist / composer Jan Ptaszyn WroblewskiFind albums by this artist and featuring top Polish Jazz players, among them saxophonist Janusz MuniakFind albums by this artist, bassist Bronislaw SuchanekFind albums by this artist, drummer Janusz StefanskiFind albums by this artist and many others. This set is much closer to Jazz and features a beautiful version of Krzysztof KomedaFind albums by this artist´s ballad from "Rosemary´s Baby".

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PIOTR SCHMIDT ~ DARK FORECAST SJ 052 (Barcode: 5902596066635) ~ POLAND ~ Jazz Recorded: 2020 Released: 2020 Polish trumpeter / composer Piotr SchmidtFind albums by this artist returns, undeterred by the pandemic that is changing the face of our globe, to share with us some joyful moments inspired by the music we love so much. Supported by his regular quartet, which includes top Polish Jazz musicians: pianist Wojciech NiedzielaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist, Schmidt presents a set of nine wonderful original compositions and two arrangements of compositions by the Godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist, which offers a highly aesthetic Jazz experience, superbly amalgamating the mainstream Jazz tradition and more open European attitudes. Two North American players, Canadian guitarist Matthew StevensFind albums by this artist and US saxophonist Walter Smith IIIFind albums by this artist, guest on six of the tracks, transforming the quartet into a quintet and spicing the proceedings with an enhanced instrumental variety. Although the majority of the music is firmly based on the beautifully weaved melodic themes, there is also plenty of space for more freely improvised playing, which characterizes contemporary Polish Jazz tendencies, clearly proving that the quartet is able to operate brilliantly in both idioms with the same ease and elegance. Attentive listening will reveal the incredible level of musicality and creativity displayed by these seasoned musicians. The quartet is by far more than just a trumpeter accompanied by a piano trio; it is an organic body performing music as one, which fully shares the responsibility for the final result. Just close your eyes and listen… The album closes with a tune called "A Place Of Hope…" which clearly reflects the universal human sentiment we all share today. Hope for times when the dark forecast will change into brightness and this and every other kind of music can be shared by thousands of people attending live concerts again… Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 17/01/2021Posted: 17/01/2021

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PIOTR SCHMIDT ~ TRIBUTE TO TOMASZ STANKO SJ 038 (Barcode: 5912596066696) ~ POLAND ~ Jazz Recorded: 2018 Released: 2018 This is an album by Polish Jazz trumpeter / composer / bandleader / entrepreneur Piotr SchmidtFind albums by this artist, recorded in a quartet setting with pianist Wojciech NiedzielaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The album presents twelve compositions, eight of which are credited to all four members of the quartet, two were composed by Schmidt and one each were composed by Krzysztof KomedaFind albums by this artist and Bartosz PieszkaFind albums by this artist. The death of the Polish / European Jazz icon, trumpeter / composer / bandleader Tomasz StankoFind albums by this artist, in June of 2018, marked an end of a chapter, or rather an end of an era in European Jazz. Although in recent years many of the most prominent representatives of post WWII European Jazz sadly departed, Stanko was in many respects more than most an epitome of modern European Jazz and his life and career exemplified the most important characteristics of the idiom. His relentless search of uncharted territory, complete disregard of fads and fashions, his open-mindedness and chameleonic, often extremely dramatic changes in his stylistic approach to Jazz and above all his aesthetics, with reminded uncompromising till the very end, were all also often characteristic of many other leading European Jazz Masters, who managed to create an entirely new form of the Jazz essence, completely free of the limitations and shackles enslaving the genre in the past. Tributes are a tricky business, especially so in the case of iconic figures, which were active for decades and managed to produce not only a rich legacy of recorded music, but more importantly were constantly groundbreaking and innovative. How can a "tribute" album express a respectful and artistically coherent picture of an icon? It takes a lot of courage and determination to attempt a tribute recording, which will be meaningful and offer some intrinsic value beyond being just a reflection of the light of a Giant, with the possibility of failure always lurking in the background. Considering the fact that Stanko´s legacy was to a large extent involved with Avant-Garde, Improvised Music and Free Jazz, whereas Schmidt consistently dedicates his career to more mainstream manifestations of the Jazz idiom, always emphasizing melody, harmony, ambience and lyricism, the first reaction to the idea of Schmidt recording a Stanko tribute might be that of disbelief and surprise. But Schmidt already proved to be a mastermind of invention in the past and this time he has surely outdone himself, by finding an ingredient of Stanko´s legacy that fits like a glove to his own modus operandi. As a result Schmidt, rather than creating a "general" tribute to Stanko, decided to put the spotlight on the gentler side of the Stanko´s heritage – Stanko the charmer, the balladeer, the weaver of heartbreakingly beautiful melodies, in short Stanko the Gentle Giant. The resulting concept presents an album full of beautiful, melodic, lyrical Jazz, which strongly resembles that gentle side of Stanko that we all love, but at the same time is completely original as far as the music itself is concerned. The atmosphere and ambience of the album are wonderfully coherent and the music flows serenely penetrating directly the very soul of the listener. The decision of not using and specific tunes composed by Stanko, but creating instead music that "might have been composed" by him is of course brilliant in every respect. The quartet performing the music is ideal for the task. Garbowski and Gradziuk played with Stanko in the recent years and know his music intimately, and their position as one of the leading Polish Jazz rhythm sections is fully justified. They add the ingredients of space and freedom to the quartet´s playing, which is exactly what this music needs to make it completely unwavering and related to Stanko´s musical spirit. Niedziela is beautifully romantic and expressive, with each and every note he plays being exactly what is needed to make the overall sound perfect. Schmidt plays delightfully as well, rather sparingly and delicately, again exactly right for what this music needs. At times, with the eyes closed, his trumpet sounds exactly like Stanko´s, but obviously Schmidt is not trying to imitate Stanko´s playing but, as the entire album does, reproduce the very Stankoish ambience and spirituality. Overall this is a wonderfully executed and cleverly planned piece of music, which achieves the ambitious goal assigned to it in full. It is also a textbook example of what "tribute" albums should sound like, as well as a wonderful example of a bridge over a chasm of the infamous generation gap, which enables a smooth transition of the heritage from one generation to another. Polish Jazz at its best!

Updated: 02/10/2022Posted: 23/11/2018

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PIOTR SCHMIDT INTERNATIONAL SEXTET ~ KOMEDA UNKNOWN 1967 SJ 062 (Barcode: 5902596066796) ~ POLAND ~ Jazz Recorded: 2022 Released: 2022 This is an album by Polish Jazz trumpeter / composer / bandleader / label owner Piotr SchmidtFind albums by this artist, recorded with an international sextet, which includes Lithuanian saxophonist Kestutis VaiginisFind albums by this artist, Czech guitarist David DoruzkaFind albums by this artist, Polish pianist Pawel TomaszewskiFind albums by this artist, bassists American Harish RaghavanFind albums by this artist or Polish Michal BaranskiFind albums by this artist and drummers American Jonathan BarberFind albums by this artist or Polish Sebastian KuchczynskiFind albums by this artist. The sextet performs seven compositions, all by the Godfather of modern Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist. The music is quite sensational, as six of these compositions by Komeda are recorded here for the first time, fifty-five years after they were created. They were originally written as part of the project originated by my Friend and Mentor, German producer Joachim BerendtFind albums by this artist, which resulted in the Jazz & Poetry album “Meine Susse Europaische HeimatFind albums with this title”, that combined Komeda’s music with contemporary Polish poetry. Krzysztof BalkiewiczFind albums by this artist, Polish archivist in charge of Komeda’s heritage, found these additional compositions, which were not used in the process of creating the above album and passed them to Schmidt, who arranged them and recorded with his sextet. Obviously such discovery is a major event as far as the history and legacy of Polish Jazz is concerned. The music is everything that every Komeda fan (and therefore every Polish Jazz fan) might expect, full of brilliant melodic lines, lyricism and melancholy, which are the epitome of Polish Jazz, a big dash of tension and mystery, which characterize Komeda’s compositions and a series of brilliant performances by some of the best Polish, European and American musicians. The album has all the ingredients of an instant classic, which of course is hardly surprising. Although these compositions were not included on the original album, they are by no means less perfect. The playing time restrictions of the LP format dictated the cruel choices, and the budget restrictions dictated the fact that the planned double LP project was rejected. I often wandered over the years where did those additional compositions disappear, and in my talks with Balkiewicz over the years the subject also came up. It is absolutely delightful to see the music being alive again and the prospect that it might inspire future Jazz generations is truly uplifting. Overall, this is a monumental piece of Jazz history, a great discovery and a glorious occasion to discover another element of Komeda’s genius. Everybody involved in this project deserves my sincere thanks: the brilliant musicians, the archivist / detective, the people who brilliantly recorded the music, etc. Every true Jazz enthusiast on this planet should listen to this album, as not hearing it constitutes a big void in the ability to comprehend the European musical aesthetics.

Updated: 29/12/2023Posted: 10/07/2022

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WLADYSLAW SENDECKI / ATOM STRING QUARTET ~ LE JARDIN OUBLIE / MY POLISH HEART NEU KLANG 4198 (Barcode: 4012116419832) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2018 Released: 2018 This is an album by the Polish (resident in Germany) pianist / composer Wladyslaw SendeckiFind albums by this artist, who is accompanied by the highly esteemed Polish Atom String QuartetFind albums by this artist (violinists Mateusz SmoczynskiFind albums by this artist and Dawid LubowiczFind albums by this artist, violist Michal ZaborskiFind albums by this artist and cellist Krzysztof LenczowskiFind albums by this artist). The album presents ten compositions, five of which are original composition by Sendecki, two were composed by his brother Stefan SendeckiFind albums by this artist, one was composed by Krzysztof KomedaFind albums by this artist, another one by Polish Classical composer Karol SzymanowskiFind albums by this artist and finally one was composed by the German composer Wolf KerschekFind albums by this artist. Three of the compositions were arranged by the great British composer / arranger Michael GibbsFind albums by this artist. The music focuses on relatively little known facet of Sendecki´s activity and is mostly dedicated to contemporary Classical music, with relatively limited Jazz references. The piano / string quartet setting suits this musical direction ideally of course and the chamber atmosphere prevails throughout. The piano concerto "My Polish Heart" was composed especially by Kerschek for Sendecki and was performed by him with the NDR Big Band, of which he is the resident pianist. The intimate version of this wonderful piece present here includes only part of the entire composition, but reflects the spirit of the work perfectly. All the pieces on the album are full of the characteristic Polish melancholy and lyricism, which can be found in all Polish music regardless of the genre: Classical, Jazz, Rock or Folklore. The most Jazz oriented piece on the album is of course the "Komeda Hommage", which is a medley of two Komeda´s compositions, brilliantly combining the Jazz and Classical idioms thanks to the unique arrangement by Sendecki and the Atoms and taking a form of a beautiful suite. This album requires very serious listening with attention to details and patience, as it offers a wealth of musical thrills in every aspect. The compositions, arrangements and performances are all loaded with deeply emotional content and are full of virtuosic performances, which are very difficult to be absorbed all at once. Each listening experience promises new discoveries of course. Overall this is a wonderful album full of great music, which offers a Jazz-Classical Fusion of the highest caliber. Lovers of Polish music, regardless of style and fashion, should be delighted by what this album has to offer.

Updated: 11/11/2018Posted: 11/11/2018

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SIMPLE ACOUSTIC TRIO ~ KOMEDA GOWI 22 (Barcode: 786497137329) ~ POLAND ~ Jazz Recorded: 1995 Released: 1995 Polish Jazz musicians are well aware of the enormous contribution made to modern Jazz in their country by the Genius pianist / composer Krzysztof KomedaFind albums by this artist, the Godfather of modern Polish Jazz. Therefore they play tribute to the great man quite often, either by including his compositions or dedicating entire albums to Komeda´s music. This is one of such album, recorded by the great Polish Jazz trio, called Simple Acoustic TrioFind albums by this artist, led by pianist Marcin WasilewskiFind albums by this artist with bassist Slawomir KurkiewiczFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist. This is the trio´s debut album. If these names seem somewhat familiar to you, no wander, as they are also the members of the superb Polish quartet let by the legendary trumpeter Tomasz StankoFind albums by this artist, which recorded three albums for the ECMFind albums on this label label. In fact the trio now records for ECM as well. So now with everything in place, there is little need to expand much further here, as people familiar with the Stanko recordings already know this is one of the best piano trios in the world and everything they touch turns to instant musical gold. This album is no different and every Jazz fan on this planet should enjoy it greatly and with Komeda´s music present, things just can´t get much better. Wholeheartedly recommended!

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SIMPLE ACOUSTIC TRIO ~ WHEN WILL THE BLUES LEAVE? POLONIA 069 (Barcode: 5904542687574) ~ POLAND ~ Jazz Recorded: 1995 Released: 2008 This is the 2nd album by the superb Polish Jazz trio called Simple Acoustic TrioFind albums by this artist, which consists of pianist Marcin WasilewskiFind albums by this artist, bassist Slawomir KurkiewiczFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist. Recorded just a few months after their brilliant debut album "KomedaFind albums with this title", dedicated to the music of the Godfather of Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist, this album is quite different and features the trio´s leader as the main composer in addition to his duties as the focal soloist. Wasilewski composed six of the nine compositions present on this album, Kurkiewicz added one of his own and the other two originate outside the trio, with the title tune being by Ornette ColemanFind albums by this artist and an additional one by Carla BleyFind albums by this artist. Playing their own music allows the trio to stretch out and dare, much more so that on the debut. Of course Komeda´s music can be intimidation and even plain scary to every Polish Jazz musician, in view of Komeda´s legendary status, especially to such young musicians as the trio members at the time of recording the debut. But here they are, free of any (psychological or other) apprehensions, and the music surely indicates that. Of course these musicians are extremely talented and carry the "spark" of Jazz in their soul / heart, so anything they play sounds simply wonderful, even if the youthful energies are sometimes just a bit over the top. Of course a few years later the trio will receive a great lesson in Jazz from their Mentor Tomasz Stanko, with whom they were destined to play and record, a fact that at the time of this recording could only be a dream. But dreams do come true sometimes. In retrospect this is an incredible album by any standard, which (all things considered) withstands the test of time flawlessly and serves as a proof to the fact that the 1990 were not all a loss after all. An absolute must to Polish Jazz fans, piano trio fans and anybody with a pair of clean ears!

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SING SING PENELOPE ~ WE REMEMBER KRZESELKO ELECTRIC EYE 003 (Barcode: 5905912552874) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2006 - 2007 Released: 2008 This is the 3rd album by excellent Polish ensemble Sing Sing PenelopeFind albums by this artist, led by drummer / composer Rafal GorzyckiFind albums by this artist, one of the most versatile and diligent Polish musicians, who also created and leads other ensembles, like Ecstasy ProjectFind albums by this artist. 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 JachnaFind albums by this artist, saxophonist Tomasz GlazikFind albums by this artist, keyboardist Daniel MackiewiczFind albums by this artist and bassist Patryk WeclawekFind albums by this artist. Violinist Sebastian GruchotFind albums by this artist 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 time 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 KomedaFind albums by this artist, including the famous "We`ll Remember KomedaFind albums with this title" album? In any case this album is an absolute must!

Updated: 12/04/2019Posted:

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ADAM SKORCZEWSKI ~ STREAM OF CONSCIOUSNESS MJUSE 002 (Barcode: 5903919630113) ~ POLAND ~ Jazz Recorded: 2019 Released: 2021 This is the debut album by young Polish Jazz trumpeter / composer Adam SkorczewskiFind albums by this artist, recorded in a classic quintet setting with saxophonist Jakub KlemensiewiczFind albums by this artist, keyboardist Dominik KisielFind albums by this artist, bassist Bartosz BorzeszkowskiFind albums by this artist and drummer Hussam Abdul-SamadFind albums by this artist. The album, which was recorded live, presents just three extended tracks, two over fourteen and one over eighteen minutes in duration, which remain sadly uncredited on the album’s artwork (assumably composed by the leader). The music, which is based on solid composed themes, is largely freely improvised, like many contemporary modern Jazz recordings. There are several obvious similarities / quotes from famous / legendary Polish Jazz recordings, conscious or not, especially those related to Krzysztof KomedaFind albums by this artist’s music in general and his album “AstigmaticFind albums with this title” in particular. This is very commendable of course, but to a large extent strengthens my personal feeling that Jazz is largely stuck in its past despite the five decades of intensive effort to move forward. But inspirations aside, the music is certainly very interesting and absorbing, despite its slow and seemingly hesitant, but generally well balanced development. There is plenty of opportunity for the musicians to display their individual talents, but all in good measure. The typical Polish melancholy is the prevailing sentiment, which of course is hardly surprising, but the music offers enough of originality and invention to make it into a fascinating listening experience. The presence of Klemensiewicz and Kisiel is of course immediately noticeable, and they both contribute from their somewhat more mature experience to the flow of the music and its melodic / harmonic structure. Skorczewski has a clear, open trumpet sound, which is truly beautiful and I’d love to hear more of it, as his solos are rather on the short side, but if he composed the music, he surely deserves a lot of credit on that front. Borzeszkowski, of whom I know nothing, holds the fort splendidly, which for this kind of music is crucial of course. Abdul-Samad stays mostly behind the scenes, with his contributions being largely inaudible, perhaps due to the rather iffy sound quality of the recording. Overall, this is a splendid debut effort, full of creative power, respect of Polish Jazz tradition and excellent performances by the participants. As usual, it proves the incredibly high potential of the young local Jazz scene, which keeps developing rapidly. Congratulations and thanks for the music!

Updated: 26/12/2021Posted: 26/12/2021

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KUBA STANKIEWICZ ~ KILAR V 001 (Barcode: 5903111377007) ~ POLAND ~ Jazz Recorded: 2013 Released: 2013 This is finally the full album (preceded by a teaser EP), which presents one of the best Polish Jazz pianists Kuba StankiewiczFind albums by this artist playing his interpretations of music written by the great Polish contemporary Classical and Cinematic music composer Wojciech KilarFind albums by this artist. The music is performed on solo piano, the most "naked" of all formats but also the most unlimited one. Kilar, who is unfortunately less know outside of Poland than his contemporaries like Krzysztof PendereckiFind albums by this artist, Henryk GoreckiFind albums by this artist or Witold LutoslawskiFind albums by this artist, is by no means less important and neither is his wonderful musical legacy. His work as a composer of film scores is truly legendary and his music accompanies over 100 films by all major Polish directors, like Roman PolanskiFind albums by this artist and Andrzej WajdaFind albums by this artist, and also those beyond Poland, both in Europe and the US (for example Francis Ford CoppolaFind albums by this artist). Although a modernist, Kilar´s music is full of romanticism and lyricism, and his sublime sense of melody is second to none. This album includes twelve compositions by Kilar, ten of which are from film scores and the remaining two from TV serials. Stankiewicz treats Kilar´s music with a lot of respect and obvious love. The relaxed and delicate interpretations are full of charming moments, where the improvisations move out and return to the melodic theme. Stankiewicz has a wonderful touch on the piano, which sounds full-bodied and expressive even at a low volume. The overall effect is simply delightful. I especially admire the pianist´s humility and modesty which are the predominant features of his approach to the music. He firmly leaves the focus on the amazing compositions, taking only very limited liberties with the original notes and making his personal input subtly concealed, exposed only to the sensitive listener. Contrary to many other Jazz pianists, who often like to dominate their interpretations of other composers´ music with their own statements, Stankiewicz simply serves as a vessel bringing Kilar´s music to a new audience. Following decades of Polish Jazz musicians obsessively interpreting the music of Frederic ChopinFind albums by this artist and Krzysztof KomedaFind albums by this artist, it´s truly refreshing to hear some musicians turning the attention to other great Polish composers, like the sensational "Experiment: PendereckiFind albums with this title" released recently by pianist Piotr OrzechowskiFind albums by this artist or the new album by the superb RGGFind albums by this artist trio performing the music of Karol SzymanowskiFind albums by this artist. This music is very different, but also very interesting and no less challenging intellectually. An absolute must to all piano, solo piano and Jazz-Classical Fusion listeners everywhere. This is a heartwarming piece of music, which is a balsam to the ears, weary from the noise that surrounds us all. This album was released on a new Polish Jazz record label, called VFind albums on this label Records, steered by the producer Adam DomagalaFind albums by this artist. I look forward impatiently to hear the future releases by this label and in the meantime wish the best of luck with this admirable project to both maestro Stankiewicz and his producer.

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KRYSTYNA STANKO ~ FALE STM 007 ~ POLAND ~ Jazz Recorded: 2020 Released: 2020 This is the 10th album by Polish Jazz vocalist / songwriter Krystyna StankoFind albums by this artist this time recorded in an intimate trio setting with two of her long-time musical partners: vibraphonist Dominik BukowskiFind albums by this artist and bassist Piotr LemanczykFind albums by this artist. The album presents eleven songs, one of which was written (music and lyrics) by Stanko, six were composed by Bukowski and three by Lemanczyk featuring lyrics by Stanko and finally one is a Polish Jazz standard by Krzysztof KomedaFind albums by this artist. The same trio already recorded an album once before, which produced the wonderful Xmas Jazz album "Cuda OglaszajaFind albums with this title". The minimalist setting of this album allows the listener to hear really closely the work of all three participants, who are equally featured and important herein. Although released under Stanko´s name, this is a completely integral work of the trio. Stanko, who has over two decades of recording albums behind her, proves again that she is one of the very top Jazz vocalists in Poland, and the years of experience are clearly evident on this album. Coming back to the stricter Jazz environment in comparison to her last two albums, which flirted with more popular forms (still being excellent of course), Stanko utilizes somewhat different approach on this album, uses vocalese and other vocal techniques and when singing lyrics she masterly improvises with intonation, intensity and pronunciation, all in a most charming way. Bukowski, as always, weaves some superb melodies, which although never simplistic or straightforward, are always full of delicate aesthetics and beauty. There is always a "story" behind his music and Stanko´s lyrics work perfectly with his notes. His vibraphone performances are, as always, absolutely perfect, and full of sophisticated dynamics and virtuosic technical ability. Lemanczyk is, again as always, simply stunning and his bass playing puts him at the very top of European bass players list today. Both his acoustic and electric pulsations are always perfectly rounded, sublimely musical and full of his very idiosyncratic approach to the role of the bass in Jazz. His compositions are also brilliant of course, as known to his many followers. A true musician´s musician, he is always a source of great pleasure, whatever the circumstances. Overall this is a brilliant album, full of superb music and outstanding performances, which happen relatively rarely, and a great example of Jazz vocals, close interplay and above all good taste and respect of Jazz aesthetics. It is a school book example of the genre and I hope the many aspiring young Polish Jazz vocalist will take time to listen to it and more importantly learn from it, avoiding the many traps they tend to fall in on their way. Personally I wish to thank the creators of this music for giving me such pleasure while listening to their work. As for Krysia; I long for a big hug, since it has been way too long since we met last. Love you!

Updated: 23/03/2024Posted: 18/01/2021

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TOMASZ STANKO ~ BALLADYNA ECM 1071 (Barcode: 602517775978) ~ POLAND ~ Jazz Recorded: 1975 Released: 2008 This is a debut recording on the ECMFind albums on this label label by legendary Polish trumpeter / composer Tomasz StankoFind albums by this artist, one of the great Lions of European Jazz, now in his fifth decade of the tireless journey dedicated to discovering uncharted territory, and the first album by any Polish artist on that label. Stanko´s association with ECM continues now into its fourth decade. The music, recorded by an international quartet, which features also the great Polish saxophonist Tomasz SzukalskiFind albums by this artist, British bass Giant Dave HollandFind albums by this artist and Finnish Master-drummer Edward VesalaFind albums by this artist, is one of the greatest recording of modern European Jazz in the 1970s. Stanko, who was a member of the first Polish modern Jazz group, led by his Mentor pianist / composer Krzysztof KomedaFind albums by this artist, continued the tradition of cooperating with players from other European countries, whenever possible at those troubled times. His cooperation with Szukalski and Vesala continued for several years and they recorded several albums together, including the phenomenal "TwetFind albums with this title", recorded a year before this album, with bassist Peter WarrenFind albums by this artist in place of Holland. The music is mostly oriented towards Free Jazz, but Stanko´s intrinsic sense of melody and immense lyricism overpowers the free form and becomes the leading force, pushing the music effortlessly and magically into a mystic plane, full of sounds and intermitting silences, which create a gentle, deeply emotional vistas. The interplay between all the quartet members is simply incredible and the resulting music sounds as if created by one collective body and mind. This is undoubtedly on the finest moments of Jazz ever recorded and an essential piece of music, timeless and everlasting! Visitors' Comments Christopher  Brice I definitely agree with Adam`s "essential" label on this one. But look out for Stanko`s "From the Green Hill" with John Surman and others - even better IMHO

CD 1 Mini-Sleeve Essential Recommend To A Friend

TOMASZ STANKO ~ CHOPIN`S LETTERS. IMPROVISATIONS NIFC 074 (Barcode: 5906395034710) ~ POLAND ~ Jazz Recorded: 2014 Released: 2022 This is a live album by iconic Polish Jazz trumpeter / composer / bandleader Tomasz StankoFind albums by this artist, recorded in a quartet setting with pianist Marcin WasilewskiFind albums by this artist, Norwegian bassist Arild AndersenFind albums by this artist and Finnish drummer Olavi LouhivuoriFind albums by this artist. Fragments of Frederic ChopinFind albums by this artist’s letters are recited by Andrzej ChyraFind albums by this artist. The album presents fifteen tracks, nine of which are performed by the quartet, of those eight are original compositions by Stanko and one is by Krzysztof KomedaFind albums by this artist. Three of the quartet tracks include recitation and six tracks are recitations only. The album is packed in a lavish digibook format with bi-lingual texts, which include the texts of the letters and background information about the musicians. The album presents a special concert, organized by The Fryderyk Chopin Institute, recorded in 2014, which was part of the music festival called “Chopin and his Europe”. The album was released only in 2022, four years after Stanko’s death in 2018. In many respects the recording follows the Jazz & Poetry concept, but in this case the spoken word is Prose, which is obviously less effective, especially since the music was not specifically written to accompany these texts, but rather offers a random (?) selection of Stanko’s compositions recorded during his long career. The performances are, as expected, nothing short of spectacular, with Wasilewski’s beautiful romanticism, Anderson’s brilliant bass parts, Louhivuori’s energetic and tasteful rhythmic accents and of course Stanko’s Godly trumpet artistry. The sound quality of the live recording is a bit iffy at times, but acceptable. Chopin’s fate as the Polish “National” composer has been brutally abused over time by the Polish Jazz community, with hundreds, if not thousands of interpretations of his music, often completely tasteless and unnecessary. Although this album is completely innocent of these vices, it still rises a question as to the relevance of the project as a whole, at least in my mind. Overall, this is a beautiful Jazz album, which Stanko’s many fans worldwide can fully enjoy, if they program their player to skip over the spoken word tracks. Polish speakers can of course enjoy also Chopin’s witty and emotional letters, in addition to the excellent Jazz music, and I leave them to contemplate the connection between the two at their own leisure.

Updated: 02/08/2024Posted: 02/08/2024

CD 1 Digibook Recommend To A Friend

TOMASZ STANKO ~ DARK EYES ECM 2115 (Barcode: 602527112664) ~ POLAND ~ Jazz Recorded: 2009 Released: 2009 Polish trumpeter / composer Tomasz StankoFind albums by this artist, one of the great Lions of European Jazz, now in his fifth decade of the tireless journey dedicated to discovering uncharted territory. Following the last three brilliant recordings with his all-Polish quartet in the early to mid 2000s and then three years of silence, Stanko returns with this recording of a completely new group comprising of young Scandinavian musicians: Finnish pianist Alexi TuomarilaFind albums by this artist, Danish guitarist Jakob BroFind albums by this artist, Danish bassist Anders ChristensenFind albums by this artist and Finnish drummer Olavi LouhivuoriFind albums by this artist. Obviously rejuvenated by the presence of these young and talented players, Stanko presents his new energetic music as well as paying tribute to his Mentor Krzysztof KomedaFind albums by this artist by including two of his compositions into the set. There is no need to say much more here, as Stanko is already well beyond criticism with his magic touch and incredible talent. He shows no signs of age and anything produced by him is pure gold. Although the album does not break any new ground musically, one can hardly hold this against Stanko, who just keeps perfecting what he does best, and as a result allows us to drink from his seemingly perpetually full cup. Brilliant stuff!

CD 1 Slipcase Recommend To A Friend

TOMASZ STANKO ~ EGZEKUTOR (SOUNDTRACK) UNIVERSAL 044001434723 (Barcode: 044001434723) ~ POLAND ~ Jazz Recorded: 2001 Released: 2001 Polish trumpet virtuoso / composer Tomasz StankoFind albums by this artist is universally recognized as one of world´s top Jazz musicians since many years. However, his contributions as composer of music for cinema is somewhat lesser known, which is a pity. Stanko´s work in that area started way back to the early 1970s, but even earlier, when he was a member of the legendary Krzysztof KomedaFind albums by this artist ensemble, he already became intimate with the art of writing for cinema from his mentor, who was one of the greatest soundtrack creators ever, mostly known for his work for Roman PolanskiFind albums by this artist. It is therefore understandable that Stanko´s music for films would become heavily influenced by Komeda´s approach, which culminates with this soundtrack, written to a brilliant film by Polish director Filip ZylberFind albums by this artist. In fact this is the second time Stanko contributes the soundtrack to a film by Zylber, with "A Farewell To MariaFind albums with this title" being the predecessor to this one. Stanko is accompanied by some impressive players on this album, most notably by singer Justyna SteczkowskaFind albums by this artist, who contributes some breathtaking vocalese parts. Also present are Janusz SkowronFind albums by this artist on synthesizer, Slawomir KurkiewiczFind albums by this artist on bass, Michal MiskiewiczFind albums by this artist on drums, and Zbigniew BrysiakFind albums by this artist on percussion, as well as a string quartet. But Stanko´s trumpet dominates this music completely and overwhelmingly, when it plays completely solo or is accompanied by other instruments. Stanko´s virtuosity and magic sound are truly magnificent and supported by the atmospheric and often melancholic melodic motifs, the overall effect is simply stunning. It is a rare occasion when a soundtrack stand alone as a full fledged Jazz album, and this is a superb example of this being the case. I can only say that every Stanko fan should try and listen to this album, even if finding it today, only 10 years after it was released, is virtually impossible. The album was released as a double set with a CD and DVD Audio (Surround Sound) version of the music, which present different mixes of the same music. An absolute must!

CD+DVD 2 DVD-A Recommend To A Friend

TOMASZ STANKO ~ JAZZMESSAGE FROM POLAND B.FREE 6098 ~ POLAND ~ Free Jazz / Improvised Music Recorded: 1972 Released: 2016 This is a reissue of a relatively obscure album by the Polish Jazz icon Tomasz StankoFind albums by this artist, released originally by a small independent German label JGFind albums on this label Records. The album was recorded by the first quintet Stanko formed as a leader, shortly after the death of the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist, with whom Stanko recorded extensively for years. The quintet included the best Polish Jazz musicians at the time: violin virtuoso Zbigniew SeifertFind albums by this artist, flautist / saxophonist Janusz MuniakFind albums by this artist, bassist Bronislaw SuchanekFind albums by this artist and drummer Janusz StefanskiFind albums by this artist. This album is one of three albums this quintet recorded, following the legendary "Music For KFind albums with this title" (from 1970) and proceeding "Purple SunFind albums with this title" (from 1973, with Hans HartmannFind albums by this artist on bass instead of Suchanek), also originally released on a small German label CaligFind albums on this label Records. The album was recorded live and presents just three extensive pieces, the longest almost half an hour in duration. The pieces are credited to Muniak / Stanko, Seifert and Stanko respectively. The music is a brilliant example of early European Free Jazz / Improvised Music, which illustrates the differences between the American approach to Free Jazz and the European Free Jazz aesthetic, with is much more settled and sophisticated already at this early stage. It also shows the development of Stanko and the members of his quintet and their involvement with Free Jazz, proving to be a major step forward from what they played together on their debut album. All the musicians are prominently featured on the album, which in spite of the fact that it was recorded live, offers a crystal clear sound quality and allows the individual instruments to be perfectly audible. Seifert is spiritually closest to Stanko´s explorations and proves to be also an equally brilliant instrumentalist, being able to transform the John ColtraneFind albums by this artist inspirations into the European sphere of aesthetics, which Stanko is pursuing as well. Muniak also contributes very valuable input and the rhythm section offers an exquisite mixture of free time and discipline, which holds this music brilliantly together. In retrospect this is a milestone recording and an essential piece of Polish / European Jazz history, which is worth its weight in gold and should be a part of every serious European Free Jazz collection!

Updated: 22/04/2018Posted: 22/04/2018

CD 1 Digipak Recommend To A Friend

TOMASZ STANKO ~ LITANIA – MUSIC OF KRZYSZTOF KOMEDA ECM 1636 (Barcode: 731453755123) ~ POLAND ~ Jazz Recorded: 1997 Released: 1997 Polish trumpeter / composer Tomasz StankoFind albums by this artist, one of the great Lions of European Jazz, now in his fifth decade of the tireless journey dedicated to discovering uncharted territory. Anybody familiar with the history of European Jazz is of course aware of the fact that Stanko was a member of the early modern Polish Jazz group led by his Mentor pianist / composer Krzysztof KomedaFind albums by this artist, one of world´s most important Jazz personalities, a Godfather of Polish Jazz and a phenomenal composer, in retrospect perhaps one of the greatest composers in Jazz history. Stanko´s musical personality was obviously formed and shaped by his association with Komeda, a fact that he often openly admits. Although Stanko occasionally paid homage to Komeda on his recordings over the years, it was only a matter of time until Stanko would produce a full-scope project as a tribute to Komeda´s music (and Komeda the man), and this is it. Stanko carefully arranged a series of composition by Komeda, ranging from his early works to his latest ones, and presents them here, performed by a septet comprising of Scandinavian musicians. Of course this is not a coincidence, as Komeda´s music was first recognized and acknowledged as exceptional outside his native country in Scandinavia (Sweden in particular), Poland´s northern neighbors, where Komeda performed during his lifetime, played and recorded with local musician and befriended many of them. The lineup includes Swedish saxophonists Bernt ResengrenFind albums by this artist (a veteran player of Komeda´s generation) and Joakim MilderFind albums by this artist, pianist Bobo StensonFind albums by this artist, bassist Palle DanielssonFind albums by this artist, and Norwegian drummer Jon ChristensenFind albums by this artist and guitarist Terje RypdalFind albums by this artist (present on three tracks only). Since I´ve already written extensively about Komeda´s music, I will only say that these performances manage both to preserve the original beauty and depth of it, as well as transform is successfully into the present Jazz idiom, with grace, intelligence and deep respect. The performances are stellar from start to finish, the solos breathtaking, the rhythm session imaginative, yet solid like a rock – in other words this is perfect in every sense one can associate with music. This is a worthy and fitting tribute to the great Genius by the best and most sensitive musicians around and an absolute must in any music library, regardless of genre preferences. Beyond essential!

CD 1 Slipcase Essential Recommend To A Friend

TOMASZ STANKO ~ MUSIC FOR K (POLISH JAZZ VOL.22) MUZA 922 ~ POLAND ~ Jazz Recorded: 1970 Released: 2004 This album is Tomasz StankoFind albums by this artist`s tribute to his mentor Krzysztof KomedaFind albums by this artist shortly after his tragic death. A stellar cast of polish virtuosi, including the violin genious Zbigniew SeifertFind albums by this artist, play some of the most advanced and intelligent music so characteristic of European jazz. This music gets better and better with time.

CD 1 Digipak Oversampling Remastered Recommend To A Friend

TOMASZ STANKO ~ MUSIC FOR K (POLISH JAZZ VOL.22) POWER BROS 00131 ~ POLAND ~ Jazz Recorded: 1970 This album is Tomasz StankoFind albums by this artist`s tribute to his mentor Krzysztof KomedaFind albums by this artist shortly after his tragic death. A stellar cast of polish virtuosi, including the violin genious Zbigniew SeifertFind albums by this artist, play some of the most advanced and intelligent music so characteristic of European jazz. This music gets better and better with time.

CD 1 Recommend To A Friend

TOMASZ STANKO ~ TWET (POLISH JAZZ VOL.39) POWER BROS 33860 ~ POLAND ~ Jazz Recorded: 1974 Released: 1986 This monumental album by Polish Jazz trumpeter / composer Tomasz StankoFind albums by this artist in one of the most important releases on the legendary Polish Jazz series, which means it´s a truly stellar performance. It captures perfectly the soul of Stanko´s 1970s Free Jazz period, which culminated just a year later with the recording of the legendary "BalladynaFind albums with this title" album for ECMFind albums on this label, in almost identical lineup. Similarly to his Mentor, Krzysztof KomedaFind albums by this artist, Stanko always tried to work with musicians from other countries, even when the bureaucracy of the Socialist regime made it quite difficult. Like Komeda before him, he worked with musicians from the neighbor Scandinavian countries, finding a close friend and partner in the free-spirited Finnish legendary drummer Edward VesalaFind albums by this artist. Young Polish saxophonist Tomasz SzukalskiFind albums by this artist was given the position previously held by such giant musicians as Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist, which testifies to Stanko´s high confidence in him. The quartet was completed by the great American bassist Peter WarrenFind albums by this artist, who lived at the time in Europe and participated actively in the incredible European Jazz scene of that period. The album includes five pieces, credited to all four musicians and obviously largely improvised, with some limited preconceived melody lines barely audible under the surface. The unedited, "live in the studio" recording perfectly reflects the atmosphere of the session, with Free blowing and intense interplays, enthusiastically encouraged by Vesala´s howls and cries in the background. This is definitely a magic moment, captured for posterity on this recording, which has very few parallels, and therefore is so incredibly important. Stanko´s fans will of course find plenty of his superb trumpet performances here, which are second to none. Any European Jazz connoisseur, Polish Jazz enthusiast or Stanko aficionado must absolutely have this album!

CD 1 Remastered Essential Recommend To A Friend

TOMASZ STANKO ~ TWET (POLISH JAZZ VOL.39) MUZA 0939 ~ POLAND ~ Jazz Recorded: 1974 Released: 2004 This monumental album by Polish Jazz trumpeter / composer Tomasz StankoFind albums by this artist in one of the most important releases on the legendary Polish Jazz series, which means it´s a truly stellar performance. It captures perfectly the soul of Stanko´s 1970s Free Jazz period, which culminated just a year later with the recording of the legendary "BalladynaFind albums with this title" album for ECMFind albums on this label, in almost identical lineup. Similarly to his Mentor, Krzysztof KomedaFind albums by this artist, Stanko always tried to work with musicians from other countries, even when the bureaucracy of the Socialist regime made it quite difficult. Like Komeda before him, he worked with musicians from the neighbor Scandinavian countries, finding a close friend and partner in the free-spirited Finnish legendary drummer Edward VesalaFind albums by this artist. Young Polish saxophonist Tomasz SzukalskiFind albums by this artist was given the position previously held by such giant musicians as Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist, which testifies to Stanko´s high confidence in him. The quartet was completed by the great American bassist Peter WarrenFind albums by this artist, who lived at the time in Europe and participated actively in the incredible European Jazz scene of that period. The album includes five pieces, credited to all four musicians and obviously largely improvised, with some limited preconceived melody lines barely audible under the surface. The unedited, "live in the studio" recording perfectly reflects the atmosphere of the session, with Free blowing and intense interplays, enthusiastically encouraged by Vesala´s howls and cries in the background. This is definitely a magic moment, captured for posterity on this recording, which has very few parallels, and therefore is so incredibly important. Stanko´s fans will of course find plenty of his superb trumpet performances here, which are second to none. Any European Jazz connoisseur, Polish Jazz enthusiast or Stanko aficionado must absolutely have this album!

CD 1 Digipak Oversampling Remastered Essential Recommend To A Friend

TOMASZ STANKO QUINTET ~ WOODEN MUSIC I ASTIGMATIC 020 ~ POLAND ~ Free Jazz / Improvised Music Recorded: 1972 Released: 2022 This is an archival live album by the iconic Polish Jazz trumpeter / composer / bandleader Tomasz StankoFind albums by this artist and his legendary first quintet, which also included saxophonist / flautist Janusz MuniakFind albums by this artist, saxophonist / violinist Zbigniew SeifertFind albums by this artist, bassist Bronislaw SuchanekFind albums by this artist and drummer Janusz StefanskiFind albums by this artist. The music was recorded by Radio Bremen on June 15, 1972 and presents six tracks with uncredited music, entitled simply pieces 1-6. The sound quality, clarity and separation of this recording is better than any other album recorded by this quintet, live or in the studio. The album includes a 32 pages bi-lingual booklet presenting historical background about the quintet and the music and photographs. Stanko formed the quintet in 1968 following his departure from the Krzysztof KomedaFind albums by this artist quintet, and it soon became Poland’s most important, searching and pioneering ensemble on the early 1970s. The quintet activity, which lasted until 1973, marked the first period of Stanko’s career as a leader and his extensive explorations of the Free Jazz / Improvised Music idiom. The quintet performed and recorded more often in Western Europe, especially in Germany, than in Poland and as a result also recorded more albums there than at home. The collective discography of the quintet includes the legendary “Music For KFind albums with this title” (Poland 1970), “Jazzmessage From PolandFind albums with this title” (Germany 1972), “Purple SunFind albums with this title” (Germany 1973), “W Palacu PrymasowskimFind albums with this title” (Poland 1973 / Side A only) and now this album and its successor “Wooden Music IIFind albums with this title”, not yet released at the time of writing. The album, in addition to the fabulous music of course, offers a highly interesting glance at the European Jazz scene at the time and presents the Polish Jazz contribution to the European emancipation from the American domination, in creating a completely new Jazz aesthetics. Other interesting aspects of the music are the hair-raising virtuosity of Seifert, who left the saxophone and concentrated totally on the violin, revolutionizing the violin’s position in Jazz, or the brilliant contributions by Suchanek, who is the absolute centerpiece of the quintet, without whom this music would never sound as coherent as it does here or the sublime polyrhythmic drumming by Stefanski, who was a superb Master of the trade. Overall, this is a brilliant addition to the Polish Jazz discography, nothing short of a holy grail, considering it took half a Century for the music to be discovered and released. Polish Jazz owes a huge gratitude to the German radio stations and record labels, which recorded the music at a time when recording in Poland was extremely limited and many treasures, such as this one, would have never been preserved for eternity. This is an essential piece of European Jazz discography and an album deserving an honorable place in any serious record collection.

Updated: 07/06/2024Posted: 19/01/2023

CD 1 Digipak Remastered Essential Recommend To A Friend

TOMASZ STANKO QUINTET ~ WOODEN MUSIC II ASTIGMATIC 026 ~ POLAND ~ Free Jazz / Improvised Music Recorded: 1972 Released: 2023 This is the second archival live album by the iconic Polish Jazz trumpeter / composer / bandleader Tomasz StankoFind albums by this artist and his legendary first quintet, which also included saxophonist / flautist Janusz MuniakFind albums by this artist, saxophonist / violinist Zbigniew SeifertFind albums by this artist, bassist Bronislaw SuchanekFind albums by this artist and drummer Janusz StefanskiFind albums by this artist. The music was recorded by NDR Hamburg on November 9, 1972 and presents four tracks with uncredited music, which are collectively improvised. It is the second volume of the German Radio recordings and the sound quality, clarity and separation of these recordings are better than any other albums recorded by this quintet, live or in the studio. Stanko formed the quintet in 1968 following his departure from the Krzysztof KomedaFind albums by this artist quintet, and it soon became Poland’s most important, searching and pioneering ensemble on the early 1970s. The quintet activity, which lasted until 1973, marked the first period of Stanko’s career as a leader and his extensive explorations of the Free Jazz / Improvised Music idiom. The quintet performed and recorded more often in Western Europe, especially in Germany, than in Poland and as a result also recorded more albums there than at home. The collective discography of the quintet includes the legendary “Music For KFind albums with this title” (Poland 1970), “Jazzmessage From PolandFind albums with this title” (Germany 1972), “Purple SunFind albums with this title” (Germany 1973), “W Palacu PrymasowskimFind albums with this title” (Poland 1973 / Side A only) and now the two “Wooden MusicFind albums with this title” archive albums. The album, in addition to the fabulous music of course, offers a highly interesting glance at the European Jazz scene at the time and presents the Polish Jazz contribution to the European emancipation from the American domination, in creating a completely new Jazz aesthetics. Other interesting aspects of the music are the hair-raising virtuosity of Seifert, who left the saxophone and concentrated totally on the violin, revolutionizing the violin’s position in Jazz, or the brilliant contributions by Suchanek, who is the absolute centerpiece of the quintet, without whom this music would never sound as coherent as it does here or the sublime polyrhythmic drumming by Stefanski, who was a superb Master of the trade. Overall, this is a brilliant addition to the Polish Jazz discography, nothing short of a holy grail, considering it took half a Century for the music to be discovered and released. Polish Jazz owes a huge gratitude to the German radio stations and record labels, which recorded the music at a time when recording in Poland was extremely limited and many treasures, such as this one, would have never been preserved for eternity. This is an essential piece of European Jazz discography and an album deserving an honorable place in any serious record collection.

Updated: 07/06/2024Posted: 07/06/2024

CD 1 Digipak Remastered Essential Recommend To A Friend

WOJCIECH STARONIEWICZ ~ A`FREAK-KOMEDA PROJECT ALLEGRO 029 (Barcode: 5901157049292) ~ POLAND ~ Jazz-World Fusion Recorded: 2015 Released: 2015 This is the second album by veteran Polish Jazz saxophonist / composer Wojciech StaroniewiczFind albums by this artist and his A`Freak-aN ProjectFind albums by this artist ensemble, which consists of a four saxophones front line: Staroniewicz on tenor, Przemek DyakowskiFind albums by this artist on tenor, Dariusz HerbaszFind albums by this artist on baritone and Marcin JanekFind albums by this artist on soprano. The extended rhythm section includes vibraphonist Dominik BukowskiFind albums by this artist, bassist Janusz MackiewiczFind albums by this artist, drummer Roman SlefarskiFind albums by this artist and percussionist Larry Okey UgwuFind albums by this artist. As the title suggests, the album is dedicated to the music of Krzysztof KomedaFind albums by this artist and four of the six tracks presented here were composed by Komeda, and the remaining two are original composition by Staroniewicz, who also arranged all the music. The African influences on this album, similarly to its predecessor, are relatively subtle and are wisely intertwined with the Jazz content, being felt primarily on the rhythmic plane and the overall atmosphere of the music. As a result this music is still very much mainstream Jazz, and not overtly a Jazz-World Fusion, although African spirit is present during the entire proceedings. The arrangements of Komeda´s tunes work all very nicely, which on one hand proves that Komeda´s music is completely universal, and on the other that Staroniewicz and his colleagues do a great job here, lovingly and respectfully treating the creations of the great composer. The two originals by Staroniewicz ale also first rate tunes, fitting the overall atmosphere of the album. The four saxophones section plays both superb ensemble arrangements and inspired individual solos, which are a true delight. Bukowski is also excellent, as usual, as is the solid rhythm section, which simply does a perfect job here. The level of instrumental work on this album is highly professional and full of joy and elegance. Altogether this is a superb mainstream Jazz album, which features great music, intelligent arrangements and perfect execution. The almost impossible task of saying something innovative in relation to Komeda´s music was successfully achieved here as well. Therefore hopefully as many Jazz fans as possible will decide to check out this beautiful little gem and share its gift of music. Once again I´d like to say that the graphic design of this album, which continues its predecessor´s idea, is among the most elegant and eye-catching album designs on the Polish Jazz market.

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WOJCIECH STARONIEWICZ ~ QUIET CITY POLONIA 043 ~ POLAND ~ Jazz Recorded: 1995 Released: 1995 This is an early release by veteran Polish Jazz saxophonist / composer Wojciech StaroniewiczFind albums by this artist, recorded in a classic quartet setting with pianist Andrzej JagodzinskiFind albums by this artist, bassist Adam CegielskiFind albums by this artist and drummer Cezary KonradFind albums by this artist. The album includes six original compositions, all by Staroniewicz, most of which are ballads. After listening to just a few opening notes it becomes immediately apparent that this is a Polish Jazz recording, as the music is full of the characteristics, which are unique to Polish Jazz: wonderfully lyrical melodies, folkloristic undertones, unusual meters and those unique harmonies, which only Polish Jazz musicians are able to invent. Also clearly apparent is the virtuosity of the participants, who in spite of their (at the time) young age sound as if they played Jazz for decades. Staroniewicz has a beautiful tone when playing his tenor saxophone, which resembles several of the great American saxophonists, but has more vitality and chutzpah. Jagodzinski is a fantastic player and this early recording already shows him in his full capacity. The rhythm section is also first class, doing a fantastic job supporting the two soloists both during the ensemble parts and solo parts. Although this is solid mainstream Jazz, it is full of intelligent moments and passionate performances, which take the music well beyond what is usually conceived as mainstream. Partly due to the leader´s superb compositions and partly to the musicians growing up absorbing the Polish Jazz heritage, which includes the innovations introduced by Krzysztof KomedaFind albums by this artist, which were as much influential on Polish Jazz as John ColtraneFind albums by this artist´s legacy was on the global scene, this music is both a classic example of mainstream Jazz as much as an epitome of Polish Jazz. In retrospect I find myself returning to this album from time to time and although it is rarely considered as a Polish Jazz "classic", it is definitely so for me. Of course the fact that it was recorded almost two decades ago means absolutely nothing except for the fact that is seems to be getting better with time. The fact that Staroniewicz emerged eventually as one of the pillars of the Polish Jazz scene, not only as a player but also as a record label owner, concert organizer, etc. proves that he means business, which is always a great quality in people. So a "classic" for me, and if you get to listen to it – it will be also a "classic" for you!

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WOJCIECH STARONIEWICZ / A`FREAK-AN PROJECT ~ LIVE IN GDANSK ALLEGRO 038 (Barcode: 5901157049384) ~ POLAND ~ Jazz-World Fusion Recorded: 2016 Released: 2019 This is the third album by veteran Polish Jazz saxophonist / composer / bandleader Wojciech StaroniewiczFind albums by this artist and his A`Freak-aN ProjectFind albums by this artist ensemble, which is an octet featuring a saxophone quartet and an extended rhythm section: Staroniewicz on tenor, Przemek DyakowskiFind albums by this artist on tenor, Dariusz HerbaszFind albums by this artist on baritone, Marcin JanekFind albums by this artist on soprano, Dominik BukowskiFind albums by this artist on vibraphone, Janusz MackiewiczFind albums by this artist on bass, Roman SlefarskiFind albums by this artist on drums and Larry Okey UgwuFind albums by this artist on percussion. The album, which was recorded live at Radio Gdansk, presents seven compositions, two of which are originals by Staroniewicz, four are by Krzysztof KomedaFind albums by this artist and one is by McCoy TynerFind albums by this artist, all arranged by Staroniewicz. This album is in fact a live version of the previous album by the ensemble from 2015, called "A`Freak-Komeda ProjectFind albums with this title", except for the Tyner track. Therefore basically everything I wrote about that album applies also here – just click on the link. As Staroniewicz says on the album´s artwork, this album is a great opportunity to compare the same music recorded in studio and live, which of course can be very different. The live concert setting offers much more dynamics and excitement and expanded improvisations, but is prone to minor "mishaps", which in retrospect are usually simply charming. Since the Komeda arrangements are really very special, I recommend to Polish Jazz enthusiasts to put their hands on this album as well and compare these versions with the studio ones, and enjoy a great live album with excellent musicians on board.

Updated: 14/01/2020Posted: 14/01/2020

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BOBO STENSON ~ VERY EARLY DRAGON 304 (Barcode: 7391953003044) ~ SWEDEN ~ Jazz Recorded: 1986 Released: 1997 This is an expanded reissue / remaster of the third album by the great Swedish pianist / composer Bobo StensonFind albums by this artist, recorded in a classic piano trio format with bassist Anders JorminFind albums by this artist and drummer Rune CarlssonFind albums by this artist. Originally released in 1987, this CD edition adds three bonus tracks not present on the LP. The album presents nine tracks, one of which is an original composition by Stenson and another by Jormin, and the rest are standards. The music is absolutely delightful, classic Jazz piano trio setting and modern mainstream repertoire, emphasizing the talents of three Giant musicians. Stenson is one of the great European romantics, whose music can be followed on the impressive series of recordings for the ECMFind albums on this label label, starting with his debut album from 1971 and the latest one (at the time of writing) released in 2023. Stenson released only two albums as a leader outside of his ECM recordings, this one being one of them. Jormin is one of my favorite Jazz bassist, a true virtuoso and a brilliantly sensitive player, with an impressive recording legacy both as a leader and member of groups led by Charles LloydFind albums by this artist and Tomasz StankoFind albums by this artist. Carlsson, one of Sweden’s Jazz Godfathers, known to be the drummer of choice by many American Jazz musicians, who played often in Sweden on the 1960s and 1970s. He is also known to Polish Jazz followers as a member of the early groups led by Krzysztof KomedaFind albums by this artist. Overall, this is an excellent Jazz piano trio album, which shows the Swedish / European Jazz at its best, and is a delightful musical experience from start to finish. Piano trio buffs will be absolutely smitten by this music, especially if they were not previously exposed to the early years of Stenson. Wholeheartedly recommended!

Updated: 03/08/2023Posted: 03/08/2023

CD 1 Remastered Bonus Tracks Recommend To A Friend

SUN SHIP ~ AQUARIUM LIVE NO.5 POLJAZZ / ANEX 303 (Barcode: 5907513047582) ~ POLAND ~ Jazz Recorded: 1978 Released: 2009 Excellent live recording in the legendary Warsaw Jazz club "Aquarium" by the Polish Jazz quartet Sun ShipFind albums by this artist, formed by keyboardist Wladyslaw SendeckiFind albums by this artist following his departure from the great Fusion band Extra BallFind albums by this artist, which he also co-founded some years earlier. Sendecki, as well as his three companions: saxophonist Zbigniew JaremkoFind albums by this artist, bassist Witold SzczurekFind albums by this artist and drummer Marek StachFind albums by this artist are all representatives of the second generation of the Polish Jazz scene, well educated and experienced musicians, who grew up in the shadow of their mentors like Krzysztof KomedaFind albums by this artist, Tomasz StankoFind albums by this artist, Zbigniew NamyslowskiFind albums by this artist and others, carrying the great tradition of Polish Jazz further into the future. Somewhat tired of playing Fusion, which was the predominant style of the early 1970s, Sun Ship returns to modern Jazz based on solid melodic compositions and improvisational skill of the band members. The use of synthesizers in addition to the acoustic piano is the only "leftover" from the Fusion days, and most of the music is acoustic. Sendecki´s keyboard wizardry is plainly obvious and his fluid technique and great sense of melody are truly exquisite. Brilliant stuff!

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EJE THELIN QUINTET ~ AT THE GERMAN JAZZ FESTIVAL 1964 DRAGON 374 (Barcode: 7391953003747) ~ SWEDEN ~ Jazz Recorded: 1964 Released: 2002 This is a reissue / remaster of a live album by Swedish trombonist / composer / bandleader Eje ThelinFind albums by this artist, recorded with his quintet, which also included saxophonist Ulf AnderssonFind albums by this artist, Belgian pianist / flautist Joel VandroogenbroekFind albums by this artist, Polish (resident in Sweden) bassist Roman DylagFind albums by this artist and drummer Rune CarlssonFind albums by this artist. The album presents seven tracks, two of which are originals by Thelin, one is by Vandroogenbroek, another one is by Swedish pianist / composer Lars SjostenFind albums by this artist and three are standards. The last track is a previously unreleased bonus. The sound quality of this 1964 recording is absolutely stunning (well the German radio sound engineers were as good as their British peers). The album’s booklet reprints the original liner notes of the German edition, written by my Friend and Mentor Joachim BerendtFind albums by this artist, whom I miss every day. Thelin was one of the great pioneers of European Jazz, and although he was strongly influenced by the American Jazz tradition, later on in his career he embraced modern European aesthetics. Dylag was a Polish Jazz pioneer and played on many early Polish Jazz recordings, including those by Krzysztof KomedaFind albums by this artist, where Thelin and Carlsson also played. After he emigrated to Sweden, he was the “Polish connection” for many Polish Jazz musicians, who kick started their careers in Scandinavia. The music is mostly Bebop oriented, but the European finesse and elegance turns the album into an instant classic, which shows that by the mid-1960s the Europeans were catching up with what arose across the pond, soon to leave the Americans behind deep in the dust ;) Overall, this is a classic early European Jazz recording, which shows how well the local musicians learned from what was happening across the pond, ready to go their separate ways soon after. Brilliant reminder of the mid-1960, when I was growing up listening to this kind of stuff.

Updated: 28/01/2025Posted: 28/01/2025

CD 1 Remastered Bonus Tracks Recommend To A Friend

TONE RAW ~ TONE RAW SOS 12012 (Barcode: 5901694110127) ~ POLAND ~ Jazz Recorded: 2012 Released: 2012 This is a phenomenal debut album by a young (very young) Polish Jazz quartet Tone RawFind albums by this artist, which consists of saxophonist Marek KonarskiFind albums by this artist, pianist Sebastian ZawadzkiFind albums by this artist, bassist Thomas KolarczykFind albums by this artist and drummer Kuba GudzFind albums by this artist. All four are music students, two of them in Berlin and two others in Odense, Denmark (where many Polish young musicians set out to study Jazz at the local Academy of Music). The album consists of nine tracks, five of which were composed by the pianist, one each by the saxophonist and the drummer, one by a fellow Danish student and one by the godfather of Polish Jazz Krzysztof KomedaFind albums by this artist, which is performed solo by the pianist. The album was recorded at the Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, with the usual spectacular sonic result. It is truly impossible to guess the age of these musicians just from listening to the album, as they project incredible maturity both as performers and composers. The music, which although is based on solid melodic themes, is full of space and freedom, allowing the players and the listener to float willingly somewhere in the vicinity without being constrained in any way. The melodies have a subtle, but recognizable ethnic influence, which encompasses such diverse (culturally) areas as Eastern Europe, Middle East or Scandinavia. But in spite the different influences, the music presents quite a recognizable stylistic unity, which is extremely rare among young ensembles. Zawadzki, who is the most prominent composer on this album, and who also plays the solo piano piece, is perhaps at the focal point herein, but it seems that the teamwork and mutual respect shift the focal point towards the cooperative effort rather than individual statements. The overall effect of the album is typical European Jazz aesthetics, which not only refuses to be forgotten, but keeps pushing the envelope of the genre further and further away from its 20th Century sources, traditions and limitations. These youngsters understand subconsciously that Jazz, Classical Music and Folklore are simply different manifestations of the same Cultural asset, a resource, which one can explore at will, guided only by one´s intrinsic sense of beauty, intelligence and above all talent. And there is certainly a lot of talent on this album. These players and their music deserve the attention of Polish Jazz enthusiasts, as they certainly have a lot of potential, which they have just started to explore. If this is their starting point, one might only wonder what they are capable of creating in the not too distant future. Definitely a striking debut effort!

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MIKOLAJ TRZASKA ~ KLER (SOUNDTRACK) KILOGRAM 039 ~ POLAND ~ Soundtracks Recorded: 2017 - 2018 Released: 2019 The close cooperation between a film director and a cinematic music composer, which last for many years, is quite a common phenomenon in the Film industry, and of course has its long tradition in Polish cinema as well. Such famous couplings include Roman PolanskiFind albums by this artist – Krzysztof KomedaFind albums by this artist, Krzysztof KieslowskiFind albums by this artist – Zbigniew PreisnerFind albums by this artist and of course also Wojciech SmarzowskiFind albums by this artist – Mikolaj TrzaskaFind albums by this artist. Trzaska wrote the music for all the films by Smarzowski ("Dom Zly", "Roza", "Drogowka", "Pod Mocnym Aniolem", "Wolyn" and "Kler"), except for his debut film ("Wesele"). Trzaska, one of the leaders of Polish Free Jazz / Avant-Garde / Improvised Music scene, seems to find himself at ease with writing music for films, which of course works quite differently than his usual modus operandi on stage or in the studio, surrounded by other improvisers. The magic that happens when Smarzowski´s often harsh, shocking and deeply troubling visual expressionism gets combined with Trzaska´s music, and the two fit together perfectly, as if created in one mind. Trzaska, who plays saxophones and clarinets, involved in creating this music the "usual suspects", i.e. artists he worked with earlier, like clarinetist Pawel SzamburskiFind albums by this artist, Danish vibraphonist / drummer Peter Ole JorgensenFind albums by this artist, multimedia Artist / musician Marek RogulskiFind albums by this artist and The Sejny Theater Klezmer OrchestraFind albums by this artist. The album presents nine original compositions, all by Trzaska, which last together for almost thirty seven minutes, and served as a source of the incidental music incorporated within the film. As usual in the case of film soundtracks released as stand alone albums the crucial test is if the music is able to hold its ground on its own, without the presence of the visual element being involved. Trzaska managed to achieve this with his previous cinematic projects and he does not disappoint here as well. The album delivers a coherent, quite diverse series of atmospheric / ambient pieces, which are a fascinating journey, and the listener is able to create his own scenography and plot on the fly or simple accept the music on a purely emotional plane. Although not involved directly with Jazz per se, the spirit of improvisation is an integral part of this music, as appropriate for Trzaska and his usual sound environment. It takes a while to enter this enigmatic world of sounds, but the more one listens to this music the more addictive it becomes. I have but to agree with Smarzowski (who writes so on the album´s cover) that this album is very much different from the film, which of course is pretty obvious, but the overall effect of Trzaska´s music is absolutely phenomenal on its own. I am grateful to be able to call this great Artist a Friend!

Updated: 19/02/2020Posted: 19/02/2020

CD 1 Mini-Sleeve Recommend To A Friend

ANDRZEJ TRZASKOWSKI ~ POLISH RADIO JAZZ ARCHIVES VOL.05 POLSKIE RADIO 1609 (Barcode: 5907812246099) ~ POLAND ~ Jazz Recorded: 1962 Released: 2013 This is the fifth installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venue, the annual Jazz Jamboree Festival and many other festivals as well. The material presented here presents the iconic figure of the post WWII Polish Jazz pioneer, pianist / composer Andrzej TrzaskowskiFind albums by this artist. Of the twelve tracks on this album, first five are live recordings from the 1962 Jazz Jamboree Festival and the remaining seven are studio radio recordings from the same year. The material was recorded by three different lineups: The WreckersFind albums by this artist quintet (which alternated bass players), which included saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist, bassists Roman DylagFind albums by this artist or Juliusz SandeckiFind albums by this artist and drummer Adam JedrzejowskiFind albums by this artist, the Andrzej Trzaskowski Quintet, which had the same lineup as The Wreckers, except for drummer Andrzej DabrowskiFind albums by this artist and the Andrzej Trzaskowski Trio, which included bassist Roman Dylag and drummer Adam Jedrzejowski. The material includes both original compositions by Trzaskowski (four of the five live tracks) and modern Jazz standards. Listeners familiar with the Polish Jazz history will of course notice immediately that the core of Trzaskowski´s group (Namyslowski and Urbaniak) was also the core of the soon to be formed revolutionary ensemble led by Krzysztof KomedaFind albums by this artist, and Dylag already played with Komeda as a member of his trio at the very same Jazz Jamboree 1962 Festival. This brings on the issue of the buried controversy as to who was in fact the pivotal Godfather figure of the Polish Jazz, Andrzej Trzaskowski or Krzysztof Komeda. Komeda (born 1931), who was a couple of years older from Trzaskowski (born 1933) but they both definitely belonged to the same generation, both dominated the scene in the late 1950s and early to mid 1960s and both were breaking new ground with their music, as performers and composers. Of course Komeda will go down in history as the overall winner of this little debated contest, due to his enormous international success as composer of film music, which Trzaskowski also dealt with but with a much lesser success. Considering the fact that Trzaskowski´s recorded legacy is lamentably limited, this album is a superb addition to his heritage, especially in view of the top-form performances and fantastic remastering work, which makes the music herein sound fresh, clear and vibrant. Namyslowski and Urbaniak fans will also have a field day with this music, which documents the early days of their illustrious careers. This album is therefore a "must have" for any Polish Jazz fan, old and young alike, as this music is ageless and its historic significance is priceless.

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ANDRZEJ TRZASKOWSKI ~ SEANT (POLISH JAZZ VOL.11) POLSKIE RADIO 0541 (Barcode: 5901448115415) ~ POLAND ~ Jazz Recorded: 1965 - 1966 Released: 2005 This monumental album, perhaps as important as fellow Polish Jazz Godfather Krzysztof KomedaFind albums by this artist´s "AstigmanticFind albums with this title", recorded at the same period, is unfortunately significantly less known and appreciated, both in Poland and abroad, which is a great misfortune. Pianist / composer Andrzej TrzaskowskiFind albums by this artist contributed enormously to the development of Polish Jazz, especially in the field of more experimental, Avant-Garde, Free Jazz music, which was rapidly developing worldwide in the 1960s. This sextet recording, which includes American trumpeter Ted CursonFind albums by this artist (of Charles MingusFind albums by this artist fame), who was spending as much of his time in Europe as at home, playing along brilliant Polish crew: saxophonists Wlodzimierz NahornyFind albums by this artist and Janusz MuniakFind albums by this artist, bassist Jacek OstaszewskiFind albums by this artist and drummer Adam JedrzejowskiFind albums by this artist. The music, all original compositions by Trzaskowski, is simply brilliant and absolutely pioneering in every respect. Listening to this album in retrospect one can hear clearly that in the historic perspective it was as innovative and groundbreaking as anything else created at the time over the pond and beyond the Iron Curtain. In addition it is also aesthetically beautiful and intellectually challenging. An absolute must to any Polish Jazz enthusiast; this is an essential piece of Polish Jazz history.

Updated: 12/04/2019Posted:

CD 1 Digipak Oversampling Remastered Essential Recommend To A Friend

MACIEJ TUBIS ~ KOMEDA: REFLECTIONS AUDIO CAVE 2022/009 (Barcode: 5908298549544) ~ POLAND ~ Jazz Recorded: 2022 Released: 2022 Here we go again… another Polish Jazz album dedicated to / based on the music by the Godfather of modern Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist. It is truly mindboggling why so many Polish Jazz musicians fall time and again into the same trap, especially in view of some catastrophic fiascos, blunders and bloody murders committed already in that area. I even promised myself that the next time I get another album like that I will simply throw it away immediately, but you know me… I just can’t throw away music… Maciej TubisFind albums by this artist has a solid recording legacy behind him, with five albums by his trio, two in a duet and some other projects under his belt, most of which have been warmly received. This album, although designated as a solo piano effort, finds Tubis adding synthesizer support on three of the seven tracks, all of which are of course interpretations of music composed by Komeda, both his cinematic compositions and his Jazz repertoire. The arrangements vary from relatively close to the original versions to widely distant interpretations. What can I honestly say about the music? Well, Tubis is a highly skilled piano player and knows all the tricks in the book to make everything sound pretty – which is probably the biggest problem of this music. People, who understand Komeda’s music know that his music is anything, but pretty. It is deeply emotional, full of pain and despair, tragically melancholic, but never pretty, even if it sounds like it. But hay, this is just me, and what do I know… To be fair, this is not a bad album at all, Tubis plays fluently and there is enough diversity to keep the listener interested in the music from start to finish. Personally I think he just made a wrong decision this time and surely he will create a lot of great music in the future, which of course I wish him wholeheartedly. Overall, some people will probably love this album, as it is mostly easy on the ear and a very pleasing listening experience. A pity Komeda’s memory was involved, but that’s the price we pay for the freedom of expression. Stick to your own music, my Friend!

Updated: 30/09/2022Posted: 30/09/2022

CD 1 Digipak Recommend To A Friend

FRANTISEK UHLIR ~ DOUBLE BASS SESSION MULTISONIC 310737 (Barcode: 741941073721) ~ CZECH REPUBLIC ~ Jazz Recorded: 2008 Released: 2009 This album presents a live recording by a one time octet led by the great veteran Czech bassist Frantisek UhlirFind albums by this artist, which includes five double bass players playing simultaneously, definitely a completely innovative concept. Apart from Uhlir, who has been the country´s modern jazz pillar for several decades, the other bassist include the veteran German bassist Ali HaurandFind albums by this artist, known for his involvement on the European Jazz scene both in the mainstream and more experimental directions, and three younger Czech bassists: Peter DvorskyFind albums by this artist, Vit SvecFind albums by this artist and Tomas BarosFind albums by this artist. Saxophonist David VrobelFind albums by this artist, guitarist Adam TvrdyFind albums by this artist and drummer Jan LinhartFind albums by this artist are the remaining octet members. The octet performs seven pieces, four of which were composed by Uhlir, one by Haurand and the remaining two are standards, including the wonderful "Rosemary´s Baby" by legendary Polish composer Krzysztof KomedaFind albums by this artist. Obviously the bass is the center of attention here, with many superb solos and ensemble performances. Uhlir manages to arrange the music in such a way that each bass performance can be heard perfectly clearly, which is quite difficult. It will take some effort from a less experienced listener to follow five basses simultaneously, in addition to the other three instruments, but the effort is definitely worth it. In addition to being a great tribute to the bass, this album also presents the next generation of Czech bass players, who follow in the footsteps of their great predecessors, like Uhlir, George MrazFind albums by this artist (originally Jiri Mraz) and Miroslav VitousFind albums by this artist. There is so much love, care and intelligent playing here, that every Jazz connoisseur, and of course double bass aficionados in particular, should be delighted with the music herein. Hats off to Uhlir for putting this project together and of course a big thank you. Warmly recommended! Side Note This album is a part of the “Jazz Na Hrade (Jazz At Prague Castle)” series, released by the Czech MultisonicFind albums on this label label, which presents live recordings performed at various locations inside the charming Prague Castle, now the residence of the President of the Czech Republic. The series was initiated in 2004 by President Vaclav KlausFind albums by this artist, who often introduces the players himself on these albums, and symbolizes the respect and love of all things Cultural by the Czech People, including Jazz of course.

Updated: 16/03/2022Posted:

CD 1 Recommend To A Friend

MICHAL URBANIAK ~ FUSION III WOUNDED BIRD 3542 (Barcode: 664140354227) ~ POLAND ~ Jazz-Rock-World Fusion Recorded: 1975 Released: 2012 This is a reissue of the third (and last) US album by Polish Jazz violinist / composer Michal UrbaniakFind albums by this artist, released originally on the ColumbiaFind albums on this label label in 1975. In retrospect it is also one of the best Fusion albums ever recorded on this planet. Urbaniak, a veteran of the Polish Jazz scene, first came to prominence as the member of the legendary groups led by the Godfather of Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist. While with Komeda, Urbaniak played the saxophone and switched to violin only after founding his own group in the late 1960s, when he also changed his musical direction from Modern / Free Jazz to Fusion, inspired by the groundbreaking innovations created at the time by Miles DavisFind albums by this artist. In his group he included his wife, the extraordinary singer Urszula DudziakFind albums by this artist and together they quickly developed a completely unique type of Fusion, which was light years ahead of anything else happening in that genre at the time anywhere in the world. Mixing Jazz, Rock, Folklore and Avant-Garde vocals, they established a completely new approach to composition and multilayered complexity, as documented on the two albums the group recorded as part of the legendary "Polish Jazz" series of albums, which was simply brilliant. Frustrated by the state of affairs in his country, which suffered under a Socialist Regime and harsh economic conditions, Urbaniak, like most of his colleagues, constantly looked for an opportunity to leave Poland and establish a career behind the Iron Curtain. He managed initially to record a couple of albums in West Germany for the SpiegeleiFind albums on this label label, but the real break came when Columbia offered him a recording deal. He and his wife left Poland and settled in the USA, as did several other Polish Jazz musicians at the time, like his ex group member pianist / composer Adam MakowiczFind albums by this artist for example. The three albums Urbaniak recorded for Columbia (and several more for other US labels, especially the dazzling "Funk FactoryFind albums with this title" album recorded shortly after this one and also reissued on Wounded BirdFind albums on this label) were outstanding and simply much better than anything the local scene could muster, but unfortunately Urbaniak´s US career never really took off, same as the careers of all other Polish Jazz musicians who tried to make it there, in spite of their immense talents. The reason was simply the narrow-mindedness of the US Jazz community (listeners and critics alike), which considered Jazz to be exclusively an American Art Form and failed to recognize anything originating outside of the US as artistically valid and meaningful, even if it hit them in the face. On this album Urbaniak is accompanied by top US Fusion players like guitarist John AbercrombieFind albums by this artist, bassist Anthony JacksonFind albums by this artist and drummer Steve GaddFind albums by this artist, as well as Polish compatriot keyboardist Wlodek GulgowskiFind albums by this artist. Guitarist Larry CoryellFind albums by this artist guests on one track, guitarist Joe CaroFind albums by this artist guests on another and Polish vocalist Bernard KafkaFind albums by this artist guests on yet another track. Drummer Gerald BrownFind albums by this artist replaces Gadd on two tracks. Dudziak´s vocals are simply out of this world and alone are worth listening to this album repeatedly. Urbaniak wrote almost all the dazzling music except for three tracks: a Dudziak improvisation, a superb composition by Polish saxophonist Zbigniew NamyslowskiFind albums by this artist, which fits this album´s mood like a glove and one tune by Gulgowski. As already said, this is timeless, heavenly, unparalleled music, which I´ve been listening to in the last almost 40 years without any trace of getting tired by it any time soon. This is an absolutely essential Fusion music, and anybody who has not heard this music does not know the true meaning of Fusion. God bless Wounded Bird for finally releasing this divine album on CD!

Updated: 11/09/2019Posted:

CD 1 Essential Recommend To A Friend

MICHAL URBANIAK / CONSTELLATION ~ IN CONCERT (POLISH JAZZ VOL.36) MUZA 1036 ~ POLAND ~ Jazz-Rock-World Fusion Recorded: 1973 Released: 2005 This is a reissue of the second album on the legendary "Polish Jazz" series by the Polish saxophonist / violinist / composer / bandleader Michal UrbaniakFind albums by this artist. A veteran Polish Jazz musician, Urbaniak was a member of the legendary ensembles led by Krzysztof KomedaFind albums by this artist, where he played the saxophone, but by the early 1970 he switched to the violin and plunged into Jazz-Rock Fusion, rapidly becoming one of the most inventive and creative pioneers of the genre. This album and the albums recorded in Germany and later in the USA are absolute Fusion milestones, but also stand out as completely unique in their approach to the genre. Urbaniak combined the marvelous abilities of his wife Urszula DudziakFind albums by this artist and her extraordinary and experimental vocalese technique with his common usage of Polish Folklore motifs, creating a superb and completely unparalleled Fusion music. This live recording captures his baseless / double keyboard ensemble, which also includes organist Wojciech KarolakFind albums by this artist, pianist Adam MakowiczFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist. The music, all composed by Urbaniak, is simply out of this world, brilliant and fresh, absolutely resistant to the tides of time and fashion. In retrospect one can only regret that Fusion followed mostly the direction of flashy virtuosic display of neck-breaking guitar races rather than the direction proposed by Urbaniak´s Fusion, but it´s unfortunately too late now. At least we can savor this music, 40 years after it was recorded, well aged and beautifully eternal. A must!

Updated: 08/09/2019Posted:

CD 1 Digipak Remastered Essential Recommend To A Friend

MICHAL URBANIAK / CONSTELLATION ~ IN CONCERT (POLISH JAZZ VOL.36) POWER BROS 00119 ~ POLAND ~ Jazz-Rock Fusion Recorded: 1973 Released: 1993 This is a reissue of the second album on the legendary "Polish Jazz" series by the Polish saxophonist / violinist / composer / bandleader Michal UrbaniakFind albums by this artist. A veteran Polish Jazz musician, Urbaniak was a member of the legendary ensembles led by Krzysztof KomedaFind albums by this artist, where he played the saxophone, but by the early 1970 he switched to the violin and plunged into Jazz-Rock Fusion, rapidly becoming one of the most inventive and creative pioneers of the genre. This album and the albums recorded in Germany and later in the USA are absolute Fusion milestones, but also stand out as completely unique in their approach to the genre. Urbaniak combined the marvelous abilities of his wife Urszula DudziakFind albums by this artist and her extraordinary and experimental vocalese technique with his common usage of Polish Folklore motifs, creating a superb and completely unparalleled Fusion music. This live recording captures his baseless / double keyboard ensemble, which also includes organist Wojciech KarolakFind albums by this artist, pianist Adam MakowiczFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist. The music, all composed by Urbaniak, is simply out of this world, brilliant and fresh, absolutely resistant to the tides of time and fashion. In retrospect one can only regret that Fusion followed mostly the direction of flashy virtuosic display of neck-breaking guitar races rather than the direction proposed by Urbaniak´s Fusion, but it´s unfortunately too late now. At least we can savor this music, 40 years after it was recorded, well aged and beautifully eternal. A must!

Updated: 08/09/2019Posted:

CD 1 Essential Recommend To A Friend

VARIOUS ARTISTS ~ POLISH RADIO JAZZ ARCHIVES VOL.03 POLSKIE RADIO 1599 (Barcode: 5907812245993) ~ POLAND ~ Jazz Recorded: 1962 Released: 2013 This is the third installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venue, the annual Jazz Jamboree Festival and many other festivals as well. The material collected here presents recordings made during the 5th Jazz Jamboree, which took place between October 27 and 29, 1962 in Warsaw. The artists include two Scandinavian Jazz ensembles: Swedish trombonist Eje ThelinFind albums by this artist and his quintet and the Jazz FraktionenFind albums by this artist quintet featuring the Danish saxophonist John TchicaiFind albums by this artist. One track features the American trumpeter Don EllisFind albums by this artist accompanied by a Polish trio led by pianist Wojciech KarolakFind albums by this artist, which was already presented on volume 2 of this series, offering here an alternate take. Another track presents the quintet led by Polish vibraphonist Jerzy MilianFind albums by this artist, which features the legendary Krzysztof KomedaFind albums by this artist on piano. The last track presents the Danish vibraphonist Louis HjulmandFind albums by this artist also accompanied by pianist Wojciech Karolak and his trio. At the time Poland kept a relatively open relation with the Scandinavian countries, as opposed to the Western Europe, which explains the presence of several Scandinavian players at the festival. Also some Polish Jazz managed to play in Scandinavia at that time, including Komeda. Except for Ellis, who plays an original composition, all the other ensembles play Jazz standards, mostly Bebop, which was the model for most modern European Jazz musicians at the time, leading to the development of a new style, which would crystallize over the next few years. The performances are all excellent and their invaluable historical significance is beyond reproach. Beautifully restored sound quality and a warm ambience of the live analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its meaning to the development of Polish Jazz in particular and Polish Culture in general. Nevertheless this is an essential piece of history which every Polish Jazz fan will surely consider an absolute must.

CD 1 Digipak Remastered Recommend To A Friend

VARIOUS ARTISTS ~ POLISH RADIO JAZZ ARCHIVES VOL.12 POLSKIE RADIO 1632 (Barcode: 5907812246327) ~ POLAND ~ Jazz Recorded: 1963 Released: 2014 This is the twelfth installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well. The material collected here presents recordings made in 1963 during the sixth Jazz Jamboree festival in Warsaw. The majority of the material, i.e. thirteen of the seventeen tracks, is performed by Dutch vocalist Rita ReysFind albums by this artist (who died a few months ago in July 2013) accompanied by a trio led by her husband pianist Pim JacobsFind albums by this artist with guitarist Wim OvergaauwFind albums by this artist and Pim´s brother bassist Ruud JacobsFind albums by this artist. In addition one instrumental track by the trio is also included. The remaining three tracks are performed by the top Polish Jazz musicians at the time: two by vibraphonist / composer Jerzy MilianFind albums by this artist accompanied by the Krzysztof KomedaFind albums by this artist trio with bassist Maciej SuzinFind albums by this artist and drummer Leszek DudziakFind albums by this artist; the last track is by the Komeda quintet, with saxophonist Michal UrbaniakFind albums by this artist, trumpeter Tomasz StankoFind albums by this artist, bassist Maciej Suzin and drummer Czeslaw BartkowskiFind albums by this artist. All the tracks are Jazz standards except for the last one, which is a Komeda composition. Reys performs a set of classic vocal material, comprising of popular songs known to all Jazz listeners. Her singing is beautifully expressive, but not virtuosic and copying mannerisms from American vocal Jazz stars. She also has a slight foreign accent, but definitely passable. The accompaniment is elegant and supportive, with Pim´s piano playing being truly exceptional. The guitar plays sadly only a few solo spots, and when not soloing it is mostly hidden in the recording balance; as a result is seems Reys is accompanied mostly by a piano / bass duo only. Overall this is a fine presentation of mainstream Jazz vocals, nothing spectacular but a nice document of the moment in time. The Milian tracks are also rather pale, well performed and all, but again nothing special. Komeda plays some great piano phrases, which are always delightful and the rhythm section is doing its job as expected. The Komeda quintet is obviously the most interesting track herein with a typical beautiful melody line only he could weave and the quintet playing along splendidly. One may wonder why these three tracks were selected as the "filler" for this album, as both ensembles (Milian´s and Komeda´s) played full sets, which would be very interesting in their entirety. The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must.

CD 1 Digipak Recommend To A Friend

VARIOUS ARTISTS ~ POLISH RADIO JAZZ ARCHIVES VOL.14 POLSKIE RADIO 1664 (Barcode: 5907812246648) ~ POLAND ~ Jazz Recorded: 1963 Released: 2014 This is the fourteenth installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well. The material collected here presents the third volume of recordings made in 1963 during the sixth Jazz Jamboree festival in Warsaw. In contrast to the two earlier volumes, this one presents only Polish Jazz musicians, and therefore is by far the most interesting and enlightening of the three. In many respects this album is a comprehensive review of the Polish Jazz scene at the time and presents the early days of the modern Polish Jazz at its pivotal stage of forming its own identity, as far as sound, atmosphere, character and unique stylistic aesthetics are concerned. The album includes just six tracks, by four different ensembles, playing expanded compositions, three of which cross the fifteen minutes duration time, a clear signal of creativity and improvisational freedom typical of modern Jazz. The ensembles are: Zbigniew NamyslowskiFind albums by this artist (saxophone) quartet with pianist Wlodek GulgowskiFind albums by this artist, bassist Tadeusz WojcikFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist (one track), Andrzej TrzaskowskiFind albums by this artist (piano) quintet with saxophonists Zbigniew Namyslowski and Michal UrbaniakFind albums by this artist, bassist Juliusz SandeckiFind albums by this artist (here misspelled as Julian) and drummer Adam JedrzejowskiFind albums by this artist (two tracks), Alek MusialFind albums by this artist (trumpet) quintet with vibraphonist Ryszard KruzaFind albums by this artist, pianist Wlodzimierz NahornyFind albums by this artist, bassist Wieslaw DamieckiFind albums by this artist and drummer Bogdan JopekFind albums by this artist (one track) and finally Krzysztof KomedaFind albums by this artist (piano) quintet with trumpeter Tomasz StankoFind albums by this artist, saxophonist Michal Urbaniak, bassist Maciej SuzinFind albums by this artist and drummer Czeslaw Bartkowski (two tracks). Of the six compositions three are standards and three are originals, one by Trzaskowski and two by Komeda. Stylistically the music is quite similar, ranging from more traditionally based modern Jazz in case of the Namyslowski and Musial tracks to more advanced characteristic Polish Jazz material in case in of the music by Trzaskowski and finally most dramatically in the music by Komeda, which is already eons ahead of its time. The two Komeda tracks are the epitome of modern Polish / European Jazz, which clearly show a mature approach free of the restrictions imposed by the American Jazz tradition. These tracks are alone worth the price of the entire album, but of course the rest of the material is also quite excellent. The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must.

Updated: 02/12/2016Posted:

CD 1 Digipak Remastered Recommend To A Friend

VARIOUS ARTISTS ~ POLISH RADIO JAZZ ARCHIVES VOL.22 POLSKIE RADIO 1874 (Barcode: 5907812248741) ~ POLAND ~ Jazz Recorded: 1964 Released: 2015 This is the twenty-second installment in the series of releases initiated by the Polish Radio, which presents archive Jazz recordings from the radio vaults. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well. The ten tracks collected here were recorded during the seventh Jazz Jamboree Festival, which took place between October 24 and 26 1964 in Warsaw. This is the third part of the Jazz Jamboree 1964 recordings. The music was performed by four different ensembles, which are: the Italian Flavio Ambrosetti All StarsFind albums by this artist (five tracks), led by saxophonist Flavio AmbrosettiFind albums by this artist with trumpeter Franco AmbrosettiFind albums by this artist, Swiss pianist George GruntzFind albums by this artist, Polish bassist Tadeusz WojcikFind albums by this artist and Swiss drummer Pierre FavreFind albums by this artist and three Polish Jazz ensembles, Krzysztof KomedaFind albums by this artist Quintet (one track) with trumpeter Tomasz StankoFind albums by this artist, saxophonist Michal UrbaniakFind albums by this artist, bassist Janusz KozlowskiFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist, Polish Jazz QuartetFind albums by this artist (two tracks) led by saxophonist Jan Ptaszyn WroblewskiFind albums by this artist with pianist Wojciech KarolakFind albums by this artist, bassist Juliusz SandeckiFind albums by this artist and drummer Andrzej DabrowskiFind albums by this artist and Zbigniew NamyslowskiFind albums by this artist Quartet (two tracks) with pianist Wlodek GulgowskiFind albums by this artist, bassist Tadeusz Wojcik and drummer Czeslaw Bartkowski. This is by far the most interesting of the three volumes of the Jazz Jamboree 1964 recordings, as it presents the modern Polish Jazz about to explode into modernism, which will shape its destiny for generations to come. Stanko, Urbaniak, Wroblewski, Bartkowski are still active on the Polish scene, fifty years latter, carrying the fire which was first sparkled around the time these recordings were made. The Ambrosetti set is also interesting, as it allows a glance at two legendary Jazz figures: Gruntz and Favre, at their early days. Most of the music performed on this album is original. The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must.

Updated: 08/07/2020Posted:

CD 1 Digipak Remastered Recommend To A Friend

VARIOUS ARTISTS ~ PRZYJACIELE GRAJA HAJDUNA ALLEGRO 023 (Barcode: 5901157049230) ~ POLAND ~ Jazz Recorded: 2009 Released: 2011 This album presents the live recording of a memorial concert dedicated to the Polish pianist / composer Janusz HajdunFind albums by this artist, who died a year before this concert took place. Hajdun composed music to more than a hundred films, including the short animated film "Tango", which was the first and so far only Polish film to win the Oscar in 1983, as well as many popular songs. His music was characterized by a distinctive swing and a Jazz spirit, and therefore it is only natural that the Polish Jazz musicians taking part in this concert would pay this loving tribute to the beautiful music composed by Hajdun, hoping to preserve it for posterity. The album presents thirteen compositions by Hajdun (in two cases co-compositions), all of which were beautifully arranged by the participating musicians and three of which include vocals sung by Wanda StaroniewiczFind albums by this artist. The instrumentalist are: legendary pianist Wlodzimierz NahornyFind albums by this artist, trumpeter Piotr NadolskiFind albums by this artist, guitarist Marcin WadolowskiFind albums by this artist, saxophonist Wojciech StaroniewiczFind albums by this artist, bassist Janusz MackiewiczFind albums by this artist, vibraphonist Dominik BukowskiFind albums by this artist, saxophonist Dariusz HerbaszFind albums by this artist, percussionist Adam GolickiFind albums by this artist and pianist Kuba HajdunFind albums by this artist (the composer´s son). The music is truly beautiful, full of the typical Polish lyricism, somewhat melancholic and even gloomy, but always absorbing and aesthetically perfect. There is more than a coincidental similarity to Krzysztof KomedaFind albums by this artist´s cinematic work, which indisputably inspired Hajdun, as it did all Polish composers. Hearing all this music collected here makes a great impact as a sum total and emphasizes his incredible value as a composer and contributor to the development of Polish Culture. The performances are inspired and overall perfect, full of superb solos and excellent team work, kept in relative low-key, as appropriate for a memorial concert. Ranging from solo piano performances to a full-blown Jazz ensemble, things are definitely happening here, which should leave no listener cold. The fact that people pay tribute to their departed colleagues and mentors is heartwarming and commendable and when it is done with such love, dedication and talent, it becomes an unforgettable event. This is Polish Jazz at its best, and as such it deserves to be listened to with attention and open-mindedness. Taking care of the past and the heritage is every bit as important as taking care of the future, let´s not forget it.

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VARIOUS ARTISTS ~ STANISLAW MONIUSZKO: Z DOMOWEGO SPIEWNIKA REQUIEM / LYDIAN 2020/13 ~ POLAND ~ Jazz-Classical Fusion Recorded: 2020 Released: 2020 This is one of many albums recorded by Polish Jazz artists as part of the birthday bicentenary celebrations of the Polish Classical composer Stanislaw MoniuszkoFind albums by this artist (1819-1872). This album presents Jazzed up arrangements of eight songs taken from his "Home Songs" collections, performed by mezzo-soprano operatic singer Aleksandra OpalaFind albums by this artist, pianist Piotr MatusikFind albums by this artist, saxophonist Marcin ZupanskiFind albums by this artist and accordionist Wojciech GolecFind albums by this artist. The approach is quite original, and offers a direct contrast between the Classic songs performed by Opala and the improvised / Jazzy parts by the three instrumentalists, which harmonize beautifully, even when they "clash" stylistically when the instrumental parts are almost Free Jazz oriented. As a result this is definitely one of the most interesting Moniuszko related Polish Jazz projects the "Moniuszko year" produced. As magnificent and interesting as the Polish Jazz scene is, easily topping the European scene in the last two decades or so, it suffers from local "obsession" when dealing with its National Musical heritage. A huge part of Polish Jazz recordings is related either to Krzysztof KomedaFind albums by this artist (the Godfather of Polish Jazz) or Frederic ChopinFind albums by this artist (the National composer), and lately Moniuszko – all totally out of proportion and in complete contrast to the need to respectfully leave the past behind and look ahead. Of course such projects find support more easily from the Ministry of Culture and other financial support bodies, but such opportunism should be kept at bay as much as possible. Having said all that, this project is definitely "forgiven" for riding on the Moniuszko wave, due to its originality and overall splendid music it offers and for being quite different from most Jazz-Classical Fusion offerings the world over. Personally I enjoyed this music immensely, as weird as it sound at first – well done Lady and Gentlemen!

Updated: 15/07/2021Posted: 04/01/2021

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VARIOUS ARTISTS ~ TRIBUTE TO KOMEDA NOT ON LABEL ~ POLAND ~ Jazz Recorded: 2011 Released: 2012 There is no doubt that the legendary figure of pianist / composer / bandleader Krzysztof KomedaFind albums by this artist, the Godfather of Polish Jazz, is still very much present on the local scene, more than forty years after his untimely and tragic death. Komeda´s charisma, mystique, prophetic vision and above all his extraordinary talent as a composer keep his legacy alive generation after generation, with his musical heritage being passed on to the upcoming young Polish Jazz artists, as an integral part of the modern Polish Culture. In the scope of those forty plus years since Komeda´s death the Polish Jazz scene produced a plethora of recordings, concerts, festivals and other events dedicated to his memory. As a result the idea of commemorating Komeda has been overexploited and often even abused by lesser quality attempts, which result in blemishing his memory rather than uphold it. Fortunately this album is definitely not one of those damaging efforts; on the contrary, it offers many new and fascinating discoveries, as well as thrilling interpretations by excellent musicians, which treat the music with respect and obvious admiration. The album includes ten Komeda compositions, performed by several different ensembles: pianist Janusz OlejniczakFind albums by this artist with Atom String QuartetFind albums by this artist, bassist Zbigniew WrombelFind albums by this artist and his quintet (drummer Krzysztof PrzybylowiczFind albums by this artist, trumpeter Maciej FortunaFind albums by this artist, pianist Piotr WrombelFind albums by this artist, vibraphonist Karol SzymanowskiFind albums by this artist) with actor Kamil MackowiakFind albums by this artist, the duo of saxophonist Andrzej OlejniczakFind albums by this artist and pianist Wladyslaw SendeckiFind albums by this artist, the duo of tuba player Zdzislaw PiernikFind albums by this artist and synthesizer player Tadeusz SudnikFind albums by this artist and finally solo piano performances by Lena LedoffFind albums by this artist. Such diverse settings are an ideal vehicle to present the diversity of Komeda´s music and the endless possibilities, in which it can me expressed and interpreted. All the performances are truly superb, moving and deeply engaging and pay a fitting homage to Komeda´s heritage. My personal preferences are the trumpet pats by Maciej Fortuna, the incomparable piano playing of my friend Wladyslaw Sendecki and the solo piano pieces by Ledoff. But each and every musician participating in this recording deserves full admiration and respect. The quality of these live recordings in not ideal, but neither is life, so true music lovers can certainly live with it and enjoy it immensely. The most interesting two pieces on this album are the early Komeda Jazz & Poetry compositions to poems by Jerzy S. Sito, known mainly for his work as translator, who died in 2011. Komeda´s involvement with the Jazz & Poetry movement, presented by him during the 1960 Jazz Jamboree festival, is one of the most fascinating, but sadly neglected, milestones of his career. The two pieces were restored from Komeda´s notes by the great vibraphonist / composer Jerzy MilianFind albums by this artist, who was a member of Komeda´s group in the late 1950s. Honestly that entire program simply screams for proper restoration work. Overall this is a superb piece of music, which is worthy of an honorable place in any serious Polish Jazz music collection and should be of interest to the many Komeda followers all over the world. Brilliant stuff!

Updated: 01/01/2016Posted:

CD 1 Mini-Sleeve Recommend To A Friend

WEEZDOB COLLECTIVE ~ KOMEDA, OSTATNIA RETROSPEKCJA NOT ON LABEL ~ POLAND ~ Jazz Recorded: 2020 Released: 2020 This is the third album by Polish Jazz quintet Weezdob CollectiveFind albums by this artist, which comprises of harmonica player Kacper SmolinskiFind albums by this artist, saxophonist Kuba MarciniakFind albums by this artist, guitarist Piotr ScholzFind albums by this artist, bassist Damian KostkaFind albums by this artist and drummer Adam ZagorskiFind albums by this artist. The album presents eleven original compositions, two by Marciniak, four by Smolinski, one by Kostka, two by Scholz, one by Zagorski and finally one co-composed by Kostka and Zagorski. The text (in Polish) included on the album was written by Tomasz LachFind albums by this artist and recited by Mariusz ZaniewskiFind albums by this artist. Date and place of recording are not specified on the album´s artwork. As the album´s title suggests, this is yet another project related to the legendary Godfather of Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist. Despite the fact that Komeda´s name and music was over time abused, misused and mistreated obsessively countless times, the temptation to gain attention is obviously stronger than decency and good taste. The pretext this time is the text written by Lach, Komeda´s adopted son, which consists of a series of reflections about his adoptive father, incorporated into the music written by the members of the ensemble, creating sort of radio sketch, a popular form of radio broadcast before television took over. The music is series of unrelated composition, which have nothing to do with Komeda´s music per se and if the intention was to create at least am atmospheric similarity, it fails to do so as far as I am concerned. These rather forgettable themes have simply no coherent continuity and although played in the background of the text being recited, offer little, if any, relation to the text itself. The members of the ensemble are obviously well schooled and experienced musicians; hopefully they will make better decisions in the future. Overall this album not only does not pay any tribute to Komeda´s name and status, but is a rather cynical and opportunistic venture, with no Artistic merit. Combined with a murky sound quality and incorrect balance between the music and the recitation, it is even difficult to listen to.

Updated: 04/01/2021Posted: 04/01/2021

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JAN PTASZYN WROBLEWSKI ~ MOI PIERWSI MISTRZOWIE BOOGIE 007 (Barcode: 5903292108902) ~ POLAND ~ Jazz Recorded: 2013 Released: 2014 This is a live recording by one of Polish Jazz Godfathers, saxophonist / composer Jan Ptaszyn WroblewskiFind albums by this artist and his sextet, which also includes trumpeter Robert MajewskiFind albums by this artist, saxophonist Henryk MiskiewiczFind albums by this artist, pianist Wojciech NiedzielaFind albums by this artist, bassist Slawomir KurkiewiczFind albums by this artist and drummer Marcin JahrFind albums by this artist, all renowned Polish Jazz musicians. As the album´s title suggests, Wroblewski (born 1936) pays tribute to three Polish Jazz icons, with whom he played as a young musician: Krzysztof KomedaFind albums by this artist (born 1931), Andrzej TrzaskowskiFind albums by this artist (born 1933) and Andrzej KurylewiczFind albums by this artist (born 1932). Sadly all three are no longer with us. Of the six tracks on the album, three were composed by Komeda, two by Trzaskowski and one by Kurylewicz. In the liner notes Wroblewski lists the many differences between these three legendary figures and his personal experiences from the encounters with them. The music is kept well within the mainstream modern Jazz idiom, perfectly and flawlessly performed by all the musicians involved, but somehow lacking the excitement and exhilaration one might expect but such classy company and such ambitious task. The arrangements of the remarkable compositions presented herein are also not in par with the expectations, especially the Komeda tunes, which sound as if they were simplified and sound way too "smooth" in comparison to their original form, as intended by the composer. Overall this is a first class collection of classic Polish Jazz compositions, played by a highly professional sextet, which sadly fails to reach the level of depth and sincerity these tunes deserve. Of course mainstream Jazz enthusiasts will find this album to be perfectly adequate, but for me a feeling of a missed opportunity is lingering as this music plays in the background. The individual solo spots, which are quite impressive in some cases, fail to save the day. I´m sure Wroblewski and his cohorts will rise to the challenge again next time.

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JAN PTASZYN WROBLEWSKI ~ STUDIO JAZZOWE POLSKIEGO RADIA 1969-78 POLSKIE RADIO 2327-2331 (Barcode: 5907812248222) ~ POLAND ~ Big Band Jazz Recorded: 1969 - 2017 Released: 2020 This is an iconic archival album documenting the recorded legacy of one of the Godfathers of Polish Jazz, saxophonist / composer / arranger / bandleader Jan Ptaszyn WroblewskiFind albums by this artist. The first four CDs in this 5CD set present recordings by the Polish Radio Jazz Studio OrchestraFind albums by this artist led and conducted by Wroblewski between late 1968 and early 1978, and the last CD presents recordings by his quartet and sextet, recorded between 1979 and 2017. The entire crème de la crème of the Polish Jazz scene in the crucial decade of its development (late 1960s to late 1970s) can be heard on these recordings, including such celebrated names like Tomasz StankoFind albums by this artist, Andrzej TrzaskowskiFind albums by this artist, Zbigniew NamyslowskiFind albums by this artist, Wlodzimierz NahornyFind albums by this artist, Bronislaw SuchanekFind albums by this artist, Janusz StefanskiFind albums by this artist, Jerzy MilianFind albums by this artist, Zbigniew SeifertFind albums by this artist, NOVIFind albums by this artist Singers and many others. Almost all the music on these CDs was composed and arranged by Wroblewski and the members of the orchestra. Wroblewski (born 1936), who is nearing his eighty fifth birthday, is still active today and he wrote the liner notes accompanying this release, reminiscing about the decade during which he fronted the orchestra. The artistry of the Big Band idiom and the sophistication of the arrangements are of course the focal points of the music and although the American Big Bands are an obvious inspiration, the result reaches way beyond the basic model, creating the European Big Band approach, which looks for inspiration in way more complex compositions (like the music of Krzysztof KomedaFind albums by this artist in this case) and experimental soloing, bordering on Free Jazz, which can be heard extensively here. The fact that the members of Komeda’s ensembles play on these recordings speaks for itself and the contributing composers are all pioneers of modern Polish Jazz. The music is, as expected, absolutely brilliant from start to finish, and in retrospect glorifies the level of the Polish Jazz musicianship and talent at the time. It is “criminal” that this music was locked down in the vaults of the Polish Radio for so long, and hopefully the rest of it (at least twice as much as was released now) will be released in the future. The damages made by limitations of the Polish music industry at the time and the monopoly of State owned music enterprises, which controlled and censored the output of recorded music for decades, should be all made right in time, preserving the Cultural treasures hidden from public access. Polish Jazz enthusiasts all over the world should find this album an absolute must have in their collection. The list of participating musicians and the quality of the compositions is certain to satisfy the most demanding listeners and the historical importance is unprecedented. Essential listening!

Updated: 11/02/2021Posted: 11/02/2021

CD 5 Mini-Sleeve Box Set Remastered Essential Recommend To A Friend

LESZEK ZADLO ~ KOMEDA. WYGNANIE Z RAJU FOR TUNE 0140 (Barcode: 5906395808502) ~ POLAND ~ Jazz Recorded: 2016 Released: 2019 Leszek ZadloFind albums by this artist and I share many common crossroads in our life´s stories. We were both forced to leave Poland in the 1960s for political reasons. Leszek left first to Austria and later to Germany and I left to Israel. We both managed to build successful personal lives and careers in our new homelands, but we also kept in touch with our Polish friends and of course with the Polish Culture in general and Polish Jazz in particular. Both of us were banned from visiting Poland for many years and our Polish passports were confiscated and voided. We both organized concerts and events to support the Polish "Solidarity" movement in its struggle for political freedom in Poland and we both rejoiced when Poland finally managed to break the shackles of Socialist tyranny. During all these years and to this very day, for five decades, we stayed in constant contact, supported each other in hours of need and sorrow and consoled each other when dark skies have hidden the sunshine. In the 1980s and first half of 1990s my family (my wife, my daughter and myself) have spent many days in the incredible house in the suburbs of Munich, where Leszek and Basia (as we called Barbara) and their lovely dogs greeted as always with friendship and love and great food and splendid company. We shared our love of people, music, movies and of course dogs, spending hours on end talking and eating and drinking wine till the small hours of the night. In 2016 Leszek and I received on the same stage our respective Polish Jazz "Oscars", he for his lifetime achievements as a musician and I for my achievements in Jazz Journalism. A few months later I invited Leszek to be the Resident Artist of the Singer Jazz Festival, of which I am the Artistic Director. During this residency Leszek, supported by a dream team of top Polish Jazz musicians, performed the lost musical composed by the Godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist, called "Wygnanie Z Raju" ("Exile From Eden"), which we immediately re-christened jokingly as "Wygnanie Z Kraju" ("Exile From Our Country") referring to our common past. The recording of this historic concert is now released by For Tune Records. Leszek never played an unnecessary note in his life and his interpretation of Komeda´s music was always one of the best imaginable. Everything else is already within the music itself. For me Leszek will always be the greatest Polish saxophone player of all times. Love you my friend, as always! Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 20/05/2019Posted: 20/05/2019

CD 1 Recommend To A Friend

LESZEK ZADLO ~ MISS B. FOR TUNE 0136 (Barcode: 5906395808489) ~ POLAND ~ Jazz Recorded: 1995 Released: 2018 This is an archival album by Polish (resident in Germany) Jazz saxophonist / composer / educator Leszek ZadloFind albums by this artist recorded in a trio format with bassist Andrzej CudzichFind albums by this artist and drummer Janusz StefanskiFind albums by this artist. The album presents six compositions, four of which are originals composed by Zadlo and two are standards. The album was recorded the day after the funeral ceremony of Barbara Kwiatkowska-LassFind albums by this artist (the Miss B. to whom this album is dedicated), Leszek´s wife. Sadly both Cudzich and Stefanski are not longer with us as well. Although this is supposed to be an album´s review, this music and the people behind it are way to close to me and my family to allow me to write about it in an objective way, and I´d rather state here a few personal comments / memories about it. Leszek and I share many common crossroads in our life´s stories. We were both forced to leave Poland in the 1960s for political reasons. Leszek left first to Austria and later to Germany and I left to Israel. We both managed to build successful personal lives and careers in our new homelands, but we also kept in touch with our Polish friends and of course with the Polish Culture in general and Polish Jazz in particular. Both of us were banned from visiting Poland for many years and our Polish passports were confiscated and voided. We both organized concerts and events to support the Polish "Solidarity" movement in its struggle for political freedom in Poland and we both rejoiced when Poland finally managed to break the shackles of Socialist tyranny. During all these years and to this very day, for five decades, we stayed in constant contact, supported each other in hours of need and sorrow and consoled each other when dark skies have hidden the sunshine. In the 1980s and first half of 1990s my family (my wife, my daughter and myself) have spent many days in the incredible house in the suburbs of Munich, where Leszek and Basia (as we called Barbara) and their lovely dogs greeted as always with friendship and love and great food and splendid company. We shared our love of people, music, movies and of course dogs, spending hours on end talking and eating and drinking wine till the small hours of the night. Basia was the sweetest, gentlest person one can imagine. She was completely devoid of the ego mannerisms often associated with film stars, a wonderful devoted mother and a true friend. The news about her serious illness and finally about her tragic and unexpected death were a horrific blow to Leszek and of course to all the people who knew and loved her, our family amongst them. We all remember her most fondly and she will always be a part of our lives. In 2016 Leszek and I received on the same stage our respective Polish Jazz "Oscars", he for his lifetime achievements as a musician and I for my achievements in Jazz Journalism. A few months later I invited Leszek to be the Resident Artist of the Singer Jazz Festival, of which I am the Artistic Director. During this residency Leszek, supported by a dream team of top Polish Jazz musicians, performed the lost musical composed by the Godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist, called "Wygnanie Z RajuFind albums with this title" ("Exile From Eden"), which we immediately re-christened jokingly as "Wygnanie Z Kraju" ("Exile From Our Country") referring to our common past. The recording of this historic concert will be released by For TuneFind albums on this label Records, hopefully soon. As to the album I am supposed to write about: Well Leszek never played an unnecessary note in his life and the traumatic circumstances surrounding this recording only emphasize his sublime power of expression, with the music serving as the only way to both escape and express his grief. Everything else is already within the music itself. For me Leszek will always be the greatest Polish saxophone player of all times. Love you my friend, as always!

Updated: 28/10/2018Posted: 28/10/2018

CD 1 Recommend To A Friend

LESZEK ZADLO / EUROPEAN ART ENSEMBLE ~ EMOTION JBBO ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 Polish (resident in Germany) Jazz saxophonist / composer / educator Leszek ZadloFind albums by this artist (born 1945) is one of the most formidable representatives of the first post WWII generation of Polish Jazz musicians. He was also one of the first amongst the Polish Jazz musicians to leave his country, which he did in the mid-1960s, first to Austria and then to Germany. Of course he still keeps very strong ties with the Polish Jazz scene and plays there often, and his ensembles often include other Polish Jazz musicians. On a personal note, Leszek and I have been friends since many decades. Musically Zadlo is a modernist, playing contemporary Jazz based mostly on the post John ColtraneFind albums by this artist tradition and his virtuosic abilities as a player place him in the top class of the Polish Jazz saxophonists, if not at the very top. His compositions are all classics of the Polish Jazz tradition, continuing, perhaps in the closest possible way, the path set by the compositions of Krzysztof KomedaFind albums by this artist. This album is a live recording of a quintet led by Zadlo, which also features the German baritone saxophonist August-Wilhelm ScheerFind albums by this artist and Polish Jazz musicians: pianist Wojciech GroborzFind albums by this artist, bassist Tolek LisieckiFind albums by this artist and drummer Wieslaw JamiolFind albums by this artist. The quintet performs eight compositions, one of which is an original by Zadlo and seven are standards, three of them by John Coltrane and two by Wayne ShorterFind albums by this artist, i.e. classic modern Jazz material. Obviously an informal session, this music is all about having a good time and playing some great music. For listeners unfamiliar with Zadlo´s abilities as a player this is a wonderful opportunity to hear a true Master at work. Scheer also plays some very fine solos. The rhythm section supports the two soloists sympathetically and solidly. Overall this is a classic live modern Jazz recording, which should appeal to all lovers of the genre. The Zadlo original, which is also the longest track on the album, is an absolute marvel.

CD 1 Digipak Recommend To A Friend

JANUSZ ZDUNEK / 4 SYFON ~ BATERIE NOT TWO 730 ~ POLAND ~ Jazz Recorded: 2001 Released: 2001 This is the 3rd album by Polish Jazz trumpeter / composer Janusz ZdunekFind albums by this artist and his quartet called 4 SyfonFind albums by this artist, which also included saxophonist Tomasz GlazikFind albums by this artist, bassist Wladyslaw ReflingFind albums by this artist and drummer Jacek BuhlFind albums by this artist. Of the fifteen relatively short tracks on this album, six were composed by Zdunek, three by Buhl, another three (or in fact one repeated three times) by guest vocalist Krzysztof GruseFind albums by this artist, one by Refling, one is a folk tune and the remaining one is by Krzysztof KomedaFind albums by this artist, the Godfather of Polish Jazz. Although recorded after the heyday of the Polish Yass movement, which happened in the late 1990s, Zdunek continues the nonchalant, almost Punk attitude towards Jazz on this album. Based on simple, repetitive rhythm patterns, which originate mostly in Rock, the melody and the improvisation is played on top, sometimes by one instrument and sometimes by both soloists. A few tracks are pretty "free" (written, not surprisingly by Buhl, who would be drawn towards the Free Jazz movement later on in his career), but they are definitely exceptions. The group´s treatment of the Komeda tune is perhaps the most typical example of the idea behind this music; rhythmic simplicity and improvisation on top, with some Rap elements and overall atmosphere of "we do our thing and don´t give a fuck what you think about it". Strangely enough it works just fine. It´s pretty obvious that these are greatly talented musicians, trying very hard not to show it. Over a decade after it was recorded, this music definitely lost some of its initial innovative approach and edge, but most of it still sounds pretty cool today. Not for everybody, but there are enough weirdoes out there to enjoy this stuff immensely forever.

CD 1 Recommend To A Friend