Record Reviews

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!

CD 1 Gold Essential Recommend To A Friend

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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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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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

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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

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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

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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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 / 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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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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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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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

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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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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

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