IV Festival "Jazz & Literatura" 2018 !!!

Od 6 do 13 października IV Festiwal Jazz&Literatura 2018 zaprasza na siedem koncertowych odsłon oraz cztery wydarzenia towarzyszące – całość połączona jazzem i przepleciona literaturą. Będziemy gościć niemal we wszystkich salach koncertowych Chorzowa, w postindustrialnych budynkach w Chorzowie i Siemianowicach Śląskich oraz bajecznej Sali Lustrzanej Muzeum Zamkowego w Pszczynie.

Program tegorocznej edycji jest niezwykle różnorodny. Od jazzu tanecznego do jazzu kontemplacyjnego. Wszystko po to, aby pokazać, że jazz niejedno ma imię. Wszystko po to, aby pokazać, że jazz można pokochać. Jazz w muzyce, jazz w literaturze, jazz w fotografii.

Festiwal Jazz&Literatura jest wspólną inicjatywą Miejskiego Domu Kultury Batory reprezentowanego przez Dyrektora Sylwestra Paprockiego oraz Agencji New Talents’ Resources Marzena Anioł i powstał w porozumieniu z Miastem Chorzów. Współorganizatorami tegorocznej edycji są: Muzeum Zamkowe w Pszczynie – Instytucja Kultury Samorządu Województwa Śląskiego, Chorzowskie Centrum Kultury, Kompleks Sztygarka, Starochorzowski Dom Kultury, Siemianowickie Centrum Kultury – Park Tradycji, Wolność Czytania oraz Ambasada Szwajcarii w Polsce.

Jazz & Literatura Festival 2018

KONCERTY:

6 października g. 19.00
BROKEN BRASS ENSEMBLE

Miejski Dom Kultury BATORY
Ul. Stefana Batorego 6, 41-506 Chorzów

Bilety:
do 31.08.2018 przedsprzedaż: 30 PLN
01.09 – 05.10.2018: 60 PLN
W dniu koncertu: 70 PLN
(Bilet uprawnia do wejścia na uroczysty wernisaż o g. 18.00: WERNISAŻ – JAZZ W OBIEKTYWIE LECHA BASELA)

7 października g. 19.00
GRZEGORZ NAGÓRSKI EUPHONIUM ELECTRIC QUARTET
SZTYGARKA / Magazyn Ciekłego Powietrza
Ul. Piotra Skargi 34, 41 – 500 Chorzów

Bilety:
do 06.10.2018 cena promocyjna: 35 PLN
07.10.2018 – w dniu koncertu: 40 PLN

9 października g. 19.00
MARCIN ŚWIETLICKI & ZGNIŁOŚĆ
Miejski Dom Kultury BATORY
Ul. Stefana Batorego 6, 41-506 Chorzów

Bilety:
do 08.10.2018 cena promocyjna: 20 PLN
09.10.2018 – w dniu koncertu: 30 PLN
(Bilet uprawnia do wejścia na spotkanie literackie z Marcinem Świetlickim o godz. 17.00)

10 października g. 19.00
STANISŁAW SŁOWIŃSKI QUINTET
Starochorzowski Dom Kultury (oddział CHCK)
Ul. Siemianowicka 59, 41- 503 Chorzów

Bilety:
do 15.09.2018 przedsprzedaż: 20 PLN
16.09 – 10.10.2018: 25 PLN

11 października g. 19.00
TUBIS TRIO
Chorzowskie Centrum Kultury
Ul. Sienkiewicza 3, 41-500 Chorzów

Bilety:
do 31.08.2018 przedsprzedaż: 20 PLN
01.09 – 11.10.2018: 30 PLN

12 października g. 19.00
BUBA BADJIE KUYATEH
Siemianowickie Centrum Kultury / PARK TRADYCJI
Ul. E. Orzeszkowej 12, 41-103 Siemianowice Śląskie

Bilety:
do 11.10.2018 cena promocyjna: 20 PLN
12.10.2018 – w dniu koncertu: 30 PLN

13 października g. 19.00
GÓRECKI AHEAD Oleś Brothers & Christopher Dell
Muzeum Zamkowe w Pszczynie, Sala Lustrzana
Ul. Brama Wybrańców 1, 43-200 Pszczyna

Bilety: 60 PLN

WYDARZENIA TOWARZYSZĄCE:

6 października g. 18.00
WERNISAŻ – JAZZ W OBIEKTYWIE LECHA BASELA
/wystawa fotografii jazzowej/

Miejski Dom Kultury BATORY
Ul. Stefana Batorego 6, 41-506 Chorzów
(Wejście tylko z biletami na koncert inauguracyjny festiwalu)

7 października g. 17.00
MAGDALENA GRZEBAŁKOWSKA – spotkanie literackie
„KOMEDA. Osobiste życie jazzu”
SZTYGARKA / Tlenownia
Ul. Piotra Skargi 34, 41 – 500 Chorzów

Bilety: WSTĘP WOLNY

8 października g. 13.00
ANDREA FAZIOLI – spotkanie literackie
„L’arte del fallimento”/ „Sztuka porażki”
Z towarzyszeniem Zeno Gabaglio na wiolonczeli
Miejski Dom Kultury BATORY
Ul. Stefana Batorego 6, 41-506 Chorzów

Bilety: 5 PLN

9 października g. 17.00
MARCIN ŚWIETLICKI – spotkanie literackie
Miejski Dom Kultury BATORY
Ul. Stefana Batorego 6, 41-506 Chorzów

Bilety: 5 PLN
(Bilet na koncert MARCIN ŚWIETLICKI & ZGNIŁOŚĆ uprawnia do wejścia na spotkanie literackie)

Dorota Miśkiewicz – Piano.pl (2016)

Dorota Miśkiewicz

Dorota Miskiewicz - vocals
12 pianists
Atom String Quartet

Piano.pl

UNIVERSAL MUSIC POLSKA 602557206852



By Adam Baruch

This is a live recording of a gigantically ambitious project conceived by Polish Jazz vocalist Dorota Miśkiewicz, which pays tribute to the Polish Jazz piano school, which spans several generations and is a sublime example of Polish/European Jazz tradition. The album presents twelve songs, one original by Miskiewicz and eleven "Polish standards" composed and written by the best Polish composers and lyricists, each performed by Miśkiewicz accompanied by a different pianist and on eight of them also accompanied by the renowned Atom String Quartet. The list of the pianists reads like the who's who of Polish Jazz: Michał Tokaj, Andrzej Jagodziński, Lutosławski Piano Duo, Bogdan Hołownia, Leszek Możdżer, Piotr Orzechowski, Tomasz Kałwak, Marcin Wasilewski, Krzysztof Herdzin, Dominik Wania, Grzegorz Turnau (who also briefly sings) and Włodzimierz Nahorny. Saxophonist Henryk Miśkiewicz (Dorota's Father) guests on one song. The DVD (filmed during the concert), included in the package, adds the concert's intro, outro and a couple of songs not included on the CD.

I am happy to say that I managed to have a more modest (with just three pianists) version of this project perform at the 2018 Singer Jazz Festival, which was extremely successful. As expected, all the performances are absolutely wonderful, a typical example of European haute Culture, where music, words and stage performance are combined to deliver an overall experience, which is more than just a sum of its ingredients. The album moves between Jazz & Poetry and highly lyrical popular music, all expertly arranged and brilliantly executed, especially in view of the fact that it was captured live.

This album delivers exactly what it promises: an extraordinary panorama of Polish Jazz piano, full of elegance, virtuosity and flair. Miśkiewicz moves with ease from one song to another, with a chameleonic change of moods and emotions, as appropriate for a great performer.

For lovers of Polish Jazz in general and Polish Jazz piano in particular, this album is a superb introduction to the subject. Even for listeners beyond the Polish language sphere, this music easily penetrates and language barriers and should be completely accessible to every music lover.

Judyta Pisarczyk – Koncert w Trójce (2018)

Judyta Pisarczyk

Judyta Pisarczyk - vocals
Michał Honisz - guitar
Marek Tutko - keyboards
Bogumił Eksner - bass
Roman Majda - drums

Koncert w Trójce




POLSKIE RADIO 2169

By Adam Baruch

This is the debut album by Polish Jazz vocalist Judyta Pisarczyk, recorded live at the Polish Radio Studio Three in Warsaw. She is accompanied by guitarist Michał Honisz, keyboardist Marek Tutko, bassist Bogumił Eksner and drummer Roman Majda. The album presents eleven songs, two of which are originals she composed and wrote lyrics for, one is a Polish Pop song and the rest are Jazz standards.

Pisarczyk, who won the Grand Prix at the Ladies' Jazz Festival competition in 2017, puts on a great show from the moment she opens her mouth and sounds like a true veteran, in spite of her young age. She uses her voice skillfully both when singing lyrics and when improvising and singing vocalese. Sadly all the texts, including those of her original songs, except for the one Polish Pop song, are in English, which of course creates the usual uneasiness caused by Polish vocalists singing in English, but overall this is a rather minor vice in the grand scale of things. It is enough to compare her performance when singing the Polish lyrics to the other songs to understand what I mean.

The accompaniment by the quartet, which plays mostly electrically, is not the ideal environment to emphasize the vocalist's Jazzy explorations, and the album would have been infinitely more effective with a classic Jazz piano trio and perhaps a saxophone for a good measure. But again, all things considered, the quartet members play amicably and technically very proficiently, so the music sounds very nicely altogether, although is more Fusion/Funk oriented than focused on Jazz.

The two original songs have very little to do with the rest of this album, which perhaps emphasizes the fact that Pisarczyk is still not exactly sure about her stylistic direction, which perhaps will eventually take her away from singing Jazz standards and move towards her own original material.

Whatever the future might bring, this album is an excellent calling card showcasing her abilities, rather than a true artistic debut par excellence. It definitely shows her great potential, which she will surely justify with her future achievements. Nevertheless Jazz vocals fans should have a lot of fun with this album, which is a truly enjoyable listen.

Moonbow – When The Sleeping Fish Turn Red And The Skies Start To Sing In C Major I Will Follow You To The End (2016)

Moonbow

Danielle Dahl - alto saxophone

Maciej Kądziela - alto saxophone
Mads Egetoft - tenor saxophone
Lucas Leidinger - piano
Anton Jansson - guitar
Tomo Jacobson - double bass
Kresten Osgood – drums

When The Sleeping Fish Turn Red And The Skies Start To Sing In C Major I Will Follow You To The End

ILK 264

By Adam Baruch

This is the debut album by a European septet Moonbow consisting of musicians based in Copenhagen. It includes Polish saxophonist Maciej Kądziela and bassist Tomo Jacobson, Norwegian saxophonist Danielle Dahl, Danish saxophonist Mads Egetoft and drummer Kresten Osgood, German pianist Lucas Leidinger and Swedish guitarist Anton Jansson. The album presents six original compositions, all by Jacobson. The album's artwork also presents a poem written by the legendary American Improvised Music giant William Parker, who wrote it in response to the music.

The music, mostly freely improvised, displays the infinite possibilities of a large ensemble, which allows encounters which range from solo performances to the entire septet involved in group improvisation. It is very engaging and fascinating, bold and free-spirited, but at the same time completely coherent. The melodic themes are briefly stated and later disappear into the subconscious plane beneath the improvisations.

In spite of the incredible power of a large ensemble, the music is completely devoid of conflict and wonderfully illustrates the concept of collective improvisation, based on mutual respect and almost telepathic communication between the players. There are many superb individual statements by the musicians involved, but the collective result is definitely more that just a sum of its ingredients.

Although the album is relatively short (under forty minutes), it is full of emotion and tonal beauty, which should be highly appreciated by fans of Improvised Music. Hopefully this ensemble will make another album, as they surely have much more to say musically. Well done!

Szymon Mika Trio & Guests – Togetherness (2018)

Szymon MikaTrio & Guests

Szymon Mika - guitar
Max Mucha - double bass
Ziv Ravitz - drums
Mateusz Pałka - piano
Joachim Mencel - hurdy-gurdy
Basia Derlak - vocals

Togetherness



HEVHETIA 0175

By Adam Baruch

This is the second album by the Polish Jazz guitarist/composer Szymon Mika, recorded, same as the debut album, in an intimate trio format with bassist Max Mucha and Israeli drummer Ziv Ravitz. Three guest musicians appear on selected tracks: vocalist Basia Derlak, who also contributed the lyrics to the four songs she appears on, Joachim Mencel who plays the hurdy-gurdy on three tracks and pianist Mateusz Pałka, who plays on five tracks. The album presents eleven original compositions, all by Mika. It album was beautifully recorded at the Monochrom Studio and engineered by Maciej Stach.

The music on this album is decidedly more diverse and shows a more searching attitude than the excellent debut album, which is very encouraging and promising development. There are obvious World Music influences present in this music, but also openness and noticeable reach beyond mainstream Jazz, which was still the core of the debut album. Mucha and Ravitz are ideal partners in this quest for new identity, both of them being unconventional in their approach to music and exceptionally gifted, providing exquisite support to Mika's lead parts and building a solid, but adventurous, rhythmic layer behind him.

The four vocal tracks are also quite surprising and show another facet of Mika's talent. Derlak sings in Polish, which is already a good starting point, and handles the relatively complex music with ease and obvious flair. Her Folksy mannerisms are a nice addition to the Jazz setting and I'd love to hear more of her in such setting. The tracks with Mencel and Pałka, when the ensemble becomes a quintet (or even sextet with the addition of vocals) are somewhat different form the trio tracks, offering more conventional melody lines and ambience and adding to the overall diversity and fluency of the album as a whole.

Overall the album is a clear and elegant step forward for Mika in many respects: as a composer, a bandleader and a guitarist. He joins the ranks of the new generation of Polish Jazz musicians, who are gradually taking over the center of the stage both in Poland and in Europe. Kudos are also due to the Slovak Hevhetia label, which is rapidly becoming one of the most important, open minded and active record labels in Europe and manages to expand its roster of artist to include many of the young generation's top artists, including neighbors from across the Tatra Mountains, and support them loyally. Wholeheartedly recommended!

Jiří Stivín – Five Hits In A Row (2018)

Jiří Stivín

Jiří Stivín – flute, saxophone
Zbigniew Seifert – violin
Rudolf Dašek – guitar
Barre Phillips – bass

Petr Marcol – bass
Josef Vejvoda – drums
Milan Vitoch – drums

Five Hits In A Row


GAD 080

By Adam Baruch

This is a long overdue reissue of the legendary album by the Czech Jazz flautist/saxophonist composer/bandleader Jiří Stivín, recorded with an international quintet which included Polish violinist Zbigniew Seifert, American (living in Europe) bassist Barre Phillips and Czech guitarist Rudolf Dašek and drummers Josef Vejvoda or Milan Vitoch. The original album presented five original compositions, with the title track being a five part suite. All the music was composed by Stivín, except one piece composed by Phillips. This remastered and expanded edition adds four bonus tracks, which originate from an earlier album by Stivín (only side A of an LP), recorded a year earlier and featuring a trio with bassist Petr Marcol and drummer Milan Vitoch.

The music is a pinnacle of early Easter European Free Jazz, which flourished behind the Iron Curtain, mostly in Poland but also in Czechoslovakia and GDR (East Germany). Stylistically the music is very similar to the British Free Jazz scene at the time; ferocious, uncompromising and totally committed.

All the participants were great pioneers of modern European Jazz and their contribution to the genre is of course invaluable. The fact that such advanced and free spirited music was recorded and released by the Czechoslovak state record label Supraphon is one of the many miracles that characterize the Jazz scene behind the Iron Curtain and can be understand only by the cognoscenti of that subject. The fact remains that Free Jazz flourished under the Socialist Regime and the albums recorded at the time are some of the best representations of the genre ever created.

As usual, kudos to the Polish GAD Records label for bringing this wonderful music back into circulation. Eastern European Jazz connoisseurs will find this album truly amazing and the younger generations are able to test the phrase "nihil sub sole novum" when they approach Free Jazz and Improvised Music recordings. Overall this is a must have for all collectors and fans of East European Jazz recorded behind the Iron Curtain, as well as connoisseurs of Free Jazz, who wish to study the sources of the genre!

Piotr Schmidt Quartet - Saxesful (2018)

Piotr Schmidt Quartet

Piotr Schmidt - trumpet
Jan Ptaszyn Wróblewski - saxophone
Zbigniew Namysłowski - saxophone
Henryk Miśkiewicz - saxophone
Piotr Baron - saxophone
Maciej Sikała - saxophone
Adam Wendt - saxophone
Grzech Piotrowski - saxophone

Wojciech Niedziela - piano
Maciej Garbowski - double bass
Krzysztof Gradziuk - drums

Saxesful

SJ 032

By Jędrzej Janicki

Dziesiąta autorska płyta w dziesiątą rocznicę muzycznej aktywności to doskonały powód do świętowania. Z podobnego założenia wychodzi trębacz Piotr Schmidt, którego album "Saxesful" jest swego rodzaju ukoronowaniem dotychczasowej kariery. Schmidt znany jest głównie jako znakomity trębacz, natomiast jego niespełnioną miłością pozostaje saksofon. Nic więc dziwnego, ze do swojego ostatniego projektu zaprosił absolutną czołówkę polskich saksofonistów. Efektem pracy tak zacnego grona jest naprawdę udany album.

Owe sławy polskiego saksofonu jazzowego, które wzięły udział w nagraniu płyty, to Henryk Miśkiewicz, Jan Ptaszyn Wróblewski, Zbigniew Namysłowski, Maciej Sikała, Piotr Baron, Grzech Piotrowski i Adam Wendt. Trudno wyobrazić sobie jakikolwiek podręcznik do historii polskiego jazzu, w którym te nazwiska nie byłyby wymienione, co podkreśla tylko jak dużym szacunkiem i uznaniem darzony jest Schmidt w muzycznym środowisku. Sukcesu tak dużego przedsięwzięcia nie byłoby jednak bez trzech muzyków, którzy uzupełniają skład "podstawowego" kwartetu Schmidta. Trojkę tę stanowi pianista Wojciech Niedziela (wieloletni muzyczny kompan Schmidta – panowie stworzyli wspólnie chociażby kameralną płytę "Dark Morning") oraz kontrabasista Maciej Garbowski i perkusista Krzysztof Gradziuk, czyli fundamenty genialnego tria RGG.

Całe "Saxesful" zdominowane jest przez eleganckie interpretacje klasycznych utworów muzyki jazzowej, mieszczące się raczej w jej głównym, mainstreamowym nurcie. Rzecz jasna, nie jest to zarzut, wszak nie każda płyta musi być rewolucyjnym eksperymentem. To wyważone granie, w którym bardzo dużo przestrzeni otrzymują zaproszeni goście. Fantastycznie wypada nestor polskiej muzyki Jan Ptaszyn Wróblewski w utworze "You Don’t Know What Love Is", jazzowym standardzie, po którego bardzo chętnie sięgają muzycy różnych stylistyk (przypomina się od razu świetna wersja Lee Konitza z Joe Hendersonem). Ptaszyn w niczym jednak nie ustępuje swoim amerykańskim kolegom po fachu i z właściwym sobie urokiem tworzy przepiękną balladę o bardzo romantycznym i melancholijnym nastroju. Świetnie brzmi również bluesowa wręcz melodyjność utworu "Blue Monk" genialnego Theloniousa Monka. Odrobina chropowatości w partiach Piotra Schmidta, a zwłaszcza Adama Wendta, przenosi nas w zupełnie inną rzeczywistość, z której bardzo trudno się później wyrwać i wrócić do tak zwanej „normalności”.

"Saxesful" to płyta, którą traktować należy raczej jako hołd złożony wybitnym polskim saksofonistom i jazzowi samemu w sobie. Jako nagranie niosące radość z samego obcowania z muzyką sprawdza się naprawdę doskonale. Panteon gwiazd zgromadzony przez Schmidta zapewnia różnorodność stylistyczną i pokazuje przeróżne oblicza saksofonu. Właśnie dzięki tej różnorodności "Saxesful" (choć jest albumem długim) nie nuży nawet w najdrobniejszym fragmencie. Godnym najgłośniejszych oklasków jest, że pomimo tylu zaproszonych osobistości, kwartetowi Schmidta udaje się wypracować własne rozpoznawalne brzmienie. To nie jest płyta-ciekawostka, lecz kawałek historii jazzu i naprawdę świetnego grania. Doprawdy, przepiękne te urodziny, które urządził sobie Piotr Schmidt.

Bartosz Dworak Quartet – Reflection (2018)

Bartosz Dworak Quartet

Bartosz Dworak - violin
Piotr Matusik - piano
Jakub Dworak - bass
Szymon Madej - drums

Reflection

HEVHETIA 0171



By Adam Baruch

This is the third album by young and upcoming Polish Jazz violinist/composer Bartosz Dworak, recorded with the same quartet that was featured on the two earlier recordings with pianist Piotr Matusik, bassist Jakub Dworak and drummer Szymon Madej. The album presents seven original compositions, four by the leader, two by Matusik and one co-composed by Dworak and Matusik.

The music continues the path set by Bartosz Dworak's earlier recordings, presenting highly melodic and very lyrical compositions, kept well within the mainstream Jazz convention, with strong Polish Folkloristic influences. The music is slightly more open this time, with a lot of breathing air, which allows the rhythm section to become fully involved in the improvisational process, and as a result enables the listener to appreciate the splendid bass parts played by Jakub Dworak and tasteful drumming by Madej. But the soloing and front position is of course reserved for Bartosz Dworak and Matusik, who take care of the melodic contents. Dworak uses the synthesized violin on a couple of tracks, which adds another variation to his sound.

The compositions by Dworak are more up tempo and have a distinct Rocky character, whereas those by Matusik are more romantically inclined which balances the overall content of the album and keeps the listener interested. All these four young musicians perform splendidly throughout, which of course is quite usual for young Polish Jazz musicians, who are well schooled and experienced, today better that ever before.

Overall the album is a very solid and well balanced effort, which offers beautiful music and superb execution from start to finish and should satisfy most Jazz enthusiasts, especially Jazz violin connoisseurs. It does not break any new ground as far as Jazz or Jazz violin is concerned, but offers a splendid listening experience, which is definitely worth investigating.

Laura Cubi Villena & Adam Wendt Acoustic Set – Por La Noche (2015)

Laura Cubi Villena & Adam Wendt Acoustic Set

Laura Cubi Villena - vocals
Adam Wendt - saxophone
Cezary Paciorek - accordion
Jarosław Stokowski - bass
Amber String Quartet

Por La Noche



SOLITON 757

By Adam Baruch

This is an album by Spanish vocalist/lyricist Laura Cubi Villena, recorded with the Polish ensemble led by saxophonist Adam Wendt, which also includes accordionist Cezary Paciorek (Paweł Zagańczyk also plays accordion on one track), bassist Jarosław Stokowski and the Amber String Quartet. The album presents twelve original tracks all composed by Wendt with lyrics by Villena. Villena and Wendt collaborated already on the last album by Adam Wendt Acoustic Set ("Acoustic Travel") which apparently worked well for both of them, leading to this full album recorded together.

The music is only marginally Jazz oriented and offers a dominant Spanish/Latin flavor, using elements of Tango and other World Music motifs. The music is beautifully arranged and the instrumental performances are all excellent, as expected from these veteran pros. The accordion parts are especially beautiful, as are the heartfelt saxophone solos. Villena has a deep and sensuous voice, with a rasping coloring, and her delivery is ideal for the melodic contents and sounds authentic and striking.

Overall this is a fine Jazz-World Fusion/Smooth Jazz offering, which does not compromise any musical qualities and offers first class entertaining. For lovers of Latin music and the Tango, this is quite a feast. This music, with the help of a good bottle of wine, is able to teleport the listener back in time to the streets of Buenos Aires, where the Tango used to be a way of life.

Tribute To Andrzej Przybielski – Tribute To Andrzej Przybielski Vol. 2 (2017)

Tribute To Andrzej Przybielski

Maciej Fortuna - trumpet
Wojciech Jachna - trumpet
Marcin Gawdzis - trumpet
Piotr Schmidt - trumpet
Tomasz Kudyk - trumpet
Maurycy Wójciński - trumpet
Jakub Kujawa - guitar
Grzegorz Nadolny - double bass
Grzegorz Daroń - drums


Tribute To Andrzej Przybielski Vol. 2

SJP 004

By Adam Baruch

This is second volume of the wonderful project which pays tribute to the great Polish Jazz trumpeter Andrzej Przybielski, who died in 2011. Six relatively young but already established Polish Jazz trumpeters: Maciej Fortuna, Marcin Gawdzis, Wojciech Jachna, Tomasz Kudyk, Piotr Schmidt and Maurycy Wojcinski and a rhythm section comprising of guitarist Jakub Kujawa, bassist Grzegorz Nadolny and drummer Grzegorz Daron perform five pieces, three of which are original compositions by Przybielski, one is a long improvised piece (over half an hour in duration) and the last is the bugle call of Bydgoszcz, the home town of Przybielski. A DVD filmed during the premiere of the first volume of this album is also included.

The music is of course a continuation of the content of the first album and readers wishing to read more about the historical background and Przybielski's contribution to Polish Jazz are invited to read my review of that album and other albums by Przybielski. By a weird coincidence I am writing these words just a few days following the death of Tomasz Stanko, the Polish Jazz Colossus. The many parallels, stylistically and otherwise, and of course great differences between these two trumpeters is one of the most fascinating stories of Polish Jazz, definitely worth a book on the subject.

Beyond the music per se, these two albums are an important glimpse into Polish Jazz history and an effort to bring Przybielski into the awareness of the Polish Jazz fans, which he sadly almost completely missed during his lifetime. They also show the will of the young generation of Polish Jazz players to continue the tradition and remember the idiom's heroes. For Polish Jazz fans this is definitely something they should have in their collections. Hats off to all the people who contributed to this project and made it happen.