Kuba Płużek - piano, fender rhodes
Bartłomiej Noszka - tenor saxophone
Marian Pawlik - double bass
Michał Heller - drums
Old Bass Line
PRIVATE EDITION
By Adam Baruch
This is the debut album as a
leader by veteran Polish bassist/composer Marian Pawlik, renowned as a member
of the legendary Polish Jazz-Rock ensemble Dżamble, which recorded just one
cult album "Wołanie O Słońce Nad Światem". This album, recorded in a
quartet setting, finds Pawlik in the company of the young generation Polish
Jazz players: pianist Kuba Płużek, saxophonist Bartłomiej Noszka and drummer
Michał Heller.
The album presents nine tracks, five of which are originals: two by Pawlik and three by Płużek and four are by celebrated Jazz bassists: two by Paul Chambers and one each by Ron Carter and Oscar Pettiford. The music was excellently recorded and the up-front bass presence is a delight to the many enthusiast of the instrument.
The album presents nine tracks, five of which are originals: two by Pawlik and three by Płużek and four are by celebrated Jazz bassists: two by Paul Chambers and one each by Ron Carter and Oscar Pettiford. The music was excellently recorded and the up-front bass presence is a delight to the many enthusiast of the instrument.
As the album's title suggests,
it is primarily a tribute to the double bass, its heroes and history, and as a
result the music is mostly within the boundaries of American Bebop tradition, albeit
the majority of it was composed by the Polish members of the quartet. There is
no doubt that the three compositions by Płużek are the most interesting musical
endeavors, even if they are still closely related to the Bebop spirit, as they
offer typical twists and turns Płużek often employs in his compositions, which
make the cognoscenti smile.
The music is executed
perfectly, with a lot of soloing space offered to the leader, who obviously
displays first-class technique and feel for the music. Noszka and Płużek solo
extensively as well, always according to what is expected in this kind of
music. Heller keeps the time like clockwork and stays mostly in the shadows. Personally I find this kind of
music uninteresting, but listeners who still listen to Bebop should be able to
enjoy this music and since this is an opportunity to listen to a legendary
musician still in great form, it is a source of joy.
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