POLISH JAZZ 2019 TOP TEN ALBUMS

1. HIGH DEFINITION QUARTET - DZIADY (32 pkt)

Piotr Orzechowski - piano

Mateusz Śliwa - tenor saxophone

Alan Wykpisz - double bass

Grzegorz Pałka - drums

with

Krzysztof Knittel - electronics

William Basinski - electronics

Christian Fennesz - electronics

Igor Boxx - electronics

Robert Rich - electronics

ANA 007

Recenzja

2. ALGORHYTHM - TERMOMIX (27 pkt)

Emil Miszk - trumpet, piano, percussion

Piotr Chęcki - tenor saxophone

Szymon Burnos - rhodes, moog, programming

Sławomir Koryzno - drums, percussion

ALPAKA 010

Recenzja

3. BASTARDA - ARS MORIENDI (24 pkt)

Paweł Szamburski - clarinet

Michał Górczyński - contrabass clarinet

Tomasz Pokrzywiński - cello

Olga Mysłowska - vocal (10)

LADO ABC C/31

Recenzja

4. LOWBOW - MURMURS (20 pkt)

Maciej Sadowski - double bass

Małgorzata Znarowska - cello

Kevin Scott Davis - ambient

Maja Maseli - violin (9)

Mikołaj Zieliński - trombone (9)
Piotr Guz - tuba (9)
Antoni Wojnar - piano, marimba (9)

EASTRINGS 0002

5. RGG - MEMENTO (19 pkt)

Łukasz Ojdana - piano

Maciej Garbowski - double bass

Krzysztof Gradziuk - drums

PN 0190295475932

Recenzja

6. KUBA WIĘCEK TRIO - MULTITASKING (18 PKT)

Kuba Więcek - alto saxophone, electronics

Michał Barański - bass, voice

Łukasz Żyta - drums, glockenspiel

PN 0190295475918

Recenzja

7. PIOTR DAMASIEWICZ & POWER OF THE HORNS ENSEMBLE - POLSKA (17 pkt)

Piotr Damasiewicz - trumpet

Maciej Obara - alto saxophone

Gerard Lebik - tenor saxophone

Adam Pindur - soprano saxophone

Paweł Niewiadomski - trombone

Dominik Wania - piano

Ksawery Wójciński - double bass

Jakub Cywiński - double bass

Samuel Hall - drums

ASTIGMATIC 011

Recenzja

8. DOMINIK BUKOWSKI QUARTET - TRANSATLANTYK (13 pkt)

Dominik Bukowski - vibraphone, kalimba

Emil Miszk - trumpet
Adam Żuchowski - double bass
Patryk Dobosz - drums

SOLITON 887

Recenzja

9. AWATAIR - AWATAIR PLAYS COLTRANE (12 pkt)

Tomasz Gadecki - tenor & baritone saxophones

Mark Tokar - double bass

Michał Gos - drums

FSR 16/2019

10. NATALIA KORDIAK QUINTET - BAJKA (11 pkt)

Natalia Kordiak - voice

Przemysław Chmiel - tenor & soprano saxophones

Mateusz Kołakowski - piano, rhodes

Alan Wykpisz - bass

Grzegorz Pałka - drums

HEVHETIA 0194

Recenzja

POLISH JAZZ 2019 PODSUMOWANIE !!!

MUZYK ROKU 2019: KAMIL PIOTROWICZ

Polski pianista, kompozytor. Twórca i lider zespołów Kamil Piotrowicz Quintet, Kamil Piotrowicz Sextet. Laureat wielu festiwali jazzowych, m. in. Jazz Nad Odrą (Nagroda Indywidualna za kompozycję), Krokus Jazz Festival (Grand Prix), Blue Note Jazz Competition (Grand Prix), Ogólnopolski Przegląd Zespołów Jazzowych i Bluesowych w Gdyni (Grand Prix) oraz wielu innych. Zadebiutował świetnie przyjętą płytą "Birth" wydaną w wytwórni Hevhetia w 2015 roku. W 2016 roku ukazały się dwa znakomite albumy z udziałem Piotrowicza - autorska "Popular Music" z sekstetem oraz "Dark Matter" formacji Minim Experiment. Jego dwie płyty - "Product Placement" i "Popular Music" - były nominowane do nagrody Fryderyk, a prowadzone przez muzyka formacje były wielokrotnie nagradzane na prestiżowych przeglądach i festiwalach w Polsce.

Płyty wydane w 2019 roku:

Lawaai - Densities, Forces, Intensities
Wojtczak/Piotrowicz - Plastic Poetry

DEBIUT ROKU 2019: TERCET KAMILI DRABEK - MUZYKA NAIWNA (SOLITON RECORDS)

Album "Muzyka Naiwna" został zrealizowany w ramach programu Jazzowy Debiut Fonograficzny Instytutu Muzyki i Tańca, a jego koncertowa premiera odbyła się w podczas festiwalu Warsaw Summer Jazz Days. Bohaterami są studenci krakowskiej Akademii Muzycznej: perkusista Kamil Kaźmierski, saksofonista Marcin Konieczkowicz i kontrabasistka Kamila Drabek. "Muzyka Naiwna" jest swego rodzajem podsumowaniem dłuższej, artystycznej relacji i obrazem muzyki, w jakiej najpełniej odnaleźli się młodzi twórcy. Chociaż swoją świadomość muzyczną budowali na wspólnych występach w krakowskich klubach jazzowych, to muzycy Tercetu spotykali się również w innych zespołach, koncertując w kraju i za granicą, zdobywając laury na konkursach, by wreszcie stworzyć autorską formację, która zadebiutowała podczas Kraków Summer Jazz Festiwal w legendarnej Piwnicy pod Baranami. Zespół nie kryje fascynacji wyłącznie tradycją amerykańskiego jazzu, lecz zgrabnie wzbogaca swoje brzmienie także elementami rodzimymi. 

Recenzja

NAGRANIE ARCHIWALNE 2019 ROKU: JERZY MILIAN - STIGMA (GAD RECORDS)

W lipcu 1970 roku Jerzy Milian spotkał się w Berlinie Wschodnim z orkiestrą Guntera Gollascha oraz złożonym z jej muzyków Ensemble Studio 4. Dla obu projektów przygotował kilka autorskich kompozycji – od krótkich impresji o ilustracyjnym charakterze do rozbudowanych, wielowątkowych form na styku jazzu i awangardy. Całość mieniła się wieloma kolorami i przyciągała uwagę niecodziennymi rozwiązaniami aranżacyjnymi. Milian wziął także udział w nagraniach jako wibrafonista, uzupełniając większość utworów doskonałymi partiami solowymi. Te wakacyjne nagrania z 1970 roku okazały się zaledwie preludium do bardzo obszernej, trwającej kolejne czternaście lat współpracy – jednym z punktów zwrotnych w karierze Jerzego Miliana. "Stigma" to ósma część serii "Jerzy Milian Tapes". Wszystkie utwory zarejestrowane w Berlinie Wschodnim w 1970 roku ukazują się na płycie po raz pierwszy.

Polish Jazz TOP TEN 2019 by Tomasz Łuczak

Tomasz Łuczak TOP TEN Polish Jazz 2019:

1. Algorhythm - Termomix
2. Bastarda - Ars Moriendi
3. High Definition Quartet - Dziady
4. Dominik Bukowski Quartet - Transatlantyk
5. Silberman Quartet - Asanisimasa
6. Wojtczak/Piotrowicz - Plastic Poetry
7. Trzaska/Mazurkiewicz/Szpura - North Meridian
8. Sundial feat. Irek Wojtczak - Sundial III
9. Natalia Kordiak Quintet - Bajka
10. Backspace [augmented] - AD_DA

MUZYK ROKU
Emil Miszk

DEBIUT ROKU
Ślina - Ślina

NAGRANIE ARCHIWALNE ROKU
Konikiewicz Free Funk Trio - Live At Rura 1982

Polish Jazz TOP TEN 2019 by Adam Baruch

Adam Baruch TOP TEN Polish Jazz 2019:

1. Natalia Kordiak Quintet - Bajka
2. LowBow - Murmurs
3. Gdańsk Necropolitan Orchestra - Necrosofia
4. Klara Cloud & The Vultures - Vauna
5. RGG - Memento
6. Sabina Meck Sextet feat. Wojciech Myrczek - Słowo Na T
7. Wojtczak/Piotrowicz - Plastic Poetry
8. Tie Break - The End
9. Sundial feat. Irek Wojtczak - Sundial III
10. Sasha Strunin - Autoportrety

MUZYK ROKU
Maciej Sadowski

DEBIUT ROKU
Non Violent Communication - Obserwacje

NAGRANIE ARCHIWALNE ROKU
Konikiewicz Free Funk Trio - Live At Rura 1982

Polish Jazz TOP TEN 2019 by Krzysztof Komorek

Krzysztof Komorek TOP TEN Polish Jazz 2019:

1. High Definition Quartet - Dziady
2. RGG - Memento
3. Piotr Damasiewicz & Power Of The Horns Ensemble - Polska
4. Więcek & Gawęda Quintet feat. Ralph Alessi - Berry
5. Dominik Bukowski Quartet - Transatlantyk
6. Bastarda - Ars Moriendi
7. Wschód - Wschód
8. KaMaSz - Eight Rocks From Grandma's Box
9. Dan Phillips Quartet - Light At Depth
10. LowBow - Murmurs

MUZYK ROKU
Piotr Orzechowski

DEBIUT ROKU
Tercet Kamili Drabek - Muzyka Naiwna

NAGRANIE ARCHIWALNE ROKU
Jerzy Milian - Stigma

Polish Jazz TOP TEN 2019 by Piotr Wojdat

Piotr Wojdat TOP TEN Polish Jazz 2019:

1. Bastarda - Ars Moriendi
2. Lawaai - Densities, Forces, Intensities
3. Algorhythm - Termomix
4. Opla - Obertasy
5. High Definition Quartet - Dziady
6. Awatair - Awatair Plays Coltrane
7. LowBow - Murmurs
8. Tercet Kamili Drabek - Muzyka Naiwna
9. Kuba Więcek Trio - Multitasking
10. KaMaSz - Eight Rocks From Grandma's Box

MUZYK ROKU
Kamil Piotrowicz

DEBIUT ROKU
Tercet Kamili Drabek - Muzyka Naiwna

NAGRANIE ARCHIWALNE ROKU
Jerzy Milian - Stigma

Polish Jazz TOP TEN 2019 by Maciej Krawiec

Maciej Krawiec TOP TEN Polish Jazz 2019:

1. Piotr Damasiewicz & Power Of The Horns Ensemble - Polska
2. Algorhythm - Termomix
3. Awatair - Awatair Plays Coltrane
4. High Definition Quartet - Dziady
5. Kuba Więcek Trio - Multitasking
6. Walicki/Prościński - Llovage
7. RGG - Memento
8. Eryk Kulm Quintessence - Private Things
9. RASP Lovers - Romantic Alternative Schizophrenic Punk
10. Więcek & Gawęda Quintet feat. Ralph Alessi - Berry

MUZYK ROKU
Kuba Więcek

DEBIUT ROKU
Tercet Kamili Drabek - Muzyka Naiwna

NAGRANIE ARCHIWALNE ROKU
Jerzy Milian - Stigma

Polish Jazz TOP TEN 2019 by Jędrzej Janicki

Jędrzej Janicki TOP TEN Polish Jazz 2019:

1. Kuba Więcek Trio - Multitasking
2. Sławek Jaskułke - The Son
3. Tercet Kamili Drabek - Muzyka Naiwna
4. MIST - Live Dragon
5. LowBow - Murmurs
6. Maciej Obara Quartet - Three Crowns
7. Petera Sextet - Flashover
8. Jerzy Mączyński - Jerry & The Pelican System
9. Brzoska/Marciniak/Markiewicz - Wpław
10. High Definition Quartet - Dziady

MUZYK ROKU
Sławek Jaskułke

DEBIUT ROKU
Tercet Kamili Drabek - Muzyka Naiwna

NAGRANIE ARCHIWALNE ROKU
Jerzy Milian - Stigma

High Definition Quartet – Dziady (2019)

High Definition Quartet

Mateusz Śliwa - tenor saxophone
Piotr Orzechowski - piano
Alan Wykpisz - bass
Grzegorz Pałka - drums

Dziady

ANALKASIS 007



By Adam Baruch

This is the third album by Polish Jazz ensemble High Definition Quartet, which comprises of saxophonist Mateusz Śliwa, pianist/composer Piotr Orzechowski (a.k.a. Pianohooligan), bassist Alan Wykpisz and drummer Grzegorz Pałka (each of the three albums features a different drummer). On this album the ensemble collaborates with five electronic music composers: Polish veteran/pioneer of the idiom Krzysztof Knittel, Igor Boxx (a.k.a. Igor Pudło), Americans William Basinski and Robert Rich and Austrian Christian Fennesz. The album presents ten original compositions, five of which are performed by the ensemble and were composed by Orzechowski and five shorter pieces, each composed and performed by one of the above listed electronic music composers (except for the Knittel piece which was co-composed with Orzechowski and co-executed with the ensemble), which are sandwiched between the ensemble pieces.

The album's title "Dziady" ("Forefathers' Eve") refers of course to the epic poetic drama by the Polish national poet Adam Mickiewicz, considered as one of the greatest works of European Romanticism and a source of controversial interpretations throughout the convoluted Polish political history, famous for its role in the 1968 Polish Political crisis, but retaining its prophetic actuality to this very day. The drama was staged many times over the years of course and one could speculate that this music could be considered as a possible soundtrack/stage music to an imaginary/future spectacle.

Combining Jazz with electronic/ambient music is of course quite fashionable these days and this year's (2019) Polish Jazz recording harvest offers several such outings. In most cases the electronic/ambient music is closely amalgamated with the Jazzy content, whereas on this album, with the exception of the opening Knittel/Orzechowski track, the rest of the electronic / ambient tracks stand on their own musically, which raises a basic speculation as to their integration within the album's musical fabric and its continuity. Personally I feel that their absence would not have changed the album's overall effect dramatically.

The Jazz part of the album is however absolutely brilliant, as one might expect. Orzechowski's dramatic music, rich in texture and full of imagination, is delightful from start to finish. The five seemingly separate themes constitute a coherent whole, which is perfectly executed by the quartet. Orzechowski's piano playing is radiant as always, and he proves to be on top of the heap, in spite of the fact that his recording output is sadly way too infrequent for my liking. Śliwa manages to keep his unique personal style, which sets him apart from most contemporary young Polish Jazz saxophonists, and who sadly also does not record frequently enough. Big Bear Wykpisz is amazing as always, a monster bass player in every bone and muscle of his body – he does play constantly and is omnipresent on the local scene, being probably the most sought after bassist around these days. Pałka integrated with the three founding members without a hitch, which is completely natural in view of his achievements lately. Together they are able to carry a tune as well as open up and improvise, supporting each other amicably and offer a superb listening experience.

The album was released by a new record label on the Polish market called Anaklasis Records. I must admit that I was quite taken aback by the primitive/simplistic cover design; perhaps this is some kind of new sophisticated graphic aesthetics, but it looks plain ugly to me. This music surely deserves a better packaging. The album includes an extensive booklet, which offers a bilingual version of an essay by Polish music journalist Jarosław Szubrycht.

Overall this is a brilliant piece of music, ambitious and searching, which stands up to the highest echelon of contemporary European Jazz and which is consistent with the earlier work by High Definition. Hopefully the listeners won't be discouraged by the cover and reach out to embrace this exquisite music, as it truly deserves it. Well done Gentlemen!

Piotr Damasiewicz & Power Of The Horns Ensemble – Polska (2019)

Piotr Damasiewicz & Power Of The Horns Ensemble

Piotr Damasiewicz - trumpet
Maciej Obara - alto saxophone
Gerard Lebik - tenor saxophone
Adam Pindur - soprano saxophone
Paweł Niewiadomski - trombone
Dominik Wania - piano
Ksawery Wójciński - double bass


Jakub Cywiński - double bass
Samuel Hall - drums

Polska

ASTIGMATIC 011

By Adam Baruch

This is the second album by Polish trumpeter/composer Piotr Damasiewicz and his Power Of The Horns Ensemble and their first studio recording. It features a nonet version of the ensemble which also includes saxophonists Maciej Obara, Adam Pindur and Gerard Lebik, trombonist Paweł Niewiadomski, pianist Dominik Wania, bassists Ksawery Wójciński and Jakub Cywiński and Australian born drummer Samuel Hall. The album presents four (one in two parts) original compositions, all by Damasiewicz.

The debut album "Alaman", recorded live in 2012 (i.e. six years earlier), was the first release of the now legendary For Tune 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 Komeda, Tomasz Stańko and Tomasz Szukalski and to his teacher Piotr Wojtasik, 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!