Zbigniew Lewandowski - Zbigniew Lewandowski (2020)

Zbigniew Lewandowski

Andrzej Przybielski - trumpet
Piotr Baron - saxophone
Andrzej Olejniczak - saxophone
Paweł Ścierański - guitar
Krzysztof Ścierański - bass guitar
Mieczysław Jurecki - bass guitar
Jose Torres - percussion
Zbigniew Lewandowski - drums, synth

Zbigniew Lewandowski

GAD 121

By Adam Baruch

This is a reissue of the debut album by Polish Jazz drummer / composer / bandleader Zbigniew Lewandowski, originally released on the legendary Poljazz label. The music was recorded in 1983 during two sessions separated by several months, with two lineups. The first lineup was a quintet which included alongside Lewandowski also iconic trumpeter Andrzej Przybielski, saxophonist Piotr Baron, guitarist Paweł Ścierański and bass guitarist Krzysztof Ścierański. The second lineup was extended to an octet and included also saxophonist Andrzej Olejniczak, second bass guitarist Mieczysław Jurecki and percussionist Jose Torres. The original LP presented six tracks but this remastered edition was expanded by two additional tracks from the first session, previously unissued. All the compositions were by the musicians participating in the recording except for one standard.

The music, influenced by the revolutionary work of Miles Davis, has a distinct Fusion tinge, but is very far from an attempt to copy the great Master. Przybielski, aged thirty-nine at the time of the recording, was already Poland's most idiosyncratic Jazz musician and trumpet Genius. He displays the full range of his abilities, and the fact that the music is Fusion oriented, offers a rare opportunity to hear him in that specific idiom, rather than within his "usual" Avant-Garde environment. His performances on this album are amongst the most extensive documents of his playing, including his weird sense of humor. In retrospect this album emphasizes the devastating loss Polish Jazz suffered with his untimely death in 2011. I had the immense luck and pleasure to produce the album "The Book Of Job", just a couple of years after this recording was made, which also featured Przybielski at his absolute best.

Baron, only twenty-two years old at the time, also contributes wonderfully to the album's overall ambience, offering his compositions, most of the arrangements and excellent soloing. The rest of the players were already more experienced and their professionalism and obvious talents are clearly evident in the resulting music. Overall this is a momentous recording, perhaps one of the most important Polish Jazz albums from the 1980s, and beyond. Polish Jazz/Fusion fans should be grateful to GAD Records for resurrecting this gem and saving it from oblivion. Brilliant stuff!

Yankel Band – W Lodzkiej Szkole Filmowej (2015)

Yankel Band

Piotr Przybył - violin
Krzysztof Kociszewski - guitar
Bogdan Grad - guitar
Maksymilian Pelczarski - accordion
Krzysztof Ścierański - bass
Thomas Celiz Sanchez - percussion

W Lodzkiej Szkole Filmowej

PRIVATE EDITION

By Adam Baruch

This is a live recording by the Polish ensemble called Yankel Band, which hails from the town of Lodz and plays mostly original instrumental music. The ensemble is a quartet and comprises of violinist Piotr Przybył, guitarists Krzysztof Kociszewski and Bogdan Grad and accordionist Maksymilian Pelczarski. For the concert captured on this DVD the band was expanded to a sextet with the inclusion of the Polish Jazz bass legend Krzysztof Ścierański and Mexican (resident in Poland) percussionist Thomas Celiz Sanchez. The sextet performs five compositions, four of which are originals composed by Przybyl and Kociszewski (two each) and the remaining one is a Yiddish standard.

Contrary to the band's name, which suggests an association with Jewish Music and Culture, the ensemble presents an amalgam of Jazz and World-Music influences, mostly of Gypsy and other European folkloristic sources, but not connected to Jewish music per se. The inclusion of the Yiddish standard seems a bit out of place, as if used only to justify the band's name?

All the musicians involved in this project are highly professional players with extensive experience, and they manage to create an intimate almost acoustic ambience, cooperating with each other splendidly. The tunes receive expanded arrangements, stretched out to allow elaborate solo parts by all the participants. Many of these solos are truly excellent, musically coherent and even bordering on virtuosity. Scieranski is still in excellent shape and still leaves most other Polish electric bassist way behind.

However, the band fails to present a truly original voice overall, and sounds like numerous other ensembles playing similar material in Poland, not mentioning the World over. Nevertheless the concert is definitely worthy of the attention of fans of improvised melodic World Music, and should be enjoyed by most listeners.

As to the video component of this DVD, it is honestly rather unexciting. Watching six musicians standing in a circle and exchanging licks is as interesting visually as licking ice. Releasing this material in audio form would have been more than enough. But of course that is not my call… Enjoy!

Stol Panski – Gadajace Drzewo (1997)

Stół Pański

Zbigniew Kunkowski - guitar
Andrzej Przybielski - trumpet
Sławomir Kulpowicz - keyboards
Janusz Smyk - flute & Saxophone
Krzysztof Ścierański - bass
Michał Zduniak - drums
and others

Gadające Drzewo

ZBIG 001

By Adam Baruch

This is the only album by Polish Jazz ensemble Stół Pański, led by guitarist/composer Zbigniew Kunkowski, which also featured trumpeter Andrzej Przybielski, flautist/saxophonist Janusz Smyk, keyboardist Sławomir Kulpowicz, bassist Krzysztof Ścierański, drummer Michał Zduniak, vocalist Joachim Janko, violinist Henryk Gembalski, saxophonist Aleksander Korecki and several other players. Some of these players used to be a decade earlier members of the legendary ensemble Free Cooperation. The album presents seven original compositions, all composed by Kunkowski and arranged by Kulpowicz. There is also a hidden/undocumented track, which follows the seven tracks, which is a free improvised piece.

Musically the album presents a fascinating amalgam of Jazz with Groove, Funk and World Music. Most of the music consists of a simple melody line played over a repetitive groove and serving as a background for extensive improvisations by the soloists. The main and most impressive soloist is of course the legendary trumpeter Andrzej Przybielski. Who plays on this album some of the most coherent and beautiful solos in his entire career, which bridge between his free improvising tendencies and the melodic approach he uses here. Especially impressive are his muted trumpet parts, which easily compare to those played by Miles Davis. Since every note of the Przybielski legacy is utterly sacred, this album is an absolutely must to every follower of the Polish Jazz trumpet heritage.

Overall this album is one of the hidden gems in the Polish Jazz discography, which disappeared from the shelves shortly after being released almost two decades ago and never reissued. True Polish Jazz fans should make every effort to get hold of a copy, at all costs.

Krzysztof Scieranski – Night Lakes (2014) ***1/2

Krzysztof Scieranski - guitar & bass
Michal Lyczek - keyboards
Michal Kobojek - saxophone
Przemyslaw Kuczynski - drums

and others

POLSKIE RADIO 1713


By Adam Baruch

In the liner notes attached to this album Polish Jazz electric bass virtuoso Krzysztof Scieranski confesses that his initial dream was to become a guitarist and the fact that he became Poland's bass guitar legend is, as often happens in life, a matter of circumstances and of course the fact that his brother already played guitar. One way or another, the audiences had the pleasure of enjoying his superb performances for four decades now. This album is primarily a realization of a dream where Scieranski could play guitar in addition to his already legendary bass routine. He is accompanied on this album by a core trio: saxophonist Michal Kobojek, keyboardist Michal Lyczek, drummer Przemyslaw Kuczynski and a few other musicians. Two tracks (the opening and closing ones) also include vocals. The album presents twelve original compositions, all by Scieranski.

The music is a mixture of relatively uncomplicated Smooth Jazz tunes, ranging between Jazz-Rock Fusion and almost Popish signatures, all very melodic and well structured harmonically. The tunes are definitely much more solid than most in not all the material found on Smooth Jazz recordings. There is something for everybody here and all of it is slick and pleasurable, so I wouldn't be surprised if this album becomes very popular indeed among listeners of all ages and musical persuasions.

The performances are all excellent from start to finish. These are all highly skilled and professional musicians and one should expect nothing less than technical perfection. Absurdly, although Scieranski plays some great guitar licks, it is his bass playing that is the most impressive, especially when he uses the fretless bass. He actually plays guitar on only about half of the tracks.

To summarize this is an excellently executed Smooth Jazz album, which includes a collection of tunes that are much stronger that the usual stuff one finds on that type of releases. Scieranski is a virtuoso by any standard and this album is simply another proof of the fact that he is simply great in any environment. And yes, he can play the guitar as well, which nobody can deny!

Music for fast red cars, long haired blondes and sunny beaches… California here we come!

Slawomir Kulpowicz / Shujaat Khan – Live (2013) ****1/2

Slawomir Kulpowicz - piano

Shujaat Khan - sitar

Arunangshu Chaudhury - tabla

Krzysztof Scieranski - bass

POLSKIE RADIO 1250

By Adam Baruch

This is the fourth installment in a series of releases documenting the recorded legacy of the great Polish Jazz pianist / composer Slawomir Kulpowicz, most of which is released for the first time. Kulpowicz, who died prematurely in 2008 at the age of 56, was a victim of cancer. He was a member of groups led by the top Polish Jazz players like Zbigniew Namyslowski and Tomasz Stanko and led / co-led his own ensembles like The Quartet, In-Formation and also cooperated with many other musicians over the years. He was an avid follower of John Coltrane's music and kept in touch with Coltrane's wife Alice Coltrane. Following his visit to India, Kulpowicz discovered Indian music and the spiritual aura of India, which became his own.

Kulpowicz visited India for the first time in 1978, when he was a member of the Zbigniew Namyslowski quartet, which played at the Jazz Yatra in Bombay. At the time he met and befriended a young sitar player Shujaat Khan, a descendant of the legendary Khan dynasty of sitar players since hundreds of years. That friendship lasted for almost thirty years as long as Kulpowicz was alive. They played together many times in Poland and abroad. In 1984 Khan visited Poland and recorded a live album with Kulpowicz for the Poljazz label. The last time they played together was in 2006, when Khan visited Poland again, bringing with him the tabla player Arunangshu Chaudhury. Kulpowicz invited the legendary Polish electric bassist Krzysztof Scieranski and the four played together the music presented on this album, which was recorded live at Warsaw Philharmonic Hall.

Considering the fact that European (including Jazz) and Indian music exist on almost completely separate planes, the amalgamation of the two is extremely difficult to achieve. Except for a very few earlier attempts, most importantly the John Mayer / Joe Harriott Indo-Jazz Fusions from the late 1960s / early 1970 and the John McLaughlin's Shakti a decade later, which were groundbreaking and musically just right, most of the other attempts resulted in failures. The music included on this album proves again, that the power of music transcends not only cultural borders but also thousands of years of musical tradition, enabling conversations between musicians originating seemingly from worlds apart.

The album comprises of just three extended pieces, two of which are about half an hour long and the third a quarter of an hour in duration. Named simply "songs", they are improvisations on melodic themes composed by Kulpowicz, performed wonderfully and in perfect harmony by all four musicians. Khan voices the melody at the onset of each piece and then the musicians take extensive solos in turn, with the full quartet returning to the melodic theme several times between the solos. Kulpowicz plays superbly and his solos are simply outstanding statements in the John Coltrane tradition, emphasizing the close relationship between Coltrane's music and the Indian influences, which are often difficult to be discovered in his music, but come to wonderful realization when performed by Kulpowicz. There is so much passion in his playing that one suspect that his premonition as to his fate was already hunting him.

Khan, who since the early meeting with Kulpowicz achieved a Masterly status in Indian music, is an obvious sitar virtuoso and his solos are also breathtaking. Chaudhury and Scieranski, although a priori destined to fulfill a less dominant role in this music, perform both splendidly and their contributions are invaluable. Scieranski especially is to be prized, as his elegant and delicate bass tones manage to keep a perfect balance with his partners and the music which usually exist without the bass foundation so typical in European music.

The music is beautifully recorded and has an outstanding sound quality, especially in view of the fact that it is a live recording. Musically it is one of the finest examples I have ever come across of cross-cultural amalgam that work naturally as "God intended". An absolute must to World-Music enthusiasts and all connoisseurs of great music, regardless of genre, geography or cultural affiliation. Respect!

Jaroslaw Smietana – From One To Four (2009) ****

Jaroslaw Smietana - guitar

Janusz Muniak - saxophone

Piotr Baron - saxophone

Krzysztof Scieranski - bass

Antoni Debski - bass

Jacek Pelc - drums

APEX 328

By Adam Baruch

This is the second album as a leader by the fabulous Polish Jazz guitarist / composer Jaroslaw Smietana, who died recently tragically prematurely, succumbing to cruel illness. Smietana was one of the most active players on the local scene and contributed enormously to its development over the years. This album presents him, as the title suggests, in different settings: solo, duo, trio and quartet, playing with some of the best Polish Jazz musicians active at the time: saxophonists Janusz Muniak and Piotr Baron, bassists Krzysztof Scieranski and Antoni Debski and drummer Jacek Pelc. They perform eleven compositions, five of which are originals: three by Smietana and one each by Scieranski and Pelc, and the rest of the material is all standards.

This is one of the Jazziest albums recorded by Smietana, with fewer Fusion ventures, and his beautiful Jazz sensitivity is especially apparent herein. But all the other players also contribute very fine examples of intelligent, intimate musical conversations with the leader. Scieranski's bass and Baron's saxophone are simply delightful. Smietana experiments with the guitar synthesizers and performs on three quite distinctly sounding guitars, with his delicate touch being definitely one of the finest ever. Also the three duets with veteran saxophonist Janusz Muniak are among the album's most enchanting moments.

In retrospect this is a very strong album from start to finish with no weak moments or unnecessary "fillers", and a superb legacy which Smietana left for all of us to enjoy. A must for all Polish Jazz fans!

Side Note: The Poljazz 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 Nagrania / Muza and as such revolutionized the music industry at the time, being the only such enterprise in Eastern Europe. The Polish label Anex reissued many of the original Poljazz albums on CD, bringing this fabulous music back to life.

Laboratorium – Anthology 1971-1988 (2006)

Janusz Grzywacz - keyboards, leader
Marek Stryszowski - saxophone, vocals
Pawel Scieranski - guitar
Krzysztof Scieranski - bass
Mieczyslaw Gorka - drums
Ryszard Styla - guitar
Krzysztof Olesinski - bass
Andrzej Mrowiec - drums
Jan Pilch - percussion

METAL MIND BOX 001

By Adam Baruch

This box set compiles all the albums released by the Polish Jazz-Rock Fusion ensemble Laboratorium, which was without a shadow of a doubt one of the best and most important Fusion outfits in Eastern Europe before the fall of the Iron Curtain. Over the years the band managed to release ten albums, an unprecedented achievement at the time, of which seven were studio recordings, two were recorded live and the last one was a compilation of previously unreleased tracks. Two of the studio albums were released on the legendary Polish Jazz Series (Volumes 49 and 58). All the ten albums were remastered for this box set release and expanded with a plethora of bonus tracks, which include studio outtakes, radio and live performances and mini-sleeved. The booklet includes a detail history of the band and reflections about the albums by the band's founder / leader keyboardist / composer Janusz Grzywacz.

As all ensembles Laboratorium changed lineups over the years, but enjoyed relatively steady personnel for extended periods of time, which undoubtedly added to their success. Most of their material, which is covered by their second to sixth albums (and the compilation album), was recorded by a steady lineup, which included in addition to the leader also saxophonist / vocalist Marek Stryszowski, guitarist Pawel Scieranski, bassist Krzysztof Scieranski and drummer Mieczyslaw Gorka. On the later albums the lineup includes Grzywacz and Stryszowski (who are the only musicians appearing on all the ten albums) with guitarist Ryszard Styla, bassist Krzysztof Olesinski, drummer Andrzej Mrowiec and percussionist Jan Pilch. The debut recording, which initially occupied only one side of an LP, features the legendary Polish violinist Zbigniew Seifert and is stylistically quite close to Free Jazz in contrast to the Fusion direction adopted later.

The band performed only original music, which of course was a courageous decision, and with a singular exception, all the music enclosed herein was composed by Laboratorium members, mostly by the leader but also by others or co-composed by the band. Over the years Grzywacz emerged as a first rate tune-weaver with an excellent ability to write great melodies and riffs, which make the music accessible, even when it becomes quite complex. The music remains intelligent and ambitious throughout, with a remarkable consistency of high-level quality. But the most important factor of Laboratorium was its ability to constantly evolve and change, which is quite evident to anybody listening to the music in the proper historic order. Grzywacz slowly moved from acoustic to electric piano and then to synthesizers, but never indulged in mindless pyrotechnics which so many of his colleague keyboardists fell victim to during that period of time. Laboratorium managed to avoid that terrible, obnoxious 1980s cheesy synthesizer sound, which is a success in itself.

Although most of the music performed by Laboratorium is instrumental, they used the human voice time and again in an instrumental capacity. These vocalese experiments are all quite interesting and present another layer of the band's musical range. It seems that Polish Jazz is particularly fond of such experimentation since its early days and it's definitely interesting to hear how Laboratorium handled them.

There are endless moments of musical joy inside this box set; virtuosic performances by the musicians, especially those by Krzysztof Scieranski, who stands easily shoulder to shoulder with such bass heroes as Jaco Pastorius, beautiful melodies, funky grooves, superb guitar and keyboards solos, in short Fusion heaven for all connoisseurs of the genre. I can't imagine any Fusion fan anywhere on this planet not being melted away by the beauty of this music.

The box set is an individually numbered limited edition and if you can put your hands on a copy, don't you dare to hesitate even for a moment – it's worth its weight in gold!

Robert Czech / Sound Smugglers – Robert Czech / Sound Smugglers (2008)

Robert Czech - keyboards
Jacek Mielcarek - saxophone
Maciej Paszek - bass
Marek Sochacki - drums
guests:
Krzysztof Scieranski - bass
Bernard Maseli - vibraphone
Marek Raduli - guitar
Karolina Glazer - vocals

PRIVATE EDITION

By Adam Baruch

This is an album by Polish Jazz keyboardist / composer Robert Czech and his ensemble Sound Smugglers, which includes on this album as core members saxophonist Jacek Mielcarek, bassist Maciej Paszek and drummer Marek Sochacki. Many additional musicians participate as guest artists on some of the tracks, including Polish Jazz icons such as bassist Krzysztof Scieranski or vibraphonist Bernard Maseli. Czech wrote all the ten compositions included here, one of which also features vocals by Karolina Glazer.

Stylistically the music is mostly contemporary Fusion, with strong melodic statements and intervals of extended improvisations, all of which are done professionally and spotlessly. Most impressive solos are delivered by guitarist Marek Raduli and it's a pity he is not featured on more tracks. Although there are no innovations or groundbreaking statements here, this is a very well done mainstream Fusion, which should be enjoyed by all Fusion enthusiasts anywhere in the world.

This kind of music often very easily crosses over to clichés and pointless doodling, which fortunately is successfully avoided here. Therefore although on the lighter side of the Jazz spectrum, this is definitely music worthy of being listened to both for its quality and fun value.

String Connection - Workoholic (1982)

String Connection (band)

Krzesimir Dębski – violin, piano, Polymoog
Zbigniew Lewandowski – drums
Andrzej Olejniczak – tenor & soprano saxophones
Janusz Skowron – Fender, Hammond, Polymoog
Krzysztof Ścierański – bass guitar

guests:
Mirosław Michalak – guitar (1 & 5)
Zdzisław Śróda – trombone (1)

Workoholic (1982)

String Connection is one of the top "stars" of the polish 80'. Playing hundreds of shows (not only in Poland) durring that period and recording few great albums, Krzesimir Dębski's (violin) crew managed to break into hearts of many (not only) jazz fans. Disbandment in 1988 was not yet the end of String Connection - they managed to play few shows in 1998 and decided to return for longer tour in 2011, issuing live album in 2012.

Their compositions are quite "listenable" - lots of beautiful classical influenced melodies by Dębski, strong rhythm section, great piano and sax. Much of that can be experienced on "Bokra", the very first tune from SC first album "Workoholic". Here it is:

There is a lot of dynamic, groovy playing here, still leaving place for calmer moods. The song starts and ends with orchestral-sounding section (faded out in the end), kind of unusual - 3 bars in length makes it feel like being "too short". Afterwards, the main, groovy rhythm appears followed by the melody played together by violin and sax. The tune runs like that into the next section and, after repeating the main groove, calms the mood down - beautiful sax playing here. This softer section leads the way to the soloing cycle. Piano, violing and sax solos are played over the same chordal pattern (8 bars) launched 4 and a half times for each solo - every instrument ends it's part by reaching F# minor chord, on which music morphes into the main groove (plus melody). Second and third solo (violin and sax) start with calming the music down for two turns. After the solos, the main rhythm + melody is repeated as in the begining, along with the next section, making it's way to the ending part.

Score and tab: https://docs.google.com/open?id=0Bw7O1HDkrEexejFJcmwzYlg2ZlU
Score only: https://docs.google.com/open?id=0Bw7O1HDkrEexR3E5TnVkUTJiazQ
Tab only: https://docs.google.com/open?id=0Bw7O1HDkrEexYU5DYUtlOEFhLWM

Krzysztof Ścierański is considered to be one of the best bass players in Poland. Somebody called him "Polish Pastorius" once, but his style is quite different from famous Jaco. Ścierański, a self-taught musician, plays fretted basses (I don't know if he ever played fretless), "digs" stuff like slapping, or harmonics and likes to use bass effects (chorus, reverb, delay and so). The first "big" thing he got involved into was Laboratorium - polish jazz-fusion band of 70'-80', considered by many the best polish fusion band. Before String Connection, Krzysztof played in Zbigniew Namysłowski's fusion outfit called Air Condition and, after SC, lots of great projects, gigs and solo stuff. IMHO the most important bassist in Polish fusion. Just listen to this performance by, mentioned earlier, Air Condition with Namysłowski:

One word of explaination about String Connection album name. As you might notice, there is no such word in English as "Workoholic". "Workaholic" yes, not "Workoholic". Krzesimir Dębski explained in one of his interviews, that he made that word up - there was a trend is polish jazz then to do such things. He wanted to join "work" with "alcoholic", as he considered himself to be addicted to work (if somebody plays rehearsals at 4 a.m., like Dębski did in early stage of SC era, should be IMHO considered workaholic) and didn't know that very similar word already exists. That's why there is a "typo" in the album title.

By Brian The Fire
http://fusionbasstabs.blogspot.com 

Track listing:
"Bokra" (K. Dębski) – 7:10
"Cantabile in H-Moll" (K. Dębski) – 6:00
"Kill the Raven" (J. Skowron) – 3:48
"Quasi String Waltz" (K. Dębski) – 3:20
"Workoholic" (K. Dębski) – 4:32
"Seekuh" (K. Ścierański) – 3:10
"Primary" (J. Skowron) – 5:10
"Gutan Dance" (K. Dębski) – 5:30

Laboratorium - Zdrowie na budowie (2006)

Laboratorium (band)

Janusz Grzywacz / piano, Fender Rhodes, Arp Odyssey synthesiser
Marek Stryszowski / vocal, alto sax, soprano sax
Paweł Ścierański / guitar
Krzysztof Ścierański / bass guitar
Mieczysław Górka / drums
Wacław Łoziński - flute (11, 12)
Maciej Górski - bass (11, 12)

Zdrowie na budowie (2006)

Laboratorium is legendary band in Polish Jazz and by no accident. In terms of moulding together pop, rock, funk and jazz influences it outpaced all other bands in Poland by light years. Listening to their music is as travel in time when all of sudden one finds itself back in 70ties. Great period generally for Polish culture if not somewhat surprisingly especially when taking into account that it was not then fully independent and democratic country. This travel is made possible by this astonishing disc which issued in 2006 comprises previously unreleased material recorded between 1974-78. Its quality is absolutely stellar! All is perfect here: musicians, tunes, mood. It swings, it rock, it rolls. Like hell! And regardless of years passing... Wholeheartadly recommended!

Tracklisting:
1. Zdrowie na budowie (8:05)
2. Północna samotnia (4:44)
3. Cichy kącik (4:29)
4. Dove (4:40)
5. Brzózka (2:24)
6. Za piętnastą górą (5:30)
7. My z Julkiem (3:06)
8. Madonna z Poręby (7:28)
9. Długie zimowe wieczory (6:05)
10. Złota rybka i lustereczko (6:12)
11. Nowe szaty króla (4:33)
12. Lolokuki (5:18)
13. Euschaustor (6:22)

By Maciej Nowotny
http://kochamjazz.blox.pl

Laboratorium – Quasimodo (Polish Jazz Vol.58, 1979)

Laboratorium (band)

Janusz Grzywacz – Acoustic Piano, Rhodes Piano, Arp Oddessey
Marek Stryszowski – Vocalm Vocal by "Space Chorus Rolland" Alto Sax, Soprano Sax
Pawel Scieranski – Acoustic Guitar, Electric Guitar
Krzysztof Scieranski – Bass Guitar
Mieczyslaw Gorka – Drums, Percussion

Quasimodo (Polish Jazz Vol.58)

This is the 2nd album by Polish Jazz-Rock Fusion ensemble Laboratorium, which was one of several great Polish bands (like Extra Ball for example) playing in that vein during the 1970s. Founded by keyboardist Janusz Grzywacz, the band's founding members included also saxophonist / vocalist Marek Stryszowski and drummer Mieczyslaw Gorka. After an initial period of trying to find a musical identity, the band was joined by brothers Pawel Scieranski on guitar and Krzysztof Scieranski on bass (one of the greatest Polish bass players) and settled into the Fusion genre, with a musical approach and sound not far away from Weather Report. This, their second recording, presents them in their full power and the recording is quite stunning in its sophistication and instrumental aptitude. The music includes pieces composed by all members of the group. As opposed to most American Fusion at the time, which was mostly based on simplistic melodies and endless instrumental doodling, this music is atmospheric, intelligent, sophisticated, well developed and coherent, clearly well rooted in the European musical tradition. Fusion fans are well advised to try this out and explore this wonderful music, which is expanding the genre's limitations to the max. This music will also interest fans Prog fans, as it is close in spirit to the Canterbury genre. Superb stuff!

Track listing: A1 – Przejazd / The Journey; I'm Sorry, I'm Not The Driver; A2 – Etiudka / Little Etude Sniegowa Panienenka / The Snow Girl; A3 – Lady Rolland; B1 – Quasimodo; B2 – Kyokushinkai; B3 – Ikona / An Icon – in memory of Zbigniew Seifert

By Adam Baruch

http://adambaruch.com/

String Connection – 2012 (Polskie Radio, 2012) by Adam Baruch

String Connection (band)

Krzesimir Dębski - violin, keys, Hammond
Andrzej Olejniczak - soprano and tenor saxophone, bass clarinet
Janusz Skowron - piano, Fender
Krzysztof Ścierański - bass guitar
Krzysztof Przybyłowicz - drums, percussions
Anna Jurksztowicz - vocal (6 i 8)

2012 (Polskie Radio, 2011)

Over 20 years after the Polish Jazz ensemble String Connection ceased to exist after several years of leading the local Jazz scene, here they are again, reunited, rejuvenated and recharged with new energies. Led by the violin virtuoso / composer Krzesimir Debski, who founded the original group in 1981 and who was also responsible for group's breakup due to his mounting commitments as a composer for film and contemporary Classical music, the group also includes original members: saxophonist Andrzej Olejniczak, keyboardist Janusz Skowron, bassist Krzysztof Scieranski and drummer Krzysztof Przybylowicz. Female vocalist Anna Jurksztowicz guests on two tracks. The music was composed mostly by Debski (six of the eight tunes on the album) with Olejniczak and Scieranski contributing one composition each. All these players are of course masters of their trade and their performances are always top notch, as expected. The music covers a wide spectrum of compositions, from World Music influences to Fusion, with the typical Eastern-European awareness of somewhat quirky melody lines and rhythmic patterns. There are no surprises here or groundbreaking innovations, but a lot of excellent and enjoyable music. For Jazz violin connoisseurs this is a must of course, as Jazz albums with violin are unfortunately a rarity, especially those of such quality like this one. Recommended!

Track listing: 1. Istrian Sideways; 2. Croatia On My Mind; 3. El Juguete; 4. Das Salzperlspiel; 5. Obsession; 6. Saranjeet Kaur; 7. Cien Kilos De Papas; 8. O Czym Marzą Dziewczyny



By Adam Baruch

http://adambaruch.com/

Krzysztof Scieranski - Directions (4EverMusic, 2008)

Krzysztof Ścierański - electric basses, synth

Przemysław Kuczyński - drums

Thomas Sanchez - perucussions

 Directions (4EverMusic, 2008)

Though I assume that to foreign listeners name Krzysztof Ścierański means nothing believe me it is to your detriment. In Poland he is a living legend and deservedly since he has been for years voted by audience and critics as the best electric bass guitarist in Jazz Forum poll. And he still is though I am afraid such a voting does not any more reflects reality but his great fame in the past. The truth is that Ścierański stopped to evolve years ago and his music resembles some kind of fossil from age of dinosaurs, in his case fusion era. To be honest some of such fossils may strike your heart with awe, admiration and even respect. While listening to them you are deeply moved by passed glory of those legendary beasts. And that is the case with this specific release by Ścierański. It is much better than his other albums of recent years for two reasons. First, Ścierański playing on bass guitar is wonderfully underpinned by very decent drumming of Thomas Sanchez. Such music as fusion is usually all about groove and in Sanchez Ścierański finds player of equal talent. Second, inspired by visits to different countries album is full of quotations from these countries musical cultures which makes music pleasantly diversified. But these quotations lack in authenticity and resemble kind of tourist impressions from say safari in Africa spent in five stars hotels. I would therefore recommend this music to some easy listening in the afternoon or while travelling in car. It suits perfectly for such occasions!

1.Modlitwa; 2.Pustynna Burza; 3.Tybetandy; 4.Harley B.; 5.Chiński Blues; 6.Paradicsommadar; 7.Od Zmierzchu Do Świtu; 8.Latin Blues; 9. Dying Star 

By Maciej Nowotny

http://kochamjazz.blox.pl/html 

Krzysztof Scieranski, Bernard Maseli - The Colors (Fonografika, 2010)

Krzysztof Ścierański - bass, midi bass, guitars (8, 9)

Bernard Maseli - KAT Mallet Pro, kalimba

Marek Raduli - guitars

Przemek Kuczyński - drums

Two guitars, and very good ones, Krzysztof Ścierański being one of legends of Polish Jazz, excellent vibraphonist Bernard Maseli, and drummer Przemek Kuczyński with impressive pop and rock background, all this should contribute to creation of something fresh and inspiring... In purely musical terms however it is typical fusion, whose tradition dates back to 70ties of last century and which now is kind of re-discovered and refreshed by so many artists. But this music is played as if no time has passed since its golden era 40 or so years ago. A grat advantage to some while at the same time a disappointment for others...

Let me finally add one critical remark: I must warn you that editorial level of this release is extremely low. Design of cover is a shame, truly tasteless, I wonder who was responsible for making such scarecrows out of artists' images? Moreover there are errors in information printed on CD cover like 'Footprits" instead of 'footprints' in title of famous Wayne Shorter composition. Shame! 

Author of text: Maciej Nowotny
http://kochamjazz.blox.pl/html

String Connection - 2012 (Polskie Radio, 2012) by Maciej Nowotny

String Connection (band)

Krzesimir Dębski - violin, keys, Hammond
Andrzej Olejniczak - soprano and tenor saxophone, bass clarinet

Janusz Skowron - piano, Fender
Krzysztof Ścierański - bass guitar
Krzysztof Przybyłowicz - drums, percussions
Anna Jurksztowicz - vocal (6 i 8)

2012 (Polskie Radio, 2011)

String Connection is a band which existed from 1981 to 1988. In darkest times of martial law imposed by gen. Jaruzelski this music was a beacon of light in Polish jazz. It brought high quality, energetic and optimistic muse to people depressed by dire political situation and unbelievable hardships of living in country whose economy was falling apart. By 1988 however when this collective disbanded their music sounded already outdated and not reflecting changes in then fast changing world. Changes which eventually in 1989 brought freedom to Poland. It is therefore no surprise that reactivated after more than 20 years after it ceased to function this project cannot be taken as anything else than sentimental journey to the past. It brings nothing new and though music is very well played, it lacks in zeal and enthusiasm so characteristic to these musicians back in 80ties. I especially regret that such exceptional artists as violinist Krzesimir Dębski or saxophonist Andrzej Olejniczak stopped contributing creatively to Polish Jazz. This CD although sweet and charming is proof that they were unable to enter in dialogue with new aesthetics which emerged in jazz in last 20 years or so. Saying all that I must admit that rehearsing this album brought me a lot of pleasure! It is brilliantly played, songs are easy to catch and it tastes perfect when accompanying morning coffee. Though very little of jazz is present in these sounds, at least of jazz as it is understood at the beginning of XXI century...

Track listing: 1. Istrian Sideways; 2. Croatia On My Mind; 3. El Juguete; 4. Das Salzperlspiel; 5. Obsession; 6. Saranjeet Kaur; 7. Cien Kilos De Papas; 8. O Czym Marzą Dziewczyny

String Connection 2012 by adamkubalica

Author: Maciej Nowotny
http://kochamjazz.blox.pl/html

Laboratorium - Modern Pentathlon (Polskie Nagrania, 1976)

Laboratorium (band)
Janusz Grzywacz - Fender piano, piano, synthesizer Rolland 2000

Krzysztof Ścierański - bass guitar
Mieczysław Górka - drums, percussion
Paweł Ścierański - electric guitar, acoustic guitar
Marek Stryszowski - vocals, alto saxophone, bass clarinet

Modern Pentathlon (Polskie Nagrania, 1976)

A few years ago there appeared, in the series “Polish Jazz”, a record of the Laboratory band. On that occasion, while introducing the group and discussion their music, I ventured the opinion that the young Cracow musicians were the future of Polish jazz. Since the release of their “Modern Pentathlon” this prediction has proved right. Today the Laboratory are not longer future but present time of jazz in Poland. The Laboratory are in many respects and unusual group indeed. Having for many years worked in the quietness of Cracow, while retaining the same line-up and without the temptation or treat of immediate success – they managed to overcome the threshold of art and that of popularity. As for art – they worked out their own, original jazz-rock idiom, adding to their tonal imagination, a liking for complicated rhythmic figurations, a tendency to extend and diversify the form, etc. As for their standing in society – they have become probably the most popular Polish jazz group. The Laboratory has been playing very much indeed, taking part in major festivals, making world concert tours, making recordings. And increasingly now – be it at the international Jazz Yatra Festival in Bombay, or in Quasimodo club in West Berlin, or in small hall at the student club somewhere in Poland – the jazz-lovers do recognize the very special sound of that Cracow group. The music which is so concentrated, carefully thought out, full of nuances and with all this very much alive, filled with individualities of five musicians who concealed their solo ambitions, as well their names, under the name of the Laboratory. (All text by Jan Poprawa from original line notes from the album's back cover, translation by L. Wewiorkowski)

Check tune "Crazy Shepherd" from this album: 

Author of text: Jan Poprawa

Krzysztof Scieranski – Bass Line (Anex, 1983)

Bass Guitar - Krzysztof Ścierański
Drums, Percussion - Jerzy Piotrowski
Guitar, Percussion - Paweł Ścierański
Percussion - Marek Wilczyński

Bass Line (Anex, 1983)

This is the 1st album by Polish bass virtuoso Krzysztof Scieranski, who was a member of such notable Polish groups as Laboratorium and String Connection, before starting his solo career. He is accompanied on this album by his brother Pawel Scieranski on guitar, Jerzy Piotrowski (of SBB fame) on drums and Marek Wilczynski on percussion. Scieranski composed all eight compositions on this album, which are quite excellent examples of intelligent Jazz-Rock Fusion and of course his incredible abilities as an electric bass player. Wholeheartedly recommended!

(Editor) The tune comes from album"Krzysztof Ścierański" issued in 1984 and very similar style:

Author: Adam Baruch

http://www.adambaruch.com/

check also his music boutique: https://www.jazzis.com/shop/