Irek Wojtczak Tentet - "Suita Parzęczewska"

Irek Wojtczak Tentet

Irek Wojtczak - saks. sopranowy, klarnet basowy
Tomasz Dąbrowski - trąbka
Emil Miszk - trąbka
Tomasz Ziętek - trąbka
Piotr Chęcki - saks. tenorowy
Michał Ciesielski - saks. sopranowy
Piotr Mania - fortepian
Paweł Niewiadomski - puzon
Adam Żuchowski - kontrabas
Krzysztof Szmańda - perkusja

Album "Suita Parzęczewska" (2023)

Link do muzyki na Bandcamp

Tekst: Piotr Banasiak

Ta recenzja powinna ukazać się już dawno. Przecież "Suita" była dodatkiem do numeru JAZZ Forum w marcu 2023! .

Niestety… praca, praca, przygoda w stacji RadioJAZZ.FM... no i to półtora roku ciężkiej harówy aktorskiej jako hoplita na planie zdjęciowym "Odysei"...

Niemniej - udało się.

Joanna Knitter Blues & Folk Connection - "Aretha"

Joanna Knitter Blues & Folk Connection

Joanna Knitter – śpiew,
Artur Jurek – fortepian & organy Hammonda,
Krzysztof Paul – gitara,
Adam Żuchowski – kontrabas,
Piotr Góra – perkusja.

Wydawca: Allegro Records (2020)

Tytuł płyty: "Aretha"

Autor tekstu: Maciej Nowotny 

Joanna Knitter posiada rzadki w jazzie talent jakim jest... głos. Wśród wielu szemrzących i szepczących jazzowych diw, Knitter zaskakuje (nieraz boleśnie, jak się przekonamy) potężnym głosem, a ponadto ma pewność siebie żeby go używać, jak powiedzmy kowboj swojego colta. Niedawno miałem ją okazję słyszeć na nagranym wspólnie z saksofonistą Przemkiem Dyakowskim albumie "Ludmiła" poświęconym gwieździe muzyki popularnej lat 50-tych i 60-tych w Polsce Ludmile Jakubczak. Potrafiła tam bezpretensjonalnie zaśpiewać piosenki, które wydawały się już całkowicie zapomiane, ba, nawet martwe. A okazało się, że mogą odżyć i rozgrzać jeszcze niejedno serce i to nie tylko z tych pamiętających tę dawno przebrzmiałą - także muzycznie - epokę.

To zaostrzyło mi apetyt na więcej śpiewu Joanny i jakoś tak sama wpadła mi w ręce następna płyta z jej udziałem, tym razem autorska, poświęcona wybitnej amerykańskiej wokalistce Arecie Franklin. Co prawda zapaliła mi się czerwona lampka, bo pomysł zmierzenia się z Arethą Franklin, a właściwie jej piosenkami, wydawał mi tak karkołomny jak powiedzmy skok z wysokiej wieży do basenu, którego wypełnienia wodą z powodu dużej odległości nie jesteśmy w stanie potwierdzić. 

I rzeczywiście! W pierwszej chwili wydawało, że na dole uderzyłem z hukiem o twardy beton. Nagrane przez Knitter wersje w niczym nie przypominały świetnie mi znanych interpretacji Franklin. Mało tego. Zaśpiewane na bluesowo, z ostrą, dynamiczną frazą huczały mi w głowie jakby ktoś masakrował ukochane jazzowe i gospelowe piosenki pracującą na najwyższych obrotach - chicagowską - piłą mechaniczną. Z wściekłością wyrwałem płytę z odtwarzacza i już miałem ją z całą siłą cisnąć za okno, gdy powtrzymało mnie coś.

To coś to inna piosenka, w której takie oto padają słowa, że "niecierpliwość to okrutnie brzydka wada". Usiadłem, wziąłem głębszy oddech, odłożyłem płytę na półkę i dałem jej i sobie czas. I podczas kolejnych odsłuchów dotarło do mnie, że trzeba naprawdę potężnej odwagi by zrobić coś tak szalonego jak Knitter na tej płycie czyli przewrzeszczeć samą Franklin. Co więcej, Knitter często się to udaje, bo zrobiła dokładnie to co należało, czyli postanowiła ten repertuar zaśpiewać całkowicie po swojemu, w sposób wręcz diametralnie przeciwny intepretacjom boskiej Arethy i dzięki temu, mimo że piosenki są nam tak dobrze znane, mamy cały czas czas wrażenie odkrywania czegoś nowego. Zasługa w tym nie tylko charyzmatycznej wokalistki, ale i towarzyszących jej muzyków: Artura Jurka grającego na fortepianie i organach Hammonda, Krzysztofa Paula na gitarze, Adama Żuchowskiego na kontrabasie i Piotra Góry na perkusji. Ci muzycy zagrali bluesa jakby urodzili się w Chicago i przez całe życie nie robili nic innego jak chodzili w czarnym garniturze, białej koszuli, przeciwsłonecznych okularach i uciekali przed policją, a od czasu do czasu również przed mafią. Brawo! 

I jednego tylko żałuję, że zapewne z powodu już znacznego oddalenia od premiery tego albumu, która miała miejsce w roku 2020, zapewne nie będę już miał okazji posłuchać tego materiału na żywo. A mam przeczucie, że mógłby brzmieć jeszcze potężniej. Mam jednak nadzieję, że co się odwlecze to nie uciecze i tym baczniej wyczekuję wieści o tym jakie projekty Knitter ma na horyzoncie.

Leszek Kułakowski - „Beautiful Jazzy Opera”

Leszek Kułakowski

Leszek Kułakowski – fortepian/piano
Anna Fabrello – sopran/soprano
Łukasz Załęski – tenor
Adam Żuchowski – kontrabas/double bass
Tomasz Sowiński – perkusja/drums


Orkiestra Polskiej Filharmonii „Sinfonia Baltica” im. Wojciecha Kilara/Wojciech Kilar Sinfonia Baltica Philharmonic
Tadeusz Wicherek – dyrygent/conductor

„Beautiful Jazzy Opera” (2023)

Wydawnictwo: Soliton, www.solition.pl

Tekst: Renata Rybak

Leszek Kułakowski nie na darmo nazywany jest przez krytyków wizjonerem jazzu oraz guru Trzeciego Nurtu, łączącego świat jazzu z muzyką klasyczną. Płyta Beautiful Jazzy Opera jest na to świetnym dowodem. Artysta wziął na warsztat kultowe wręcz arie operowe Pucciniego, Moniuszki, Denzy czy Bizeta oraz ludowe melodie z Kaszub. Powstał zaskakujący i zachwycający mariaż dwóch estetyk, które wydają się nie mieć ze sobą za wiele wspólnego. Muzyka klasyczna kojarzona z powagą, trzymaniem się szytywno zasad, spotkała się ze swobodą i spontanicznością jazzu.

Aby osiągnąć taki efekt, Kułakowski konsekwentnie stosuje podobny schemat we wszystkich swoich aranżacjach na płycie „Beautiful Jazzy Opera” . Najpierw używa głosów sopranu i tenora do zaprezentowania głównego tematu utworu i bazowej linii melodycznej, która jest dobrze znana słuchaczowi. Jednak już od początku następuje zmiana, zdziwienie, bowiem instrumentarium bywa już od razu niespotykane. Oto pięknym ariom sopranu lub tenora towarzyszy jazzowy set, wprowadzający pewnego rodzaju niepokój, zaskoczenie, ale i ciekawość jak to się potem rozwinie. Jak tylko słuchacz oswoi się z wiodącym tematem, temat ten jest płynnie przechwytywany przez fortepian maestro Kułakowskiego i z silnym wsparciem sekcji Żuchowskiego i Sowińskiego podlega wariacjom na różne sposoby do tego stopnia, że odbiorca wręcz traci pierwotny kontekst z główną linią melodyczną utworu.

Jednak przejścia te są tak płynne i tak naturalne, że nie generują niepokoju i dyskomfortu, wręcz przeciwnie, wzbudzają ciekawość i głód dalszego słuchania, a towarzyszy temu pytanie co się dalej wydarzy. A co się wydarza? Otóż czasem dostajemy powrót do pierwotnej, znanej nam linii melodycznej, wsparty poprzez użycie instrumentarium orkiestry symfonicznej. Główny temat przywołany przez sopran lub tenor, ale tu znowu zaskoczenie, bo aranżacje przypominają hollywoodzki rozmach muzyki filmowej. Innym znowu razem solistka rozpoczynając od klasycznej estetyki, płynnie przechodzi do jazzowych wokaliz, używając pełnej skali swojego wspaniałego głosu, a słuchacz jest zauroczony i zadziwiony jak to możliwe, że tak różny sposób ekspresji muzycznej prezentowany jest przez tą samą artystkę. Dzięki tym zabiegom znane melodie nabierają nowej jakości i stają się zupełnie nowymi utworami muzycznymi. Wprawiają w zachwyt zarówno koneserów muzyki klasycznej jak i wyznawców jazzu. Czyli na przykład mnie, a mam nadzieję, że zaciekawią i zachwycą również moich czytelników.

Dominik Bukowski Quartet - Transatlantyk (2019)

Dominik Bukowski Quartet

Dominik Bukowski - vibraphone, kalimba
Emil Miszk - trumpet
Adam Żuchowski - double bass
Patryk Dobosz - drums

Transatlantyk

SOLITON 887


By Adam Baruch

This is an album by veteran Polish Jazz vibraphonist/composer Dominik Bukowski recorded in a quartet setting with younger musicians: trumpeter Emil Miszk, bassist Adam Żuchowski and drummer Patryk Dobosz. The album presents nine pieces, seven of which are original compositions by Bukowski, one is co-composed by all four members of the quartet and one is an arrangement of a composition by Polish Classical Music composer Andrzej Panufnik.

The music on this album was inspired by the human experience of emigration, of leaving someone's home and country and moving to another place, a process millions of Poles went through in modern history for a variety of reasons and as a result of economic, political, religious and personal pressures. This, Bukowski's sixth album as a leader, repeats the lineup of his previous album "Sufia", with Miszk replacing Amir ElSaffar and the rhythm section remaining in place. Miszk, who makes an impressive mark on the local scene lately, is in charge of most of the solo parts, as expected.

The music continues the path set by Bukowski many years ago, which is based on the characteristic Polish lyricism and melancholy, but keeps changing and developing from one album to the next. The recording of the preceding album made a distinctive mark on Bukowski's music with the inclusion of odd time signatures and strong World Music influences, which are also present here. But the music is in general more daring and adventurous, which can be perhaps credited also to the presence of the young players.

The challenging task of creating a "concept album", which presents a coherent sequence of compositions with a common context uniting them, is achieved here remarkably well and the atmosphere of "storytelling" is felt distinctly, emphasized by the inclusion of the spoken word parts. The feeling of uncertainty, fear and outlandishness is present very vividly, expressing the mental state of émigrés, surly at the early stages of their new lives, but often lastingly. Therefore this album deserves a somewhat different perspective than a purely musical creation.

Overall this is a momentous piece of Art, powerful both musically and as a document of human emotional states, which deserves a serious and attentive listening. Although the texts are almost exclusively in Polish, their meaning is universal enough to be felt without actually understand the verbal context. As someone who went through the process of emigration I can of course relate to this album more directly and emotionally than those who didn't experience emigration in person, but I am sure that the power of this music is completely universal. Thank you Dominik for this wonderful gift of music and human sensitivity!

Ignacy Jan Wiśniewski + Kamil Dominiak – Kantata Jazzowa (2018)

Ignacy Jan Wiśniewski + Kamil Dominiak

Ignacy Jan Wiśniewski - piano
Adam Żuchowski - double bass
Paweł Osicki - drums
Kamil Dominiak - vocals

Kantata Jazzowa

MOOD AND WOOD 0011


By Adam Baruch

This is the second album by Polish Jazz pianist/composer Ignacy Jan Wiśniewski, recorded with the same trio he used to record his debut, which includes bassist Adam Żuchowski and drummer Paweł Osicki. In addition the album features also vocalist Kamil Dominiak. Together they present eight "songs", all composed by Wiśniewski to the lyrics written specifically for this project by Polish Poet Michał Rusinek. The entire song cycle is called a "Jazz Cantata" and of course firmly belongs to the marvelous Polish Jazz & Poetry tradition. The album was beautifully recorded at the now legendary Monochrom Studio and engineered by Ignacy Gruszecki.

The music presents an ambitious amalgam of cross-genre modern Jazz, with roots in contemporary Classical music, melodic mainstream Jazz and Avant-Garde improvisation, all tastefully put together with the lyrics, creating an impressive and powerful statement. Wiśniewski, who concentrates mainly on composing music for theatre, has definitely a very strong theatrical "streak" as a composer, which comes to full bloom herein.

The music is wonderfully executed, both on the instrumental and the vocal layers. Dominiak, who is not a Jazz singer, stands up to the challenge with flying colors, using his vocal abilities and more importantly theatrical expressionism to the max. The piano trio offers some excellent instrumental passages, shifting between melodic/rhythmic statements and Free Improvised moments with grace and elegance. The album offers a perfect balance between the instrumental and vocal contents, without one or the other being dominant, which is a rare quality in such projects.

The poetry, which sadly is only accessible to native Polish speakers, is a wonderful example of the thriving contemporary Polish Poetry scene. Rusinek (well-known as the private secretary of the great Polish Poetess Wisława Szymborska) is an accomplished writer/translator/poet and his brilliant plays on words are a true delight. Overall this is another valuable addition to the Polish Jazz & Poetry legacy, which is being kept alive by the new generation of Polish Jazz composers/musicians, with the same passion and dedication as that of the pioneers of the genre six decades earlier. Definitely highly recommended!

Irek Wojtczak Quintet - Play It Again (2018)

Irek Wojtczak Quintet

Irek Wojtczak - tenor & soprano saxophones, bass clarinet
Tomasz Dąbrowski - trumpet
Piotr Mania - piano
Adam Żuchowski - double bass
Kuba Staruszkiewicz - drums

Play It Again



FSR 2018/06

By Adam Baruch

This is a live recording by a quintet led by Polish Jazz saxophonist/composer Irek Wojtczak, which also includes trumpeter Tomasz Dąbrowski, pianist Piotr Mania, bassist Adam Żuchowski and drummer Kuba Staruszkiewicz. The quintet plays music that was recorded by the "American" quintet led by Wojtczak, which recorded the splendid "Folk Five" album for the For Tune label slightly over a year before this music was recorded. As the title suggests, this recording is another attempt to play almost the same music that was recorded for the "Folk Five" album, but this time by an all-Polish quintet. The album presents eight tunes, all originating in Polish Folklore and arranged by Wojtczak, six of which were already recorded on "Folk Five" and two are new tunes used here for the first time.

The musical concept is of course quite clear: Jazz-World Fusion which transfers some of the treasures of Polish Folklore into the Jazz idiom, an idea that is quite common in Polish Jazz since its Genesis. As usual, some efforts dealing with this concept worked out better than others, but overall the seven or so decades of Polish Jazz produced a sizable and highly original amount of superb music created under this moniker. The aforementioned "Folk Five" album was definitely one of the highlights of that idiom and the attempt to try and repeat the magic that happened on that album was a bold and audacious undertaking. I am happy to say that Wojtczak and his cohorts not only managed to recreate the magic, but also managed to take the music to a higher plane.

There is of course no doubt as to the quality of the music or the level of the execution, they are both simply extraordinary. Therefore the comparison between the two versions of the music must touch upon the fundamental differences between American and European Jazz, of which these two albums are a textbook example or even a paradigm. One might of course say that such comparison is a priori unfair, as the Polish Jazz musicians are way more familiar and culturally accustomed to the Polish Folklore element of the music than their American counterparts. But such argument is simply irrelevant, as these two albums clearly show. These albums are different not because the lack of familiarity with Polish Folklore by the American musicians, but by the intrinsic attitude towards improvisation and even more broadly towards music making, between the American and the European Jazz musicians.

As a result of these fundamental differences "Folk Five" remains an excellent, very well played album, whereas "Play It Again" shows where the same music can get to, when played without the restrictions the American Jazz tradition imposes even on the best musicians. The flair, elegance, imagination, feeling and openness present on this album takes it to a completely new level of awareness and creativity.

But comparisons aside, this is above all a masterpiece of modern Polish/European Jazz, which takes the Jazz-World Fusion idiom light years ahead in comparison to its rather humble beginnings, clearly showing that Polish Jazz is a stronghold of originality, imagination and musical ingenuity. This is an absolute must to every Polish Jazz fan and a supreme gem of an album for all seasons. Hats off!

Czwartek Jazzowy z Gwiazdą - Dominik Bukowski Quartet - Gliwice, 24.08.2017

Dominik Bukowski - wibrafon
Emil Miszk - trąbka
Adam Żuchowski - kontrabas
Patryk Dobosz - perkusja

24.08.2017, Klub Muzyczny 4art, Gliwice
Bilety: 20 zł przedsprzedaż / 25 zł w dniu koncertu

Zespół czerpie pełnymi garściami z szeroko rozumianej muzyki etnicznej, głównie z dawnych pieśni polskich ze zbiorów Oskara Kolberga, jak również starej muzyki arabskiej, tzw. makam, przekładając to wszystko na idiom jazzowy z elementami muzyki współczesnej. Kwartet Bukowskiego stanowi pomost kulturowy między polskimi tradycjami muzycznymi, a tradycją Bliskiego Wschodu. Kompozycje zespołu charakteryzują się pełnymi ekspresji improwizacjami, innym razem wyciszeniem i kontemplacją muzyczną. Pod koniec 2016 roku pojawiła się nowa płyta zespołu zatytułowana ,"Sufia", na której zagrał również czołowy trębacz z Nowego Jorku Amir ElSaffar. Płyta została ciepło przyjęta przez branżowe media i zdobyła bardzo dobre recanzje.

Dominik Bukowski - wibrafonista jazzowy, kompozytor. W 1999 r. otrzymał wyróżnienie indywidualne oraz wyróżnienie dla swojego zespołu BLUE MIND QUARTET w II Ogólnopolskim Przeglądzie Młodych Zespołów Jazzowych i Bluesowych w Gdyni. W styczniu 2002 roku zespół ten zajął pierwsze miejsce w prestiżowym konkursie Bielskiej Zadymki Jazzowej w Bielsku-Białej oraz otrzymał statuetkę „Aniołka Jazzowego 2002”. Nagrodą konkursu było również wydanie debiutanckiej płyty zespołu. Od 2003 r. co roku zajmuje drugie miejsce w ankiecie JAZZ TOP w kategorii ,,Wibrafon Roku”. Był nominowany do nagrody GRAND PRIX JAZZ MELOMANI 2003 w kategorii „Nadzieja Melomanów Roku 2003” oraz „SZTORM ROKU 2005” przez trójmiejskie wydanie Gazety Wyborczej. Jego płyta "PROJEKTOR" znalazła się w pierwszej dziesiątce najlepszych płyt 2005 roku według miesięcznika Jazz Forum, zaś "Vice Versa" została nominowana do nagrody FRYDERYKI 2010. Jako sideman został wyróżniony Złotą Płytą za album „Melisa” Przemka Dyakowskiego, której producentem był Leszek Możdżer. W 2013r. album „Kropla Słowa” Krystyny Stańko, do której Bukowski skomponował większość materiału muzycznego, został „Płytą Roku” według Jazz Forum. W latach 2014-15 pełnił rolę kuratora muzycznego podczas gdańskiego festiwalu Dni Muzyki Nowej. 

Emil Miszk - świetny solista jak i kameralista z dużym doświadczeniem scenicznym. Bardzo dobrze odnajduje się na wielu płaszczyznach muzycznych. Współtworzy wiele formacji związanych z trójmiejskim środowiskiem muzycznym: Jan Konop Big Band, Critical Level, Kamil Piotrowicz Quintet, Piotr Lemańczyk Quartet North, kwartet trąbek barokowych Tubicinatores Gedanenses. Współpracuje również z orkiestrami: Elbląską Orkiestrą Kameralną, Polską Filharmonią Kameralną Sopot, Polską Filharmonią Bałtycką, Cappellą Gedanensis. Jest absolwentem Akademii Muzycznej w Gdańsku.

Adam Żuchowski - kontrabasista, kompozytor, aranżer. Z Dominikiem Bukowskim współtworzył Blue Mind Quartet, z którym zdobył „Aniołka Jazzowego” podczas Bielskiej Zadymki Jazzowej w 2002 roku. Z Trio Mania otrzymał najbardziej prestiżową nagrodę muzyczną w Polsce – Fryderyk (za jazzowy, fonograficzny debiut roku 2010, płytę "Pearl"). Jest członkiem kwartetu Irka Wojtczaka - The Bee’s Knees, kwintetu Darka Herbasza ("Joy of Friendship"), zespołu Joanna Knitter&Blues Folk Connection, Collective Improvisation Group Tomka Sowińskiego. Współpracuje z Mikołajem Trzaską (z którym nagrał muzykę do filmów “Róża”, “Drogówka” oraz “Pod mocnym aniołem” W. Smarzowskiego), oraz z innymi muzykami sceny muzyki improwizowanej w Polsce i za granicą. Od 2002 roku współpracuje z Teatrem Atelier im. Agnieszki Osieckiej w Sopocie. Jest kierownikiem muzycznym większości projektów Andre Ochodlo.

Patryk Dobosz - absolwent Akademii Muzycznej w Krakowie w katedrze muzyki współczesnej i jazzowej. Osiągnięcia: I Nagroda na „IV Europejskich Integracjach Muzycznych” w Żyrardowie z zespołem „Toing Trio” (2008), I Nagroda w „V Ogólnopolskim Konkursie Zestawowym” w Opolu (2008), Specjalna nagroda indywidualna Leszka Możdżera na konkursie „JAZZ JUNIORS” (2009), I Nagroda na presti-żowym Jazz Hoeilaart w Belgii z zespołem High Definition (2011). Koncertuje na całym świecie m.in. w Europie, Azji i USA. Współpracował z artystami światowego formatu: Randy Brecker, John Abercrombie, Ed Cherry, Adam Pierończyk, Grzegorz Nagórski, Ja-nusz Muniak, Maciej Obara, Piotr Wyleżoł, Włodek Pawlik.

Dominik Bukowski Quartet feat. Amir ElSaffar - Sufia (2016)

Dominik Bukowski Quartet feat. Amir ElSaffar

Dominik Bukowski - vibraphone, kalimba
Amir ElSaffar - trumpet, santur
Adam Żuchowski - double bass
Partyk Dobosz - drums, darbuka

Sufia



FSR 2016/07

By Adam Baruch

This is the fifth album as a leader by the Polish Jazz vibraphonist/composer Dominik Bukowski, one of the most respected and prolific figures on the Polish Jazz scene. The album was recorded live in a quartet setting, with American trumpeter Amir ElSaffar, Polish bassist Adam Żuchowski and drummer Patryk Dobosz. Together they perform eight tunes (one split into two parts), five of which are arrangements of traditional melodies and three are original compositions by Bukowski.

The music is a Jazz-World Fusion project, which amalgamates the Folklore roots of Polish and Middle Eastern music, or more specifically the Arabic maqam system, which lately has been discovered by many Jazz improvisers all over the world. The maqam is remarkably open system and as such an ideal basis for improvisation, which is clearly demonstrated on this album. Both the traditional pieces and the original compositions get a similar treatment, which creates a remarkable coherency and consistency, which this album manages to uphold for its entire duration.

The involvement of ElSaffar is of course the decisive factor, which makes this album tick. His knowledge of Arabic musical forms makes him an ideal partner side by side with Bukowski, who after all is originally rooted in different musical environment. Without him this project might have proven to be too ambitious for the Polish musicians working on their own. Of course ElSaffar's virtuosic trumpet performances based in the Jazz idiom are another strong virtue of this project. His santur solos are also some of the highlights of the album.

Bukowski wisely lets ElSaffar to take upon himself most of the soloing and in general the leading of the music, as he is the bridge between the two worlds. Bukowski and the rhythm section take a step back and play along the trumpeter, contributing amicable support, both harmonically and rhythmically, which is especially impressive considering how difficult the odd and irregular Arabic rhythms usually are for people living outside the region. Żuchowski and Dobosz wisely take the rhythmic level of the music into a free form and less regular rhythmic environment, skillfully avoiding the traps of the tricky Arabic patterns as such. Their contributions are excellent all the way through and truly admirable.

Bukowski, as usual, contributes some superb vibraphone vistas, somewhat subdued and modest, but always elegant and highly aesthetical. His original compositions fit the concept of the album ideally and the vibraphone/trumpet collaboration is tasteful and unique. This album, diametrically different from the other projects he is involved in, proves his diversity and open-mindedness.

Overall this is definitely one of the most interesting Jazz-World Fusion albums recorded by Polish Jazz musicians in a long time and deserves all the compliments bestowed upon it already, which I fully support. Bukowski has been a sure "bet" ever since he arrived on the scene and this album places him also in the "full of surprises" category, which is pretty rare. Hats off, Dominik!

Ignacy Wiśniewski Trio – Jazz Shirim (2016)

Ignacy Wiśniewski Trio

Ignacy Wiśniewski - piano
Adam Żuchowski - bass
Paweł Osicki - drums

Jazz Shirim

WOOD AND MOOD 0001




By Adam Baruch

This is the debut album as a leader by young Polish Jazz pianist/composer Ignacy Wiśniewski, recorded in a trio format with bassist Adam Żuchowski and drummer Paweł Osicki. The album presents seven original compositions, all by Wiśniewski, that were originally created for a theatre production about the Jewish Community in Gdansk before and during the WWII. The Hebrew word "shirim" means songs.

The music is an ambitious amalgam of melodic modern mainstream and free form improvisation. The pieces start with a clearly stated melody, followed by much less restrained improvisations, which are also very diverse rhythmically. The compositions are therefore just frameworks that are filled up by the improvised parts. This is definitely a very unusual and bold musical statement, which is also quite listenable in spite of its complexity and sincerity.

The trio performs as a very tight unit, responding attentively to each other and complementing each other's statements. Although there is a lot of space and freedom in this music, the trio members are closely coupled at all times, which produces a wonderful effect of group cohesiveness. Sometimes music created for theatre or cinema has no independent existence, but this music definitely holds the floor on its own, being completely relevant in its minimal form, which of course speaks greatly of its qualities. It does not make any artistic compromises or attempts to be more acceptable and it manages to fascinate and create a lot of tension for the attentive listener, which happens relatively rarely.

Overall this is a very impressive debut, and although the music was recorded a while ago, it's good to see it finally released, as it certainly deserves to be heard. Serious Jazz connoisseurs should enjoy this music in full. Wholeheartedly recommended!

Józefów/Żuchowski/Mora Matus – Threeism (2015)

Józefów/Żuchowski/Mora Matus

Andrzej Józefów - guitar
Adam Żuchowski - bass
Luis Mora Matus - drums

Threeism

SYNTACTICA 001


By Adam Baruch

This is the debut album by Polish Jazz guitarist/composer Andrzej Józefów, recorded in a trio setting with bassist Adam Żuchowski and Chilean drummer Luis Mora Matus. The album presents ten tracks, seven of which are originals by Józefów, one is co-composed by all three trio members, one is a standard and one is a Classical piece by the French composer of Polish/Jewish origin Alexandre Tansman.

From the very onset of this album it becomes apparent that this is not the "usual" guitar trio album, usually created to show the guitarist's skills and neck breaking speed. This one is a much more serious and deep affair, dark and introvert, which presents a musical concept and ensemble approach rather rarely found in such projects.

Józefów's music, which is the core of this album, is very melancholic, ascetic and slowly developing, a set of characteristics usually typical of Classical Music, but it is also inevitably Jazz in the best sense of the idiom. There is a lot of space and freedom in this music, which allows the musicians to spread their wings and soar high above the basic melodic and harmonic structure of the tunes, which keeps the listener on his toes for the entire duration.

The execution is also quite extraordinary; Józefów plays gently, delicately strumming the guitar and sparingly uttering his notes, being a complete antidote of the usual guitar madness. His notes are like delicate strokes of paint on canvas, slowly but consistently exposing the idea. Żuchowski is a wonderful partner in this creating, playing with the bow almost as much as plucking his bass, adding another layer of color to the musical canvas and always being right there when he is needed. Matus also keeps his drums in check, faithfully supporting the subtle musical structures with his tasteful touches, keeping the rhythm on time only when absolutely needed and playing around the rhythms when appropriate. The overall interplay between these three musicians is nothing short of astonishing.

This is definitely a most impressive debut album, which surely promises many great things to come. I had the pleasure of meeting Józefów in person during my recent visit in Gdansk, and he certainly makes an impression of treating his Art and career highly professionally. Therefore I can only wish him the best of luck, which he truly deserves.

jaZZ i Okolice 2015 - Tymon Tymański i Krzysztof Trebunia-Tutka: Pieśni Zbójnickie

23 października 2015 godz. 20:00 | Teatr Mały w Tychach, ul. ks. kard. Hlonda 1, 43-100 Tychy.

"Pieśni Zbójnickie" to spotkanie dwóch światów i dwóch artystycznych osobowości: twórcy pielęgnującego tradycje ludowe ( muzykę, śpiew, taniec, gwarę, przekaz tradycyjnych wartości ) oraz charyzmatycznego jazzmana (kontrabasisty, gitarzysty, wokalisty, tekściarza i radiowca) połączonych ideą zachowania dziedzictwa kulturowego Podtatrza w nowym wymiarze. Podstawą i sednem projektu są tradycyjne pieśni góralskie o charakterze zbójnickim. Ich treść odnosi się do poszukiwania sprawiedliwości, umiłowania honoru i wolności oraz specyficznej filozofii życia. Zbójnicki "hyr" miał także romantyczny wymiar, stąd obecność pieśni o charakterze lirycznym i tematyce miłosnej, które dopełniają obrazu losów zbójnickich, utrwalonych przez tradycję. Opracowanie pieśni zbójnickich w niespotykanej dotąd odsłonie i z nową energią dwóch muzycznych żywiołów, pozwoli na dotarcie nie tylko do odbiorcy świadomego wartości kultury ludowej, ale i do mniej wyrobionego, początkującego melomana. 

Charakter projektu "Pieśni Zbójnickie" wynika przede wszystkim ze spotkania odmiennych muzycznych światów jakimi są jazz i muzyka Podhala. Natomiast w naszym przekonaniu, jest to niepowtarzalna okazja aby dotrzeć z muzyką Podhala do odbiorcy, który szuka w muzyce nowych wyzwań, którego muzykalność określają kontrasty i dysonanse, z jednej strony związane z poszukiwaniami nowych form do improwizacji, a z drugiej takich, które stanowią swoistą metaforę ducha wolności artystycznej. Wolności, która nie zna barier i poszukuje wciąż nowych inspiracji dla jeszcze pełniejszego jej wyrażenia. Spotkanie dwóch żywiołów artystycznych, w osobach Krzysztofa Trebunia-Tutki z zespołem góralskim i Ryszarda Tymona Tymańskiego z jazzmanami, wydaje się tym bardziej cennym. Muzyka łączy elementy nizinne z wysokimi, swoisty folk współczesnego miasta (a także Kaszub, skąd wywodzą się wszyscy jazzmani) z tradycyjną muzyką Podhala i Górali.

Krzysztof Trebunia-Tutka jest artystą tworzącym w duchu kontynuacji góralskiego dziedzictwa przodków. Jego specjalnością są adaptacje tradycyjnych utworów ludowych oraz własne kompozycje i teksty inspirowane góralszczyzną. Uczestniczył w wielu udanych eksperymentach muzycznych (m.in. z Twinkle Brothers, A.Sherwood, A.Cronshaw, zespołem Ordo Sakhna z Kirgizji, W. Kiniorskim, K.Ścierańskim, K.Herdzinem, M.Kulentym, Wojciechem Waglewskim i VOO VOO) i projektach z chórami i orkiestrami symfonicznymi- zawsze z poszanowaniem i hołdowaniem tradycji góralskiej.

Krzysztof Trebunia-Tutka- śpiew, skrzypce, koza podhalańska,fujary, dwojnica, trombita, róg,

z zespołem:

Anna Trebunia-Tutka- śpiew, skrzypce

Łukasz Miętus- śpiew, skrzypce, altówka

Marcin Trebunia-Tutka- śpiew, dwojnica, fujara, basy podhalańskie

Tymon Tymański - śpiew, gitary

Irek Wojtczak - saksofony, klarnet basowy

Adam Żuchowski - kontrabas

Roman Ślefarski - perkusja

Irek Wojtczak – The Bees' Knees (2013)

Irek Wojtczak - tenor & soprano saxophones, bass clarinet

Kamil Pater - guitar

Adam Zuchowski - bass

Kuba Staruszkiewich - drums

Sopocka Odessa 008





By Adam Baruch

Jazz is the Art of the unexpected and unexpected is exactly what the listener will get while listening to this music. Although saxophonist / composer Irek Wojtczak, a native of the Baltic Tricity, has an established reputation on the contemporary Polish Jazz scene, he certainly does not allow anybody to conveniently put him and his music in a tight niche, which would characterize his music. Constantly developing, probing and expanding his milieu, which over time covered such diverse areas as mainstream Jazz, Jazz-World Fusion, Jazz-Rock Fusion and experimental Free Jazz, Wojtczak with his chameleonic ability to fit in any environment and to do it splendidly, is a superb example of a modern Jazz musician.

The music presented here is first and foremost an expression of individual freedom within the boundaries of a collective. The four musicians truly play together here, but at the same time allow each other a lot of individual space. There are clearly defined melodies and chord changes, but the music turns and twists constantly in each and every direction – harmonic, rhythmic and thematic. There are impressive solos, elegant group improvisations and intelligent moves on behalf of all the participants. Wojtczak, who composed all the music herein, is a very liberal leader, which results in collective creativity rather than musical conformity or obedience. The choice of the guitar, rather than piano, as the quartet's harmonic instrument suits Wojtczak's music ideally in this case. All that remains is to hop on and enjoy the ride!

Side Note: The above are my liner notes for this album. I was honored to be asked by Irek to write them and thank him for his confidence.

This album, recorded with guitarist Kamil Pater, bassist Adam Zuchowski and drummer Kuba Staruszkiewicz, is in many respects a direct continuation of the previous meeting between Wojtczak and Pater, which produced the superb "A-Kineton" album, and expands the cooperation between these two musicians even further. It presents eight original compositions, all by Wojtczak, which span a wide range of moods and emotions, all being Free spiritually, but firmly attached to melodic themes, creating a unique overall effect of elegant anarchy. The solo work and the team work of all the quartet members are simply amazing.

Wojtczak emerges here as a rightful member of the elite of Polish Jazz, a status he earned fair and square by years of playing with countless other musicians as a sideman and leader, recording and most importantly constantly developing, always embracing new ideas and never allowing himself to be trapped for too long in one place.

This piece of music is the epitome of modern Jazz, well beyond Fusion, Free and any other specific sub-genre, as it encompasses them all; a true amalgam. Definitely not to be missed!

Polish-Jazz blog provides media patronage for new album by Irek Wojtczak !!!

Irek Wojtczak

Irek Wojtczak - saxophones, bass clarinet
Kamil Pater - guitar
Adam Żuchowski - double bass
Kuba Staruszkiewicz - drums

The Bees' Knees (2013)




By Adam Baruch

Jazz is the Art of the unexpected and unexpected is exactly what the listener will get while listening to this music. Although saxophonist / composer Irek Wojtczak, a native of the Baltic Tricity, has an established reputation on the contemporary Polish Jazz scene, he certainly does not allow anybody to conveniently put him and his music in a tight niche, which would characterize his music. Constantly developing, probing and expanding his milieu, which over time covered such diverse areas as mainstream Jazz, Jazz-World Fusion, Jazz-Rock Fusion and experimental Free Jazz, Wojtczak with his chameleonic ability to fit in any environment and to do it splendidly, is a superb example of a modern Jazz musician.

The music presented here is first and foremost an expression of individual freedom within the boundaries of a collective. The four musicians truly play together here, but at the same time allow each other a lot of individual space. There are clearly defined melodies and chord changes, but the music turns and twists constantly in each and every direction – harmonic, rhythmic and thematic. There are impressive solos, elegant group improvisations and intelligent moves on behalf of all the participants. Wojtczak, who composed all the music herein, is a very liberal leader, which results in collective creativity rather than musical conformity or obedience. The choice of the guitar, rather than piano, as the quartet's harmonic instrument suits Wojtczak's music ideally in this case. All that remains is to hop on and enjoy the ride!

Mikołaj Trzaska - Mikołaj Trzaska Gra Różę (2013)

Mikołaj Trzaska

Mikołaj Trzaska - Bb, bass clarinets, alto saxophones
Wacław Zimpel - alt, Bb, bass clarinets
Michał Górczyński - Bb, bass clarinets
Mike Majkowski - double bass
Adam Żuchowski - double bass
Paweł Szpura - drums

Mikołaj Trzaska Gra Różę (2013)

By Ken Shimamoto

On "Mikołaj Trzaska Gra Różę", recorded live in front of a highly demonstrative audience, multi-reedman Mikołaj Trzaska leads a quintet that’s heavy on deep, woody sounds. The leader, his fellow clarinetist Waclaw Zimpel, and a third reedist, Michal Gorczynski, all play Bb and bass clarinets. Mike Majkowski and Adam Zuchowski play matching double basses, and Pawel Szpura is a masterfully supportive percussionist. Their music draws on free jazz and European free improvised music as well as modern classical music, while forging a distinctive group identity. Symphonic in scope, the seven tracks flow together seamlessly, as if they were movements of a single long piece.

The opening track, “By Boat,” is a leisurely voyage, alternating episodes of horn polyphony with others where the soloists spar with the rhythm section. At one point, the confluence of voices builds to a peak of intensity reminiscent of ‘60s freeblow freakouts, before taking a sharp left turn into more abstract waters. “Buckets On the Doorstep” is a stately chamber piece for the horns and basses. At first, a bass clarinet plays long tones against a pointillistic pizzicato bass. Snatches of melody slither to the surface, then gradually recede.

After this sedate opening, “Bicycle Herd” jars the listener awake with horns that blare and drums that clatter like Brotzmann and Bennink at their most anarchic, then enters a less crowded sonic space. The contrast heightens the impact of the quiet passage, throwing each sound into brilliant relief. A dialogue between bass clarinet, arco bass, and lightly tapped percussion ensues, followed by a lachrymose lament that gives way to a busier contrapuntal exchange. The track segues into the somber-sounding “Despair on Birch.” The group’s gift for empathetic interaction and dynamic variation is a thing of wonder.

“Walk To the Edge” features a stately theme, filled with spiritual longing, played first in unison, then with counterpoint by clarinets and arco bass. In between, the basses play a duet in which melody alternates with bowed multiphonics. Throughout, Szpura’s responsive sprung rhythm provides a sense of openness. On “Harvest Ax,” the jostling horns and basses build tension, while the expansive drums release it. As the piece winds down, a theme of striking simplicity emerges to provide a backdrop for snaky solo explorations, then closure.

The crowd roars its approval, then Trzaska and Co. encore with “Wedding, Boat and the End,” a slight return that carries a palpable sense of dread, ending the proceedings on an uneasy note. Overall, this record is a unified work that leaves the listener with a sense of completeness. An important release.

Dariusz Herbasz – Joy Of Friendship (2012)

Dariusz Herbasz - saxophone
Tomasz Grzegorski - saxophone
Piotr Mania - piano
Adam Zuchowski - bass
Tomasz Sowinski - drums

MULTIKULTI MPI 024




By Adam Baruch

This is the debut album as a leader by Polish Jazz saxophonist Dariusz Herbasz and his double tenor saxophone quintet, which also includes saxophonist Tomasz Grzegorski, pianist Piotr Mania, bassist Adam Zuchowski and drummer Tomasz Sowinski. The album comprises of six original compositions, all by Herbasz and was recorded at the superb Tokarnia Studio with engineer Jan Smoczynski presiding.

If I would have been subjected to listening to this album in a blindfold test situation, I would be sure this is an unknown recording of mid 1960s Blue Note period, as this music has the distinctive feel of modern mainstream, which flourished at the time and was captured for posterity by Rudy Van Gelder. The warmth and presence of the overall sound and the crisp piano sound are quite remarkable.

But of course there is also the music, which stylistically returns to that wonderful period that summarized the Jazz tradition bringing it to sheer perfection on one hand and opening doors for the free form just wide enough to make it interesting on the other hand. These wonderful compositions are truly grand on every level; there are some beautiful melancholic melodies, several great vamps, and a strange feeling of familiarity even upon the first hearing. I must admit that it's been a while since I've heard a collection of such superbly crated tunes on one album.

Herbasz takes a considerable risk with the double tenor saxophone frontline, since such setting is often prone to clashes and outright contest rather than cooperation, but also opens intriguing opportunities of harmonizing and completing each other. It's a pleasure to hear how well this situation was handled here, enabling both players to solo as well as play together in a variety of quite distinct musical surroundings and atmospheres. Both saxophonists [lay remarkably well, both when simply stating the lyricism of a melody or venturing into almost free form excursions.

The rhythm section is excellent as well, providing the ideal support for the soloists and framing the musical expressions with just the right amount of direction, allowing space for less constrained experimentation at times. The pianist is an ideal harmonizer and his vamping is a classic form obviously learned from the best. Bass is round, clear and worm and the drums play exactly the amount of time keeping to keep everything tick, with some great topping of inventive drumming. The overall dynamic sensitivity of the entire rhythm section is simply just what the doctor ordered to make the music perfect.

This is a remarkable debut and a brilliant Jazz album, which comprises of everything that makes Jazz such a great music: it's interesting, artistic, intelligent, well played and above all honest, simply stating the artist's credo and not trying to be something it isn't. Well done indeed!

TrioMania - Pearl (4 Ever Music, 2009)

TrioMania (band)

Piotr Mania- piano
Tomek Sowiński- drums
Adam Żuchowski- bass

Pearl (4 Ever Music, 2009)

Piotr Mania has immense talent and with this album he made first recording under his own name. And it turned out to be very successful  move since he was awarded for it with prestigious Fryderyk Award for best debut of year 2011. Moreover, as evidenced by his last record "Jazz na pTak" which is even better, he is committed to stay on this track and is developing fast. All in all this trio has all potential necessary to be soon counted among best cool jazz trio in Poland!

Author: Maciej Nowotny

http://kochamjazz.blox.pl/html

TrioMania - Jazz na pTAK! (2011)

Triomania (band)

Piotr Mania - piano, rhodes, Hammond, synth.

Adam Żuchowski - bass

Tomek Sowiński - drums

Jazz na pTAK! (2011)

There are in Polish jazz musicians almost completely unknown to public  who nonetheless have outstanding skills and should be much more appreciated. Such a list would be long so let me now focus only on pianists and give you few names as examples: Michał Tokaj ("Bird Alone"), Leszek Kułakowski ("Code Numbers"), Joanna Gajda ("Heaven Earth") or Piotr Mania, a man about whom I want to write few words now. His style may be described as cool, referring clearly to line started by Bill Evans, then picked up by Keith Jarrett and so creatively developed by great Scandinavian jazz pianists like Bobo Stenson, Esbjorn Svensson or Tord Gustavsen. But he somehow manages to saturate this language with his own individuality which though low-profile, unobtrusive, laid down is as distinct as once was for example Kenny Drew's style or recently Kenny Werners's or Fred Hersch's are. His music rustles, whispers and purrs in most relaxing way yet without ever sliding into being too smooth, too conventional, too pretty. 

So the question arises what are our chances to listen to the music as created by this talented pianist? Two years ago in 2009 he released his debut album with the same trio titled "Pearl" which was recognized as best jazz debut in that year and awarded prestigious Fryderyk award in 2010. He also took part in many projects as sideman out of which I liked most his collaboration with drummer Tomek Sowiński and his The Collective Improvisation Group (check album "Synergy"). Not much however was heard about him since then so I was recently very pleasantly surprised that to one of biggest Polish newspapers this disc was attached as promo! Financed by some energy company, intended to promote knowledge about nature, especially birds, whose sounds and trills are incorporated gracefully into music and distributed free in thousands of copies by one of Polish biggest newspapers it is perhaps showing the way for other musicians to follow if they want their music to reach much wider audience than typical jazz ghetto. Congratulations to all sides involved in this exceptional project!

Check a tune form this album titled "Hejnały na bagnach":

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

Irek Wojtczak - Direct Memory Access (Nasiono, 2011)

Irek Wojtczak - reed isntruments

Tomasz Ziętek - trumpet

Direct Memory Access (Nasiono, 2011)

Irek Wojtczak, reedist, is player whom I hold in high esteem. Only recently he took part as sideman in such successful projects as free jazz "Freeyo" (2009) with Michał Goś and Wojtek Mazolewski, mainstream on Krystyna Stańko "Secretly" (2010) or ethnojazz Wojciech Staroniewicz "Afreakan Project" (2011). I only mentioned few out of many and it is then no surprise he came to conclusion that time has come for project under his own name. In this undertaking he is backed first of all by trumpeter Tomasz Ziętek who is not only playing on this album but also together with Wojtczak arranged more than half of all tunes. They are backed by magnificent pack of Polish jazz players with names like Przemek Dyakowski, Kuba Staruszkiewicz, Michał Goś, Adam Żuchowski, Piotr Mania, Tymon Tymański, Sławek Jaskułke, Leszek Możdżer, Dominik Bukowski appearing. The only musician not present here is Tomasz Stańko, I am joking of course, but judging by list of players who took part in this recording it should be one of the best albums in recent years. List of players is yet incomplete because "Direct Memory Access" provides kind of ethnojazz music we find here also quite numerous pack of Polish folk players, few musicians with African background and even a choir of Tibetan monks! And string quartet!! I wonder how Irek Wojtczak managed to finance this incredible cast? This is truly fantastic organizational achievement!!!

But from musical point of view it is unsatisfactory. Strange blend of music genders, featuring crowd of players, it leaves impression of chaos and lack of direction. Arrangements are pop-like, music is written to be easy-to-listen and one wonders for what purpose all these fantastic players were gathered here? To play such trivial, shallow and uncomplicated notes? Doubtful as doubtful is artistic effect of all this tremendous effort...

Tomasz Sowiński & The Collective Improvisation Group - Synergy (2010)

Goddamn Polish Jazz so motherfucker strong! exclaimed one of my American colleagues upon hearing this recording. And indeed it is extremely funky although names of musicians involved in this project may be totally unknown and impossible to spell for foreign listeners. Nonetheless they are all creme de creme of Polish young jazz players and they really do hit the roof with this music!

Groove is strong in this music as once force in Luke Skywalker. Recently in one of my texts I cried over the fact that we lack in Poland of drummers of calibre of Jack DeJohnette, Jim Black or Jeff "Tain" Watts. But this record headed by young Polish drummer Tomasz Sowiński proves that I was completely wrong. His work on both drums and Łukasz Ruszkowski's on percussion  is so creative and forward-thinking that I simply find no words to express my admiration for them. Everything rustles, bounces and leaps in this music! Rhythm is omnipresent as Holy Ghost in hearts of true (jazz) believers. 

In file with such other jazz orchestras as Paweł Kaczmarczyk AudioFeeling Band (http://kochamjazz.blogspot.com/2010/01/paw-kaczmarczyk-audiofeeling-band.html), Contemporary Noise Sextet (http://kochamjazz.blogspot.com/2010/03/contemporary-noise-sextet-unaffected.html) or Jerzy Małek Group (http://kochamjazz.blogspot.com/2009/12/jerzy-maek-group-bop-beat-2009.html) Tomasz Sowiński and his The Collective Improvisation Group lead Polish jazz audience towards Promised Land of long forgotten jazz big bands. Darek Herbasz (tenor sax), Jerzy Małek (trumpet, flugelhorn, cornet), Piotr Mania (piano), Piotr Pawlak guitar&additional sounds), Żuchowski Adam (bass) and Ruszkowski Łukasz (percussion) plus leader, seven jazz musicians, the magnificent seven, the seven samurai who cut through ten consecutive tunes like damasacen steel through all doubts that modern jazz can be both avant garde and sexy.

Finally let me underline the role played in this recording by Piotr Mania. His presence on the piano reminds me very much of Kenny Drew style. Like Drew Mania remains low profile, subtle and vigilant to slightest changes in complicated rhythms of music but he never fails to support, nurture and expand it. 

http://www.youtube.com/watch?v=01jZZhXTY3Y&feature=player_embedded