Adam Makowicz – Winter Flowers (1993)

Adam Makowicz

Adam Makowicz - piano

Winter Flowers

GOWI 02






By Adam Baruch

This is a reissue of a solo piano album by the brilliant Polish Jazz pianist/composer Adam Makowicz, which was originally recorded in Czechoslovakia and released on the Supraphon label. It was the third solo piano album by Makowicz (see "Live Embers" and "Piano Vistas Unlimited" recorded earlier), recorded shortly before he left for the US, where he recorded his first American album, also solo piano, and entitled simply "Adam". Both these albums were released more or less in parallel. This album presents ten original compositions by Makowicz. Several tunes on this album were also recorded for the US album, some under different names, which included in addition to Makowicz originals also five standards.

Makowicz was one of the very few Polish Jazz musicians that managed to establish a solid career in the US and lived there for many years, before moving to Canada. His technical brilliance and extensive Classical Music background allowed him to establish a concert pianist career. He was banned in Poland after moving to the US and the ban was lifted only after the fall of the Socialist regime, but this Czechoslovak album was available during that dark period.

Makowicz is known for his love and interpretation of the music of Frederic Chopin and his original music bears Chopin's influence almost in every aspect: melodically, harmonically and lyrically. One might speculate that if Chopin would have lived in our times, his music might have sounded very similar to that of Makowicz. In the US Makowicz was often compared to Art Tatum and Oscar Peterson, but quite honestly these comparisons are quite inappropriate, as Tatum and Peterson might have been symbols of piano playing technique but did not possess the European idiosyncrasies that only European born musicians are blessed with.

In retrospect this album lost nothing of its charm and elegance and personally is still my favorite Makowicz album, perhaps because it is entirely based on his original music. A classic Jazz piano album and a must for all fans of Polish Jazz of course!

Wojciech Konikiewicz – Another Form Of Communication (1993)

Wojciech Konikiewicz

Wojciech Konikiewicz - piano
Zbigniew Wegehaupt - bass
Cezary Konrad - drums

Another Form Of Communication

ARTING



By Adam Baruch

This is a beautiful and sadly little known album by the Polish Jazz pianist/composer Wojciech Konikiewicz. The album presents six original compositions by Konikiewicz, performed on piano solo (the two opening tracks) and in a trio setting (the remaining four tracks, recorded live) with the wonderful late bassist Zbigniew Wegehaupt and drummer Cezary Konrad, recorded at the Warsaw Music University. The album was released first as an exquisitely packaged promotional gift by the prestigious Paris based communication and design firm Arting, which is today a highly sought-after collector's item, and which I was honored to receive from the Artist himself. Later on it was released commercially in Poland by Koch, but is of course completely gone from the market.

The album presents the gentle/lyrical side of Konikiewicz, who weaves beautifully melodic themes and improvises at length, slowly developing his ideas and exposing fragment after of his inner soul to the listener. The album completely lacks any attempts of flashy display of technique or self-centered showmanship, and is simply all about the music and its sound and feeling.

The trio tracks are a superb example of the classic piano trio format, with all three musicians listening to each other with obvious sympathy and respect. Personally I feel that these tracks are also some of the most beautiful pieces Wegehaupt ever recorded (and I know all of his work intimately), with fabulously crafted solos, full of finesse and emotion, being another added value of this project. He was definitely, in the words of Konikiewicz, a great poet of the bass.

In retrospect I can say that the fact that this music in unavailable to the Polish Jazz connoisseur is a crying shame. All those forgotten albums truly deserve a proper reissue, as they are beyond a shadow of a doubt, part of the Polish Jazz legacy, which deserves to be cherished and preserved. It today's "one minute attention span" world, pieces of art like this one are simply islands of sanity.

Kuba Stankiewicz – Northern Song (1993)

Kuba Stankiewicz - piano
Henryk Miskiewicz - saxophone
Adam Cegielski - bass
Cezary Konrad - drums

INTRO 0012






By Adam Baruch

This is the debut album by Polish Jazz pianist / composer Kuba Stankiewicz recorded in a quartet setting with saxophonist Henryk Miskiewicz, bassist Adam Cegielski and drummer Cezary Konrad. It presents nine tracks, seven of which are original compositions by Stankiewicz and two are standards. Stankiewicz started his career in the mid 1980s as a member of Zbigniew Namyslowski's group at the time, recording with him two albums. In the late 1980s he studied at the Berklee Collage of Music in Boston and upon his return to Poland formed the quartet which recorded this album. Over time he established for himself a leading position on the local Jazz scene as composer, arranger, performer and educator.

This album presents melodic mainstream Jazz, executed with flair and perfection by a quartet of highly talented and experienced players, who continue the tradition of Polish Jazz established three decades earlier with a mixture of American Jazz tradition at its best and European lyricism and elegance combined into an irresistible swinging and sparkling Jazz presentation. The individual performances by all quartet members are truly outstanding. Miskiewicz plays with his usual fluency and melodic smoothness, which makes him one of the best players on the scene. The rhythm section is also right where it belongs, with the bass supporting the melody lines on one hand and stating the rhythmic pulse on the other and the drums keep perfect time without being obtrusive.

But it is Stankiewicz, who is at the center of the listener's attention, both as a player and a composer. His beautiful tunes sound remarkably "familiar" even at the first encounter, which of course is a sign of perfect harmonic balance and melodic excellence that characterizes all great Jazz pieces. His piano playing is another proof of his sublime sensitivity and feel for Jazz, which is immediately apparent. It is hardly surprising that this album won the "Album of the Year" title at the time of its release, over twenty years before these notes are being written.

In retrospect it is quite clear that great music ages well, and this album sounds as relevant and exciting today as it did at the time it was recorded. Although it is rooted in the mainstream tradition, it presents the best side of the tradition, which is simply eternal. Listening to this album should be pleasurable to every true Jazz connoisseur, anywhere on this planet, as it is simply one of those gems that are always worth revisiting.

JazzBaltica Ensemble / David Murray – Baltic Suite (1993) ****

Tomasz Stanko - trumpet

with
Big Band

GOWI 05







By Adam Baruch

This is a relatively little known album recorded live by a large assembly of Jazz musicians from several countries situated around the Baltic Sea, called JazzBaltica Ensemble, directed by American saxophonist / composer David Murray. The music was recorded during the second JazzBaltica Festival held in Germany. The ensemble included some of the absolutely top-notch Jazz players from the Baltic countries, such as Polish trumpeter Tomasz Stanko, Swedish bassist Anders Jormin, Finnish drummer Jukkis Uotila and many others. Another American taking part in the ensemble is tuba player Howard Johnson, who very often plays with European Jazz musicians. The music is a suite arranged for a large ensemble / Big Band, which comprises of several earlier compositions by Murray, which were reworked anew and incorporated into a coherent suite.

The music is a wonderful example of a Big Band setting, which allows for a series of expanded improvisations by all the participants, either individually or in small groups, accompanied by the entire ensemble. Although clear melodic themes are stated periodically, most of the music is freely improvised and allows for a large degree of individual expression. The solos are all exceptional, which is not surprising considering the incredible level of the musicians involved.

Although directed by Murray, this is typically European Jazz, with its relaxed and even somewhat melancholic ambience and sophisticated solos, which open up and explore new sonorities well beyond the standard Big Band arrangements. Several of these solo excursions depart beyond the thematic framework of the pieces, which build up this suite, being completely free spirited and spontaneously created, which is a norm as far as European Big Bands are concerned.

Overall this is a superb piece of large ensemble music, exquisitely performed and worthy of an honorable place among other similar efforts of European Jazz. For Tomasz Stanko aficionados, like myself, this is simply a must, especially since so few people know about this album!

Adam Makowicz Trio - Music of Jerome Kern (Concord Jazz, 1993)

Adam Makowicz - piano

George Mraz - bass
Alan Dawson - drums

Music of Jerome Kern (Concord Jazz, 1993)

Adam Makowicz is a pianist heavily influenced by Art Tatum. Makowicz explains being amazed (like so many) by Tatum as he listened to him for hours in his native Poland. That led the door to listening to other pianists such as Hines, Teddy Wilson, etc., eventually serving as a catalyst for his going out on his own.

The two influences I notice are Tatum and Monk. Tatum's influence is very strong, felt in the runs throughout many of the songs and also the style of the introductions, although the runs are less pervasive than in Tatum's case. However, when they do appear they are spectacularly performed, and have the advantage of technology that Tatum didn't have, resulting in a very crisp sound.

Monk's influence is more subtle. Like Monk, Makowicz prefers not to stray too far from the melody letting that be the basis of his improvisation, although he can do creative things with the harmony (although not nearly as strident as Monk).

The trio's music is very easy to listen to (it's melodic, and swings), yet has many moments which warrant close listening as well. The average length of the songs is between 5 and 6 minutes, so there is enough time for some exploration beyond a simple statement of the melody. One devise Makowicz uses more often than many is to play in parallel (that is, keeping the same chords as the melody goes up or down), which leads to some interesting effects.

It is ironic that Kern so disliked jazz musicians "tinkering" with his melodies when they so effortlessly lend themselves to improvisation with wonderful effect in the hands of talented musicians such as these.

By Tom Ewall



Track Listing
1. All the Things You Are
2. Way You Look Tonight, The
3. Who?
4. Song Is You, The
5. I Won't Dance
6. Ol' Man River
7. Long Ago (And Far Away)
8. Smoke Gets in Your Eyes
9. Yesterdays
10. Dearly Beloved
11. I'm Old Fashioned

Piotr Wojtasik - Piotr Wojtasik (1993)

Piotr Wojtasik - trąbka

Jan Ptaszyn Wróblewski - saksofon
Wojciech Niedziela - fortepian
Andrzej Cudzich - kontrabas
Eryk Kulm – perkusja

Piotr Wojtasik (1993)

Debut recording by Piotr Wojtasik, the leading mainstream trumpeter on Polish scene. It features an excellent musicians among them legendary saxophonist Jan Ptaszyn Wróblewski. The programme consists of all standards performed as close to originals as is possible. "Typish jazz" this album may appeal to those who believe that jazz took its final form in Blue Note era.

Track listing: 1. Jesienne liście; 2. Wild Flower; 3. Decision; 4. Fishtown; 5. Along Came Betty; 6. Blue in Green; 7. Homestretch

By Maciej Nowotny

http://kochamjazz.blox.pl

Bemibek - Dziennik podrozy (Soundpol, 1993)

Bemibek (band)

Ewa Bem - vocal
Aleksander Bem - drums
Andrzej Ibek - piano, organ
Jerzy Bartz - drums
Paweł Dąbrowski - bass guitar
Leszek Matecki - guitar
Henryk Miśkiewicz - saxophone
Sławomir Piwowar - guitar

Dziennik podrozy (Soundpol, 1993)

Honestly speaking I am rather ill-disposed towards anything that even remotely resembles smooth jazz production. I am therefore not very unhappy that this genre so strong in the US is marginal as far as European Jazz is concerned and in Polish jazz even more. Though on Polish soil smooth jazz never indeed has taken roots too deep it does not mean that some musicians were not trying. Most of these tries as well in  past as now are easy to skip but this it is at least worthy to note that such a current is present in Polish jazz stream. This specific recording is definitely nothing groundbreaking but it is interesting from historical point of view as one of first Polish try in the territory where both pop and jazz music meet.

Bemibek was set up in 1970 by Ewa Bem (vocal) and Aleksander Bem (vocal, drums) with Andrzej Ibek (vocal, piano, organ). With addition of Tadeusz Gogosz (bass guitar) group debuted on famous Jazz Nad Odrą festival where they scooped 1st Prize, clearly a sign that critics as well as audience then were open for that kind of decently played and light-hearted muse. It is difficult for me to trace further career of this band, I am not an expert in this kind of jazz, but getting back to the music one must say that it redeems itself and may be listened to with pleasure due to awesome performance of Ewa Bem, one of the most interesting female vocalists in Polish jazz history. She is still active as much as educator being responsible for recent influx of many young, talented jazz vocalists in Poland and as an artist realeasing new albums. I hope that some of her discs, especially those more ambitious, inspired by her favourite Ella Fitzgerald, will find their way to this blog one day...

Please, listen to great bossa nova from this album:



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