Wojciech Staroniewicz – Quiet City (1995)

Wojciech Staroniewicz - saxophone / composer
Andrzej Jagodzinski - piano
Adam Cegielski - bass
Cezary Konrad - drums

POLONIA 043






By Adam Baruch

This is an early release by veteran Polish Jazz saxophonist / composer Wojciech Staroniewicz, recorded in a classic quartet setting with pianist Andrzej Jagodzinski, bassist Adam Cegielski and drummer Cezary Konrad. The album includes six original compositions, all by Staroniewicz, most of which are ballads.

After listening to just a few opening notes it becomes immediately apparent that this is a Polish Jazz recording, as the music is full of the characteristics, which are unique to Polish Jazz: wonderfully lyrical melodies, folkloristic undertones, unusual meters and those unique harmonies, which only Polish Jazz musicians are able to invent. Also clearly apparent is the virtuosity of the participants, who in spite of their (at the time) young age sound as if they played Jazz for decades. Staroniewicz has a beautiful tone when playing his tenor saxophone, which resembles several of the great American saxophonists, but has more vitality and chutzpah. Jagodzinski is a fantastic player and this early recording already shows him in his full capacity. The rhythm section is also first class, doing a fantastic job supporting the two soloists both during the ensemble parts and solo parts.

Although this is solid mainstream Jazz, it is full of intelligent moments and passionate performances, which take the music well beyond what is usually conceived as mainstream. Partly due to the leader's superb compositions and partly to the musicians growing up absorbing the Polish Jazz heritage, which includes the innovations introduced by Krzysztof Komeda, which were as much influential on Polish Jazz as John Coltrane's legacy was on the global scene, this music is both a classic example of mainstream Jazz as much as an epitome of Polish Jazz.

In retrospect I find myself returning to this album from time to time and although it is rarely considered as a Polish Jazz "classic", it is definitely so for me. Of course the fact that it was recorded almost two decades ago means absolutely nothing except for the fact that is seems to be getting better with time. The fact that Staroniewicz emerged eventually as one of the pillars of the Polish Jazz scene, not only as a player but also as a record label owner, concert organizer, etc. proves that he means business, which is always a great quality in people. So a "classic" for me, and if you get to listen to it – it will be also a "classic" for you!

Jarek Smietana - Flowers In Mind (1995)

Jarek Smietana 

Jarek Śmietana - guitars
Andrzej Cudzich - bass
Idris Muhammad - drums

Flowers In Mind (1995)

By Maciej Nowotny

Jarek Śmietana belongs to those "greats" of Polish Jazz. He participated in some of its legendary recordings like on Zbigniew Seifert's "Kilimanjaro" (1978). He also formed his own band Extra Ball which was one of the few interesting bands in 80ties in Poland. However since then he hasn't recorded any album which would really push Polish jazz forward in any way. On the other hand he played a lot of very high quality music, keeping untouched his language as he developed it in late 70ties and 80ties. In fact he even perfected it by inviting, as one of the first in our country, significant foreign musicians to play with. Names like Eddie Henderson, Art Farmer or John Abercrombie could be mentioned here. One of those special guests I appreciate the most is the one present on this album, legendary avantgarde drummer, Idris Muhammad.

Idris Muhammad was born as Leo Morris but as many Amercian jazz musicians in 60ties decided to convert to Islam as a protest against political oppression of Black people in the US (that is at least how he saw it then). What interests us more is that he established fruitful cooperation with one of the most astonishing musician in history of jazz, and one of the most underestimated, that is with pianist Ahmad Jamal. But he played also with Andrew Hill, Pharoah Sanders and Kamal Abdul-Alim to name some of avantgarde jazz projects in which I like him the most. What is important as far as this recording is concerned he was also invited to rhythm sections by legendary jazz guitarists: George Benson and Grant Green. He is supported here on double bass by Andrzej Cudzich who was incredibly talented Polish virtuoso of this instrument who unfortunately died prematurely.

Śmietana uses well stellar support he gets as much from Muhammad as from Cudzich. His play is relaxed, articulation perfect, phrasing light as feather yet incredible expressive. His own composition are no worse than great tunes written by Charlie Parker, Jack DeJohnette, John Scofield, Sam Rivers and... Ornette Coleman. This last one perhaps being the influence of Muhammad as Śmietana rather dislike experimenting in jazz keeping mostly to mainstream. But it doesn't matter really! The playing is awesome, the program captivating, the mood high and I simply must admit that it is not only one of the best Jarek Śmietana recordings I heard but also one of the best guitar jazz albums in Polish jazz history.

Tracklisting: 

1. As Good As Always (c. J. Śmietana) 5:46
2. Bloommdido (c. Ch. Parker) 4:02
3. Flowers In Mind (c. J. Śmietana) 6:40
4. Papa Daddy And Me (c. J. Dejohnette) 5:49
5. Back To The Roots (c. J. Śmietana) 6:55
6. Sometimes In Winter... (c. J. Śmietana) 7:50
7. Eisenhower (c. J. Scofield) 5:33
8. Beatrice (c. S. Rivers) 8:28
9. Blessing (c. O. Coleman) 5:12
10. Untitled Blues (c. unknown, arr.: J. Śmietana) 7:32

Perplex - Newborn (1995)

Perplex (band)

Yeshy Mazzoll - Clarinet, Bass Clarinet, Soprano Saxophone, Alto Saxophone
Heinrich 'Doc' Chastca - Bass
Stefan Hölker - Percussion

  Newborn (1995)

Jerzy Mazzoll, a bass clarinetist, improviser, leader of such significant bands as Artythmic Perfection and Niebieski Lotnik, one of creators of yass movement is basically unknown outside Poland. The closest to changing this situation he probably was when recorded this album. In 1995, at the hayday of yass movement, he left Poland for some time and went to Western Europe. He met there with famous avantgarde drummer Tony Oxley and established connection with his then ongoing project called Celebration Orchestra. This meeting resulted in Mazzoll creating a band called Perplex which comprised muscians related to above mentioned Orchestra that is a drummer Stefan Hölker and bassist Heinrich Chastca. Tony Oxley has produced this album. 

The outcome of this cooperation is interesting and marks important stage in development of Mazzoll ideas. This stage may be described as departure from punk rock influenced beginnings of yass movement toward modern improvised music rooted in atonal classics as well as in avant jazz and... Mazzoll own ideas. Interesingly unlike other protagonists of yass movement grouped in Miłość band Mazzoll decided not to use in this music typical mainstream or free jazz language. By making such a decision he may be seen as forerunner of today's revival of improvised music in Poland which clearly goes in direction he so many years before pointed out.

Let me finally add a few words by Tony Oxley about this album:"Whilst you are contemplaiting this disc, you might already have at least some idea of what you wont hear. This is always a most important moment - what will I hear? ... Each piece taking on its own identity, sudden shift of sound and texture, the essence of improvised activity."

Track listing:
1. Jump On One Leg 3:14
2. Sp - One 0:15
3. Sp - Two 0:31
4. Sp - Three 0:21
5. Sp - Four 0:24
6. Sp - Five 1:09
7. Sp - Six 0:52
8. Frolic 4:31
9. Newborn 3:30
10. Picnic 4:50
11. Tibet 7:03
12. Mister T:O 1:48
13. Arhytmic 3:11
14. Cosmic 0:26
15. Nostalgia C 6:53
16. Ceciliade 5:10
17. Pulsate 2:28
18. In Ourselves 3:03
19. Puzzle 4:27
20. No Stress 3:27
21. Scorpians Dance 3:43
22. Sanctify 3:01
23. Jewish - Polka 1:57

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

Jan Ptaszyn Wroblewski - Made In Poland (1995)

Jan Ptaszyn Wróblewski - tenor & bass saxophones, leader, arranger

Henryk Miskiewicz - alto saxophone
Piotr baron - tenor saxophone
Robert Majewski - trumpet
Piotr Wojtasik - trumpet
Henryk Majewski - trumpet
Sławomir Rosiak - trombone
Andrzej jagodziński - piano, keyboards
Wojciech Karolak - keyboards (4, 6, 7)
Adam Cegielski - bass
Jacek Olter - drums

Made In Poland (1995)

Easy-going mainstream jazz as usual for Jan Ptaszyn Wróblewski but of the highest quality in terms of purely musical performance. When I am listening to it right now it strikes how much it is indebted in best arangements written for ensambles led by legendary Art Blackey or by then young Charles Tolliver. I mean of course arrangements from 70ties last century, it is therefore more than obvious that music on this disc by no means discovered anything new. It is nonetheless more than just able copy mainly because of musicians who at moments play notes with true authencity and enthusiasm so characteric for jazz music. Piotr Baron on saxophone deserves most praise in this context but Henryk Majewski and Piotr Wojtasik on trumpets, Andrzej Jagodziński on piano and Jacek Olter on drums made no worse impression on me. All in all, I do not regret time spent on rehearsing this oldie. 

Track listing:
1. Go Right
2. Mr. Olek
3. Moment Musical
4. For Joseph
5. Drivin'
6. Chcha muzyka objawowa
7. Final Theme / Polka Oj-ra

By Maciej Nowotny

http://kochamjazz.blox.pl

Piotr Baron - Take One (Polonia Records, 1995)

Piotr Baron - soprano and tenor taxophone

Darek Oleszkiewicz - double bass

Jacek Olter - drums

Take One (1995)

Stellar line-up and music as always with Piotr Baron difficult to classify. Certainly mainstream but with some occasional unexpected twists towards more free and open language. The beauty of sound on this recording is breathtaking. Baron improvisations on saxophone are emotional, Oleszkiewicz bass line juicy, Olter drumming timely yet never too obvious. All in all this one surely deserves to be rehearsed from time to time and not cast into oblivion...

Track listing: 1. Kruchy most; 2. Złota rybka; 3. W ciemność;  4. Baronstone; 5. Nie przerywać dożynek; 6. Jeszcze jeden mazur dzisiaj; 7. Ja ci powiadałam Janielo; 8. Czerwone jabłuszko; 9. Moo Man

By Maciej Nowotny

http://kochamjazz.blox.pl

Jaromir Honzak - Getting There Together (1995)

Jaromir Honzak - bass   

Piotr Baron - saxophones
Kuba Stankiewicz - piano
Peter Binder - guitar
Martin Zbrozek - violin
Pavel Zboril - drums

Getting There Together (1995)

Ties between Polish, Czech and Slovak jazz musicians are not so tight as between Poles and Scandinavians but in recent times are getting obviously stronger. Many young people from both Czech Republic and Slovakia study in excellent jazz faculty at Music Academy in Katowice. Among those some show themselves as very talented like Stepanka Balcarova or Vit Kristan and are already taking active part in Polish jazz scene (check Inner Spaces Quartet). Other like Nothing But Swing trio from Slovakia turn their attention to Polish jazz as source of inspiration which is evidenced by their fantastic album "Komeda". Finally there are already existing bands uniting best musicians from these countries of which Jaromir Honzak combo is very good example.

Jaromik Honzak is double bassist who apart from being trained in Teplice Conservatory studied for one year in famous Berklee College of Music in Boston. Since returning to Czech Republic he has recorded six albums as a leader with this one being his debut. He is versatile bass player and composer as he penned most of material for this album. He surrounded himself here with pack of young players form both countries in persons pf Kuba Stankiewicz playing on piano, Pawel Zboril on drums, Martin Zbrozek on violin and Peter Binder on guitar (outstanding performance). However all these musicians deserve praise this album owes much of its value to stunning performance of Polish veteran reedist Piotr Baron. His play transcends this music from very solid but typical mainstream to something simply very beautiful (at least in some moments). For example check this ballad titled "Boston Is Cool" from this record: 

Track listing: 1. Boston Is Cool (10:29); 2. October In Poland (7:12); 3. You And The Night And The Music (6:41); 4. Today (3:09); 5. Fossilized Tear (3:36); 6. Woman From "Na Maninach" Buffet (5:45); 7. Say Hello To Marc (6:16); 8. Getting There Together (7:47)

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

Tomasz Stanko - Tales For A Girl (Polonia Records, 1995) by Thom Jurek

Tomasz Stańko -  trumpet 

Janusz Skowron -  synthesizer   

Tales For A Girl, 12 (Polonia Records, 1995)

This is Polish trumpeter and composer Tomasz Stanko at his most confounding. Paired with Janisz Skowron on synthesizer, Stanko claims that these pieces are nothing more than short little musical stories -- not fully realized compositions, but sketches. That's reasonable enough, but when certain pieces -- such as the opener -- are nine minutes in length, that becomes somewhat tenuous as an explanation. The 12 pieces that make up this "suite," if indeed it can be called that, are ephemeral roots and seedlings of ideas not yet realized and not meant to be. This, too, is acceptable as a notion, but why record them? Perhaps Brian Eno can get away with nonsense like this since he's not -- by his own admission -- a musician, but Stanko is an ambitious talent, a sophisticated composer whose control over an ensemble brings out the sublime in them. This is throwaway music, ignoble and forgettable and not worth the time or materials it took to produce. A bitter disappointment.

Author: Thom Jurek

Wlodek Pawlik Quartet feat. Randy Brecker - Turtles (Polonia Records, 1995)

Włodek Pawlik - piano

Randy Brecker - trumpet trąbka
Trent Kynaston - tenor sax
Thomas Knific - bass
Cezary Konrad - drums

Turtles (Polonia Records, 1995)

Pawlik's Turtles is marked by the collective assurance of the musicians, the mix of Americans (Brecker, tenor saxophonist Trent Kynaston, bassist Thomas Knific) and Poles (the pianist, drummer Cezary Konrad) having benefited from working together in Polish clubs just before their Warsaw record date. On a program of originals, Brecker gets ample feature space: His creative impulses are decisive and his commitment to the music total (as on Thanks A Million). Soloist Kynaston injects surprise into some of his lines, especially effective when revealing an edgy desperation on "Not Samba." Pawlik is an intelligent pianist who listens carefully to his colleagues; he shares a tough sort of sensitivity with Brecker on their duet "...Sailing," and he quietly and skillfully conjures complex feelings on "Moontide." Worthy of note, also, is the bracing, alert manner in which Konrad breaks up the time on "Not Samba" and the title track.

A large part of the album appeal comes from the way the players' considerable facility and complicated turns of thought are so readily translated into high-quality modern jazz.

You can skip first 1:30 of talking and then good music starts:

Frank John Hadley

Down Beat

Tomasz Stanko – Tales For A Girl, 12 (Polonia Records, 1995) by Adam Baruch

Tomasz Stańko -  trumpet 

Janusz Skowron -  synthesizer   

Tales For A Girl, 12 (Polonia Records, 1995)

With the 1980s over, Polish trumpeter / composer Tomasz Stanko enters the next decade with another pivotal recording, which marks yet another about face change with the return to "classic" Jazz, as defined by Stanko's unique talent. This incredible album is basically a solo trumpet recording, an extremely bold and difficult project for the artist, which truly emphasizes his genius in full. Accompanied only by keyboardist Janusz Skowron, who produces layers of atmospheric background, Stanko blows with full might presenting thirteen brilliantly concise pieces of music, which are simply mind-blowing. His virtuosity as a performer is demonstrated here perhaps more vividly than on any other Stanko album, certainly any of his previous recordings up to that one. His lyricism and incredible power of expression are overwhelming and the totality of his music is unparalleled. Although solo recordings (in Jazz or other types of music) are usually quite difficult for the less experienced listener, this album is so powerful that is able to mesmerize any listener sensitive to music. This album is the mark every other trumpet album should be measured against, a work of pure genius and an absolutely essential piece of Art in any sense of this word. Stunning!

Author: Adam Baruch

http://www.adambaruch.com/

Piotr Wojtasik - Lonely Town (1995)

I often grumble on this blog as far as mainstream jazz is concerned that it is too predictable, too well-known, too conservative. But from time to time an album arrives which despite having all these features wins me over entirely and I cannot detach myself from my beloved Tannoy speakers. And such is the case with "Lonely Town" recorded under leadership of trumpeter Piotr Wojtasik.

He is a serious player on Polish jazz scene and he not only recorded with the best musicians in Poland but is also lecturer in Wrocław Music Academy where his trumpet class has become famous. On this recording he is accompanied by all-star team of Polish jazz musicians: Leszek Możdżer (piano), Krzysztof Popek (flute), Zbigniew Namysłowski (alto sax), Maciej Sikała (tenor sax), Jarosław Śmietana (guitar), Jacek Niedziela (bass), Marcin Jahr (drums) and Symphonic Orchestra conducted by Jerzy Jarosik.

The program of the album contains mostly standards like "Naima', "Darn That Dream" or "Stella by Stalight". There are perhaps better albums of Piotr Wojtasik available but this one with its accessibility and charmful character may be the best entrance to his discography. 

If you want to get to know more about Piotr Wojtasik or buy this record, please check this link please. And check following link to listen to Wojtasik's trumpet although not in any songs from this album and with different line-up.

By Maciej Nowotny

http://kochamjazz.blox.pl

Robert Majewski - Komeda (1995)

This recording dates back to 1995 and is kind of family business. Henryk Miśkiewicz is alto saxophonist while Michał Miśkiewicz, his son, is a drummer, well-known from his long term collaboration with Tomasz Stańko and Marcin Wasilewski. He also has a sister, Dorota Miśkiewicz, a talented pop and jazz singer.

On the other hand a senior of Majewski family, Henryk Majewski, trumpeter, is not present on this album but instead his son, Robert Majewski, is playing on this same instrument accompanied by his younger brother pianist Wojciech Majewski (his performance appeals to me most). The only musician outside these two families is Zbigniew Wegehaupt but only nominally since they all know each other for ages.

Good thing resulting from such a steup is that they are all playing technically impeccable and are communicating with each other perfectly. The music is very sweet and emotional. However it's well too polite and well-behaving as far as I am concerned. It does not bring this "sound of surprise" which I expect from good jazz recordings and I therefore treat is as rather uninspiring tribute to such a musical genius as Komeda was. Please, check this film to listen to a mellow and refined sound these musicians are capable to produce.

    

Miłość - Asthmatic (1995)

 

In one of my previous posts I wrote about a band called Sing Sing Penelope which creates one of the finest new polish avant garde jazz music. In that post I mentioned another band called Miłość (Love) which many years ago, in mid 90ties, was responsible for creating yass movement in Poland, new torrent in polish jazz, rejunavating, vigorous, free. Since then I felt like it would be appriopriate to recall one of their albums and I chose one titled Asthmatic from many others, equally interesting recordings of this group.

I let myself in writing about this record to free associate because music on this album is so off-beat as to call for such an unorthodox style. Let us then first note the cover of this cd and its title. A picture on the cover is very similar to one on famous King Crimson album In the Court of The King Crimson, legendary rock band, while its title recalls no less famous record of icon of polish jazz Krzysztof Komeda titled Astigmatic. All this is by no means accidental. As one of the founder of the group, Tymon Tymański said:

"Where Komeda in his oversensitivness has seen or not seen something, we cough, grunt, belch but in our own way. It's kinda our own, funny style, we love Komeda as in highest degree polish, original and self-assured artist but if we want to blow this chicken shack away we have to aim at the biggest cock. The whole music was improvised in recording studio. We just started on some keyword spoken like we play song a la Lutosławski (famous polish classical music composer) or a la dancing music or a la blues in F or whatever. The only limitation was that we played in quintet and that we wanted to stick to jazz. But all those who knew jazz will immadietly realize that our music is like reciting the poem of Majakowski, when unprepared."

So historically this album is important because it highlited new young generation of jazzmen coming to the market. But musically what is its style? Free jazz obviously which took its inspiration from Ornette Coleman, Archi Shepp or Albert Ayler. It opened ears of polish audiance to this new kind of jazz that was treating jazz not as purpose or goal but only as point of departure. Because of them polish jazz scene is now so much open to experiment, improvisation and creativity. Please listen to one jewel from this masterpiece: