Mikołaj Trzaska – Cześć, Cześć, Cześć… (1996)

Mikołaj Trzaska

Mikołaj Trzaska - alto & soprano saxophones, guitar
Jowita Cieślikiewicz - piano, keyboard, Hammond organ
Tomasz Hesse - bass, Hammond bass pedals
Jacek Olter - drums, electronic drums
Szymon Rogiński - didgeridoo


Cześć, Cześć, Cześć…

GOWI 37

By Adam Baruch

This is the debut album by legendary Polish saxophonist/clarinetist/composer/bandleader Mikołaj Trzaska, recorded while Trzaska was still a member of the no less legendary Yass ensemble Milość, which revolutionized the Polish Jazz scene in the 1990s. The album was recorded in a quartet setting with keyboardist Jowita Cieślikiewicz (from the legendary all female ensemble Oczi Cziorne) and two Milość related musicians: bassist Tomasz Hesse and drummer Jacek Olter. Didgeridoo player Szymon Rogiński appears as a guest musician. The album presents nine tracks, seven of which are original compositions by Trzaska, one is a traditional song and one was co-composed by Hesse and Tomasz Gwinciński (a legendary representative of the Bydgoszcz music scene and considered as one of the creators of the Yass idiom).

From a twenty years long retrospect this album sounds today even more poignant than when I heard it for the first time at the time it was originally released. After closely following the musical path and development of Trzaska during that period, it becomes clearly evident that this album was not only revolutionary, but even more importantly so it was completely prophetic as far as Trzaska's future was about to reveal itself. It includes all the elements in his music, which were about to burst out later on: a superb sense of melody, always full of tension and suspense, which would become Trzaska's trademark in his remarkable career as a creator of some of Poland's most important soundtracks to no less important movies. It also includes the element of cyclic, almost trans-like, hypnotic repetition, which was to characterize Trzaska's music in the ensembles he led during those twenty years. And last but not least it also features his obvious search of his musical roots, which was about to blossom when Trzaska discovered Jewish music.

Musically this album lost absolutely nothing of its charm and strength over time and as already mentioned above is an absolutely marvelous statement, which not only depicts the essence of the Yass era, with its nonchalance, daring and open-mindedness on one hand and the total commitment to doing your own thing on the other, but also captures in an embryonic stage one of Poland's most creative and significant musical minds.

Sadly this album never really achieved the iconic status it truly deserves, which complies with the ancient saying: "No Prophet is welcome in his hometown", which tragically is more often true than not. Since it seems to be still available, I can't think of a Polish Jazz album that deserves to be in every serious Polish Jazz collection than this one, not only for its historic significance but simply because it contains so much great music. Don't even think twice!

Simple Acoustic Trio - When Blues Will Leave? (1996)

Simple Acoustic Trio (band)

Marcin Wasilewski - piano
Slawomir Kurkiewicz - bass
Michal Miskiewicz - drums

When Blues Will Leave? (1996)

The story of Simple Acoustic Trio goes back to the beginning of ‘90s. Still being students of the Music High School S.A.Trio. made their debut in 1991. They won the third prize at the Polish jazz contest-Jazz Juniors ’91. In the same year, a sixteen-year old band leader - Marcin Wasilewski won the fourth prize at the International Jazz Pianist festival in Kalisz, Poland. Two years later the band won the first prize at the 7th International Festival of Jazz Bands “Chorus ‘93” during Jazzin’ Sorgues Festival in France. In 1996 the band participated in two jazz competitions. In Getxo, Spain, the band won the first prize and Marcin Wasilewski was chosen the best soloist of the festival. In the same year the band became a prizewinner of the Leverkusen Jazz Festival, and again Marcin Wasilewski was considered the best soloist.

So far the S.A.T., formed by Marcin Wasilewski - piano, Slawomir Kurkiewicz - double-bass and Michal Miskiewicz – drums, has recorded four CDs. The first one called “Komeda” (Gowi Records) released in February 1995 was inspired by a successful live performance dedicated to Krzysztof Komeda during the Jazz Jamboree’94. "Up-dated" version of this album re-titled "Lullaby for Rosemary's" was released on Not Not in 2001. “When will the blues leave” (Polonia Records) is the title of the second release from December 1995. “Live in Getxo” (Hillargi Records) was recorded during Getxo Jazz Festival 1996. In October 1999, the band performed at “Jazz All Fil De L’oise” festival in France, and the fallowing month recorded their fourth CD “Habanera” (Not Two). The fall of 2001 brought the release of “Lyrics”. The album came from co-operation between Polish saxophonist Henryk Miskiewicz and Simple Acoustic Trio, and was awarded the most prestigious prize in Polish phonographic industry “Fryderyk” 2001 for the best jazz album of the year. In the meantime S.A.T. was voted the best acoustic band by the readers of a polish magazine “Jazz Forum”. In 2007 S.A.T. released its first album titled "Trio" for ECM.

Individually and as a group the members of S.A.T. have performed with prominent international jazz stars such as Jan Garbarek, Manu Katche, Louis Sclavis, Dino Saluzzi, Palle Danielsson, Jon Christensen, Bernt Rosengren, Arthur Blythe, Joe Lovano, John Surman, Bobo Stenson, Anders Jormin, Gianluigi Trovesi and also have worked with Tomasz Szukalski, Piotr Wojtasik, Michal Urbaniak, Janusz Muniak, Zbigniew Namyslowski. Since 1994 the musicians of Simple Acoustic Trio have worked with Tomasz Stanko as members of Stanko quartet. This co-operation became a springboard for their artistic and commercial success; Tomasz Stanko Quartet has made a great deal of tours all over the world.

Stanko argues that “In the entire history of Polish jazz, we’ve never had a band like this one. I’m surprised by these musicians every day. They just keep getting better and better.” But the pianist, bassist and drummer are much more than Stanko’s ‘backing band’.

The trio is very much a group, and as Don Heckman observed, reviewing them with Stanko for the Los Angeles Times, “Their years together have resulted in an ensemble with an utterly symbiotic creative flow, solos darting through collective passages as the music streamed fluidly from one selection into another. Kurkiewicz and Miskiewicz play with a fertile combination of swing and subtlety…Wasilewski’s piano soloing displayed a coalescing talent, a potentially emerging jazz star in his own right.”

source: SAT MySpace page



Tracklisting:
1. When Will the Blues Leave? (O.Colleman)
2. Arpegiatta (M.Wasilewski)
3. King Korn (C.Blay)
4. Umbra (S.Kurkiewicz)
5. Quaraquaquaraqua (M.Wasilewski)
6. Balladoena (M.Wasilewski)
7. Pablo Blue (M.Wasilewski)
8. Koina (M.Wasilewski)
9. Rocker (M.Wasilewski)

Simple Acoustic Trio - Live in Getxo (1996)

Simple Acoustic Trio

Marcin Wasilewski - piano
Sławomir Kurkiewicz - double-bass
Michał Miśkiewicz - drums 

Live in Getxo (1996)

Marcin Wasilewski, Michał Miśkiewicz i Sławomir Kurkiewicz has become famous since they started to play with Tomasz Stańko. But their careers began many years before and this disc is good example of that since it precedes their albums with famous Polish trumpeter by five years. And it is marking at the same time important stage in their career as its recording was a prize for winning in the contest at jazz festival in Spanish Getxo in 1996. When I talked to Marcin Wasilewski he said this win made whole band ecstatic and for the first time they seriously started to believe that great career they always dreamt of was possible.

Rehearsing this music after so many years remains fully satisfactory experience. While doing that the words of Tomasz Stańko came to my mind stating that few times in his life he found any band of musicians so talented as Wasilewski, Miśkiewicz and Kurkiewicz. Stańko said: "They were playing perfectly from the beginning. That was incredible! Especially when you bear in mind that when we met each other they were just sixteen or eighteen years old boys..". Saying that one must realize that there is big difference between this music and one we can find on Marcin Wasilewski Trio last albums. Over years their playing gained in space, in depth and... in significance. Nowadays they are no more Simple Acoustic Trio as since they record for ECM the name of band changed to Marcin Wasilewski Trio but in the meantime they become simply one of the best jazz trios in the world...

By Maciej Nowotny

http://kochamjazz.blox.pl

Track listing:

1 Cherry 6:53
2 King Korn 4:40
3 Arpegiatta 7:33
4 Turnaround 7:11
5 Habanera Excentrica 9:39
6 Kattorna 3:19
7 Ballade For Bernt 7:32
8 Quara-Qua Quara-Qua

Piotr Baron - Tango (1996)

Piotr Baron - tenor saxophone

Jacek Niedziela - double bass
Adam Czerwiński - drums

Tango (1996)

This is rather typical mainstream jazz music however lacking some characteristic for Baron spirituality and cross-over creativity he displayed for example on his latest superb "Kaddish" (2012). Its highlight is attractive main theme which makes music coherent. Level of musicianship is also very high as much as interplay between musicians. Perhaps not sufficient to cause "wow!" effect but certainly enough to justify repeated rehearsal even after many years since its recording.

Tracklist:
1. The Last Tango in Paris
2. Tingel Tango
3. Pożegnania; Pamiętasz, była jesień / Farewells; Remember, It Was an Autumn
4. Hasta Siempre
5. Joe Lovano Tango
6. St. Luis Blues
7. Tango Milonga - Oh, Donna Clara

By Maciej Nowotny

http://polish-jazz.blogspot.com/

Mazzoll & Arythmic Perfection - Out Out To Lunch (1996)

Mazzoll & Arythmic Perfection (band)

Jerzy Mazzoll — Clarinet, Bass Clarinet, Vocal
Janusz Zdunek — Trumpet
Slawomir Janicki — Bass
Tomasz Gwincinski — Drums
Jacek Majewski — Percussion

Out Out Lunch (1996)

When measured by ratio of quality of artistic output Jerzy Mazzoll should be treated as one of most important figures on Polish improvised music scene. Unfortunately public recognition of his works does not follow their artistic significance. This album is good example of this disparity: almost unknown as much in Poland as abroad it is one of few in Poland true and succesful tributes to Eric Dolphy groundbreaking attitude towards jazz music as evidenced by legendary "Out To Lunch". Though clearly referring to Dolphy life's work it bounces out of its limits as suggested by additional OUT in disc title. Its direction is no specific aesthetics but rather towards free form expressing artists' spirituality. 

Although Mazzoll clarinet is crucial to sound of whole ensamble his partners input is no less important. Tomek Gwinciński on drums, Sławek Janicki on bass, Jacek Majewski on percussions and Janusz Zdunek on trumpet. These were all one of most unsetlled music souls in Poland, perhaps not always that proficient as musicians who excelled in mainstream jazz, yet through their work they preserved what is alive in modern jazz. Their dedication way key factor in XXI century revival of free jazz in Poland. 

Tracklisting:
1. Boskie Przeświadczenie
2. Pierścionek Geodety
3. Ślinka W Kącikach Ust
4. Języki Ognia
5. I Tak Gdy Spojrzeliśmy
6. Słodycz Beznadziejnych Dni
7. Serdeczne Męki
8. Boliwijski Gniot (Rzecz O Odnalezieniu Boskiego Oblicza)
9. Smutna Kozica Górska (Wg. Utworu "Miłość Nie Zna Granic" Grupy M&AP)
10. Obudździe Się!!!

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

Antoni Gralak - Graal (Polonia Records, 1996); Graal 2 (Polonia Records, 1997)

Antoni Gralak - trumpet, trombone

Włodzimierz Kiniorski - tenor sax

Locko Richter - bass guitar, organ
Arkadiusz Skolik - drums
Stanisław Sojka - violin

Graal (Polonia Records, 1996)

Tracklisting: 1. Karuzela; 2. Chromatyczna; 3. Gruba Berta; 4. Wszyscy tańczą; 5. Pe pe sha; 6. Bajka; 7. Chudy patrzy; 8. Larwatus proteo 

Antoni Gralak - trumpet, trombone

Włodzimierz Kiniorski - tenor sax

Locko Richter - bass guitar, organ
Arkadiusz Skolik - drums
Stanisław Sojka - violin

Graal 2 (Polonia Records, 1997)

Tracklisting: 1. Miasto tańczy; 2. Marsz a masz; 3. Sarterras Ubi Bangoia; 4. Ornetto; 5. Korridor; 6. Mute Fanki; 7. Jak Kopciuszek; 8. Więc Dixi 

Small community of musicians centered around city of Częstochowa (located in the south of Poland close to bigger Upper Silesia region) produced fair amount of interesting if somewhat little known (even in Poland) music. Along with Janusz Yanina Iwański whose newest record 'Free Wave' (2011) was recently described on this blog, trumpeter Antoni Ziut Gralak (Ziut and Yanina cooperated in highly successful rock Tie Break band) shall be mentioned with this two albums being good example of what kind of music he likes the most. And this music is rooted in Polish yass movement. That means that though clearly inspired by free jazz it is also relying heavily on Polish folk, punk rock and drum'n'bass aesthetics. It sounds open, spontaneous and much more accessible than typical Ornettian free. Melody is strong here and improvisation is not that much in structure as in ludic character of this music which may change entirely its style from one song to another. Apart from this interesting idiom in which this music is placed one must be under great impression how well played it is. Apart from the leader on trumpet it features first rate musicians that is Włodek Kiniorski on tenor sax, charismatic German bassist Loco Richter, excellent drummer Arek Stolik and Stanisław Sojka on violin. Even more important then their skills however is the spirit of teamwork and obvious great joy coming from working together that pervades both these albums. This leaves me with no other options than to recommend these albums to any listener whose ears and heart are open to good music. 

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

Andrzej Cudzich Quartet - Able To Listen (Polonia Records, 1996)

Andrzej Cudzich Quartet

Andrzej Cudzich – bass
Gary Thomas – saksofon tenorowy
David Kikoski – fortepian
Ronnie Burrage – perkusja

Able To Listen (Polonia Records, 1996)

I have been quite unprepared for this... music that started to flow from my Tannoy speakers was simply top notch! Full of drive, bursting with energy, dancing and singing with perfect rhythms and captivating melodies. I immediately started to ask myself: who did recorded this powerful stuff? The name of the band: Andrzej Cudzich Quartet meant nothing to me. Only when I began to study the personnel as listed on CD cover I began to understand... Gary Thomas on tenor saxophone, David Kikoski on piano and Ronnie Burrage on drumms are all heavyweights from New York who brought to this music this punch I was so stricken by. These guys really know how to swing! But who (to heck!) is Andrzej Cudzich? 

Born in 1960 he was as much bassist as composer educated in Kraków Music Academy. While studying he won second prize at Jazz Nad Odrą Festival and was soon after invited by famous Cracow saxophonist Jerzy Muniak to his band. They cooperated closely from 1979 to 1985 touring extensively in Poland and abroad. Afterwards he also collaborated with Krzysztof Zawadzki with whom he created one of the most significant bands in Polish Jazz in 80ties that is Walk Away and with Jan Ptaszyn Wróblewski who employed him in all his projects in those times. No less important were cooperations with Tomasz Szukalski with whom he recorded three albums, with Zbigniew Namysłowski and Jarosław Śmietana.

In 90ties Cudzich eventually felt ready to make recordings in his own name with 'Able To Listen' being his debut. Soon after he created his own group called AmenBand playing church music and purely jazz enterprise called Andrzej Cudzich Quartet featuring such excellent musicians as Joachim Mencel, Adam Pierończyk and Łukasz Żyta. This fast developing career was suddenly interrupted by grave illness which caused Andrzej Cudzich's death in 2003 at the age of 43. Great pity! The only comfort with have in such a heavy loss is that recordings like this secure Cudzich's place in great history of Polish jazz...

Track listing: 1. Don’t Look Back 8,40 2. Able To Listen 9,26 3. West Wind 6,49 4. Waltz 8,20 5. Watch Your Step 9,03 6. Peace 11,34 7. Evidence 4,40

By Maciej Nowotny

http://kochamjazz.blox.pl

Krzysztof Herdzin - Chopin (Polonia Records, 1996)

Krzysztof Herdzin - piano

Piotr Wojtasik - trumpet, fluegelhorn
Maciej Sikala - tenor sax
Jacek Niedziela - bass
Marcin Jahr - drums

 Chopin (Polonia Records, 1996)

Although K. Herdzin is a classically trained pianist, his "Chopin" is the most jazzy and universal of all jazz renditions of Chopin's music published to date. All of the compositions are based on motifs and fragments of reworked Chopin phrases. One cannot accuse Herdzin of misusing or abusing Chopin's music because of the sheer fact that Herdzin has ventured very far from the original. He does not quote Chopin directly but uses variations of the motifs. He never cites the original, never borrows (or as some would say - never steals). Herdzin's Chopin-like tunes are his own original creations and in themselves testify to his substantial talent. This is one of the most interesting albums released in Poland to date.



Tracklisting: 1. Etiuda E-dur op.10 nr.3; 2. Walc cis-moll op.64.nr.2; 3. Mazurek F-dur op.68 nr.3; 4. Walc h-moll op.69 nr.2; 5. Preludium A-dur op.28 nr.7; 6. Grande Valse Brillante As-dur op.34; 7. Preludium Des-dur op.28 nr.15; 8. Zyczenie

By Ryszard Borowski Jazz Magazine

Tomasz Stanko – Roberto Zucco (Polonia, 1996)

Tomasz Stańko - trumpet

Janusz Skowron - synthesizer
Sławomir Kurkiewicz - bass
Zbigniew Brysiak - percussion
Michał Miśkiewicz - drums
Andrzej Jagodziński - piano (2, 10, 16)
Dorota Miśkiewicz - vocal (2, 16)

Roberto Zucco (Polonia, 1996)

This is a relatively little known brilliant album by Polish virtuoso trumpeter / composer Tomasz Stanko, presenting one of the numerous soundtracks Stanko created for stage and cinema. This soundtrack was used for the Polish production of the theatre play "Roberto Zucco" by Bernard-Marie Koltés, based on the life of infamous Italian serial killer Roberto Succo. The music, which as usual with Stanko's work, stands alone perfectly when removed from the stage context, consists of sixteen relatively short pieces performed by a quintet, quartet or on solo trumpet. Thirteen of these pieces are composed by Stanko and the remaining three are variations on the famous standard "Blue Velvet", of which two include vocal parts by singer Dorota Miskiewicz. This is an ultra rare opportunity to hear Stanko performing a standard, which he almost never does. Other players include pianist Andrzej Jagodzinski, keyboardist Janusz Skowron, bassist Slawomir Kurkiewicz, drummer Michal Miskiewicz and percussionist Zbigniew Barysiak. Overall, as always with Stanko, this music is powerful and delicate simultaneously, simply making you wish it just wouldn't stop. This is of course an absolute must to any Stanko acolyte / collector and a great proof of Stanko's versatility as a composer. Brilliant stuff!

Track listing: 1. Roberto Zucco wersja 1 [05:25]; 2. Blue Velvet wersja 1 [03:38]; 3. Roberto Zucco wersja 2 [02:32]; 4. Roberto Zucco wersja 3 [01:53]; 5. Roberto Zucco wersja 4 [01:23]; 6. Roberto Zucco wersja 5 [01:15]; 7. Roberto Zucco wersja solo 1 [02:14]; 8. Roberto Zucco wersja 6 [02:10]; 9. Roberto Zucco wersja 7 [03:12]; 10. Blue Velvet wersja 4 [02:57]; 11. Roberto Zucco wersja 8 [02:19]; 12. Roberto Zucco wersja 9 [02:40]; 13. Roberto Zucco wersja solo 2 [02:04]; 14. Roberto Zucco wersja 10 [05:11]; 15. Roberto Zucco wersja solo 3 [02:17]; 16. Blue Velvet wersja 3 [03:55]

By Adam Baruch

http://adambaruch.com/

Tomasz Stanko – Peyotl - Witkacy (Polonia Records, 1996)

Tomasz Stanko - trumpet

Janusz Skowron - synthesizer Yamaha DX7

Antymos Apostolis - guitars, drums and percussion
Vitold Rek - electric and acoustic bass
Zbigniew Brysiak - percussion
Tadeusz Sudnik - synthi...aks
Andrzej "Major" Przybielski - trumpet
Marek Walczewski - voice 

Peyotl - Witkacy (Polonia Records, 1996)

(Editor) This is re-issue of album originally released in 1987 by Poljazz.

This is probably the most significant recording by Polish trumpeter virtuoso / composer Tomasz Stanko, surely at least among his Polish recordings before his later ECM period. Following Mile Davis, Stanko switched to Jazz-Rock Fusion (albeit a decade later) and his 1980s output with his Freelectronic ensemble is radically different from the Free Jazz he played in the 1970s. 

This double album consists of one studio recording and one live recording, both expressing Stanko's power as a performer and a composer to the max. The studio album, which was compiled over a period of two years, presents music composed by Stanko at the period when he was experimenting with hallucinogens and was deeply influenced by the writings of the Polish mystic / philosopher / avant-garde artist Witkacy (Stanislaw Ignacy Witkiewicz), who was also an early experimenter with drugs. Text excerpts from Witkacy's book about drugs are recited and closely incorporated into the fascinating music, which floats over a repetitious hypnotic vamp and layers of electronic keyboard sounds. The highlight of this album is undoubtedly the inclusion of a second genius trumpet player, Andrzej Przybielski, who exchanges licks with Stanko in a brilliant manner. The fact that Stanko invited Przybielski to participate in this recording is a testimony of how highly he regarded his unbelievable talent. Other musicians participating in these recordings are: keyboardists Janusz Skowron and Tadeusz Sudnik, guitarist Apostolis Anthimos, bassist Witold Szczurek, and drummer Zbigniew Barysiak. The recitation is by the great actor Marek Walczewski. 

In retrospect the fact that this music was recorded almost 30 years ago seem incomprehensible, as it so much more advanced that almost any music done these days. Stanko's genius definitely reaches here one of its great peaks, which luckily for us was captured for posterity. Sadly this album is probably little known by his worldwide fan base, as it is very difficult to find, which of course is a shame. If one must own just one Stanko album, this is it, at least as far as I'm concerned. Absolute unadulterated genius!

Author: Adam Baruch

http://www.adambaruch.com/

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

Nils Landgren & Tomasz Stanko - Gotland (ACT, 1996)

Nils Landgren - trombone

Tomasz Stańko - trumpet

Anders Eljas - organ
Claus Bantzer - organ

Gotland (ACT, 1996)

"For most Swedes the island of Gotland is a synonym for freedom, and they “celebrate” their summer with no greater intensity elswhere. It is also, however, a place of meditative peace. Together with Polish trumpeter Tomasz Stanko, and organists Anders Eljas and Claus Bantzer, Nils Landgren created music of great “inner-strength”. The session is recorded in church – the most peaceful concert hall one can find. “Gotland” is the other side of the Nordic trombone funk-master." 

Source: http://www.nilslandgren.com/gotland/

Maestro Trytony - Enoptronia (Mozg, 1996)

Maestro Trytony (band)

Tomasz Gwincinski - guitar, leader
Renata Suchodolska - cello
Tomasz Pawlicki - flute, keyboards
Tomasz Hesse - bass
Rafal Gorzycki - drums

special guests:
Andrzej Przybielski - trumpet
Marta Handschke - voice
Jacek Majewski - conga
Wojciech Kuczyniecki - bass clarinet
Wojciech Gibas - fagot
Tadeusz Michalski - bass clarinet

Mozg, 1997

Maestro Trytony is key group in history of Polish avantgarde scene. Its history dates back to 1991 when trio Trytony was brought to life by Tomasz Gwińciński (guitarist) together with Jacek Pawlicki (doublebass) and Jacek Buhl (drums). This squad recorded two albums: "Tańce Bydgoskie" (1991) and "Zarys Matematyki Niewinnej - koncert w Mózgu" (1995) while Tomasz Gwińciński also recorded with Jerzy Mazzoll and his Artythmic Perfection group (check their "A" album) and Łoskot (listen to excellent "Sun"). All these projects made Gwińciński key player in lively Bydgoszcz music scene which focused first around Trytony club (that's where name of band comes from) and then around famous Mózg club.

But Gwińciński did not give up on Trytony and it happened around that time that he had some theater projects (BTW his favourite occupation up to present day) where he mostly used classical music language. He therefore started experiments (as we read on Mózg web page) in "blending motifs of contemporary chamber music (Bartok, Strawiński, Ines) with New York avantjazz aesthetics and that peculiar Polish lyricism a'la Komeda". To achieve new sound he needed bigger band so he began to cooperate with whole new set of musicians, a much bigger group than previously, among whom there were now many classically trained players. In years to come especially fruitful turned out to be Gwińciński relationship with drummer Rafał Gorzycki (check excellent albums he made with bands called Ecstasy Project or Sing Sing Penelope) and with legendary trumpeter Andrzej Przybielski. These new band recorded in 1997 new album titled "Enoptronia" which may be described as "a tone poem" and immediately became one the most important albums as far as yass movement (new free and avantgarde music in Poland) is concerned. Obligatory!   

Just a sample of Maestro Trytony sound:

Author of text: Maciej Nowotny

http://kochamjazz.blox.pl/html

Christof Griese & Leszek Możdżer - 52nd Return (1996)

Możdżer is a giant on Polish music scene but sadly he has been moving away from jazz idiom in recent years. He started his career as free jazz player and was one of protagonist of yass movement in Poland. Around 1996 however he started to move towards mainstream and this recording is good example of this change. 

I wonder what the title of this album refers to: either 52nd Street in New York known in mid 20th century for the abundance of jazz clubs hinting at renaissance of jazz in Europe or at Bud Powell's "52nd Street Theme"? If you listen to the original version of this tune and imagine how it would sound when played by John Coltrane group featuring McCoy Tyner on piano, you shall cath perfectly the sound and mood of the first half of this album.

However in second half of the album musicians all of the sudden turn toward free jazz, and instead of following Trane go after Ornette Coleman and one must admit that they do that in a same graceful manner. The high level of playing is secured by Christof Griese on sax (and flute in one tune), Leszek Możdżer on piano swithing at keyboard with Kirk Nurock, excellent Ed Schuller on double bass and Niko Schauble on drums. 

This free jazz-bop transitional stage in Możdżer  play evidenced also by another recording with Griese "Words" (199) but first of all by outsanding recordings with Adam Pierończyk like "Talk To Jesus" (1996) or "Live In Sofia" (1998) by regarded by many as the best in his career. But Możdżer decided that he needed to go even further towards pop music to win audience that was yet unconquered by jazz players. And he again succeed which proves that for artist with such a immense talent as he has, everything is possible if he remembers to express message in his own words. And Możdżer has never failed to do that...

I haven't got a film with music from this album but check the video from series of great concerts Możdżer gave with jazz stars from all around world in Gdańsk last year:

Nana Vasconcelos i Leszek Możdżer w Gdańsku przez mmtrojmiasto  

Author: Maciej Nowotny

http://kochamjazz.blox.pl/html