Soyka & Przybielski – Sztuka Błądzenia (2000)

Soyka/Przybielski

Stanisław Soyka - piano, violin
Andrzej Przybielski - trumpet

Sztuka Błądzenia

POMATON 026





By Adam Baruch

This is an album by the Polish duo which comprises of the vocalist/pianist/violinist Stanisław Soyka and legendary trumpeter Andrzej Przybielski. Soyka does not perform any vocals on this album and appears only as pianist and violinist. The album, recorded during two sessions held a couple of months apart, presents fifteen relatively short freely improvised pieces, not credited on the album's artwork and therefore assumed to be co-composed by the duo members. Soyka and Przybielski cooperated on several recording projects over the years.

The music is obviously a result of searching for new forms of expression, especially as far as Soyka is concerned, since he is mostly associated with Blues and mainstream vocal Jazz, in complete contrast to Przybielski, who was always associated with the avant-garde Polish Jazz movement, although he could play brilliant melodic music as well, when required to do so. Therefore the effort to bridge between the natural environments of the two players is an impossible task and the result fails to create any relevant results. Soyka is completely lost in the Improvising Music idiom and Przybielski is just playing along.

Przybielski plays some brilliant trumpet passages, but they are completely detached from the piano and violin parts created by Syjka and sound completely out of place. Although the album's title promises the listener to discover the art of wandering, in fact he is sadly exposed to the failure of senseless wandering. Although every piece of recorded music by Przybielski is a treasure chest, this album is probably the weakest effort he was ever involved with and as a result it is only marginally interesting.

Cezary Konrad – One Mirror… Many Reflections (2000)

Cezary Konrad

Cezary Konrad - drums
Piotr Żaczek - bass
Darek Krupa - guitar
Marek Podkowa - saxophone
Zbigniew Jakubek - keyboards
Leszek Możdżer - keyboards

One Mirror… Many Reflections


SELLES 0182

By Adam Baruch

This is the debut album by Polish Jazz drummer/composer Cezary Konrad, one of Poland's top drummers since many years, recorded with a core trio consisting of himself, bassist Piotr Zaczek and guitarist Darek Krupa, which is extended by additional players up to a quintet on some tracks with the addition of saxophonist Marek Podkowa and two keyboardists: Zbigniew Jakubek and Leszek Mozdzer. The album includes nine original compositions, all by Konrad.

Most of the music on this album is closely associated with Jazz-Rock Fusion, obviously influenced by the work of Allan Holdsworth and his groups. The electric fretless bass and synthesizers and of course the sound of the guitar imitate almost exactly the sound of European Fusion popular during the 1990s. The compositions are all quite interesting, with nice melodic themes and interesting harmonic approach, but overall the music is not remarkable enough to leave a deep impression, certainly not leaving a lasting impression.

The personal contributions are all quite excellent, with all the participants obviously being highly skilled musicians. There are some impressive solos and the overall level of playing is certainly satisfactory. Surprisingly the highlight of the album is the acoustic piano performance by Mozdzer on the only track, which is actually not a Fusion piece.

In retrospect, the album definitely sounded better at the time of its recording than now and does not withstand the tides of time well. This is unfortunately the fate of most Fusion albums, which proved to be mostly repetitive and derivative, with a very few exceptions.

Krzysztof Herdzin – Almost After (2000)

Krzysztof Herdzin - piano
Adam Cegielski - bass
Cezary Konrad - drums

JAZZ FORUM 020







By Adam Baruch

This is an early album by Polish Jazz pianist / composer Krzysztof Herdzin and his debut recording as a leader of a classic piano trio with bassist Adam Cegielski and drummer Cezary Konrad. It presents eight original compositions, all by Herdzin. At the time this album was recorded Herdzin was a regular member of the ensemble led by Polish Jazz veteran Zbigniew Namyslowski and his reputation as a rising piano prodigy was already pretty much established, but this recording also presents his talent as a composer.

This is a classic piano trio album, in the tradition established decades earlier and polished to perfection by generation of legendary pianists and their respective rhythm sections. Therefore it's extremely difficult to be original or groundbreaking in that specific niche, perhaps even more so than in any other Jazz endeavor. Herdzin doesn't break any particular new ground here, but his passionate playing, accompanied by obvious virtuosity and brilliant technique, manages to create a most impressive piece of Jazz music and a remarkable debut effort. From the very early recorded projects Herdzin exposes a tendency for perfection, well reflected here. His control of timbre, tempo and tone are all excellent and the result sounds accordingly.

Of course even the best pianist is only as good as his rhythm section allows and in this case his partners stand with him shoulder to shoulder, complimenting his efforts with superb companionship and affinity. Overall the trio effort is accomplished here to the fullest, and again, since this is a debut effort, the result is above the level of expectations in such cases.

As a composer, Herdzin emerges here most dominantly as a weaver of great melodies, which fall nicely on the listener's ears, but are in fact quite complicated and very well crafted. Most of his compositions on this album lack the typical Polish Jazz melancholy, which characterizes most of its output, but includes one heartbreaking ballad, which Herdzin uses skillfully to show his arpeggio skills. These pieces are mostly mid-tempo and transmit a happy, cheerful state of mind, which is a nice and refreshing change for once.

In retrospect this is still a very nice album, which can be enjoyed both by Jazz novices and refined connoisseurs, each of them on a different level. Herdzin's numerous talents as composer / arranger and a formidably multi-talented / ferociously busy Artist were yet to come at that stage. The album was released as an add-on to the European Jazz magazine Jazz Forum and was never released commercially. A reissue should definitely be considered, bringing this music to a much wider audience. A splendid piece of work by all means!

Simple Acoustic Trio - Habanera (2000)

Simple Acoustic Trio

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

Habanera (2000)

This is the 4th album by the Polish Jazz ensemble Simple Acoustic Trio, which consists of pianist Marcin Wasilewski, bassist Slawomir Kurkiewicz and drummer Michal Miskiewicz. Of the eight tracks on this album five were composed by Wasilewski, one by Kurkiewicz, another by the Polish Jazz legend Tomasz Stanko, who employed the trio as his rhythm section for several years and finally the title track by Spanish composer Miguel Blanco.

Recorded just before the trio recorded the three seminal albums for the ECM label with Stanko (as his sidemen), this album is definitely a turning point, which marks their arrival at the level of musical champions, paralleled only by very few other Jazz musicians in general and piano trios in particular. This was also their last album to be released on a Polish label, as they were about to be enlisted to the ECM roster as a trio in the days that followed.

Personally I love this transitory album and in many respects it is my favorite album by the trio, as it finds them completely mature and fully developed on one hand and still enthusiastic, hungry and burning on the other. As a result this album includes some of their best performances, which are full of elegance, virtuosity and sophistication, but at the same time are more relaxed and less constrained than their future work. Of course these are marvelous and devilishly talented musicians, so everything they do tends to be both perfect and beautiful, but these last glimpses of their youth and innocence are truly precious to me.

Whichever way one looks at this album, it remains a milestone of Polish Jazz, a superb opener for the 21st Century European Jazz and a must in any decent record collection. Since the ensemble managed to become an integral part of the history of Jazz piano trio, this album becomes an essential piece of the infinite puzzle called Jazz, which we love so much. Essential stuff!

By Adam Baruch

http://www.adambaruch.com/

Tracklisting: 1. Habanera Excentrica (M. Angelo Blanco) [09:21] 2.Without Them (M. Wasilewski) [08:31] 3. Tamara (S. Kurkiewicz) [07:03] 4. Green Sky (T. Stańko) [06:00] 5. Furiozi (M. Wasilewski) [08:31] 6. Stravinsky (M. Wasilewski) [09:38] 7. Simple Song (M. Wasilewski) [03:35] 8.Simple Jungle (M. Wasilewski) [08:57] 

Niebieski Lotnik - Love Surprise (2000)

Niebieski Lotnik (band)

Mazzoll - clarinet, tao te bells
Tomasz Gwinciński - drums
Wojciech Mazolewski - bass guitar

Love Surprise (2000)

I guess that title which may be translated as "Blue Pilot" refers in typical for Mazzoll ironic way to Holy Spirit. And it is fully justified! As on best recordings with "black jazz" this music is authentic, spontaneous and free. Yet it is very important to underline that this affinity with great recordings of Afroamerican jazz is only in spirit not in form of music which is something original and by no means imitation or counterfeit (as in many cases in European version of jazz). This is what we call in Poland yass: distantly rooted in jazz, sometimes directly opposite to it, taking very much from European classics but also rock, pop and folk. Probably the most interesting music phenomenon in Polish music in twenty or so years. If you are interested in it this is perfect starting point as this album maybe be seen as one of the most important for the movement (together with albums by groups like Miłość, Maestro Trytony or Arhytmic Perfection). 

The band consists of three musicians of whom dominant remains Jerzy Mazzoll playing on bass clarinet. If you ever listened to Eric Dolphy you will immadietely recognize by whom he is inspired. His improvisations are free but not without directions. He is an accomplished musician in every sense and his charsima keeps all these material together. But the success of this album would be impossible without excellent rhythm section which follows his meandering line. On bass guitar we find his younger brother Wojtek Mazolewski who later made stunning carrer with his band Pink Freud and guitarist Tomek Gwińciński who however on this album plays mainly on drums. Their support is first class and these three gentlemen rock and roll so hard that I cannot do anything else than wholeheartedly recommend this album!

Track listing:
1. Gdze jest B
2. Nabożeństwo godzi
3. Ryba piła
4. Sypiając z wrogiem
5. Stare dobre czasy?
6. Goły okiem
7. Spruty ja sweter
8. Nowa rasa ps
9. Bezołowiowa woda
10. R
11. Święta lutownica
12. Morskie potwory powracają do domu
13. Podkoszulki mistrz
14. Twarz kt
15. Zwierzęta domowe (kr
16. Nie wierzę skąd jestem
17. Boże ofiara (śmierć w

By Maciej Nowotny

http://kochamjazz.blox.pl

Mazzoll - Muzyka dla supersamow (2000)

Jerzy Mazzoll - bass clarinet

Andrzej Major Przybielski - trumpet
Tomasz Gwinciński - perkusja, guitar
Daniel Mackiewicz - keyboards
Michał Bunio Skrok - bass, samples



Muzyka dla supersamow (2000)

Outstanding! Jerzy Mazzoll, a clarinetist, enjoys on our scene somewhat a status of Thelonius Monk, Albert Ayler or Cecil Taylor. Undoubtely one of greatest innovayors by many he is still seen as force a bit too unpredictabile and out of control. Yet exactly because of such his traits he never ceases to surprise thus reviving spirit of freedom in Polish jazz. 

On this album he decided to enter a dialogue with major social changes that take place in Polish society since it adopted capitalism in 1989. One of its manifestions is spreading of great shopping centers in cities. They become places where people not only meet, they also stroll, flirt, pray. It is therefore great move by Mazzoll and his collegues to bring improvised music into such a space and let it resound it with an atmosphere of those places. In this task he was accompanied by his long time friend Tomek Gwinciński on drums and guitar, legendary trumpeter Andrzej Przybielski, Daniel Mackiewicz on keyboards and Michał Skrok who was responsible for electronically  generated samples.  

Music is challenging in best meaning of this word: communicative, obvioulsly referring to elevator-type typical supermarket music (tracks' titles are simply names of products in shop) but at the same time a bit weird, unquieting and very inspiring. Speaking shortly, outstanding achievement and clearly influencing by its aesthetics many projects of younger generation musisians such as as Pink Freud, SzaZa or recently Horny Trees.

Tracklisting:
01. SAŁATA LODOWAI+ 1X
02. OGÓREK DŁUGI I+0.535kgx2.99
03. SALAMI WYKWINTNE 0.190kg x33.95
04. WYKAŁACZKI 300SZT
05. KETCH. PIK 1X 3.65
06. MIET. SZCZEC. 12P 1X1.19
07. MAJONEZ BABUNI 400ML
08. BROKUŁY 1X 6.03
09. BROKUŁY 2X 3.12
10. PSTRĄG FIL.B/S+
11. KWOTA OPODATKOWANA A
12. KWOTA OPODATKOWANA B
13. KWOTA OPODATKOWANA C
14. Podatek PTU "Gaj" (sł. A. Osiecka, muz. M. Grechuta)

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

Custom Trio / Andrzej Przybielski – Free Bop (Polonia Records, 2000)

Andrzej Przybielski - trumpet, flugelhorn

Custom Trio (band)

Krzysztof Kapel - tenor & soprano sax
Marcin Oleś - bass
Bartłomiej Brat Oleś - drums

Free Bop (Polonia Records, 2000)

This is probably the best album recorded by the recently deceased Polish trumpet virtuoso / composer Andrzej Przybielski, who remains largely unknown to most Jazz aficionados even in his native country. An eccentric and outsider, Przybielski was blessed with an incredible talent, which unfortunately was recognized only by very few connoisseurs. This studio recording, obviously well planned and relaxed, allows the great trumpeter to relax fully and play his heart out to the fullest, accompanied by excellent musicians worthy of his company, which are called Custom Trio. The trio consists of saxophonist Krzysztof Kapel and the Oles Brothers: bassist Marcin Oles and drummer Bartlomiej Brat Oles – Poland's Free Jazz most notable rhythm section. Together as a quartet they perform nine original compositions, five of which were composed by Przybielski and the remaining four by B.B. Oles.

The performances are absolutely stellar and the album is one of the best Polish (and definitely not only Polish) Jazz albums ever recorded. As much as that sounds overblown, if you can listen to this music, you'll be instantly convinced. Any other player placed opposite (or side by side) a genius like Przybielski is in a great danger of appearing pale. Luckily Kapel is capably to blow like only a few can, matching everything that Przybielski plays with a vengeance. This is simply unbelievable music, which stands easily opposite such legendary sessions as the early Ornette Coleman with Don Cherry. In short this is essential Jazz, which can only be played by a very small group of exceptionally gifted players, which is definitely the case here. Brilliant!

1. A.P. Custom Signal; 2. Free Bop; 3. Motyw romantyczny; 4. Vertigo; 5. Sweet Music; 6. Hasło; 7. W Arce; 8. Requiem in Blue; 9. Crazy Corps



By Adam Baruch
http://adambaruch.com/

Robotobibok - Jogging (Vytvornia OM, 2000)

Robotobibok (band) 

Artur Majewski / trumpet

Adam Pindur / saxophone, Moog synthesizer

Marcin Ożóg / acoustic bass
Maciek Bączyk / guitar, ARP Odyssey synthesizer
Kuba Suchar / drums

Jogging (Vytvornia OM, 2000)

(Editor) It is difficult to believe that this recording is already more than 10 years old! It sounds as fresh and creative as on day of its releasing proving that viewed in retrospective the band Robotobibokk was simply one the most influential in history of Polish modern avantjazz music (check also on this blog review of their second album titled "Instytut Las").

"Just because you don't live in Chicago doesn't mean you can't groove with sax and samplers. Poland's post-jazz scene is going strong, sauntering through the territories cut by Poland's first wave Yass (formerly hard-core musicians who then defined Polish post-jazz) for a more refined downtempo hybrid of psychedelic post-rock and schooled jazz. Purveyors of this sweet and patient new sound fall into two camps: the jazzier and jocular, with bands like Robotobibok leading the former and splinter group AGD doing the latter. Robotobibok bridges Bitches Brew, Bill Laswell, breakbeat drumming and the whole of the Polish jazz tradition. Combining the motor of 'robot' with the Polish word "obibok" (loosely translated as droning or loafing) their name says all that the music conveys. Robotobibok's direction follows avantjazz legends Maestro Trytony, whose leader Tomasz Gwincinski produced their debut "Jogging," a landmark of this newly grooving downtempo scene" (source: Tamizdat).

Robotobibok (a blend of two Polish words for robot and skiver) was formed in 1998 in Wrocław, Poland. From the very beginning, their music has seemed to combine modern electronic music with the energy of improvised jazz. Strong and acoustic drums, double bass and trumpet intertwine with dreamy vibraphone, electric guitar and characteristic 70’s analogue electronica (source: Last.fm).

(Editor) Check tune "Podróż do Meksyku" from this album:

Jarosław Śmietana - African Lake (2000)

Jarek (Jarosław) Śmietana is one of giants of Polish jazz and most probably the best guitarist in its history. Back in 70ties he participated in legendary group called Extra Ball and since then  has collaborated with countless musicians in Poland and abroad. Unlike many of his colleagues from that generation, he remains active and records every couple of years new albums. Though he no more pushes boundaries of jazz forward, yet Śmietana usually delivers great  sound, almost always staying close to his beloved fusion jazz aesthetics.

Strong sides of Jarek Śmietana projects are musicians and compositions. On this album both those elements are of the highest quality indeed. Top Polish players like Adam Kowalewski (db), Adam Czerwiński (dr), Jerzy Małek (tr) and Jan Pilch (perc) are supported by excellent foreign Cameron Brown (db), Jeremy Pelt (tr) and Leopoldo F. Fleming (perc). But of course the most famed among them is Gary Bartz (as, ss) who is remembered to be playing with Miles Davis between 1970-71. All these musicians emerge on this CD in different setups (recording sessions took place in Warsaw as well as in New York) but they never fail to produce great sound: varied, rich, melodic.

And in this way we came to another nice feature of this album: tunes that are mostly penned by Jarek Śmietana (some old but few new ones as well) with nice addition of compositions by Gary Bartz, Zbigniew Namysłowski and one standard by Thelonius Monk. Music is very accessible, easy-to-listen and optimistic and shall fit perfectly to the coming summer season. African notes are perhaps most difficult to find in this album: some minor ones in work of guitar or percussion using congas but otherwise it has little (if nothing) in common with African music but rather it is decent piece of straight-ahead jazz with some soul and fusion accents. Good stuff!

Check this film for sample of music from this album:

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

Tomasz Stańko - Leosia (2000)

Of all days in a week I like Saturday most. At least I have enough time to listen to music without haste and with relaxed mind not being distracted by usual worries of private or work life. Additionally in the evenings I often go to concerts with friends which doubles the pleasures of the day. This Saturday I go back to album of Tomasz Stańko titled "Leosia" and continue my unofficial discography of this colossus of Polish jazz. Previous parts of this cycle were (in chronological order): 1, 2, 3, 4, 5, 6, 7. 

"Leosia" is in my opinion the best album Tomasz Stańko recorded for ECM: the sound he conjured on his trumpet is truly magical: slow, pensive, meditative. Support he enjoyed from pianist Bobo Stenson and bassist Anders Jormin is exemplary: the level of empathy between them rise to standard as set by great Bill Evans trio with Scott LaFaro and Paul Motian. 

However the man of the day is here Tony Oxley. His play is "parsecs" (again bow to M.L.) away from what other percussionists call "jazz drumming". I find no words appropriate to describe his performance on this record and I would strongly recommend you to simply listen to this music through drums perspective. Follow each beat, each tap, each touch of his drumsticks and your idea of rhythm, this power-base of modern jazz music, will be eventually completely upgraded.   

Here is a link to song from this album titled "Hungry Howl"... 

  

Simple Acoustic Trio - Habanera (2000)

Simple Acoustic Trio

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

Habanera (2000)

About Simple Acoustic Trio I do not have to write extensively because it is the rare case in polish jazz of artists that are equally well recognized in Poland as abroad. They started to play with Tomasz Stańko while in their teens and thus coached by him reached over the years the level of musicianship that may be described only as stellar. Internationally they become known first as Simple Acoustic Trio which was also the title of their first record for ECM but since their second album for this company titled January and issued a year ago they changed name to Marcin Wasilewski Trio. Marcin Wasilewski is pianist and composer of most music on their albums, Sławomir Kurkiewicz plays on double bass while Michał Miśkiewicz on drums.

So fortunately many poeple abroad love the music of this trio but they may not know that they started recording in trio format long before their ECM contract. Actually their first disc for polish record companies was issued in 1995 with the music of Krzysztof Komeda but among those all early albums this one coming from 2000  seems special to me as it may arguably be the best of ALL their recordings up-to-date. In Poland this album became legendary but because it was done for small, polish recording company Not Two and is not so easy available as discs from ECM it is regrettably almost unknown to foreign audiance.

As I mentioned Marcin Wasilewski Trio does not need much marketing so let me direct a spotlight on Not Two company for which they recorded this album as it is excellent example of the role of polish small records brands in renaissance of polish jazz nowadays. Not Two was created by Mariusz Winiarski who by education is matallurgist engineer but his heart since 60ties belongs to jazz. In 1982 he started record shop and in 1990 tothether with his friend they set up one of first private record companies in Poland after the fall of communism in 1989 called GOWI. It became very succesful because many important albums of yass movement, new revolutionary torrent in polish jazz of mid 90ties, were recorded for this company. Like for example the legendary albums of polish group Love (Miłość) featuring great american trumpeter Lester Bowie. However in 1998 Winiarski went solo because he wanted to concentrate more on avant-garde, free and improvised side of jazz. GOWI still exists but is focused more on mainstream jazz while Not Two attained over years even more success than former Winiarski's enterprise. In 2005 in Downbeat magazine rankings of the best recording labels worldwide Not Two Records was listed among top five. Speaking shortly people like Mr Winiarski to the same extent as musicians are responsible for creating the phenomenon we may call Polish Jazz.

As bonus I propose film from YouTube featuring their show in 2008 in Warsaw where this trio plays with the backing from car alarm ;-)

Author: Maciej Nowotny

http://kochamjazz.blox.pl/html