Bartłomiej Oleś – Free Drum Suite (2004)

Bartłomiej Oleś

Bartłomiej Oleś - drums, percussion

Free Drum Suite

NOT TWO 754





By Adam Baruch

This is a solo drums album by Polish Jazz drummer/composer Bartłomiej Oleś recorded using a plethora of percussion and other instruments. It presents an extended twelve-part suite, which gave the album its title and two more original compositions, all by Oleś.

Bartłomiej Oleś is familiar to Polish Jazz followers as the other half of the Oleś Brothers team, which includes bassist/composer Marcin Oleś. At the time this album was recorded, Marcin Oleś released his solo bass album called "Ornette On Bass", which could be seen as a companion to this album in the collective Oleś Brother discography.

Drum solo albums are a rarity, which of course makes perfect sense, as the limitation of percussive instruments to create melody and harmony mostly confine their presence to being a part of the rhythm section. But evidently some drummers are able to overcome the limitations and utilize the drums as a solo instrument able to create a diverse and surprisingly vital palette of sounds and Bartłomiej Oleś is certainly one of those few.

The music on this album should not be vied in the Jazz context, but rather more as contemplative/ambient music, which could be used as a background for meditation and solemn contemplation. When accepted as such, it presents a beautiful sonic soundscape, which is aesthetic and emotionally relaxing. This album is certainly not oriented towards a wide range of music listeners and is mostly suitable for open-minded and adventurous listeners who like Far Eastern World Music inspirations and meditative music. Very interesting!

Olo Walicki – Metalla Pretiosa (2004)

Olo Walicki

Olo Walicki - bass
Leszek Możdżer - piano
Maurice de Martin - drums

and others

Metalla Pretiosa

OLO 004


By Adam Baruch

This is an obscure but wonderful album by Polish Jazz bassist/composer Olgierd Walicki (a.k.a. Olo Walicki), recorded in a highly unusual setting of a piano trio accompanied by a Classical brass quartet. The trio consists of Walicki with pianist Leszek Możdżer and German drummer Maurice de Martin. The brass quartet comprises of four players from the Gdansk Philharmonic. The ensemble performs a six-part suite composed and arranged by Walicki.

The music is an unusual Jazz-Classical Fusion piece, which differs from most other attempts to create such cross genre projects. The six musical themes are highly melodic and lyrical, and with the added brass arrangements they all sound like Classical miniatures, but with a twist. There is a lot of humor in these pieces, some of it right in the open, the rest subtly hidden, but always there.

This entire project is more a composing and arranging exercise than the usual Jazz oriented performance, as most of the truly interesting stuff happens when the brass is playing or Walicki plays arco. The piano trio parts a bit sugary; probably due to Możdżer's inclination to turn everything into honey (some may use a different word). The drummer is also quite exceptional, moving freely between Jazz, Rock and avant-garde/humorous ornamentations, all beautifully suitable to the music.

Overall this is a zany and highly interesting piece of music, which differs from most other stuff and therefore is highly educational. In some respects the Zappaesque atmosphere of this music is quite brilliant. It might be of course dismissed as being frivolous and lacking respect, but in fact nothing could be further from the truth. Walicki keeps the listener in suspense till the very last moment of this album (I won't spoil the surprise), when the tongue-in-cheek irony is fully revealed. In any case this is definitely an album worth hunting for and investigating.

Slawomir Jaskulke – Fill The Harmony Philharmonics (2004)

Slawomir Jaskulke - piano
Slawomir Kurkiewicz - bass
Krzysztof Dziedzic - drums
with
Hanseatica Chamber Orchestra
Mika Urbaniak - vocals

BCD 04




By Adam Baruch

This is the third album by Polish Jazz pianist / composer Slawomir Jaskulke, which presents a five parts suite for piano trio and chamber orchestra of the Jazz-Classical Fusion variety. The additional trio members are bassist Slawomir Kurkiewicz, one of Polish Jazz most renowned bassists (Simple Acoustic Trio, Tomasz Stanko), and drummer Krzysztof Dziedzic. The orchestral parts are performed by the Hanseatica Chamber Orchestra. Vocalist Mika Urbaniak is featured on one track. The music was composed by Jaskulke, who was twenty four years old at the time.

This ambitious project, undertaken by such a young musician, is quite extraordinary by any standard. Although Jazz and Classical music have been previously combined with various degree of success, this attempt is certainly quite different from all the others, employing musical devices, themes and arrangements often contrasting and seemingly clashing with other, like the vocal Rap part in the midst of a fragment performed by the strings. The Jazz trio interludes move in and out of the orchestral accompaniment, as do the solo piano parts. The overall structure does not seem to follow any of the pre-ordained Classical musical configurations, and Jaskulke appears to be using the orchestra as a tool rather than a point of reference.

Although free-structured, the music maintains a melodic backbone, which re-appears both in the orchestral and the trio parts. The listener might find this music quite difficult to absorb, certainly during the initial listening phases, since things seldom continue for a period of time long enough to begin to sound "familiar". There is a sense or urgency and unrest, which is reminiscent of music composed for suspense movies. But listeners willing to listen patiently and repeatedly will eventually embrace the entire piece, finding its intrinsic logic.

The Classical parts are obviously influenced by contemporary composers and a well trained might hear traces of George Gershwin, The French Modernists and of course the Polish avant-gardists (Krzysztof Penderecki & Co.). Polish composer / pianist Frederic Chopin presides as well, if not bodily then surely spiritually. Stylistically this hodge-podge might need some polishing and sorting out, but give the guy a break; after all he is only twenty four…

Regardless if one enjoys this music or not, it surely deserves to be appreciated for its aesthetic merits, its audacity and its innovation. Perhaps it is a bit over the top, but people who don't dare don't get there. Personally I quite like it and wholeheartedly recommend it to music aficionados, who are after the less obvious yet more rewarding game.

Grzegorz Karnas – Sny (2004)

Grzegorz Karnas - vocals, composer, arranger
Michal Tokaj - piano
Damian Kurasz - guitar
Robert Kubiszyn - bass
Sebastian Frankiewicz - drums
guests:
Tomasz Szukalski - saxophone
Jerzy Malek - trumpet
Adam Oles - cello

DEBIES 002

By Adam Baruch

This is the second album by Polish Jazz vocalist / composer / arranger Grzegorz Karnas, one of the most unique and talented representatives of the young generation of the local Jazz scene. Born in the southern Polish province of Upper Silesia, Karnas graduated form the Jazz Institute at the Katowice Academy of Music, where a large percentage of the young Polish Jazz musicians get their initial graduate education. His debut album "Reinkarnasja", released in 2000, created quite a stir on the local scene and immediately established him as one of the most significant newcomers.

He is accompanied on this album by a superb team of excellent players: pianist Michal Tokaj (who plays the Fender electric piano here rather than his usual acoustic piano), guitarist Damian Kurasz, bassist Robert Kubiszyn and drummer Sebastian Frankiewicz. In addition several guest artists also participate: legendary veteran saxophonist Tomasz Szukalski, trumpeter Jerzy Malek, cellist Adam Oles (a future close collaborator, who also hails from Silesia), vocalist Patrycja Gola and congas player Bogusz Wekka.

The album consists of twelve pieces, ten of which were written (music & lyrics) by Karnas, one was co-written by Karnas and Oles and one is a standard. Karnas wrote all the arrangements, which are quite unusual and beautifully atmospheric. Of course Karnas' vocal performances are the focal point of the album, but his ability to involve all these wonderful players to become an integral part of the overall result is absolutely astounding. Szukalski plays wonderfully here, but for me Tokaj and his incredible electric piano phrasing are the cherry on the cake.

Karnas is a unique vocalist, a power of Nature. Although many of the tricks of the trade he so skillfully utilizes can be traced back to other great vocalists, like the great Bobby McFerrin and the Polish diva Urszula Dudziak, but he is truly original. First and foremost he completely disregards any conventions, allowing himself a total freedom as far as his vocal expressions are concerned. Regardless if he sings lyrics, vocalese, scat or just utters sounds from his throat, there are no rules involved. His pronunciation of the lyrics is completely off the wall and probably would give his primary school Polish language teacher a heart attack, but the effect is overwhelming. He also twists the melody any way he wants and his disregard of "proper" timing is simply scandalous; and yet all these elements put together create an amalgam, which is just so beautiful and intelligent, that any experienced music connoisseur simply melts away.

Vocal Jazz or more exactly interesting and challenging vocal Jazz is unfortunately a rarity on contemporary Jazz scene and therefore any Artists of the level presented by Karnas is a most welcome addition. People who truly love music will love this music immediately and unconditionally. Not to be missed!

Beata Przybytek – The Island (2004)

Beata Przybytek - vocals
Marcin Zupanski - saxophone & flute
Dorota Zaziablo - piano
Robers Szewczuga - bass
Ryszard Balcer - drums

PRK 057




By Adam Baruch

This is the second album by Polish Jazz vocalist Beata Przybytek, recorded with her quintet, which comprises of saxophonist / flautist Marcin Zupanski, pianist Dorota Zaziablo, bassist Robert Szewczuga and drummer Ryszard Balcer. Same as its predecessor, which was recorded eighteen month earlier, this album presents nine classic Jazz vocal standards, sung in their original English version. There are no arrangement credits on the album's liner notes. The album was recorded while Przybytek was still a student at the Academy of Music in Katowice where she studied Jazz vocals and her group comprises of her fellow students from the same school as well as students from the Academy of Music in Krakow.

The result is in many respects a direct continuation of what the debut recording offered, but it is much more relaxed (and even somewhat lax), suggesting more self-confidence. Effectively it lacks the youthful enthusiasm and spontaneity and therefore also looses some of the charm of the debut album. Przybytek saves the day by exposing her ability to stretch her voice and use a husky tone most effectively, which brings her closer sonically to Soul and Blues rather than to the straight-forward Jazz format. On this album her talent obviously outgrows the abilities of her cohorts and with a different band she would have probably achieved a much better result.

All in all this is still a very nice mainstream vocal Jazz album, which should make most of the fans utterly satisfied. Przybytek is a very talented singer and once she reached her full potential as singer / songwriter all her qualities came to full bloom. In the meantime this is a nice souvenir from the student days. Definitely worth investigating!

RGG - Straight Story (2004)

RGG (band)

Przemysław Raminiak – fortepian

Maciej Garbowski – kontrabas

Krzysztof Gradziuk – perkusja

Straight Story (BCD, 2004) 

This is the 2nd album (and first studio recording) by the Polish Jazz ensemble RGG, which consists of pianist Przemyslaw Raminiak, bassist Maciej Garbowski and drummer Krzysztof Gradziuk. The album's title track was inspired by the classic film of the same name, directed by David Lynch. Of the eleven tracks on the album ten are credited to the trio and one is a standard.

Considering the fact that this album is in many respects the artistic debut by three young musicians, the quality of the music and the performances are absolutely phenomenal. All the qualities, which will be fully developed on the RGG trio's later recordings, are already there: the incredible interplay, the lyricism and unique perception of melody and above all the freedom of expression. It is almost frightening to see anonymous (at the time) musician create such a sophisticated, advanced and complex music, often years ahead of many Jazz veterans, who made little advance during their entire career.

It is pretty obvious that these young musicians knew pretty well where they wanted to go musically. Their self-confidence, as demonstrated by their performances here, is remarkable and was about to become a key element in the development of their future careers, both as an ensemble and as individuals. A certain level of naïveté is apparent, but it is charming and in retrospect only emphasizes how good the trio was even at the outset of their musical path.

This is a beautiful and almost perfect piano trio album, which should be part of even the most selective record collections. It is a gem, not only among the Polish Jazz albums, but among anything recorded in first decade of the 21st Century. Satisfaction guaranteed!

By Adam Baruch

http://www.adambaruch.com/ 

Traklisting:

1. Straight Story

2. Eposs

3. Psalm I

4. Wait

5. Frozen People

6. Sange

7. No One Knew

8. Psalm II

9. Blue Bossa

10. Nordic Storm

11. Innocence

Skalpel - Skalpel (Ninja Tune, 2004)

Skalpel (duo)

Marcin Cichy & Igor Pudło (Boxx)

Skalpel (Ninja Tune, 2004)

After over a decade operating under a distinct musical aesthetic, Ninja Tune's electrified nu-jazz template is so well established that it's now become a reference point for most downtempo breakbeat releases. Signature artists like Amon Tobin, Cinematic Orchestra and Coldcut have set the mold by which the London-based label combs for artists, and for the most part, it's been uncannily successful in tracking down their ilk wherever they lurk. Their latest project dips into the unlikely breeding grounds of Wroclaw, Poland to spotlight an emerging duo who've gained major acclaim in their homeland but not much further beyond. Skalpel, first "discovered" by Ninja Tune's Russian futurist DJ Vadim on an Eastern European tour, is comprised of Marcin Cichy and Igor Pudlo, two jazzophile DJs whose slinky, filmic debut fits perfectly into the Ninja Tune template.

The question is whether or not that's a good thing. Skalpel are certainly more than adept at what they do; their seamless blend of dusty 50s and 60s Polish jazz records is technically flawless and their subdued, dramatic compositions are stirring. If you're looking for a new kick, however, you won't find it here-- the recipe, though originating from an ethnically left-field kitchen, is tried and true. You've heard it done before by their labelmates and others, a reverence for fantasy basement jam sessions peopled by the likes of Miles, Elvin, Herbie and Shorter, processed through a funky breaks blender to yield a sonic frappe both thoroughly modern and strangely reminiscent, something almost completely subliminal.

Perhaps Skalpel's four shows for Ninja Tune's Solid Steel radio program over the past couple years set the album on its beeline course; right out of the gates it bumps and jostles into warmly familiar territory a la Cinematic Orchestra's seminal Motion. A uniquely playful sense of kitschy humor first surfaces within the rubbery double bass and old-time vocal samples of "Not Too Bad" and "1958", where a staid female voice instructs, "Let them play their jazz albums, and dance all night if they want to." Actually too subdued for all but the most blunted dance floors, these songs possess an understated bounce and horn-led levity best suited for a headphone symphony. The voluptuous sound of hard-plucked upright bass and perfectly crisp snare keeps the pulse just above comatose, floating in a comfortably lullabied middle ground.

But most of all, it's the album's fluid, meandering solo samples that help push Skalpel above decaffeinated café jazz. The inclusion of liner notes detailing the original players they've sampled here gives some insight into their modus operandi, and a pleasant effect of the duo keeping enough of the original players' bars intact is that the music absorbs some of the soloists' stylistic overtones, without ever feeling like shameless plundering.

A few tracks midway through Skalpel raise the album to its peak. The rolling cymbals and electronic atmospherics of "So Far" pair with minor-key piano and horns to progress through nighttime byways; "Break In" leads off with a psychedelic flourish before delving into an indiscernible horn current broken by ethereal vibraphone and dubby studio tricks; the kinky organ run on "Quiz" steadily builds and changes as the song progresses. On these songs, Skalpel smudge the line between organic and electronic effortlessly, like a landscape artist working with charcoal, creating deep nuances of light and shadow that give the work its overall depth. The Polish language samples on "Theme from Behind the Iron Curtain" are a welcome reminder of the music's origins, coming right before the serene dream of "Sculpture" that gently closes the album.

With Skalpel, Ninja Tune adds to its roster another peddler of dreamy, jazzy breaks-- the kind of innocuous, idealized electro jazz that smacks to some people of played-out formula. But for fans of the style, there's a whole lot of to enjoy on this debut. Its rhythmic dexterity and melodic sweep are hard to deny-- as long as you can swallow that sense of having heard it all before.

Tracklist:
01. High
02. Not Too Bad
03. 1958
04. Together
05. So Far
06. Break In
07. Quiz
08. Asphodel
09. Theme from 'Behind the Curtain'
10. Sculpture

By Jonathan Zwickel
http://pitchfork.com

Pieces Of Brain - Arythmic Visible Music (2004)

Pieces Of Brain (band)

Jerzy Mazzoll - clarinet, bass clarinet
Jon Dobie - guitar, alto sax
Sławek Janicki - double bass
Jacek Majewski - drums, percussions

Arythmic Visible Music (2004)

This is another album recorded by cooperative of clarinetist Jerzy Mazzoll, double bassist Sławek Janicki and drummer/percussionist Jacek Majewski. Their first record was released in 2001 under title "Crash The Car, Daddy" with "From The Beginning To The End" following in 2003 and this one in 2004. With one album to follow the whole project was then put on hold by artist, at least in terms of releasing new recordings, to be continued only this year by new disc "Minimalover" (2012). 

All these albums are similar to each other as they develop idea of "arythmic brain". What is is? I have no idea idea and honestly I don't care. I believe it is simply kind of style as displayed by this ensemble, mostly imposed by Mazzoll charismatic presence. It can be described as experimental, spiritual and ecstatic. At best moments though! At less succesfull it is simply chaotic, with no direction, unintelligible. Fortunately on all this recordings these is enough those first moments to reedem occasional present of the second. Eventually they remain testimony to group of probably most tiresome avantgardists on our scene. Who however paid for their intransigence with very little understanding for their ouvre among fellow musicians, even less among critics and audience.

The highlight of this album is Jon Dobie presence. He is known for long term collaboration with Peter Brotzmann. His work on guitar fits perfectly with full ensamble. Total focus on producing landscapes of scratches, squeaks and wheezing is balanced with similarly total negligence of any structure or direction. I admire the effort but from tone of my text you probably already see that I am not great enthusiast of such a language...

Tracklist:
City Of Bones; Darker Than Night; Our Homeland: Goodness, Goodness, Goodness; Crash The Car, Daddy; A Murder Of Crows; Mischief Of Rats; Indications Of Trauma; Accidents And Emergencies.

By Maciej Nowotny

http://kochamjazz.blox.pl

Maestro Trytony - Heart Of Gold (2004)

Maestro Trytony (band)

Tomasz Gwinciński - guitar, electronics
Tomasz Pawlicki - flute, keyboards, spinet, piano prepared
Patryk Węcławek - bass
Rafał Gorzycki - drums
Małgorzata Skotnicka - spinet
Jacek Majewski - percussion
Łukasz Gorewicz - violin
Martin Franken - gamelan

Heart Of Gold (2004)

Maestro Trytony are a Polish band led by Tomasz Gwicinski (guitar) and Tomasz Pawlicki (flute, keyboards). The musicians grew up on mainstream rock music, but were subsequently exposed to the world of 20th century’s classic and jazz. Indeed, the guitarist was considered one of the purveyors of the very local, neo-jazz phenomenon labeled as “yass” in the 1990s. 

Initially, the band appeared stylistically hesitant and some clumsiness accompanied their forays into over-generous orchestrations. The initial ideas were highly engaging, but their eventual development suffered in longer compositions. Fortunately, in their most recent incarnation they seem to have developed timbral sagacity, generating an undogmatic yet coherent idiom. Where else could you find seeping interplay of baroque spinet, celestial flute and sharply edged jazz guitar? On this hitherto unclaimed territory Maestro Trytony offer a refreshing dose of stylistic fence-sitting.

Full review available here: http://sonicasymmetry.wordpress.com/2008/07/14/maestro-trytony-heart-of-gold/

Track listing: 1. O.R.G. 2. Van Worden In Serra Morena 3. Jocasta 4. Snowboarding Alchemyst 5. Heart Of Gold 6. Tax Collector 7. Magic Tiara Part 1 8. Magic Tiara Part 2 [Cherub. Wand.] 9. Nanotechnology 10. Epilogue 

Piotr Baron - Reference (2004)

Piotr Baron - soprano & tenor saxophones

Eddie Henderson - trumpet & fluegelhorn

John Hicks - piano
Darek Oleszkiewicz - double bass
Victor Lewis - drums

Reference (2004)

Saxophonist Piotr Baron is among those musicians in Poland that ALWAYS treat jazz seriously. Like Tomasz Stańko, Zbigniew Namysłowski or, from younger generation, Marcin Wasilewski he never fails in any recording, a mark of musicians of the highest caliber. To realize this project Baron travelled to New York and employed first rank players: Eddie Henderson on trumpet, John Hicks on piano, Victor Lewis on drums and Polish expat living in the U.S. Darek Oleszkiewicz on double bass. They created perfect background for the leader's raging horn. 

As for music it is kind of hommage to bop, not surprisingly taking into account place of recording. For those not acquainted with jazz terminology, bop is style in jazz characterized by strong groove and blues components often featuring saxophone and piano, occasionally trumpet. There is everything listed above on present in this recording plus great tunes and first of all great enthusiasm of all musicians adding to this music invaluable freshness. The highlight of this disc is marvellous interpretation of Polish pop song "Moja i Twoja nadzieja" which in hands of these gifted musicians gain weight of such great jazz standards of pop origin like "Someday My Price Will Come" or "Time After Time". Very enjoyable CD indeed!

Track listing: 1.Reference [07:50]; 2.Moja i twoja nadzieja [15:17]; 3. Blue Butterfly [09:12]; 4. Dense Dance [10:45]; 5. Amen [08:28]

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

Jarek Smietana - A Story Of Polish Jazz (2004)

Jarek Śmietana - guitars


Piotr Wyleżoł - Fender piano
Steve Logan - bass
Adam Czerwinski - drums

Soloists (track 1):
Jerzy „Duduś” Matuszkiewicz - alto saxophone
Wojciech Karolak - Hammond B3 organs
Henryk Majewski - trumpet
Jan Ptaszyn Wróblewski - tenor saxophone
Zbigniew Namysłowski- alto saxophone
Tomasz Stańko - trumpet
Michał Urbaniak - violin
Tomasz Szukalski - tenor saxophone
Janusz Muniak - tenor saxophone
Henryk Miśkiewicz - alto saxophone
Krzesimir Dębski - violin
with:
Bzyk - rap
Guzik - rap
D.J. Gypsyman - scratch

Bennie Maupin - tenor saxophone (tracks 3, 4)

Story Of Polish Jazz (2004)

One of the most succesful releases of legendary fusion guitarist Jarek Śmietana became famous for his collaboration with rapers with whom he recorded a tune summarizing in short entire history of Polish jazz. Outstanding (if only available to Polish speakers unfortunately)! 

Track listing: A Story Of Polish Jazz; My Love And Inspiration; Solczak; Music For Summer Afternoon; Strange Funky Fruit; I Want You; Miles; Within You Without You; Let's Rock; bonus track: A Story Of Polish Jazz (English Version)

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

Andrzej Olejniczak - Live at Altxerri (2004)

Andrzej Olejniczak Quaret

Andrzej Olejniczak - soprano & tenor saxophones

Ivan "Melon" Gonzalez Lewis - piano

Jules Bikoko - bass
Julian Vaughn - drums

Live at Altxerii (2004)

Once hero of Polish jazz, saxophonist Andrzej Olejniczak, vanished from my radar long ago after he had emmigrated to Spain. We remember him from playing in best Polish bands of era of fusion jazz namely Extra Ball and Sun Ship which he created with such strong musicians as pianist Władysław Sendecki, bassist Witold  Szczurek and drummer Marek Stach. Only recently I found him on come back release by String Connection ("2012") but I was not much impressed as this project turned out to be nothing more than sentimental journey to the past glory of this legendary band of 80ties. I wondered what is he doing now? I couldn't believe that musician of such a class abondon music at all. Fortunately few weeks ago I found in my local CD shops this release. By far no novelty but relatively fresh it attestes that Olejniczak did not lose anything at all from his exceptional versatility on saxophone. With utmost ease he cuts through some original and standard tunes inducing in listener whole range of emotions from sadness to enthusiasm and beyond. The explosive nature of this recording is secured by first class partners which surround him, all musicians completely uknwkn to me:  Ivan "Melon" Gonzalez Lewis on piano, Jules Bikoko on bass and Julian Vaughn on drums. It is however clear almost from very first notes that they are top class players and have this "black" spontaineity which makes music bouncing and dancing. Excellent stuff!

Track listing : 1. UMMG; 2. Cryin' Blues; 3. Call It A Dream; 4. Viuda Negra; 5. Zamora; 6. Night And Day

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

100nka + Mikołaj Trzaska - Zimna płyta (Not Two, 2004)

100nka (band)

Adam Stodolski - double bass
Tomek Leś - guitar
Przemek Borowiecki - drums

Mikołaj Trzaska - sax (3, 4, 9, 12)

100nka is a 90-year-old contrabass, the drums from 1956 and the guitar with a huge power plant. On their first album entitled "Zimna Płyta" as a guest played Mikołaj Trzaska. Then, on their second, two-disc album "Potrawy Strawy + Kompot Gratis" plays Ziut Gralak. The third album is "Superdesert" featuring an outstanding representative of the New York underground scene, trumpeter Herb Robertson. Crazy, improvised, speed and excellent reviews meant that musicians interested in jazz festivals in Germany, Austria and Hungary. 100nka`s sounds should introduce vibrations into the organisms of even the strongest jazz conservatives. Being fascinated with classics such as Miles Davis, John Coltrane, Ornette Coleman or contemporarily playing Tim Bern, Jim Black, Elery Eskelin, Medeski Martin and Wood, DJ Logic, Yuka Honda they create the world of sounds which combine both modernity with a classic approach to jazz music, contemporaneousness and oldschool.

Author: ankh

RGG - Straight Story (BCD, 2004) by Maciej Nowotny

RGG (band)

Przemysław Raminiak – fortepian
Maciej Garbowski – kontrabas
Krzysztof Gradziuk – perkusja

Straight Story (BCD, 2004)

Second after debut 'Scandinavia' but first studio recording of now famous RGG trio confirmed the appearance on Polish scene the band of biggest caliber. No praise is too much for the elegance and refinement of this music. Rooted deeply in well-known ECM jazz idiom it fits perfectly with evening silence, deep introspection, moments of solitude and respite. If you happen not to know other their recordings then it is good point to start to get to know them, if you know them all but this one its precious complement to your RGG discography. I suppose no further comment is necessary on my side...

This tune come from their newest album "One" (2011) but style is very similar:



Author of text: Maciej Nowotny

http://kochamjazz.blox.pl/html

Olo Walicki - Metalla Preciosa (OWP, 2004)

Olo Walicki - double bass

Leszek Możdżer - piano
Maurice de Martin - drums
The Gdansk Philharmonic Brass -

Janusz Szadowiak - trumpet
Arkadiusz Szafraniec - trumpet
Mirosław Merchel - French horn
Tadeusz Kassak - trombone

Metalla Preciosa (OWP, 2004)

Olo Walicki is type of musician who has its own way and is pursing it with all dedication and perseverance. That this path does not lead along main stream of music or even jazz, that it does not coincide with fame or money, it seems not to bother him a lot and he continues to issue one good album after another. Just a year ago I stumbled in my favorite music shop on his newest album "Trauma Theater" which happened to be one of few examples of music written for stage that stands successfully on its own. So I decided to go back and check what other recordings he has made in few recent years. Because as majority of Polish public I  associated Walicki with great events of the past, namely main the role he played in mid 90ties in Polish yass movement, but I was rather unaware of his latest works. And with my loss since this disc may be example of how original and appealing Walicki's music still is.

Title "Metalla Preciosa" summarizes well what is the concept of this album which can be described as standard jazz trio dancing on the background created by brass section. Trio Walicki/Możdżer/de Martin in itself could easily sustain the whole album because apart from Olo Walicki playing double bass we find here his long time companion from yass times Leszek Możdzer, deservedly enjoying superstar status on Polish music market and slowly making his way to European audience as well, and Maurice de Martin, German drummer, whose proficiency is beyond any question. It is important to note that brass section accompanying them (Janusz Szadowiak and Arkadiusz Szafraniec on trumpets, Mirosław Merchel on French horn, Tadeusz Kassak on trombone) consists of professional musicians from Gdańsk Philharmonic Orchestra AND that this quartet play is of the highest quality.

When a good concept meets with great musicianship the result could be only one: deeply satisfying experience. Resonating with energy of both jazz trio and classical brass section, this music shows how shall look like all meetings of these two great music languages. It is engaging DIALOGUE which although not always going on without some glitch, still leaves listener with sensation of being able to witness something fresh and unusual. I put this disc along best efforts in Polish jazz as far as third stream music is concerned in recent years. For more music of this kind and similar quality check Ecstasy Project or Atom String Quartet or  recent Piotr Damasiewicz 'Hadrony'.

Please, listen to 'Plumbum' from this album:

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

Darek Oleszkiewicz - Like A Dream (Cryptogramophone, 2004)

Extraordinary first album by Polish double bass player as a leader, "Like A Dream" is a series of duos with all star line-up featuring super stars like Brad Mehldau or Bennie Maupin. Check fine John Chacone review for more details:

When you choose to invite a player like Brad Mehldau to begin your first CD as a leader with five duets, you have to be cravenly commercial, a masochist, or utterly selfless. I'll take door number three. There's no denying the musical chemistry between the pianist and the 41-year-old Polish-born bassist Oles, who wrote eleven of the 12 cuts on Like A Dream. Like a lot of the material on Cryptogramophone, the tunes veer dangerously close to the cloying (perhaps the influence of the late bassist and composer Eric von Essen, whose spirit hovers over the label). But also like the Cryptos I've heard, the sensitivity and great musicianship of the players involved redeems the performances and lifts them to a fairly rarefied musical world. That's where the duets with Mehldau belong - a standard ("You Don't Know What Love Is" taken in seven), a blues, a Latin-flavored piece, and the title cut. It's a gorgeous melody placed over harmonies that move with Bachian balance and poise. That's a mode of expression that suits Mehldau, and he makes the most of it. The seven selections by two different Los Angeles quartets are scarcely less good, with Larry Koonse's wistful Abercrombian lyricism and a cameo by old friend Bennie Maupin, the highlights. But it's the writing tnd the duets that get your attention on Like A Dream, a CD that should help Oles make a name for himself, however long he chooses that name to be.

Author of text: John Chacona

Music in trio setup but featuring both Brad Mehldau and Darek "Oles" Oleszkiewicz:

Maciej Sikała - ASAF (2004)

Maciej Sikała (saxophone)

Michał Barański (double-bass)

Piotr Jankowski (drums)

Joanna Gajda (piano)

mmcd, 2004

One of the most beautiful mainstream albums ever in Polish jazz is completely unknown not only abroad but also in Poland. Moreover it was recorded spontaneously and almost by accident during jazz workshops Missio Musica organized in August 2003. Like another sax man of note Piotr Baron's albums ("Salve Regina") Maciej Sikała (saxophone), the leader of the band called ASAF, is inspired by his Christian faith and treats music as way of expressing his love to God. Check for example the cover of CD where in shapes of upright and bent reed you can perhaps find the shape of fish.

But regardless of religious message the music on this album is simply overwhelmingly beautiful. Anchored strongly in mainstream jazz it's attractiveness lays not in form but in emotions that are pure, intensive and contagious. They easily spread onto listeners due to massive amount of space, silence and depth as created by artists. Maciej Sikała is accompanied by musicians of the same highest rank he himself belongs to. Michał Barański's line on double-bass is as subtle and refreshing as spring shower in the evening. Piotr Jankowski hustling and shimmering on drums is perfect addition to Joanna Gajda sensitive and elegant support to excellency of rhythm section. Joanna Gajda last year splendid "Heaven Earth Earth Heaven" is clearly influenced by this magnificent recording.

Seldom I drool over clearly mainstream music but this music breaks out of all boundaries and since first notes put me under its spell. Go and check by yourself how powerful its magic really is!!!

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

Michał Tokaj Trio - Bird Alone (2004)

A very strange recording, of utmost beauty, which unfortunately remains in obscurity. Classic cool jazz trio featuring pianist Michał Tokaj, double bass player Darek Oleszkiewicz and drummer Łukasz Żyta. Michał Tokaj career had splendid beginning, he went from one prize to another, and was playing with all the greatest in Poland, concerting extensively here and abroad. This record, issued in Japan (Gats Production), but recorded in Poland, is kind of climax of this early period: accomplished in every detail, it brings music as flawless and perfect an one can expect from one of the best piano trios in a world. Surprisingly, however, it turned out never to be continued. Sadly it remains great but the only Michał Tokaj's album recorded as a leader.  

Why it is that Michał Tokaj stopped recording as leader is beyond me! He is so, so good it is with great loss to Polish jazz indeed. He is active as educator working as scholar in famous Chopin Music Academy in Warsaw and is also appearing on some recordings as sideman like for example on good disc by Aga Zaryan  "Looking Walking Being" recorded for Blue Note last year. Still if he ever read this post by chance, let me tell him in a name of many thousands of jazz lovers in Poland and abroad: Michał we are waiting for your new album far too long!

For more information check artist's web page http://www.michaltokaj.com/.

Finally let me invite you to check this link for one of the gems of this record: Michał Tokaj Trio interpretation of tune from film series "Chłopi" (Peasants) based on novel by Władysław Reymont, who for this novel received Nobel Prize in literature in year 1924.