Krakowskie refleksje zagranicznych artystów z Not Two Records

Krakowskie refleksje zagranicznych artystów z Not Two Records

Autor tekstu: Marcin Kaleta


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Satoko Fujii & Natsuki Tamura

Satoko Fujii — fortepian
Natsuki Tamura — trąbka

"In Krakow In November" (2006)

Wydawca: Not Two Records

Słucham tej płyty bez opamiętania. Brzmi bowiem, jakby powstała tuż po zagładzie Hiroszimy i Nagasaki.

Wszystko rozpoczyna marsz żałobny: "Strange Village". Fortepian przestrzega, że zbliża się rozstanie. Natomiast trąbka cokolwiek się waha, by na to przystać, ostatecznie jednak nabrzmiewa niesamowitą boleścią i rozpaczą. I wspólnie zapowiadają opustoszenie i osamotnienie.

Potem nastaje istny szkwał. Free jazzowy "A North Wind" to już wściekły skowyt bólu.

"Morning Mist" przynosi uspokojenie. Pogodzenie się z koniecznością. Gdzieniegdzie prześwitujące słońce... Dopiero płaczliwa trąbka przypomina, że to... Nazajutrz (fani SF rozumieją). Po Dniu Gniewu. Dniu Zagłady. Po końcu świata. Nie ostało się nic prócz melodii mgieł rannych, skrwawionych, spopielonych.

"Ninepin". Zmiana tonacji. Trochę jak Chopinowskie mazurki. I tęsknota. Przynaglenie. A może jednak istnieje sposób, by coś odzyskać? Cokolwiek.

Szybko pozbawia nas złudzeń jakby nieskładny "A Holothurian", przeistaczając się w lamentację.

Tytułowy "In Krakow, In November" od początku popada w rezygnację. Patos uprzedza wspomnienie tego, co dobre, ale skazane na nieistnienie. Spacerujemy wzdłuż rzeki, pogrążeni w ciemności, wiedząc wszakże, że "jeśli Miasto padnie a ocaleje jeden / on będzie niósł Miasto w sobie po drogach wygnania / on będzie Miasto".

Stąd i pobudka w "Explorer". Niezdecydowana. Lecz nieustępliwa. Burzy się i wzdyma.

I wreszcie "Inori". Kiedyś gdzieś wszystko rozpoczniemy od początku. To, co minęło, odżyje. Może i trwa noc, ale słusznie pisał natchniony mądrością biblijnych proroków Jan Kochanowski: "nie już słońce ostatnie zachodzi".

Duet z Japonii: Satoko Fujii — fortepian oraz Natsuki Tamura — trąbka, nie jest szczególnie znany w naszym kraju. Ubolewam nad tym, jak zawsze, gdy coś naprawdę wartościowego umyka uwadze. Oczywiście nie wszystkie albumy małżeństwa doceniam. Niemniej ten wyróżnia się szlachetnością i rzadko spotykanym pięknem.

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Dominik Duval 

Dominik Duval — kontrabas

"Songs for Krakow" (2007)

Wydawca: Not Two Records

Dominic Duval (1944-2016) był amerykańskim kontrabasistą jazzowym. Przez kilka godzin można by opowiadać, z kim i co nagr(yw)ał. Zamiast tego ad rem: 8 listopada 2007 roku uczestniczył w magicznym koncercie w Klubie Alchemia na krakowskim Kazimierzu. Jego formacja, Trio X (pozostali członkowie to Joe McPhee — saksofon tenorowy i trąbka kieszonkowa oraz Jay Rosen — perkusja), wespół z Mikołajem Trzaską na saksofonie altowym i klarnecie basowym (co dało pełnoprawny kwartet), przedstawiła magiczny repertuar, który złożył się na dwupłytowy magiczny album pt. "Magic" (2009). O nim nie zamierzam jednak teraz pisać. Albowiem dokładnie tydzień wcześniej Duval postanowił w tymże klubie zarejestrować "Songs for Krakow" (2007).

Przebywał zatem w podwawelskim grodzie dłużej. Oczarowany miastem, dedykował mu solowy album. Jak na kogoś, kogo pasjonował nade wszystko free jazz, przedłożył materiał wyjątkowo konkretny. Nie zajmują go eksperymenty. Gra palcami lub smyczkiem, acz tym akurat rzadziej. Utwory, chociaż nie najkrótsze, wydają się zwarte. Oddane zamyśleniu, podporządkowane skupieniu, powierzone uduchowieniu... Również intymne — ostatni, co ciekawe: jedyny na płycie standard, poświęca pamięci rodziców, do których kilka lat później dołączy. Tę muzykę należy odtwarzać bezustannie. Przemawia przez nią miasto, w którym powstała, z tym wszystkim, co je stanowi, odkąd istnieje. Dzieje się to za sprawą kogoś, kto je odwiedził, wyjechał bezpowrotnie, a jednak... wśród nas został.

T

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Wszystkie trzy wymienione w niniejszym tekście płyty wydała krakowska wytwórnia Not Two Records (MW774, MW778, MW816). Tak się mi wydaje, że cały jej katalog wypadałoby przedstawić: to nieprzebrana skarbnica jazzu najwyższej jakości.

NOVI Singers – Torpedo (Polish Jazz Vol.87 Deluxe) (2006)

NOVI Singers

Bernard Kawka - vocals
Ewa Wanat - vocals
Janusz Mych - vocals
Waldemar Parzyński - vocals

Torpedo (Polish Jazz Vol.87 Deluxe)

MUZA 1087


By Adam Baruch

This is a reissue of the second album by the seminal vocal group NOVI Singers, one of the most acclaimed Polish Jazz acts in the 1960s and 1970s, and one of the most influential vocal ensembles of all times. Led by the charismatic vocalist/composer/arranger Bernard Kawka, the group also included the sensational female vocalist Ewa Wanat and two more male vocalists/composers/arrangers: Janusz Mych and Waldemar Parzyński. Following the formula set by their sensational debut album, they perform original music composed and arranged by Kawka, Mych and Parzyński (except for one Classical piece).

The vocal quartet is accompanied by a superb instrumental team, which includes some of the best Polish Jazz musicians at the time, including pianist Adam Makowicz, drummer Czesław Bartkowski and many others, as well as the Polish Radio Jazz Studio Orchestra, led by Jan Ptaszyn Wróblewski. The rich instrumental arrangements were one of the differences between NOVI Singers and the earlier European Jazz vocal ensembles like Les Double Six or The Swingle Singers.

This album, as all early recordings by NOVI Singers, is absolutely immune to the tides of time and sounds today as magnificent as it was at the time of its recording. NOVI Singers definitely left a mark on the Jazz vocal idiom, setting an incredibly high standard, which sadly was later on followed by only very few similar ensembles.

Side Note: This is one of those Polish Jazz albums, released by the Polskie Nagrania/Muza label, which should have been released as part of the legendary "Polish Jazz" series at the time, but somehow never made it. From the historic perspective it definitely deserved to be a part of that series and this was partially corrected by this edition, as it is one of the items in the expanded "Polish Jazz Deluxe" series of reissues.

Zbigniew Seifert – Live In Hamburg 1978 (2006)

Zbigniew Seifert

Zbigniew Seifert - violin
Charlie Mariano - tenor saxophone
Wolfgang Dauner - piano, keyboards
Branislav "Lala" Kovacev - drums
NDR Big Band

Live In Hamburg 1978

MILO 01

By Adam Baruch

This is a sensational live recording by Polish Jazz violinist/composer Zbigniew Seifert and his quartet, which includes American (resident in Germany) saxophonist Charlie Mariano, German pianist Wolfgang Dauner and Yugoslav (also resident in Germany) drummer Branislav Kovacev, accompanied by the NDR Big Band from Hamburg. The album comprises of five tracks, which are simply named "Hamaburg 1" to "Hamaburg 5". The discographical data, such as exact place and date of recording and composition credits are omitted and the album looks and feels like a bootleg, although it is openly sold in Poland.

This music was recorded about a year before Seifert's untimely death as a victim of cancer. In spite of his terrible sufferings and ordeals related to his rapidly advancing illness, he was at an absolute peak of his musical ability, as this recording plainly demonstrates. He plays vigorously and with incredible passion, and his lengthy solos on this album are among his best ever. Supported by the wonderful quartet and accompanied by the best European Big Band, Seifert is able to immerse himself completely in the music, without any limitations. The result reflects his great love of life and music, which he tried to pursue until the very last moments of his life.

Of course Mariano, Dauner and Kovacev, who were among the finest musicians on the European scene at the time, as well as the outstanding NDR Big Band, are all performing splendidly as well. Stylistically the music includes many elements of Jazz-Rock Fusion and World Music influences, an amalgam that characterized Seifert's late period. However, his solos are still characterized by the influence of John Coltrane's legacy, which was the singular most important inspiration on Seifert's music.

The historic importance of this album is simply invaluable, especially in view of the sadly very limited recorded legacy of Seifert's works. Seifert managed to record only four albums as a leader during his tragically short lifetime, and the posthumously released material is of secondary importance so far. There are many hours of unreleased music recorded by Seifert waiting to be released, and hopefully those will see the light of day at some stage.

For Polish Jazz fans this album is an absolute must of course, but listeners interested in Jazz violin and anybody who is able to appreciate some of the most moving moments offered within the Jazz idiom should also try to get their hands on this gem ASAP. Absolutely brilliant stuff!

Leszek HeFi Wisniowski – Lechoechoplexita (2006)

Leszek HeFi Wiśniowski

Leszek HeFi Wisniowski - flutes /saxophones

Lechoechoplexita

CM 1002




By Adam Baruch

This is the second album by the Polish Jazz flautist/saxophonist/composer Leszek HeFi Wisniowski, recorded solo using the multichannel technology, which allows him to overdub his playing many different instruments to produce the final result, which sounds often like an orchestral recording. The album comprises of fifteen tracks, thirteen of which are his original compositions, one is a folk tune and the remaining one if co-composed with one of the guest artists, who play on six of the tracks.

The music is a mixture of many different influences, like World Music, contemporary Classical and of course the Jazz tradition. The melodic element is very strong, which makes this music highly accessible to a wide audience. At times it crosses the delicate border between ambitious and elevator music, but that is of course a matter of taste. The overall sound of multilayered saxophones, flutes and other instruments is quite impressive and again very likeable.

Since this is not predominantly a Jazz recording, it should not be judged by Jazz criteria. As a piece of Jazz-World Fusion it is quite unique and interesting, albeit hardly innovative. If this album was made sometime in the 1990s it had a chance to become quite a hit with the New Age listeners, but now, with the New Age trend discarded and forgotten, it sort of falls in between the currently popular sub-genres. Still it is worth to be listened to just for the sake of the original approach to making music and of course flute enthusiasts might find it appealing.

Oles Brothers / Chris Speed / Simon Nabatov – Walk Songs (2006) ****

Chris Speed - saxophone
Simon Nabatov - piano
Marcin Oles - bass
Bartlomiej Brat Oles - drums

FENOMMEDIA 004





By Adam Baruch

This is a great album recorded by Polish Jazz musicians: bassist Marcin Oles and drummer Bartlomiej Brat Oles, collectively known as Oles Brothers, with the American saxophonist Chris Speed and Russian (living in Germany) pianist Simon Nabatov. Together, as a quartet, they perform nine original compositions, seven of which were composed by Marcin Oles (who is the formal leader of this session) and two by Bartlomiej Brat Oles.

The music is firmly based in the Jazz tradition, seemingly quite "conventional" melody based modern Jazz, but upon careful listening the complexity and intrinsic Freedom become more and more apparent as the album progresses from one tune into another. Both Speed and Nabatov play some excellent solos and contribute to the general quartet sound, which is glued together by the rhythm section. The overall atmosphere is reminiscent of the work by mid-period John Coltrane quartet, which of course is the best model any Jazz musician could strive to achieve.

The tunes use often the specific "walking" bass outline, which is perhaps what Marcin Oles had in mind when he devised this project. But regardless of any intensions, the resulting music is simply some of the finest European Jazz created since the turn of the 21^st Century. All four of the quartet members combine their individual power of musical expressions to create a result that is greater than the sum of its ingredients, which is always a wonderful experience. This kind of music shows clearly that music can be sophisticated and complex and be accessible to a diverse group of Jazz connoisseurs.

Like all the other albums by the Oles Brothers, this album emphasizes their talents as composers, in addition to their abilities as players. The ambitious decision to play and record their original music almost exclusively is one of their trademarks and as a result we can all enjoy the wonderful music they are able to weave in their minds. All we can do is raise our hats in a "thank you" gesture.

Oles Brothers / Kenny Werner – Shadows (2006) ****

Kenny Werner - piano
Marcin Oles - bass
Bartlomiej Brat Oles - drums

FENOMMEDIA 005






By Adam Baruch

This is a superb album recorded by Polish Jazz musicians: bassist Marcin Oles and drummer Bartlomiej Brat Oles, collectively known as Oles Brothers, with the great American pianist Kenny Werner. Together, as a classic piano trio, they perform eight original compositions, seven of which were composed by Bartlomiej Brat Oles and one by Marcin Oles.

Werner is an ideal partner for the Oles Brothers, as he one is of very few American pianists, who combine the Jazz tradition with modernism and are ready to step outside of the stuffy norms which keep most of American Jazz within the conceptual prison of mainstream.

The Oles Brothers also combine the very same qualities; on one hand the respect and love towards the Jazz tradition and canon but at the same time a continuous drive to discover new forms and ways of expression, which will expand the genre's horizons. The full compatibility is immediately apparent and the resulting music is amongst the best of the Oles Brothers achievements.

The music is based on solid melodies and typical piano trio approach to improvisation, which features extensive piano solos and intense accompaniment with occasional bass / drums solos. Werner is wonderfully lyrical, even when the notes he produces are distant from the melodic themes and enter the Free realm. The rhythm section is with him at all times, warmly supportive and intelligently sympathetic. Overall the album is a delight to all piano trio connoisseurs, and ranks among the true minor classics of that Jazz category.

Considering how well this trio sounds it is a pity that the Oles Brothers did not record with Werner again – perhaps this can be remedied, hopefully soon. Of course it would be most interesting to hear them with other pianist of similar status as well. Wholeheartedly recommended!

Piotr Zaczek – Mutru (2006)

Piotr Zaczek - bass, keyboards, electronics
guests
Maciej Kocinski - saxophone
Adam Baldych - violin
Jerzy Malek - trumpet
Ania Szarmach - vocals
Kuba Badach - vocals

ARMS 02


By Adam Baruch

This is the debut solo album by Polish Jazz bassist / composer Piotr Zaczek, recorded with several fellow musicians, such as saxophonist Maciej Kocinski, trumpeter Jerzy Malek, violinist Adam Baldych, keyboardists Marcin Gorny and Grzegorz Jablonski, and drummer Robert Luty. Two vocalists: Ania Szarmach and Kuba Badach take care of the vocal parts. The album includes fifteen compositions, thirteen of which are by Zaczek, one by Szarmach and the remaining one is a Pop song.

The music is heavily oriented towards Fusion, Funk and Ambient, featuring the bass as a leading instrument. The musicians provide some exciting solos and vocals, but overall this is electric bass haven, and people who love the sound of fretless bass will definitely enjoy this album to the max. Zaczek is obviously a virtuoso and some of his licks are quite phenomenal. No wonder he is one of the most sought after session musicians in Poland.

As much as I enjoy my Fusion and Funk, the Ambient soundscapes are less exciting, especially electronic programmed drums. Of course I realize they are an integral part of what Zaczek wanted to present here, and they are very well done, just that particular sound somehow doesn't sit well with me. Several of the album tracks are plays solo by Zaczek, who plays basses, keyboards and programmed the drums, others are performed by a duet, trio etc. There is enough diversity and certainly a lot of excellent performances to make this a nice album to listen to.

Of course this is on the lighter side of Jazz and geared mostly towards Fusion fans, which are the natural habitat for this music. Of course bass players should be fairly warned that hearing this album might be very frustrating for some of them ;)

Krzysztof Herdzin – Live In Tygmont (2006)

Krzysztof Herdzin - piano
Zbigniew Wegehaupt - bass
Cezary Kondrad - drums

ALLEGRO 011








By Adam Baruch

This album presents a live recording captured at the Warsaw's Tygmont club by pianist / composer Krzysztof Herdzin and his trio, with bassist Zbigniew Wegehaupt and drummer Cezary Konrad. The trio performs six compositions, four of which are originals by the leader and two are standards. The recording has a beautiful realistically captured live sound and an overall superb sound quality.

People familiar with the Polish Jazz scene are surely aware of the fact that Herdzin is one of the busiest and most versatile musicians in the country, who left his mark on a large scale of different musical projects in Contemporary Classical music, Jazz and Popular music. His work as an arranger / orchestrator marks most of the great Pop albums recorded in the last two decades in Poland. Sometimes it seems as if there is hardly anything happening in Polish music, which does not involve Herdzin one way or another. Of course such omnipresence can be dangerous and lead to spreading the talents thin, but one must admit that everything Herdzin touches turns out well, which simply proves his incredible talent, versatility, stamina, perseverance and above all professionalism.

To be fair one must remember that this album presents just one aspect of Herdzin's activity, i.e. his work as a leader of a classic Jazz piano trio. During his career Herdzin recorded several albums in this format, and I must admit this is the favorite one for me. There are several reasons why I feel that way; firstly the material included herein presents a wide emotional range, from up-tempo numbers presenting Herdzin as a virtuoso pianist performing neck-breaking solos and up to deeply contemplative ballads, where the listener can hear Herdzin the atmospheric painter. Secondly the trio work, which is absolutely stunning, is a superb example of creative cooperation in real time, which after all is what Jazz is all about. The dazzling displays of piano bravura are brilliantly supported at all times by the rhythm section, which at the time of the recording was probably the best in the country. My deeply lamented personal friend Zbigniew Wegehaupt, who left us at a ridiculous young age a year ago, was undoubtedly one of the greatest bassists to emerge on the local scene and drummer Cezary Konrad, with whom Herdzin works often, is probably to top drummer of the second Jazz generation in Poland.

This is a classic piano trio album in every respect, which should satisfy even the sternest and most capricious Jazz connoisseurs. Regardless if your champion is Chick Corea, Bill Evans or Herbie Hancock, you will find something here, which is of course first and foremost Herdzin's statement, but sits firmly in the same state of mind that these great Masters bestowed upon us. A timeless jewel!

Grzegorz Karnas – Ballady Na Koniec Swiata (2006)

Grzegorz Karnas - vocals, composer, lyrics
Adam Oles - cello, co-composer
Radoslaw Nowicki - saxophone
Tomasz Kalwak - electronics
Bogusz Wekka - percussion
guests:
Michal Tokaj - piano
Damian Kurasz - guitar

NINTH FLOOR 1002


By Adam Baruch

This is the third 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.

Stylistically this album is a direct continuation of its predecessor "Sny", except for the fact that all the music was co-composed by Karnas and cellist Adam Oles (who also plays on the album) with lyrics by Karnas. The thirteen pieces are all relatively low-key, hence the reference to ballads in the title, although they have little in common with what is considered a ballad in classic Jazz other than the slow tempo. The accompaniment is also more subtle than on the previous album, with more ambient background sounds and less typical Jazz solos. Oles, who plays his cello mostly as if it was an acoustic bass, sets much of the overall sound and atmosphere. Other participants include saxophonist Radoslaw Nowicki, keyboardist and electronic sounds creator Tomasz Kalwak, and congas player Bogusz Wekka. In addition two guest artists also participate: pianist Michal Tokaj and guitarist Damian Kurasz.

Karnas apparently found in Oles an ideal partner in his search for a decisive stylistic crystallization, which is quite apparent here. His vocal explorations are less chaotic and outrageous, with spontaneity replaced by self-control and moderation, which of course does not make his music any less exciting. But this album is somewhat less accessible and immediately likeable that his earlier work, perhaps due to the depressing lyrical subject matter (end of the world), which is apparent not only in the lyrics but also in the somewhat gloomy melody lines. All in all this is definitely another excellent piece of musical artistry.

Karnas is a unique voice and everything he recorded is worth the listeners' attention, especially since vocal Jazz is such a neglected area dominated by mediocrity if not worse. Therefore this album stands out as a beacon of hope that not all is lost and the end of the world will have a wait for a while. Exciting stuff!

Laboratorium – Anthology 1971-1988 (2006)

Janusz Grzywacz - keyboards, leader
Marek Stryszowski - saxophone, vocals
Pawel Scieranski - guitar
Krzysztof Scieranski - bass
Mieczyslaw Gorka - drums
Ryszard Styla - guitar
Krzysztof Olesinski - bass
Andrzej Mrowiec - drums
Jan Pilch - percussion

METAL MIND BOX 001

By Adam Baruch

This box set compiles all the albums released by the Polish Jazz-Rock Fusion ensemble Laboratorium, which was without a shadow of a doubt one of the best and most important Fusion outfits in Eastern Europe before the fall of the Iron Curtain. Over the years the band managed to release ten albums, an unprecedented achievement at the time, of which seven were studio recordings, two were recorded live and the last one was a compilation of previously unreleased tracks. Two of the studio albums were released on the legendary Polish Jazz Series (Volumes 49 and 58). All the ten albums were remastered for this box set release and expanded with a plethora of bonus tracks, which include studio outtakes, radio and live performances and mini-sleeved. The booklet includes a detail history of the band and reflections about the albums by the band's founder / leader keyboardist / composer Janusz Grzywacz.

As all ensembles Laboratorium changed lineups over the years, but enjoyed relatively steady personnel for extended periods of time, which undoubtedly added to their success. Most of their material, which is covered by their second to sixth albums (and the compilation album), was recorded by a steady lineup, which included in addition to the leader also saxophonist / vocalist Marek Stryszowski, guitarist Pawel Scieranski, bassist Krzysztof Scieranski and drummer Mieczyslaw Gorka. On the later albums the lineup includes Grzywacz and Stryszowski (who are the only musicians appearing on all the ten albums) with guitarist Ryszard Styla, bassist Krzysztof Olesinski, drummer Andrzej Mrowiec and percussionist Jan Pilch. The debut recording, which initially occupied only one side of an LP, features the legendary Polish violinist Zbigniew Seifert and is stylistically quite close to Free Jazz in contrast to the Fusion direction adopted later.

The band performed only original music, which of course was a courageous decision, and with a singular exception, all the music enclosed herein was composed by Laboratorium members, mostly by the leader but also by others or co-composed by the band. Over the years Grzywacz emerged as a first rate tune-weaver with an excellent ability to write great melodies and riffs, which make the music accessible, even when it becomes quite complex. The music remains intelligent and ambitious throughout, with a remarkable consistency of high-level quality. But the most important factor of Laboratorium was its ability to constantly evolve and change, which is quite evident to anybody listening to the music in the proper historic order. Grzywacz slowly moved from acoustic to electric piano and then to synthesizers, but never indulged in mindless pyrotechnics which so many of his colleague keyboardists fell victim to during that period of time. Laboratorium managed to avoid that terrible, obnoxious 1980s cheesy synthesizer sound, which is a success in itself.

Although most of the music performed by Laboratorium is instrumental, they used the human voice time and again in an instrumental capacity. These vocalese experiments are all quite interesting and present another layer of the band's musical range. It seems that Polish Jazz is particularly fond of such experimentation since its early days and it's definitely interesting to hear how Laboratorium handled them.

There are endless moments of musical joy inside this box set; virtuosic performances by the musicians, especially those by Krzysztof Scieranski, who stands easily shoulder to shoulder with such bass heroes as Jaco Pastorius, beautiful melodies, funky grooves, superb guitar and keyboards solos, in short Fusion heaven for all connoisseurs of the genre. I can't imagine any Fusion fan anywhere on this planet not being melted away by the beauty of this music.

The box set is an individually numbered limited edition and if you can put your hands on a copy, don't you dare to hesitate even for a moment – it's worth its weight in gold!

Jazz Choral / Tomasz Szukalski – Borzomski Wawoz / Body And Soul (Polish Jazz Vol. 91 Deluxe) (2006)

Tomasz Szukalski - saxophone
Artur Dutkiewicz - piano
Andrzej Cudzich - bass
Marek Stach - drums

Jazz Choral Vocal Group

Muza PNCD 1091



By Adam Baruch

This unusual and very interesting album by the superb Polish saxophonist / composer Tomasz Szukalski, who sadly died this year, presents him in a double setting: first as a guest artist accompanying the Georgian vocal group Jazz Choral and than as a leader of his quartet, which includes also pianist Artur Dutkiewicz, bassist Andrzej Cudzich and drummer Marek Stach.

The album starts with six pieces performed by Jazz Choral; First three tracks are sung a cappella and the remaining three are performed with Szukalski and an unidentified rhythm section (piano, bass and drums). The vocal tracks are followed by three tracks performed by Szukalski and his quartet, two of which are standards and one is an original composition by the leader.

Jazz Choral were a vocal group similar to the Polish group Novi, which existed on the local scene twenty years earlier, and several other ensembles which based their performances on perfectly matched harmonies and swinging melodies. Their performance is spotless and quite virtuosic, with a nostalgic touch. Szukalski spices their music with excellent solos, which can only be constructed by a musician of his statue.

The three tracks by Szukalski and his quartet highlight his incredible power as a player, clearly emphasizing his post-Coltrane legacy and incredible versatility. Listening to him play, now that he is gone, is truly moving to everybody familiar with the Polish Jazz scene. His premature death is a great loss!

This album was recorded during the transition period between Poland finally freed itself from the Socialist regime, and was somehow "lost" in the turmoil. This reissue brings back to life a piece of music, which should not be forgotten. Definitely worth investigation!

Wojciech Staroniewicz – Conversession - Live (2006)

Wojciech Staroniewicz - tenor & soprano saxophones

Piotr Lemańczyk - bass
Brian Melvin - drums, tablas, kanjira

Conversession - Live (2006)

This is the first album in the trio format by Polish saxophonist / composer Wojciech Staroniewicz, with bassist Piotr Lemanczyk and US drummer Brian Melvin. It was recorded live by the trio during two of their concerts and includes three original compositions by the leader, two originals by Melvin and two standards and one traditional tune. Staroniewicz has a wonderfully warm tone reminiscent of the old Masters and his improvisational skills are spotless. Although fairly mainstream, the music is fresh and interesting and often quite surprising with the rhythm section supporting the leader splendidly and contributing remarkable solo spots as well. Although Staroniewicz does not "cross the line" towards Free Jazz, his playing is often full of tension and marginally touches, at least spiritually, the free spirit of the music. The bassist has also a wonderful tone, which complements the leader's sound perfectly and Melvin's skillful and versatile drumming technique adds a lot to the overall effect. This is a kind of album one can return to at any time and always find something new and worth one's while with each listen. Warmly recommended!

Tracklisting:

1. PFM
2. Blues Connotation
3. Wintertime
4. Drumstrikin
5. Jana Gana Mana
6. Karolina
7. Triste

By Adam Baruch
http://www.adambaruch.com/

Lech Wieleba Poetic Jazz Concept - Open The Heart (2002); Danzarina (2005)

Lech Wieleba Poetic Jazz Concept

Jan-Peter Klöpfel - Flugenlhorn
André Morner - Piano
Ali Husseini - Drums
Lech Wieleba - Doublebass
String Quintett

Open The Heart (2002)

Lech Wieleba Poetic Jazz Concept

Jan-Peter Klöpfel - Flugenlhorn
Vladislav Sendecki - Piano
Pawel Wieleba - Drums/Percussion
Lech Wieleba - Doublebass

 Danzarina (2005)

There's Cool Jazz, Free Jazz, Bebop, Swing ... and now there is Poetic Jazz. The brainchild of bassist and composer Lech Wieleba, POETIC JAZZ is a collaboration between four superb musicians in search of ways to let their jazz roots flower. Their latest program and CD, Danzarina, features 12 tracks that invite listeners into a world of "musical short stories." 

A sultry breeze on a Brazilian shore, leaves falling on a rainy New York afternoon, an intoxicating serenade in North Africa, a cabrio ride through Paris.... Danzarina creates these inner landscapes ... Wieleba's selection of his three collaborators was very precise. "Everyone brings a certain color to the picture that is POETIC JAZZ," says Wieleba. He met Jan-Peter Klöpfel at a funeral for a fellow musician and found his way of "creating" tones instantly appealing. Pianist Enno Dugnus has shared with Wieleba "a long musical friendship." Completing the group is Wieleba's son, Pawel, who, as the youngest member, has helped the ensemble "break borders." "I looked for these musicians for a long time," says Wieleba. "They are the soul I needed for POETIC JAZZ." POETIC JAZZ beckons to a new audience, not only to those from the jazz corner, but to anyone who can feel these "musical short stories" from the heart. 

source: http://www.poetic-jazz.com

Maciej Grzywacz - Forces Within (2006)

Maciek Grzywacz - guitar

Maciej Sikała - saxophone

Piotr Lemańczyk - double bass
Tyler Hornby - drums

Forces Within (2006)

To be perfectly honest, it seems as if the amount of excellent jazz groups appearing practically every year now throughout the world, including in Poland, is enough to make fans dizzy ( - and where's this 'death of jazz' one hears about?!), while that of reviewers - particularly those who constantly strive to stay on top of it all, as well as the ever more rancorous ones - is capable of causing states of depressive anxiety. Not only is there not enough time in a lifetime to listen to all of the music out there that's worth listening to - from time to time, at least, one would like to get a hold of something that deserves a solid panning and pan it, but there's nothing of the sort here! 

A group that doesn't by any means deserve panning is the quartet of guitarist Maciek Grzywacz. The album's character is conveyed well by its title - the music is impressive in its boldness, energy and clarity. Its communicative power comes from a mastery of those elements that are specific to jazz, primarily a rhythmic unity among all of the musicians, that specific sort of togetherness in time that isn't present in European art music or in rock. Besides that there are the dynamics, sound, phrasing - everything on a high level of quality.

It's difficult to praise any of the musicians specifically - they all work together excellently, and shine in their improvisations. It's hard not to point out, however, that it's good that Tyler Hornby - as opposed to anyone else - was in the drummer's chair. I don't recall having had the occasion to hear this drummer prior to this, so a natural question that came to my mind was - why was an imported musician brought into the quartet for this project? After all, Poland has a few drummers now that aren't bad at all. The issue was clarified for me immediately at the beginning of the album, after which I only became more and more convinced that the line-up was ideal for this project. Hornby performs the fundamental tasks of a jazz drummer perfectly, maintaining the rhythmic nucleus of the music with an iron hand, while being constantly active, supportive, and filling out the background with sensitivity and imagination. In tandem with Lemańczyk, Tyler Hornby creates a stable and powerful fundament for Grzywacz and Sikała, leaving them free and unfettered to build their improvisational tales. "Forces Within" is an excellent album, worthy of recommendation to all mainstream jazz lovers. 

Track listing:
1. Right Balance [08:43]
2. Forces Within [06:58]
3. Chinook [06:19]
4. 26-2 [05:39]
5. More Than Four [06:37]
6. Central Park West [05:35]
7. Half an Apple [05:44]

By Robert Buczek

http://www.jazzforum.com.pl/

Kulenty / Masecki - Przeslanie (2006)

Kulenty / Masecki

Michał Kulenty - soprano, alto & tenor saxophones, flute
Marcin Masecki - piano

Przeslanie (2006)

I am great admirer of pianist Marcin Masecki talent. I can recommend to everyone his last album "Chopin Chopin Chopin" (2011) as much as many of his other projects, especially his astonishing piano solo recordings "Bob" (2009) and "John" (2010). Starting back from his latest discs I decided to discover what he recorded in times when I did not know him. I found there true peals like by many regarded as his best album "Live in Mińsk Mazowiecki" (2006) recorded with Garth Stevenson and Ziv Ravitz or "2525252525" (2008) where he was accompanied by Macio Moretti and very talented guitarist Raphael Rogiński. Saying all these positive things I must add that not all his albums which I listened to were equally interesting. It is important to note that there are not among them totally bad recordings. His talent is of such calibre that even on very doubtful projects he can somehow survive. And such is unfortunatekly the case with this album. 

It is typical piano-saxophone duo where Masecki has Michał Kulenty as partner. Kulenty style may be described as lyrical when you like such a music or weepy and sentimental if you (like me) are less interested in such moods. Unfortunately Kulenty style dominates this music which results in yet another sad and gloomy piece of jazzy music while Masecki sharp talons are showed by him very, very rare. The outcome of this meeting is therefore rather disappointing though I admit that for lovers of such "sentimental moods" listening to this album probably could be satisfactory experience as musicianship is great and tunes well-written.

Track listing:
1. Wierność[07:22]
2. Siwy baran, czorny baran[04:24]
3. Klasyczny romantyzm[04:34]
4. Eat Slow, Think Fast, Die Happy...[03:59]
5. Always And Forever[07:31]
6. Żeńże wołki żeń[06:25]
7. Jeszcze chwila[04:03]
8. Strumień miłości[06:06]
9. Wszystko jest możliwe[03:24]
10. Zawieja[06:52]

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

Laboratorium - Zdrowie na budowie (2006)

Laboratorium (band)

Janusz Grzywacz / piano, Fender Rhodes, Arp Odyssey synthesiser
Marek Stryszowski / vocal, alto sax, soprano sax
Paweł Ścierański / guitar
Krzysztof Ścierański / bass guitar
Mieczysław Górka / drums
Wacław Łoziński - flute (11, 12)
Maciej Górski - bass (11, 12)

Zdrowie na budowie (2006)

Laboratorium is legendary band in Polish Jazz and by no accident. In terms of moulding together pop, rock, funk and jazz influences it outpaced all other bands in Poland by light years. Listening to their music is as travel in time when all of sudden one finds itself back in 70ties. Great period generally for Polish culture if not somewhat surprisingly especially when taking into account that it was not then fully independent and democratic country. This travel is made possible by this astonishing disc which issued in 2006 comprises previously unreleased material recorded between 1974-78. Its quality is absolutely stellar! All is perfect here: musicians, tunes, mood. It swings, it rock, it rolls. Like hell! And regardless of years passing... Wholeheartadly recommended!

Tracklisting:
1. Zdrowie na budowie (8:05)
2. Północna samotnia (4:44)
3. Cichy kącik (4:29)
4. Dove (4:40)
5. Brzózka (2:24)
6. Za piętnastą górą (5:30)
7. My z Julkiem (3:06)
8. Madonna z Poręby (7:28)
9. Długie zimowe wieczory (6:05)
10. Złota rybka i lustereczko (6:12)
11. Nowe szaty króla (4:33)
12. Lolokuki (5:18)
13. Euschaustor (6:22)

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

Aga Zaran - Picking Up The Pieces (Cosmopolis, 2006)

Aga Zaryan (Vocals)

Nolan Shaheed (Trumpet)
Larry Koonse (Guitar)
Darek "Oles" Oleszkiewicz (Double-Bass)
Darryl Munyungo Jackson (Drums, Percussion)

Picking Up The Pieces (Cosmopolis, 2006)

While traveling in Poland a few years ago, I visited a music store in Krakow. There was a row of inviting headsets to hear some of the latest offerings of Polish artists. There was a CD with a cover picture of a woman of indeterminate age wearing a turban, so I gave it a shot. The first song was "Day Dream" - and I was floored. Like a potent cocktail mix of Carmen McRae and Shirley Horn with a dash of Susannah McCorkle, I had stumbled onto a rare gem. Could the whole album be this good? Yes it could. A little research shows the singer had won a passel of awards in Poland, and occasionally appeared in the US at small venues like Joe's Pub in NYC, and that she had changed her name from Agnieszka Skrzypek. She's been Jazz Vocalist of The Year in the European Jazz Forum Magazine's yearly Jazz Top readers' poll in 2007, 2008, and 2009. And yet no one in the states knows her. Whenever I play her music for anyone who loves music, they are immediately smitten and say "Where can I buy that?" Alas, her albums are not easy to come by, and it's the world's loss. She's just released her fifth album, this time on Blue Note - and I still can't find it. Amazon, get with the program. This woman may be the best living jazz vocalist and deserves a hearing.

Track listing: 1 Day Dream; 2 Throw It Away; 3 Picking Up the Pieces; 4 Woman's Work; 5 Answer Me, My Love; 6 The Man I Love; 7 Here's to Life; 8 It Might As Well Be Spring; 9 Sophisticated Lady; 10 Suzanne; 11 Tender As a Rose

By Joseph R. Lex Jr. MD

Bartlomiej Brat Oles / Kenny Werner / Marcin Oles - Shadows (Fenomedia, 2006)

Bartlomiej Brat Oles / Kenny Werner / Marcin Oles

Kenny Werner - piano
Marcin Oles - double bass
Bartlomiej Brat Oles - drums

Shadows (Fenomedia, 2006)

According to psychologist Carl Jung, certain aspects of the personality are rarely acknowledged by the conscious mind, but make themselves known symbolically through dreams. One such manifestation, the Shadow, represents attributes that are instinctive and have been repressed. Recognizing the Shadow's presence may help bridge the gap between the Ego and the Self, leading to a greater awareness of one's creative impulses.

Pianist Kenny Werner, whose influential book Effortless Mastery is widely used as a textbook in music pedagogy, has much to add about breaking down the barriers of artistic expression. He believes that an education is a necessary evil that provides the rudiments of technique but also restricts individuality. Mastery offers various methods to eliminate those restrictions, allowing the artist to unmask the secret forces that drive spontaneous creation.

There are no apparent creative obstructions as Werner joins Polish drummer Bartlomiej "Brat" Oles on the latter's recording Shadows, which also features Brat's brother Marcin on bass. Having always wanted to attempt a piano trio album, Brat could not have arranged for a more archetypal proponent of the format than Werner, for whom the trio has long been the group setting of choice.

Brat wrote all of the compositions excluding Marcin's "Green Water," which appeared previously on the bassist's own quartet recording Walk Songs and already sounds like a standard. A fine composer and highly skilled drummer, Brat nevertheless refuses to showboat: Shadows is arguably a platform for Werner, with the Oles brothers providing a typically solid foundation.

This is not to suggest that Werner, a seasoned player who offsets his boundless originality with tasteful restraint, eclipses his bandmates in any way. Few bass players strive for the kind of lyricism with which Marcin performs his solos, and Brat's exquisitely nuanced drumming makes hearing the disc through headphones a must.

A sense of balance between light and dark is maintained throughout the recording; for example, "Good News" navigates a bumpy emotional terrain, but its lively and subdued sections are held together by a sly thematic unity. Whenever the need arises, the group swings something fierce, so it's regrettable that the disc mellows a bit too early; however, this is more a result of track sequencing than of content.

The title of the closing track, "It's Only a Dream," is somewhat ironic given the importance that dreams have to artistic expression; witness surrealism, or virtually the entire medium of cinema. If dreams are where the imagination is free to roam, unbound by the neuroses of the conscious mind, then Shadows is, indeed, only a dream.

Track Listing: 1. Discovery; White Tree; 2. Good News; 3. Green Water; 4. Shadows; 5. Shape & 6. Shade; 7. Blanka Centauri; 8. It's Only a Dream.

By Brad Glanden
http://www.allaboutjazz.com/

Sing Sing Penelope – Music For Umbrellas (Monotype Records, 2006)

Sing Sing Penelope (band)

tomasz glazik - tenor & baritone saxophones, flute, synth 

rafał gorzycki - drums
wojciech jachna - trumpet, flugelhorn
daniel mackiewicz - electric piano, synth, organ, tabla, percussion
patryk węcławek - bass, double bass, kalimba, percussion
sebastian gruchot - violin (track 2)

Music For Umbrellas (Monotype Records, 2006)

This is the 2nd album by the incredible Polish Jazz ensemble Sing Sing Penelope, led by drummer Rafal Gorzycki and also including trumpeter Wojciech Jachna, saxophonist Tomasz Glazik, keyboardist Daniel Mackiewicz and bassist Patryk Weclawek. Violinist Sebastian Gruchot guests on one track. They play all original music, composed mostly by Gorzycki and Jachna or credited to the ensemble. Stylistically this is an incredible mixture of many elements from Jazz, Rock, Ambient, RIO and other areas, completely eluding any attempt of pinpointing or categorization. They are definitely one of the most interesting and most consistently excellent ensembles currently active on the Polish scene, which of course is a major compliment. All these players are excellent instrumentalist, the music is fresh, unusual and truly intelligent, but in spite its complex nature manages to embrace the element of melody, which is often mostly lost in adventurous attempts tried by others. I suppose that if Frank Zappa was alive today, he'd have loved to play with these young musicians behind him, but so would a lot of other great musicians. In any case this, and the other recordings by this group, is a beacon of hope that not all is lost in music in the 21st Century. Absolutely not to be missed!

Tracklisting: 1. Chickens [5:33]; 2. Fis & Love [10:22]; 3. La Couchette [7:53]; 4. Black Minority [7:26]; 5. Walce Bydgoskie [9:20]; 6. Summa Musica [10:16]

By Adam Baruch

http://adambaruch.com/

Jerzy Milian – Milianalia (Polish Jazz Extended Vol.88 , 2005)

Jerzy Milian  - vibraphone], marimba, percussion, strings, harmonium, voice

Milianalia (Polskie Nagrania, 2006)

This is a beautiful solo album by the virtuoso Polish vibraphonist / composer Jerzy Milian, one of the godfathers of modern Jazz in Poland, which was recorded to celebrate his 70th Birthday. Milian started to play in the 1950s and was a member of the legendary sextet led by Krzysztof Komeda, who persuaded him to move from piano to vibraphone. In time Milian became one of the top vibraphone players in Europe as well as an excellent composer with highly personal style. His music was always quite sophisticated and unusual, quite ahead of its time. The early Komeda influence was replaced later on by his own original compositional direction, which flirted with Cool, Third Stream, contemporary Classical and World Music. This album presents eight of his original compositions performed solo on a variety of instruments including vibraphone, marimba and various percussion and string instruments. Not an easy listen, this music requires attentive listening and concentration, since the melodic motifs are quite elusive at times. But altogether this is a charming album, which I enjoy listening to very much. Highly recommended!

Track listing:  A1 Sheik of Urology (2:04); A2 Go down Felix (8:22); A3 Moon Hustler (3:23); A4 Salam-Talam (5:26); B1 Needful Sounds (2:37); B2 Kamikadze - Divine Wind (10:50); B3 Mother-In-Law Pranks (1:08); B4 Blues Holzbein Waltz (4:24)

(Editor) Not from this album but representative for Milian style:

By Adam Baruch

http://adambaruch.com/