Józef Skrzek & Tomasz Szukalski – Ambitus Extended (reedycja: 2008)

Józef Skrzek & Tomasz Szukalski 

"Ambitus Extended" (2008, reedycja)

Józef Skrzek – instrumenty klawiszowe, gitara basowa
Tomasz Szukalski – saksofony: tenorowy i sopranowy, klarnet basowy

Wydawca: Metal Mind Productions

Autor tekstu: Marcin Kaleta

Album ponadczasowy. Znamienity. Unikatowy. Kultowy. Niestety, powszechnie nieznany.

By pojąć jego rangę, potrzeba przypomnieć (lub wyobrazić) sobie PRL z przełomu lat 70. i 80. W tym okresie spotykają się dwaj artyści wybitni, należący wprawdzie do odmiennych światów, niemniej sporadycznie współdziałający. To rówieśnicy: Józef Franciszek Skrzek (ur. 1948) oraz Tomasz Szukalski, ps. "Szakal" (1948-2012).

Pierwszy jest multiinstrumentalistą. Przede wszystkim specjalizuje się w grze na instrumentach klawiszowych i syntezatorach, ponadto gitarze basowej. To założyciel zespołu SBB, wymienianego wśród najistotniejszych w historii reprezentantów rocka progresywnego, eksperymentalnego, symfonicznego. Również kompozytor muzyki filmowej, zwłaszcza do filmów Piotra Szulkina pt. "Golem" (1979) czy "Wojna światów – następne stulecie" (1981). W ogóle postać, która "swoją twórczością integruje pokolenia", nadal aktywna.

Drugi to jeden z największych na świecie saksofonistów. Współtworzył słynne formacje: Zbigniewa Namysłowskiego, Tomasza Stańki, następnie Quartet z Kulpowiczem i Trio z Karolakiem, nagrywając płyty, które obecnie uważa się za najważniejsze w dziejach polskiego jazzu, np. "Winobranie" (1973), "TWET" (1974) czy "Time Killers" (1984). Wspomnieć o nim warto również w związku ze wzruszającym "Zamyśleniem" (2003) kwintetu Wojciecha Majewskiego. Podczas jego solówek, jak wspominał Paweł Brodowski, "ludzie płakali", ale nie stronił przecież od free jazzu.

Skrzek zapraszał Szukalskiego do współpracy kilkakrotnie: w trakcie występów SBB, potem by nagrać własną "Józefinę" (1980), ponadto przy okazji ww. projektów kinowych. Zaczęli wreszcie dawać recitale jako duet. Pisze Michał Wilczyński: "Z tych wspólnych koncertów zrodziła się idea nagrania albumu. Takiego, który zaintrygował i środowisko jazzowe, i rockowe". Tak oto powstał "Ambitus Extended" (zarejestrowany w 1981, wydany w 1983 przez Helicon).

Pod względem stylistycznym jest dziełem konsekwentnym — "wysublimowane fusion", jak to ujęła redakcja portalu Jazzarium.pl. Jednak za każdym razem muzycy kreują inny klimat. Jest zatem tajemnica, jest rozkochanie, tęsknota, zamyślenie, smutek. Występują momenty uwielbienia, niejako modlitewne, uduchowione, dziękczynne. Albo o niesłychanym natężeniu piękna, poruszające i wzruszające. Lecz z drugiej strony mamy iście kosmiczne lub psychodeliczne eskapady. Pomysłowość nie zna tutaj granic, niczym wszechświat.

Różnorodność tę wzmaga dobór instrumentów. Zatem Szukalski gra na saksofonach tenorowym i sopranowym, także na klarnecie basowym, a gdzieniegdzie wydaje się, że sięga... po dudy szkockie. Gra raz lirycznie tudzież subtelnie, to znowu szaleńczo, ekstremalnie. Również Skrzek korzysta z rozległego asortymentu: Fender Piano, Hohner Clavinet D6, Polymoog, Micromoog, a jeszcze pogrywa (zazwyczaj funkowo lub rockowo) na basie. Zawsze czuje i rozumie partnera. Dopełniają się idealnie.

Niemniej mamy do czynienia z syntezą żywiołów: demonicznego Szukalskiego, któremu nic co ziemskie ani ludzkie nie było obce, z anielskim Skrzekiem — zapatrzonym w jakieś oddale, galaktyki bądź zaświaty (proszę zwrócić uwagę na fotografię wewnątrz folderu: mrok spowijający pierwszego oraz światłość promieniująca od drugiego). Jak niesamowity repertuar powstał, podkreślają nawet co poniektóre tytuły: "Słodka Pultyna", "Szczęśliwi z miasta N." czy mój faworyt: "Trąbka i skrzaty wśród kacprowej chaty". A całość zyskuje za sprawą doskonałego pomysłu Metal Mind Production, by w reedycji z 2008 materiał studyjny wzbogacić o nagrania koncertowe.

Karierę tego fenomenalnego tandemu przerwał stan wojenny, wprowadzony 13 grudnia 1981. Nie pierwszy to i nie ostatni przypadek, kiedy czynniki polityczne bądź historyczne utrudniają i/lub uniemożliwiają działalność kulturalną. To trochę dramat naszej ojczyzny. Na Zachodzie rzadko polskie dokonania udaje się spopularyzować. Zawodzą też... rodacy. Porażająca większość po takie nagrania nie sięgnie nigdy. Wybiorą wytwórców mizerii.

Niekiedy aż trudno uwierzyć, że w tym kraju – mimo tak niesprzyjających warunków – powstają równie znakomite dzieła.

Piernik / Zabrodzki - Namanga (2008)

Zdzisław Piernik plays compositions of Piotr Zabrodzki

Zdzisław Piernik – tuba
Piotr Zabrodzki – fortepian, fortepian elektryczny, kontrabas, gitara basowa, organy, ambient
Hubert Zemler – perkusja, wibrafon
Wojciech Konrad – skrzypce

"Namanga" (2008)

Wydawca: Vivo Records

Autor tekstu: Marcin Kaleta

Co ma Piernik do zagrania?

Ha! Wywodzić można by bez końca. Zdzisław Piernik (ur. 1937; podaje się też 1942) jest jednym z najwybitniejszych na świecie wirtuozów tuby, interpretatorem muzyki klasycznej oraz współczesnej. Doceniali go najwięksi kompozytorzy i dedykowali mu własne dzieła, m.in. Krzysztof Penderecki "Capriccio per tuba" (1980) czy Witold Szalonek – oszałamiającą dwunastominutową "Piernikianę per tuba sola" (1977). To dzięki niemu w naszym kraju tuba wyemancypowała się jako instrument solowy.

Nie wiem, kiedy zaistniał w jazzie. Usłyszeć go można już na płycie Jana Ptaszyna Wróblewskiego pt. "Sprzedawcy glonów" (1973), wyróżniającej się chociażby doborowym składem (Szukalski, Muniak, Namysłowski, Stańko, Karolak, Makowicz, Bliziński, Trzaskowski, Nahorny, Seifert, Urbaniak, Suchanek, Bartkowiak, Stefański i kilku innych asów). Co istotne, tubista instrument spreparował i odtąd przeprowadza różnorodne eksperymenty sonorystyczne. Według muzykologa Tadeusza Kaczyńskiego ten na wskroś nowoczesny język składa się z dźwięków "przypominających chrapanie, warczenie, gwizdy, świergoty i piski, niekiedy tak wysokie, że aż trudno uwierzyć, iż można je wydobywać z instrumentu o tak niskim rejestrze".

Na bezdech artysta na pewno nie narzeka. Potrafi tak dopierniczyć, że dęby tańczą. Przekonać się o tym możemy, obcując z albumem "Namanga" (2008, Vivo Records), na którym wykonuje kompozycje Piotra Zabrodzkiego. Ten multiinstrumentalista odpowiada ponadto za fortepian, fortepian elektryczny, kontrabas, gitarę basową, organy i ambient. W co poniektórych momentach towarzyszą im Hubert Zemler na perkusji i wibrafonie oraz Wojciech Kondrat na skrzypcach.

Dziwna to pozycja, zaskakująca i pasjonująca. Awangarda. Na repertuar składa się piętnaście miniatur, trwających od minuty do dwóch i pół. Wyjątkami są "Na Wawelu" (5:28), wreszcie kończący wszystko "Emblema 47 Outro" (11:57). Jednak w tym ostatnim przypadku proszę uważać: po dwóch minutach nastaje zupełna cisza, utrzymuje się przez minut pięć i kiedy wydawać się może, że doszło do pomyłki, doświadczamy furii dźwięków, jakby przebudziło się jakieś dzikie zwierzę. O tym należy uprzedzić zawczasu! Obserwowałem reakcję ludzi, którzy niczego się nie spodziewali. Lecz i nadmienić trzeba, że to fragment wręcz genialny, niewiarygodny zarówno od strony wirtuozerskiej, jak i pod względem inwencji.

W ogóle Piernik dość często szokuje oszalałymi, rozbestwionymi partiami. Wyczytałem, że "jest nieugiętym zwolennikiem tuby jako instrumentu solowego". Przyznaję, wyczynia rzeczy niesłychane i bezkompromisowe. A przy okazji nie jest nudziarzem. Urozmaica występ na wszelkie sposoby. Bywa, że gra spokojnie, medytacyjnie, klimatycznie, liturgicznie. A w innych momentach bez żadnego problemu dotrzymuje tempa rockowym, punkowym czy nawet hard core'owym rytmom. W ogóle to misterium tubisty odbywa się na jakimś speedzie, acz kontrolowanym.

I jeszcze ta oprawa graficzna mizernie opisanej płyty: motywy kolejowe, lokomotywy i torowiska. Zagadka. W każdym razie recenzent, Filip Lech, stwierdził: "Tych dwóch muzyków stworzyło płytę niesamowitą, której nie było w Polsce od wielu lat" i którą "można spokojnie położyć na półce obok »Astigmatic«", oczywiście Komedy. Tym mniej zorientowanym (zawsze w czymś orientujemy się mniej bądź bardziej) tłumaczę, że według krytyków to najwybitniejsza pozycja w historii polskiego jazzu. Znowu zagadka: zasługiwałaby "Namanga" na miano arcydzieła?

***

Zdjąłem ją teraz z półki, by odświeżyć wrażenia. Są identyczne, jak półtora roku temu, kiedy powstawał powyższy tekst. Albo nawet mój podziw wzrósł. Odkładam, jednak tym razem w miejsce, gdzie przechowuję najcenniejsze zbiory.

Józef Skrzek/Tomasz Szukalski – Ambitus Extended (2008)

Józef Skrzek/Tomasz Szukalski

Józef Skrzek - keyboards, bass
Tomasz Szukalski - tenor & soprano saxophones, bass clarinet

Ambitus Extended

METAL MIND 0540



By Adam Baruch

This is a reissue of the album recorded by the duo that brought together two legendary musicians: founder and leader of SBB, bassist/keyboardist Józef Skrzek and one of the Giants of Polish Jazz, saxophonist Tomasz Szukalski, who came to fame as member of ensembles led by Tomasz Stańko and Zbigniew Namysłowski. Skrzek and Szukalski played together on and off since the mid 1970s but in the tense pre-Martial Law period (1980-1981) the duo recorded this album and several other projects together and performed live quite often. This remastered edition of the album was expanded by six previously unreleased live tracks, recorded shortly before the recording of the original album material.

The music was co-composed by Skrzek and Szukalski and mostly improvised on pre-conceived melodic motifs, and features extensive soloing by Szukalski and wonderful keyboards work by Skrzek. Stylistically it moves between Blues, Fusion, Progressive Rock and Jazz, always beautifully harmonic and deeply moving. Szukalski was the absolute Master of melodic improvisation, like his idol Ben Webster, and had no equals on the Polish scene at that time (or even to this very day). His untimely death was a great loss for Polish/European Jazz.

In spite of its minimalistic scope and approach, the album is full of absolutely thrilling musical ideas and virtuosic performances, and remains to this very day a milestone achievement of Polish Jazz/Fusion/Blues-Rock history. This reissue brings back to life a piece of Polish music history and is of course a must have for Polish music fans/collectors.

Janusz Mackiewicz – Frogsville (2008)

Grzegorz Nagorski - trombone
Dariusz Herbasz - saxophone
Dominik Bukowski - vibraphone
Janusz Mackiewicz - bass
Adam Czerwinski - drums

ECNALUMBA 002





By Adam Baruch

This is the second album as a leader by Polish Jazz bassist / composer Janusz Mackiewicz. It is a live recording, which also features saxophonist Dariusz Herbasz, trombonist Grzegorz Nagorski, vibraphonist Dominik Bukowski and drummer Adam Czerwinski, all well seasoned players from the Polish Baltic Tricity scene. The quintet performs seven compositions, six of which are original compositions: four by Mackiewicz, one each by Bukowski and Herbasz and the last one is a Charles Mingus tune.

The music is all well within mainstream Jazz, but the excellent compositions and spotless execution turn it into a very pleasant listening experience, mostly low key and somewhat subdued. The music is definitely not trying to break any new musical ground, but it does represent highly professional well played contemporary Jazz, which is accessible to a wide Jazz audience and should satisfy most regular Jazz connoisseurs all over the world.

In many respects this music has a nostalgic feel of the be bop hay days as captured during the 1950s and 1960s on Blue Note, Prestige and other labels, but with a more contemporary sound quality. This album is definitely worth checking out, especially for Polish Jazz collectors, as it proves beyond any doubt that Polish Jazz musicians can play classic Jazz as well as the guys across the pond.

Oles Brothers – Duo (2008)

Marcin Oles - bass
Bartlomiej Brat Oles - drums

FENOMMEDIA 007







By Adam Baruch

This is a bold and unusual album by Polish Jazz heroes, brothers Marcin Oles (bass) and Bartlomiej Brat Oles (drums) collectively know as Oles Brothers, which presents them as a duo without a participation of any additional musicians. The music consists of ten original compositions: six composed by Marcin, three by Bartlomiej and one being co-composed by them both.

The bass and drums, universally accepted as the rhythm section which stands behind the vast majority of all Jazz activities, is almost never considered being able to produce music on its own, which is evident by almost complete lack of recordings featuring bass / drums duets. In fact there are quite a few solo bass or solo drums albums; some of them even seminal recordings, but in contrast almost no bass / drums outings. The fact that Oles Brothers decided to record such dramatically unusual album is another evidence of the fact that they are definitely much more than just a brotherly rhythm section, but also talented composers, virtuosic performers and Jazz innovators.

Contrary to the expectations which a bass / drums album might suggest, the music is actually deeply melodic. Marcin states the melody line switching between arco and pizzicato and then the duo expands it by improvising and adding a rhythmic line, which often not only supports the melody by also introduces a secondary melodic theme. Both players remain attentive at all time to each other and the rhythmic patterns change often during one piece. The music is delicate, but distinctive, making a statement at all times; there are no fillers or redundant idle moments, its pure music from start to finish, intense, fascinating and deeply moving.

Of course the individual contributions are hardly surprising to anyone familiar with the Oles Brothers output so far; their reputation as Poland's most formidable rhythm section is once more attested herein. It's much more than just superb technique, but more importantly their mutual respect, intelligence and sensitivity, which makes them a marvelous team.

Music connoisseurs should really try out this album, as it is definitely a masterpiece of minimalism, which has very few equals, not only on the Polish Jazz scene, but worldwide. This is a rare gem indeed!

Anna Maria Jopek – Dwa Serduszka Cztery Oczy (2008) ****1/2

Anna Maria Jopek - vocals

UNIVERSAL 602517947825










By Adam Baruch

This phenomenal box set, or rather book set, combines three albums by Polish vocalist / songwriter Anna Maria Jopek (a.k.a. AMJ), recorded over a period of several years in the mid 2000s. It includes the album "ID", a CD full of demos and outtakes which did not make it to be included on "ID" and the live album "JO & CO". Together these three CDs summarize the "ID" period, which was a groundbreaking step in AMJ's development as an artist. Packaged with a marvelous book full of black & white photographs of AMJ and the participating musicians, elegantly designed and exquisitely printed, this is a piece of Art in every sense of the word.

Surrounded by a group of wonderful musicians form Poland and the world over she performs mostly self-written songs, mixing Jazz and World Music with the typical Polish melodic / lyrical atmosphere, which dominates the proceedings. The list of world famous musicians participating on "ID" is most impressive and includes saxophonist Branford Marsalis, bassists Christian McBride and Richard Bona, drummer Manu Katché, percussionist Mino Cinelu, oud player / vocalist Dhafer Youssef, guitarist / vocalist Oscar Castro Neves and pianist Tord Gustavsen. Polish musicians include keyboardist Pawel Bzim Zarecki, guitarists Marcin Kydrynski and Marek Napiorkowski, pianist Leszek Mozdzer, trumpeter Robert Majewski, pianist / arranger Krzysztof Herdzin, who is in charge of the string quartet and orchestral arrangements (performed by the Sinfonia Viva Orchestra). The live album includes also organist Jan Smoczynski, saxophonist Henryk Miskiewicz, bassist Robert Kubiszyn and drummer Pawel Dobrowolski.

The music presents a complex panorama of sounds and ideas, which include many cross-genre excursions, vocal experiments, poetic vistas and intimate dialogs between the Artist and the world that surrounds her. AMJ has one of the sweetest voices on this planet and her big artistry is all about not to make sugary music, which would be quite natural for many other singers. She also has an incredible sense of rhythm in general and Jazzy swing in particular, which is quite rare. Her affinity to music originating beyond her native Polish / European sphere of influence is also quite remarkable. All these, combined with her unique expressionism as a singer and delicate, elegant, intricate vocal delivery make her one of my favorite singers of all times.

AMJ enjoys a superstar status in Poland, which usually is a sign of tasteless commercialism and total lack of any artistic values. Her ability to be extremely popular and at the same time produce first class music is therefore especially impressive. Although some snobbish Jazz circles in her country deem her commercial and populist, this is simply completely unjustified and probably a sign of narrow-mindedness if not worse. I find it hard to believe that anybody listening to this music would feel anything but total admiration, as it is simply perfect.

Krystyna Stanko – Uslysz Mnie (2008)

Krystyna Stanko - vocals
Jacek Krolik - guitar
Piotr Zaczek - bass
Piotr Lemanczyk - bass
Piotr Krolik - drums

POLSKIE RADIO 1125




By Adam Baruch

This is the fourth album by Polish singer / songwriter Krystyna Stanko, which marks an end of the initial phase of her career during which she tried to establish a unique identity, both as a songwriter and a singer. All through that phase she moved between Pop, Alternative Rock and even Jazz-Rock Fusion and recorded three albums with two different groups she was part of at the time and finally recorded this, her "real" debut solo album. The album presents twelve songs, eleven of which are original creations by Stanko (lyrics and music) and the last one is a tribute to the great Polish Jazz pianist / composer / arranger Andrzej Kurylewicz, who wrote this beautiful lullaby to the words of Polish National Poet Adam Mickiewicz, which was previously magnificently performed by the great Niemen.

The album was recorded during two separate recording sessions, almost a couple of years apart. Stanko is basically accompanied by a trio: guitarist Jacek Krolik, bassists Piotr Zaczek (electric) or Piotr Lemanczyk (acoustic) and drummer Piotr Krolik with five additional musicians contributing occasionally on several tracks. In spite of this rather limited instrumental accompaniment, the overall result is beautifully coherent and sounds complete as it is. Her vocals are the focus of this album, and rightly so, as her vocal abilities, her intelligent treatment of the lyrics and her emotional range are all of star quality, in evidence of her coming of age as an artist and a vocalist.

But the most amazing thing about this album is of course the quality of the original songs, all of which are excellently crafted musically and adorned by meaningful, sometimes witty and always sincere lyrics, which are extremely rare these days. Stanko doesn't hold back and dares to touch on painful subjects and deeply personal feelings about human relationships and even political / social issues, reminiscent of the protest songs of the 1960s. In complete contrast to the brainless lyrics the showbiz and media use to brainwash the human race, these songs really have something to say.

In retrospect one might lament the fact that Stanko did not (yet) repeat this format, i.e. writing lyrics and music herself, in her next albums, hoping that this will be remedied soon. Her decision to move into the Jazz & Poetry realm is now completely understandable of course. This album lost nothing of its charm and freshness over time. It's probably less perfect than her later recordings, but who cares; this is a beautiful collection of superb songs, which should make any listener happy. Grab it before it disappears forever!

Olbrzym I Kurdupel – Frrrr… (EP) (2008)

Tomasz Gadecki - saxophone
Marcin Bozek - bass guitar

PRIVATE EDITION







By Adam Baruch

This album the debut recording by the Polish Avant-Garde Jazz duo Olbrzym I Kurdupel or saxophonist Tomasz Gadecki and bassist Marcin Bozek. It includes six original pieces, which time in total just under half an hour and therefore counts as an EP, although it also includes a video of a live performance by the duo, which also times at about half an hour hence one could call it an enhanced EP.

Recorded a short time after the duo met and started to play together, this album is less adventurous than the material they recorded later on for their next full album, with the pieces based on predetermined themes, but already explores the ideas of spontaneous improvisation and composition. Saxophone and bass (electric bass in this case) are quite an unusual pairing, with few examples that one can draw comparisons to, which is all for the best, as they are quite an unique phenomenon. Gadecki plays very much in the early Free Jazz tradition with long, convoluted lines and progressions, while Bozek adds series of rapid pulsations during the up-tempo numbers or reserved bass chords on the more lyrical pieces. There is still a strong melodic feeling, although melodies are not played per se.

There is an obvious empathy and mutual respect, which make this music tick, apparent in the way the two musicians listen to each other all the time with great sensitivity and complement each other musically. It is certainly heartwarming to find such amount of open-mindedness and experimentation these young musicians are blessed with. Olbrzym I Kurdupel is just one of many Avant-Garde Jazz ensembles active in Poland and the fact that such music is thriving there is truly amazing considering that the world at large is steadfastly plunging into moronic anti-music.

Definitely worth exploring, although quite difficult to find as it was not commercially released. Free Jazz buffs will have a field day listening to this one!

Aga Zaryan – Live At Palladium (2008)

Aga Zaryan - vocals
Larry Koonse - guitar
Darek Oleszkiewicz - bass
Manyungo Jackson - percussion

COSMOPOLIS 081/082/083







By Adam Baruch

This is the fourth album by Polish Jazz vocalist Aga Zaryan and her first live recording, captured at the Warsaw's Palladium club. She is accompanied by a trio of excellent musicians: guitarist Larry Koonse, bassist Darek Oleszkiewicz and percussionist Munyungo Jackson, who all participated in the recording of her second album "Picking Up The Pieces", recorded a couple of years earlier in the USA. The album comprises of thirteen tracks, spread over two CDs and a DVD with the video of the concert, which has the same musical content and some bonus material with artists' interviews. The music originates mostly from the second album, with a couple of earlier songs form the debut album, one instrumental piece, which opens the concert and one previously unrecorded song (by Stevie Wonder), which closes it.

It takes balls of steel (especially for a woman) to face a large crowd and being able to mesmerize it with such a delicate music, which is based on aesthetics and finesse and requires total silence and complete attention from the listener. There are but a few female vocalists able to perform such magic on stage and Zaryan is certainly at the very top of this exclusive guild. The three master musicians accompanying Aga deserve of course a large piece of the praise, especially Oleszkiewicz, since lengthy parts of the concert are simply duets between him and the singer. His playing is way beyond virtuoso bass performance; it is simply the vehicle carrying this entire show on his shoulders. His empathy and telepathic conversation with Zaryan and the other musicians is simply sensational.

Zaryan's performances are simply breathtaking from start to finish. She is much more adventurous here than on the studio albums, using her full vocal range as well as creating a panorama of sound effects using her voice. Her total control of tone, expression, volume and theatrics is masterful, as is her ability to switch moods and atmosphere. She simply holds the audience at the palm of her hand.

Although the album brings little new material, it summarizes perfectly the first phase of Zaryan's career, where she concentrated on her vocal interpretations of Jazz standards. The next phase, which started with the third album, was about to expose her also as lyricist and a Jazz and Poetry artist, taking her right up to the very top of the Polish Jazz scene. When the legendary Blue Note label signed Aga Zaryan as its recording artist, it was a culmination of the first decade of her career, well earned and truly deserved, as this album proves beyond any reasonable doubt.

In retrospect this is a wonderful document, a time capsule preserving magic moments, which are always associated with sublime pleasure, when revisited. I simply can't imagine anybody could resist Zaryan's charm and talent for long, so give in and grab this crown jewel as soon as you can – satisfaction guaranteed!

Tomek Gwinciński with Krzysztof Gruse, Nonlinear Ensemble - P. Und Der Wolf & Bromberg Schule / Szkoła Bydgoska Tom 2 (2008)

Tomek Gwinciński with Krzysztof Gruse, Nonlinear Ensemble

narrator 1 - Tomasz Gwinciński
narrator 2 - Paweł Passini
NonLinear Ensemble directed by Tomek Gwincińcki
solist: Tomasz Pawlicki - flet/fortepian

 P. Und Der Wolf & Bromberg Schule / Szkoła Bydgoska Tom 2 (2008)

By Maciej Nowotny

Tomasz Gwinciński is one of the most imporatant musicians in yass - a serious avantgarde movement in Polish music in 90ties last century. His collaborations with Jerzy Mazzoll in such bands as Niebieski Lotnik or Arythmic Perfection belong to most forward thinking in a whole of this movement. He was also important member of legendary bands of that era called Maestro Trytony (check "Heart Of Gold" or "Enoptronia") and later Łoskot ("Sun"). Looking back this bands influenced heavily present avantgarde renaissance in young Polish music showing that it is possible to say something fresh without being limited to any specific music genre but rather through unfettered usage of all available inspirations, be it free jazz, classical music, music or punk rock (typical for yass, yet it could be anything else for new generation of young artists who relate to this movement).

This project can very well be seen in this perspective since as other Gwinciński enterprises it is something fresh and totally unexpected. It is really difficult to define it. I see affinities with works of Viennese avantgarde of the beginning of previuos centrury (Schoeberg, Berg, Webern) and/or works like for example "Rake's Progress" by Igor Stravinsky. It may be described as kind of transformed opera or radio play with narration recited by Gwinciński and Paweł Passini in German! This narration is something between fable, twisted philosophy or musicology lecture. 

Up to this moment it sounds intriguing but unfortunately (now there is a time for my personal opinion!) it doesn't work as well as it was devised. First, unlike in case of Viennese School music here is too simple, shallow really, to be able to sustain listener's attention for approximately an hour. Second, and most important, this project shares vices of so many avantgarde projects: it is uncommunicative. It is difficult to imagine who will be its recipient? Poles will not understand it because it is in German. Germans do not have an idea it exists at all. International audience? I doubt it will reach for this album after reading my text. Why therefore do I write about this record? Obviously I am as crazy as this music is...

Janusz Zdunek / Marienburg – Miasto Nic (2008)

Janusz Zdunek - trumpet
Mariusz Godzina - bass clarinet
Ireneusz Kaczmar - bass
Rafal Baca - drums

OKNO 102







By Adam Baruch

This is the 2^nd album by Polish trumpeter / keyboardist / composer Janusz Zdunek and his ensemble Marienburg, which usually includes bassist Ireneusz Kaczmar and drummer Rafal Baca, but here also includes the bass clarinet player Mariusz Godzina. The seven tracks on the album were all composed by Zdunek.

Faithfull to the principles of the Yass movement, which flourished in Poland in the 1990s and still has a significant following today, Zdunek creates instrumental music which mixes elements of Jazz, Rock and other genres, which serve as a foundation for expanded improvisation, which in turn is kept well within the basic melody lines and original chord changes. The rhythmic patters are often funky and even danceable (well, depending of how many substances were consumed) but always stable and repetitive, with minimal, if any, change within one particular tune. The intrinsic tension between the rigid framework and the improvised motifs is basically what makes this music tick.

Zdunek is obviously a very proficient trumpeter and his technical skills are remarkable, but this kind of music makes it difficult to fully appreciate them. This music is more about atmosphere and ambience than outward expression, and should be accepted for what it is.

This kind of music usually divides the audiences into the love it / hate it camps with very few listeners left in the limbo, which is perfectly fine. So if you know this music and belong to any of the a.m. crowds, there is little that can be added here. If you don't know this music, you owe it to yourself to try it out, in case it's exactly what the doctor prescribed in your case.

Robert Czech / Sound Smugglers – Robert Czech / Sound Smugglers (2008)

Robert Czech - keyboards
Jacek Mielcarek - saxophone
Maciej Paszek - bass
Marek Sochacki - drums
guests:
Krzysztof Scieranski - bass
Bernard Maseli - vibraphone
Marek Raduli - guitar
Karolina Glazer - vocals

PRIVATE EDITION

By Adam Baruch

This is an album by Polish Jazz keyboardist / composer Robert Czech and his ensemble Sound Smugglers, which includes on this album as core members saxophonist Jacek Mielcarek, bassist Maciej Paszek and drummer Marek Sochacki. Many additional musicians participate as guest artists on some of the tracks, including Polish Jazz icons such as bassist Krzysztof Scieranski or vibraphonist Bernard Maseli. Czech wrote all the ten compositions included here, one of which also features vocals by Karolina Glazer.

Stylistically the music is mostly contemporary Fusion, with strong melodic statements and intervals of extended improvisations, all of which are done professionally and spotlessly. Most impressive solos are delivered by guitarist Marek Raduli and it's a pity he is not featured on more tracks. Although there are no innovations or groundbreaking statements here, this is a very well done mainstream Fusion, which should be enjoyed by all Fusion enthusiasts anywhere in the world.

This kind of music often very easily crosses over to clichés and pointless doodling, which fortunately is successfully avoided here. Therefore although on the lighter side of the Jazz spectrum, this is definitely music worthy of being listened to both for its quality and fun value.

Zbigniew Namyslowski Quartet w/Joachim Kuhn - Live at Kosmos, Berlin (2008) by Adam Baruch

Zbigniew Namyslowski Quartet w/Joachim Kuhn

Zbigniew Namysłowski - alto saxophone
Joachim Kuhn - piano
Janusz Kozlowski - bass
Czesław Bartkowski - drums

Live at Kosmos, Berlin (2008)

This is an iconic recording by the Polish Jazz quartet led by saxophonist Zbigniew Namyslowski, with German pianist Joachim Kühn, bassist Janusz Kozlowski and drummer Czeslaw Bartkowski. Recorded live on November 30, 1965 at the East Berlin Kosmos cinema, this is a quintessential piece of Polish and European modern Jazz history. Of the eight compositions present on this album, seven are by Namyslowski and one is by Kühn.

In order to fully comprehend the meaning of the music captured here, one must in fact look at (and hear) three separate recordings by the Zbigniew Namyslowski quartet spanning a mere one and a half year period, which fully present the history of the Polish Jazz in the making. Starting with the album "Lola", recorded in August 1964 in London, which was the first Jazz album recorded and released beyond the Iron Curtain by an East European artists, followed by this album from late 1965 and finally by the album "Zbigniew Namyslowski Quartet" recorded in January 1966, which was Namyslowski's first recording released as part of the legendary "Polish Jazz" Series.

In the liner notes accompanying this album German critic / historian Bert Noglik describes the historic background and the enormous significance of the modern Polish Jazz, which developed independently, almost isolated from the sources of information and influences, reliant only on sporadic radio broadcasts, few LPs trickling illegally and played till they were flat and ever rarer visits abroad. The fact that the Polish Jazz scene was so incredibly vibrant, inventive and beyond all revolutionary is one of the greatest miracles, which escape any attempt of logical or sociological explanation. But the fact remains that Namyslowski and many other Polish Jazz musicians spontaneously re-invented modern Jazz by daring to go where nobody ventured before.

The presence of the German pianist / composer Joachim Kühn is another fabulous bonus. Kühn would of course become one of the great leaders of the German Jazz scene in the years to come, but first he drifted where the great East European Jazz revolution was happening, living in 1964 in Czechoslovakia and playing with the legendary SHQ led by Karel Velebny and then moved to Poland, where he lived in 1965 and met Namyslowski, only to be invited to sit in the piano chair of his quartet. The following year Kühn, like many other fellow East German musicians, would move over to the West and develop a fabulous musical career of his own.

The music is, of course, absolutely brilliant and the live setting allows for a considerably less constrained treatment of the themes, allowing for truly expanded improvisations, one of which goes beyond the half hour mark, something which was completely unthinkable earlier on. Again, when examining the three a.m. albums, it is interesting to see how the same compositions developed, which of them survived and which were dropped and most interestingly noting Namyslowski's fascination with odd meters, which would become his trademark.

Drummer Bartkowski, who is the only musician present on all the three a.m. recordings alongside Namyslowski, is an outstanding example of how these young musicians developed rapidly, almost overnight. His contribution is an integral part of the music. Bassist Kozlowski, who plays on this album, was also present on the studio album recorded a few months later. His performance is also absolutely top notch.

Surprisingly enough, the sound quality is very decent compared to other archival recordings of that period, which enhances the overall experience of listening to these fabulous recordings. In all honesty there have been very few other archival Polish Jazz discoveries, if any at all, which are comparable to this monumental document. The fact that this music was buried for over forty years is a crime, but now that it finally sees the light of day, all serious music connoisseurs should be absolutely delighted. Such gems are as rare as the Koh-i-Noor and should be treated accordingly. Absolutely essential! 

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

Tracklisting: CD1: 1. Rozpacz, 9:55 2. Bye Bye Black Cat, 7:55 3. Balbina, 9:04 4. Der Letzte Tag, 10:45 5. Szafa, 9:00 6. Blues Shmues, 7:02 CD2: 1. Piatawka, 16:28 2. Straszna Franka, 30:23 

Górczyński, Piernik - Energa (2002); Piernik, Zabrodzki - Nemanga (2008)

Górczyński, Piernik (duo)

Michał Górczyński - tenor saxophone, clarinet, flute
Zdzisław Piernik - tuba

Energa One (2002)

Piernik, Zabrodzki 

Zdzisław Piernik - tuba
Piotr Zabrodzki - piano, electric piano, doublebass, bass guitar, organ
Hubert Zemler - percussion, vibraphone
Wojciech Kondrat - violin

Namanga (2008)

Let us be frank: Polish artists, including musicians, are rather conservative persons. Few among them are really creative. Few dare to be mad, crazy, twisted. Yet great music usually needs some of those features to happen. That's why it is relatively so rare and consequently so precious. Going back to Polish music, especially jazz, few such personalities ever existed in this country. Who comes to my mind? Stańko, first of all, is among those gifted as much musically as spiritually. Few others indeed, to greater or lesser extent, like Tomasz Szukalski or Andrzej Przybielski. Many more in so called yass movement including Tymon Tymański, Jerzy Mazzoll, Jacek Olter or Mikołaj Trzaska to name just a few. Zdzisław Piernik should be included among them although he stands alone as part of no movement. He was always dedicated to improvisation in music. Uncomproming in this attitude he has become legendary over the years inspiring new generation of musicians to take alternative route in jazz, the route towards spontaineity, towards freedom. Looking from these perspective two of recent recordings by Zdzisław Piernik with very young muscians are interesting to us: 

"Energa One" is duo where Piernik as usual plays on tube while young Górczyński on saxophone, flute and clarinet. Everything here is pure improvisation. No melody keeps direction of this music. It is therefore no wonder that an outcome of such an adventure is mixed. Sometimes it is pure chaos which I find difficult to digest (even for my rather free jazz inclined ears!) but there are moments, especially in second part of this album, that compensate for such a pain with beautiful music indeed. It is a pity that whole album is not at this level! All in all, this is definetely fresh yet at moments too incoherent music. (By Maciej Nowotny, http://kochamjazz.blox.pl)

As for "Nemanga" please ready this text by Danny (http://killedincars.blogspot.com):

"(...) Polish jazz does it again. The entanglements that build the line-up of this album are rather complicated. Apparently, it's Zdzisław Piernik that's the leader of the group and the tuba player. Apparently, he's conducting/leading/performing Piotr Zabrodzki's music. But, apparently, Piotr Zabrodzki is also in the group, playing piano, electric piano, doublebass, bass guitar and organ. There are a few other players around, with instruments ranging from vibraphone to violin. Anyway, the tuba is definitely the highlight here, as it is processed, digressed and distressed into sounds that some times evoke Prokofiev's mysticism, other times throw you into a melange of Krzysztof Komeda and Mikołaj Trzaska, suggest what Supersilent would sound like if they were actually good, or remind us of last year's excellent EAQuartett. Oh, if we've mentioned that one - yes, it has a plus compared to it, a big plus: way more creativity. A minus? The production is not as good.(...) For fans of: "We don't know if this is jazz, classical music, electroacousic improvisation or a chamber music rehearsal." 

Hardcore:


and less explosive:

Jacek Kochan - Man of No Words (Gowi, 2008)

Jacek Kochan - drums, electronics, additional bass

Gary Thomas - tenor saxophone
Dominik Wania - piano
Michał Barański - bass

guests:
Andrzej Bauer, Adam Simmons, Dag Einar Eilertsen, Marek Konstantynowicz, Michał Moc, Krystyna Stańko, Kuba Badach 

Man of No Words (Gowi, 2008)

Polish drummer / composer / arranger Jacek Kochan is one of the country's most active music leaders with an impressive and prolific career in both Jazz and contemporary experimental music. Kochan spent considerable periods of time living, studying and performing in the USA and Canada and upon his return to Poland in the mid 1990s he swiftly established his position as a central figure on the local scene. Since then he recorded a considerable number of albums as a leader, co-leader and sideman with many musicians from around Europe and the US as well as local musicians of course. This is a document of one of such projects, which features alongside the leader the US saxophonist Gary Thomas with excellent young Polish pianist Dominik Wania and bassist Michal Baranski. This quartet is expanded on several tracks by guest musicians playing various instruments or vocalizing. 

All the music on the album (ten listed and one unlisted "hidden" track) was composed and arranged by Kochan and presents his talents as a composer in their full glory. The music is a mixture of contemporary, melodic mainstream Jazz, with some almost contemporary Classical music arrangements on one hand and a lot of free space on the other, which allows for expanded improvisations by the soloists. Kochan's brilliant and as usual completely unusual drumming and his electronic sound effects complete the overall sound and atmosphere, which is full of tension and sense of urgency, which keeps the listener on edge at all times. Thomas and Wania play breathtaking solos and the entire ensemble sounds completely focused around the convoluted melody lines and tricky rhythm patterns, which just keep coming at the listener mercilessly. Listening to this music attentively is so intense, that one feels actual physical exhaustion by the time the music is over, as a result of the effort to get it all in one take. This music exists beyond any reasonable categorization, being intrinsically completely cross-genre. Jazz buffs and contemporary Classical music connoisseurs might find this to be just the cup of tea they love. In any case this music is simply too good to be ignored and if it happens to be available, should be consumed at once. Brilliant stuff!

Sample of music from this album may be found here: http://www.myspace.com/jacekkochan/music/songs/man-of-no-words-45866399

Example of music from Jacek Kochan latest projects:

Tracklisting:
1. Absynthminded
2. Man of No Words
3. Manufactured Edge
4. Guru Bob
5. Authorized Future
6. Pre-smoked Cigarettes
7. Kowloon
8. Absinthe
9. Acidminded
10. World of Shined Shoes

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

Pink Freud - Alchemia (2008) by Adam Baruch

Pink Freud (band)

Wojciech Mazolewski - bass, percussion
Tomasz Ziętek - trumpet
Tomasz Duda - saxophone, bass clarinet
Marcin Masecki - Hammond B3, Wurlitzer electric piano
Kuba Staruszkiewicz - drums

Alchemia (2008)

This is the 6th album by Polish ensemble Pink Freud, which managed to gain considerable popularity on the local scene, both with Jazz and non-Jazz listeners and critics alike. Formed in 1998 by bassist / composer Wojciech Mazolewski, the group changed its lineup several times over the years but succeeded to maintain its popularity and gradually achieved a cult following and a large fan base. Musically the group offers a unique amalgam of genres and musical directions, originating with Jazz and improvisation, but also encompassing elements of Punk Rock, dub, jungle, drum and bass and electronic music. 

In many respects it is a direct continuation of the Yass movement, which flourished in Poland in the 1990s, and could be referred to as post-Yass. Since Yass was initially intended as an expression of rebellion against the established Jazz canons, which many young musicians felt to be stagnant, post-Yass took the rebellion a bit further out, emphasizing the cross-genre trend, groove and even dance elements, which resulted in the music being much more widely accessible. As opposed to the intellectual image that Jazz is usually associated with, this music is intelligent fun music, with some Jazz associations, and should be treated as such, no more and no less. 

This album, which was recorded live at the legendary Jazz club "Alchemia" in Krakow, finds Pink Freud in an expanded quintet lineup, with trumpeter Tomasz Zietek and drummer Kuba Staruszkiewicz supported by saxophonist Tomasz Duda (who recorded with the group earlier) and brilliant young keyboardist Marcin Masecki. Five of the six expanded tracks (all over 10 minutes long) on this album are originals by the band members and the remaining one is their interpretation of a Joe Zawinul tune. In many respects this album is a "back to the roots" experience for the band, which returns to extensive Jazz improvisation, which although always present at the root of their music, was often subdued on their previous albums. The special atmosphere and ambience of the club and above all the presence of Masecki transform the band into a full-fledged Jazz combo and a great one at that. The trumpet / saxophone front line enables the players to stretch out, supported comfortably by a full rhythm section, with Masecki supplying some breathtaking solo spots as well. The emotional and more importantly musical level of the band heard here surpasses everything they managed to achieve earlier, and is truly exquisite. True to their basic approach, the band emphasizes personal expression and spontaneity rather that elaborate skills or scholarly musical background. For listeners, who can appreciate such approach to music, this is quite an experience. But this music is important enough to be heard by any music connoisseur and definitely should be re-visited for in-depth listening experience. Great stuff!

Tracklist:
1 Police Jazz 12:30
2 Punk Freud 11:29
3 Mademoiselle Madera 10:05
4 Muzyka Pięciu Przemian 10:45
5 Boogie Woogie Waltz 13:50
6 Rozmowy z Kapokiem-Noc 9:57

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

Piotr Damasiewicz - Mnemotaksja (2009)

Piotr Damasiewicz – trąbka

Gerard Lebik – saksofon tenorowy
Maciej Garbowski – kontrabas
Wojciech Romanowski – perkusja

Mnemotaksja (2009)

It was in 2007 that this avant-jazz quartet first met. The unique acoustic setting and atmosphere of a neo-baroque Baptist church where the music was created, have become an inspiration to discovering a new quality of sound and creating a finished composition. The quartet’s music contains both fixed, composed parts and improvised shifts from the formal structures to a collective free dialogue. In July 2008, the formation recorded an album entitled Mnemotaxis. The music on the album is a summary over a period of three years of the artistic development of the band’s founder – Piotr Damasiewicz – who at the time was mainly connected with the improvised music environment in Wroclaw. Mnemotaxis is a concept created by the leader, which – in an arbitrary and allegoric way – refers to potential human abilities that condition their survival in the surrounding reality. It also refers to the leader’s individual perception of his own spiritual journey.

Music sample: http://en.piotrdamas.com/mnemotaksja

Krzysztof Komeda – Wyrok – Soundtrack From Jerzy Passendorfer Movie (2008)

Krzysztof Komeda (composer)

Wyrok – Soundtrack From Jerzy Passendorfer Movie (2008)

Although primarily identified as the soundtrack composer of the movies directed by Roman Polanski, Polish pianist / composer Krzysztof Komeda cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country's intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. Komeda's soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. 

The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz Stanko, saxophonists Zbigniew Namyslowski and Michal Urbaniak and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. All the albums with Komeda's soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda's tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtrack of the movie "Wyrok (The Sentence)" by the director Jerzy Passendorfer. Brilliant stuff!

Track Listings:

1. Typish Jazz
2. Light motif
3. Intro - sax
4. Kocia muzyka (Cats' music)
5. Dancing
6. Serenada
7. Swing
8. Light motif - piano
9. Kocia muzyka (Cats' music)
10. Flute - part 1
11. Flute - part 2
12. Light motif - piano
13. Typish Jazz
14. Light motif - piano
15. Typish Jazz
16. Intro - piano
17. Flute - part 3
18. Light motif - sax
19. Light motif - piano

By Adam Baruch
www.adambaruch.com

Krzysztof Komeda – Bariera – Soundtracks From Jerzy Skolimowski / Janusz Nasfeter Movies (Power Bros, 2008)

Krzysztof Komeda (composer)

Bariera – Soundtracks From Jerzy Skolimowski / Janusz Nasfeter Movies (Power Bros, 2008)

Although primarily identified as the soundtrack composer of the movies directed by Roman Polanski, Polish pianist / composer Krzysztof Komeda cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country's intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. 

Komeda's soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz Stanko, saxophonists Zbigniew Namyslowski and Michal Urbaniak and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. 

All the albums with Komeda's soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda's tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtrack of the movie "Bariera (Barrier)" by the director Jerzy Skolimowski and the soundtrack of the movie "Niekochana (Unloved)" by director Janusz Nasfeter. Brilliant stuff!

Track listing:

1-17. Bariera 31:03
18-21. Niekochana 8:03

By Adam Baruch
www.adambaruch.com

Kormorany - Miasto (2008)

Kormorany (band)

Krzysztof "Konik" Konieczny - viola, git. elektryczna
Jacek "Tuńczyk" Fedorowicz - git. el., bass, bass bezprogowy
Piotr "Bluesman" Jankowski - gitary elektryczne
Artur "Gaja" Krawczyk - perkusjonalia, melodyka

Miasto (2008)

Although I am living in Warsaw for more than 25 years I was born and still feel in my heart to be from the city of Wrocław. Located in south-west of Poland, former German Breslau, Wrocław is one of the most beautiful places in Poland. Most importantly it has unique character unlike any other city in Poland: people are merry, open and they cherish all forms of cultural life. Among them no least important is music which in Wrocław fluorishes in every possible form. 

The history of band called Kormorany is good example of that. It was created mid-80ties in direst hours of post-martial law times as kind of reaction to the feeling of seclusion and hopelessness which dominated those times. It was less a band but more kind of movement of very young people (I was one among them) who share the same feeling of absurdity of world as created by communist government. It was therefore at the date of its conception free, rebellious and yet self-ironic. It also had a social nature which is rather rare in Poland, country of individualists.

All these features ensured that music played by Kormorany became creative enough to develop itself over the course of so many years and well after political system has changed as well as whole reality which surrounds us. Perhaps the lasting feeling of absurdity which still lingers in Poland regardless it is now fully capitalist helped Kormorany to survive? In any event their personnel and music evolved from its punk rock roots to modern European improvised music which draws as much from folk as from free jazz and any other source of fresh ideas in world of soundz. Thanks to such attitude it remains one of most inspiring bands on Polish scene for years...

Tracks Listing: 1 Budzik 3:47; 2 Majaki 4:13; 3 Pierwsze kroki 4:03; 4 Miasto 4:51; 5 Trójkąt bermudzki 3:24; 6 Po godzinach 1:38; 7 Dziennik 12:10; 8 Kanaliza 2:18; 9 Wojna 5:37; 10 Zgliszcza 0:49; 11 Na drugi dzień po końcu świata 5:31

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