Jerzy Małek – "Forevelle"

Jerzy Małek 

Jerzy Małek – trąbka
Dominik Kisiel – instrumenty klawiszowe
Krzysztof Łochowicz – gitara
Andrzej Święs – kontrabas
Sławomir Koryzno – perkusja
Maciej Kądziela – saksofon altowy (utwór nr 3)

"Forevelle" (2016)

Wydawnictwo: Kayax

Autor tekstu: Marcin Kaleta

— Nie pracujesz już?

— Idę tu, bo u ciebie ładnie gra.

No właśnie. Ilu muzyków potrafi tak zawezwać i zjednać, wręcz uwieść słuchaczy czy dokładnie: słuchaczki? Jerzy Małek na płycie "Forevelle" (2016) na pewno. W końcu o sobie twierdzi: "ja gram głównie dla pań". Mógłby konkurować z Chetem Bakerem.

To wyżej stanowi oczywiście żart, niemniej faktycznie gra łagodnie, uspokajająco. Jednak nie trywialnie czy banalnie, nie są to też melodie, tylko opowieści. Nie tworzy w nich "nastroju", lecz rozpościera aurę dźwiękową, przemawiającą całokształtem: sugestywną trąbką osadzoną na znakomitym podkładzie instrumentów pozostałych członków jego drużyny, którzy nie asystują a współdecydują o jakości. Jak tłumaczy autor: "Od pewnego czasu pracuję nad ukonstytuowaniem nowego brzmienia swojej twórczości, które jest niczym innym jak tworzeniem pewnego rodzaju kodu harmoniczno-melodycznego – żeby utwory były sugestywne pod względem bardzo konkretnego, indywidualnego emocjonalnego przekazu. Nieprzerwanie fascynuje mnie wyszukiwanie korelacji akordów, tonacji brzmień z emocjami i uczuciami".

Istna magia, którą zawdzięczamy: trąbce lidera, gitarze Krzysztofa Łochowicza, instrumentom klawiszowym Dominika Kisiela, kontrabasowi Andrzeja Święsa, perkusji Sławomira Koryzny oraz w jednym utworze (3) saksofonowi altowemu Macieja Kądzieli. Tych utworów mamy natomiast siedem, wszystkie skomponował Małek. Chociaż brzmią przyjemnie, nie są proste. "Prawda jest taka, że kocham piękno. Piękno odczuwam jako symetrię wszelkiego rodzaju proporcji, nie tylko w muzyce, ale także w innych formach sztuki oraz w otaczającym mnie świecie. A zatem interesują mnie także niuanse złożoności".

W ten sposób powstaje muzyka niezwykle wyrafinowana. "Bardzo sugestywna w przekazie – ma konkretną melodykę, kontekst harmoniczny i rytmizację. Jest to muzyka formy, bo ja jestem artystą formy". To powinno dobrze się kojarzyć wszystkim zainteresowanym literaturą.

Tych albumów Jerzy Małek wydał już kilka i wszystkie wydają się przyjemne, a co też ważne, doczekały się pozytywnych recenzji. Tę pozycję zaś przypominam, gdyż jako prezent dla naszych pań jest idealna, przez co i my, panowie, podwójnie zyskujemy podczas odsłuchu.

***

Wszystkie wypowiedzi trębacza pochodzą z wywiadu przeprowadzonego z nim przez Michała Dybaczewskiego pt. "Wielki magnes i kompas", [w:] "Jazzpress" 2021, nr 11.

Joanna Słowińska / Sinfonietta Cracovia / Stanisław Słowiński Quartet - Zielnik Polski (2016)

Joanna Słowińska/Sinfonietta Cracovia/Stanisław Słowiński Quartet

Joanna Słowińska - vocals
Stanisław Słowiński - violin
Katarzyna Pietrzko - piano

Justy Małodobry - bass

Max Olszewski - drums

with Sinfonietta Cracovia

Zielnik Polski

ROZSTAJE CR0116

By Adam Baruch

This is an album which presents a live recording of a very grand musical undertaking, which brings together vocalist Joanna Słowińska, a well known Polish World Music singer, with a Polish Classical orchestra Sinfonietta Cracovia and a Polish Jazz quartet led by young and upcoming violinist Stanisław Słowiński, which also includes pianist Katarzyna Pietrzko, bassist Justyn Małodobry and drummer Maksymilian Olszewski. 

Together they perform twelve pieces, two of which are instrumentals and ten are songs featuring lyrics by Jan Słowiński. In case you are wondering, Joanna and Jan are Stanisław´s parents. Stanisław Słowiński composed the music to eleven of these pieces and the last piece on the album was composed by Joanna Słowińska and arranged by Stanisław. The album´s title ("Polish Herbarium"), the titles of the individual pieces and their subject matter clearly suggest that this is a concept album and the pieces are in fact a song cycle.

The overall atmosphere, soaked in typical Polish melancholy, religious martyrology and solemn reflection is heavy and overbearing, and creates a piece of music that is definitely not easy to absorb or even listen to. The sound is mostly massive and daunting, often overdramatic and even cataclysmic, something which could easily be used as a horror movie soundtrack, rather than something listeners would chose to listen to voluntarily. The only piece, which is performed by just the vocalist and the Jazz quartet, is definitely the most coherent piece on the album.

The music, although dominated by Classical influences, manages to amalgamate strong folkloristic themes and subtle Jazz sensitivity and shows talent and dedication by the composer and all the musicians involved. It seems Stanisław Słowiński is trying to conquer the musical world a bit too aggressively and a bit prematurely, even for such talented young men as he is. It is worth to remember that less is often more, both in music and life in general. Having said all that, this is still definitely an unusual and ambitious album that deserves to be heard and appreciated. A little less intensity and drama next time should make everything just perfect.

Wacław Zimpel - Lines (2016)

Wacław Zimpel

Wacław Zimpel - clarinets, hammond organ, fender rhodes, khaen 

Lines

INSTANT CLASSIC 042




By Adam Baruch
 

This is the first solo album by Polish Jazz/Avant-Garde clarinetist/composer Wacław Zimpel. He plays different clarinets and keyboards and performs six pieces, five of which are his original compositions and one is a renaissance cannon.

The music is almost entirely written, as opposed to Zimpel's usual modus operandi, which primarily involves improvisation. The affiliation with minimal music is felt very strongly and familiar patterns appearing in the works of American composers like La Monte Young, Terry Riley, Steve Reich or Philip Glass can be also heard here. This does not imply of course that Zimpel uses ideas created by others, but the resemblance, both aesthetically and sonorically, is very audible. The music is also very contemplative and monotonic, which of course is rather difficult for listeners not familiar with this musical idiom.

Zimpel's usage of several overdubbed instruments to create an almost orchestral effect is the most interesting aspect of this album, which is fully explored in the title track. All of the tracks use the same technique of overdubbing, which is of course possible due to the fact that the music is written and not spontaneously improvised. One has to respect Zimpel for his consistency and desire to create his own unique music, even if this means that his audience will be rather limited. Also the support he gets from small independent labels, like Instant Classic which released this album, is very significant to his career and development.

Overall this is an album intended to be listened to by connoisseurs of minimal music or people looking for adventurous and unusually sounding recordings. With certain open-mindedness this music can bring many surprisingly pleasing musical moments amid its weirdness.

Fiil Free - Everything Is A Translation (2016)

Fiil Free

Lars Fiil - piano
Tomasz Dąbrowski - trumpet
Henrik Pultz Melbye - tenor saxophone, clarinet
Henrik Olsson - guitar
Martin Fabricius - vibraphone
Casper Nyvang Rask - double bass
Bjørn Heebøll - drums


Everything Is A Translation

FIIL FREE 0916

By Adam Baruch

This is the third album by Danish Jazz pianist/composer Lars Fiil, this time recorded with an international septet called Fiil Free, which features also Polish trumpeter Tomasz Dąbrowski, Swedish guitarist Henrik Olsson and four Danish musicians: saxophonist Henrik Pultz Melbye, vibraphonist Martin Fabricius, bassist Casper Nyvang Rask and drummer Bjorn Heeboll. Together they perform five original compositions, all by Fiil.

The music is a typical European Free Jazz/Improvised Music endeavor, which in spite of its many degrees of freedom is wonderfully well composed, organized, structured and played, presenting a challenging yet coherent listening experience. The individual compositions develop slowly, starting with single notes or chords, gradually increasing in intensity and complexity, taking the listener on a ride along the process of its development.

All the participants contribute their personal input, playing solo passages, which often are very different from typical Jazz solos, but play in fact a similar role. These young musicians are amongst the finest European improvisers and can be heard on many other recordings. This particular setting is actually very minimalistic and there is little place to show the individual skills in a very expressive way, but this minimalism pushes the players to their limits and makes them to reinvent their performing techniques. Dąbrowski, as usual, plays some stunning passages, proving again that his diversity and talent know no borders, but as already said earlier, this album is not about individual statements, but deals with collective improvisation and cooperative performance.

One of the pieces starts off with the septet playing a swinging Bebop tune, which has a wonderful small Big Band feel about it, but of course it soon disintegrates into Free Form collective improvisation, which is sort of decomposing the initial structured statement, only to return to it at the very end. There are many such wonderful surprises as the music progresses and when it finally ends, one is definitely left with a wish for more.

Overall this album is another proof that the young European Improvising scene is alive and kicking like never before, creating a melting pot of influences between Scandinavian, East and West European cultures, forging a strong Jazz Culture, which hopefully will last for a long time and keep developing in the process. Not to be missed by any Free Jazz fans anywhere in the world!

Living Things - Upwind Circles (2016)

Living Things

Sven Dam Meinild - saxophones, flutes
Tomasz Dąbrowski - trumpet, flutes
Paul Wacrenier - piano, vibes
Casper Nyvang Rask - bass
Rune Lohse - drums, flutes

Upwind Circles


BAREFOOT 052

By Adam Baruch

This is the debut album by young European Jazz ensemble Living Things, which comprises of Danish saxophonist/composer Sven Dam Meinild, Polish trumpeter Tomasz Dąbrowski, French pianist / vibraphonist Paul Wacrenier and a Dutch rhythm section: bassist Casper Nyvang Rask and drummer Rune Lohse. All five musicians are also credited for playing the flute. The album presents fourteen original compositions, nine composed by Meinild and five by Wacrenier.

The music is based on composed themes, which serve as basis for individual and collective improvisations. It is very open and unconstrained, obviously geared towards improvisation and individuality, like all the albums released by the Copenhagen based Barefoot Records collective, owned by the musicians who record on the label and which is home to some of the most fascinating young European Jazz and Improvised Music.

Traces of many diverse musical influences can be found in this music, from contemporary Classical to World Music and Folklore, via the Jazz tradition, which is treated here very open-mindedly. There are also many superb individual statements by all the musicians involved. Dąbrowski, as usual, creates many heart-wrenching trumpet solos, which repeatedly give evidence to the fact that he is one of the leading European trumpet players today. But to be fair also Meinild and Wacrenier contribute many enchanted vistas on their respective instruments, and the rhythm section, which plays anything but rhythm of course, glues the music together.

There young European lions are so creative and so productive/prolific, that it becomes almost impossible to follow the avalanche of releases produced by them across the continent. Jazz/Improvised Music is experiencing an incredible Renaissance, which creates an unprecedented surge of new music, new talents and new musical horizons, of which this music is a commendable representative. Well done!

Dorota Miśkiewicz – Piano.pl (2016)

Dorota Miśkiewicz

Dorota Miśkiewicz - vocals
12 pianists
Atom String Quartet

Piano.pl

UNIVERSAL MUSIC POLSKA 602557206852



By Adam Baruch

This is a live recording of a gigantically ambitious project conceived by Polish Jazz vocalist Dorota Miśkiewicz, which pays tribute to the Polish Jazz piano school, which spans several generations and is a sublime example of Polish/European Jazz tradition. The album presents twelve songs, one original by Miskiewicz and eleven "Polish standards" composed and written by the best Polish composers and lyricists, each performed by Miśkiewicz accompanied by a different pianist and on eight of them also accompanied by the renowned Atom String Quartet.

The list of the pianists reads like the who's who of Polish Jazz: Michał Tokaj, Andrzej Jagodziński, Lutosławski Piano Duo, Bogdan Hołownia, Leszek Możdżer, Piotr Orzechowski, Tomasz Kałwak, Marcin Wasilewski, Krzysztof Herdzin, Dominik Wania, Grzegorz Turnau (who also briefly sings) and Włodzimierz Nahorny. Saxophonist Henryk Miśkiewicz (Dorota's Father) guests on one song. The DVD (filmed during the concert), included in the package, adds the concert's intro, outro and a couple of songs not included on the CD.

I am happy to say that I managed to have a more modest (with just three pianists) version of this project perform at the 2018 Singer Jazz Festival, which was extremely successful. As expected, all the performances are absolutely wonderful, a typical example of European haute Culture, where music, words and stage performance are combined to deliver an overall experience, which is more than just a sum of its ingredients. The album moves between Jazz & Poetry and highly lyrical popular music, all expertly arranged and brilliantly executed, especially in view of the fact that it was captured live.

This album delivers exactly what it promises: an extraordinary panorama of Polish Jazz piano, full of elegance, virtuosity and flair. Miśkiewicz moves with ease from one song to another, with a chameleonic change of moods and emotions, as appropriate for a great performer.

For lovers of Polish Jazz in general and Polish Jazz piano in particular, this album is a superb introduction to the subject. Even for listeners beyond the Polish language sphere, this music easily penetrates and language barriers and should be completely accessible to every music lover.

Moonbow – When The Sleeping Fish Turn Red And The Skies Start To Sing In C Major I Will Follow You To The End (2016)

Moonbow

Danielle Dahl - alto saxophone

Maciej Kądziela - alto saxophone
Mads Egetoft - tenor saxophone
Lucas Leidinger - piano
Anton Jansson - guitar
Tomo Jacobson - double bass
Kresten Osgood – drums

When The Sleeping Fish Turn Red And The Skies Start To Sing In C Major I Will Follow You To The End

ILK 264

By Adam Baruch

This is the debut album by a European septet Moonbow consisting of musicians based in Copenhagen. It includes Polish saxophonist Maciej Kądziela and bassist Tomo Jacobson, Norwegian saxophonist Danielle Dahl, Danish saxophonist Mads Egetoft and drummer Kresten Osgood, German pianist Lucas Leidinger and Swedish guitarist Anton Jansson. The album presents six original compositions, all by Jacobson. The album's artwork also presents a poem written by the legendary American Improvised Music giant William Parker, who wrote it in response to the music.

The music, mostly freely improvised, displays the infinite possibilities of a large ensemble, which allows encounters which range from solo performances to the entire septet involved in group improvisation. It is very engaging and fascinating, bold and free-spirited, but at the same time completely coherent. The melodic themes are briefly stated and later disappear into the subconscious plane beneath the improvisations.

In spite of the incredible power of a large ensemble, the music is completely devoid of conflict and wonderfully illustrates the concept of collective improvisation, based on mutual respect and almost telepathic communication between the players. There are many superb individual statements by the musicians involved, but the collective result is definitely more that just a sum of its ingredients.

Although the album is relatively short (under forty minutes), it is full of emotion and tonal beauty, which should be highly appreciated by fans of Improvised Music. Hopefully this ensemble will make another album, as they surely have much more to say musically. Well done!

Carrier/Lambert/Mazur - The Joy Of Being (2016)

Carrier/Lambert/Mazur

François Carrier - alto saxophone, chinese oboe
Rafał Mazur - bass guitar
Michel Lambert - drums

The Joy Of Being

NBCD 97



By Andrzej Nowak

Jeśli pamiętacie album "Oneness" tego samego tria, wydaną w roku ubiegłym przez FMR Records, to wiedzieć winniście, że płyta, która w tej właśnie chwili krąży w naszym odtwarzaczu, została nagrana w tej samej krakowskiej Alchemii dokładnie … 24 godziny wcześniej! Koncert zaczyna się w obecności delikatnego tembru saksofonu altowego, niezwykle precyzyjnej marszruty akustycznej gitary basowej i zmienno-okrężnego bębnienia. Płyta "Radość Istnienia" to jakby kolejna pocztówka z wiecznej podróży Carriera i Lamberta po świecie muzyki improwizowanej. Dwóch dzielnych kanadyjskich muzyków, którzy zgodnie z zapisami swojego czarownego, zapewne czerwonego kajeciku, w każdej destynacji mają swojego człowieka do wspólnego grania. W Polsce tym kimś jest Rafał Mazur.

Muzyka tria to swobodna, luźna, ale wyważona i jakże konsekwentna improwizacja. Płynny flow basu akustycznego Mazura dobrze robi kanadyjskiemu duetowi – spaja, podpowiada, gwarantuje ciągłość narracji na wypadek zawieszenia opowieści bez podania jasnej przyczyny, co temu akurat saksofoniście zdarza się raz po raz. Tu dzieje się tak choćby w trakcie 6 minuty pieśni otwarcia. Z drugiej strony wszelkie próby eskalacji napięcia dramaturgicznego, generowania dodatkowych porcji emocji na scenie świetnie budują jakość całego nagrania. Carrier większość czasu operuje na alcie, ale gdy okazjonalnie sięga po obój w dynamicznych pasażach (z ciekawym, matowym brzmieniem), dodaje błysku swej muzyce. A Mazur, niczym precyzyjna maszyna, która napędza drummera, stymulując kolejne galopady całego tria.

Drugi odcinek zaczyna się stosunkowo spokojnie, z odrobiną cytatów z hymnicznego Aylera. Kunszt i wyobraźnia są bez wątpienia zaletami saksofonisty, ale bodaj największym jego atutem jest poziom dobrze rozumianego rzemiosła artystycznego. Lambert goni za jego pomysłami, a Mazur jakby tkał pajęczynę powiązań między Kanadyjczykami – gęstą, soczystą, wielobarwną sieć. Z drugiej strony każdy podmuch w tubie saksofonu dodatkowo napędza poszczególne fazy improwizacji, choć ona sama nie zawsze jest jakoś szczególnie ognista. Dużo w niej przestrzeni, swoistego, artystycznego stoicyzmu, ogłady i wyrafinowania. Free improv z dużą dawką rozwagi. Na finał szczypta dynamizmu na werblach i tomach. 

Trzeci epizod tryska dynamizmem, ekspresją, ogniem wysoko zawieszonego altu. Choć amplituda emocji na scenie zdaje się być nieco przewidywalna. Po każdym ataku niezwłocznie przechodzi czas na tłumienie emocji i gojenie ran. Tu świetnie odnajdujemy – po raz kolejny – robotę Mazura. Jakby ustawiał partnerów po kątach. Regularne zawieszanie opowieści przez Carriera stwarza polskiemu muzykowi dodatkową przestrzeń na śmiałe popisy instrumentalne i dodajmy – ani jeden centymetr sześcienny tejże nie jest tu trwoniony. 

Czwarty, na zasadzie kontrastu, znów płynie na starcie spokojnym altem. Spirala narracji nakręca się dość ślamazarnie, jakkolwiek wszystko dzieje się w aurze świetnej komunikacji pomiędzy muzykami. Sama muzyka płynie bowiem na tyle wartkim strumieniem, że recenzent nie potrafiłby wskazać fragmentów koncertu, które na etapie produkcji można byłoby pominąć bez szwanku dla obrazu całości. Ten akurat odcinek nagrania ewidentnie ciągnie do przodu para Mazur-Lambert, która wytycza cel i nie spuszcza z tonu ani na moment. Alt biegnie za nimi w podskokach.

Muzycy wciąż opowiadają nam jakby tę samą historię (właśnie wystartował odcinek piąty). Poszczególne epizody różnią się detalami, poziomem intensywności czy też rozkładem akcentów solowych, proporcjami natężenia altowego zaśpiewu i chwilami zmysłowej gry sekcji rytmicznej. Niedopowiedzenia Carriera, często w estetyce późnego Joe McPhee, z jednej strony czasami burzą ład improwizacji, z drugiej zaś prowokują sekcję do ciekawych wycieczek. Suma plusów dodatnich i ujemnych czyni jednak całość w pełni akceptowalną dla recenzenta. Tu, w okolicach 8 minuty dzieją się wyłącznie dobre rzeczy. Choćby doskonała ekspozycja oboju, czyniona na bazie solowych popisów Mazura. 

Wreszcie sam finał koncertu. Powraca blask Aylera, także trochę zbyt mocno tłumionych emocji w tubie altu. Szczęśliwie sekcja nie jest w nastroju do marudzenia. Drobne zaczyny transu na gryfie basu, celny drumming, wreszcie wykwintne pasaże saksofonu sprawiają, iż to właśnie finał koncertu uznać należy za jego najlepszy fragment. Na ostatniej prostej balladowe, kołyszące niemal wybrzmiewanie.

Asger Thomsen - Den Polyvalente Hjelm (2016)

Asger Thomsen

Tomasz Dąbrowski - trumpet
Henrik Pultz Melbye - tenor saxophone
Jeppe Zeeberg - piano
Asger Thomsen - double bass

Rune Lohse - drums

Den Polyvalente Hjelm 

POLYJUXTA 2016

By Eyal Hareuveni

Danish double bass player Asger Thomsen began his recording career only three years ago but his debut solo album, "Den Polyvalente Hjelm" (since releasing this album Thomsen released this year also the «Solo» cassette on Insula Jazz/Polyjuxta Records), already marks him as a promising leader. Thomsen enjoys the company of some of Copenhagen best, young musicians – trumpeter Tomasz Dąbrowski, tenor sax player Henrik Pultz Melbye, pianist Jeppe Zeeberg and drummer Rune Lohse. "Den Polyvalente Hjelm" is released as limited-edition of 50 vinyls plus download option.

Thomsen’s concise compositions revolves around a simple idea, leaving enough room for personal contributions. The quintet sound as an organic, democratic unit that feels natural in such an open, mostly improvised interplay. Each of the ten pieces suggests different dynamics. Dąbrowski, Zeeberg and Thomsen highlight the lyrical tone of "Bardamu", "Europa", "Und Einzig" and "Laodikea" while "Solaris" flows in a like-minded manner, only this time Lohse improvises freely. "Caligula", "Silko" and "Dieter Roth" are Mingus-ian hard-driving free jazz pieces, stressing the powerful solos of Thomsen and Pultz Melbye.

The last piece, "Cyklus", is the most impressive one. This abstract piece offers an intriguing, lyrical melody. The solemn, reserved interpretation by all the five musicians stresses even more its fragile, mysterious beauty, its depth and rich colors and nuances. A very promising debut.

Warsaw Improvisers Orchestra - CSW 14.03.2015 (2016)

Warsaw Improvisers Orchestra

Ray Dickaty - conductor
Patryk Zakrocki - violin, viola, conductor

Olgierd Dokalski - trumpet

Marcin Albert Steczkowski - cornet

Jan Małkowski - alto saxophone

Maciej Rodakowski - tenor saxophone

Mateusz Franczak - tenor saxophone

Piotr Mełech - Bb & bass clarinet

Zbigniew Chojnacki - accordion

Jacek Mazurkiewicz - bass

Ksawery Wójciński - bass

Michał Kasperek - drums

Dominik Mokrzewski - drums

and others

CSW 14.03.2015

FSR 2017/10

By Piotr Wojdat

Mimo, że twórcą i główną siłą napędową Warsaw Improvisers Orchestra jest saksofonista Ray Dickaty, to nie z jego powodu pojawia się w tym miejscu recenzja albumu tego imponującego liczebnie stołecznego kolektywu. "CSW 14.03.2015" to ważna płyta z co najmniej dwóch powodów: grają na niej czołowi jazzowi improwizatorzy, eksperymentatorzy i artyści, którzy w taki czy inny sposób związani są z warszawska sceną i nierzadko spotykali się ze sobą na różnego rodzaju impro mitingach i quasi rezydencji w klubie Chmury. Z tego poniekąd wynika drugi powód pozwalający myśleć o tej płycie jako o istotnej dla słuchacza - ten album jest jak lokalny dokument muzyczny. Szczęśliwie przedstawia on scenę warszawską w korzystnym świetle, ale też pokazuje, czym żył jazzowy underground w ostatnich latach.

Ideą Warsaw Improvisers Orchestra jest granie muzyki możliwie spontanicznej. Takiej, która wypływa z serca, a nie z głowy. Dopuszczane są co prawda odpowiednie wzajemne nakierowania, podpowiedzi, ale pomysłem Raya Dickaty’ego było wydobycie w tym przypadku z 29-osobowego zespołu jak najwięcej jakości muzycznej. Swobodna improwizacja w ramach orkiestry to nie jest rzecz jasna temat nowy, ale uchwycić taki moment, jakim był koncert kolektywu w warszawskim Centrum Sztuki Współczesnej z 2015 roku, czyli w dwa lata po powstaniu Warsaw Improvisers Orchestra, to pomysł, który przyniósł dobre rezultaty.

Na zawartość tego albumu składają się trzy kompozycje i każda nawiązuje tytułem do poprzedniej, razem tworząc zdanie "This That and the Other…". Mamy zatem do czynienia z utworami, które mogą funkcjonować jako odrębne kompozycje, ale przede wszystkim tworzą jedną całość. Są rezultatem konceptu Dickaty’ego na muzykę spontaniczną. Jazz jest jednym z jej składników. Wokalizy, elektronika, nawiązania do muzyki współczesnej to również istotne elementy stanowiące o jej wartości.

Radek Wośko Atlantic Quartet - Atlantic (2016)

Radek Wośko Atlantic Quartet

Gilad Hekselman - guitar
Soren Gemmer - piano
Mariusz Praśniewski - bass
Radek Wośko - drums

Atlantic

MULTIKULTI MPJ 018



By Adam Baruch

This is the debut album by Polish Jazz drummer/composer Radek Wośko and his new Atlantic Quartet, which also includes Israeli guitarists Gilad Hekselman, Danish pianist Soren Gemmer and Polish bassist Mariusz Praśniewski. Together they perform eight pieces, seven of which are original compositions by Wośko and one is by the late Polish violinist Zbigniew Seifert.

It seems that Wośko finally found the perfect formula for his music, which is presented here by this quartet, i.e. a melodic Jazz-Rock Fusion, which does full justice to his compositions. Coupled with beautiful execution by all the quartet members, this album guarantees a pleasurable listening experience, without lowering the musical standards.

The album is dominated by the enchanting sound of Hekselman's guitar, with virtuosic phrasing and crystal clear sound bringing on immediately fond memories of early Pat Metheny, but definitely presenting a unique and personal approach. Gemmer offers a wonderfully sensitive accompaniment, but sadly does not play too much solo. The rhythm section moves the music forward amicably, playing exactly what is needed in such environment.

Although Wosko states in the liner notes that this music represents the meeting of European and American influences, as symbolized by it's title, personally I find it to be almost completely dominated by contemporary American Jazz approach, with very little of the European aesthetics left, which of course does not diminish its quality. Overall this is a wonderfully crafted Jazz-Rock Fusion album, perfectly executed by the musicians on board and accessible to a very wide range of music lovers, which hopefully will result in at least some commercial success.

Tomasz Wendt Trio & Atom String Quartet – Behind The Strings (2016)

Tomasz Wendt Trio & Atom String Quartet

Tomasz Wendt - saxophone
Grzegorz Piasecki - bass
Wojciech Buliński - drums
Łukasz Damrych - piano
Magdalena Zawartko - vocal
Atom String Quartet

Behind The Strings


SJ 018

By Adam Baruch

This is the debut album as a leader by Polish Jazz saxophonist/composer Tomasz Wendt presented in a trio setting with bassist Grzegorz Piasecki and drummer Wojciech Buliński. The trio is accompanied on several tracks by the excellent Atom String Quartet (violinists Dawid Lubowicz and Mateusz Smoczyński, violinist Michał Zaborski and cellist Krzysztof Lenczowski). Vocalist Magdalena Zawartko guests on two tracks and pianist Łukasz Damrych guests on three tracks. The album presents eight original compositions, all composed and beautifully arranged by Wendt.

What might appear on the surface as another "Sax & Strings" Smooth Jazz project turns out to be a brilliant musical enterprise, which offers superb Mainstream Jazz music, which has depth and meaning. The compositions are all wonderfully solid and coherent, full of typical Polish melancholy and lyricism, and all skillfully arranged for this unusual setting. The music is diverse and rich in harmonic layers and rhythmic patterns, providing a fascinating journey to the listener, which is moving from one climax to another.

Wendt plays expressively and his improvisations perfectly suit the musical boundaries, being interesting and complex but not crossing the line into becoming too intricate for a mainstream Jazz enthusiast. The rhythm section supports the leader amicably, with Piasecki filling the bottom pulsations which make this music swing and Buliński setting the pace with his skillful and highly original drum parts. The Atom String Quartet does exactly what it is famous for, i.e. plays some superb string ornamentations and in the process produces breathtaking violin solos.

The album is a wonderful example of good taste and elegance. The proportions between the saxophone, rhythm section and the string quartet are beautifully balanced, magnificently recorded at the RecPublica Studios and engineered by Łukasz Olejarczyk. Overall this is a gem of an album for fans of sophisticated mainstream Jazz, which offers an unusual instrumental setting and great compositions, superb arrangements and perfect execution; in short some of the best Polish Jazz has to offer. Wholeheartedly recommended!

Krzysztof Puma Piasecki – Backward / Forward (2016)

Krzysztof Puma Piasecki

Krzysztof Puma Piasecki - guitar
Andrzej Rusek - bass
Charli Green - trumpet
Katarzyna Puma Piasecka - vocals
Tadeusz Leśniak - keyboards
Arek Kondorowski - drums

Backward/Forward


HRPP 043

By Adam Baruch

This is the sixth album by Polish Jazz-Rock Fusion guitarist/composer Krzysztof Puma Piasecki. He is accompanied by a team of musicians, which includes bassist Andrzej Rusek, trumpeter Charli Green, vocalist Katarzyna Puma Piasecka, keyboardist Tadeusz Leśniak and drummer Arek Kondrowski. The album presents twelve original compositions, all by Piasecki.

The music is a great collection of melodic Fusion tunes, beautifully crafted and most importantly honest and down to earth. Piasecki is of course "old school" and for him a good tune is the basis for a great performance. These tunes are almost danceable, and certainly a great fun to listen to, which basically scream pure unadulterated musical fun.

Of course the guitar is the focus of this album, and Piasecki is a Master of the trade. He plays many different guitars, with different sound effects and in many different moods, doing so always right on the money and straight to the heart. People like me, who still remember the good old days when guitar was the King of the musical Universe, are probably more prone to the heartwrenching guitar sounds that this album is full of. The other players all contribute amicable and highly professional parts on this album, staying however mostly in the background and leaving the spotlight for Piasecki and his stunning guitar parts.

Sometimes music should simply serve as an island of sanity in this crazy world of ours, and this album is a great example of such music. Flowing smoothly from one tune to another this music has no dull moments and keeps the listener in a state of bliss. Forget the cerebral doodling and pretentious over sophistication – this is 100% pure delight. Of course this album is an absolute must for all guitar fanatics all over the world and the hordes of Fusion fans, who still populate this earth. This is no bullshit real deal - please remember you heard it from me first!

Morte Plays - Anomalia (2016)

Morte Plays 

Marcin Łukasiewicz – guitar
Robert Chyła – tenor saxophone
Eryk Nowak - piano
Marek Styk - bass
Kuba Lechki – drums

Anomalia

SOLITON 527-2

By Krzysztof Komorek

Wielokrotnie uczestniczyłem w dyskusjach roztrząsających problem, czy artyści zawsze powinni proponować coś nowego, nieznanego, nieoczekiwanego, odkrywczego. Moje stanowisko w tej kwestii pozostaje niezmienne: sztuka nie musi koniecznie burzyć zastanego porządku. Najprostszy przykład "z życia wzięty": czasem zdarza się tak, że życiowa droga iść zaczyna pod górę. W najdrobniejszych nawet przejawach codzienności. Szuka się wtedy odskoczni, odreagowania. Jedni skaczą na bungee, inni sięgają po wszelakiego rodzaju używki, jeszcze inni ratują się obcowaniem z muzyką. Można wtedy "złomotać się" ostrą frytą albo sięgnąć po nagrania lekkie, łatwe i przyjemne. 

Niektórzy traktują ten drugi rodzaj płyt lekceważąco. Dla mnie stworzenie dobrego, rozrywkowego albumu to wielka sztuka. Udanym przykładem jest właśnie wydawnictwo, którego tekst ten dotyczy: "Anomalia" kwintetu Morte Plays. Siedem autorskich kompozycji gitarzysty Marcina Łukasiewicza plus davisowskie "Four" słucha się z ogromną przyjemnością. Melodyjne, lekkie nagrania sięgają po stylistykę filmowej ścieżki dźwiękowej ("Baron Samedi", "Medusa"), tanecznego swingu ("Pchełka") czy jazzowej mini-suity (najdłuższa na płycie, tytułowa "Anomalia"). 

Płyta krótka, bo tylko czterdziestominutowa, dostarcza radości obcowania z zgrabnie wpadającymi w ucho, przebojowymi tematami. Kompozytorska łatwość tworzenia chwytliwych melodii to jedna z zalet tego albumu. Słuchając go pierwszy raz, "w ciemno", byłem przekonany, że przynajmniej połowa nagrań to interpretacje kompozycji, które już gdzieś słyszałem. W warstwie instrumentalnej ciekawie przeplatają się solówki gitary, saksofonu i fortepianu. Marcin Łukasiewicz – formalny lider zespołu – sprawiedliwie dzieli się miejscem na solowe prezentacje z Robertem Chyłą i Erykiem Nowakiem. "Anomalia" to naprawdę dobra płyta, przede wszystkim dlatego, że daje mi to, co bardzo lubię: nieznośną lekkość słuchania.

Muzyczna Spółka Akcyjna 111 - Autoportret X (2016)

Muzyczna Spółka Akcyjna 111

Janusz Konefał – guitar
Wojciech Jaworski - electric piano 

Zbigniew Szuba – electric piano
Maciej Roda - bass guitar

Mietek Jurecki – bass guitar
Leszek Chalimoniuk – drums

Autoportret X

GAD 049

By Adam Baruch

This is an archival album presenting material recorded by an excellent but sadly short-lived Polish Jazz-Rock Fusion band Muzyczna Spółka Akcyjna 1111, which consisted of guitarist Janusz Konefał, keyboardists Wojciech Jaworski or Zbigniew Szuba, bassists Maciej Roda or Mieczysław Jurecki and drummer Leszek Chalimoniuk. The material originates from two radio sessions recorded a couple of years apart (1975 and 1977), which produced seven tracks and a live performance at the Jazz Nad Odrą Festival from 1977, which produced two tracks and finally a studio session recorded by a attempted comeback lineup of the band in 2005, which produced one track. Overall the album presents nine original compositions (one composition appears twice, in live and in studio version), eight of which were composed by Konefał and one by Szuba.

Both the music and the execution are truly excellent from start to finish and the album is a hidden gem of Polish Fusion, which finally is able to reach a wider audience. Although the live tracks were released on vinyl at the time, they are long lost and with the addition of the radio and studio recordings this album finally pays proper homage to this splendid group.

The music is very melodic and presents well written themes, which are ideal vehicles for the improvisations by the group members. The rhythm section supports the guitar and keyboards solos amicably and the music moves forward elegantly and intelligently, which is typical of European Fusion bands, which put sophistication and harmonic complexity ahead of flashy instrumental show-off.

This is another superb discovery bestowed upon the Polish music lovers by the splendid GAD Records label, which manages time after time to uncover hidden treasures, which are all more than worthy to be available to the wide public. Considering the superb quality of the music and the great sound quality, this album is an absolute gem!

BiWald – First Meeting (2016)

BiWald

Julia Biłat - cello
Daniel Schwarzwald - piano

First Meeting

PRIVATE EDITION





By Adam Baruch

This is the debut album by the duo BiWald, which comprises of the Polish cellist Julia Biłat and Israeli pianist/composer Daniel Schwarzwald. The album presents twelve compositions, five of which are originals by Schwarzwald, five are co-composed by Bilat and Schwarzwald, one is a traditional tune and one is a Classical composition by Gaspar Cassado.

The music is a beautiful intimate dialogue between cello and piano, full of emotion, elegance and grace. The music, mostly original, amalgamates the Classical influences both musicians were exposed to during their years as music students, with Jazz improvisation. The themes are very melodic and lyrical, flowing gently from one track to another, which creates a dreamy, relaxed and magical atmosphere.

Among many attempts to combine Classical Music and Jazz, this is definitely one of the best ones I have come across in a long time. It beautifully mixes the two genres, preserving the basic qualities of both: the melodic and harmonic structure of European Classical Music and the freedom of improvisation and ability to stretch beyond the strict scenario confined within the notes, which characterizes Jazz.

The telepathic unity between the two players and the enormous respect they both have for each other, combined with their respective virtuosity, creates deeply moving music, which should not leave any music lover cold. This is a truly extraordinary piece of contemporary music, which hopefully will reach as many listeners around the world as it truly deserves. I urge everybody to make an effort and find a copy of this album; you will not regret doing so I assure you. Instant gratification and a moving emotional experience are guaranteed!

Rasmus Henriksen Big Band feat. Amanda Lagoni - Out Of The Shadows (2016)

Rasmus Henriksen Big Band feat. Amanda Lagoni

Rasmus Henriksen - conductor
Tomasz Dąbrowski - trumpet
Wojciech Morelowski - trumpet
Łukasz Borowicki - guitar
Mariusz Praśniewski - bass
and others

Out Of The Shadows


GATEWAY RHBB 01

By Adam Baruch

This is the debut album by Danish composer / arranger / conductor / bassoonist Rasmus Henriksen, recorded with an international Big Band comprising of musicians associated with the Odense Music Academy, which includes twelve musicians, several of which are from Poland, like trumpeters Tomasz Dąbrowski and Wojciech Morelowski, guitarist Łukasz Borowicki and bassist Mariusz Praśniewski. The album presents eight pieces, six of which are original compositions by Henriksen and two are standards. Fours of the pieces feature vocals performed by Amanda Lagoni.

The music is well within the mainstream Jazz idiom, with excellent compositions by the leader and of course the wonderful sound of a Big Band that melts my heart every time. The arrangements are very elegant and interesting, typical of European Big Band approach, which treats the Big Band as a complex instrument. In view of the fact that there are so few Big Band albums released each year these days, every one of them is a blessing.

The Big Band performs excellently, obviously well rehearsed and including gifted instrumentalists. There are plenty of superb, albeit short, solos by the band members, testifying to the generally high level of the players. The vocal tracks are also first-rate, much to my surprise, as singing with a Bing Band requires a special talent, but Lagoni handles the task splendidly.

The overall sound and atmosphere are at times a bit too "retro", mimicking the great Swing orchestras of times long gone, but that does not spoil the great fun one can have with this music. This is pure pleasure from start to finish and mainstream Big Band/Orchestral Jazz should enjoy this effort to the max. Very impressive for a debut album and definitely worth getting!

Krzysztof Żesławski Quartet & Natalia Lubrano - Osiecka Jazzowo (2016)

Krzysztof Żesławski Quartet & Natalia Lubrano

Krzysztof Żesławski - guitars
Łukasz Perek - piano, keyboards
Wojciech Bergander - double bass
Michał Lasota - drums
Jarosław Korzonek - drums
Natalia Lubrano - vocals
and others


Osiecka Jazzowo

MTJ 2016

By Krzysztof Komorek

Piosenek Agnieszki Osieckiej nie sposób nie znać. Najczęściej to przepiękne, poetyckie teksty napisane do muzyki wybitnych polskich kompozytorów. Będące dla znacznej części mieszkańców naszego kraju wspomnieniem lat młodych i bardzo młodych. Te kompozycje nie były jakoś specjalnie często eksploatowane przez artystów spod znaku jazzu. Dlatego z ciekawością sięgnąłem po płytę "Osiecka Jazzowo" nagraną przez kwartet Krzysztofa Żesławskiego z gośćmi. 

Ten wrocławski gitarzysta od wielu lat jest kierownikiem muzycznym Festiwalu Twórczości Agnieszki Osieckiej. Omawiane tu wydawnictwo sygnowane jest przez wspomniany wcześniej kwartet oraz Natalię Lubrano, wokalistkę mającą już na koncie własne nagrania, laureatkę Przeglądu Piosenki Aktorskiej we Wrocławiu. Okładkowa informacja jest nieco myląca, bowiem oprócz Natalii Lubrano, na płycie śpiewają jeszcze trzy inne panie: Karolina Łopuch, Katarzyna Harabin-Żesławska oraz Iwona Loranc. Łącznie wykonują jednak cztery (Karolina Łopuch i Katarzyna Harabin-Żesławska po jednej, Iwona Loranc - dwie) z trzynastu zarejestrowanych utworów. Każda z wokalistek legitymuje się konkursowymi nagrodami, doświadczeniem aktorskim i/lub piosenkarskim. Podbudowany takimi rekomendacjami z życiorysów wykonawców przystąpiłem do poznania zarejestrowanego materiału.

Pierwsze przesłuchanie płyty daje zdecydowanie zadowalające efekty. Dobrze znane przeboje, zagrane i zaśpiewane bez udziwnień i aranżacyjnych zmian. Wykonania bardzo klasyczne, które pozwalają album włączyć i podśpiewywać do wtóru. Niestety sytuacja zmienia się diametralnie, gdy nagrań zaczynamy słuchać po raz kolejny. Wtedy zaczynamy dostrzegać mankamenty omawianej tu produkcji. Przede wszystkim można wychwycić, że określenie "jazzowo" w tytule umieszczone jest nieco na wyrost. Instrumentalny kwartet niezwykle rzadko wypuszcza się ku solowym popisom – takie zliczyć można na palcach jednej ręki. Muzycy niemal cały czas pozostają na bezpiecznych pozycjach akompaniatorów. Wokalne interpretacje – jak już napisałem – nie odbiegają od oryginałów. Z drugiej jednak strony nie wnoszą nic nowego, nawet najmniejszego pierwiastka osobistego. 

Zaprezentowane nagrania to, owszem bardzo poprawne, profesjonalne, ale tylko odtworzenia przebojów Osieckiej. Główny urok tej płyty stanowią właśnie zawarte na niej utwory same w sobie. Przy rekreacyjnym słuchaniu "Osiecka Jazzowo" zdaje się całkiem znośna. Jednak bliższy kontakt, chcąc nie chcąc, prowadzi ku głębszemu zastanowieniu i nieuchronnej refleksji, że chcąc posłuchać Osieckiej – niekoniecznie jazzowo - najlepiej włączyć płytę Maryli …

Kuba Cichocki's A.L.E. – Audubon Lab Experiment (2016)

Kuba Cichocki's A.L.E.

Kuba Cichocki - rhodes, keyboards, vocals
Dylan Kaminkow - bass, vocals
Allen Branch - drums, vocals
Francis Benitez - percussion, vocals
Bogna Kicińska - vocals




Audubon Lab Experiment

PRIVATE EDOTION

By Adam Baruch

This is the debut album by Polish (resident in NY) Jazz keyboardist/composer Kuba Cichocki, recorded with his ensemble called Audubon Lab Experiment, which also includes bassist Dylan Kaminkow, drummer Allen Branch and percussionist Francis Benitez. Vocalist Bogna Kicińska (another Polish NY resident) guests on one track. The album presents five original compositions, all by Cichocki.

The music is a typical Jazz-Rock Fusion, which was popular in the early 1970s and closely follows the pattern of Chick Corea's early albums with Return To Forever or Herbie Hancock's albums of that period. The music is very melodic and offers a Funk groove, which makes it a very pleasant listening experience, although at the same time invoking a strong déjà vu feeling.

The fact that there is only one instrument capable of soloing makes the overall experience a bit trying, but on the other hand the sound of the Rhodes is irresistible and people who have profound nostalgia to that kind of music will definitely enjoy it. The rhythm section does a great job; the bass keeps the Funky feeling up quite brilliantly, and performs a few nice solo parts, and the two percussionists add a polyrhythmic background, which also keeps the music bubbling.

Overall this is a superb Funky/Fusion album, which is a great fun to listen to and perhaps even to dance to. Nothing innovative, au contraire, a strong nostalgic trip to the time when music was based on the "no bullshit" approach. Funky/Fusion fans will have a field day with this, as nobody makes music like this today. Unadulterated Fun(k)!

Eskaubei & Tomek Nowak Quartet - Tego Chciałem (2016)

Eskaubei & Tomek Nowak Quartet

Eskaubei - rap
Tomek Nowak - trumpet, flugelhorn
Kuba Płużek - keyboards
Alan Wykpisz - bass
Mateusz Śliwa - tenor saxophone
Filip Mozul - drums



Tego Chciałem

FOR TUNE 0117

By Adam Baruch

This is the second album by Polish Rap and Jazz ensemble which finds rapper Bartłomiej Skubisz (a.k.a. Eskaubei) combining forces with a Jazz quartet led by trumpeter Tomek Nowak, which also includes pianist Kuba Płużek, bassist Alan Wykpisz and drummer Filip Mozul. This time they are also supported by DJ Wojciech Długosz (a.k.a. Mr. Krime) who performs turntablism, saxophonist Mateusz Śliwa and vocalist Patrycja Zarychta. A couple of guest musicians appear on one track. Together the ensemble performs ten original songs, seven of which were composed by Nowak, two by Płużek and one by Mozul (an instrumental intro). Skubisz wrote the lyrics to all nine songs and was helped out by the guest on one of them.

This album continues the direction set by its predecessor, which combines Funky Groovy Jazz tunes with Rap. In contrast to most attempts of such amalgamation, in which the musical content is rather limited and mostly very sketchy not to say primitive, this album offers a series of excellent full fledged compositions, which easily hold their own ground musically. This is even more emphasized on this album with the addition of Śliwa and expanding the quartet into a quintet on about half of the tunes. The Rap elements, although occupying a separate plane, are fully integrated within the musical structures. The turntablism, courtesy of Mr. Krime, who is prominently featured on the album, brings this album up to date with updated sound trends

The instrumental work by the quartet/quintet is excellent from start to finish. Nowak plays superb soulful/funky phrases, Śliwa adds strength creating a brass section feel and soul when he plays solo, Płużek plays absolutely wicked keyboards, using a plethora of sounds and groovy touches, Wykpisz, who is a wonderful Jazz bassist, turns here into a wizard of Funk and Groove and finally Mozul takes care of the rhythmic continuum, steady as a rock and devilishly inventive; in short a dream team!

The Rap, which in fact is more a form than contents, turns out to be a recitation of Poetry, which deals with a wide range of subject matter, which Skubisz and his generation are facing in this strange and cruel world, which is consistently becoming less human. The lyrics are often bitter and frustrating, but from time to time also touch upon dreams and hope. They are a great example how one can express protest and anger without using even one four (or in Polish five) letter word.

Overall this is another great album by Skubisz and his cohorts, proving that their debut effort was not just a lucky coincidence. The Rap and Jazz concept is again proven to be valid and creatively sound and the execution is once more just right on the money. Hopefully the Artists involved in this project will develop the idiom further in their future recordings, and in the meantime we are happy to enjoy this excellent effort. Well done again!