Krzysztof Komeda - Live at the Jazz Jamboree Festival 1961 - 1967 (Polskie Nagrania, 2011)

Krzysztof Komeda - piano

Adam Skorupka (tracks: CD1: 1, 2, 3, 4, 5) - bass
Janusz Kozłowski (tracks: CD1: 6; CD2: 1; CD3: 3, 4) - bass
Maciej Suzin (tracks: CD3: 1, 2) - bass
Roman Dyląg (tracks: CD1: 7, 8, 9; CD2: 2) - bass
Adam Jędrzejowski (tracks: CD1: 4, 5) - drums
Czesław Bartkowski (tracks: CD1: 6; CD3) - drums
Leszek Dudziak (tracks: CD1: 1, 2, 3) - drums
Rune Carlsson (tracks: CD1: 7, 8, 9; CD2) - drums
Jimmy Gourley (tracks: CD1: 4) - guitar
Bernt Rosengren (tracks: CD1: 5) - tenor saxophone
Michał Urbaniak (tracks: CD3) - tenor saxophone, soprano saxophone
Tomasz Stańko (tracks: CD2; CD3) - trumpet
Jerzy Milian (tracks: CD1: 6) - vibraphone

Live at the Jazz Jamboree Festival 1961 - 1967 (Polskie Nagrania, 2011)

This is absolute and pure gem as far as Polish jazz is concerned. Dug out of Polskie Nagrania vaults it was released at the end of year 2011. It brings to us mind blowing music comprising live recordings of different bands all led by legendary pianist Krzysztof Komeda which played during Warsaw's legendary Jazz Jamboree Festival from 1961 to 1967. Musicians featured in these recordings are no less prominent. As Miles Komeda could pick up whom he wanted on Polish scene and abroad as evidenced by presence of some Scandinavian players as well. Only 2500 copies are available of this 3 CDs set making it on top of wanting list for any true Polish jazz lover...

Track listing:

CD 1

Krzysztof Komeda Trio (1961, 1962, 1964)
1. This Or This
2. My Ballad
3. Love For Sale
4. Three Little Words
5. An Oscar For Treadwell
6. Basin Street Blues
7. Ballet Etude I
8. Ballad For Bernt
9. Crazy Girl

CD 2
Krzysztof Komeda Quartet (1965, 1967)
1. Kattorna
2. Nighttime Daytime Requiem

CD 3
Krzysztof Komeda Quintet (1961, 1962, 1964)
1. Ballad (z filmu "Nóz w wodzie"/from the movie "Knife in the Water")
2. Alea
zapowiedz / announcement
3. Sophia's Tune
4. Svantetic

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

Sing Sing Penelope – This Is The Music / Volume 1 (2012)

Sing Sing Penelope (band)

Wojciech Jachna - trumpet
Aleksander Kamiński - soprano saxophone
Tomasz Glazik - tenor saxophone, bass clarinet
Daniel Mackiewicz - rhodes, tabla, percussion
Patryk Węcławek - bass
Rafał Gorzycki - drums
DJ Strangefruit - live electronics
Sebastian Gruchot - violin

This Is The Music / Volume 1 (2012) 

This is the 6th album by the brilliant Polish ensemble Sing Sing Penelope, formed and led by drummer Rafal Gorzycki, which includes also trumpeter Wojciech Jachna, saxophonists Aleksander Kaminski (new member) and Tomasz Glazik, keyboardist Daniel Mackiewicz and bassist Patryk Weclawek. Two guest artists, who played on the ensemble's previous recordings, are also present here: violinist Sebastian Gruchot and DJ Strangefruit from Norway on live electronics. It seems that SSP (as they are known in this age of shortcuts) can do no wrong and this album is every bit as grand as everything else they attempted previously, which after six albums and ten years amounts both to a substantial body of music as much as their impeccable reputation. The music, contributed collectively or individually by all participants, is as usual a completely original mix of styles and sub-genres, disregarding boundaries and freely moving from one territory to another. Atmospheric / ambient electronic sounds over strong, pulsating rhythmic patterns and Jazz solos on top seems to be shortest way to describe this music, although it manages to escape any simple depiction, which of course means there is interesting stuff happening here. In many respects this album sums up the decade of the ensemble's existence, covering everything from their Jazz-Rock efforts, through the Free Jazz improvisations and recent ambient vistas. In retrospect SSP emerge as perhaps the most interesting phenomenon of the first decade of the 21st Century on the Polish scene, being the most consistent, searching and completely disregarding fads group of young musicians around. An absolute must to any serious Jazz listener, wishing to reach beyond the obvious!

Sample of music: http://www.singsingpenelope.com/mp3/Mini.mp3

Track listing: 1. Bread; 2. Blue Hypergiant; 3. Mini Song; 4. This Is The Music; 5. Vennesla; 6. Skarb

By Adam Baruch

www.adambaruch.com

Ircha Clarinet Quartet - Watching Edvard (Kilogram, 2011)

Ircha Clarinet Quartet (band)

Mikołaj Trzaska - bass, Bb metal clarinets
Michał Górczyński - Bb, bass clarinets
Paweł Szamburski - Bb, bass clarinets
Wacław Zimpel - alt, Bb, bass clarinets and tarogato

Watching Edvard (Kilogram, 2011)

Ircha Clarinet Quartet created and led by Mikołaj Trzaska is one of the most interesting bands in Polish jazz these days. Their first release featured legendary reedist Joe McPhee and was unanimously voted as one of most interesting albums in 2010. Next CD from this band, although without American support, brings music of depth and intensity that finds few parallels in our improvised music. Two factors probably are working to such the effect: first, Mikołaj Trzaska attained as instrumentalist  and composer maturity that allows him to produce ideas as coherent as original. Second, he displays this maturity also in a way he establishes relationships with younger generation of musicians. He picked up for this project what is best among Polish jazz youth and managed to make out of these individualities a great band which is success  in itself . 

Wacław Zimpel himself is already a star not only on Polish scene but also internationally. Such his bands as Hera or Undivided are among most important on European scene and although he owes much to years of cooperation with Ken Vandermark he found his own voice and his path is entirely unique. Paweł Szamburski and Michał Górczyński, though less known, have equally interesting carreers taking parts in such high quality projects as respectively Tupika, Horny Trees, SzaZa or Cukunft and Profesjonalizm.

As far as music is concerned it sounds fresh and engaging from the start to the end. Great advantage of this project is its coherency and beauty of sound. One is immediately immersed in myriads of unique combinations of sounds as produced by different types of clarinets and different  attitudes of artists playing on them. What this projects lacks is some compositional backbone which would give this music some internal propulsion. This is however typical fault of many freeimprov recordings and this one shares with others such disadvantage. Therefore I am waiting impatiently for next project of this group (already underway), which I have had opportunity to listen to during concerts and which will comprise much more composed material while retaining enough space for improvisation to keep its spontaneous and free in character... All in all this is our new album of the month!  

Track listing: 1. Upper Trias Caspian Fugue; 2. Ross Omac Attack; 3. Dream Analyzer; 4. No Smoking In Hell; 5. Climbing And Sliding; 6. Small Dictators; 7. Kresto; 8. Re Constructive De Constructive; 9. Monastery Monsters; 10. Prince of Fiasco; 11. Builderblock.pampim; 12. Cenozoic - Kenobi; 13. Watching Edward; 14. Invitation To Anorak Party; 15. Tender Dictator; 16. Last Turn Around The Room

By Maciej Nowotny

http://kochamjazz.blox.pl/

The Fonda / Stevens Group - Trio +2 (Not Two, 2011)

The Fonda / Stevens Group (band)

Harvey Sorgen - Drums
Ireneusz Wojtczak - Tenor Saxophone, Bass Clarinet
Maciej Obara - Also Saxophone
Joe Fonda - Acoustic bass
Michael Jefry Stevens - Steinway Grand Piano

Trio +2 (Not Two, 2011)

The Fonda/Stevens Trio has been performing together for 23 years. Pianist Michael Jefry Stevens, bassist Joe Fonda and drummer Harvey Sorgen first began playing together in 1988 as part of the critically acclaimed "Mosaic Sextet" which was a NYC based ensemble that featured Dave Douglas on trumpet, Mark Feldman on violin and Michael Rabinowitz on bassoon. The Mosaic Sextet disbanded in 2000 and in 2002 the Fonda/Stevens Group was formed. The Fonda/Stevens Trio +2 Project features the long-standing trio performing together with 2 of Poland's most prominent saxophonists and composers: Ireneusz Wojtczak and Maciej Obara. The debut CD of this quintet project was released in November 2011 on the Polish label Nottwo. The group performs original music by all members of the quintet and creates a rich blending of the varied cultural influences of these talented musicians. 

Track listing: 1. In The Whitecage - 5:23 (Fonda); 2. Fast - 10:50 (Fonda); 3. For Us - 12:13 (Stevens); 4. Mandala - 7:42 (Wojtczak); 5. The River Po - 11:40 (Stevens); 6. Morbid - 11:02 (Obara)



Source: http://michaeljefrystevens.com

Hera - Where My Complete Beloved Is (Multikulti, 2011) by Stef Gijssels

Hera (band)

Wacław Zimpel - clarinet, bass clarinet

Paweł Postaremczak - soprano and tenor saxophones

Ksawery Wójciński - double bass
Paweł Szpura - drums 

Where My Complete Beloved Is (Multikulti, 2011)

One of my favorite albums of 2010 was "Hera", because of its innovative approach to jazz, shifting boundaries, very expressive and accessible at the same time. The band's second album is in the same league, but with a few changes.

The band is the same, Wacław Zimpel on clarinet, bass clarinet, harmonium, and tarogato, Paweł Posteremczak on soprano, tenor saxophones and piano, Ksawery Wójcinski on double bass, and Paweł Szpura on drums and percussion. On this album they are joined by Maniucha Bikont on voice, and Sara Kałuzna on tampura. The second change is the integration of more folk elements.

The album starts with a long and hypnotic piece, "In That Place There Is No Happiness Or Unhappiness", in which the harmonium offers the most discerning character together with the mesmerising rhythm section, and ever maddening tempo, over which Posteremczak's tenor roars and howls like a Gato Barbieri in his best moments. And the reference to the sixties is not coincidental, as the band integrates world music and folk elements in its jazz. "

"No Truth Or Untruth" starts equally slow, with Posteremczak playing the trembita, an instrument with a deep, moaning sound, accompanied by Zimpel on Slovakian overtone flute - folk instruments, but they have probably never sounded so dark and ominous as you will hear them here. The effect is again spell-binding, and even increases as the rhythm picks up after seven minutes for another journey of tribal psychedelics, with the bass clarinet and the tenor interweaving their sounds in a strange and magical dance of short phrases circling closely around the tonal center, and in contrast, sounding more joyful.

The third track, "Neither Sin Or Virtue", is characterised by the hypnotic drone of the tampura, evoking some deep primitive and ritualistic feelings that resonate universally, accompanied by rattling small percussion, arco bass, and then again, possibly mirroring the dual titles of the pieces, the rhythm picks up halfway, as do the clarinet and the sax, with repetitive phrases, increasing the hypnotism and the magic, and the tempo going totally haywire, in a ferociously mad dance, that suddenly calms down for sad moaning over the endless drone of the tampura.

The album ends with "There Is No Day Or Night, No Moon Or Sun", a Slavic traditional folksong performed by Maniucha Bikont, whose voice is as authentic and beautiful as the improvisation by the band.

This is again a fantastic album, one that makes you want to dance all night under the stars, one that makes to want you weep because it resonates so much with the howling of sad humanity out there, or one that you just want to listen to, alone in the dark, to be overwhelmed, and crushed.

Absolute magic!

Track list: 1. Wacław Zimpel - In That Place There Is No Happiness Or Unhappines; 2. Hera - No Truth Or Untruth; 3. Hera - Neither Sin Or Virtue; 4. There Is No Day Or Night, No Moon Or Sun (Traditional)

Author: Steff Gijssels

http://freejazz-stef.blogspot.com/

Fred Lonberg-Holm & Piotr Melech - Coarse Day

Fred Lonberg-Holm (cello)

Piotr Melech (clarinet)


Coarse Day (Multikulti; 2011)

Avant garde duos are pretty prevalent at the moment, no matter what the instrument(s). But what makes the best ones stand out is the quality of the musicianship and the depth of the material.

As with my earlier discussion on the Daniel Levin/Tim Daisy release, The Flower and The Bear, Fred Lonberg-Holm and Piotr Melech have created a richly diverse and highly challenging document that is both absorbing and thought provoking.

Lonberg-Holm, a member of various outfits in Chicago (most notably The Vandermark 5) and Melech, a growing presence of the Polish avant garde scene (including his trio Enterout) together, explore a strange world of soundscapes on Coarse Day. It's a densely packed session with movements that are multi-layered and demanding of the listener's concentration.

"Cloudburst" is pops and crackles with a sense of adventure. Lonberg-Holm maneuvers up and down the scales like a cat stuck in an aqueduct. Melech's clarinet(s) create an echo chamber that is both haunting and exhilarating. "Tangle Of Loops" feels almost anti-avant garde. I felt Longberg-Holm and Melech have a number of exchanges that are humorous and well improvised. My mind drifted into a jovial exploration into Raymond Scott (although I'm certain that was not the composers intentions). The use of electronics and sound manipulation on "Tangle Of Loops" gives the piece a schizophrenic edge that is genuinely exciting.

"Mildew Gourmets" moves out melodically in a somber spiritual pattern, similar to Coltrane's "A Love Supreme." It's hypnotic and relaxing tone is a calming departure point for the session and provides further insight into the duo's composition talents.

Coarse Day while challenging, is an album that once it sinks in--will become a fixture on your stereo. Lonberg-Holm and Melech have created an album that is filled with improvisation but also subtle accessibility that deserves intense listening. Haunting, beautiful and emotional.

Stephan Moore
http://jazzwrap.blogspot.com/

Levity - Afternoon Delights (Lado ABC, 2011) by Maciej Nowotny

Levity (band)

Jacek Kita - keys
Piotr Domagalski - bass
Jerzy Rogiewicz - drums

Afternoon Delights (Lado ABC, 2011)

Stop crying. Stop shouting. Stop yelling at me. That jazz is dead. I hate this kind of bullshit! It only has changed. Faster than you or me, that's true. It doesn't remind Miles music. Coltrane music. Coleman music. Monk music. It has evolved into new language. Reflecting our times. Our problems. Our reality. Are you ready for a test? In my hands I have two pills - blue and red - and it is for you to decide whether you want to stay in jazz as it was devised 100 years ago in New Orlean or you want to wake up to new music? It may be unpleasant, rough, coarse and very different from what you already know but it is as fresh, authentic and genuine as jazz we used to love for so many years...

For example it may sound like music on newest Levity album titled 'Afternoon Delights'. It all started almost too conventional with their debut recording 'Levity' in 2005 which spoke in jazz trio language rooted in tradition of Bill Evans, Keith Jarrett and Brad Mehldau legendary combos. But already on that first disc something was not exactly right... notes were going slightly mad... spiraling away like rebelling snowflakes going not only down but in all possible directions. Yeah, that was cool but at the same time weird and... fascinating, beautiful! This process deepened on their next album 'Chopin Shuffle' when they somehow managed to decompose Chopin without falling into trap of being either too obvious or too detached from it. But their latest disc is by far the best of all these albums. Why? Because it retains lightness of their first album with innovative approach of second while retaining this unmistikable feature of slight madness present in all recordings by Jacek Kita (keys), Piotr Domagalski (bass) and Jerzy Rogiewicz (drums). It is as much ambitious as accessible, as much appealing to ageing connoisseur as to novice, speaking shortly: it is very, very good disc and our NEW ALBUM OF THE MONTH!!! 

Unofficial video to song "Clap Your Hands Pikku My" from "Afternoon Delights":

Clap your hands Pikku My (unofficial) from kasai on Vimeo.

Author: Maciej Nowotny

http://kochamjazz.blox.pl/html

Leszek Mozdzer - Komeda (ACT, 2011) by Bruce Lindsay

Leszek Możdżer - piano

Komeda (ACT, 2011)

(Editor) In Poland Leszek Możdżer and his 'Komeda' album got no competition as far as jazz is mainstream concerned. But outside Poland, regardless very positive reviews like this one for example,  Możdżer remained basically unknown and this album was not a step further in direction to change this situation...

Krzysztof Komeda, the Polish musician and composer who died, age 38, in 1969, was a key figure in the emergence of European jazz, and remains a major source of inspiration for musicians across the continent. On Komeda, his ACT solo album debut, pianist Leszek Możdżer pays his own beautifully crafted tribute to his fellow countryman.

Despite his early death, Komeda's body of work is extensive and influential - showing that it was possible to take the ideas and themes of American jazz and create something that had its own uniquely Old World atmosphere. In the 21st century trumpeter Tomasz Stańko is probably the best-known exponent of Komeda's work, while the New York based Komeda Project, led by expat Polish musicians Andrzej Winnicki and Krzysztof Medyna, flies the flag for Komeda in the New World.

Możdżer is a classically-trained pianist, born in Gdansk, who discovered jazz as an 18 year-old and now moves comfortably between the classical concert stage and jazz performance, garnering numerous awards along the way. He's played with Stańko and has recorded with bassist Lars Danielsson. His classical background strongly influences the sound of Komeda—especially on the opening bars of "Svantetic," where he introduces the tune with some sparklingly delicate upper register flourishes.

Many of Komeda's best-known compositions were written for Roman Polanski movies such asRosemary's Baby (1968) or Knife In The Water (1962), films whose air of suspense and fear was heightened by the tension and darkness in Komeda's music. While Możdżer's choice of compositions includes some of this music, he focuses firmly on the more lyrical and romantic side of Komeda's work. Still, "Sleep Safe And Warm," the lullaby from Rosemary's Baby, still retains some of that darkness—however beautiful the melody may be—while"Cherry" finds Możdżer developing a funkier, more aggressive, groove, and "Crazy Girl" and "Moja Ballada" both have an edgier tone.

Komeda's cover art is a piece by German artist Martin Noël. Its soft pastel tones are perhaps a little more restrained than the usual ACT cover images, but its calm and gentle beauty perfectly reflects the restrained loveliness of Możdżer's playing and Komeda's writing. ACT's selection of solo piano albums has another excellent addition in Komeda.

Komeda's tune "The Law And The Fist" from this album:

Author: Bruce Lindsay

allaboutjazz.com

Maciej Obara Quartet - Equilibrium (Fonografika, 2011)

Maciej Obara Quartet (band)

Maciej Obara - alt sax

Dominik Wania - piano

Maciej Garbowski - bass
Krzysztof Gradziuk - drums

Equilibrium (Ars Cameralis, 2011)

Maciej Obara, altoist, though young has already recorded significant albums. Check for example personnel on his last two discs: "Four" (2010) and "Three" (2010). You will probably find it astonishing with whom he already collaborated with! But it shall be less surprise if you know that few years before he was picked up by Tomasz Stańko for his New Balladyna Project. And since you can put two and two together from the list of those names you will already know that he prefers to walk on free side of jazz. With this album however he goes back to different kind of free: rooted rather in Jimmy Giuffre than in Ornette Coleman tradition. That is due to his partners, musicians with whom he already recorded his first two discs: "Message From Ohayo" (2007) and "I Can Do it" (2009). Krzysztof Gradziuk, a drummer, and Maciej Garbowski, a double-bassist, have made their own great careers specializing in merging cool and free elements in jazz and are universally recognized as one of the most exciting rhythm sections in Poland. They are best known from excellent RGG trio and if you check such albums of this band as stunning "Unfinished Story" (2007) dedicated to legendary cool jazz pianist Mieczysław Kosz, fully improvised "True Story" (2009) or recent "One" (2011), you will understand why Polish audience believe that this is probably the only trio in this country to be seriously compared to famous Marcin Wasilewski Trio. Finally, Dominik Wania completes this quartet, who got behind him valuable projects as sideman with Bronisław Suchanek, Jacek Kochan and Tomek Grochot (check "My Stories"), excellent education and immense talent predisposing him to as significant career as those of other members of this young "dream team" of Polish jazz.

But at the end of a day the most important is of course music. And it may be well described by applying a title of first track on this album which is "Cool Madness". It bursts with inner energy and reminds me of some battle between basic elementals, fire and ice, as impersonated by Obara's alto and Wania's piano,  submerged in cool and deep space for improvisation as created by Gradziuk's drums and Garbowski's double-bass. Whether they all succeed in finding so much sought equilibrium between those ever conflicting forces is for you to decide... 

This sample of music of Maciej Obara Quartet:



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

Kamil Szuszkiewicz - Prolegomena (Slowdownrecords, 2011) by Stef Gijssels

Kamil Szuszkiewicz - trumpet

Marcin Ułanowski - drums

Kuba Cichocki - upright piano

Wojtek Traczyk - double bass

Marcin Gańko - baritone saxophone

Tomasz Duda - baritone saxophone

Prolegomena (Slowdownrecords, 2011)

(Editor) Stef Gijssels review of very strong debut by young, avantjazz trumpeter Kamil Szuszkiewicz.  

In January last year I wrote my first review of some albums with Polish trumpeter Kamil Szuszkiewicz, already sensing that it would not be the last. We find him back as the leader of a full band and with a somewhat more ambitious programme. The band consists of Kuba Cichocki on piano, Tomasz Duda and Marcin Gañko on baritone saxophonen Wojciech Traczyk ion double bass and Marcin Ułanowski on drums. 

Szuskiewicz's compositions and arrangements are really strong, with lots of variation and shifting between melancholy pieces for small ensemble ("Aria", "Pawana"), a pianoless quintet that bookends the album, using the warmth of the horns to the full, but it is when Cichocki's piano joins that the music gets its full dramatic power. The compositions are inventive and contain a wealth of clever rhythmic changes, great arrangements and a kind of inherent tension, with lots of a kind of stop-and-go feel. 

All musicians are excellent, but what is really strong for a debut album is the coherent vision and sound, something special and unique that is captivating and enjoyable. If you need comparisons, then Darren Johnston and Kirk Knuffke come to mind, two trumpeters who also understand how to create complex music with substance. 

Modern jazz at its best. I truly hope Kamil Szuszkiewicz gets audiences outside of Poland. 

(Editor) Check tune "Pavana" from this album:

Stef Gijssels

http://freejazz-stef.blogspot.com

Undivided - Moves Between Clouds (Multikulti, 2011) by Stef Gijssels

Undivided (group)

Klaus Kugel (drums)
Perry Robinson (clarinet)
Waclaw Zimpel (clarinet, bass clarinet)
Bobby Few (piano)
Mark Tokar (bass)

Moves Between Clouds (MultiKulti; 2011)

(Editor) We are getting closer to the end of this year 2011 so it is natural to look for the best albums of  all production. This is certainly one of them as much recognized in Poland as abroad which is evidenced by this review on excellent Stef Gijssels blog...

Last year, Undivided's "The Passion" won the "Happy New Ears Award", organised by this blog after a vote among you, readers. So it was with more than genuine interest that we started listening to its successor, which has again great artwork, both on the cover and inside the album.

Thematically, the music shifts from Christian spirituality to Judaism, with the reference of "Ohr Ein Sof" on the inside package, or the "infinite light" as described in the torah, of the creator's state of being before he created.

The band consists of Waclaw Zimpel on clarinet and bass clarinet, Perry Robinson on clarinet, Bobby Few on piano, Mark Tokar on bass and Klaus Kugel on drums. Adding Perry Robinson on clarinet was a clever idea, because both clarinets give each other depth and contrast.

The music is as before clearly indebted to the Coltrane legacy, including Alice Coltrane, with long and slow thematic developments, post-bop, but then less focused on the musician's individual soloing as it is on the overall effect created by the entire band. As the spiritual theme might suggest, the compositions are full of reverend, solemn drama, exalted and expansive, trying to capture this state of being where there are no boundaries, no demarkations, no differences. Yet this does not mean that there is no musical substance here, quite to the contrary, the compositions, the harmonic development, the playing itself is again fantastic, with its own yearning aesthetic, and its integration of elements of various jazz subgenres, including today's music, but also klezmer. And all this is brought with the ambition of a classical symphony, flowing endlessly, full of majesty and grandeur.

A band with a great musical vision, and pitch perfect delivery. Again a great achievement.

(Editor) Check a music from first album by Undivided titled "The Passion" as it demonstrates well this band's style as well as shows how interesting it may be to listen what is the next step in its development...

Stef Gijssels
http://freejazz-stef.blogspot.com

Andrzej Przybielski - Sesja Open (2011) by Maciej Nowotny

 

Andrzej Przybielski - trumpet, flugelhorn

Yuriy Ovsyannikov - alto & soprano saxophones

Grzegorz Nadolny - double bass
Grzegorz Daron - drums

Sesja Open (2011)

Freedom! Is that what so many people crave for? Yet already Soren Kierkegaard when referring to so few true followers of Jesus doctrine noticed that most of us when offered freedom shade from it. Avoid it. Escape it. I see it as well-proven fact that when it comes to freedom the closer it approaches the stronger becomes its avoidance. Majority cannot stand its "shine" as if they sensed that once they go for it nothing will be the same again. Therefore if such a free soul happen to live nearby you may be pretty sure that it will be despised and in contempt. First of all she or he will be walking remorse of others' cowardice or indecisiveness. Secondly such a person is indeed usually very difficult to live on since every rule must be broken, no prisoners are taken, there is only all or nothing...

I wrote those few words when contemplating over personality and art of trumpeter Andrzej Przybielski. I will not repeat basics about his extraordinary and saddening biography, about his immense talent, equal among Polish trumpetres only to Tomasz Stańko, about his madness and his exclusion. This album is only one more proof of all what was said before. Recorded in 2005 and released this year  after untimely death of Przybielski in 2011 it is the SOLE recording which this genius of avantgarde trumpet EVER made under his own name  in his WHOLE life! It doesn't mean that we have no other excellent recordings by him, it is enough of them described even on this humble blog (pls check following: "Abstract", "De Profundis" or "Stirli People In Jazzga") but they are far too few, far from being able to document musicial searchings of this adventourous and unrestrained soul, far from what he COULD accomplish if he got more opportunity to work on his own ideas and not on ideas of others, ideas sometimes doubtful, sometimes simply far from matching his great talent.

The history of this session is as erraneous and chaotic like whole personal and artistic life of Andrzej Przybielski. Leading boheme life of artistic vagabond he wandered as a sideman through countless projects but managed actually only ONCE to set up his own band called Asocjacja. Coming to existence in early nineties 90ties it played significant role in Polish rejunaviting yass movement but its role was limited to concert scene of provincial city of Bydgoszcz and its formula resembled that of workshop bands. It took almost 15 years (!!!) untill Przybielski was able to arrange a regular recording session and put some of his musical ideas forward to wider public. And even then it was just an inch from becoming inconclusive because one of the regular members of the band, vibraphonist Karol Szymanowski, dropped out unexpectedly in last moment out of the roster. Fortunately it was possible to find quick replacement for him in person of saxophonist Yuriy Ovsiannikov who together with double bassist Grzegorz Nadolny and drummer Grzegorz Daroń completed the personnel for this session. So finally in 2005 they recorded this music but it was still impossible to find any label ready to publish it!!! It happened only after another six years of waiting and was spurred by Andrzej Przybielski death on 9th February 2011. However eventually no more than just 500 copies were printed making this issue sure candidate for one of future "rara avis" among Polish jazz albums. Speaking shortly, such is twisted and unbelievable chaotic story behind arguably one of best recordings in history of Polish jazz...

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

Jerzy Malek - Air (Universal, 2011)

Jerzy Małek - trumpet

Marcin Wasilewski - piano
Michał Barański - doubloe bass
Michał Miskiewicz - drums

Air (Universal, 2011)

I am not jazz critic and I will never be. I have neither talent nor inclination in this direction. If you need proof for such my statement this text will provide good one. Why? Because this is album that many critics will disqualify while I wholeheartedly admire it! 

Before I clarify this situation let me tell you few words about players and this project. Jerzy Małek is arguably the most talented among young trumpeters in Poland (along with Artur Majewski). He is THE most in demand sideman in Poland playing in countless projects: always successful, always inspiring to his partners. But he nevertheless has modest achievements as a leader. Yes, he recorded something like 5 CDs released under his own name but honestly none of them persuaded critics that he is already stand-alone leader capable of joining the greatest in Polish jazz. So this time Małek invited musicians and composed music of such quality and caliber as to once and for all to silence all doubts about his talent. As for musicians better are impossible to find not only in Poland but anywhere! Marcin Wasilewski is on piano  whom we know from playing with Tomasz Stańko or in his own trio (check his newest "Faithful"). Michał Miśkiewicz, a drummer, is long-time companion of Wasilewski from Stańko quartet and member of above mentioned trio as well. While Michał Barański, himself absolute top player in Poland, in a smart move by Małek, has replaced third member of Marcin Wasilewski Trio, Sławomir Kurkiewicz, to alter rhythm section sound and make it more flexible in order to adjust it to the leader conceptions. 

Now as for music, it is all composed by the leader, and it sounds stylish, elegant yet simple and communicative. Although the root of this music is definitely bop and Małek's eclectic style is full of influences from Miles Davis through Lee Morgan or Booker Ervin to Tomasz Stańko, still he quite often sets his voice free. Certainly it's not free in Don Cherry ricochet but rather in Kenny Wheeler conceptual style. But the soul of this music is the beauty of the sound which is magnificent and augmented by excellent play by rhythm section. Marcin Wasilewski piano is capable of both to swing or drive full throttle in typical hard bop style. Michał Miskiewicz drums deliver great punch AND palette full of colours to this music. Michał Barański bass is solid rhythm anchor for Małek fly-aways while his voice remains individual enough never to be mistaken with anybody's else. 

So what's non-critic verdict on this CD? I do not care that it is nothing new, that musicians stay on so well-known ground, that it more looks back, towards classical roots of music, towards Schumann, Chopin or Haydn than towards American music distant shore. I know I still like it so much that my position is simple: album of the month!!!

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

Profesjonalizm - Chopin Chopin Chopin (Lado ABC, 2011) by Maciej Nowotny

Profesjonalizm (band)

Marcin Masecki - piano

Kamil Szuszkiewicz - trumpet

Michał Górczyński - clarinet, saxophon

Tomasz Duda - saxophone

Jerzy Rogiewicz - drums 

Wojciech Domagalski - double bass

Chopin Chopin Chopin (Lado ABC, 2011)

The leader of Profesjonalizm is pianist Marcin Masecki whose talent may be compared only to the greatest in history of Polish jazz as Krzysztof Komeda (pianist himself), Zbigniew Seifert or Tomasz Stańko. I observe his artistic development for more than ten years! He started as child prodigy playing in jams in legendary (now gone) jazz club Akwarium; through his first steps as professional musician taken within Grzech Piotrowski's Alchemik Band ("Sfera Szeptów") when nothing heralded he may once be such a great individuality; then through later recordings with Grzech like "Dracula In Bucharest" when his style began to dominate over music of his senior partner; to astonishing piano solo recordings like "Bob" or "John" which may be seen as last stage in moulding of his unique style. I jump a lot and omit important stages but the point is that Masecki industriously and patiently was building his own language for the most time either misunderstood or even mocked by both other musicians and audience. What was only a promise however on all previously mentioned albums has been fulfilled on "Chopin Chopin Chopin"... 

Before I briefly analyse this fascintaing music let me stop for a moment on other members of this sextet. Drummer Jurek Rogiewicz is a leader on his own (check fantastic "Levity"), his personality, his ubounded energy and enthusiasm are simply beyond description. He is supported in rhythm section by Piotr Domagalski, Rogiewicz partner from above mentioned Levity. No less prominent is brass section which consists of creme-de-creme of young avant-garde players in Polish jazz: trumpeter Kamil Szuszkiewicz ("Kapacitron"), clarinetist and tenor saxophonist Michał Górczyński ("Lark Uprsisng" or "Istikeyt/Fargangenheit") plus Tomasz Duda ("ŚĘ" or "Alchemia" among many others) playing an baritone saxophone.

As far as music is concerned it is fully composed and certainly deserves thorough analysis that would take much more than it is possible for short note on internet blog. However even brief review of influences is truly breathtaking: Bach whose "The Art Of The Fugue" or "The Well Tempered Clavier" are clearly present here; Thelonius Monk with his dissonant yet infinitely precise harmonies; Archie Shepp obsession with marches; Albert Ayler attitude toward composed element in free jazz; but also names from modern classical music should be mentioned as John Cage or Conlon Nancarrow. This picture is complemented by obvious Polish music roots as evidendeced in album's title and last composition on album which is variation on Chopin's Polonaise (B-dur so-cold "Children's"?) and clear Komeda notes scattered all over this CD but not in style, attitude or sound but in ability to establish relationship with present generation, its tastes and preferences.This list is by far incomplete and too simplified, there is much more in here, from tunes from Soviet cartoons ("Wilk i zając") to pre-bop, dense and scurvy sound of big bands from the era before stereo recordings.

I therefore stop here leaving more careful analysis to jazz critics because what I want to say is as simple as this: it is a piece of great modern entertainment nonetheless it is ambitious and deep enough to satisfy even most demanding jazz connoisseurs. It's Polish jazz at its best!!!

Check this video for sample of music:



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

Piotr Baron - Kaddish (Celestis, 2011) by Maciej Nowotny

Piotr Baron (tenor & soprano saxophone, bass clarinet)

Adam Milwiw-Baron (trumpet, flugelhorn, didgeridoo)

Michał Tokaj (grand piano)

Michał Barański (doubles bass)

Łukasz Żyta (drums, percussions)

celEsTis, 2011

Polish young musicians often mock older generation saying: they kind of stop developing 20 or 30 years ago, they are living fossils, dinosaurs! In most cases I willingly agree with them, there are great names in Polish jazz which sadly have nothing more interesting to say although they keep on recording one new album after another. Fortunately there are exceptions, Tomasz Stańko being the most obvious one, almost 70 years old he nonetheless still keeps firmly the standard of Polish avant-garde (what is unfortunately only reflected in his concert activity, not in CDs as published by ECM). 

Other example is Piotr Baron, saxophonist, better to say reedist because he plays as well on saxophones as on clarinets. On Polish scene he functions as main player in mainstream jazz and yet he managed to record an album with Wadada Leo Smith ("Salve Regina"), a dream never-to-be-fulfilled for all these young lions of our avant-garde who are so keen on criticizing mainstream jazz. Moreover, Piotr Baron makes a lot of people irritated because of his flamboyant Catholicism and many declarations that all nuances of fashion, vogue and style are secondary to him when confronted with religious message he regards as the most important. And yet, in my humble opinion (and I am not religiously fervent at all!), this religious madness saturates his music with such spontaneity, authenticity and emotionalism that he is able to evoke reactions all these young free jazz worshipers can only dream of.

I therefore prefer to put Baron in his own class, he is neither mainstream or avant-garde, he is madman, as other great jazz madmen of the past in persons of John Coltrane, Pharoah Sanders or Bennie Maupin, all reedist, all going their own way, all great sorcerers, producing sounds in order to conjure demons, succuba, revelations rather than just music some disillusioned DJ may play in radio between washing powder and dog food commercial. 

Before I end this extended apology let me add that in this noble errand Piotr Baron (tenor & soprano saxophone, bass clarinet) is accompanied by dream-team rhythm section - Michał Tokaj (piano), Michał Barański (bass) and Łukasz Żyta (drums) and his son Adam Milwiw-Baron providing excellent support on trumpet. Album's program ranges from "Kaddish" (threnody over recent death of journalist Jan Mazur), to set of fully improvised duos titled according to quotations from Bible, Darek Oleszkiewicz composition "Prayer" and "Soulfood" dedicated to Benny Maupin (both "Kaddish" and "Soulfood" are composed by Piotr Baron and are the best tracks on this album), to famous "Pescador de Hombres" favourite tune of Pope John Paul II (the weakest on this album, I would expect from Piotr something more adventurous as far as this tune is concerned). 

All in all, fantastic music, one of the best albums in Polish jazz this year and I can only hope that we will not have to wait for new Piotr Baron's record another 36 months!!!

Check one of those above-mentioned improvised duos titled "Psalm 51":

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Author of text: Maciej Nowotny

http://kochamjazz.blox.pl/html

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Andrzej Przybielski & Oles Brothers - De Profundis (Fenommedia, 2011) by Bartek Adamczak

Andrzej Przybielski - trumpet, flugelhorn, cornet, pocket trumpet
Marcin Oles - double bass
Bartlomiej Brat Oles - drums

Fenommedia 2011





As far as year 2011 it is difficult to point at better recordings than this one. Check Bartek Adamczak (and his blog about free jazz) text to learn more about this extraordinary album...  

The significance of some releases transcends the music. Such is this case. This cd is, and will be, the last one recorded by Andrzej Przybielski. A true artist if there ever was one, legendary if somewhat obscure character of polish jazz, always underrecorded, never caring much about publicity, recording deals. Hero of whole ton of anectodes, unpredictable musician who would thrive in improvised situations, didn't like the recording studio, hated rehearsals, didn't care about the 'professional' side of music making but lived as freely as free was the music he loved.

Here he's introduced by a Oles brothers rhythm section as they share in the liner notes some the experiences they had with Andrzej Przybielski. He played as a guest with their first band - Custom trio, he recorded with them the first ever session as a leader (released as "Abstract" on Not Two in 2005, he was 61 at that point!). It was his wish to record this concert, while Oles brothers hoped to do a studio session to present Przybielski's new compositions. This, unfortunately, will never be done.

Which makes it only more fortunate that this gig was recorded. Andrzej Przybielski posesses a bautiful, masterful tone, plays with clarity and immagination that is reserved only for the greatest artists. He leads the way with non-chalance, swagger and elegancy. His plaing is passionate, free, wild yet somehow relaxed, light never forced, never straining himself, yet full of spiritual energy that reminds of Don Cherry. And while the soloing is free, they never loose touch with the melody and rhythm inclined by the composition. And as much as Przybielski plays free-jazz his compositions are just jazz, melodic and simple, filled with jazz tradition. "Afroblue" and "Epitafium dla Jacka" were featured on "Abstract" cd, and it's great to see how creative is this group as they take the tunes into completely other regions, that's why Przybielski didn't like doing 'takes' - as each song performance would be completey different from another. "Guru" is a bit folskich theme that was recorded previously by Andrzej Przybielski with Sing Sing Penelope group. The album features also the frree improvisations both entitled "De Profundis". The second one, final track, starts with a ominous, meditative mood (great, harmonical arco by Marcin Oles), ends with "Afroblue", fittingly closing the braces form of this album.

The rhytm section follows the leader without hesitation (liten to them swing in "Afroblue"), providing rich and melodic background (and a couple of nice solos too), but it's the Przybielski's trumpet that takes the spotlight, and his tone is something pure and deep, something to admire. Just listen to his solo in "Guru", or the focused improvisation he leads in the second "De profundis", actually listen to it all.

This is pure and joyfull jazz, free at mind, not something that has never been done before, but on the other hand, something that can't happen too often. I said that some releases mean more than the others for non-musical reasons. It's true that there's a historical value to this recording that is hard to overestimate. This is the final recording of an artist who many will never hear about, yet who could have been now mentioned along the greatest European trumpet players like Tomasz Stanko or Enrico Rava had he ever wanted to take the spotlight. But actually that doesn't add or take from the fact that this is simply and plainly a great music. Enjoy it.

Andrzej Przybielski died on the 9th Febuary of 2011.

1944-2011

R.I.P.

Author of text: Bartek Adamczak

http://jazzalchemist.blogspot.com/

Jachna / Buhl - Niedokończone książki aka Unfinished Books (Audio Tong, 2011) by Stephan Moore

Jachna/Buhl (duo)

Niedokonczone Ksiazki (translated: Unfinished Books)

Wojtek Jachna (trumpet, electronics)
Jacek Buhl (drums)

Audio Tong Music, 2011

Courtesy of Stephan Moore (check his excellent JazzWrap blog) we publish text about album that has made biggest impression on me in recent times...

A recent and unbelievably exciting discovery is the second release from the duo Jachna & Buhl, Niedokonczone Ksiazki (translated: Unfinished Books). Utilizing elements of jazz, electronica, early prog and found sound, Jachna and Buhl have created a wonderful and riveting document of rhythms, tones and ideas that will have you decidedly beside yourself as to what to call this - Jazz? Avant Garde? Third Stream Jazz? Electronica? World? Or what? There are places on Unfishised Books, where you may hear influences of Faust, My Bloody Valentine or Jon Hassell. I have been listening to this record non-stop for the last two weeks (twice a day in some cases).

In a similar vein to Mikrokolektyw from last year, this duo consist of drums and trumpet/electronics. But that's really where the similarities end. Jachna/Buhl employ their acoustic instruments with limited electronic manipulation. This gives the record a raw feel but also adds an experimental quality when the electronics are introduced. On "Modlitwa", the duo utilize all the space available and conjure a rich and expansive acoustic dialogue that is both exciting as it is exploratory. "Bernstein's Mood" rolls out with a funky repetitive pattern from Buhl and phrasing from Jachna that could fit neatly along side a piece of West Side Story (if West Side Story were an experimental musical). 

"Przyplyw Odplyw" has an ambient-dub quality to it that is reminiscent of mid-period Jon Hassell. It's a slow developing piece that is mainly dominated by Buhl's rhythmic passages. Jachna's performance is layered in beautifully. "Przyplyw Odplyw" moves upward and out but still maintains a melody, expression and direction that holds your interest throughout. Both musicians along with the electronic elements deployed in this piece are truly sublime. "Zmeczony Los" closes out the session with a slow moving rhythm, manipulated trumpet and other found sounds that feel more ethnological in structure than jazz based. The drums feel very tribal and Buhl's playing is eerie and emotional. It's ambient, dub, experimental and electronica rolled into six minutes of solitude. 

This is one of those records that is always up our alley at JazzWrap. Wojtek Jachna and Jacek Buhl have created an album that is strikingly different than most of the material you will hear this year. Fusing various elements of the musical spectrum, they have maintained the acoustic richness of their instruments with the far-reaching spirit of third stream jazz to create an album--Unfinished Books -- that is worth every dollar, euro or pound it takes you to find it. Highly Recommended.

Check samples of music from this album:

Author of text: Stephan Moore 

http://jazzwrap.blogspot.com/

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Maciej Grzywacz - Black Wine (Fonografika, 2011)

Since I have my own broadcast on radiojazz.fm (every Tuesday 21.00-22.00 and repeats on Sunday 17.00-18.00) I plan to dedicate one hour to Polish young jazz guitarists. There are many of them and you may find reviews of their records on our site: Przemysław Strączek ("Light&Shadow"), Rafał Sarnecki ("Madman Rambles Again") or Daniel Popiałkiewicz ("The Hope For Tomarrow"). I have just name few players, there are more and although they play excellent jazz indeed it is in all cases mainstream while my heart go closer and closer to avantgarde. That's why once I started to listen to Maciej Grzywacz "Black Wine" I immadietely become excited becouse from very first notes it is obvious that though deeply rooted in mainstream jazz tradition he flirts on this CD with more twisted and broken rhythms.

Before I move further on description of music let me say few words about musicians. Maciej Grzywacz, guitarist, is well known on Polish scene both as sideman (he collaborated with Olo Walicki, Wojciech Staroniewicz, Piotr Lemańczyk or Jacek Kochan to name just a few) but also has four albums recorded as a leader. Apart from "Black Wine" (2011) there were "Things Never Done" (2006) recorded with pianist Avishai Cohen, "Forces Within" (2006) with percussisis Tyler Hornby (check his "Able To Fly") and "Fourth Dimension" (2009) with Maciej Obara. As for Yasushi Nakamura and Clarence Penn, they are both high quality players, both residing and working in New York, with Penn being much better recognized by me from his previous projects as creative and energetic force in rhythm sections he played in. 

Let's go back to music: as title suggests it's as elegant, refined and deep as good wine could be - check calm and relaxed composition by Maciej Grzywacz titled "Brothers". But as we all know wine is not entirely about tranquility and that's way I also like "Zoom Zoom" and "Black Wine" both uptempo and composed by Clarence Penn where you can hear some bop, groove and even funky accents, all so characteristic for New York style.

But as far as I am concerned this bottle of jazz becomes best when it ceases to be so elegant yet predicatble as wines of Old World and becomes wild and unexpected as those (like Chilean Carmenere or Californian Zinfandel) coming from New World. In such tunes Maciej Grzywacz play becomes little edgy reminding me at moments those of Morris or Mary Halvorson while Clarence Pence drumming sounds rugged and ethereal as those of Gerald Clever or Tony Oxley. For such moods check first of all Maciej Grzywacz composition "No Changes" or (less) in "Akurat". All in love this is certainly more than satisfactory album, in fact one of the best issued this year in Polish jazz...

Please check this site for more information and music from this album:  http://www.blackwinecd.com/en and this site: http://tomirriphotography.blogspot.com/ for excellent photographs of these three gentlemen playing together.

     

Author of text: Maciej Nowotny 

http://kochamjazz.blox.pl/html

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Rafał Sarnecki - Madman Rambles Again (Fresh Sound New Talent, 2011) by Adam Baruch

Rafał Sarnecki (guitar)

Paweł Kaczmarczyk (piano) 

Jerzy Małek (trumpet)

Lucas Pino (saxophone, flute)

Wojciech Pulcyn (bass)

Łukasz Żyta, Paweł Dobrowolski (drums)

Jose Manuel Alban Juarez (percussion)

Fresh Sound New Talent, 2011

Adam Baruch (check his music boutique www.jazzis.com) is presenting new album of talented man Mr Sarnecki. It is our second text about this desc but music certainly deserves it...

This is the 2nd album by the excellent Polish guitarist / composer / arranger Rafal Sarnecki, following his outstanding debut released a couple of years earlier. Sarnecki manages to repeat the same level of freshness and quality, but the new album is different in many ways, mostly due to the fact that Sarnecki lived in NY for some time, absorbing some of the Big Apple's influences, which are evident in the brass arrangements, Latin rhythms and overall sound of the recording. But fortunately this amalgamation of American influences did not replace his European roots, which remain intact, especially in his superb compositions. He composed seven of the eight tracks on the album and included one standard, same as last time. 

His musical cohorts consist partly of the same excellent musicians who recorded the debut album: pianist Pawel Kaczmarczyk, bassist Wojciech Pulcyn and drummers Lukasz Zyta (on six tracks) and Pawel Dobrowolski (on two tracks) (all five are members of the pianist's Audiofeeling Band), strengthened by a brass section: US saxophonist / flautist Lucas Pino and trumpeter Jerzy Malek. Percussionist Jose Manuel Alban Juarez (despite the name he's Polish) guests on two tracks. The sextet format allows Sarnecki to develop a much richer orchestration and complex arrangements for his superb compositions, which he does beautifully, carefully avoiding overdoing it, which is a rare and commendable approach. The performances are of course stellar and these young musicians bring a wide smile on veterans' (like me) faces, seeing that Jazz has a future after all. 

What I particularly admire about Sarnecki is his ability to eschew the Fusion trap – he manages to keep this album 100% Jazz, which is extremely rare for guitar albums these days. The album was released on the Spanish Fresh Sound label, which releases albums by young and promising Jazz musicians from all over the world, giving them a chance of international exposure, an admirable policy deserving support. Polish Jazz legend Tomasz Stanko gives Sarnecki some warm compliments on the album's cover, and I'm only happy to concur with his opinion – this is definitely a great piece of music, which deserves repeated listening and an honorable place on the shelves of Polish Jazz discography. Wholeheartedly recommended!

Fragment of music registered during concert in Polish consulate in New York this year:

Author of text: Adam Baruch (http://www.adambaruch.com/)

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The Resonance Ensemble - Kafka In Flight (2011) by Stephan Moore

Resonance Ensemble (group)

Ken Vandermark (sax, clarinet) 

Mikolaj Trzaska (sax, clarinet)

Mark Tokar (bass)

Michael Zerang (drums)

Tim Daisy (drums)

Steve Swell (trombone)

Per -Ake Holmander (tuba)

Dave Rempis (sax)

Magnus Broo (trumpet)

Waclaw Zimpel (clarinet)

Kafka In Flight (Not Two Records, 2011)

Although we got already nice review of this album by Bartek Adamczak, here is anothere interesting text about by Stephan Moore from http://jazzwrap.blogspot.com/. Certainly music deserves as much attention as possible since it is one of the best recordings in which Polish jazz artists particpated this year... 

This is an album I have been waiting for since I read about it on Ken Vandermark's twitter feed a few months ago. The Resonance Ensemble is the brainchild of the great Chicago saxophonist, Ken Vandermark. In the similar vein to Peter Brotzmann's Tentet (which Vandermark is also a member), Resonance embarks on large scale compositions. But where PBT tend to move into the upper stratosphere in theory--Vandermark is keeping things within a linear pattern as far as the tone is concerned. There is a great deal of improvisation happening but its within the melody and rhythm of the writing.

Resonance Ensemble was first developed out of a series of concerts and studio sessions that were later recorded in 2008 (Live In Lviv) and then for the 10CD box (Resonance Box). What's remarkable is that as Vandermark states in the notes to this album, because of the size of the band and the various groups they lead and projects they participate in, its difficult to get any rehearsal time before live shows or recording. I don't think any of us would notice or care. Why you ask? Because the results are something truly unbelievable.

For the group's third album Kafka In Flight, recorded live in Poland, Vandermark guides the group with three lengthy pieces of jubilant free form that would make you feel as if Ellington, Coltrane, Cherry, Coleman, Blakey, Chambers (and take the your pick of the rest) had gotten together in your backyard. Kafka In Flight is smokin'. Unlike even Vandermark's main group (The Vandermark 5), Resonance Ensemble seem to enjoy mixing the past in a large bowl and coming up with interesting and riviting concoctions. The opener, "The Pier" is fast moving and allows for moments in which each member can contribute and expound on Vandermark's material. It's a real treasure of ideas that surface. The always incredible Tim Daisy delivers an excellent improvised mid-section, accompanied by a good portion of the horn section and Vandermark on clarinet, explore and exchange some intense possibilities but it works unbelievably well.

"Rope" is a bit more cinematic, led by some great performances from Per-Ake Holmlander on tuba (a rare instrument in modern free jazz) and Magnus Broo (trumpet). "Rope" moves from funky to experimental to comforting (so-to-speak) and gives the listener a lot to absorb. Michael Zerang and Tim Daisy are superb as they duel it out with sharp intersecting chant from each of the wind players. "Coal Marker" rounds out this hour long journey in style. It's the ensemble releasing all it's force into your speaker (and you better be able to deal with it). There are spontaneous moments that sees the group in unison but also exchanging circular rhythmic patterns. This is a group that somehow, despite little time together, knows exactly what the other is going to do and each is up for the challenge.

Kafka In Flight is an album and performance that is built around the ability of Ken Vandermark to write excellent material that is interchangeable for each member. You can picture most of these notes performed by different members and each coming up with a different result. But the result would still be amazing. Kafka In Flight is yet another step in the already legendary career of Ken Vandermark. While the first two albums are both hard to find and in the case of the boxed set--expensive--you should definitely seek out Kafka In Flight. It is well worth every avant garde fan's dollars. One of our Top Albums Of The 2011.

Author of text: Stephan Moore (http://jazzwrap.blogspot.com/)