Klara Cloud & The Vultures - Vauna (2019)

Klara Cloud & The Vultures

Sylwia Klara Zasempa - vocals
Bartosz Dworak - violin
Mateusz Gawęda - piano
Adam Tadel - double bass
Piotr Budniak - drums
Sebastian Kuchczyński - drums
Apostolis Anthimos - guitar (10)

Vauna


CHALLENGE 73476

By Adam Baruch

This is the debut album by young Polish Jazz ensemble Klara Cloud & The Vultures which comprises of vocalist Sylwia Klara Zasempa, violinist Bartosz Dworak, pianist Mateusz Gawęda, bassist Adam Tadel and drummers Piotr Budniak and Sebastian Kuchczyński. Legendary guitarist Apostolis Anthimos guests on one track. The album presents ten tracks, eight of which are original compositions mostly by Zasempa and some created with the help of the entire ensemble (the two instrumental tracks) and finally two are traditional. Most of the lyrics are also by Zasempa. The subject matter of the album refers to Nature, wildlife and harmonious coexistence. The music was recorded at the excellent Monochrom Studio and engineered by Ignacy Gruszecki, with the usual superb sound quality.

The music offers a fascinating concept, combing Jazz-World Music Fusion with Free Jazz, which is quite striking. Although Polish Jazz often sources Slavic music, typical Polish melancholy and Polish Folklore, amalgamating it usually with original mainstream Jazz, but rather rarely so with more adventurous forms, which makes this music immediately outstanding. This does not mean that the music loses contact with melody per se, but the improvisations offer a wide range of freedom, both rhythmically and harmonically, which are not usually found within the Jazz-World Fusion idiom.

Dworak and Gawęda, who are amongst the most celebrated young Polish Jazz players, have plenty of opportunity to show their chops on this album, standing up to the expectations in full. The reinforced rhythm section, with the polyrhythmic double drums (in stereo) and solid bass pulsations, pushes the music steadily forward and serves as an anchor for the listener to keep his bearings. The guitar solo by Anthimos on the final track is simply divine.

Of course the vocals are the epicenter of this music and Zasempa stands up to the challenge with flying colors. She keeps to the basics, avoiding unnecessary theatrics and meanderings, and invests directly in the delivery of the lyrics, often improvising in the process. She does not use vocalese extensively, preferring to "play with the words" rather than with the sounds, but when she does, it works perfectly and hopefully will be used more in future projects. Zasempa is a "total" musician, being obviously the leader, the composer, the lyricist and the main soloist – Woman power incarnate.

Overall this is a beautiful piece of music, excellently put together and executed, original, ambitious and intelligent. Definitely one of the most interesting Polish Jazz releases of 2019. It is also the fifth album by young Polish Jazz musicians to be released on the prestigious Dutch Challenge label, which proves that this music is being recognized beyond the local market and steadily captures the position it truly deserves. Well done Lady and Gentlemen!

Apostolis Anthimos - Parallel Worlds (2018)

Apostolis Anthimos

Piotr Matusik - keyboards
Olaf Węgier - saxophone
Robert Szewczuga - bass
Apostolis Anthimos - drums, guitar

Parallel Worlds

METAL MIND 0786



By Adam Baruch

This is the fifth album by Polish (of Greek origins) guitarist / drummer / composer Apostolis Anthimos, mostly familiar as the lead guitarist of the legendary Polish power trio SBB, but also active in other music fields, as this album's title perhaps suggests. On this album Anthimos plays guitar and drums and is accompanied by bassist Robert Szewczuga, keyboardist Piotr Matusik and saxophonist Olaf Węgier. A couple of vocalists appear as guests on one track each. The album presents fourteen original compositions, presumably all by Anthimos, since nothing is explicitly stated on the album's artwork.

The music is quite different from what Anthimos is usually associated with, presenting mostly melodic Jazz, some Fusion and World Music, all very delicate and subdued. The focus of this album is fully directed on Anthimos the composer, especially in view of the fact that his guitar playing here is limited, and he plays drums on all tracks instead. The guitar is prominently featured mostly on the title track and sparingly on a few other tracks, which again points out, that the concept was to show a different facet of Anthimos' Music. His fully blossomed composing skills result in a superb collection of wonderful melodies, all of which are skillfully weaved and harmonically coherent.

The performances are all excellent and with the absence of Anthimos' guitar, the soloing is mostly the responsibility of Matusik and Węgier, both of whom show exceptional skills and taste. Szewczuga lays exquisite layers of bass statements, which round up the sound of the quartet and Anthimos drives the rhythmic pulsations flawlessly.

Overall this is a wonderful melodic, mostly Jazz album, with excellent compositions and outstanding performances, which should keep every Jazz connoisseur extremely happy. People used to Anthimos' Rock and Fusion explorations might be surprised to hear this album but if they have any taste and music understanding they should accept this simply as another facet of their idol's musical personality! Lakis ευχαριστώ for this great music!

Dziedzic – Tempo (2017)

Dziedzic

Piotr Wyleżoł - piano, keyboards
Kuba Więcek - alto & soprano saxophones
Apostolis Anthimos - guitars
Robert Kubiszyn - bass
Michał Baj - turntables
Krzysztof Dziedzic - drums

Tempo


FOR TUNE 0120

By Adam Baruch

This is the debut album as a leader by the veteran Polish Jazz drummer/composer Krzysztof Dziedzic. Surrounded by a formidable team, which includes keyboardist Piotr Wylezol, saxophonist Kuba Więcek, guitarist Apostolis Anthimos, bassist Robert Kubiszyn and Michal Baj (a.k.a. DJ Eprom), who is in charge of turntablism, Dziedzic presents nine original compositions/improvisations, all credited to him.

The music, as described in the album's liner notes, is all about tempo measured in beats per minute, or BPM, which changes here from one tune to another from the very slow 25 BPS to the extremely fast 207 BPM. The melodic content is quite limited on this album, with the drums being the anchor instrument, which leads the proceedings. Bass guitar parts turn some of the tunes into improvised Funk and Groove. The piano takes most of the solo parts and the saxophone and guitar play only on selected tracks, but deliver excellent contributions, especially the Anthimos parts which are Fusion heaven, as usual. The drums dominate the proceedings of course all the way through.

This album is mostly about drums and drumming and fans of rhythmic grooves should find this music delightful. For others, especially those looking for straightforward Jazz might find this music somewhat less approachable, except for some excerpts. Overall this is a bold and quite unique statement, which deserves to be heard and hopefully will conquer hearts in the process. Dziedzic already proved that he is one of the top Polish Jazz drummers over the years and now is time to discover his less obvious qualities.

SBB – Za Linią Horyzontu (2016)

SBB

Józef Skrzek - bass, keyboards
Apostolis Anthimos - guitar
Jerzy Piotrowski - drums

Za Linią Horyzontu

POLSKIE RADIO 1950




By Adam Baruch

This is the first new studio album by the legendary Polish Rock/Prog/Fusion ensemble SBB, following several years of inactivity as recording artists. SBB, which comprises of bassist/keyboardist/ leader Józef Skrzek, guitarist Apostolis Anthimos and drummer Jerzy Piotrowski, makes live appearances quite regularly all over Poland, keeping the fan base happy and a plethora of archival live recordings is being constantly released, flooding the market and slowly driving the diehard aficionados to bankruptcy.

The music on the new album is a stylistic mixture of all the sub-genres that the group ventured into during their long career. The album presents eight pieces, three of which were composed by Skrzek, three by Anthimos and one was co-composed by all three members of the group. The closing piece the album, a three part suite, was partly co-composed by all three members of the group and partly composed by Skrzek. The pieces composed by Skrzek feature lyrics (in Polish) while those by Anthimos are instrumentals (well, almost).

Most of the material is Rock oriented, with relatively short and well organized songs. The instrumental pieces are more Fusion oriented. There is relatively very little improvisation and open space, which takes this album away from the Jazzy ventures the group tried in the past. The album has modern sound and production techniques, making it feel contemporary, which is not necessarily a compliment in their case. Of course these are brilliant musicians with an enormous legacy, but that is not apparent on this album. Anthimos is definitely the most interesting player and his guitar licks are still stunning after all these years.

Overall this is a nice, pleasant album, which proves that SBB is alive and kicking, still able to create solid Rock and Fusion music, but nothing that would prove their Phoenix-like rebirth or discovery of new previously uncharted territory. It is always great to hear them in action and their live concerts, especially when they return to their early and then revolutionary material, are a stunning experience. No doubt the numerous fans of the group will enjoy this album but I wonder if this will bring them any new fans from among the young generation of listeners? One has of course to admire their stamina and consistency and the ability to keep their iconic status. Altogether well done!

Naxos – Coexist, Live At Polin (2015)

Naxos

Milo Kurtis - leader
Apostolis Anthimos - guitar
Konstanty Joriadis - keyboards
Lena Romul - saxophone
Piotr Olszewski - bass
and others

Coexist – Live At Polin



MILO 302

By Adam Baruch

This is the second album by Polish World Music ensemble Naxos, led by the charismatic musician of Greek origin Milo Kurtis. Other musicians in the ensemble include vocalist Rasm Al-Mashan, keyboardists and vocalist Konstanty Joriadis, guitarist Apostolis Anthimos, saxophonist Lena Romul, bassist Piotr Olszewski, drummer Kamil Siciak and percussionists Adeb Chamoun and Anna Patynek. The album presents ten original pieces, four of which were written by Kurtis, another four by Joriadis, one by Anthimos and the final one co-composed by Joriadis and Al-Mashan. Following the ten tracks recorded live at Polin Museum of the History of Polish Jews, the album includes a lengthy bonus track by another ensemble led by Kurtis, called Drum Freaks, originally released on the album "Smyrna".

The music of Naxos is a perfect amalgamation of the beautiful Mediterranean music sources: Greek, Turkish, Arabic and Jewish, spiced with Rock and Jazz delicacies. Spectacularly performed by these highly talented musicians and fronted by the incredible vocal abilities of Al-Mashan, who not only sings beautifully but also is able to improvise with her vocals like al great Arabic singers, this music is a delightful musical trip to the heart of the Middle East.

Of course reading about this music is not a substitute for listening to it and therefore I wholeheartedly recommend attending a Naxos concert anywhere possible, with a guaranteed satisfaction, and in the meantime getting a copy of this wonderful album and enjoying it to the max.

Hopefully Kurtis and his cohorts will soon surprise us all again with some new music they so beautifully weave. In the meantime efharistó, shukraan and dziękuję my friends for the fabulous work and hope to see you all soon.

SBB – SBB & Michał Urbaniak (2015)

SBB

Józef Skrzek - bass/keyboards
Apostolis Anthimos - guitar
Jerzy Piotrowski - drums
Michał Urbaniak - violin

SBB & Michał Urbaniak

POLSKIE RADIO 1982



By Adam Baruch

This is a live recording at Polish Radio Studio Three by the legendary Polish trio SBB (keyboardist bassist/composer Józef Skrzek, guitarist Apostolis Anthimos and drummer Jerzy Piotrowski), who are joined on four tracks by no less legendary Polish violinist/composer Michał Urbaniak. The album presents nine compositions, most of them by Skrzek, which originate mostly from their early albums, which are now about forty years old.

I have attended a similar live gig by SBB at about the same time at the underground concert hall located in the "Guido" coal mine in Zabrze (Silesia) and my reflections are quite similar in both cases. SBB are a living legend and absolutely masterly musicians, who changed the face of Polish Music and even Polish Culture, but they continue to play the same material for far too long to be attractive any more. Of course the music is great and the atmosphere is electric, but every SBB fan has heard this music many times before. Even Urbaniak's contributions, as electrifying as they are, make to impact whatsoever as to the basic feeling of déjà vu.

One very positive factor about this specific recording is the fact that this is the best sounding recording by SBB ever, which is perhaps good enough reason to buy this album. Other than that, nihil novi sub sole…

Apostolis Anthimos – Days We Can`t Forget (1994)

Apostolis Anthimos

Apostolis Anthimos - guitar, bass guitar, keyboards, drums
Gil Goldstein - piano, rhodes, accordion
Jim Beard - piano, rhodes
Matthew Garrison - bass guitar
Paul Wertico - drums, percussion
Sugar Blue - harmonica (8)

Days We Can`t Forget

GOWI 17

By Adam Baruch

This is the debut album as a leader by Polish (of Greek origin) guitarist/composer Apostolis Anthimos. The album (except for one track) was recorded in NY and features a dreamy lineup of well known American Fusion players: keyboardists Gil Goldstein and Jim Beard, bassist Matthew Garrison and drummer Paul Wertico. Harmonica player Sugar Blue guests on one track. The album consists of eight tracks, five of which are original compositions by Anthimos and three are Jazz standards.

The music hides no surprises and reveals a very well played Fusion, with many excellent solos and a nice melodic flow. It is quite different stylistically from what Anthimos played with SBB, which is more Blues and Rock oriented. It is really great to hear a different, Jazzier Anthimos, more relaxed and obviously happy with the result. Also his skills as a composer are fully exposed here, showing that he is perfectly capable of weaving nice, elegant tunes.

After years of standing in the limelight of SBB, Anthimos finally proves that he is capable of playing his own music and following his heart. This album lost nothing of its charm and beauty over time and still sounds great a couple of decades after it was originally released. For Polish Fusion fans this is an absolute must, but basically any Fusion fan anywhere on this planet should enjoy this album in full.

Naxos – The Trip Around The Brain (2014)

Naxos

Milo Kurtis - clarinet
Konstanty Joriadis - keyboards
Apostolis Anthimos - guitar
Rasm Al-Mashan - vocals
Adib Chamun - percussion
Marcin Kajper - saxophones
Marcin Pendowski - bass

The Trip Around The Brain


WARNER MUSIC POLAND 825646292103

By Adam Baruch

This is the debut album by the Polish ensemble Naxos, led by the celebrated musician/personality Milo Kurtis, one of the pioneers of World Music and World-Jazz Fusion in Poland, who was a member of the legendary ensemble Ossian in the 1970s and many other groups over the years. It was delightful to meet Milo in person just a few weeks ago in Warsaw and talk about the old times and the future, which for him is always full of bright things. I remember him taking part in my production of "The Book Of Job" in 1985, under insane circumstances, and his worm personality didn't change one iota over the years, which is truly remarkable

Kurtis is one of several Polish musicians of Greek origin, same as guitarist Apostolis Anthimos of SBB fame, who also participates in this recording. Other members of the ensemble include keyboardist Konstanty Joriadis (also of Greek origin), female vocalist Rasm Al-Mashan (of Yemenite origin), percussionist Adib Chamun, saxophonist Marcin Kajper and bassist Marcin Pendowski. Several guest musicians participate on selected tracks. The album presents thirteen tracks, most of which are credited to Kurtis and Joriadis, either separately or as co-composers.

The music has a distinctive Mediterranean flavor, mixing Greek and Middle Eastern influences, rhythms and melodies into a lively and fascinating amalgam of cultures. On the Polish scene that kind of music is definitely quite unusual and exotic, but where I live this is basically a part of our everyday milieu and this kind of music can be heard all day long on the radio or on stage in music venues, big and small. This kind of synthesis has been the most distinctive characteristic of Israeli music over the last few decades, and it's really heartwarming to hear it happening in Poland as well. Kurtis is doing his pioneering work again, and deserves to be encouraged and praised for it, especially in view of the impressive outcome, not to mention the popularization the idea that diverse cultures can work together for a common goal, as much aesthetic as practical.

This music has no boundaries and should appeal to every open-minded fun loving person on this globe. The streets of Athens, or Beirut or Tel-Aviv swarm with fun loving people and their music reflects their love of life and the ability to live life in full, if only allowed to do so. This album could be a perfect soundtrack of that desire to simply enjoy life. Of course a glass of ouzo, arak or raki (preferably all three) definitely makes listening to this music even more enjoyable. So ευχαριστώ πολύ, my dear friend, I am looking forward to many more such great musical gifts in the future.

SBB – Live Jazz Nad Odra 1975 (2013) ****

Jozef Skrzek - keyboards, bass
Apostolis Anthimos - guitar
Jerzy Piotrowski - drums

GAD 008








By Adam Baruch

This is a live recording by the legendary Polish Prog / Jazz-Rock Fusion group SBB, captured during the annual Jazz Nad Odra Festival in Wroclaw, one of Poland's most important Jazz events running uninterruptedly since its first edition in 1964. Over the years the festival exposed generation after generation of Polish Jazz players to the wide audience, as a result of the competition held every year, which presents the best musicians under the age of thirty. Winning this competition was the first major step in the careers of many of the most important Polish Jazz musicians.

This recording presents the original lineup of SBB with guitarists Apostolis Anthimos, keyboardist / bassist Jozef Skrzek and drummer Jerzy Piotrowski. They perform original material, which at the time was mostly not yet recorded in the studio and would eventually be released on their second ("Nowy Horyzont" released 1975) and third ("Pamiec" released 1976) albums. The group was at the time in a transition from their Progressive Rock phase, which started while they were still members of the Czeslaw Niemen's band, into the Jazz-Rock Fusion, which would be their home turf for many years to come. Since there are relatively very few recordings from this period, the very existence of this recording is a miracle and the fact that we can enjoy it now, almost forty years later, is a blessing.

The music comprises mostly of lengthy pieces, which were the group's trademark, that include extended improvisations and atmospheric passages, building up slowly towards a dramatic climax or even several climatic peaks, one after another. The overall impression this music created was a trans-like state of mind, which drew the listeners into a magic world of dreamy, almost psychedelic reality. Obviously such music making relied heavily on the virtuosic abilities of all the three members of the group. Skrzek, as the primary composer, sets the melodic framework and the moods; Anthimos creates the dramatic guitar arpeggios and musical peaks and Piotrowski brilliantly keeps it all moving forward and invigorates the music with his pulsations.

For many SBB followers, and Polish music lovers this period of the group's activity is, in retrospective, their most inspired, fascinating and mind-boggling. This music epitomizes the process of constant search for the undiscovered, the manic restlessness and the audacity to step into the unknown, which characterizes it. There is no doubt that this is one of the artistic peaks of Eastern European music, brewed behind the Iron Curtain. And honestly, as far as Prog and Jazz-Rock Fusion are concerned, very few of the things that happened since can stand up to this level.

The sound quality of this material is a bit muffled and with a limited sonic range and clarity, but considering the fact it was recorded live and never intended for release, it is certainly more than adequate. Of course both musically and historically it is absolutely superb and should not be missed by anybody who cares about SBB or Eastern European music from the 1970s. Grab it and enjoy!

Czesław Niemen - Marionetki (Polskie Nagrania, 1972)

Czeslaw Niemen - organ, piano, vocals

Apostolis Anthimos - guitar
Andrzej Przybielski - trumpet
Helmut Nadolski - bass, vocals
Jerzy Piotrowski - drums
Jozef Skrzek - bass, piano, organ, vocals

Marionetki (Polskie Nagrania, 1972)

This is the first Niemen album with the then SBB members. Psychedelic and blues components still here, with jazz and avantgarde elements." Marionetki" is a mournful ballad with church sounding organ and calm trumpet. "Piosenka Dla Zmarłej" starts with floating organ and continues with Niemen's soulful vocal and bluesy guitar of Anthimos. "Z Pierwszych Ważniejszych Odkryc"is a pure hendrixian psychedelic blues. Excellent ! "Ptaszek" is a filler with vocal , upright bass and laughing. "Com Uczynił": Niemen steps in the jazz territory: agressive hammond playing a'la Quatermass and soaring trumpet. Second vinyl begins the "Requiem Dla Van Gogha".This is a pure contemporary piece with reading role of the upright bass, prepared piano and space sounding organ, infuenced by John Cage. "Sariusz" is an another filler. The last "Inicjały" is very Miles Davis- In Silent way sounding, with Niemen's vocal acrobatic. This is very interesting, experimental album. (by fluiddruid)

This album shows a phase of improvisation and psychedelic rock made ​​in the seventies in Poland Psychedelic moments presents a chaotic context, which goes to other moments of pure rock We can hear some jazz improvisation in the context of fusion, mixed with moments ethnic backgrounds, which makes this multifaceted album difficult to appreciate in the first hearings. The lyrics are in Polish and I know your message but the voice is pleasant and is not the main component of this work It is a good time to appreciate jazz fusion and enjoy good times rock, but we have to get used to enjoy these more complex jobs that can only be properly assessed after several auditions. Another great Polish author of Progressive and compulsory for lovers of progressive rock in Eastern Europe, which is high quality and to discover these unique works 4 stars but 4,5 really. (by Joao Paulo)

 

Tracklisting: 1.Requiem dla Van Gogha, 2.Sariusz, 3.Inicjały, 4.Marionetki, 5.Piosenka dla zmarłej, 6.Z pierwszych ważniejszych odkryć, 7.Ptaszek, 8.Com uczynił

source: http://www.progarchives.com

Tomasz Stanko – Lady Go… (Polskie Nagrania, 1984)

Tomasz Stańko - trumpet

Apostolis Antymos - guitars, drums

Witold Szczurek - bass, bass guitar

Tomasz Hołuj - percussion

Lady Go… (Polskie Nagrania, 1984)

This is the second recording in the series of Jazz-Rock albums created by the great Polish trumpeter / composer Tomasz Stanko in the 1980s. Following "C.O.C.X." and preceding "Witkacy – Peyotl", it is definitely the most melodic and "straight-forward" album Stanko ever recorded, with a set of superb melodies, which are great fun to listen to. Of course in Stanko's case, simplicity means perfection and there is no compromise whatsoever with his usual standard of both performance and composing excellence. Recorded with guitarist Apostolis Anthimos (of SBB fame), who also plays drums here, bassist Witold Szczurek and percussionist Tomasz Holuj, this is a beautiful example of Stanko's versatility and his ability to rejuvenate and reinvent himself every decade or so. Absolutely brilliant stuff!

Track list: 1. Modi Modi; 2. The First; 3. Mr Paul at Marta's Palace; 4. Almost Gama; 5. Lady Go; 6. Last Song; 7. Lakis & Basia; 8. Violet Liquor; 9. Les Papillons Girls; 10. Modi Modi

By Adam Baruch
http://adambaruch.com/

Tomasz Stanko – Peyotl - Witkacy (Polonia Records, 1996)

Tomasz Stanko - trumpet

Janusz Skowron - synthesizer Yamaha DX7

Antymos Apostolis - guitars, drums and percussion
Vitold Rek - electric and acoustic bass
Zbigniew Brysiak - percussion
Tadeusz Sudnik - synthi...aks
Andrzej "Major" Przybielski - trumpet
Marek Walczewski - voice 

Peyotl - Witkacy (Polonia Records, 1996)

(Editor) This is re-issue of album originally released in 1987 by Poljazz.

This is probably the most significant recording by Polish trumpeter virtuoso / composer Tomasz Stanko, surely at least among his Polish recordings before his later ECM period. Following Mile Davis, Stanko switched to Jazz-Rock Fusion (albeit a decade later) and his 1980s output with his Freelectronic ensemble is radically different from the Free Jazz he played in the 1970s. 

This double album consists of one studio recording and one live recording, both expressing Stanko's power as a performer and a composer to the max. The studio album, which was compiled over a period of two years, presents music composed by Stanko at the period when he was experimenting with hallucinogens and was deeply influenced by the writings of the Polish mystic / philosopher / avant-garde artist Witkacy (Stanislaw Ignacy Witkiewicz), who was also an early experimenter with drugs. Text excerpts from Witkacy's book about drugs are recited and closely incorporated into the fascinating music, which floats over a repetitious hypnotic vamp and layers of electronic keyboard sounds. The highlight of this album is undoubtedly the inclusion of a second genius trumpet player, Andrzej Przybielski, who exchanges licks with Stanko in a brilliant manner. The fact that Stanko invited Przybielski to participate in this recording is a testimony of how highly he regarded his unbelievable talent. Other musicians participating in these recordings are: keyboardists Janusz Skowron and Tadeusz Sudnik, guitarist Apostolis Anthimos, bassist Witold Szczurek, and drummer Zbigniew Barysiak. The recitation is by the great actor Marek Walczewski. 

In retrospect the fact that this music was recorded almost 30 years ago seem incomprehensible, as it so much more advanced that almost any music done these days. Stanko's genius definitely reaches here one of its great peaks, which luckily for us was captured for posterity. Sadly this album is probably little known by his worldwide fan base, as it is very difficult to find, which of course is a shame. If one must own just one Stanko album, this is it, at least as far as I'm concerned. Absolute unadulterated genius!

Author: Adam Baruch

http://www.adambaruch.com/

check also his music boutique: https://www.jazzis.com/shop/

Tomasz Stanko – Chameleon (1989) by Adam Baruch

Tomasz Stanko - trumpet

Apostolis Anthimos - guitar, bass guitar, drums, percussion, sampler
Janusz Skowron - piano, synthesizer, sampler

Chameleon (1989)

This album's title is perhaps the most concise and precise description of its contents. With the 1970s behind him Polish trumpeter / composer Tomasz Stanko takes a sharp turn off the path he followed previously as the leader of the local Free Jazz / avant-garde scene and as other musicians before him (or like a chameleon) entered the world of Jazz-Rock Fusion.

The album was recorded in Athens in 1982 and remained unreleased until 1989 (by that time Stanko was already moving to the next phase of his career), when it was finally released by a small independent Greek label. But chronologically this is the first recording of Stanko's 1980s "new" style, preceding "C.O.C.X.".
The setting is a trio with guitarist Apostolis Anthimos (of SBB fame), who also plays bass, drums and percussion and young keyboardist Janusz Skowron, who uses the electronic devices to create beautiful sound vistas.

The music is (as always with Stanko) absolutely stunning and quite different from his earlier works. Here we can hear the "easier" or happier side of Stanko, with almost cheerful melody lines and relatively simple rhythmic approach. Let's make no mistake however; this is still Stanko at his best, with his unmistakable personal way of making music, virtuosic blowing and genius musical concept, all this in a slightly more accessible wrap up.

Of the eleven tracks on the album seven were composed by Stanko and four are credited to the trio, as much of the music was actually created on the fly in the studio. In retrospect this is definitely one of the most memorable Stanko albums and an absolute must to all his numerous fans. Just grab it!

Author: Adam Baruch

http://www.adambaruch.com/

check also his music boutique: https://www.jazzis.com/shop/

Tomasz Stanko – C.O.C.X. (1983)

Tomasz Stańko - trumpet

Antymos Apostolis - guitar, guitars drums, bass and percussion
Vitold Rek - bass, gong
Jose Antonio Torres - conga, percussion

This great album by Polish trumpeter / composer Tomasz Stanko marks his entry into the second period of his career, which is an almost complete about face in comparison to his earlier work, which was mostly associated with Free Jazz. During the next decade (1980s) Stanko will record primarily with young musicians, often associated with Rock rather than with Jazz, creating a unique (as always) brand of Jazz-Rock Fusion. This album, recorded in a quartet setting with guitarist Apostolis Anthimos (of SBB fame), bassist Witold Szczurek and percussionist Jose Torres, presents a series of beautiful melodies, which are performed in a pretty straight-forward manner, with Stanko and Anthimos exchanging licks and improvising on top of a steady rhythm section work. Hardcore Free Jazz / avant-garde enthusiasts might find this music "strange" and simplistic, but honestly it is far from being trivial at any point. It is simply different, and Stanko, as an artist, should be without doubt allowed some slack to move forward and change direction, same as Miles Davis and others did. His trumpet playing is a s virtuosic as always, and nothing beats Stanko playing a ballad – absolutely nothing! At the time of its release the album was received coldly and reluctantly by most of the local critics, who used the weathered "going commercial" arguments, without truly understanding the nature of the change. In retrospect this album is a valuable addition to Stanko's musical heritage, which has very few competitors. Brilliant stuff!

Author: Adam Baruch

http://www.adambaruch.com/

check also his music boutique: https://www.jazzis.com/shop/

Tomasz Stanko – Wolnosc w sierpniu (MVD Visual, 2006)

Tomasz Stańko - trumpet, composer

Marcin Wasilewski - piano

Janusz Skowron - synthesizer

Sławomir Kurkiewicz - double-bass

Michal Miśkiewicz - drums

Antymos Apostolis - percussion
Tomasz Szukalski - tenor saxophone
Wojciech Karolak - orchestral arrangements
String Section of Polish Radio Orchestra under the direction of Marcin Nałęcz Niesiolowski

Wolnosc w sierpniu (MVD Visual, 2006)

This magnificent album by Polish trumpeter / composer Tomasz Stanko includes the music commissioned by the Warsaw Rising Museum, which accompanies the permanent exhibition. The heroic and tragic struggle to free the Polish Capital from the Nazi occupation in August of 1944 is to this very day a pivotal episode of modern Polish history, in many respects unresolved (morally and politically) to this very day. The bold decision to bestow the task of composing the music played at the museum upon Poland's most distinguished Jazz composer is surely unusual and highly commendable. Stanko, of course, had little trouble to produce a masterpiece, which consists of a six-piece suite for Jazz combo and string orchestra. The participants are all Polish Jazz heroes, starting with the members of Stanko's regular quartet at the time: pianist Marcin Wasilewski, bassist Slawomir Kurkiewicz and drummer Michal Miskiewicz. Additional players include Stanko's veteran partners: keyboardist Janusz Skowron, saxophonist Tomasz Szukalski and guitarist Antymos Apostolis (who plays only percussion here). Another old friend, keyboardist Wojciech Karolak, is responsible for the string orchestra arrangements, played by the Polish Radio String Orchestra. The music, as always with Stanko, is absolutely breathtaking, from start to finish, performed brilliantly by all the musicians involved. Stanko's trumpet, with its distinctive and unique sound, soars vigorously and caresses gently, both with the same magic quality only he seems to be able to produce. Overall, this is definitely one of the finest Stanko's later period albums and an essential peace of European Jazz. An absolute must!

Side Note: It's a great pity that this album as now out of print and absolutely impossible to find. A repress is desperately in order!

(Editor) Pieśń Kanałów (Song Of The Sewers):

Author: Adam Baruch

http://www.adambaruch.com/
check his music boutique: https://www.jazzis.com/shop/

Tomasz Stańko - Chameleon (1989) by Maciej Nowotny

My unofficial complete discography of Tomasz Stańko continues with the record titled Chameleon printed originally in Greece in 1989 and only in 2006 in Poland. Why in Greece? Thanks to Apostolis "Lakis" Anthimos, multi instrumentalist (guitars, drums) who at those times lived in Greece and managed to find there producer willing to invest money in this session. Two above mentioned musicians are accompanied on this CD by Janusz Skowron playing keyboards, mainly Roland as far as I can hear.

Eighties were the most erratic and self-destructive period in Stańko life mainly due to situation in Poland which suffered depression under martial law imposed by Gen. Jaruzelski in 1981 in order to suppress Solidarity movement. After seventies when he played state-of-art European version of Ornette Coleman free jazz, in next decade Stańko flirted with pop, electronic music, rock and even reggae starting with recordings titled C.O.C.X. (can be translated into English as D.O.P.E.) and Freeelectronic. So in those terms Chameleon is perhaps most mellow, easy-to-listen and smooth-jazzy record of Stańko and yet it is very, very beautiful and rewarding. 

Stańko as Miles never failed and he can be compared to mythical king Midas who whatever he touched turned into gold. What is fascinating in this record is that despite being at moments very accessible yet it comprises some compositions that counterpoint this sweet and light mood with typical Stańko brooding and bluesy sound. So this music retains Stańko musical identity which we appreciate so much but at the same time, as he states in his recently issued autobiography, could be used during intimate date with his girfriends who would probably run away immediately if exposed to Stańko excellent free jazz recordings as Music For K, Twet or even Balladyna. Typical Stańko sense of humour ;-)))

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