Andrzej Jagodziński Trio - Bach (2020)

Andrzej Jagodziński Trio

Andrzej Jagodziński - piano
Adam Cegielski - bass
Czeslaw Bartkowski - drums

Bach

SRMT 5907222840047

By Adam Baruch

This is an album by veteran Polish Jazz pianist/composer Andrzej Jagodziński recorded with his fabulous trio with bassist Adam Cegielski and drummer Czesław Bartkowski. As the title suggests, the album is dedicated to the music of Johann Sebastian Bach and presents six of his compositions, beautifully transformed into the Jazz idiom.

Playing Bach by Jazz musicians is of course nothing new and the romance goes back to the early 1960s, when French pianist/composer Jacques Loussier made a grand career by Jazzing up Bach’s compositions for the crowds, and many other Jazz musicians since tried to tackle this task, including Keith Jarrett and Brad Mehldau, with varying results. Bach’s music, which undoubtedly is one of the absolute pinnacles of Human artistic ingenuity, in most cases is best served by being left alone in its original form and shape, with rare exceptions.

I am happy to see (or rather hear) that Jagodzinski and his trio are up to the challenge of successfully transforming Bach’s music into the Jazz realm, served by their great sensitivity, talents and of course extensive experience. They manage to avoid trivializing this great music, keeping the original sense of flow, melody and rhythm intact, and adding the Jazzy ornamentations with carful respect of the original compositions. This is not altogether surprising taking into consideration the sublime Jazz oriented interpretations of the music by Polish National composer Frederic Chopin, which Jagodziński and his cohorts managed to create in the past.

The performances are absolutely stellar, as expected, and although the piano is naturally in the epicenter of the sonic experience, the rhythm section also contributes some superb parts, which deserve no less admiration. Personally I hear a bit of Chopin on these interpretations of Bach, which again is hardly surprising, as Chopin’s music flows in the blood (or sub consciousness) of every Polish musician at all times.

Overall this is a wonderful album in every sense, both emotionally and intellectually, which deserves to be heard by every true lover of Jazz-Classical Fusion, Bach’s followers and Jazz piano trio enthusiasts all over the world. A true elixir for mind and body at these crazy days of misfortune and suffering.

On a personal note, almost exactly to a day last year I had the immense pleasure to attend a concert at a small Jazz club outside of Warsaw, where messieurs Jagodziński, Cegielski and Bartkowski (and others) were performing. This was an unforgettable evening of great music and friendship, especially since it was the last live concert I managed to attend before the pandemic and the last time I was abroad…

Tomasz Stańko – A Farewell To Maria (Soundtrack) (1994)

Tomasz Stańko

Tomasz Stańko - trumpet
Tomasz Szukalski - saxophone
Janusz Skowron - keyboards
Adam Cegielski - bass
Cezary Konrad - drums
and others

 A Farewell To Maria



GOWI 12

By Adam Baruch

This is an album by legendary Polish Jazz trumpeter Tomasz Stańko, which presents the music used as a soundtrack of an obscure Polish TV movie "A Farewell To Maria", directed by Filip Zylber. The music is performed by a large cast of top Polish Jazz musicians, like saxophonist Tomasz Szukalski, keyboardist Janusz Skowron, bassists Andrzej Cudzich and Adam Cegielski, drummer Cezary Konrad and others, as well as a string quartet. The album comprises of thirteen relatively short tracks, which appear within the film.

The music is a wonderful example of the strength of Stańko the composer and is based around the leitmotif, which is, as always, a heartwrenching ballad that Stańko masterly created. But the album also includes several additional melodic and improvised pieces, which create a diverse and fascinating musical experience. In contrast to many soundtrack albums, this one works perfectly well by itself, detached from the cinematic layer.

The performances are all top notch, again as expected, and in many respects this album firmly belongs to the mainstream of Stańko's recorded heritage. It's a great pity that this album so little known by Stanko's fans and the fact that it is impossible to find a copy of this album is a crying shame. Grab it if you can find it!

Auguścik & Jagodziński Trio – Szeptem (2016)

Auguścik & Jagodziński Trio

Grażyna Auguścik - vocals
Andrzej Jagodziński - piano
Adam Cegielski - double bass
Czesław Bartkowski - drums

Szeptem

MTJ 11725



By Adam Baruch

This is an exquisite album by Polish Jazz Diva Grażyna Auguścik recorded with the classic piano trio led by pianist/arranger Andrzej Jagodziński which also includes bassist Adam Cegielski and drummer Czesław Bartkowski. The album presents nine Polish evergreens, beautifully transcribed into the Jazz idiom by Jagodziński. The album is a loving tribute to the Polish popular songbook, collecting nine wonderful ballads written over a period of many years by some of the best Polish composers and lyricists, which points out clearly what t takes to create a great song, which can last for posterity: a beautiful melody and intelligent poetic lyrics.

The songs are performed with a very minimalistic approach. Auguścik sings the melodies in a very straightforward manner, eschewing almost completely the typical Jazz mannerisms and improvisations (except for a few vocalese parts), emphasizing the lyrics which are pronounced clearly and elegantly. The piano trio, which provides the Jazzy background, treads also carefully, with Jagodziński playing the chords behind the vocalist and soloing rather sparingly. It is the rhythm section which keeps the music swinging at all times and doing a superb work at that.

One can only hope that this album will find its way into the hands of the young generation of Polish music connoisseurs, who should be able to discover the treasures of their National musical heritage while listening to this music. However, if this music should reach only listeners in the third age group, it would be tragic overlook. Both Auguścik and Jagodziński should be praised for preserving Polish Culture in general and the Polish musical heritage, which they have been doing for many years. The fascination with music originating from other sources, which often blinds many Polish musicians as to their own roots, is luckily balanced by their activity.

What a great way to start a new year (2017) by writing this review, which talks about old, but not forgotten music, that has been given new life. Blindly idolizing the "new" has proven to be a disastrous path, so please let's enjoy this wondrous journey into the past, for the benefit of the future. Kudos!

Andrzej Jagodziński Trio - Opowieści wigilijne (2016)

Andrzej Jagodziński Trio

Andrzej Jagodziński - piano
Adam Cegielski - double bass
Czesław Bartkowski - drums

Opowieści wigilijne

SRMT 2016




By Krzysztof Komorek

Trio Andrzeja Jagodzińskiego to jeden z zespołów, od których zaczynałem swoją przygodę z jazzem. Wystarczy wspomnieć klasyczne już dziś interpretacje chopinowskie czy płyty z Giovannim Mirabassim. Dlatego cały czas pilnie śledzę, co nowego to utytułowane trio serwuje swoim miłośnikom. W tym roku mieliśmy już okazję poznać zaskakującą płytę z klasyką polskiej piosenki, nagraną wspólnie z Grażyną Auguścik. Koniec roku przyniósł kolejną niespodziankę w postaci albumu "Opowieści wigilijne".

W samym środku lata tego roku Andrzej Jagodziński, Czesław Bartkowski i Adam Cegielski nagrali dziesięć klasycznych polskich kolęd. Przy tej zapowiedzi niektórzy poczuć mogą uczucie rozczarowania. Repertuar to bowiem oklepany, a w dodatku taki, na którym potknął się już niejeden, nawet wysokiej klasy wykonawca. Otóż nic bardziej mylnego. Trio Jagodzińskiego przedstawiło bowiem słuchaczom coś wyjątkowego. Proszę nie oczekiwać "odplumkanych" kolęd, które pośpiewać będzie można z wujkiem i ciocią pod jazzujący podkładzik.

"Opowieści wigilijne" to solidna jazzowa płyta, na której usłyszymy całkiem nieoczekiwane interpretacje niezwykle popularnych utworów. Interpretacje mistrzowskie, choć często poruszające się na dalekich obrzeżach granych tematów. Niezadowoleni będą jedynie zwolennicy konserwatywnego sposobu grania kolęd. Wszyscy poszukujący oryginalnej, pięknej muzyki będą zachwyceni. Perkusyjne popisy w "Z narodzenia Pana", fantastyczne i niezwykłe solo Jagodzińskiego w "Pójdźmy wszyscy do stajenki" czy rewelacyjnie nakreślony przez bas początek "Lulajże Jezuniu" są tego absolutnym potwierdzeniem.

Andrzej Jagodziński – W Hołdzie Wolności (2015)

Andrzej Jagodziński

Andrzej Jagodziński - piano
Robert Majewski - trumpet
Anna Stankiewicz - vocals
Agnieszka Wilczyńska - vocals
Janusz Strobel - guitar
Adam Cegielski - bass
Czesław Bartkowski - drums

W Hołdzie Wolności


POLSKIE RADIO 1986

By Adam Baruch

This is a live recording of a concert performed by veteran Polish Jazz pianist/composer Andrzej Jagodziński, which was organized to commemorate the fifteenth Anniversary of the IPN (Institute of National Remembrance). For the concert Jagodziński collected thirteen pieces of Polish music, which constitute a soundtrack of the Polish struggle for Freedom, both National and Political. They range from music composed by the Polish National composer Frederic Chopin to popular Folk and Pop songs, mostly those related in many ways to the Polish underground struggle during WW II, including the heroic Warsaw Ghetto uprising and the no less heroic Warsaw Uprising, the anti-Communist struggle following the immediate post-WW II years and up to the Solidarity movement, which finally led to the creation of the Free Polish Republic with the fall of the Soviet Empire.

These are all undoubtedly patriotic songs, one way or another, and in time when patriotism is often not considered as "politically correct", it is encouraging to see musicians taking a clear stand, without being ashamed or intimidated by it. Polish Jazz history has always been intertwined with political messages, as was Polish Literature, Poetry, Film and all other Arts. Being able to state one's political or patriotic view is after all an integral ingredient of the very Freedom, Poles have been fighting for so long.

Jagodziński "called to arms" some of the top Polish Jazz musicians on this album: vocalists Anna Stankiewicz and Agnieszka Wilczyńska, guitarist Janusz Strobel, trumpeter Robert Majewski, bassist Adam Cegielski and drummer Czesław Bartkowski. They all perform brilliantly, which is hardly surprising considering their experience and talent, creating a sensitive, intelligent and moving piece of meaningful music with carries a clear message without being vulgar or offensive. Jagodziński's arrangements are all elegant and tasteful, suiting the atmosphere ideally.

Of course this album has a layer which speaks only to people, who understand the Polish language and have some knowledge of Polish history. Nevertheless it has also universal values, which should be able to cross language barriers. This album made very little impact on the Polish Jazz scene at the time of its release, which is a great pity. The fragmented and often plainly divided Polish Society should really grow up put aside its political differences, when it comes to appreciation of Art or human relationships. The precious Freedom is after all so fragile and easily lost.

Robert Majewski – Tribute To Henryk Majewski (2016)

Robert Majewski

Robert Majewski - trumpet, flugelhorn
Jan Ptaszyn Wróblewski - tenor saxophone
Henryk Miśkiewicz - alto saxophone
Andrzej Jagodziński - piano, yamaha piano
Wojciech Majewski - yamaha piano

Adam Cegielski - double bass
Czesław Bartkowski - drums

Tribute To Henryk Majewski

SRMT 2016

By Adam Baruch

This album is exactly what it is supposed to be: a loving tribute to one of the Godfathers of Polish Jazz, trumpeter/composer Henryk Majewski, recorded by his colleagues and sons to commemorate the tenth anniversary of his death.

All seven musicians participating in this recording are top Polish Jazz musicians and the ensemble could have been easily called Polish Jazz All Stars. They are: trumpeter Robert Majewski (Henryk's son), saxophonists Jan Ptaszyn Wróblewski and Henryk Miśkiewicz, pianists Andrzej Jagodziński and Wojciech Majewski (Henryk's son), bassist Adam Cegielski and drummer Czesław Bartkowski. The album was recorded partly live in a club and partly at the legendary Tokarnia Studio, with a stunning sound quality. The ensemble performs ten tunes, six of which are original compositions (four by Henryk Majewski and two by Robert Majewski) and the remaining four are standards.

The music is, as expected, well within the Jazz mainstream, mostly Bebop oriented, with no surprises but excellently performed from start to finish. Many fabulous solos, most of which feature Robert Majewski, ornament the album and the overall atmosphere of great time was had by all seems to be the essence. For listeners unaware of Polish Jazz history this album symbolizes the process of growing up by the Polish Jazz scene, proving that European Jazz musicians can play (and swing!) as well as their counterparts across the pond, and the inferiority complex of past generations is completely baseless today.

So both as a great mainstream Jazz album and a document of Polish Jazz history, this beautifully packaged and lovingly executed package is absolutely worth having! As someone who knew Henryk Majewski I can only salute with a tear in the corner of my eye, in memoriam!

Andrzej Jagodzinski Trio – Muzyka Polska (2011)

Andrzej Jagodziński Trio

Andrzej Jagodziński - piano
Adam Cegielski - bass
Czesław Bartkowski - drums
Grażyna Auguścik - vocals
and others

Muzyka Polska

PRIVATE EDITION


By Adam Baruch

This is a beautiful and very ambitious album by Polish Jazz pianist/composer Andrzej Jagodziński and his trio with bassist Adam Cegielski and drummer Czesław Bartkowski, also involving the great vocalist Grażyna Auguścik and two Classical Music soloists: flautist Jadwiga Kotnowska and harpist Anna Sikorzak-Olek, as well as the AUKSO String Orchestra conducted by Marek Moś. The album presents a seven part Jazz suite for piano trio, voice, string orchestra and soloist, which attempts to "define" what "Polish Music" means in general and especially in the Jazz context as what we understand under the term "Polish Jazz". Five parts of the suite are based on Polish Folk tunes, one is a Krzysztof Komeda composition and one is a tune composed by Marcin Januszkiewicz. Jagodziński and Auguścik arranged the vocal parts and Jagodziński wrote the elaborate piano trio/string orchestra arrangements.

The concept behind this album obviously points towards the conclusion that contemporary Polish Music/Polish Jazz are a synthesis of the Polish Folk tradition with contemporary music forms. The Polish Folk tradition is most obviously identified with the Polish Folklore dances, such as kujawiak, mazurka, oberek and others, but also with the intrinsic Polish melancholy and lyricism, which create its unique characteristics, which are instantly recognizable to a trained ear. Regardless of the concept, this album is first and foremost a true celebration of music, crossing and bridging between Folklore, Jazz and Classical Music and doing it in an impressive, intelligent and truly beautiful way. All the parts and ideas fall together into an amazing amalgam, which is a delightful listening experience.

The album is also a wonderful platform to enjoy the individual contributions by the participating musicians. Auguścik again proves that she has very little competition on the local scene and her wonderful sensitivity and power of expression are simply stunning. Her appearance on this album is somewhat prophetic in the sense that her album "Inspired By Lutosławski", which was recorded four years after this one, would deal with the same subject matter. Jagodziński, who also plays accordion on this album, and his trio cohorts, as well as the soloists and orchestra all perform spotlessly and harmoniously, with obvious dedication and joy of creation.

This is the best album by far that Jagodziński recorded during his splendid career, and one of the best attempts to create a coherent musical concept, dedicated to Polish Music. Personally I'd love to see more such attempts done by other musicians. Discovering one's musical roots and traditions is surely preferable to imitating other cultures. This album is a pure delight from start to finish and I recommend it wholeheartedly to every Polish Jazz fan, as it reveals many of the innermost secrets about what Polish Jazz really means.

Andrzej Jagodzinski Trio – Chopin Les Brillantes (2010)

Andrzej Jagodziński Trio

Andrzej Jagodziński - piano
Adam Cegielski - bass
Czesław Bartkowski - drums

Chopin Les Brillantes

PRIVATE EDITION




By Adam Baruch

This is the fifth album dedicated to Jazz interpretations of the music composed by the great Polish composer Frederic Chopin recorded by Polish Jazz pianist/composer Andrzej Jagodziński and his trio with bassist Adam Cegielski and drummer Czesław Bartkowski. This double album is a fact a new recording of the same material that is featured on the trio's first two albums recorded fifteen years earlier, re-captured from a retrospective view and enriched by years of common experiences and joy of playing this music together.

When Jagodzinski first recorded Chopin's music twenty years ago he was pioneering a trend, which in time swept the Polish Jazz scene like a tsunami, with literally hundreds of albums with Chopin's music reinterpreted in the Jazz milieu. These attempts to follow a trend and jump on a bandwagon, which varied in quality form important and innovative to completely redundant and often preposterous, eventually had an adverse effect on the Polish Jazz fans, who had just about enough of Jazzy Chopin being showed down their throats.

Even if the original recording of Chopin's music by Jagodziński and his trio were not perfect and lacked the practice, they were bold, innovative and fresh. Sadly the repeated attempt, although richer and with better arrangements, lacks the original qualities and therefore is in some respect not such a great idea. Of course Jagodziński and his cohorts are superb musicians and do a wonderful job playing on this album, but sticking to the original recordings is by and large preferable and sounds like a good idea. On the other hand since the original Polonia releases are not easily available, perhaps this album can fill the gap.

Overall there is plenty of great music herein, as well as excellent playing by these legendary veterans and in case you don't own the original recordings this one is definitely worth checking out.

Andrzej Jagodzinski – Koncert Fortepianowy G-moll (2013)

Andrzej Jagodzinski - piano
Adam Cegielski - bass
Czeslaw Bartkowski - drums

PRIVATE EDITION








By Adam Baruch

Polish Jazz pianist / composer Andrzej Jagodzinski is one of the veterans of the local scene and a prominent figure among his peers. He was one of the first musicians to record Jazz versions of the music by the great Polish composer Frederic Chopin, and his trio recording of Chopin's works from the early 1990s remains a classic of this variety and started a trend, which continues to this very day and produced dozens of similar projects over time, some of which are completely redundant.

This album takes Jagodzinski to a whole new level of the Jazz-Classical Fusion trend, with a piano concerto he composed for a Jazz piano trio and orchestra, presented here. The piano trio consists of Jagodzinski and two other Polish Jazz veterans: bassist Adam Cegielski and legendary drummer Czeslaw Bartkowski. The orchestral parts are performed by the National Philharmonic Orchestra directed by Wojciech Zielinski.

The three-part concerto consists of melodic / romantic atmospheric music, which is heard mostly in the background, supporting the piano trio. The themes are all quite well-rounded and easy on the ear, easily accessible to the average listener and not really challenging his intellect. The trio performance is very good, as expected from such distinguished musicians, but also lacks a certain degree of excitement, which is expected in Jazz. The entire project seems to be making an effort of not stepping on anybody's toes.

Overall this is a very "slick" piece of music, which undoubtfully will find many eager listeners, who like romantic, lyrical orchestral music. Enthusiasts of more ambitious Jazz projects might find this disappointing. The album lasts only for about 36 minutes, which really puts it in the EP category, regardless of the elegant digibook packaging.

Kuba Stankiewicz – Northern Song (1993)

Kuba Stankiewicz - piano
Henryk Miskiewicz - saxophone
Adam Cegielski - bass
Cezary Konrad - drums

INTRO 0012






By Adam Baruch

This is the debut album by Polish Jazz pianist / composer Kuba Stankiewicz recorded in a quartet setting with saxophonist Henryk Miskiewicz, bassist Adam Cegielski and drummer Cezary Konrad. It presents nine tracks, seven of which are original compositions by Stankiewicz and two are standards. Stankiewicz started his career in the mid 1980s as a member of Zbigniew Namyslowski's group at the time, recording with him two albums. In the late 1980s he studied at the Berklee Collage of Music in Boston and upon his return to Poland formed the quartet which recorded this album. Over time he established for himself a leading position on the local Jazz scene as composer, arranger, performer and educator.

This album presents melodic mainstream Jazz, executed with flair and perfection by a quartet of highly talented and experienced players, who continue the tradition of Polish Jazz established three decades earlier with a mixture of American Jazz tradition at its best and European lyricism and elegance combined into an irresistible swinging and sparkling Jazz presentation. The individual performances by all quartet members are truly outstanding. Miskiewicz plays with his usual fluency and melodic smoothness, which makes him one of the best players on the scene. The rhythm section is also right where it belongs, with the bass supporting the melody lines on one hand and stating the rhythmic pulse on the other and the drums keep perfect time without being obtrusive.

But it is Stankiewicz, who is at the center of the listener's attention, both as a player and a composer. His beautiful tunes sound remarkably "familiar" even at the first encounter, which of course is a sign of perfect harmonic balance and melodic excellence that characterizes all great Jazz pieces. His piano playing is another proof of his sublime sensitivity and feel for Jazz, which is immediately apparent. It is hardly surprising that this album won the "Album of the Year" title at the time of its release, over twenty years before these notes are being written.

In retrospect it is quite clear that great music ages well, and this album sounds as relevant and exciting today as it did at the time it was recorded. Although it is rooted in the mainstream tradition, it presents the best side of the tradition, which is simply eternal. Listening to this album should be pleasurable to every true Jazz connoisseur, anywhere on this planet, as it is simply one of those gems that are always worth revisiting.

Krzysztof Herdzin – Almost After (2000)

Krzysztof Herdzin - piano
Adam Cegielski - bass
Cezary Konrad - drums

JAZZ FORUM 020







By Adam Baruch

This is an early album by Polish Jazz pianist / composer Krzysztof Herdzin and his debut recording as a leader of a classic piano trio with bassist Adam Cegielski and drummer Cezary Konrad. It presents eight original compositions, all by Herdzin. At the time this album was recorded Herdzin was a regular member of the ensemble led by Polish Jazz veteran Zbigniew Namyslowski and his reputation as a rising piano prodigy was already pretty much established, but this recording also presents his talent as a composer.

This is a classic piano trio album, in the tradition established decades earlier and polished to perfection by generation of legendary pianists and their respective rhythm sections. Therefore it's extremely difficult to be original or groundbreaking in that specific niche, perhaps even more so than in any other Jazz endeavor. Herdzin doesn't break any particular new ground here, but his passionate playing, accompanied by obvious virtuosity and brilliant technique, manages to create a most impressive piece of Jazz music and a remarkable debut effort. From the very early recorded projects Herdzin exposes a tendency for perfection, well reflected here. His control of timbre, tempo and tone are all excellent and the result sounds accordingly.

Of course even the best pianist is only as good as his rhythm section allows and in this case his partners stand with him shoulder to shoulder, complimenting his efforts with superb companionship and affinity. Overall the trio effort is accomplished here to the fullest, and again, since this is a debut effort, the result is above the level of expectations in such cases.

As a composer, Herdzin emerges here most dominantly as a weaver of great melodies, which fall nicely on the listener's ears, but are in fact quite complicated and very well crafted. Most of his compositions on this album lack the typical Polish Jazz melancholy, which characterizes most of its output, but includes one heartbreaking ballad, which Herdzin uses skillfully to show his arpeggio skills. These pieces are mostly mid-tempo and transmit a happy, cheerful state of mind, which is a nice and refreshing change for once.

In retrospect this is still a very nice album, which can be enjoyed both by Jazz novices and refined connoisseurs, each of them on a different level. Herdzin's numerous talents as composer / arranger and a formidably multi-talented / ferociously busy Artist were yet to come at that stage. The album was released as an add-on to the European Jazz magazine Jazz Forum and was never released commercially. A reissue should definitely be considered, bringing this music to a much wider audience. A splendid piece of work by all means!

Wojciech Staroniewicz – Quiet City (1995)

Wojciech Staroniewicz - saxophone / composer
Andrzej Jagodzinski - piano
Adam Cegielski - bass
Cezary Konrad - drums

POLONIA 043






By Adam Baruch

This is an early release by veteran Polish Jazz saxophonist / composer Wojciech Staroniewicz, recorded in a classic quartet setting with pianist Andrzej Jagodzinski, bassist Adam Cegielski and drummer Cezary Konrad. The album includes six original compositions, all by Staroniewicz, most of which are ballads.

After listening to just a few opening notes it becomes immediately apparent that this is a Polish Jazz recording, as the music is full of the characteristics, which are unique to Polish Jazz: wonderfully lyrical melodies, folkloristic undertones, unusual meters and those unique harmonies, which only Polish Jazz musicians are able to invent. Also clearly apparent is the virtuosity of the participants, who in spite of their (at the time) young age sound as if they played Jazz for decades. Staroniewicz has a beautiful tone when playing his tenor saxophone, which resembles several of the great American saxophonists, but has more vitality and chutzpah. Jagodzinski is a fantastic player and this early recording already shows him in his full capacity. The rhythm section is also first class, doing a fantastic job supporting the two soloists both during the ensemble parts and solo parts.

Although this is solid mainstream Jazz, it is full of intelligent moments and passionate performances, which take the music well beyond what is usually conceived as mainstream. Partly due to the leader's superb compositions and partly to the musicians growing up absorbing the Polish Jazz heritage, which includes the innovations introduced by Krzysztof Komeda, which were as much influential on Polish Jazz as John Coltrane's legacy was on the global scene, this music is both a classic example of mainstream Jazz as much as an epitome of Polish Jazz.

In retrospect I find myself returning to this album from time to time and although it is rarely considered as a Polish Jazz "classic", it is definitely so for me. Of course the fact that it was recorded almost two decades ago means absolutely nothing except for the fact that is seems to be getting better with time. The fact that Staroniewicz emerged eventually as one of the pillars of the Polish Jazz scene, not only as a player but also as a record label owner, concert organizer, etc. proves that he means business, which is always a great quality in people. So a "classic" for me, and if you get to listen to it – it will be also a "classic" for you!

Staroniewicz / Jagodzinski / Rajski – Tranquillo (2012)

Wojciech Staroniewicz - saxophone
Andrzej Jagodzinski - piano
Adam Cegielski - bass
Czeslaw Bartkowski - drums
with
Polish Chamber Philharmonic Orchestra
Wojciech Rajski - conductor

ALLEGRO 025


By Adam Baruch

Lush saxophone, gently strumming piano and a string orchestra sound more like a recipe for a soundtrack to a third-rate erotic movie (i.e. porn flick) than a serious musical venture. The iniquitous "Sax and Strings" trap made many of the best Jazz saxophone players sound like muzak junkies, leaving only a few of them, who managed to create some superb music out of this unforgiving format. I was prepared for the worse when I placed this album into the CD player and hesitantly pushed the Play button. Lo and behold, the music turned out to be simply delightful… what a relief.

Veteran Polish Jazz saxophonist / composer Wojciech Staroniewicz combines forces with pianist Andrzej Jagodzinski and his trio, which also includes bassist Adam Cegielski and Master veteran drummer Czeslaw Bartkowski. The resulting quartet is accompanied by the Polish Chamber Philharmonic Orchestra Sopot, conducted by Wojciech Rajski. The album consists of eleven compositions, two of which are originals by Staroniewicz and the rest are standards (four of those are by Antonio Carlos Jobim). The orchestral arrangements of seven of the tracks were written by another veteran Polish Jazz hero Wlodzimierz Nahorny, three are by Jagodzinski and the remaining one by Artur Jurek.

The music is presented on three overlaying platforms: the saxophone, the piano trio and the orchestra; each of those with its separate content, and merging with the other two to create the overall effect and compliment each other. Staroniewicz is a superb sax player and his wonderful tone and flow are absolutely perfect for this music. He plays the melodies, but also improvises constantly, although staying well within the harmonic boundaries. Jagodzinski and his trio are also one of the finest Polish Jazz ensembles, and although their role on this album is mostly limited to provide the Jazzy atmospheric background and rhythmic backbone, the trio's leader plays several beautiful lyrical solos and the rhythm section swings like there's no tomorrow.

The strings are the biggest surprise of them all; the arrangements are quite unusual and often not what the listen might expect at all – intelligent, challenging and with a life of their own. Combined with the quartet playing on top they enhance the overall result enormously and one must admit they do it most pleasantly.

Yes, this is the gentle side of Jazz. It is sweet and romantic and beautiful, but it is also clever, perfectly done and heartwarming. It manages to avoid being kitschy, which is so damn difficult under these circumstances. OK I admit, I'm a dead romantic at heart and I love this stuff, exactly for what it is – bite me ;) The album's artwork is also beautiful, one of the few cases when the artwork fits the album's contents perfectly. Great stuff!

Jan Ptaszyn Wroblewski - Made In Poland (1995)

Jan Ptaszyn Wróblewski - tenor & bass saxophones, leader, arranger

Henryk Miskiewicz - alto saxophone
Piotr baron - tenor saxophone
Robert Majewski - trumpet
Piotr Wojtasik - trumpet
Henryk Majewski - trumpet
Sławomir Rosiak - trombone
Andrzej jagodziński - piano, keyboards
Wojciech Karolak - keyboards (4, 6, 7)
Adam Cegielski - bass
Jacek Olter - drums

Made In Poland (1995)

Easy-going mainstream jazz as usual for Jan Ptaszyn Wróblewski but of the highest quality in terms of purely musical performance. When I am listening to it right now it strikes how much it is indebted in best arangements written for ensambles led by legendary Art Blackey or by then young Charles Tolliver. I mean of course arrangements from 70ties last century, it is therefore more than obvious that music on this disc by no means discovered anything new. It is nonetheless more than just able copy mainly because of musicians who at moments play notes with true authencity and enthusiasm so characteric for jazz music. Piotr Baron on saxophone deserves most praise in this context but Henryk Majewski and Piotr Wojtasik on trumpets, Andrzej Jagodziński on piano and Jacek Olter on drums made no worse impression on me. All in all, I do not regret time spent on rehearsing this oldie. 

Track listing:
1. Go Right
2. Mr. Olek
3. Moment Musical
4. For Joseph
5. Drivin'
6. Chcha muzyka objawowa
7. Final Theme / Polka Oj-ra

By Maciej Nowotny

http://kochamjazz.blox.pl

Andrzej Jagodziński - Deep Cut (1997)

Andrzej Jagodziński - piano, accordion

Adam Cegielski - bass
Czesław Bartkowski - drums

Deep Cut (1997)

(Editor) Andrzej Jagodziński impersonates what was best in Polish mainstream jazz in 80ties and 90ties last century: a perfect mixture of jazz rooted in Blue Note tradition with this specifically Polish blend of folk music and strong influence of classical (often Chopin) music. Skills of musicians in this trio are so high that make rehearsal of this music sound fresh and satisfactory even after many years since its recording...

"Welcome to the world of our music. Our world. Different to that of the end of 20th century. Without a violence, without clamour, here you are not exposed to the smell of a traffic jam. DEEP CUT. We cut ourselves off. Moving to a woodland clearing. As dusk falls the last rays of the sunshine at sunset. Smell of wet grass. Night. The descent is begining. GOING DOWN. It is becoming unquiet. Everybody fears the night. In its quiet nostalgia awakenes. Longing for something, for somebody... As for DJANGO. Only loneliness remains. LONESOME DANCER. And dawn breaks, and space opens up again. Bird song. WALK IN SPACE. Maybe even a dance. PETITE VALSE BRILLANTE. It's a pity to leave a pensive Mr B." (source:  http://www.jagodzinski.art.pl)

Tracklist: 1.Deep Cut (A. Jagodzinski); 2.Going Down (A. Jagodzinski); 3.Django (J. Lewis); 4.Lonesome Dancer (B. Suchanek); 5.Walk in Space (A. Jagodzinski); 6. Petite Valse Brillante (A. Jagodzinski); 7.Beethoven - 7th Symphony (2nd theme from II movement)

Krzysztof Herdzin Trio - Almost After (Jazz Forum Records, 1999)

Krzysztof Herdzin - piano

Adam Cegielski - bass
Cezary Konrad - drums

Almost After (Jazz Forum Records, 1999)

"Almost After" is another one of Krzysztof Herdzin's proposals, which resembles his album "Chopin" in many respects. "Almost After" proves why Herdzin is so fond of Chopin's delicate themes. Herdzin's style is naturally very subtle and bright, rich in ornaments and carefully devised harmonic changes. This is by no means black music. It is an aristocratic, sublime European jazz, perhaps slightly too sweet at times, but it is to be forgiven considering the vast amount of fineness. "For Antonio"- a samba - is a memorable one. Should this be treated as a dedication, or a "thank you" for inspiration? Had I listened to the track not knowing who the author was, I could be fooled into thinking the samba was one of Jobim's masterpieces. 

Track listing: 1.Happy Ness ( Loch ); 2. Too Late For; 3. For Antonio; 4. Pięciak; 5. Adela; 6. Faith; 7. Almost After; 8. Akordowa Firdymułka

source: Dobiasz (www.dobiasz.art.pl)

Andrzej Jagodzinski - Muzyka Polska (2011)

Andrzej Jagodziński is mixing in this pot all usual ingredients he likes so much: philharmonic, folk, jazz vocal with a bit of blue note as played by his trio (Jagodziński plays on piano, Adam Cegielski on bass, Czesław Bartkowski on drums). But the dish tastes rather unattractive: conservative, luscious, sloppy. Music was recorded on account of approaching Poland's presidency (starting 1st July 2011) in the E.U. with intention to remind Europe what is best in Polish folk music. Perhaps the E.U. has granted some money to finance this project and CD will be given free? Only in such a case may I recommend you to come into possession of this average outing...

Finally, let me inform you that singer Grażyna Auguścik took part in this recording and was responsible for some of the arrangements as well. She is good singer indeed but in my humble opinion even her inspired singing could not actually save this album...

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