Michal Urbaniak Group - Inactin (1973)

Michal Urbaniak Group

Michal Urbaniak - electric violin, violectra, soprano sax
Urszula Dudziak - vocal, Dynacord, Echocord, percussion
Adam Makowicz - Fender piano, Hohner clarinet
Roman Dylag - Barcus Berry bass and electric bass
Czeslaw Bartkowski - drums, Paiste cymbals
Branislav Kovacev - conga-drums

Inactin (2014)

By Maciej Nowotny

If one were looking for a single most important contribution of Polish jazz musicians into world jazz heritage that would perhaps be the rediscovery of a violin in jazz. Works by Zbigniew Seifert paved the way for other Polish jazz violinists to be eventually recognized worldwide. Among them Michał Urbaniak plays the pivotal role as one of the most famous due to his collaboration with Miles Davis in 80ties on "Tutu" and "Music from Siesta" albums.

Urbaniak's career prior to collaboration with Miles remains as one of the most interesting adventures in Polish jazz history. He was among those who very early realized that jazz is taking great twist toward fusion incorporating in its idiom influences from rock, funk, rhythm'n'blues and folk music from all over the world. Michał plunged into this stream where he found his own place and uniqueness of his language eventually drew the attention of Davis. While rehearsing this album recorded in 1973 one can only admire the quality of this music which did not grow old even a bit.

But this album is memorable not only due to Urbaniak's violin but also due to breathtaking performance by his then wife Urszula Dudziak. Undisputable Polish jazz singer number one at that era she was as powerful and original voice as Urbaniak's. On this album her voice plays role of the one more instrument, there are no songs, no words are spoken, but Dudziak's vocalizes are just beyond the praise. As much as are performances of other musicians taking part in this session, all cream the creme of Polish jazz: pianist Adam Makowicz, double-bassist Roman Dylag, drummer Czeslaw Bartkowski and Serbian congas player Branislav Kovacev. What more can I say save that this is the Polish jazz at its best and simply the kind of album that is nothing less than a pure must!

Tracks Listing
1. Inactin (6:58)
2. Alu (3:58)
3. Ekim (5:49)
4. Silence (3:31)
5. Fall (7:42)
6. Groovy Desert (5:01)
7. Lato (8:06)

Michal Urbaniak – Fusion III (Columbia Records, 1975)

Michał Urbaniak - electric violin, violin synthesizer

Urszula Dudziak - voice, percussion, electronic percussion
Wlodek Gulgowski - electric piano, Moog, and electric organ
Anthony Jackson - bass guitar
Gerald Brown - drums
Steve Gadd - drums
Larry Coryell - guitar
John Abercrombie - guitar
Joe Caro - guitar
Bernard Kafka - voice

Fusion III (Columbia Records, 1975)

This is the 3rd and last album released in the US on the Columbia label by Polish violinist / composer Michal Urbaniak. In retrospect it is also one of the best Fusion albums ever recorded on this planet. Urbaniak, a veteran of the Polish Jazz scene, first came to prominence as the member of the legendary groups led by the Godfather of Polish Jazz, pianist / composer Krzysztof Komeda. While with Komeda, Urbaniak played the saxophone and switched to violin only after founding his own group in the late 1960s, when he also changed his musical direction from Modern / Free Jazz to Fusion, inspired by the groundbreaking innovations created at the time by Miles Davis. 

In his group he included his wife, the extraordinary singer Urszula Dudziak and together they quickly developed a completely unique type of Fusion, which was light-years ahead of anything else happening in that genre at the time anywhere in the world. Mixing Jazz, Rock, Folklore and Avant-Garde vocals, they established a completely new approach to composition and multilayered complexity, as documented on the two albums the group recorded as part of the legendary "Polish Jazz" series of albums, which was simply brillant.

Frustrated by the state of affairs in his country, which suffered under a Socialist Regime and harsh economic conditions, Urbaniak, like most of his colleagues, constantly looked for an opportunity to leave Poland and establish a career behind the Iron Curtain. He managed initially to record a couple of albums in West Germany, but the real break came when Columbia offered him a recording deal. He and his wife left Poland and settled in the USA, as did several other Polish Jazz musicians at the time, like his ex group member pianist / composer Adam Makowicz for example. The three albums Urbaniak recorded for Columbia (and several more for other US labels, especially the dazzling "Funk Factory" album recorded shortly after this one and also reissued on Wounded Bird) were outstanding and simply much better than anything the local scene could muster, but unfortunately Urbaniak's US career never really took off, same as the careers of all other Polish Jazz musicians who tried to make it there, in spite of their immense talents. The reason was simply the narrow-mindedness of the US Jazz community (listeners and critics alike), which considered Jazz to be exclusively an American Art Form and failed to recognize anything originating outside of the US as artistically valid and meaningful, even if it hit them in the face. 

On this album Urbaniak is accompanied by top US Fusion players like guitarist John Abercrombie, bassist Anthony Jackson and drummer Steve Gadd, as well as Polish compatriot Keyboardist Wlodek Gulgowski. Guitarist Larry Coryell guests on one track, guitarist Joe Caro guests on another and Polish vocalist Bernard Kafka guests on yet another track. Drummer Gerald Brown replaces Gadd on two tracks. Dudziak's vocals are simply out of this world and alone are worth listening to this album repeatedly. Urbaniak wrote almost all the dazzling music except for three tracks: a Dudziak improvisation, a superb composition by Polish saxophonist Zbigniew Namyslowski, which fits this album's mood like a glove and one tune by Gulgowski. As already said, this is timeless, heavenly, unparalleled music, which I've been listening to in the last almost 40 years without any trace of getting tired by it any time soon. This is an absolutely essential Fusion music, and anybody who has not heard this music does not know the true meaning of Fusion. God bless Wounded Bird for finally releasing this divine album on CD!

Track listing:
1. Chinatown (part 1) (Urbaniak)[05:24]
2. Kujaviak Goes Funky (Z. Namysłowski)[06:12]
3. Roksana (Urbaniak)[05:42]
4. Crazy Kid (Dudziak)[02:35]
5. Prehistoric Bird (Gulgowski)[05:19]
6. Bloody Kishka (Urbaniak)[04:21]
7. Cameo (Urbaniak)[04:41]
8. Stretch (Urbaniak)[06:20]
9. Metroliner (Urbaniak)[04:44]
10. Chinatown (Part II)[03:56]

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

Michal Urbaniak / Constellation – In Concert (Polish Jazz Vol.36, 1973)

Michal Urbaniak / Constellation (band)

Michał Urbaniak - el. violin
Urszula Dudziak - vocal, percussion instr.
Wojciech Karolak - Hammond Organ, Fartisa
Czesław Bartkowski - drums
Adam Makowicz - Fender piano & Fender bass

In Concert (Polish Jazz Vol.36, 1973) 

This is the second album on the legendary Polish Jazz series by the Polish saxophonist / violinist / composer / bandleader Michal Urbaniak. A veteran Polish Jazz musician, Urbaniak was a member of the legendary ensembles led by Krzysztof Komeda, where he played the saxophone, but by the early 1970 he switched to the violin and plunged into Jazz-Rock Fusion, rapidly becoming one of the most inventive and creative pioneers of the genre. This album and the albums recorded in Germany and later in the USA are absolute Fusion milestones, but also stand out as completely unique in their approach to the genre. Urbaniak combined the marvelous abilities of his wife Urszula Dudziak and her extraordinary and experimental vocalese technique with his common usage of Polish Folklore motifs, creating a superb and completely unparalleled Fusion music. This live recording captures his baseless / double keyboard ensemble, which also includes organist Wojciech Karolak, pianist Adam Makowicz and drummer Czeslaw Bartkowski. The music, all composed by Urbaniak, is simply out of this world, brilliant and fresh, absolutely resistant to the tides of time and fashion. In retrospect one can only regret that Fusion followed mostly the direction of flashy virtuosic display of neck-breaking guitar races rather than the direction proposed by Urbaniak's Fusion, but it's unfortunately too late now. At least we can savor this music, 40 years after it was recorded, well aged and beautifully eternal. A must!

Track listing: 1. Bengal (17:41); 2. Spokoj (3:32); 3. Lato (8:01); 4. Seresta (9:42); 5. Theme (3:04)

By Adam Baruch
www.adambaruch.com