Piotr Wyleżoł - piano Radek Nowicki - tenor & soprano saxophones Krzysztof Pacan - bass guitar Krzysztof Dziedzic - drums Marta Zalewska - viola da gamba, renaissance fiddle
This is the second album as a
leader by Polish Jazz bassist/composer Krzysztof Pacan recorded in a quartet
setting with saxophonist Radek Nowicki, pianist Piotr Wyleżoł and drummer
Krzysztof Dziedzic. Violist Marta Zalewska guests on one track. The album
presents seven original compositions, all by Pacan, who plays bass guitar
exclusively on this album. The album, recorded at the Tokarnia Studio, offers
an excellent sound quality, as expected.
The music is all melody based
mainstream modern Jazz, often typically melancholic and lyrical in accordance
with the Polish Jazz characteristics, but offering diverse stylistic
variations. Personally the ballads seem to work best for me, but the level of
the compositions is excellent throughout.
The level of performances is
also excellent from start to finish, which is hardly surprising with these
highly experienced professionals. Again, personally, Wyleżoł is the most
creative contributor on this album, but Nowicki carries the tunes and solos
without a hitch and Dziedzic offers a solid rhythmic support by the book. The
leader stays somewhat behind, soloing sparingly and supplying steady bass
pulsations that carry the music. Overall this is a pleasant and
excellently performed Jazz music, which should keep most Polish Jazz
enthusiasts happy, emphasizing the incredibly high level of the local Jazz
scene.
Krzysztof Pacan - gitara basowa Piotr Wyleżoł - fortepian Radek Nowicki - saksofon tenorowy i sopranowy Krzysztof Dziedzic - perkusja Marta Zalewska - viola da gamba i fidel renesansowa
"Story Of 82" to najnowsza płyta basisty Krzysztofa Pacana, która ukaże się 16 października 2020 r. nakładem krakowskiej wytwórni Audio Cave.
Krzysztof Pacan to kontrabasista, gitarzysta basowy, producent i kompozytor - muzyk aktywny na scenie od przeszło dwudziestu lat. Współpracował z szeregiem znakomitych artystów, żeby wspomnieć tylko Janusza Muniaka, Zbigniewa Namysłowskiego czy Urszulę Dudziak. Zagrał dziesiątki koncertów w przeróżnych składach na całym świecie. Jego debiutancka płyta, "Facing The Challenge", spotkała się ze świetnym odbiorem i była nominowana do Fryderyka w kategorii Jazzowy Debiut Roku.
"Story Of 82" to drugi w pełni autorski album Pacana. Tytuł nawiązuje do daty moich urodzin. Nowy krążek to w pewnym sensie moja muzyczna autobiografia, podsumowanie, ale też określenie kierunku w którym chciałbym dalej podążać - wyjaśnia muzyk. W przeciwieństwie do pierwszej płyty, "Story Of 82" zostało w całości zarejestrowane w kwartecie. Długo myślałem nad odpowiednim składem i byłem bardzo szczęśliwy, kiedy wszyscy muzycy przyjęli moje zaproszenie. Każdy z nich jest wielkim indywidualistą, który obok prowadzenia własnych zespołów potrafi także z ogromnym zaangażowaniem współtworzyć czyjąś muzyczną wizję - tłumaczy lider.
Muzyka zawarta na "Story Of 82" brzmi klasycznie, ale przy tym odznacza się ogromnym polotem i świeżością. Swoje podejście do kompozycji Krzysztof Pacan przybliża w następujący sposób: Z racji tego, że od lat działam na wielu muzycznych płaszczyznach, naturalnym jest, że moja twórczość przesiąknięta jest wieloma gatunkami. Dużą część swojego brzmienia i myślenia o muzyce zawdzięczam wybitnym twórcom, z którymi miałem okazję spotykać się tak na scenie, jak i poza nią. Muszę tu wymienić swojego mistrza Gary'ego Peacocka, ale także Tomasza Stańko czy Adama Pierończyka.
Jak zatem określić stylistykę nowej płyty? Tradycja jest czymś, od czego warto wyjść, ale później w umiejętny sposób można się jej wymykać. Uważam, że najbardziej wartościowe rzeczy rodzą się pod wpływem wcześniej ugruntowanych ścieżek - wierzę w umiejętną fuzję starego z nowym, natomiast muzyka tworzona w oderwaniu od znajomości podstaw i tradycji często brzmi karykaturalnie. Dlatego staram się łączyć wpływy mistrzów z lat 60. z moim autorskim podejściem i oryginalnymi melodiami - podsumowuje artysta.
This is the second album as a
leader by Polish Jazz saxophonist/composer Jarek Bothur recorded in a trio
setting with bassist Michał Jaros and drummer Krzysztof Dziedzic. The album
presents six original compositions, all by Bothur. The total playing time for
this album is under thirty minutes, so it is an EP rather than a full CD.
The entire approach of the
album, stylistically, musically and sound wise is greatly surprising and
travels back in time some three decades to the heyday of Polish Yass, characterized
by a Punkish straightforwardness, "quick and dirty" sound and
relative lack of sophistication, but highly emotional expressionism. Having
said all this I find this album really fresh and direct, somewhat like a
friendly slap in the face, which is extremely effective. Perhaps this is (as
Yass was) a sign of rejection of the over-sophistication some of the
contemporary Polish Jazz is suffering from.
The music is all well put
together and excellently executed, as expected, with focus on Bothur's soloing.
The rhythm section supports him amicably, keeping an energetic flow for the
entire duration. Overall this is a surprising,
highly emotional piece of music, which is a great listening experience, bringing
Jazz to the very basic, almost animalistic elements, which have almost
completely disappeared over time. Definitely a fresh breath of air!
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.
Wojciech Majewski - piano
Robert Majewski - trumpet
Tomasz Szukalski - tenor saxophone
Jacek Niedziela-Meira - double bass
Krzysztof Dziedzic - drums
Grzegorz Turnau - vocals
This is an archival album presenting a live recording by a quintet led by pianist/composer Wojciech Majewski, which also included his brother trumpeter Robert Majewski, saxophonist Tomasz Szukalski, bassist Jacek Niedziela-Meira and drummer Krzysztof Dziedzic. The concert, which took place at a Polish Radio studio, was part of a promotion effort for the album "Zamyślenie", recorded by the same quintet and released a few months earlier. For this release the album was enhanced by the inclusion of one original track from that album, which features the vocals of the incredible Grzegorz Turnau, a couple of solo piano pieces recorded by Wojciech Majewski a decade later and finally by a fragment of a historic radio broadcast, featuring the Polish Rock legend Czesław Niemen accompanied by Wojciech Majewski and Szukalski. The music was mostly composed by Wojciech Majewski, but includes also a composition by Niemen, a couple of compositions by the legendary Polish bard Marek Grechuta and one composition by the Godfather of modern Polish Jazz Krzysztof Komeda.
The music is, as expected, top
notch from start to finish, and presents the peak of the second generation of
the Polish Jazz scene, both on the instrumental and compositional levels. All
five players are absolute masters of their respective instruments, but obviously
the performances by Szukalski are at the centre of attention, as he is sadly no
longer with us and this album emphasizes the incredible loss Polish Jazz
suffered with his premature death. As such, this album is a great tribute to
his talents.
Wojciech Majewski as a composer
is in many respects the epitome of the mainstream Polish Jazz, encapsulating
the lyricism, melancholy and exquisite melodies, which are its main characteristics.
This album also shows how Polish Jazz, often within the Jazz & Poetry
idiom, is interconnected with other aspects of the Polish Culture. The
inclusion of works by Grechuta and Niemen are
by no way incidental and emphasizes these intricate associations.
Overall this is a highly
important release, not only as far as the beautiful music it presents, but also
as a wonderful historic document shedding light on the Polish Jazz scene in
particular and Polish Culture in general. The For Tune label deserves to be
especially praised for this release, which no doubt is a very significant
addition to the label's catalog. I hope more releases of such character will
follow. This is an absolute must to all
fans of Polish Jazz, but Jazz connoisseurs the world over should also enjoy
this music immensely, as it knows absolutely no borders.
Zespół zadebiutował 30 lipca 2015 z okazji „Wieczoru Szakala”. Był to koncert upamiętniający legendarnego saksofonistę Tomasza Szukalskiego który odbył się w Łodzi na festiwalu „Letnia Akademia Jazzu”. Tego wieczoru, oddając hołd Szukalskiemu, wystąpiły dwie formacje – kwintet Piotra Damasiewicza i kwartet Tomasza Stańki. Muzyka jaką prezentuje Damasiewicz wraz z zespołem odnosi się nie tylko do postaci wielkiego mistrza, ale w dużej mierze do czasów, w których saksofonista współtworzył najlepsze lata polskiej sceny jazzowej. W związku z tym w repertuarze zespołu oprócz utworów wykonywanych kiedyś przez Szukalskiego, znajdują się także utrzymane w założonej stylistyce kompozycje Piotra Damasiewicza i Gerarda Lebika.
Piotr Damasiewicz Quintet został zaproszony do Stanów Zjednoczonych, gdzie pod koniec czerwca tego roku zagra krótką trasę koncertową. Przed wylotem muzycy planują koncerty w wybranych miastach naszego kraju. Kwintet prezentuje muzyczny dialog wypracowany na przestrzeni 15 lat znajomości, dwóch niepodrabialnych postaci współczesnej sceny muzycznej – Damasiewicza i Lebika. Przez ten czas artyści zdobyli bogate doświadczenie podczas ponad stu wspólnych koncertów, wielu sesji nagraniowych, kilku albumów i pracy konceptualnej nad rozwojem artystycznym, w którym wykształcili indywidualny język improwizacji, jaki jest niepowtarzalną i niezapisywalną częścią ich muzyki.
Nowy kwintet to także okazja, by niektóre z utworów, które powstawały w latach przepełnionych inspiracjami jazzowymi mogły być przypomniane lub usłyszane po raz pierwszy przez szerszą publiczność. W tym kompozycje takie jak m.in. „Zarys Szczęścia” (utwór ten w oparciu o wspólną m.in z Lebikiem rejestrację studia nagraniowego Akademii Muzycznej we Wrocławiu zdobył II nagrodę na konkursie kompozytorskim im. Krzysztofa Komedy) oraz „God's Will”, który został wydany na wysoko ocenionym przez krytyków albumie „Mnemotaksja” w 2014 r. Są to utwory wskazujące kierunek w jakim rozwijała się estetyczna wrażliwość muzyków, którzy w tej chwili działają nie tylko w granicach muzyki jazzowej. Ponadto bardzo ważnym elementem dotyczącym nowego projektu „Tribute to Szakal” jest fakt, iż Lebik jako saksofonista tenorowy postrzegany jest w znaczącej części polskiego środowiska jazzowego, jako rozwijający kontynuator wzorca frazy i brzmienia wybitnego saksofonisty Tomasza Szukalskiego.
Piotr Damasiewicz - trąbka Gerard Lebik - saksofon Artur Tuźnik - fortepian Max Mucha - kontrabas Krzysztof Dziedzic - perkusja
Piotr Damasiewicz
Trębacz i kompozytor. Reprezentant Polski w międzynarodowych platformach Take Five Europe i Jazz Plays Europe. Jest laureatem nagrody fonograficznej Fryderyk 2013, nagrody Warto 2012 przyznawanej przez Gazetę Wyborczą, Nagrody Muzycznej Wrocławia 2013, oraz konkursu kompozytorskiego im. Krzysztofa Komedy. Muzyk Roku 2013 według rankingu Polish Jazz Blogspot. Jego płyty od kilku lat są w ścisłej czołówce wydawniczej w Polsce. Jest liderem dwóch europejskich platform muzycznych: Art Meetings i Melting Pot Laboratory, gdzie rozwija idee otwartej improwizacji w zetknięciu się z innymi dziedzinami sztuki. W swojej twórczości sięga do języka jazzu, XX wiecznej muzyki klasycznej, muzyki najnowszej, w tym europejskiej muzyki improwizowanej. Damasiewicz ma okazję prezentować swoją twórczość zarówno w swoich autorskich projektach: Power Of The Horns, Mnemotaksja, Hadrons, ImproGraphic, jak i w tych, których jest współautorem: VeNN Circles, Red Trio Quintet, Art Escape Quintet. Ponadto jest autorem muzyki do spektakli teatralnych, ścieżki dźwiękowej do filmu "Zapach Lwowa", oraz współkompozytorem jazzowego hymnu europejskiego na 25-lecie organizacji European Jazz Network.
Gerard Lebik
Gerard Lebik muzyk, artysta dźwiękowy mieszkający we Wrocławiu. Tworzy na polu muzyki improwizowanej, eksperymentalnej i intermedialnej. Jest autorem instalacji i interwencji dźwiękowych. Tworzy dźwięk i muzykę przez improwizację, notację muzyczną oraz manipulowanie materiałem dźwiękowym używając media akustyczne i elektroniczne. Poszukuje na polu fenomenów audybilnych używając różnych narzędzi i technik: saksofony, generatory fal zopan, kompresory powietrza, magnetowidy VHS, obiekty video, software. W 2007 ukończył Wrocławską Akademię Muzyczną na Wydziale Jazzu.
Artur Tuźnik
Artur Tuźnik zadebiutował na międzynarodowej scenie jazzowej albumem ''Quintet'' z jego Licak Quintet feat. Anders Mogensen, nakładem duńskiej wytwórni BlackOut w 2011 roku. Płyta została doskonale przyjęta przez krytykę jako “excellent contemporary record and real must listen'', a sam Artur był opisywany jako ''niezwykle utalentowany improwizator'' i „wybitny solista”. W różnych projektach Tuźnik dzielił scenę z artystami takimi jak Tomasz Stańko, Jeremy Pelt, Anders Christensen, Jakob Høyer, Maciej Obara, Tomas Franck, Alex Riel, Jesper Lundgaard, Richard Andersson, Anders Mogensen, Andreas Lang, Nils Davidsen i wielu innych. Z zespołami pod swoim nazwiskiem, jest laureatem Grand Prix na międzynarodowych konkursach m.in w Hoeilaart (Belgia), Almeria (Hiszpania) Jazz Nad Odrą, Bielska Zadymka Jazzowa, czy Blue Note Poznań Competition. Był również nagradzany jako najlepszy instrumentalista na konkursach B-Jazz Burghausen (Niemcy), Getxo Jazz (Hiszpania) oraz na Konkursie Improwizacji Jazzowej w Katowicach.
Max Mucha
Urodzony w 1989 w Częstochowie. W roku 2008 ukończył Państwowe Liceum Muzyczne im. Marcina Józefa Żebrowskiego w Częstochowie. W tym samym roku rozpoczął studia w Instytucie Jazzu Akademii Muzycznej w Katowicach, ukończone w roku 2013, następnie studiował w Jazz Institut Berlin w klasie Grega Cohena. Współpracuje z takimi artystami jak: Dominik Wania, Maciej Obara, Sławek Jaskułke, Logan Richardson, Philipp Gropper, Ronny Graupe, Elias Stemeseder. Występował m.in. z Januszem Muniakiem, Tomaszem Stańko, Adamem Pierończykiem czy Piotrem Wojtasikiem. Wybrane nagrody indywidualne i zespołowe: Indywidualna nagroda dla największego talentu festiwalu na International Tarnów Jazz Contest 2009 oraz 2010, również Grand Prix tego festiwalu z zespołem Jarek Bothur Quartet w 2009 roku, Grand Prix XXXIV Festiwalu Jazz Juniors w Krakowie w roku 2010 z zespołem Jarek Bothur Quartet, I miejsce na festiwalu Jazz Hoeilaart 2013 (Belgia) z zepołem Artur Tuźnik Trio, Indywidualna nagroda dla najlepszego basisty na tym samym festiwalu. I miejsce na festiwalu ClasiJazz Almeria 2014 (Hiszpania) z zespołem Artur Tuźnik Trio.
Krzysztof Dziedzic
Czołowy polski perkusista jazzowy. Urodzony w 1975 r. w Bielsku-Białej. Wielokrotny laureat konkursów jazzowych m.in: Jazz Juniors 93', 94', 97', Pomorska Jesień Jazzowa 97', Jazz nad Odrą 97' - wyróżnienie indywidualne. Występował z czołówką polskich i światowych muzyków jazzowych. Do najważniejszych z którymi współpracował i nagrywał należy wymienić: Piotr Wojtasik - albumy „Quest” i „Escape”, Kwartet Janusza Muniaka, Tomasz Szukalski, Tomasz Szukalski-Twist Band, trio Wojciecha Karolaka, kwintet Zbigniewa Namysłowskiego, Sławomir Jaskółke Trio-albumy „Sugarfree”, „On” i ''Fill The Philharmonics'', zespół Henryka Miśkiewicza-albumy „Full Drive” i „Full Drive 2”, Adam Pierończyk-albumy ''Busem po Sau Paulo'', ''Live in Berlin” i „Adam Pierończyk Trio”, Jarosław Śmietana -''What's going on?'', Wojciech Majewski - “Opowieść”, Nigel Kennedy-albumy dla wytwórni EMI:„ Shhh” i "The best of Nigel Kennedy”. Koncertował w największych i najbardziej prestiżowych salach i festiwalach na świecie takich jak Sydney Opera House, Royal Albert Hall-Londyn, North See Jazz Festival, Jazz Jambore, czy Warsaw Summer Jazz Days, ponadto niemal we wszystkich krajach europejskich, a także w Japonii, Chinach, Brazylii, Izraelu, Malezji i USA.
This is the seventh album by Polish pianist/composer Sławek Jaskułke, which finds him returning to the classic piano trio format, following a series of solo piano recordings. The trio includes also bassist Max Mucha and drummer Krzysztof Dziedzic; the latter was a member of Jaskułke's trio a decade earlier. The album presents eight original compositions, all by Jaskułke. The music was excellently recorded and the album is packaged in a very unique design, being both very original and very impractical.
Jaskulke
is undoubtedly one the top Polish pianists since the onset of the millennium,
but his recording legacy is in retrospect sadly less impressive that what it
might have been. His solo piano recordings have taken him into New Age and
other atmospheric music idioms, placing him away from the Jazz mainstream,
where he feels most comfortably. This album, therefore, is definitely a move in
the right direction.
The
compositions on this album present a reinvigorated, energetic Jaskułke, being
mostly up-tempo if not neck-breaking fast. This fresh approach is most welcome,
but it might have been a bit more constrained and relaxed. Nevertheless the
music is absorbing and certainly impressive. In my opinion it would have been
more enjoyable if more ballad material was included, but that is of course a
matter of taste.
The
strongest point of this album is the performance by the rhythm section, which
is truly spectacular. Mucha keeps his bass lines shoulder to shoulder with the
racing piano, with a feel and technical brilliance rarely experienced. Dziedzic
produces a strong barrage on the drum set, which sounds very powerful, but
brilliantly manages not to overpower the two other trio members. His drumming
is a text book example of powerful "wall of sound" Jazz drumming par
excellence.
It's great to see Jaskulke back
on track, which of course gives us hope for more great recordings to follow.
This album is definitely worth checking out, especially for those Polish Jazz
followers, who gave up on Jaskułke. It was definitely worth waiting for.
Sławek Jaskułke - piano
Max Mucha - double bass
Krzysztof Dziedzic - drums
ON
Jazz Sound 2015
By Maciej Krawiec
Sławek Jaskułke po dziesięcioletniej przerwie od gry w trio wraca z albumem nagranym w tej formule. W tym okresie skupiał się na grze solowej, w duecie oraz większych składach. I choć, jak pianista sam przyznaje, muzykowanie solo pozostaje dla niego najważniejszym obszarem działań, to tym razem jazzowe trio stało się płaszczyzną dla jego artystycznego wyrazu na płycie „ON”. Liderowi towarzyszą Max Mucha na kontrabasie i Krzysztof Dziedzic na perkusji.
Na albumie znalazło się osiem kompozycji, wszystkie z nich autorstwa Jaskułkego. Ponoć pierwotnym zamysłem lidera było nagranie płyty z rockowym pazurem, mającej stanowić ekspozycję „męskiego, ostrego, dynamicznego grania”. To obiecuje utwór otwierający krążek pt. „Bueya” i ów żywioł wraca jeszcze kilkakrotnie („Know”, „On”, „Yelon”), ale nie mniej ważne na nim są nastroje liryczne w duchu jazzowych ballad („Lefu”) czy te właściwe muzyce popularnej („Kinia”, „Mary”). Są one wykonane – jak przystało na doświadczonych artystów o rozpoznawalnym stylu – bardzo sprawnie: te dynamiczne z werwą i ostrością, zaś liryczne z wyczuciem i subtelnością. Niezłe tematy Jaskułkego wpadają w ucho, dzięki czemu odbiór albumu przynosi pewną przyjemność.
Nie jest to jednak muzyka, która może czymkolwiek zaskoczyć: ani interesującą progresją utworów, ani szczególnie pomysłowym wypełnieniem nadanych struktur. Chwilami dziwi wręcz kurczowe trzymanie się przez artystów jednego klucza wykonawczego. Wydaje się jednak pewne, że obecna na „ON” komunikatywna muzykalność i rzetelność realizacji znajdzie szeroką rzeszę entuzjastów, czemu pomoże również oryginalna szata graficzna albumu zaprojektowana przez Oskara Podolskiego. Ci zaś, którzy pragną być przez sztukę zaintrygowani, poruszeni, wzburzeni – tych doznań na nowej płycie Jaskułkego raczej nie odnajdą.
This is the third album by Polish Jazz pianist/composer Wojciech Majewski, recorded in a classic quintet format with trumpeter Robert Majewski (Wojciech's brother), saxophonist Tomasz Szukalski, bassist Jacek Niedziela and drummer Krzysztof Dziedzic. The album presents a solo piano piece which is followed by a seven-part Jazz suite performed by the quintet. It was recorded at the Studio Tokarnia and engineered by Jan Smoczynski, with superb sonic quality, as expected.
The music is all kept within
the mainstream tradition, with certain Classical Music accents, but those are
quite marginal. The melodic themes are basically vehicles for extended solos
played by the quintet members. It is hard to follow the "suite"
concept musically, as it lacks a clear coherence, but nevertheless the music is
interesting and flows gently from one part of the suite to the next. There are
the obvious Polish Jazz characteristics, like lyricism and melancholy, in which
this music is completely drenched, clearly defining its origin and tradition.
The true forte of this album is
the incredible musicianship, which is not surprising considering these are some
of the best and most experienced second generation Polish Jazz musicians. Especially
interesting is the presence of Szukalski as this is one of the last recordings
in which he participated before his tragic death. The album is full of superb
solos and ensemble performances, which are truly inspired. Majewski dedicates
this album to the memory of his Father, the legendary Polish Jazz trumpeter
Henryk Majewski, who died shortly before this music was recorded.
Overall this is an interesting
experiment in composing an extended Jazz suite-like composition, beautifully
performed by first class musicians, an effort which deserves to be heard by
Jazz connoisseurs all over the world.
This is an "archival" album by the veteran Polish Jazz saxophonist/composer Adam Pierończyk and his quartet, which also includes Australian (living in Germany) trombonist/didgeridoo player Adrian Mears, American bassist Anthony Cox and Polish drummer Krzysztof Dziedzic. The music was recorded live at the Berlin A-Trane International Jazz Club (hence the title) in 2008, immediately following the studio recording of the same material, which was released a couple of years later as "El Buscador" on the German Jazzwerkstatt label, on which Pierończyk releases his albums in the last few years. The album presents eight original compositions, seven of which were composed by Pieronczyk and one which was co-composed by Pierończyk and Mears, exactly the same as the studio album and in almost identical sequence.
Naturally these live versions
are expanded and provide a much broader basis both for individual explorations
and ensemble interplay. Three of the pieces have a duration of over fifteen
minutes and two others of over ten minutes, which obviously emphasizes the
relaxed atmosphere and creative frame of mind of the quartet members at the
time.
The music is quite deceiving,
as it does sound a bit simplistic at first, but careful listening reveals a
depth much beyond the exterior layer of the melodic themes in each of the
pieces. There is an intrinsic dimension of freedom in this music, which never
actually crosses over to the avant-garde or even free form, but is sufficiently
removed from straightforward mainstream to be both aesthetically elegant and
intellectually intriguing. As I have already said on previous occasions,
Pierończyk seems to have developed a niche of his own within modern Jazz, which
came to full fruition on his recent solo saxophone album "The Planet Of
Eternal Life".
The sound of the quartet is
another challenge; a pianoless saxophone and trombone/didgeridoo fronted
ensemble is obviously significantly less "user friendly" than a
traditional harmonically supported lineup. But whatever is lost from the
absence of the piano is gained by the sonic space stretched between the brass
instruments. The "air" or empty space plays a significant role in the
overall effect the quartet members achieve collectively as a group.
Of course the individual
performances are all quite splendid. Pierończyk has a superbly mellow tone,
which contrasts nicely with the somewhat rough trombone and didgeridoo sound.
The soloists are supported admirably by the rhythm section, which of course is
solid like a rock and flexible like a breeze. Big kudos is due to For Tune
for putting this music out and saving it from getting stale and lost in the
tunnels of history, as it surely deserves to see the light of day and make the
music lovers happy!
This is the third album by Polish Jazz pianist / composer Slawomir Jaskulke, which presents a five parts suite for piano trio and chamber orchestra of the Jazz-Classical Fusion variety. The additional trio members are bassist Slawomir Kurkiewicz, one of Polish Jazz most renowned bassists (Simple Acoustic Trio, Tomasz Stanko), and drummer Krzysztof Dziedzic. The orchestral parts are performed by the Hanseatica Chamber Orchestra. Vocalist Mika Urbaniak is featured on one track. The music was composed by Jaskulke, who was twenty four years old at the time.
This ambitious project, undertaken by such a young musician, is quite extraordinary by any standard. Although Jazz and Classical music have been previously combined with various degree of success, this attempt is certainly quite different from all the others, employing musical devices, themes and arrangements often contrasting and seemingly clashing with other, like the vocal Rap part in the midst of a fragment performed by the strings. The Jazz trio interludes move in and out of the orchestral accompaniment, as do the solo piano parts. The overall structure does not seem to follow any of the pre-ordained Classical musical configurations, and Jaskulke appears to be using the orchestra as a tool rather than a point of reference.
Although free-structured, the music maintains a melodic backbone, which re-appears both in the orchestral and the trio parts. The listener might find this music quite difficult to absorb, certainly during the initial listening phases, since things seldom continue for a period of time long enough to begin to sound "familiar". There is a sense or urgency and unrest, which is reminiscent of music composed for suspense movies. But listeners willing to listen patiently and repeatedly will eventually embrace the entire piece, finding its intrinsic logic.
The Classical parts are obviously influenced by contemporary composers and a well trained might hear traces of George Gershwin, The French Modernists and of course the Polish avant-gardists (Krzysztof Penderecki & Co.). Polish composer / pianist Frederic Chopin presides as well, if not bodily then surely spiritually. Stylistically this hodge-podge might need some polishing and sorting out, but give the guy a break; after all he is only twenty four…
Regardless if one enjoys this music or not, it surely deserves to be appreciated for its aesthetic merits, its audacity and its innovation. Perhaps it is a bit over the top, but people who don't dare don't get there. Personally I quite like it and wholeheartedly recommend it to music aficionados, who are after the less obvious yet more rewarding game.
This is the second album by Polish Jazz pianist / composer Slawomir Jaskulke, which was recorded in the classic piano trio format with bassist Krzysztof Pacan and drummer Krzysztof Dziedzic. The album presents seven original compositions, all by Jaskulke.
By the time this album was recorded, Jaskulke was already a member of the quartet led by the Polish Jazz legend Zbigniew Namyslowski, which is the most desirable position for any Polish Jazz musician and which means that his talent was recognized as extraordinary on the local scene. Anybody listening to this album must admit that Jaskulke is indeed one of the most extraordinary musicians to arrive on the Polish Jazz scene in the 21st Century. This album confirms not only his superb qualities as a player, but even more interestingly and dramatically his talent as a composer.
Jaskulke has an easily recognizably personal style, which is quite extraordinary for such a young musician. His approach to the piano is percussive, almost "aggressive" at times, and at the same time he can stroke the keys delicately as a summer breeze. His compositions are also quite distinct and remarkable and regardless of their tempi, they convey a punctuated, but clearly stated melody, irregular meters and ultra-modern rhythmic devices, which can be found in contemporary electronic music. All these, combined with the obvious Jazz legacy create an amalgam, which is highly innovative and surprising.
This music is perhaps one of the most contemporary approaches to Jazz, taking the music from the 20th Century, where it was born and raised, into the 21st Century, where it now develop into a plethora of new directions. It proves that Jazz does not need to be stagnant and can be innovated in many ways, not only in the avant-garde / Free / Improvised Music idiom, but also in new and unexpected directions.
The performances on this album are truly stellar, not only those by the leader but also those by the rhythm section. Pacan, who was also a member of the Namyslowski quartet at the time, is a brilliant bassist, capable of a wide range of styles, from classic Jazz to modern, almost Pop / Rock pulsations. Dziedzic is an ideal drummer in this setting, perfectly in sync with Jaskulke in the percussive beat parts and his by and large more Rock than Jazz sound.
Overall this is a brilliant album in every aspect, sadly largely overlooked at the time of its release but certainly deserving an honorable position among the great Polish Jazz piano trio recordings. This is highly recommended to all Polish Jazz fans and Jazz aficionados in general. It's never too late to discover this priceless gem!
Tomasz Szukalski - soprano & tenor sax
Maciej Sikala - soprano & tenor sax,
Sławomir Kurkiewicz - bass
Krzysztof Dziedzic - drums
Escape (1999)
The leading trumpet of Polish jazz scene, Piotr Wojtasik, is very well known as a virtuoso, whose live improvisations are widely admired. He is also the composer of several pieces: ”The Waltz”, “Plum Orchard”, “First Rehearsal”, “Almost Touching It”... To be sure, his every improvised solo in a small composition, though based on someone else’s ideas. The present disc brings three more Wojtasik’s original compositions, one of them a major one in three parts, “Escape”, after which this disc is named. It shows at the same time his partly introverted nature and his deeply felt attitude toward surrounding turbulence of contemporary life, one wishes sometimes to escape from. From the strictly musical point of view it is a very successful combination of improvisatory freedom with the attractive ensemble sections and general structure. As he himself admits, the shaping of “Escape”ripened gradually in discussions and rehearsals with his present sidemen, Tomasz Szukalski, Maciej Sikała, Sławomir Kurkiewicz and Krzysztof Dziedzic. The colors of this music are not only unique and beautiful (in spite of piano’s absence) but assaulting our imagination. There’s a poignantly vigorous soprano-saxophone’s incantation (part I) and anguished pulsations of bass and drums underneath; the initial motif: a,f,b,d, forms a basis from which the tenor’s rebellious improvisations stem. The drums link the first part with the second, and a very attractive straight-ahead begins, jumping sporadically off the tonal barriers. We are about to admire the trumpet’s and tenor’s solo-flights, the rows of running fourth-all these full of half-defined meaning, asking for some kind of allegoric film. And finally a bass solo that guides us to part lll. The structure and expression complement each other throughout. A characteristic call (e,a,f,g) three times repeated and answered each time by a frenzy of voices, leads to a kind of psalm, where the peculiar polyphonic “free” occurs, with tenor exhortations running out of it.
The conclusion is definitely hopeful, even triumphant. Farther items on this CD add to the message of “Escape”, however differently. “Horizon”, the next Wojtasik composition starts with a broadly outlined unison theme. It unfolds on two levels. The polyphonic treatment used here resembles a kind of two-parts invention. There are two fine tenor solo improvisations with a trumpet solo in between. The sounds symbolizing movement and space entwine the return of the main theme. in October 1960 John Coltrane recorded three complete sets in the space of barely one week ;”Coltrane Plays The Blues”, “My Favorite Things” and “Coltrane’s Sound” that included the unique and beautiful John’s ballad, “Central Park West”. Wojtasik and his partners give it a very subtle and ingenious treatment. The main theme is harmonized and there are exquisite polyphonic overlapping at the end of each solo improvisations-the recurring theme which at last grows to end the piece. The third composition by Wojtasik, “Celebration”, runs in 5/4 time, sporadically colored by the sound of a conch. The ostinato groove, enhanced by subdued drums, is subjected to kind of transformation and embellished by trumpet and soprano improvisation. One may imagine the celebration sounds coming from a distant African village. The arranged and “free” sections of this piece equally contribute to the peculiar mood. The last item on this CD comes from Billy Harper, an emotional and inventive tenor-man. Wojtasik and Harper used to play together recently and both men developed a real musical affinity documented by recording the “Quest” in 1996. Harper’s “Illumination” starts here with flourish-like phrases. One is sure to enjoy two sizeable tenor solos, the first by Sikała, the second by Szukalski, as well as the brilliant trumpet improvisation by the leader-all these punctuated by introductory theme’s phrase. The music sparkles and shimmers with varying instrumental colors.
Track listing: 1. Escape 2. Horizon 3. Central Park West 4. Celebration 5. Illumination
Courtesy of Stef Gijssels we would like to remind you an excellent album issued by Adam Pierończyk Trio few years go:
I've sung the praise of Polish saxophonist Adam Pieronczyk before, and I'll do it again now for his new release "Live In Berlin", with Ed Schuller on bass and Krzystof Dziedzic on drums. The performance itself dates back to 2005, played for an obviously small yet attentive audience. Three of the four pieces come from his recent album "Busem po Sao Paulo", the last piece from "Few Minutes In The Space". Pieronczyk's playing is very melodic and creative, accessible with a deep emotional tone, and his compositions are beautiful, simply beautiful. The limited audience creates and intimate atmosphere, which is further reinforced by the minimal line-up and the nature of the music : it's as if you're there, or they here. Ed Schuller's lyrical approach fits perfectly with Pieronczyk's playing and Dziedzic's drumming is a real treat as well: subtle, sophisticated and rock solid. Together they bring long and exciting musical explorations, with great interplay and real soul. While listening to this CD, more than once the thought occurred to me : "this is what jazz is all about". So : recommended.
Sławek Jaskułke (piano)
Krzysztof Dziedzic (drums)
Sławomir Kurkiewicz (double bass)
Hanseatica Chamber Orchestra
BCD Records, 2005
Any stylistic genre, especially in music, when it grows up inevitably becomes eclectic. In some cases it turns out to be ground for composing best music possible like in classical music is for example with oeuvre of Gustav Mahler. However in jazz we are still far from that stage and this album being kind of attempt to do exactly the same thing throwing into one pot jazz, symphonic, rock, pop and even rap but unfortunately instead of some new harmony it produces chaos. I still regard Sławek Jaskułke as talented Polish jazz pianist but this project is his total failure.
It's no loud - it's noisy to the point when you would simply pay musicians to stop this massacre. Krzysztof Dziedzic on drums whom I like a lot is making such a din on his drums that I cannot say anything else than that it's his worst recording ever. He simply overshadows nice (at moments) play by Jaskułke and not bad bass line as supplied by Sławomir Kurkiewicz. Presence of Hanseatica Chamber Orchestra is simply shameful. It is so sad that these great musicians took part in such unorganized racket!!! If I were in Jaskułke place, I would buy whole edition of this CD and make it to be grinded in some garbage mill as soon as possible.
Still I am waiting impatiently for his new record (to be issued soon) which is duo with another excellent pianist Piotr Wyleżoł. Hopefully it will be something much, much better than this CD and than other Polish duos of the past like Marek & Wacek. Let's pray...
Please listen to sample of music of Jaskułke playing piano solo showing how great potential he has if he is not overextending himself...
With this record Nigel Kennedy surprised me very positively. Not only he was able to transform his language from classical (though in slightly pop version) to jazz but he did it so handsomely that this record is both easy-to-listen but also truly inspirational.
The great deal of success of this enterprise goes to Kennedy who composed all the music on the album but we should also pay respect to fantastic musicians of his quintet (Tomasz Grzegorski - saxes, Piotr Wyleżoł - piano, Adam Kowalewski - bass, Krzysztof Dziedzic - drums, Xantone Blacq - percussion) as without their 100% jazz souls this music would never sound as classy as it does.
The music on the album is kind of review of what Kennedy finds attractive in this genre of jazz that I love so much. We therefore start with splendid Transfiguration where the mood of 70ties hangs in the air and the spirit of John McLaughlin Mahavishnu Orchestra is obvious but never obtrusive or secondary. After this piece of fusion jam we move to what is best in pop as in River Man, songbyobscure underground star of 70ties Nick Drake, whose output, almost unknown during his lifetime, is now recalled by many including R.E.M. , Norah Jones or Brian Molko. In this song John Themis on guitar and vocal of Boy George appear. Boy George, somewhat forgotton controversial star of 80ties, shines brightly in this little cameo proving that he had much more to say after he quit to shock with his drag acts.
With Silver Lining and even more Shhh! we move into the field of cool jazz with its elegent and refined but bluesy and thoughtful climate. In this part of the record the piano of Piotr Wyleżoł takes over showing that his talent at least matches that of the leader of the band. In The Empty Bottle and 4th Glass we find ourselfes in more relaxed atmosphere close to smooth jazz evocating the reminiscences of Herbie Hancock's Return To Forever and other project of 70ties. The finish is strong as in Oy! there is plenty of groove and funk elements.
Apart from paying respect to Kennedy for his and his companions music efforts recorded on this album I should mention his courage and activity in promoting Polish jazz worldwide. In May he took part in organization of festival Nigel Kennedy Polish Weekend in London. He lives in Poland since 10 years and his wife is Polish so I presume he may be treated now as Polish jazz musician ;-)
Speaking shortly he recorded excellent album and also deserves highest praisefor what he's doing for Polish jazz. Thank You Nigel!
The very first moment I saw this record on www.serpent.pl, web page of internet CD shop where I most often buy my records of Polish jazz, I was sure that this record shall bring some excellent music. And so it is indeed! And it could not be different because on this record meet two exceptional personalities Piotr Wyleżoł on piano and Adam Pierończyk on tenor & soprano sax. Piotr Wyleżoł up to this point recorded three albums all in trio format and through them he gained the reputation of one of the Polish top jazz piano players among such young lions as Marcin Wasilewski, Przemysław Raminiak or Paweł Kaczmarczyk. Apart from being extremely talented piano player Piotr Wyleżoł is also a gifted composer. And the tunes are clearly very strong side of the this Live album.
The program begins with Sound-check which is intended to remind the people who listen to the album that it is live enterprise. It is followed by Nicholas Patu - a very strong entry where quintet is led by masculine sound of Pierończyk sax impressively counterpointed by Wyleżoł Rhodes and David Dorouzka electric guitar. This colorful picture is completed by full throttle propulsion supplied by mighty drums of Krzysztof Dziedzic and Adam Kowalewski on double bass. The tune comes from the newest issue of Piotr Wyleżoł Trio, album Children's Episode printed by Spanish Fresh Sound New Talent label this year.
Children's Episode, title track is the next tune on the album which skillfully changes the tempo from fast to slow and more importantly the mood to more inward-looking, reflective and sentimental. Those two tunes are enough to prove that the music of this band is powerful enough to move both mind and emotions of any listener but it is just a beginning.
The third tune, Dr Holmes, coming from Piotr Wyleżoł second album titled simply Piano Trio is the natural vamp which has such a strong groove as it simply forces you to dance, scream and shout! Brilliant tune!
Next Snake begins with long solo of Adam Kowalewski on bass which gave me creeps on my back and slowly other instruments begin to appear in the tune that is hauntingly beautiful, full of pain, anxiety and sadness (the alternative version of this song constitutes the last bonus track of this album).
Was This The Last Time? beginsby stormy solo of drummer Krzysztof Dziedzic where each shot is well placed and has enough energy to bring down an elephant on its knees. While elefant is resting on it knees Pierończyk's sax enters improvising freely through silence reminding that Adam is so strongly attached to free jazz. Further Kowalewski bass joins, then music becomes denser with Wyleżoł's Rhodes entrance and finally Dorouzka guitar emerges which in unison with Pierończyk sax ends the tune in one rthytmic scream.
The disc ends with Els Gates (The Cats), the song I encourage to listen to at the end of this post. All in all this is awesome music!
Born in Braniewo in Pomerania, living in Cracow, educated in Germany, exceptionally gifted tenor saxophonist Adam Pierończyk with support of American bassist Anthony Cox, Australian trombonist Adrian Mears and Polish drummer Krzysztof Dziedzic explore different places in world in search of musical inspiration. He pick ups what became an important tradition in jazz going back to late John Coltrane of venturing into East in search of spirituality, authencity and candour in music. Rather unsual move in Poland which is often treated as part of East itself but reflecting dramatic changes in country over last years. As we become more and more part of the West we lose gradually contact with the bedrock of our culture. Focused on money, career, status we build all materialistic world while estranging ourself from what is unconsciuos, irrational and childlike.
Certainly this music runs deeper than so many albums I reviewed on this site but it is only possible because it is executed in excellent way by musicians whose style fit one to each other perfectly. Adam Pierończyk deserves highest praise for being able to secure cooperation from artist of such a calibre while special gratitude shall also go to organizers of 2005 Leipziger Jazztage who gave Adam carte blanche to put together a project of his own for this event. Another bow also for Austrian Jazzwerkstatt record company who took on itself the task of printing this record which was accomplished perfectly. My strong recommendation!
