Zostań naszym recenzentem / Be our reviewer

Important! We are looking for reviewers writing in Polish and/or English languages as well as translators.

Szanowni czytelnicy!

Przyszła chwila na to, aby rozszerzyć zespół naszych recenzentów. Z każdym rokiem rośnie liczba wydawanych albumów z udziałem polskich artystów. Nie ma niemalże dnia, abyśmy nie otrzymali informacji o nowej płycie, o nowym projekcie, festiwalu, koncercie! To bardzo cieszy, ale też szkoda, aby te inicjatywy nie zostały odnotowane i opisane. Tak widzimy swoją misję. Zatem jeśli ktoś z Was kocha muzykę, lubi się dzielić swoimi wrażeniami i "świerzbi" go pióro to zapraszamy do współpracy!

Ponieważ naszym skarbem jest niezależność, będziecie mieć całkowitą swobodę wyrażania swoich opinii. Z góry jednak uprzedzamy, że jedyną nagrodą za Wasz wysiłek będzie satysfakcja z docierania z Waszą opinią do tysięcy słuchaczy tak w Polsce jak i za granicą. 

Chętne osoby prosimy o kontakt na adres: polish.jazz.blog@gmail.com

Dear Readers!

The time has come for our reviewers' team to expand. The number of new Polish jazz recordings is increasing every year and we need more reviewers to be able to record this renaissance. If you love the music, if you like to share your thoughts and  to write we invite you to our team.

Our treasure is our independence so you can count on being able to express freely what you think about the music. On the other hand we cannot offer you any other reward than just being read by thousands of our readers in Poland and abroad.

If that sounds attractive to you please contact as at: polish.jazz.blog@gmail.com

Artur Dutkiewicz Trio - Comets Sing (2021)

Artur Dutkiewicz Trio

Artur Dutkiewicz - piano
Michał Barański - doublebass

Adam Zagórski - drums

Comets Sings

By Maciej Nowotny (link do polskiej wersji tekstu)

Good Lord! What a nice surprise. After all, Artur Dutkiewicz's trio has been present on the Polish stage - although in changing lineups – already for few decades. But let's start from the beginning. The permanent member of the trio is Michał Barański, bassist, who he has been playing since I don't remember when. In Poland he need not to be introduced or recommended to anybody, teacher, very sought-for sideman, great musician. Ages ago, before him, this position in the trio was occupied by phenomenal Darek Oleszkiewicz. There were more changes on the drums. For many years this spot was owned by well-known Łukasz Żyta, with whom, not surprisingly, it was difficult for the leader to part. Then came the young and talented Sebastian Frankiewicz, who stayed with the trio for couple of years and made a great name for himself. Apparently, time has matured for yet another change  on this position, because on the latest album we have another rising drumming star, 30-year-old Adam Zagórski, whose contribution to the sound of this album cannot be overestimated.

Of course, the leader himself does not need to be introduced. He has its place in the history of Polish jazz with his collaboration with Tomek Szukalski in duo and in his quartet being remembered by every Polish jazz fan. But with this album he proves that he still has motivation and creativity to write another chapter in history of Polish jazz and his trio. Despite of age he again manages to surprise, and his latest album, I dare say, may not only be his best album in years, but perhaps the best one at all.

What is so fresh and surprising in latest release by Dutkiewicz and his partners? First of all it is a bolder approach to improvisation. The structures are more open. Although the trio's machine remains disciplined, the equivalence of the instruments remains the credo, the music matters has the direction, and the moods are not random, the means of expression are chosen more spontaneously and a drop of madness has appeared in this music. The effect is captivating. In terms of pure sound, the album is stunning: its concreteness, weigh, mass is simply awesome (great credit to recording engineer). Still more important are formal features of this music: the changeability of rhythms, juggling with harmonies, charismatic melodies. They all contributed to successfully reconciling Scandinavian coolness and Slavic emotionality. It sounds as astounding as it reads, especially praiseworthy for the artist who in his mature age was not afraid  to throw himself into the Unknown. Bravo!

To summarize: the record is just great. Mainstream fans will find a language that sounds familiar enough for them to recognize themselves in the mirror. Free jazz fans in turn, will be amazed that Dutkiewicz sounds like their rebellious idols, but technically better and more mature conceptually. In short: Dutkiewicz is experiencing a second youth, which we are the first to officially announce on the Polish Jazz blog (just a joke of course, we are sure others will also notice it as well, and I predict more positive reviews of this album in various places).

Gorzycki & Dobie – Nothing (2015)

Gorzycki & Dobie

Rafał Gorzycki - drums
Jonathan Dobie - guitar

Nothing

REQUIEM 86/2015





By Dirk Blasejezak

Again a duo, and again a great one! It is indeed astounding how many good duos were coming from Poland in recent years. This time it’s a Polish/English duo with Rafał Gorzycki on drums and percussion as the Polish participant who is not only in Poland very well known and the likewise known Jonathan Dobie from Great Britain. Rafał Gorzycki made himself a name with projects like Sing Sing Penelope the Ecstacy Project, both with heavy influences on the Polish Jazz scene, while Jonathan Dobie already worked with familiar stars like Shoji Hano and Peter Brötzmann. 

With this album Rafał Gorzycki rounds up his trilogy of duo recordings, after issuing “Experimental Psychology” (with Sebastian Gruchot on violin) and “Therapy” (with Kamil Pater, who plays the guitar as well). The result of this third part is a duo of particular depth and warmth. 

The album starts like the opening of a board game, in “Full of…” both musicians position their pieces. Despite of the partly harsh changes the track is characterised by high mutual respect, both receive all the time they need to make their turn. After that it gets a little more relaxed, the front lines are clear – also for the listener – and both start playing together. Their play is in songs like “Ballad for Joanna” and “Sooper Looper” particularly melodic. 

All in all this is one of the specialties of this album: although it’s obviously free improvisation the whole recording feels very harmonic. And a track like “Call it anything” even get’s kind of like a blues. Here Jonathan Dobie plays out his strength – he cultivates an personal playing style and follows a clear concept, he showcases his very individual language that might as in this case even sound bluesy. And with a congenial partner like Rafał Gorzycki this adds to something very enjoyable!

And to round up the picture of the board game: At the end we have a draw, but one were not only both players win – but with them the listeners!

Kuba Pluzek - Eleven Songs (2015)

Kuba Płużek

Kuba Płużek - piano

Eleven Songs

V Records 007





By Maciej Nowotny 

Few weeks ago I walked by one of the main streets of my beloved Warsaw and was encompassed by usual in this city clamour, uproar and noise. Everything around me was rushing forward with people ruthlessly elbowing their way up the pavements. While down there cars were spiralling around traffic jammed crossroads above my head the planes were flying away in flocks to their big world cities destinations. But I was cold as a stone and empty as a hole inside. Tired after very busy week I was counting all the money I earned but could not work out exactly what for? When suddenly I heard something different. It was a female voice and being a die hard fan of Italian opera I immediately recognized immortal aria of Amneris "Morir mi sento" from Verdi's "Aida". My imagination exploded and the miracle happened: all turmoil around me slowly recessed and as if some beacon of light from the skies I was led away by this song back home. I parked the car by my house, entered the hall and as usually checked the mailbox. That day I found in it only one album, I unwrapped it and read the title: "11 Songs".

What a strange coincidence! - that was my first thought. I immediately started to listen to the album and was virtually knocked down by the same din I just barely had escaped. Taken aback by Fazioli grand piano racket I shut down the player and went for a bottle of wine. The evening came and with some hesitation I returned to the music. But this time again I heard them: like sirens tempting the Odysseus songs appeared. Some of them well known like themes from movies (from "Inception" or legendary Polish series "Polskie drogi"), others penned by Michel Petrucciani, Brad Mehldau, Dave Holland, Zbigniew Wegehaupt and Płużek himself. All played with so characteristic for Kuba all-or-nothing attitude which manifests itself not in revolutionary form but rather in emotions laid bare, throbbing as a living creature, soft, wet, unfolding its wings and ready to fly. High. Very high. By far the most interesting Polish jazz release so far in this year 2015 and very strong candidate for one of the best albums of the whole year. Congratulations to Kuba and Adam Domagała from V Records.

Jazz In Polish Cinema - Out Of The Underground 1958-1967 (2014)

Jazz In Polish Cinema

Out Of The Underground 1958-1967

JOF002







By Maciej Nowotny 

If there is something like Polish jazz as a distinctive phenomenon (which is questioned by the likes of Tomasz Stańko or Michał Urbaniak) it is largely thanks to its close relationship with the movies. Fortunately for both these arts - music and film - starting from year 1956, marking the end of Stalinist era in Poland, up to year 1968, the great exodus of last of Polish Jews from Poland imposed by the communist authorities on mainly its own adherents, Poland for a short while regained a little of its freedom which enabled the renaissance of cultural life. Literature began to flourish once again providing great scripts picked up by young directors fascinated by achievements of Italian neorealism and French New Wave. All these combined with new generation of extremely talented actors adopting the theatrical techniques of Stanislawski into cinema in a manner of Hollywood superstars of that era like James Dean or Marlon Brando provided for emergence of the famous Polish School, arguably the golden era of movie industry in Poland.

But without jazz music this incredible creative leap forward would be impossible or at least incomplete. As Roman Polański remarked thinking about Krzysztof Komeda score for award winning "Rosemary's Baby": "He gave truth to my films. Without his music they would be meaningless".  And such a appreciation of the role not only of Komeda but of whole Polish jazz is not overstatement. One cannot imagine this epoch without jazz which is inextricably intertwined into the fabric of Polish history and culture. It was this moment in its history when jazz was something much more than just music. It was in fact a way of living. If somebody does not understand it he or she would also also not understand its current renaissance. Every Polish inteligent is brought up on these books, films and music. These are our roots. We can appreciate or question them but we cannot ignore them.

Because of all these reasons this album comprising 5 CDs and delivering ample selection of most notable jazz recordings from Polish movies cannot be anything but success. It is priceless for anybody who wants to plunge himself in the atmosphere of those years and feel the taste of times when yet NOT "everything was for sale". Today we live in a different era when jazz music manages (barely!) to survive only in niche, when good cinema is secluded to small cinemas or low cost cable TV channels. But on the other hand we have freedom of choice (something which at least between 1958-1967 in Poland was great luxury) and it is only up to us what kind of music we choose to listen. So do not hesitate: use your freedom well and you will not be disappointed, especially since this awesome album is beautifully edited, comprising excellently written, full of photographs lines notes (kudos to Adam Sławiński, Selwyn Harris and Monika Okrój!) which in itself is enough to justify the purchase of this outstanding release.

Aga Zaryan - Picking Up The Pieces (2007)

Aga Zarvan - vocals

Nolan Shaheed  - trumpet
Larry Koonse - guitar
Darek "Oles" Oleszkiewicz - doublebass
Darryl Munyungo Jackson - drums, percussion

Picking Up The Pieces (2007)

This is the 2nd album by the undeniable present-day diva of Polish Jazz, vocalist Aga Zaryan. Recorded almost five years after the debut album, which is an agonizingly long break especially in the initial stage of her career, the album is both a conceptual continuation of the debut and a giant step in her artistic development. The eleven tracks are again predominantly standards with just two originals: one by guitarist Larry Koonse with lyrics by Zaryan and the other by bassist Darek Oleszkiewicz. Koonse and Oleszkiewicz are the main accompanying musicians with percussionist Munyungo Jackson and cornet player Nolan Shaheed contributing on some tracks.

Musically the album is much more challenging than the debut, especially in view of the fact that Zaryan gives up the security of the usual piano-led quartet as her support group and presents mostly a series of intimate duets with the bassist or the guitarist or trios with both of them present. As already mentioned, only a few tracks are further ornamented with percussion or cornet sounds. Her rapport and affinity with her cohorts is absolutely stunning and deeply moving, being examples of the rare intimacy and telepathic musical cooperation like that of pianist Bill Evans and bassist Scott LaFaro.

The overall relaxed and intimate atmosphere hides of course a multitude of exquisite instants of sheer musical joy and there are absolutely no dull moments here from start to finish. One can hardly decide what to savor first: the beauty of the music, the sophistication of simplicity, the twists and idiosyncrasies, the elegance or the charm. Whichever way one looks at this music, it is utterly fascinating without a trace of being a cliché or a déjà vu.

In retrospect this is definitely a milestone recording in the history of contemporary Polish Jazz music and Aga Zaryan's illustrious career so far. It remains a timeless beauty and a favorite album, which I intend to revisit time and again. Extraordinary!

Side Note: This album was originally recorded in Los Angeles in 2006 and released the same year on an independent label. This version of the album is released on Blue Note in 2010, after the legendary Jazz label signed Aga Zaryan as the first Polish Jazz artist in its roster. The sound quality is simply marvelous!

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

Tracklisting:
1. Day Dream
2. Throw It Away
3. Picking Up The Pieces
4. Woman's Work
5. Answer Me
6. The Man I Love
7. Here's to Life
8. It Might As Well Be Spring
9. Sophisticated Lady
10. Suzanne
11. Tender As a Rose