Gembalski/Iwański/Majchrzak/Zduniak - 1999 Harmolodic Odyssey (2020)

Gembalski / Iwański / Majchrzak / Zduniak

Henryk Gembalski - violin
Janusz Yanina Iwański - guitar
Krzysztof Majchrzak - bass
Michał Zduniak - drums

1999 Harmolodic Odyssey

MTJ 11977

By Adam Baruch

This is an archival album by a Polish Jazz quartet comprising of violinist Henryk Gembalski, guitarist Janusz Yanina Iwański, bassist Krzysztof Majchrzak and drummer Michał Zduniak. The album presents five lengthy improvised pieces, co-credited to the participating musicians. The music was recorded live and waited for over twenty years to be finally released. It is dedicated to the memory of Zduniak, who sadly passed in 2006.

Polish political martyrology created the "cursed soldiers" idiom to commemorate the lesser known heroes of the struggle for independence, but many Polish Culture champions, who acted over the years on the margins of the Polish post WWII State sanctioned mainstream Culture never won the proper recognition, neither collectively as a movement nor individually as fighters for intellectual freedom. Polish Jazz is of course no different. In parallel to the Jazz activities overseen by the State recognized Polish Jazz Society, which controlled the local scene with an iron fist, many less conformist Jazz musicians managed to create their own, mostly Avant-Garde oriented facet of Polish Jazz, which enjoyed many creative peaks. People like Andrzej Mitan, Andrzej Przybielski and many others were almost completely anonymous on the Polish Jazz scene for decades, and even today are known only to a handful of hardcore specialists.

The musicians on this album also belong to the league, which operated mostly on the outskirts of the Polish Jazz mainstream, taking part in ensembles like Labirynt, Tie Break, Free Cooperation and others, playing exactly what they wanted to, regardless if it fit any "party line" or not, and often suffering the consequences.

The music is a mixture of Fusion and Avant-Garde, or Avant-Garde Jazz-Rock Fusion, which is a wonderful amalgam of the four individual voices, with diverse stylistic accents, which creates a forceful statement, losing nothing of its intensity and innovation over time. Between Gembalski, who represents the Free Jazz approach, Iwański, who is a Rocker at heart, Majchrzak, who is a Fusion kicks-ass and Zduniak, who is simply a brilliant drummer beyond classification, the music is a highly concentrated exchange of individual soloing and ensemble playing, which although demanding, is unique and superbly uplifting, with energies equaling an erupting volcano.

Overall this is excellent document of the lesser travelled path of Polish Jazz, that rightfully deserves to be a part of the documented history of the genre. Good to see it finally available and hopefully more of such hidden gems will float to the surface. It would be a Cultural crime to have this music doomed as forgotten.

Chochół/Gembalski/Majchrzak/Zduniak - Our Last Session (2019)

Chochół / Gembalski / Majchrzak / Zduniak

Andrzej Chochół - guitar
Henryk Gembalski - violin
Krzysztof Majchrzak - bass
Michał Zduniak - drums

Our Last Session

PRIVATE EDITION


By Adam Baruch

This is an archival release of an improvised recording session by four Polish Jazz musicians: guitarist Andrzej Chochół, violinist Henryk Gembalski, bassist Krzysztof Majchrzak and drummer Michał Zduniak, all members of groups like Labirynt, Zdubop (or Zdu-bop) and other ensembles, active usually on the alternative Polish Jazz scene far from the fame and glory of the mainstream but certainly not less significant. The session was recorded at the studio owned by Zduniak, who was at the time already gravely ill and sadly died a year to the day since the session date. The album presents seven tracks, six of which are spontaneous improvisations and one was composed by Majchrzak.

The music is an incredibly dense barrage of group improvisation by these four veteran musicians, creating a wall of sound effect, which still enables the individual instruments to be heard clearly. The individual parts vary in their intensity and dynamics, bringing each of the musicians up front, but there are no straightforward solo parts as such.

Although this music is all about group improvisation, the individual contributions are all first rate. Gembalski is sadly one of the most underrated Polish Jazz violinists and his parts on this album are nothing short of spectacular. Majchrzak is a brilliant bass guitarist, also sadly little known beyond a close list of friends and followers. Perhaps the fact that he lives in Paris since many years took him out of the public eye, but he is a world class player and has little competition on the local Polish scene. Chochół contributes some hair-rising electric guitar soli, and he also deserves a much wider recognition. Zduniak contributed superb drumming parts to many iconic Polish Jazz albums and his untimely death was a blow to the scene.

It is truly great to have this music available, as it not only deserves to be heard, but is also an important historic record of the lesser known components of the Polish Jazz scene, which should be remembered and documented. Overall this is a fascinating piece of music with historic significance, which is worth looking for and listening to, and which might surprise many listeners with its richness and uniqueness.

Weston/Majchrzak/Gembalski – Magic Hands (2014)

Weston/Majchrzak/Gembalski

Henryk Gembalski - violin
Krzysztof Majchrzak - guitar, bass
Calvin Weston - drums

Magic Hands

PRIVATE EDITION




By Adam Baruch

This is a live recording by a trio comprising of American drummer/multi-instrumentalist Calvin Weston and two Polish musicians: bassist/guitarist Krzysztof Majchrzak and violinist Henryk Gembalski. The album presents eight original pieces, all spontaneously improvised by the trio and co-credited to them.

The music is an amalgam of influences but basically comes down to Avant-garde Jazz-Rock Fusion, which although improvised has a clear melodic backbone, which serves as the underlying element for the extended improvisations. The unusual instrumental lineup creates a very effective ambience and the use of violin brings fond memories of early Fusion ensembles that featured the violin, like Flock, Hands and others.

Gembalski, one of the most underappreciated Polish Jazz figures, clearly proves that he is as good as any of his contemporaries, but his association with the Polish Avant-garde prevented his recognition in the mainstream Jazz circles, which is a great pity. Majchrzak drives the trio with his full bodied bass lines, which provide the continuity needed to avoid total mayhem. He is a perfect link between the stratospheric violin parts and the down to earth rhythmic layer provided by the drums.

Weston, a veteran improviser who played with some of the most important American Jazz innovators, turns out to be a gifted trumpeter as well, and his tribal drumming is exactly what this music needs. Overall this is a very interesting musical adventure, different stylistically and aesthetically from the usual Fusion outings, full of excellent solo parts and superb cooperation between the participating musicians, especially in view of the fact that the music was improvised live. For connoisseurs of the violin in Jazz / Fusion, this is a revelation.

Byrklymyny Trio – Opera In Heaven (2016)

Byrklymyny Trio

Henryk Gembalski - violin
Wojciech Zduniak - bass
Michał Zduniak - drums

Opera In Heaven

ALLEGRO 033




By Adam Baruch 

This is the archival debut album by Byrklymyny Trio led by veteran Polish Jazz violinist Henryk Gembalski and including bassist Wojciech Zduniak and drummer Michał Zduniak. The album presents an original nine-piece suite credited to all three trio members.

The music is quite versatile and moves between Ambient, Jazz and Jazz-Rock Fusion, with an emphasis on the latter, especially due to the use of electric bass and rhythmic Rock patterns. Although based on melodic themes, the music ventures into lengthy improvised passages, which feature the violin using a plethora of synthesized effects, sounding nothing like the traditional acoustic instrument. The overall effect of the music creates a kind of imaginary voyage or soundtrack of an imaginary movie, hypnotic and absorbing.

The rhythm section is very much involved in the actual creation of the music, playing much more than is simply required to keep the tempo, adding polyrhythmic pulsations and groovy/funky bass lines. Combined with the violin extravaganza on top of the rich rhythmic layer the music keeps the listener on edge for the entire duration of the album. This album is another example of the versatility and depth of the Polish Jazz violin school that is experiencing a wonderful renaissance lately and is probably the leading world center of violin oriented Jazz activities in the world, taking over the traditional lead from France. This phenomenon is definitely worth a closer study.

Gembalski, who is a part of the Polish Jazz scene since many years, and who was usually associated with the more avant-garde oriented circles, takes a new position within the mainstream this time, without of course lowering his standards or giving up his musical integrity. This album should expose his great talent to many new listeners, who have somehow missed him earlier on. For violin lover this album is definitely a must, especially in view of its unique approach to the instrument and excellent, albeit unusual, musical contents. Wholeheartedly recommended!

Nahorny Sextet - Chopin Genius Loci (2010)

Nahorny Sextet

Włodzimierz Nahorny - piano
Dorota Miśkiewicz - vocals
Henryk Gembalski - violin
Wojciech Staroniewicz - saxophone
Mariusz Bogdanowicz - bass
Piotr Biskupski - drums

Chopin Genius Loci


CONFITEOR 005

By Adam Baruch

The veteran Polish Jazz pianist/saxophonist/composer Włodzimierz Nahorny, one of the Godfathers of the post-WWII Polish Jazz scene, manages continuously to display a phenomenal vitality and unprecedented imagination, often much superior to those of his colleagues, often decades younger than himself. This album is a wonderful proof of exactly these qualities. Recorded in a sextet setting, with vocalist/violinist Dorota Miśkiewicz, violinist Henryk Gembalski, saxophonist Wojciech Staroniewicz, bassist Mariusz Bogdanowicz and drummer Piotr Biskupski, Nahorny presents a set of Jazz transcriptions of eight pieces by the Polish composer Frederic Chopin, three pieces by a lesser known 20th Century Polish composer Roman Maciejewski and one piece by Karol Szymanowski. In addition one original composition by Nahorny is also included.

Polish Jazz suffers terribly from overexploitation of Chopin's music, which varies in quality from brilliant (rarely) to completely banal (most of the time). Therefore another attempt to interpret Chopin in the Jazz context is always a perilous undertaking. Nahorny's bold and far fetching approach results in transcriptions, which although quote the original music, move very far away from the source during their execution, being in fact completely new and whole pieces of music, which Nahorny even names anew, giving the source as a reference only. Although such liberties might appear sometimes as to audacious, in Nahorny's case they are fully justified and simply brilliant.

The eleven transcriptions, spread over two CDs, are all fascinating musically and serve as wonderful vehicles for the musicians to display their respective talents. Miśkiewicz sings some great vocalese, at times even almost free form, using lyrics on just one piece. Gembalski plays some scorching violin passages and Staroniewicz, as always, charms with his beautiful saxophone tone. The rhythm section keeps the music together with flair and elegance, pushing it ahead with just the right amount of energy. And last but not least Nahorny's piano serves as glue between the Classical and the Swinging elements, bridging and bonding everything together.

Although seemingly positioned well within the mainstream Jazz boundaries (except for the Classical references of course), this music displays quite a lot of freedom and unexpected ventures into less programmatic areas, sometimes almost touching upon Free/Avant Garde idioms, which of course is nothing new as far as Nahorny's music is concerned. This album is a living proof that the Jazz-Classical Fusion can avoid pastiche, cliché and kitsch, and simply bite!

Jacek Kochan - Double Life Of A Chair (GOWI, 2002)

Jacek Kochan - drums, bass, keyboards, loops, sample

Palle Mikkelborg - trumpet
Briggan Krauss - alto sax
Anthony Alexander - acoustic & electric bass
Henryk Gembalski - violin
Sławek Jaskułke - accordion

Double Life Of A Chair (GOWI, 2002)

Polish drum wiz, groove-king and multi-bandleader has upwards of a dozen discs out, each with different personnel from around the world, as well as some of downtown's best (Tronzo & Krauss here). Jacek seems to dig trumpet players and has worked with Kenny Wheeler, Cuong Vu, Eric Vloeimans, Franz Hautzinger and here he uses ECM great Palle Mikkelborg. This disc features a fine seven-piece band, the largest assemblage Jacek has recorded so far. Jacek works his wonders setting up sly, spacey, somewhat funky grooves that players can add their tones and colors to and solo on occasion. Often these slamming grooves push the soloists to come up with something different than what they are use to in their own situations. With so many fine musicians Jacek often selects melodic patterns that violin and accordion or the guitar and sax can add their harmonies to. Both Tronzo and Briggan Krause contribute one short piece each, mainly a solo interlude. On a couple of tracks Jacek sets up a quiet, spacious, slow groove so that Palle's muted trumpet and Tronzo's ultra subtle guitar can float on top. Rather than just set up some all-star jam sessions, Jacek works out each piece in advance so that the groove and background textures or loops provide a different challenge on each piece. I find Jacek Kochan to be more consistently successful than Nils Petter Molvaer who often provides a similar set-up, yet his results I find often less-than-engaging.

Bruce Lee Gallanter (Downtown Music Gallery)

"Double life of a chair" is certainly one of the more interesting disks of the last years.... Jacek Kochan ...(has)... an obvious inclination to the leadership that agrees to put him in field with a project of large beauty... The attractive music of this album is not easily classifiable...

Maurizio Comandini (All About Jazz)

Track listing: 1. Alberta [08:34]; 2. Momentations [01:31]; 3. Indiano [05:51]; 4. What About Them Penguins On Hudson PKWY [04:04]; 5. Tjame [05:39]; 6. El Toro [07:13]; 7. What's Left [03:25]; 8. Gash [04:46]; 9. Day In Apparatus [00:55]; 10. Corporate Highlanders [05:59]; 11. Kowloon [07:31]; 12. If You Went That Far [01:42:00]

Orkiestra Świętokrzyska - Wykłady z geometrii muzyki (2003)

Well, this is a project that could be very interested indeed but it turn out to be disappointment. Intended to be nu jazz and clearly referring to music of Nils Petter Molvaer it sounds however like karaoke jazz: oversimplified, uninspired, predictable. Surely lovers of more accessible music may find this attractive but only provided they are indiscriminate and were not exposed to what is the best in nu jazz.

Sadly, this recordings is so mediocre that even the presence of the artist of highest callibre could not save the day with one exception however: Andrzej Przybielski play on trumpet in "Równoległość" transcend this mundane sounds into celestial harmony. But as soon as his immortal trumpet fades karaoke returns again...

The song with above mentioned magic trumpet of Andrzej Przybielski:

Author of text: Maciej Nowotny (http://kochamjazz.blox.pl/html)

Łukasz Łagocki - Crossroads (2010)

I believe it is debut recording of young pianist Łukasz Łagocki and I admit it was close to be overlooked by me among real flood of excellent jazz recordings at the end of last year. Fortunately a friend of mine, Steve Dolan (you can buy this album at his web store: http://www.stevesjazzsounds.co.uk/) has turned my attention towards it and  I discovered music that is excellently thought-out, superbly played and very enjoyable.

Łukasz Łagocki plays on piano and Fender Rhode and we owe to him all compositions (one written with Stanoszek). Łagocki sound on piano shows his classical background, reminding me styles of Fred Hersch or Kenny Werner, while his play on Fender Rhodes is even more interesting, spacious, thoughtful and very sensitive reminding me best years of Chick Corea's Return To Forever band.  

But throughout the album the most imposing is a presence of Israeli flutist Yael Acher with all other instruments graciously turning around his captivating solos. Apart from his conversations with Łagocki, Acher sounds the best when in dialogues with veteran violinist Henryk Gembalski. Once a part of Young Power, a most important band in Polish mainstream jazz in 80ties last century, Gembalski recorded more than 30 albums and since 2000 is working in Katowice Music Academy teaching jazz violin.

Rhytm section consisting of bassist Olo Walicki, a member of legendary Miłość band of 90ties, one of main actors of yass revolution in Poland, and Henryk Stanoszek deserve word of praise as well giving to music not only necessary pulse but breath and spatiality.   

Tending towards cool jazz moods and dominated by flute this album should be compared with latest recordings by flutists Krzysztof Popek and Leszek Hefi Wiśniowski. Lacking Wiśniowski's aggressiveness and bravery it nonetheless surpasses excellently played but too conservative project of Popek: not bad for a debut I would say and giving a promise of more interesting things in future from this young and intelligent player.

Check following link for music from this album: http://www.myspace.com/lukaszlagocki

Kazimierz Jonkisz - Top Six Outsider (Polish Jazz Vol. 71, 1987)

Volume nr 71 in great Polish Jazz series (which i got thanks to welovepolish.blogspot.com) brings us music which sounds as fresh now as it did on the day of its recording 25 years before. A bunch of then young players: Kazimierz Jonkisz (drums), Witold Szczurek (bass), Krzysztof Popek (flute), Piotr Adamski (piano), Maciej Strzelczyk (violin) and Henryk Gembalski (violin) showed such an energy and enthusiasm on this record that it was obvious that they had to become key players on Polish jazz scene in 80ties and 90ties. 

As far as leader of this band is concerned, Kazimierz Jonkisz started his career by taking taking part in recording of famous Zbigniew Namysłowski album "Winobranie" in 1973 and since then was very active playing with most important players in those times like Jan Ptaszyn Wróblewski, Tomasz Szukalski, Włodzimierz Nahorny etc. From 1974 until 1976 he was playing in Jazz Carries group with Henryk Miśkiewicz among others with whom he recorded album titled "Jazz Carriers: Carry On!" in 1973. Finally in 1978 he set up his own band which with different personel carried on for quite long time recording such interesting albums as "Tiri Taka" in 1980, "Top Six" in 1986 and "XYZ" in 1987. 

In musical terms this is mainstream jazz owing a lot to hard bop era with delicate Polish folk accents. It rocks as hell but presence of both violins and flute make music sound so original and Polish, unmistakably one of great recordings of serious players in Polish jazz.

PS. Please note a very interesting album cover which is a joke directed toward communist regime hated by most of Polish jazzmen: lap decorations containing portraits of musicians remind medals of Soviet heroes ;-)))

Check this link for a composition by Krzysztof Popek "Polinelia" from this record.

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