Adam Golicki Trio - Reflections (2021)

Adam Golicki Trio

Maciej Grzywacz - guitar

Piotr Lemańczyk - electric & double bass

Adam Golicki - drums

Reflections (2021)

By Maciej Nowotny

Obawiam się, że ta płyta może przejść niezauważona przez kolegów recenzentów, a byłaby szkoda. Dobijamy już do sytuacji, że do naszej skrzynki pocztowej Polish Jazz Blog niemal codziennie dociera nowa polska płyta jazzowa lub około jazzowa. Coraz trudniej wszystko śledzić, sięgamy najpierw po płyty artystów już uznanych albo z którymi łączą nas jakieś znajomości. A tymczasem dobra muza może się zdarzyć wszędzie, nazwiska (tak jak w futbolu) same nie grają, trzeba mieć umiejętności, pasję i pomysł, a wtedy dobre rzeczy mogą się zadziać w niespodziewanych miejscach.

Tak jest w w przypadku tego krążka. Pierwsze co przyciąga uwagę to obecność Macieja Grzywacza grającego na gitarze i Piotra Lemańczyka na elektrycznej gitazrze basowej i kontrabasie. Nie są to muzycy-celebryci, o których przeczytacie w Pudelku.pl, ale dla znawców to creme-de-creme naszego jazzu, wspaniali instrumentaliści, artyści o uznanej renomie. Ale kim jest, może ktoś zapytać, lider: Adam Golicki. Możecie wzruszyć ramionami i powiedzieć: nigdy nie słyszałam, nie słyszałem. To może być prawda, chociaż wierzcie nam, że jest ceniony jako sideman i pojawia się m.in. w zespołach prowadzonych przez Tomasza Licaka czy Michała Ciesielskiego.

Nie jest to także jego pierwsza płyta. Jego debiut z 1915 "Ad Shave" mój kolega Adam Baruch odnotował na naszym blogu, zachęcając Golickiego do bardziej ambitnych poszukiwań. I oto mam dla Państwa dobrą wiadomość. Ta płyta Adama Golickiego nagrana w trio jest dokładnie czymś takim! Instrumenty brzmią pięknie, atmosfera płyty przypomina ciepły, letni wieczór, kiedy przy kieliszku dobrego czerwonego wina, chce się nam wsłuchiwać w śpiew ptaków jaki niesie łagodny wiatr. Ale muzyka nie jest bynajmniej mdła, nijaka, do windy. Kompozycje są dopracowane, słychać w nich inspiracje muzyką nie tylko jazzową, ale klasyczną czy etniczną. W muzyce jest wystarczająco dużo miejsca na improwizację, na cieszenie się zarówno melodią, strukturą, jak swobodą czy eksperymentem. Co najważniejsze rytm lidera, oszczędnie podawany, ale konkretny, wyrazisty, dobrze podkreśla aksamitną słodycz gitary i pełne, dojrzałe brzmienie kontrabasu. Z przyjemnością wysłuchałem tej płyty, która szczególnie usatysfakcjonuje miłośników klasycznego jazzu, którzy lubią gdy jazz towarzyszy im w czasie codziennych aktywności, uzupełniając, a nie przerywając tok działań, myśli czy marzeń. 

Szymon Sutor - Jazz Septet & String Orchestra (2019)

Szymon Sutor

Szymon Sutor - conductor
Adam Pierończyk - tenor & soprano saxophones
Maciej Grzywacz - guitar
Cezary Paciorek - accordion
Gaba Janusz - voice
Dominik Kisiel - piano
Michał Bąk - double bass
Patryk Dobosz - drums
with string orchestra

Jazz Septet & String Orchestra

SUTOR MUSIC 2019

By Krzysztof Komorek

Kompozytor, aranżer, dyrygent, pianista. Tak sam opisuje siebie Szymon Sutor. "Jazz Septet & String Orchestra" jest pierwszym albumem, który firmuje swoim nazwiskiem. Jednak trudno mówić, że jest debiutantem absolutnym. Liczne kompozycje do spektakli teatralnych i filmów, nagrody – między innymi dwukrotnie podczas Międzynarodowego Konkursu Kompozytorskiego im. Krzysztofa Komedy – zaangażowanie w wiele, zróżnicowanych projektów muzycznych, współpraca ze znakomitościami świata jazzu, klasyki i muzyki rozrywkowej, świadczą o pokaźnym doświadczeniu, jakie już udało mu się zdobyć. 

Słuchacza może zaskoczyć skala przedsięwzięcia wybrana na debiutancki album. Jednak poznawszy biografię artysty,  można było takiej właśnie decyzji się domyślić. Duże formy stanowią ewidentnie pasję Sutora. Wspomniane już prace dla teatru, cztero-częściowa msza "Missa de Beata Maria Virgine", współautorstwo wykonanej premierowo podczas szczytu klimatycznego ONZ 2018 w Katowicach kompozycji "The Lost Seasons" inspirowanej "Czterema porami roku" Vivaldiego, wreszcie prowadzenie własnej orkiestry rozrywkowej, stanowią najważniejsze składniki jego artystycznego curriculum vitae. 

Właśnie połączeniem jazzu, klasyki i muzyki rozrywkowej cechuje się debiutancki album Szymona Sutora. Jazzowy septet w doborowym składzie wspaniale równoważy się z 24-osobową orkiestrą smyczkową. Stricte jazzowe fragmenty przeplatają się z muzyką, która znakomicie sprawdziła by się w charakterze ilustracyjnym. Wśród smyczków znaleźć można znakomitych solistów (Tomasz Chyła). Z kolei septetem dowodzi Adam Pierończyk, który – według zamieszczonych na płycie podziękowań – był dobrym duchem całego projektu przez cały czas jego powstawania. 

I to solówki saksofonów wyróżniają się na ogół z jazzowych fragmentów całego albumu. Najciekawiej brzmi tu "Ceper", gdzie interesująco przeplata się gra właśnie saksofonu, perkusji i fortepianu. Oszczędnie, ale równie świetnie wplatają się w muzyczną narrację wokalizy. Pewnym wyjątkiem jest bonusowy "Monday". Delikatna ballada, niemal w całości oddana we władanie fortepianowi, który przez długie fragmenty prezentuje się solowo, niekiedy tylko dopuszczając delikatny szmer smyczków w tle. Bardzo interesujący debiut w oryginalnej, dość mało eksploatowanej w naszym kraju jazzowo-symfonicznej formule. 

Singiel promujący album "Jazz Septet & String Orchestra" Szymona Sutora

Szymon Sutor - kompozytor/dyrygent
Adam Pierończyk - saksofon tenorowy & sopranowy
Maciej Grzywacz - gitara
Cezary Paciorek - akordeon
Gaba Janusz - głos
Dominik Kisiel - fortepian
Michał Bąk - kontrabas
Patryk Dobosz- perkusja

Prezentujemy singiel "First Look", promujący debiutancki album ,"Jazz Septet & String Orchestra" kompozytora, aranżera i dyrygenta Szymona Sutora. Będzie to precyzyjnie zaplanowana forma muzyczna łącząca jazz z klasycznym brzmieniem orkiestry smyczkowej, ujęta w siedmiu oryginalnych kompozycjach młodego artysty. Gościem specjalnym na płycie jest czołowy polski muzyk, saksofonista Adam Pierończyk, dwukrotny laureat nagrody polskiego przemysłu fonograficznego ,"Fryderyka", a przez magazyn Jazz Forum 15-ty raz z rzędu wybrany najlepszym saksofonistą sopranowym. Album od 12 listopada będzie do nabycia w salonach Empik, a także zostanie udostępniony na platformach muzycznych.

Szymon Sutor - kompozytor, aranżer, dyrygent oraz pianista. Laureat IX oraz X Międzynarodowego Konkursu Kompozytorskiego im. Krzysztofa Komedy. Zdobywca tytułu „Osobowość roku 2015” w kategorii „Kultura” w plebiscycie Dziennika Bałtyckiego, Stypendium Marszałka Województwa Pomorskiego dla Twórców Kultury 2018 oraz Stypendium Kulturalnego Prezydenta Miasta Gdańska. Na swoim koncie posiada wiele kompozycji zarówno na aparat kameralny, jak i symfoniczny, w tym czteroczęściową mszę „Missa de Beata Maria Virgine” na orkiestrę symfoniczną, chór mieszany, trio jazzowe oraz solistów.

Współautor kompozycji „The Lost Seasons” inspirowanej dziełem „The Four Seasons” A. Vivaldiego wykonanej premierowo podczas szczytu klimatycznego ONZ 2018 w Katowicach. Kierownik muzyczny oraz dyrygent koncertu symfonicznego „Świat Mistrza Beksińskiego”, którego premiera miała miejsce w Filharmonii Narodowej w Warszawie. Zaangażowany w liczne projekty muzyczne, współpracuje z wybitnymi artystami muzyki poważnej, jazzowej oraz rozrywkowej. Założyciel, aranżer oraz dyrygent orkiestry rozrywkowej Szymon Sutor Orchestra.

Zaliczony do grona najlepszych dyplomantów rocznika 2016/2017 Akademii Muzycznej im. S. Moniuszki w Gdańsku. Jego kompozycja na septet jazzowy oraz orkiestrę smyczkową została wykonana przez orkiestrę Polskiej Filharmonii Bałtyckiej pod dyrekcją Maestro George Tchitchinadze podczas koncertu „Pomorskie Talenty”. Od roku akademickiego 2016/17 Szymon Sutor jest pracownikiem dydaktycznym Akademii Muzycznej im. St. Moniuszki w Gdańsku w katedrze “Jazzu i Muzyki Estradowej”. Kompozytora charakteryzuje swobodne łączenie aparatu symfonicznego z muzyką rozrywkową oraz improwizacją jazzową, a wszechstronność stylistyczna przekłada się na wielobarwność oraz oryginalność jego muzyki.

Leszek Kułakowski - Love Songs (2017)

Leszek Kułakowski

Leszek Kułakowski - piano
Tomasz Grzegorski - saxophone
Maciej Grzywacz - guitar
Joanna Knitter - vocals
Piotr Kułakowski - double bass
Tomasz Sowiński - drums

Love Songs



PRIVATE EDITION

By Adam Baruch

This is a beautiful album by Polish pianist/composer Leszek Kułakowski, who shows herein yet another facet of his multitalented persona, this time as a songwriter. The album presents ten songs composed and arranged by Kułakowski to the lyrics by Polish poet Zbigniew Książek, all of them being love songs in the good old meaning of the idiom. The songs are performed by vocalist Joanna Knitter, accompanied by a classic piano trio with Leszek Kułakowski at the piano, his son Piotr Kułakowski, who plays bass and drummer Tomasz Sowiński, and by the Progress Chamber Orchestra. Saxophonist Tomasz Grzegorski and guitarist Maciej Grzywacz guest on a couple of tracks.

The music is everything one might expect from nontrivial love songs: exquisite melodies, sophisticated harmonies, unforeseen twists and highly developed swing, which keeps the songs flowing one after another, arriving at the album's last song way sooner that one might expect. Combined with the intelligent lyrics and vigorous execution, these songs are a true delight.

Of course these songs have very little to do with contemporary popular music, which of course is meant as a compliment. They belong to the era when songs had a melody, a message and some aesthetic values, in short the era when all great Jazz standards were written. In many respects these songs belong to the same "standards" category, and the fact they are new and unknown only make things more interesting, as any new material of such quality is truly scarce these days.

As far as Polish Jazz is concerned, these songs continue the tradition of Jazz & Poetry, which flourished in the 1960s, and are a warm reminder of those days as well as a most welcome continuation of that tradition. Kułakowski turns out to be a romantic at heart, which is perhaps one more good reason why I like him so much both as a musician and a human being and honored to be his friend. Overall this is an inspired collection of beautiful love songs, excellently executed by all participants, which creates moments of blessed tranquility and joy, which help the listener to survive the hellish barrage of noise which passes for music in the world we now live in.

Maciej Grzywacz – Connected (2015)

Maciej Grzywacz

Maciej Grzywacz - guitar
Jakob Dinesen - saxophone
Daniel Franck - bass
Hakon Mjaset Johansen - drums

Connected

BLACK WINE 2015/001



By Adam Baruch

This is the sixth album by Polish Jazz guitarist/composer Maciej Grzywacz recorded in a quartet setting with three Scandinavian musicians: Danish saxophonist Jakob Dinesen, Swedish bassist Daniel Franck and Norwegian drummer Hakon Mjaset Johansen. The album presents eight original compositions, all by Grzywacz.

The music is a melodic contemporary Jazz, which sounds fresh and interesting from the very first notes and manages to keep the listener in suspense till the very last notes. The guitar/saxophone dual front line works very well, as both players move elegantly between the unisono parts to individual solos and back to the melody. Grzywacz does a wonderful job playing soft but complex guitar chords behind the saxophone solos and of course plays many well constructed solos. Dinesen is obviously the most expressive musician in this quartet, playing long stretches of improvisation, without loosing the melody line even for a moment. The rhythm section plays in typical Scandinavian pattern, with the bass driving the music forward with a steady pulse and the drums playing around the beat, rather that keeping time.

In spite of the fact that the album features three Scandinavian musicians, it does not suffer from the typical Scandinavian lethargy that puts many music fans to sleep very effectively. Most of the music is lively and up tempo, with virtuosic solos ripping the air. Even the slower numbers have a lot of energy and vigor and keep the listener in check. There is quite a lot of freedom in the way the quartet works together, giving each other space and respect. This album is one of many projects with Polish and Scandinavian musicians collaborating, like they did in the 1960s and 1970s, which is one of the many interesting aspects of the new Polish Jazz scene.

Personally I find the work of Dinesen especially rewording on this album, which is hardly surprising considering his huge success he enjoys back hope and internationally. Also this is surely the most complex and ambitious album Grzywacz recorded to date, which of course is commendable. Seeing him developing over time is truly rewarding. This is definitely a piece of music worth checking out as it holds many truly wonderful moments.

Maciej Grzywacz – Solo (2014) ***1/2

Maciej Grzywacz - guitar

BLACK WINE 001









By Adam Baruch

This is a solo guitar album by veteran Polish Jazz guitarist / composer Maciej Grzywacz, and after many years of playing mostly electric guitar his comeback to the acoustic classical guitar, his first musical love. The album presents nine tracks, two of which are his compositions and the rest are standards.

Polish Jazz fans familiar with his recordings with the group (0-58) or his earlier solo efforts will find this album quite different in comparison. This is naked acoustic guitar playing completely natural acoustic sounds, usually associated with Classical music. Although the music comes from the Jazz world, the solo guitar arrangements change their overall appearance drastically, especially as far as the rhythmic approach is concerned, which turns the well known Jazz pieces into somewhat somber, melancholic Classical pieces. The melodic themes are still there, but the swing is gone.

Therefore Jazz oriented listeners might find this album a bit too much to swallow, especially in the long term. Although the album is only slightly over thirty minutes in duration, this is way beyond the scope of attention of people who need to tap their feet in order to enjoy music. Although Grzywacz is an excellent player with splendid technical proficiency, which is easily recognizable, I'm afraid the public will find this way above their heads and move on to greener pastures.

I enjoy this music myself, but I don't think that this album adds anything significant to the already superb recorded legacy by Grzywacz. But an artist has a right to indulge himself from time to time.

(0-58) – Do Dziesieciu (2001) ***1/2

Krystyna Stanko - vocals
Maciek Grzywacz - guitar
Olo Wolicki - bass
with
Cezary Paciorek - accordion
Cezary Konrad - drums
Grzegorz Grzyb - drums
Adam Pieronczyk - saxophone

OLO 003


By Adam Baruch

This is the second album by Polish Jazz vocalist Krystyna Stanko and her debut recording with the group (0-58), which placed her as a co-leader with guitarist / composer Maciej Grzywacz and bassist / composer Olgierd Walicki. The group also included accordionist Cezary Paciorek and alternating drummers Cezary Konrad and Grzegorz Grzyb. Saxophonist Adam Pieronczyk guests on two tracks. The album includes nine original compositions, four each by Grzywacz and Walicki and one by Stanko with lyrics all written by Stanko.

Musically the album presents a process of searching after a unique identity, which takes the musicians exploring many different avenues, such as Blues, chanson, alternative Pop and of course Jazz. The songs are very diverse in their tempi, moods and melodic ranges and the album keeps changing quite dramatically between one song and another. Listening to the album is like embarking on a journey with destination unknown. On the whole the approach is acoustic and rather intimate.

The instrumentalists perform splendidly, improvising extensively between the vocal parts. Grzywacz and Walicki both play some outstanding instrumental parts as do the guest soloists. Stanko is theatrical and somewhat reserved, perhaps still not aware or her formidable vocal ability, which will flower on her later recordings.

In retrospect this is a very interesting document of the Polish Jazz scene at the turn of the Millennium. Obviously the young generation of musicians is looking for something different than the mainstream tradition and with Yass paving the way in the previous decade, everything is open and nothing is taboo any more. The album is unfortunately out of print since many years and it took me ages to track a copy down – lucky me!

(0-58) – Tryby (2003)

Krystyna Stanko - vocals
Maciej Grzywacz - guitar
Cezary Paciorek - accordion
Piotr Lemanczyk - bass
Marcin Jahr - drums

PRIVATE EDITION






By Adam Baruch

This is the third album by Polish Jazz vocalist Krystyna Stanko and her second recording with the group (0-58), which paired her as a co-leader with guitarist / composer Maciej Grzywacz. The group also included accordionist Cezary Paciorek, bassist Piotr Lemanczyk and drummer Marcin Jahr. The album includes eight original compositions, seven of which are by Grzywacz with lyrics by Stanko and one is an instrumental by Lemanczyk, where Stanko uses wordless vocalese only.

Musically the album is a striking amalgam of cross-genre explorations, which could be labeled as Jazz-Rock Fusion, but in truth comprises of many other musical influences and sources, from French musette via alternative Rock, RIO, Fusion, Prog and probably quite a few others, all resting firmly in the Jazz tradition. The eclecticism is not only part of the composition but is also reflected in the entirely unusual overall sonic atmosphere, which moves between the accordion inspired jubilation to dark, melancholic and deeply lyrical pieces, especially those featuring Stanko with Grzywacz on acoustic guitar and supported by the incredible bass lines by Lemanczyk and percussive ornamentation by Jahr. The album offers so many incredible musical moments that by and large the listener has barely time to enjoy one piece of music and is immediately thrown into completely new surroundings.

The level of performances on this album is simply astounding. Stanko, as usual, presents the lyrics with a theatrical sensitivity and the instrumentalists magically perform a set of chameleonic tricks, changing moods and tempi on the fly, often using those strange odd meters, which make music exciting. The decision to use the accordion is a blessing as this fantastic instrument is able to produce a variety of sounds, so sweet and natural, that no synthesizer can ever come close to. Paciorek is obviously a Master and his solos, as well as his accompaniments are a real joy. Grzywacz is a versatile player with great technique and sensitivity, which is quite evident here and his solos are a classic examples of what Jazz / Fusion guitar playing should be all about. Lemanczyk is a true giant, and his strong acoustic bass lines on this album often sound as if produced by a bass guitar, which is quite incredible, Jahr is an excellent drummer and his all-around experience playing in many different musical areas makes him an ideal contributor on this recording.

In retrospect it appears that this is definitely one of the best offerings of the Polish Jazz / Fusion scene in the first decade of the 21^st Century and it certainly deserves much more attention and praise than it originally gained at the time of its release. Seemingly out of print, perhaps a reissue us in order? Delightful stuff!

Piotr Lemanczyk – Follow The Soul (2003)

Piotr Lemanczyk - bass
Janusz Muniak - saxophone
Przemek Dyakowski - saxophone
Wojciech Staroniewicz - saxophone
Maciej Sikala - saxophone
Dariusz Herbasz - saxophone
Maciej Grzywacz - guitar
Dominik Bukowski - vibraphone
Tomasz Sowinski - drums

ALLEGRO 006

By Adam Baruch

This is the debut album as a leader by Polish Jazz bassist / composer Piotr Lemanczyk. It was recorded by several different lineups, mostly quartets, with the following participants: saxophonists Janusz Muniak, Przemek Dyakowski, Wojciech Staroniewicz, Maciej Sikala and Dariusz Herbosz, guitarist Maciej Grzywacz, vibraphonist Dominik Bukowski and drummer Tomasz Sowinski. Of the seven tracks on the album, six are original compositions by Lemanczyk and one is a standard.

The music is kept well within the modern Jazz mainstream, but the excellent compositions and performances create a superb piece of Jazz music, which should satisfy every sensitive listener. The use of the vibraphone instead of the usual piano gives the entire recording a "cool" ambience, which suits the music perfectly. The leader gets several solo spots, which emphasize his beautiful tone and sensitivity, rather than needless pyrotechnics.

As usual with Polish Jazz albums, the music is the center of the attention, in spite of the truly excellent playing, which is beyond reproach from start to finish. The melodic content and the rhythmic structures are simply incredible and a source of real joy.

Overall this album is a perfect example of what mainstream Jazz is all about and should be greatly enjoyed by any Jazz connoisseur anywhere in the world. Highly recommended!

(0-58) - Tryby (2003)

(0-58) - band

Krystyna Stańko - vocal
Maciej Grzywacz - guitars
Cezary Paciorek - accordion
Piotr Lemańczyk - bass
Marcin Jahr - drums

special guest: Paul Ruschka - voice
/Joachim Leusmann - text

Tryby (2003)

Band called 0-58 (beginning of phone numbers in Tri City) does not exist any more. Pity. It consisted of first rate musicians: Maciej Grzywacz on guitars, Cezary Paciorek on accordion and excellent rhythm section in persons of double bassist Piotr Lemańczyk and drummer Marcin Jahr. Main role however was played by a vocalist Krystyna Stańko and it is in my humble opinion her best album ever. She sounds self-assured, her articulation is immaculate, voice clear and deep. Also texts she sings are far from trivial. This is her by far most "free" album I know and in such a set up her talent shone brightly. All in all, it is really worthy to give this album second chance, especially since it is now available full for free for rehearsal online...

Track listing:

1. Tryby
2. Z natury proste
3. Słowa na pył
4. Na głos
5. Gdy zapytam
6. Kto szuka?
7. Zernik
8. Znaleźć cel

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

Piotr Lemanczyk - Follow The Soul (2003)

Piotr Lemanczyk - acoustic bass

Janusz Muniak - tenor saxophone
Przemek Dyakowski - tenor saxophone
Wojciech Staroniewicz - tenor saxophone
Maciej Sikala - tenor saxophone
Dariusz Herbasz - tenor saxophone
Maciej Grzywacz - guitar
Dominik Bukowski - vibraphone
Tomasz Sowiñski - drums

Follow The Soul (2003)

"In his decision to go for the double bass, Lemanczyk followed the voice of his soul. You can hear it in each and every note of "Follow the Soul". His performance is characterized by a strong and resolute attack on the string, a deep and full tone, precision of articulation, melodic invention [...]. There is something more, however, that Lemanczyk can do - both as a musician and a composer - he can stigmatise the music with his personality, create an atmosphere and sound, which makes you want to listen to the piece once again."

Krzysztof Kuczkowski - "Gitara i bas" 5/2003 (65)

"Despite the fact that it is the bassist that is the author of the album, he remains in the background, limiting his activity to playing the role of the band's backbone. His double bass has a wonderfully succulent sound, resolutely punctuates whatever their colleagues are doing, ensuring that all the blank spaces are filled. Lemanczyk's fascination with the acoustic instrument started a relatively short time ago. Before that his soul had been sold to the bass guitar, which adds even more to the admiration at what he has achieved so far."

Jaroslaw Kurek - "Kuryer Sopocki" 11 July 2003

Tracklist:

1. Virga
2. Shy king of the village
3. Take 74
4. You don't know what love is
5. White lake
6. My little M.
7. Blues for Aga

Piotr Lemanczyk - Village Time (2007)

Piotr Lemańczyk - double bass

Adam Pierończyk - tenor saxophone
Maciej Grzywacz - guitar
Krzysztof Gradziuk - drums

Village Time (2007)

Yet another project by excellent double bassist Piotr Lemańczyk accompanied by his longtime companions: guitarist Maciej Grzywacz and drummer Krzysztof Gradziuk. The recording focus however is on guest saxophonist Adam Pierończyk, one of the most charismatic instrumentalists in Polish jazz. Unfortunately his presence is rather scarce on this album or his aggresive, all-or-nothing style does not fit well with cool and mellow jazz as preferred by Lemańczyk. The outcome of this collaboration if of course of high quality but not up to high expactances one could have after simply going through splendid line-up.

Tracklist:
1.Foreground 2.No matter blue 3.Freak out zone 4.Smile of bliss 5.Able to fly 6.Turn to the mind 7.Better half

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

Piotr Lemanczyk - Freep (2005)

Piotr Lemanczyk

Piotr Lemańczyk - double bass
Maciek Grzywacz - guitar
Jacek Kochan - drums
Jakob Dinesen - tenor sax
Zbigniew Namysłowski - alto sax (3, 8)

Freep (2005)

Piotr Lemańczyk belongs to best musicians in Poland playing mainstream jazz. All his projects are very similar to each other in terms of concept and sound. It is basically one album even if issued on many CDs and featuring different line-up. This changes in personell are thus very important and Lemańczyk being aware of that carefully picks up his collaborators. He already recorded with Jerry Bergonzi, Tim Hagans or recently Dave Kikoski. His Polish companions are no less prominents with such illoustrious musicians as Maciej Sikała or Adam Pierończyk taking part in his projects. This album is no less interesting from this point of view as others. From abroad Lemańczyk invited saxophonist Jacob Dinesen, one of the leading musicians on Danish scene who recorded with, for example, Paul Motian. As for Polish artists this disc features legendary saxophonist Zbigniew Namysłowski and just such info should persuade anyone to pay attention to this diisc. Apart from them excellent drummer Jacek Kochan and talented guitarist Maciej Grzywacz appear.

Music produced by this team does not dissappoint. Its perfectly played, deep, refined. Basically cool in mood, it clearly draws inspiration from ECM jazz. Soothing, relaxing, yet no spurficial I shall appeal to many lovers of mainstream jazz.  

Track listing:
1. Inner urge
2. Interference
3. First trip/ for k
4. P. mood
5. Things neverdone
6. Homeless
7. Explorer
8. Fascination c

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

Maciej Grzywacz - Forces Within (2006)

Maciek Grzywacz - guitar

Maciej Sikała - saxophone

Piotr Lemańczyk - double bass
Tyler Hornby - drums

Forces Within (2006)

To be perfectly honest, it seems as if the amount of excellent jazz groups appearing practically every year now throughout the world, including in Poland, is enough to make fans dizzy ( - and where's this 'death of jazz' one hears about?!), while that of reviewers - particularly those who constantly strive to stay on top of it all, as well as the ever more rancorous ones - is capable of causing states of depressive anxiety. Not only is there not enough time in a lifetime to listen to all of the music out there that's worth listening to - from time to time, at least, one would like to get a hold of something that deserves a solid panning and pan it, but there's nothing of the sort here! 

A group that doesn't by any means deserve panning is the quartet of guitarist Maciek Grzywacz. The album's character is conveyed well by its title - the music is impressive in its boldness, energy and clarity. Its communicative power comes from a mastery of those elements that are specific to jazz, primarily a rhythmic unity among all of the musicians, that specific sort of togetherness in time that isn't present in European art music or in rock. Besides that there are the dynamics, sound, phrasing - everything on a high level of quality.

It's difficult to praise any of the musicians specifically - they all work together excellently, and shine in their improvisations. It's hard not to point out, however, that it's good that Tyler Hornby - as opposed to anyone else - was in the drummer's chair. I don't recall having had the occasion to hear this drummer prior to this, so a natural question that came to my mind was - why was an imported musician brought into the quartet for this project? After all, Poland has a few drummers now that aren't bad at all. The issue was clarified for me immediately at the beginning of the album, after which I only became more and more convinced that the line-up was ideal for this project. Hornby performs the fundamental tasks of a jazz drummer perfectly, maintaining the rhythmic nucleus of the music with an iron hand, while being constantly active, supportive, and filling out the background with sensitivity and imagination. In tandem with Lemańczyk, Tyler Hornby creates a stable and powerful fundament for Grzywacz and Sikała, leaving them free and unfettered to build their improvisational tales. "Forces Within" is an excellent album, worthy of recommendation to all mainstream jazz lovers. 

Track listing:
1. Right Balance [08:43]
2. Forces Within [06:58]
3. Chinook [06:19]
4. 26-2 [05:39]
5. More Than Four [06:37]
6. Central Park West [05:35]
7. Half an Apple [05:44]

By Robert Buczek

http://www.jazzforum.com.pl/

Maciej Grzywacz - Fourth Dimension (2009)

Maciek Grzywacz - guitar

Maciej Obara - alto saxophone
Michał Barański - bass
Łukasz Żyta - drums

Fourth Dimension (2009)

As on other albums of combos led by guitarist Maciej Grzywacz (check "Things Never Done" or "Black Wine") we may find here creatively treated mainstream jazz. Elegant, sophisticated, intellectual are adjectives that come to my mind when I think about his music. All are positive according to me. But one more should be added to stress its collective character. Always being the landmark of best jazz efforts this recording stands out for perfect interplay between muscians. Musicians who are by the way among most prominent on Polish scene. Bassist Michał Barański and drummer Łukasz Żyta create one of three best rhythm sections in Poland and can be heard on innumerable amount of discs. Maciej Obara is still rather young but his career has gained momentem since he collaborated with Tomasz Stańko on his New Balladyna Project. All in all, this is at least satisfactory listening experience.

Track listing:
1. Element Of Truth[08:17]
2. More Than Six[10:18]
3. At The Beginning[08:25]
4. Fourth Dimension[11:34]
5. Formula[08:01]
6. Part Of The Plan[09:37]
7. I Know It When I See It[08:05]

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

Wojciech Staroniewicz – Handmade (Allegro Records, 2002)

Wojciech Staroniewicz - tenor and soprano saxophones

Cezary Paciorek - accordion

Maciej Grzywacz - guitar

Piotr Lemańczyk - bass

Tomasz Sowiński - drums 

Handmade (Allegro Records, 2002)

This is a beautiful album by Polish saxophonist / composer Wojciech Staroniewicz, recorded with his quintet, which is somewhat unusual, as it also includes accordionist Cezary Paciorek, a rare combination these days. The other musicians are: guitarist Maciej Grzywacz, bassist Piotr Lemanczyk and drummer Tomasz Sowinski. These are all excellent and experienced players, so the result is spotless on the technical front as well as very interesting from the musical standpoint. Staroniewicz has a wonderfully worm tone on his tenor saxophone and an unusually melodic approach, which does not diminish his improvisational qualities, which are truly impressive. The accordion adds a wonderful fuzzy "old time feel" to the entire session, and the Fusion guitar solos are a nice contrast. The music is mostly original with just two standards included for good measure. Overall this album is a lot of fun to listen to and a great proof that solid, melodic Jazz can be also of high quality and interest. Most warmly recommended to love their mainstream Jazz with a twist!

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

Maciej Grzywacz - Things Never Done (EMG, 2006)

Maciej Grzywacz - guitar

Avishai Cohen - trumpet
Piotr Lemańczyk - double bass
Krzysztof Gradziuk - drums

Things Never Done (EMG, 2006)

This is piece of pure beauty! Maciej Grzywacz guitar, subdued, unobtrusive, elegant reminds me great Jim Hall style but there is no question of any imitation here, just common, cool jazz inspiration. Apart from these fine cool chops Grzywacz also composed great tunes, neither too chaotic or too predictable, they provide enough structure for listener not to be lost in improvising meanderings of all four players taking part in this fantastic session. Apart from Grzywacz this recording features American trumpeter Avishai Cohen flying effortlessly even in the highest registers and being dream-like partner for guitar of the leader. Dialogues of those two go unhurried, deep, resonant constituting the core of this music which however is superbly augmented by top quality rhythm section consisting of arguably best Polish double-bassist and drummer: Piotr Lemańczyk and Krzysztof Gradziuk respectively. Recommended!

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

Maciej Grzywacz - Black Wine (Fonografika, 2011)

Since I have my own broadcast on radiojazz.fm (every Tuesday 21.00-22.00 and repeats on Sunday 17.00-18.00) I plan to dedicate one hour to Polish young jazz guitarists. There are many of them and you may find reviews of their records on our site: Przemysław Strączek ("Light&Shadow"), Rafał Sarnecki ("Madman Rambles Again") or Daniel Popiałkiewicz ("The Hope For Tomarrow"). I have just name few players, there are more and although they play excellent jazz indeed it is in all cases mainstream while my heart go closer and closer to avantgarde. That's why once I started to listen to Maciej Grzywacz "Black Wine" I immadietely become excited becouse from very first notes it is obvious that though deeply rooted in mainstream jazz tradition he flirts on this CD with more twisted and broken rhythms.

Before I move further on description of music let me say few words about musicians. Maciej Grzywacz, guitarist, is well known on Polish scene both as sideman (he collaborated with Olo Walicki, Wojciech Staroniewicz, Piotr Lemańczyk or Jacek Kochan to name just a few) but also has four albums recorded as a leader. Apart from "Black Wine" (2011) there were "Things Never Done" (2006) recorded with pianist Avishai Cohen, "Forces Within" (2006) with percussisis Tyler Hornby (check his "Able To Fly") and "Fourth Dimension" (2009) with Maciej Obara. As for Yasushi Nakamura and Clarence Penn, they are both high quality players, both residing and working in New York, with Penn being much better recognized by me from his previous projects as creative and energetic force in rhythm sections he played in. 

Let's go back to music: as title suggests it's as elegant, refined and deep as good wine could be - check calm and relaxed composition by Maciej Grzywacz titled "Brothers". But as we all know wine is not entirely about tranquility and that's way I also like "Zoom Zoom" and "Black Wine" both uptempo and composed by Clarence Penn where you can hear some bop, groove and even funky accents, all so characteristic for New York style.

But as far as I am concerned this bottle of jazz becomes best when it ceases to be so elegant yet predicatble as wines of Old World and becomes wild and unexpected as those (like Chilean Carmenere or Californian Zinfandel) coming from New World. In such tunes Maciej Grzywacz play becomes little edgy reminding me at moments those of Morris or Mary Halvorson while Clarence Pence drumming sounds rugged and ethereal as those of Gerald Clever or Tony Oxley. For such moods check first of all Maciej Grzywacz composition "No Changes" or (less) in "Akurat". All in love this is certainly more than satisfactory album, in fact one of the best issued this year in Polish jazz...

Please check this site for more information and music from this album:  http://www.blackwinecd.com/en and this site: http://tomirriphotography.blogspot.com/ for excellent photographs of these three gentlemen playing together.

     

Author of text: Maciej Nowotny 

http://kochamjazz.blox.pl/html

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