Tomek Gwinciński with Krzysztof Gruse, Nonlinear Ensemble - P. Und Der Wolf & Bromberg Schule / Szkoła Bydgoska Tom 2 (2008)

Tomek Gwinciński with Krzysztof Gruse, Nonlinear Ensemble

narrator 1 - Tomasz Gwinciński
narrator 2 - Paweł Passini
NonLinear Ensemble directed by Tomek Gwincińcki
solist: Tomasz Pawlicki - flet/fortepian

 P. Und Der Wolf & Bromberg Schule / Szkoła Bydgoska Tom 2 (2008)

By Maciej Nowotny

Tomasz Gwinciński is one of the most imporatant musicians in yass - a serious avantgarde movement in Polish music in 90ties last century. His collaborations with Jerzy Mazzoll in such bands as Niebieski Lotnik or Arythmic Perfection belong to most forward thinking in a whole of this movement. He was also important member of legendary bands of that era called Maestro Trytony (check "Heart Of Gold" or "Enoptronia") and later Łoskot ("Sun"). Looking back this bands influenced heavily present avantgarde renaissance in young Polish music showing that it is possible to say something fresh without being limited to any specific music genre but rather through unfettered usage of all available inspirations, be it free jazz, classical music, music or punk rock (typical for yass, yet it could be anything else for new generation of young artists who relate to this movement).

This project can very well be seen in this perspective since as other Gwinciński enterprises it is something fresh and totally unexpected. It is really difficult to define it. I see affinities with works of Viennese avantgarde of the beginning of previuos centrury (Schoeberg, Berg, Webern) and/or works like for example "Rake's Progress" by Igor Stravinsky. It may be described as kind of transformed opera or radio play with narration recited by Gwinciński and Paweł Passini in German! This narration is something between fable, twisted philosophy or musicology lecture. 

Up to this moment it sounds intriguing but unfortunately (now there is a time for my personal opinion!) it doesn't work as well as it was devised. First, unlike in case of Viennese School music here is too simple, shallow really, to be able to sustain listener's attention for approximately an hour. Second, and most important, this project shares vices of so many avantgarde projects: it is uncommunicative. It is difficult to imagine who will be its recipient? Poles will not understand it because it is in German. Germans do not have an idea it exists at all. International audience? I doubt it will reach for this album after reading my text. Why therefore do I write about this record? Obviously I am as crazy as this music is...

Niebieski Lotnik - Love Surprise (2000)

Niebieski Lotnik (band)

Mazzoll - clarinet, tao te bells
Tomasz Gwinciński - drums
Wojciech Mazolewski - bass guitar

Love Surprise (2000)

I guess that title which may be translated as "Blue Pilot" refers in typical for Mazzoll ironic way to Holy Spirit. And it is fully justified! As on best recordings with "black jazz" this music is authentic, spontaneous and free. Yet it is very important to underline that this affinity with great recordings of Afroamerican jazz is only in spirit not in form of music which is something original and by no means imitation or counterfeit (as in many cases in European version of jazz). This is what we call in Poland yass: distantly rooted in jazz, sometimes directly opposite to it, taking very much from European classics but also rock, pop and folk. Probably the most interesting music phenomenon in Polish music in twenty or so years. If you are interested in it this is perfect starting point as this album maybe be seen as one of the most important for the movement (together with albums by groups like Miłość, Maestro Trytony or Arhytmic Perfection). 

The band consists of three musicians of whom dominant remains Jerzy Mazzoll playing on bass clarinet. If you ever listened to Eric Dolphy you will immadietely recognize by whom he is inspired. His improvisations are free but not without directions. He is an accomplished musician in every sense and his charsima keeps all these material together. But the success of this album would be impossible without excellent rhythm section which follows his meandering line. On bass guitar we find his younger brother Wojtek Mazolewski who later made stunning carrer with his band Pink Freud and guitarist Tomek Gwińciński who however on this album plays mainly on drums. Their support is first class and these three gentlemen rock and roll so hard that I cannot do anything else than wholeheartedly recommend this album!

Track listing:
1. Gdze jest B
2. Nabożeństwo godzi
3. Ryba piła
4. Sypiając z wrogiem
5. Stare dobre czasy?
6. Goły okiem
7. Spruty ja sweter
8. Nowa rasa ps
9. Bezołowiowa woda
10. R
11. Święta lutownica
12. Morskie potwory powracają do domu
13. Podkoszulki mistrz
14. Twarz kt
15. Zwierzęta domowe (kr
16. Nie wierzę skąd jestem
17. Boże ofiara (śmierć w

By Maciej Nowotny

http://kochamjazz.blox.pl

Mazzoll - Muzyka dla supersamow (2000)

Jerzy Mazzoll - bass clarinet

Andrzej Major Przybielski - trumpet
Tomasz Gwinciński - perkusja, guitar
Daniel Mackiewicz - keyboards
Michał Bunio Skrok - bass, samples



Muzyka dla supersamow (2000)

Outstanding! Jerzy Mazzoll, a clarinetist, enjoys on our scene somewhat a status of Thelonius Monk, Albert Ayler or Cecil Taylor. Undoubtely one of greatest innovayors by many he is still seen as force a bit too unpredictabile and out of control. Yet exactly because of such his traits he never ceases to surprise thus reviving spirit of freedom in Polish jazz. 

On this album he decided to enter a dialogue with major social changes that take place in Polish society since it adopted capitalism in 1989. One of its manifestions is spreading of great shopping centers in cities. They become places where people not only meet, they also stroll, flirt, pray. It is therefore great move by Mazzoll and his collegues to bring improvised music into such a space and let it resound it with an atmosphere of those places. In this task he was accompanied by his long time friend Tomek Gwinciński on drums and guitar, legendary trumpeter Andrzej Przybielski, Daniel Mackiewicz on keyboards and Michał Skrok who was responsible for electronically  generated samples.  

Music is challenging in best meaning of this word: communicative, obvioulsly referring to elevator-type typical supermarket music (tracks' titles are simply names of products in shop) but at the same time a bit weird, unquieting and very inspiring. Speaking shortly, outstanding achievement and clearly influencing by its aesthetics many projects of younger generation musisians such as as Pink Freud, SzaZa or recently Horny Trees.

Tracklisting:
01. SAŁATA LODOWAI+ 1X
02. OGÓREK DŁUGI I+0.535kgx2.99
03. SALAMI WYKWINTNE 0.190kg x33.95
04. WYKAŁACZKI 300SZT
05. KETCH. PIK 1X 3.65
06. MIET. SZCZEC. 12P 1X1.19
07. MAJONEZ BABUNI 400ML
08. BROKUŁY 1X 6.03
09. BROKUŁY 2X 3.12
10. PSTRĄG FIL.B/S+
11. KWOTA OPODATKOWANA A
12. KWOTA OPODATKOWANA B
13. KWOTA OPODATKOWANA C
14. Podatek PTU "Gaj" (sł. A. Osiecka, muz. M. Grechuta)

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

Mazzoll & Arythmic Perfection - Out Out To Lunch (1996)

Mazzoll & Arythmic Perfection (band)

Jerzy Mazzoll — Clarinet, Bass Clarinet, Vocal
Janusz Zdunek — Trumpet
Slawomir Janicki — Bass
Tomasz Gwincinski — Drums
Jacek Majewski — Percussion

Out Out Lunch (1996)

When measured by ratio of quality of artistic output Jerzy Mazzoll should be treated as one of most important figures on Polish improvised music scene. Unfortunately public recognition of his works does not follow their artistic significance. This album is good example of this disparity: almost unknown as much in Poland as abroad it is one of few in Poland true and succesful tributes to Eric Dolphy groundbreaking attitude towards jazz music as evidenced by legendary "Out To Lunch". Though clearly referring to Dolphy life's work it bounces out of its limits as suggested by additional OUT in disc title. Its direction is no specific aesthetics but rather towards free form expressing artists' spirituality. 

Although Mazzoll clarinet is crucial to sound of whole ensamble his partners input is no less important. Tomek Gwinciński on drums, Sławek Janicki on bass, Jacek Majewski on percussions and Janusz Zdunek on trumpet. These were all one of most unsetlled music souls in Poland, perhaps not always that proficient as musicians who excelled in mainstream jazz, yet through their work they preserved what is alive in modern jazz. Their dedication way key factor in XXI century revival of free jazz in Poland. 

Tracklisting:
1. Boskie Przeświadczenie
2. Pierścionek Geodety
3. Ślinka W Kącikach Ust
4. Języki Ognia
5. I Tak Gdy Spojrzeliśmy
6. Słodycz Beznadziejnych Dni
7. Serdeczne Męki
8. Boliwijski Gniot (Rzecz O Odnalezieniu Boskiego Oblicza)
9. Smutna Kozica Górska (Wg. Utworu "Miłość Nie Zna Granic" Grupy M&AP)
10. Obudździe Się!!!

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

Maestro Trytony - Heart Of Gold (2004)

Maestro Trytony (band)

Tomasz Gwinciński - guitar, electronics
Tomasz Pawlicki - flute, keyboards, spinet, piano prepared
Patryk Węcławek - bass
Rafał Gorzycki - drums
Małgorzata Skotnicka - spinet
Jacek Majewski - percussion
Łukasz Gorewicz - violin
Martin Franken - gamelan

Heart Of Gold (2004)

Maestro Trytony are a Polish band led by Tomasz Gwicinski (guitar) and Tomasz Pawlicki (flute, keyboards). The musicians grew up on mainstream rock music, but were subsequently exposed to the world of 20th century’s classic and jazz. Indeed, the guitarist was considered one of the purveyors of the very local, neo-jazz phenomenon labeled as “yass” in the 1990s. 

Initially, the band appeared stylistically hesitant and some clumsiness accompanied their forays into over-generous orchestrations. The initial ideas were highly engaging, but their eventual development suffered in longer compositions. Fortunately, in their most recent incarnation they seem to have developed timbral sagacity, generating an undogmatic yet coherent idiom. Where else could you find seeping interplay of baroque spinet, celestial flute and sharply edged jazz guitar? On this hitherto unclaimed territory Maestro Trytony offer a refreshing dose of stylistic fence-sitting.

Full review available here: http://sonicasymmetry.wordpress.com/2008/07/14/maestro-trytony-heart-of-gold/

Track listing: 1. O.R.G. 2. Van Worden In Serra Morena 3. Jocasta 4. Snowboarding Alchemyst 5. Heart Of Gold 6. Tax Collector 7. Magic Tiara Part 1 8. Magic Tiara Part 2 [Cherub. Wand.] 9. Nanotechnology 10. Epilogue 

Maestro Trytony - Enoptronia (Mozg, 1996)

Maestro Trytony (band)

Tomasz Gwincinski - guitar, leader
Renata Suchodolska - cello
Tomasz Pawlicki - flute, keyboards
Tomasz Hesse - bass
Rafal Gorzycki - drums

special guests:
Andrzej Przybielski - trumpet
Marta Handschke - voice
Jacek Majewski - conga
Wojciech Kuczyniecki - bass clarinet
Wojciech Gibas - fagot
Tadeusz Michalski - bass clarinet

Mozg, 1997

Maestro Trytony is key group in history of Polish avantgarde scene. Its history dates back to 1991 when trio Trytony was brought to life by Tomasz Gwińciński (guitarist) together with Jacek Pawlicki (doublebass) and Jacek Buhl (drums). This squad recorded two albums: "Tańce Bydgoskie" (1991) and "Zarys Matematyki Niewinnej - koncert w Mózgu" (1995) while Tomasz Gwińciński also recorded with Jerzy Mazzoll and his Artythmic Perfection group (check their "A" album) and Łoskot (listen to excellent "Sun"). All these projects made Gwińciński key player in lively Bydgoszcz music scene which focused first around Trytony club (that's where name of band comes from) and then around famous Mózg club.

But Gwińciński did not give up on Trytony and it happened around that time that he had some theater projects (BTW his favourite occupation up to present day) where he mostly used classical music language. He therefore started experiments (as we read on Mózg web page) in "blending motifs of contemporary chamber music (Bartok, Strawiński, Ines) with New York avantjazz aesthetics and that peculiar Polish lyricism a'la Komeda". To achieve new sound he needed bigger band so he began to cooperate with whole new set of musicians, a much bigger group than previously, among whom there were now many classically trained players. In years to come especially fruitful turned out to be Gwińciński relationship with drummer Rafał Gorzycki (check excellent albums he made with bands called Ecstasy Project or Sing Sing Penelope) and with legendary trumpeter Andrzej Przybielski. These new band recorded in 1997 new album titled "Enoptronia" which may be described as "a tone poem" and immediately became one the most important albums as far as yass movement (new free and avantgarde music in Poland) is concerned. Obligatory!   

Just a sample of Maestro Trytony sound:

Author of text: Maciej Nowotny

http://kochamjazz.blox.pl/html

Gwincinski, Richter, Skolik - Jupiter, Urizen, Wernyhora, Trungpa (Not Two, 1998)

Tomasz Gwinciński - guitar, banjo
Loco Richter - bass guitar, B-3 organ
ArekSkolik - drums, xylophone
Renata Suchodolska - cello
Tomasz Mucha - violin

Jupiter, Urizen, Wernyhora, Trungpa (Not Two, 1998)

(Editor) Tomasz Gwińciski is a guitarist who was one of key actors in Polish yass movement. On this record he is backed by excellent drummer Arek Skolik and together with other players they create music of such quality that irrespective years that passed since its recording it remains highly attractive for any listener interested in modern jazz and avantgarde.

This is an amazing album, which is now available for download on several sites. It's a kind of guitar jazz instrumental music, reminiscent of Pink Floyd in the early post-Barrett period, with long, spacious and rhythmic relatively simple structures full of intrinsic tension and high quality instrumental touches and sounds, creating an eery, gloomy, hypnotic atmosphere. Jazz would not be a correct qualifier, but neither are rock nor fusion. The overall result is highly unusual, compelling and entrancing. With Tomasz Gwinciński on guitar and banjo, Loco Richter on bass guitar and B-3 organ, Arek Skolik on drums, xylophone, and with on some tracks Renata Suchodolska on cello and Tomasz Mucha on violin. This music is not about instrumental prowess, or clever harmonic development, rhythmic subtleties, or even about melody: it's all about atmosphere and mood, created over long repetitive rhythms, building a gloomy, sometimes melancholy tension with instrumental accents and shadings. Throughout the album the musicians keep their creative and unique approach to music, even if all tracks are different and by themselves of interest. Hypnotic and entrancing - I find no other words for it.

Check tune "Noc Lipcowa" from this album:

Author of text: Stef Gijssels
http://freejazz-stef.blogspot.com/

Loskot - Sun (2005)

Although I am focused on this blog on what is going on in polish jazz at this moment, it is very important for me to be able to go back from time to time. Like today when I decided to recall excellent recording by Łoskot (din) titled "Sun".

If you like such fantastic bands of today  as Pink Freud, Contemporary Noise Sextet or Dziki Jazz (title of album), you should definitely check this record as well because all above mentioned bands are deeply indebted in music as created by  Łoskot.

Mikołaj Trzaska on bass clarinet and alto sax, Piotr Pawlak on guitar, Olo Walicki on double bass and Tomek Gwinciński on drums were all involved in yass revolution in Poland, here they created a very special blend of jazz, psychodelic rock, music build on trance-like grooves, catapulting us effectively in alternate dimensions of out-of-mainstream reality.

Since then this surprising melange of self-ironic avant-garde with pop-like accessibility has became new Polish bands specialite-de-la-maison and allowed them to persuade more and more listeners to music so much better than Lady Gaga, Madonna or Seal.   

Please, listen to sample of music from this album:



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