Zbigniew Namysłowski - saxophone Adam Wendt - saxophone Brandon Furman - guitar Andrzej Jagodziński - accordion Krzysztof Herdzin - piano Mariusz Bogdanowicz - bass Piotr Biskupski - drums
O jakości muzyki można wiele powiedzieć, podobnie jak o człowieku, obserwując, jak się starzeje. Ta muzyka została nagrana w 2001 roku, ale zestarzała się wspaniale i brzmi, jakby powstała wczoraj. Tak jak w przypadku ludzi, starzejemy się wolniej i zdrowiej, gdy otaczają nas osoby, które nas cenią i kochają. Gdy w rodzinie, w kontaktach z przyjaciółmi i w pracy mamy poczucie harmonii, czas jakby zwalniał, a jego upływ mniej nam szkodził. Ta międzyludzka harmonia często przekłada się na artystyczną, i tak jest w przypadku tej muzyki. Rzut oka na skład wystarcza, by stwierdzić, że do jej nagrania zebrało się wyśmienite towarzystwo, które, jak śmiem przypuszczać, darzy się wzajemnym szacunkiem, a nawet przyjaźnią. I to wszystko w tej muzyce słychać.
Tak się złożyło, że miałem okazję to sprawdzić także osobiście, gdy gościem moim i mojego kolegi Pawła Ziemby w audycji "Muzyka, która leczy" w RadioJAZZ.FM był Mateusz Bogdanowicz. Muzyk ten, od lat związany z trio Włodzimierza Nahornego, ma tę wspaniałą cechę, którą posiadł również Tomasz Stańko, a przede wszystkim Jan Ptaszyn Wróblewski: traktowali jazz nie tylko jako muzykę, ale szerzej, jako sztukę życia. Stąd rozmowa z nim jest fascynującym doświadczeniem, nie tylko w kategoriach ściśle muzycznych, ale także obyczajowych, przypominając, że rozkwit jazzu w Polsce to również fenomen socjologiczny, towarzyski, a nawet polityczny. Stąd naturalne chyba było, że Bogdanowicz przez wiele lat udzielał się jako nauczyciel akademicki, przekazując młodym pokoleniom część swojej wiedzy i pasji, a także szerszemu gronu słuchaczy przez wiele lat jako autor audycji "Jazz Travels" w Jazz Radio oraz publicysta w Jazz Forum. Życzyłbym sobie, aby kontynuował tę działalność lub do niej wrócił, bo niewielu muzyków potrafi czarować jak on zarówno dźwiękami, jak i słowem, zwłaszcza żywym.
Ale wróćmy do samej muzyki, która przede wszystkim brzmi świetnie, ponieważ została bardzo dobrze zrealizowana. Dla koneserów wielką przyjemnością będzie śledzenie przez cały album linii basu. Rzadko zdarza się, aby każda nuta zagrana na tym instrumencie była doskonale słyszana przez całe nagranie, a jednocześnie kontrabas nie był "podbity" i pozostawał idealnie wkomponowany w groove całego zespołu. Pisać o tym nagraniu można by bardzo długo, ale ja zwrócę uwagę – na zaostrzenie apetytu – szczególnie na obecność Zbigniewa Namysłowskiego, który potraktował to nagranie bardzo poważnie i brzmi na nim jak za najlepszych lat. Kolejny smaczek to Andrzej Jagodziński grający na... akordeonie. Zarówno miłośnicy tego instrumentu, jak i jego przeciwnicy w jazzie, znajdą tutaj prawdziwy rarytas. Ale tak naprawdę wyróżniają się na tym nagraniu... wszyscy muzycy! Czy to grający na fortepianie młody Krzysztof Herdzin, na saksofonie tenorowym Adam Wendt, na perkusji Piotr Biskupski czy na gitarze skądinąd nieznany Brandon Furman. Wszyscy świetnie wpasowali się w koncepcję muzyki zaproponowaną przez Bogdanowicza, a ich udział zapada w pamięć. A skoro mowa o koncepcji tej muzyki to jest to jazz tzw. głównego nurt, w którym element melodyczny i gra zespołowa pozostają w harmonii, sprawiając, że muzyki można słuchać wielokrotnie i ciągle odkrywać coś nowego. Tylko tyle i - jak widać z perspektywy lat - aż tyle.
Co dziwne, CD jest ciągle dostępne do kupienia na stronie SJ Records. Ale wypadałoby prosić Mariusza Bogdanowicza, aby udostępnił tę muzykę również słuchaczom młodego pokolenia na najpopularniejszych serwisach streamingowych. Warto!
Andrzej Dąbrowski – vocals, mouth trombone (1, 4)concert: Robert Majewski – trumpet, flugelhorn Henryk Miśkiewicz – alto sax Michał Tomaszczyk – trombone Andrzej Jagodziński – piano Sławomir Kurkiewicz – double bass Marcin Jahr – drums
bonus track: Piotr Baron Quintet: Piotr Baron – tenor sax Robert Majewski – flugelhorn Łukasz Żyta – drums Maciej Adamczak – double bass Michał Tokaj – piano Jerzy Semkow Polish Sinfonia Iuventus Orchestra Marek Wroniszewski – conductor
Live (2022)
Wydawca: For Tune
Tekst: Maciej Nowotny
Nagrana w rezultacie projektu ad hoc, niemal bez prób, spontanicznie, płyta ta jest hołdem złożonym wielkości polskiej muzyki rozrywkowej, w jej jazzującej odmianie, i osobie wokalisty, który miał i ma to co w sztuce bardzo ważne: własny, niepowtarzalny styl. Mimo upływu lat Andrzej Dąbrowski zachwyca entuzjazmem, swobodą, dezynwolturą nawet, które mimo niedoskonałości głosu (czy języka angielskiego) nieuchronnie związanych z wiekiem, powodują że płyty tej słucha się z olbrzymią przyjemnością i chce się to doświadczenie powtarzać. Nie mniejsze słowa uznania należą się akompaniującym mu muzykom, którzy wyczarowali coś niepotarzalnego niemalże z niczego. Co za klasa, co za charyzma, co za DUCH! Wielkie gratulacje także dla wytwórni For Tune, która nie pozwoliła temu nagraniu spocząć gdzieś w szufladzie. Na repertuar koncertu składa się garść standardów w rodzaju "Fly Me To The Moon", "My Romance" czy "Come On Home", które są zaśpiewane z takim "czujem", że brak słów. Ale wśród nich najpiękniej wybrzmiewają cudowne piosenki Ptaszyna do słów Osieckiej: "Zielono mi" czy genialna "Przygoda z Marią". A już ostatni utwór na płycie "Bądź wiernym sobie" z tekstem A. Libery sprawił, żem oniemiał. Poważnie. Podsumowując, sentymentalna podróż na najwyższym poziomie nie tylko dla słuchaczy 50+ (jak piszący te słowa).
This is an album by veteran
Polish Jazz pianist/composer Andrzej Jagodziński recorded with his fabulous
trio with bassist Adam Cegielski and drummer Czesław Bartkowski. As the title
suggests, the album is dedicated to the music of Johann Sebastian Bach and
presents six of his compositions, beautifully transformed into the Jazz idiom.
Playing Bach by Jazz musicians is
of course nothing new and the romance goes back to the early 1960s, when French
pianist/composer Jacques Loussier made a grand career by Jazzing up Bach’s
compositions for the crowds, and many other Jazz musicians since tried to
tackle this task, including Keith Jarrett and Brad Mehldau, with varying
results. Bach’s music, which undoubtedly is one of the absolute pinnacles of Human
artistic ingenuity, in most cases is best served by being left alone in its
original form and shape, with rare exceptions.
I am happy to see (or rather
hear) that Jagodzinski and his trio are up to the challenge of successfully transforming
Bach’s music into the Jazz realm, served by their great sensitivity, talents
and of course extensive experience. They manage to avoid trivializing this
great music, keeping the original sense of flow, melody and rhythm intact, and
adding the Jazzy ornamentations with carful respect of the original
compositions. This is not altogether surprising taking into consideration the
sublime Jazz oriented interpretations of the music by Polish National composer
Frederic Chopin, which Jagodziński and his cohorts managed to create in the
past.
The performances are absolutely
stellar, as expected, and although the piano is naturally in the epicenter of
the sonic experience, the rhythm section also contributes some superb parts,
which deserve no less admiration. Personally I hear a bit of Chopin on these
interpretations of Bach, which again is hardly surprising, as Chopin’s music
flows in the blood (or sub consciousness) of every Polish musician at all
times.
Overall this is a wonderful
album in every sense, both emotionally and intellectually, which deserves to be
heard by every true lover of Jazz-Classical Fusion, Bach’s followers and Jazz
piano trio enthusiasts all over the world. A true elixir for mind and body at
these crazy days of misfortune and suffering.
On a personal note, almost
exactly to a day last year I had the immense pleasure to attend a concert at a
small Jazz club outside of Warsaw, where messieurs Jagodziński, Cegielski and
Bartkowski (and others) were performing. This was an unforgettable evening of
great music and friendship, especially since it was the last live concert I
managed to attend before the pandemic and the last time I was abroad…
This is a beautiful Jazz &
Poetry album by the Polish duo comprising of vocalist Agnieszka Wilczyńska and
veteran pianist/composer Andrzej Jagodziński. The album presents eleven
original songs composed by Jagodziński and featuring lyrics by contemporary
Polish poets/lyricists: Andrzej Poniedzielski, Stanisław Tym, Wiesława
Sujkowska and Jan Wołek. Wilczyńska contributed the lyrics to one of the songs.
Jagodziński in addition to playing the piano add also some accordion parts.
The music is an archetypal
example of what the essence of Polish Jazz represents, in its profound
lyricism, melancholy and harmonies deeply rooted in Polish Folklore, which are
unmistakably idiosyncratic. Jagodziński's compositions, which are influenced and
inspired by his insightful love and understanding of the music of Frederic
Chopin, are heartbreakingly melodic and deeply wistful, and when combined with
the intelligent and thoughtful lyrics they simply become irresistible. For
listeners interested in exploring his exceptional status and his contribution
to the Polish Jazz idiom, I recommend the wonderful "Muzyka Polska"
album, which is a classic.
But clearly the amalgam of this
superb music and the marvelous vocal performances by Wilczyńska is what makes
this album even more special. She is undoubtedly an ideal Jazz & Poetry singer,
with a perfect diction that allows each and every syllable to be heard
precisely, a sublime theatrical expressionism which allows sensitive delivery
of the underlying emotions and last but not least has a wonderful voice and
feel of the music, which is clearly evident when she sings the lyrics or
improvises using vocalese. Wilczyńska cleverly avoids any unnecessary theatrical
extravagance, delivering the lyrics with charming minimalism, clearly achieving
the "less is more" effect, which ideally suits the concept of this
album. I wish all the young Polish Jazz vocalists simply listened to this
album, which is a classic example of how things should be done in that field.
During my last visit in Poland,
just a few weeks ago and before the corona virus took control of our lives, I
had an opportunity to hear Wilczyńska, Jagodziński and other Polish Jazz
musicians deliver an unforgettable performance in a small club in the outskirts
of Warsaw. The venue was absolutely packed with fans, which wouldn't let the
musicians off the stage after two solid hours of brilliant music. I hope all of
you, my Friends, are well and I do hope to see you all again soon. May the Jazz
Force be with you!
This is the debut album by Polish Jazz ensemble Bossa Norkah, led by vocalist Honorata Kożuchowska, which also includes some of the top Polish Jazz instrumentalist: pianist Andrzej Jagodziński, guitarists Rafał Sarnecki/Piotr Aleksandrowicz, bassists Wojciech Pulcyn/Michał Jaros, drummer Krzysztof Szmańda and several other guests appearing on selected tracks playing brass and a plethora of percussion instruments. The album presents thirteen songs (two of which appear twice in alternate versions), all of which were written by Polish songwriter/poet Antoni Muracki.
The music has a distinct Bossa
Nova flavor, which is the main climate of all the songs. On the other hand the
album is also clearly a Jazz & Poetry project, since Muracki's songs are
all deeply lyrical and evocative. The songs are kept in pretty reticent attire,
featuring the vocals clearly in the center of the attention and the
instrumental work kept to a bare minimum, with the piano providing the steady accompaniment
and the rhythm section keeping the rhythm in check. There are only a few
instrumental solos, which is a pity as those might have added a spark to the
proceedings.
Kozuchowska handles the vocals
well, which is not an easy task in this case for many reasons; the lyrics are
complex and often difficult to express in rapid succession and admittedly South
American rhythms are hardly native to East European singers. The vocals
therefore lack the sensual and often plainly erotic sensitivity of Bossa Nova,
which are native and natural to Brazilian vocalists. But all things considered,
the album works fine and offers a pleasant listening experience with an added
value of excellent texts (sadly relevant to Polish-speaking listeners only). Overall this is an album
floating between Pop and Easy Jazz, which can be enjoyed by a wide range of
listeners, offering both musical and lyrical values combined with highly
professional musicianship.
This is a live recording of a gigantically
ambitious project conceived by Polish Jazz vocalist Dorota Miśkiewicz, which
pays tribute to the Polish Jazz piano school, which spans several generations
and is a sublime example of Polish/European Jazz tradition. The album
presents twelve songs, one original by Miskiewicz and eleven "Polish
standards" composed and written by the best Polish composers and lyricists,
each performed by Miśkiewicz accompanied by a different pianist and on eight of
them also accompanied by the renowned Atom String Quartet.
The list of the
pianists reads like the who's who of Polish Jazz: Michał Tokaj, Andrzej
Jagodziński, Lutosławski Piano Duo, Bogdan Hołownia, Leszek Możdżer, Piotr
Orzechowski, Tomasz Kałwak, Marcin Wasilewski, Krzysztof Herdzin, Dominik Wania,
Grzegorz Turnau (who also briefly sings) and Włodzimierz Nahorny. Saxophonist
Henryk Miśkiewicz (Dorota's Father) guests on one song. The DVD (filmed during
the concert), included in the package, adds the concert's intro, outro and a
couple of songs not included on the CD.
I am happy to say that I
managed to have a more modest (with just three pianists) version of this
project perform at the 2018 Singer Jazz Festival, which was extremely successful. As expected, all the
performances are absolutely wonderful, a typical example of European haute
Culture, where music, words and stage performance are combined to deliver an
overall experience, which is more than just a sum of its ingredients. The album
moves between Jazz & Poetry and highly lyrical popular music, all expertly
arranged and brilliantly executed, especially in view of the fact that it was
captured live.
This album delivers exactly what
it promises: an extraordinary panorama of Polish Jazz piano, full of elegance,
virtuosity and flair. Miśkiewicz moves with ease from one song to another, with
a chameleonic change of moods and emotions, as appropriate for a great
performer.
For lovers of Polish Jazz in
general and Polish Jazz piano in particular, this album is a superb
introduction to the subject. Even for listeners beyond the Polish language sphere,
this music easily penetrates and language barriers and should be completely accessible
to every music lover.
Andrzej Jagodziński - accordion
Janusz Strobel - guitar
Tete-A-Tete
SRMT 2017
By Krzysztof Komorek
W pewnej knajpie, na uboczu, gdzie zawsze najważniejsza była muzyka, od lat mijali się dwaj Panowie. Stali bywalcy, którzy nigdy nie zamienili ze sobą słowa, ograniczając się do przyjacielskich skinięć głową. Wreszcie jednak stało się tak, że zasiedli do rozmowy. Rozmowy muzycznej. Taka oto poetycka historia zawarta w załączonej do wydawnictwa książeczce stanowi wstęp do rzeczywistych spotkań, które zaowocowały omawianą tu płytą. Spotkań dwóch muzycznych tuzów, artystów z ogromnym doświadczeniem: Janusza Strobla, gitarzysty i kompozytora z doświadczeniem jazzowym i klasycznym, oraz Andrzeja Jagodzińskiego, wybitnego pianisty, tym razem grającego jednak tylko na akordeonie.
Takie wydawnictwa z udziałem znakomitych muzyków, niewspółpracujących ze sobą na stałe, są na świecie czymś zwyczajnym. Ileż to już kapitalnych płyt znajduje się na półkach miłośników muzyki kameralnej, delikatnej, niespiesznej. Przykłady można by mnożyć, ale wymieńmy przy tej okazji chociażby klasyczne już nagrania Charliego Hadena z Gonzalo Rubalcabą czy Patem Methenym, tegoż Metheny’ego z Jimem Hallem czy Dave’a Hollanda z Kennym Barronem.
"Tete-A-Tete" świetnie wpisuje się w ten kontekst. Tym bardziej, że obaj muzycy również należą do moich ulubieńców: Janusz Strobla pamiętam jeszcze z czasów fascynacji dokonaniami duetu Alber – Strobel. Andrzej Jagodziński w oczywisty sposób kojarzy się z chopinowskimi interpretacjami w wykonaniu autorskiego tria, ale także właśnie z akordeonowymi występami – chociażby przy okazji płyt nagranych z Giovannim Mirabassim. Tutaj mamy dziewięć kompozycji – sześć Strobla i trzy Jagodzińskiego. Trzy kwadranse odprężającej muzyki. Czasem spokojnej, nastrojowej, niekiedy całkiem żwawej i radosnej. Z gitarą wybiegającą ku klimatom raz klasycznym, raz latynoskim, i akordeonem podążającym od czasu do czasu ku nowoczesnemu musette.
Brakowało mi zawsze takich płyt w wykonaniu naszych krajowych, jazzowych znakomitości. Rejestracji, nawet jednorazowych, spotkań wybitnych postaci i grania niewymuszonego jakąkolwiek presją. Mam nadzieję, że album z udziałem tego kapitalnego duetu będzie promyczkiem zwiastującym częstsze tego rodzaju wydawnictwa.
This is an exquisite album by Polish Jazz Diva Grażyna Auguścik recorded with the classic piano trio led by pianist/arranger Andrzej Jagodziński which also includes bassist Adam Cegielski and drummer Czesław Bartkowski. The album presents nine Polish evergreens, beautifully transcribed into the Jazz idiom by Jagodziński. The album is a loving tribute to the Polish popular songbook, collecting nine wonderful ballads written over a period of many years by some of the best Polish composers and lyricists, which points out clearly what t takes to create a great song, which can last for posterity: a beautiful melody and intelligent poetic lyrics.
The songs are performed with a
very minimalistic approach. Auguścik sings the melodies in a very
straightforward manner, eschewing almost completely the typical Jazz mannerisms
and improvisations (except for a few vocalese parts), emphasizing the lyrics
which are pronounced clearly and elegantly. The piano trio, which provides the
Jazzy background, treads also carefully, with Jagodziński playing the chords
behind the vocalist and soloing rather sparingly. It is the rhythm section
which keeps the music swinging at all times and doing a superb work at that.
One can only hope that this
album will find its way into the hands of the young generation of Polish music
connoisseurs, who should be able to discover the treasures of their National
musical heritage while listening to this music. However, if this music should
reach only listeners in the third age group, it would be tragic overlook. Both Auguścik and Jagodziński
should be praised for preserving Polish Culture in general and the Polish
musical heritage, which they have been doing for many years. The fascination
with music originating from other sources, which often blinds many Polish
musicians as to their own roots, is luckily balanced by their activity.
What a great way to start a new
year (2017) by writing this review, which talks about old, but not forgotten
music, that has been given new life. Blindly idolizing the "new" has
proven to be a disastrous path, so please let's enjoy this wondrous journey
into the past, for the benefit of the future. Kudos!
Andrzej Jagodziński - piano
Adam Cegielski - double bass
Czesław Bartkowski - drums
Opowieści wigilijne
SRMT 2016
By Krzysztof Komorek
Trio Andrzeja Jagodzińskiego to jeden z zespołów, od których zaczynałem swoją przygodę z jazzem. Wystarczy wspomnieć klasyczne już dziś interpretacje chopinowskie czy płyty z Giovannim Mirabassim. Dlatego cały czas pilnie śledzę, co nowego to utytułowane trio serwuje swoim miłośnikom. W tym roku mieliśmy już okazję poznać zaskakującą płytę z klasyką polskiej piosenki, nagraną wspólnie z Grażyną Auguścik. Koniec roku przyniósł kolejną niespodziankę w postaci albumu "Opowieści wigilijne".
W samym środku lata tego roku Andrzej Jagodziński, Czesław Bartkowski i Adam Cegielski nagrali dziesięć klasycznych polskich kolęd. Przy tej zapowiedzi niektórzy poczuć mogą uczucie rozczarowania. Repertuar to bowiem oklepany, a w dodatku taki, na którym potknął się już niejeden, nawet wysokiej klasy wykonawca. Otóż nic bardziej mylnego. Trio Jagodzińskiego przedstawiło bowiem słuchaczom coś wyjątkowego. Proszę nie oczekiwać "odplumkanych" kolęd, które pośpiewać będzie można z wujkiem i ciocią pod jazzujący podkładzik.
"Opowieści wigilijne" to solidna jazzowa płyta, na której usłyszymy całkiem nieoczekiwane interpretacje niezwykle popularnych utworów. Interpretacje mistrzowskie, choć często poruszające się na dalekich obrzeżach granych tematów. Niezadowoleni będą jedynie zwolennicy konserwatywnego sposobu grania kolęd. Wszyscy poszukujący oryginalnej, pięknej muzyki będą zachwyceni. Perkusyjne popisy w "Z narodzenia Pana", fantastyczne i niezwykłe solo Jagodzińskiego w "Pójdźmy wszyscy do stajenki" czy rewelacyjnie nakreślony przez bas początek "Lulajże Jezuniu" są tego absolutnym potwierdzeniem.
Andrzej Jagodziński - piano
Robert Majewski - trumpet
Anna Stankiewicz - vocals
Agnieszka Wilczyńska - vocals
Janusz Strobel - guitar
Adam Cegielski - bass
Czesław Bartkowski - drums
This is a live recording of a concert performed by veteran Polish Jazz pianist/composer Andrzej Jagodziński, which was organized to commemorate the fifteenth Anniversary of the IPN (Institute of National Remembrance). For the concert Jagodziński collected thirteen pieces of Polish music, which constitute a soundtrack of the Polish struggle for Freedom, both National and Political. They range from music composed by the Polish National composer Frederic Chopin to popular Folk and Pop songs, mostly those related in many ways to the Polish underground struggle during WW II, including the heroic Warsaw Ghetto uprising and the no less heroic Warsaw Uprising, the anti-Communist struggle following the immediate post-WW II years and up to the Solidarity movement, which finally led to the creation of the Free Polish Republic with the fall of the Soviet Empire.
These are all undoubtedly
patriotic songs, one way or another, and in time when patriotism is often not considered
as "politically correct", it is encouraging to see musicians taking a
clear stand, without being ashamed or intimidated by it. Polish Jazz history
has always been intertwined with political messages, as was Polish Literature,
Poetry, Film and all other Arts. Being able to state one's political or
patriotic view is after all an integral ingredient of the very Freedom, Poles
have been fighting for so long.
Jagodziński "called to
arms" some of the top Polish Jazz musicians on this album: vocalists Anna
Stankiewicz and Agnieszka Wilczyńska, guitarist Janusz Strobel, trumpeter
Robert Majewski, bassist Adam Cegielski and drummer Czesław Bartkowski. They
all perform brilliantly, which is hardly surprising considering their
experience and talent, creating a sensitive, intelligent and moving piece of
meaningful music with carries a clear message without being vulgar or
offensive. Jagodziński's arrangements are all elegant and tasteful, suiting the
atmosphere ideally.
Of course this album has a
layer which speaks only to people, who understand the Polish language and have
some knowledge of Polish history. Nevertheless it has also universal values,
which should be able to cross language barriers. This album made very little
impact on the Polish Jazz scene at the time of its release, which is a great
pity. The fragmented and often plainly divided Polish Society should really
grow up put aside its political differences, when it comes to appreciation of
Art or human relationships. The precious Freedom is after all so fragile and
easily lost.
Robert Majewski - trumpet, flugelhorn
Jan Ptaszyn Wróblewski - tenor saxophone
Henryk Miśkiewicz - alto saxophone
Andrzej Jagodziński - piano, yamaha piano
Wojciech Majewski - yamaha piano
Adam Cegielski - double bass
Czesław Bartkowski - drums
This album is exactly what it is supposed to be: a loving tribute to one of the Godfathers of Polish Jazz, trumpeter/composer Henryk Majewski, recorded by his colleagues and sons to commemorate the tenth anniversary of his death.
All
seven musicians participating in this recording are top Polish Jazz musicians
and the ensemble could have been easily called Polish Jazz All Stars. They are:
trumpeter Robert Majewski (Henryk's son), saxophonists Jan Ptaszyn Wróblewski
and Henryk Miśkiewicz, pianists Andrzej Jagodziński and Wojciech Majewski
(Henryk's son), bassist Adam Cegielski and drummer Czesław Bartkowski. The
album was recorded partly live in a club and partly at the legendary Tokarnia
Studio, with a stunning sound quality. The ensemble performs ten tunes, six of
which are original compositions (four by Henryk Majewski and two by Robert
Majewski) and the remaining four are standards.
The
music is, as expected, well within the Jazz mainstream, mostly Bebop oriented,
with no surprises but excellently performed from start to finish. Many fabulous
solos, most of which feature Robert Majewski, ornament the album and the
overall atmosphere of great time was had by all seems to be the essence. For
listeners unaware of Polish Jazz history this album symbolizes the process of
growing up by the Polish Jazz scene, proving that European Jazz musicians can
play (and swing!) as well as their counterparts across the pond, and the
inferiority complex of past generations is completely baseless today.
So both
as a great mainstream Jazz album and a document of Polish Jazz history, this
beautifully packaged and lovingly executed package is absolutely worth having!
As someone who knew Henryk Majewski I can only salute with a tear in the corner
of my eye, in memoriam!
This is the debut album by Polish Jazz vocalist/composer Nika Lubowicz, who is accompanied by a very impressive group of musicians, which includes her siblings: violinist Dawid Lubowicz (Atom String Quartet) and keyboardist Jakub Lubowicz, cellist Krzysztof Lenczowski (also Atom String Quartet), bassist Marcin Murawski, drummer Marcin Ułanowski, percussionist Bogusz Wekka, guitarist Artur Gierczak and trumpeter Piotr Schmidt. Veteran pianist Andrzej Jagodziński guests on a couple of tracks. The album presents nine tracks, three of which are standards, two are by Dawid Lubowicz, another two by Krzysztof Lenczowski and yet another two by Nika Lubowicz herself. All songs feature English lyrics except for the last track which has lyrics in Polish.
From
the very first notes of this album it's plainly evident that this is no
ordinary vocal Jazz album. The arrangements, which in most cases feature either
the violin or the cello up front alongside the vocal parts, replace the usual "vocals
with piano trio" setting. The arrangements also include other unusual
lineups, keeping the listener on his toes at all times. The overall atmosphere
of this album is all about the essence of music, freely crossing genre
boundaries, comfortably and elegantly touching upon mainstream Jazz, ethnic
music, Pop and Soul with the same artistically predetermined frivolity. I even
have to agree with all the compliments listed in the album's liner notes
authored by Krzysztof Herdzin, which happens extremely rarely.
Nika
Lubowicz uses her vocal abilities wisely and intelligently, switching between
lyrics and vocalese with grace. Her vocalese parts are in fact way more
impressive than her actual singing lyrics, which as always in such cases suffer
from the English pronunciation, being far from ideal. The closing track sung in
Polish is a sore proof of this. Luckily her singing lyrics are altogether just
a minor part of the entire endeavor. I have not timed the album but about half
of the album's duration is instrumental, which is highly unusual for albums
involving vocals, and which is a very courageous and in this case extremely
tasteful decision.
This is
the second album in the "pink" (Jazz vocals) series by For Tune Records,
and it is again a big time winner. Albums of such quality and obvious aesthetic
approach are extremely rare and the fact that at least once a year they do
materialize makes life worth living, at least for people who love music. This
is definitely a most impressive debut and so far the best vocal Jazz album
released this year on the Polish Jazz scene. Well done girl!
This is a beautiful and very ambitious album by Polish Jazz pianist/composer Andrzej Jagodziński and his trio with bassist Adam Cegielski and drummer Czesław Bartkowski, also involving the great vocalist Grażyna Auguścik and two Classical Music soloists: flautist Jadwiga Kotnowska and harpist Anna Sikorzak-Olek, as well as the AUKSO String Orchestra conducted by Marek Moś. The album presents a seven part Jazz suite for piano trio, voice, string orchestra and soloist, which attempts to "define" what "Polish Music" means in general and especially in the Jazz context as what we understand under the term "Polish Jazz". Five parts of the suite are based on Polish Folk tunes, one is a Krzysztof Komeda composition and one is a tune composed by Marcin Januszkiewicz. Jagodziński and Auguścik arranged the vocal parts and Jagodziński wrote the elaborate piano trio/string orchestra arrangements.
The concept behind this album
obviously points towards the conclusion that contemporary Polish Music/Polish
Jazz are a synthesis of the Polish Folk tradition with contemporary music
forms. The Polish Folk tradition is most obviously identified with the Polish
Folklore dances, such as kujawiak, mazurka, oberek and others, but also with
the intrinsic Polish melancholy and lyricism, which create its unique
characteristics, which are instantly recognizable to a trained ear. Regardless
of the concept, this album is first and foremost a true celebration of music,
crossing and bridging between Folklore, Jazz and Classical Music and doing it
in an impressive, intelligent and truly beautiful way. All the parts and ideas
fall together into an amazing amalgam, which is a delightful listening
experience.
The album is also a wonderful
platform to enjoy the individual contributions by the participating musicians.
Auguścik again proves that she has very little competition on the local scene
and her wonderful sensitivity and power of expression are simply stunning. Her
appearance on this album is somewhat prophetic in the sense that her album
"Inspired By Lutosławski", which was recorded four years after this
one, would deal with the same subject matter. Jagodziński, who also plays
accordion on this album, and his trio cohorts, as well as the soloists and
orchestra all perform spotlessly and harmoniously, with obvious dedication and
joy of creation.
This is the best album by far that
Jagodziński recorded during his splendid career, and one of the best attempts
to create a coherent musical concept, dedicated to Polish Music. Personally I'd
love to see more such attempts done by other musicians. Discovering one's
musical roots and traditions is surely preferable to imitating other cultures. This album is a pure delight
from start to finish and I recommend it wholeheartedly to every Polish Jazz
fan, as it reveals many of the innermost secrets about what Polish Jazz really
means.
Zbigniew Namysłowski - saxophone
Adam Wendt - saxophone
Brandon Furman - guitar
Andrzej Jagodziński - accordion
Krzysztof Herdzin - piano
Mariusz Bogdanowicz - bass
Piotr Biskupski - drums
This is the debut album as a leader on his own record label by Polish bassist/composer Mariusz Bogdanowicz, recorded with a formidable team of Polish Jazz musicians, which includes saxophonists Zbigniew Namysłowski and Adam Wendt, US born guitarist Brandon Furman, accordionist Andrzej Jagodziński, pianist Krzysztof Herdzin and drummer Piotr Biskupski. The album presents eight original compositions by Bogdanowicz and one arrangement of a folk tune.
Considering the level of the
musicians involved there are no surprises here; the performances by all the
participants are spotless, professional and truly excellent. The young Herdzin,
who was a member of the ensemble led by Namysłowski at the time, plays some
great piano lines. It is very interesting to hear Namysłowski play music he did
not compose; his performances here are truly inspired. Furman plays beautiful
guitar lines, full of lyricism and technically brilliant guitar tricks.
Jagodziński, who normally plays piano of course, adds some nice accordion
touches. Wendt adds also some fiery saxophone solos and finally Biskupski on
drums plays solidly and respectfully alongside Bogdanowicz, who plays several
beautiful bass solos, creating together a perfect mainstream Jazz rhythm
section.
But the focus of this album is
of course on the superb tunes composed by the leader. Melodic and gorgeously
lyrical, these compositions are all sensual and intelligent, serving as perfect
vehicles for the musicians to spread their wings. These tunes are all as good
as any Jazz standard and deserve to be listened to repeatedly.
Overall this is a perfect
mainstream Jazz album, which combines great music with perfect and inspired
execution, a model for all excellent Jazz album ever created, becoming an
instant classic Polish Jazz album in all respects.
This is the fifth album dedicated to Jazz interpretations of the music composed by the great Polish composer Frederic Chopin recorded by Polish Jazz pianist/composer Andrzej Jagodziński and his trio with bassist Adam Cegielski and drummer Czesław Bartkowski. This double album is a fact a new recording of the same material that is featured on the trio's first two albums recorded fifteen years earlier, re-captured from a retrospective view and enriched by years of common experiences and joy of playing this music together.
When Jagodzinski first recorded
Chopin's music twenty years ago he was pioneering a trend, which in time swept
the Polish Jazz scene like a tsunami, with literally hundreds of albums with Chopin's
music reinterpreted in the Jazz milieu. These attempts to follow a trend and
jump on a bandwagon, which varied in quality form important and innovative to
completely redundant and often preposterous, eventually had an adverse effect
on the Polish Jazz fans, who had just about enough of Jazzy Chopin being showed
down their throats.
Even if the original recording
of Chopin's music by Jagodziński and his trio were not perfect and lacked the practice,
they were bold, innovative and fresh. Sadly the repeated attempt, although
richer and with better arrangements, lacks the original qualities and therefore
is in some respect not such a great idea. Of course Jagodziński and his cohorts
are superb musicians and do a wonderful job playing on this album, but sticking
to the original recordings is by and large preferable and sounds like a good
idea. On the other hand since the original Polonia releases are not easily
available, perhaps this album can fill the gap.
Overall there is plenty of
great music herein, as well as excellent playing by these legendary veterans
and in case you don't own the original recordings this one is definitely worth
checking out.
Polish Jazz pianist / composer Andrzej Jagodzinski is one of the veterans of the local scene and a prominent figure among his peers. He was one of the first musicians to record Jazz versions of the music by the great Polish composer Frederic Chopin, and his trio recording of Chopin's works from the early 1990s remains a classic of this variety and started a trend, which continues to this very day and produced dozens of similar projects over time, some of which are completely redundant.
This album takes Jagodzinski to
a whole new level of the Jazz-Classical Fusion trend, with a piano concerto he
composed for a Jazz piano trio and orchestra, presented here. The piano trio
consists of Jagodzinski and two other Polish Jazz veterans: bassist Adam
Cegielski and legendary drummer Czeslaw Bartkowski. The orchestral parts are
performed by the National Philharmonic Orchestra directed by Wojciech
Zielinski.
The three-part concerto consists
of melodic / romantic atmospheric music, which is heard mostly in the
background, supporting the piano trio. The themes are all quite well-rounded
and easy on the ear, easily accessible to the average listener and not really challenging
his intellect. The trio performance is very good, as expected from such
distinguished musicians, but also lacks a certain degree of excitement, which
is expected in Jazz. The entire project seems to be making an effort of not
stepping on anybody's toes.
Overall this is a very
"slick" piece of music, which undoubtfully will find many eager
listeners, who like romantic, lyrical orchestral music. Enthusiasts of more
ambitious Jazz projects might find this disappointing. The album lasts only for
about 36 minutes, which really puts it in the EP category, regardless of the
elegant digibook packaging.
I often say about the renaissance of Polish jazz in recent years. One of its symptoms is growing number of vocal jazz recordings, especially female. Unfortunately in this case the number does not go with the quality which is rather low. Many of these projects are standard, secondary, unambitious. Singing is poor, for me who for years was enamoured in great opera singers, it is really a torture to listen how bad articulations are, how negligent phrasing, how clumsy spelling, particularly when text is in English. But there are exceptions which give hope that future ahead of Polish vocal jazz may still be bright: Aga Zaryan (check her "Looking Walking Being") or Grzegorz Karnas (check his "Audiobeads") being good examples.
Among them I would also place Jola Szczepaniak and her debut album "Babagada". Student of famous Berklee College of Music in Boston, she also won numerous jazz contests among which the prize at respected Jazz Nad Odrą festival should be highlighted. Excellently educated and herself a teacher of singing in music college in Szczecin, she proved to be in this project a perfectionist in every detail. She invited excellent musicians as much from Poland (Andrzej Jagodziński, Marcin Pospieszalski, Marcin Pepe Olkowski) as from Germany (Christoph Reuter, Steffen Illner, Jens Dohle). If that was not enough she also employed string quartet and gospel choir!
But it was worth it. Regardless that so many musicians took place in its recording, the music on this album is coherent. It can be placed somewhere between maistream jazz, nu jazz and pop but all labels are irrevelant here. The most important is that music sounds fresh and is meticoulosly perfomed while singing of Szczepaniak is free, full of emotions, at moments ecstatic. I must say I am impressed. She is obviously a great passionate of music and this feeling easily transfers itself to listener. What is important her singing and her partners playing the instruments are perfectly complemented by great song writing by Piotr Klimak who as far a texts are concerned was skillfully assisted by (mainly) Konrad Dworakowski. The effect is very encouraging and I can only whoheartedly recommend this album!
