Piotr Rodowicz i Przyjaciele — "Razem na tej Ziemi"

Piotr Rodowicz i Przyjaciele  

Bogdan Hołownia — fortepian
Ryszard Borowski — flet
Kazimierz Jonkisz — perkusja
Jarosław Bothur — saksofon
Mark Waggoner — gitara
Wojciech Puszek — fortepian (w utworze “Aby żyć razem na tej ziemi”)
Pancho Campos — instrumenty perkusyjne (w utworze “Aby żyć razem na tej ziemi”)
Piotr Rodowicz — kontrabas

"Razem na tej Ziemi" (2020)

Wydawnictwo: Soliton

Tekst: Szymon Stępnik

„Jako członkowie jednej rodziny ludzkiej, aby żyć razem na tej ziemi, mamy pewne obowiązki wobec siebie nawzajem, od których nie możemy się uchylać. Miłość do wszystkich ludzi, do naszych braci i sióstr, wiąże się z szacunkiem i współczuciem, z gestami solidarności, z tolerancją, ze współpracą w imię wspólnego dobra…powinniśmy słuchać siebie z szacunkiem i dostrzegać wszystko co dobre w drugiej osobie by osiągnąć wzajemne zrozumienie.”

Tymi słowami Jana Pawła II Piotr Rodowicz tłumaczy intencję powstania swojej płyty “Razem na tej Ziemi”. Zdaniem artysty, “muzyka nie jest dla samej siebie, jest dla ludzi i o ludziach, o naszych uczuciach, o relacjach z bliskimi. Powstaje z wzajemnego słuchania się”.

W pewnym sensie udało mu się to znakomicie — błogość, sielanka i optymizm to chyba najlepsze słowa, którymi w skrócie można opisać omawiany krążek.

Piotr Rodowicz studiował w Jazz Mobile School w Harlemie u Reggie Workmana w Nowym Jorku w latach 1981-83. Ukończył wydział instrumentalny (klasa kontrabasu) w Berklee College Of Music w Bostonie w 1990 r., Akademię Muzyczną w Katowicach na wydziale Jazzowym w 2005 r. Grał też z takim wirtuozami, jak Tomasz Szukalski, Janusz Muniak, Kazimierz Jonkisz, Włodzimierz Pawlik, czy Krzysztof Herdzin. Nieprzerwanie od 1992 r. jest wykładowcą Wydziału Jazzu w Państwowej Szkole Muzycznej II stopnia im. Fryderyka Chopina w Warszawie przy ul. Bednarskiej, który założył z Henrykiem Majewskim.

Bogate doświadczenie lidera słychać niewątpliwie w samych utworach. Są one dokładnie przemyślane, a każdy dźwięk jest tu nieprzypadkowy, co ma oczywiście swoje plusy i minusy. Z jednej strony docenić należy akademicką wręcz precyzję w strukturze kompozycji, a z drugiej odnieść można wrażenie o braku pewnej spontaniczności. Solówek właściwie nie uświadczymy, a w zamian usłyszymy raczej osadzone w konstrukcji melodie, które są pomysłem kompozytorskim Piotra Rodowicza lub Bogdana Hołowni.

To jest chyba mój największy zarzut do tego wydawnictwa — można zachwycać się kompozytorskim i technicznym kunsztem poszczególnych elementów całości, ale długimi momentami brakuje duszy. A szkoda, ponieważ wszyscy muzycy mają ogromny potencjał, który nie został w pełni wykorzystany. Płyta powstawała jednak w okresie pandemii, przez co spotkania i wspólne spotkania muzyków było prawdopodobnie dość mocno ograniczone. Niestety, słychać to na albumie. Poszczególne ścieżki brzmią raczej jak zlepione ze sobą fragmenty, niż jedna całość.

Abstrahując od powyższego, krążka słucha się naprawdę całkiem przyjemnie ze względu na wspomniany sielski i przyjemny klimat. Nie wiem, czy opis nie wpłynął zbyt mocno na odbiór, ale rzeczywiście słychać tu radość i przyjemność z grania. Na okładce widzimy przedrukowany obraz Andrzeja Fogtta “Drzewo Życia”, z którym poczułem dziwną więź. To bardzo miła odskocznia od ostatnich wydarzeń w przestrzeni publicznej, gdzie doświadczyć można było dużo podziałów i niechęci. Piotr Rodowicz proponuje nam w zamian przyjaźń i synergię, jedność z naturą.

Nie umiem pochwalić któregokolwiek z muzyków. Gdybym jednak miał powiedzieć, który instrument podoba mi się tutaj najbardziej, wskazałbym fortepian. Zarówno Bogdan Hołownia, jak i Wojtek Puszek malują piękne pejzaże i wkładają w grę całą duszę. Szczególnie ten drugi w utworze “Aby żyć razem na tej ziemi” pięknie łączy precyzyjny swing z lekkim wkładem własnym. Znów, niestety, podkreślić należy, jak bardzo brakuje na płycie solówek z prawdziwego zdarzenia. Słuchając sekcji klawiszowej (jak i każdej innej), odczuć możemy jedynie fantomowy ból z powodu braku lepszej ekspozycji.

Z recenzenckiego obowiązku wspomnieć jeszcze należy, że zdarzyła się również pozycja, która zupełnie nie pasowała do całości o nazwie „Sylwia”, która budzi więcej skojarzeń z podkładem muzycznym do telewizyjnego programu tanecznego, niż jazzem z prawdziwego zdarzenia. Trwa na szczęście stosunkowo krótko, więc nie ma sensu dłużej się nad nią rozwodzić, a przecież nawet na najlepszym albumom zdarzają się zapychacze. I oto całe “Razem na tej Ziemi”. Longplay konserwatywny, do bólu precyzyjny, ale też bardzo radosny i przyjemny w słuchaniu. Ma swoje wady, jednakże stanowi miłą odmianę dla wszechobecnego w społeczeństwie pesymizmu. Piotr Rodowicz w zamian proponuje przyjaźń, miłość i zrozumienie. Nawet jeśli mam zastrzeżenia do jego dzieła i bez wątpienia daleko mu do wybitności, przyznać muszę jedno. Ten artysta szanuje i lubi swojego słuchacza, co słychać niemal w każdej nucie.

Piotr Wojtasik – Voices (2022)

Piotr Wojtasik

Piotr Wojtasik – trumpet
Magdalena Zawartko – vocal
Julia Ziembińska – harp
Marcin Kaletka - tenor saxophone
Michał Tokaj – piano
Michał Barański - double bass
Kazimierz Jonkisz – drums

Chór Synagogi pod Białym Bocianem we Wrocławiu
Stanisław Rybarczyk – conductor

Voices (2022)

Autor tekstu: Mateusz Chorążewicz

Piotr Wojtasik to artysta, którego chyba nikomu przedstawiać nie trzeba. Dorobek artystyczny i wkład dla polskiej sceny muzycznej, nie tylko jazzowej, jest niekwestionowany. Jednak od kilku lat odnosiłem wrażenie, jakby jeden z najwybitniejszych polskich trębaczy jazzowych był nieco odtwórczy, w pewnym sensie odcinał kupony od dotychczasowej kariery.

Nie zrozumcie mnie źle. Albumy „To Whom It May Concern” z 2018 roku czy „Tribute To Akwarium” z 2017 to pod kątem muzycznym świetne płyty. Każdy miłośnik jazzu je doceni. W końcu czego innego się spodziewać po takim artyście jak Piotr Wojtasik. Niemniej jednak, kogoś, kto w muzyce poszukuje czegoś nowego, elementu odświeżającego, wyżej wspomniane płyty nie były w stanie usatysfakcjonować.

W związku z powyższym do albumu „Voices” podszedłem początkowo z pewną rezerwą. Wystarczyły jednak pierwsze dźwięki, bym ugrzązł w tej muzycznej opowieści na dobre.

W nagraniach, które miały miejsce w lutym 2020, brał udział kwintet Piotra Wojtasika (Piotr Wojtasik na trąbce, Marcin Kaletka na saksofonie, Michał Tokaj na fortepianie, Michał Barański na kontrabasie i Kazimierz Jonkisz za perkusją) poszerzony o Magdalenę Zawartko na wokalu i Julię Ziembińską na harfie. Całość dopełnia Chór Synagogi pod Białym Bocianem pod dyrekcją Stanisława Rybarczyka.

Już samo zestawienie wykorzystanych brzmień jest na tyle intrygujące, że nie można koło tej muzyki przejść obojętnie. Jedną z bardziej intrygujących warstw muzycznych jest głos Magdaleny Zawartko. Wokalistka bardzo sprawnie porusza się między różnorodnymi technikami – począwszy od techniki klasycznej, a na śpiewie etnicznym skończywszy. Generalnie, całe wykonawstwo stoi na wysokim poziomie, ale to właśnie wokal wyróżnia się najbardziej. Osobiście mam słabość do wykorzystywania w muzyce głosu ludzkiego właśnie tak w przypadku albumu „Voices”. Magdalena Zawarto nie wyśpiewuje tu bodaj ani jednego słowa. Zamiast tego, jej głos traktowany jest jak dodatkowy instrument.

Kompozycyjnie i aranżacyjnie (za wszystko odpowiada Piotr Wojtasik, za wyjątkiem utworu Cherrys) album jest absolutnie wybitny. Do wykorzystania i zagospodarowania jest tutaj naprawdę wiele różnorodnych brzmień. W końcu to nie tylko klasyczny jazzowy kwintet, ale również chór, wokal solowy i harfa. Kompozycje są dość złożone, wieloczęściowe, ale ucho z łatwością podąża za nimi. Nie ma tu momentów bez znaczenia, dłużących się, czy nie pasujących do siebie. Całość jest bardzo koherentna, co świadczy o wysokim poziomie również właśnie pod kątem kompozycji i aranżacji.

Nie lubię nadmiernie słodzić. W przypadku praktycznie każdego albumu da się znaleźć coś, co można poprawić, zrobić lepiej. Choć starałem się jak mogłem, tutaj nie doszukałem się niczego takiego. Liderowi projektu udało się stworzyć prawdziwą muzyczną opowieść, w której po prostu nie da się nie zakopać po uszy. Odsłuch tej płyty to iście metafizyczne doznanie. Zdecydowane 10/10. 

Janczarski & Siddik 4tet - Contemplation (2020)

Janczarski & Siddik 4tet

Borys Janczarski - tenor saxophone
Rasul Siddik - trumpet, flute
Michał Jaros - double bass
Kazimierz Jonkisz - drums

Contemplation

FOR TUNE 0147

By Adam Baruch

This is a live recording at the Warsaw 12 on 14 Jazz Club by the quartet co-led by Polish Jazz saxophonist Borys Janczarski and veteran American trumpeter Rasul Siddik, with Polish bassist Michał Jaros and veteran drummer Kazimierz Jonkisz. Together they perform seven pieces, six of which are Jazz standards and one is an original composition by Siddik.

The album offers a warm and authentic club atmosphere but the music is all strictly within American mainstream boundaries and is completely predictable. This is a third recorded collaboration between Janczarski and Siddik released on the For Tune label, all of which follow the same well established pattern of Bebop oriented music making, which has hardly changed in the last 70 years or so.

As for the performances, despite the fact that Siddik has a well earned reputation of playing with some very important American Jazz names in the past, his playing here (and on the two other a.m. albums) is very shaky and unimpressive, Janczarski is much more vigorous but not really notable and only the excellent rhythm section is up for the job, especially Jaros whose bass parts are the absolute highlights of this album.

Overall this music might have been nice to listen to at the club while enjoying a drink, but has no lasting value beyond that. At least the music is well recorded by Tomasz Pierchała, the club owner and persistent Warsaw Jazz scene activist.

Piotr Rodowicz i Przyjaciele - Razem Na Tej Ziemi (2020)

Piotr Rodowicz i Przyjaciele

Bogdan Hołownia - piano
Jarosław Bothur - saxophone
Ryszard Borowski - flute
Mark Waggoner - guitar
Piotr Rodowicz - bass
Kazimierz Jonkisz - drums
Wojciech Puszek - piano (3)
Pancho Campos - percussion (3)



Razem Na Tej Ziemi

SOLITON 1008

By Adam Baruch

This is an album by veteran Polish Jazz bassist/composer Piotr Rodowicz recorded with a bunch of "friends" like pianist Bogdan Hołownia, flautist Ryszard Borowski, saxophonist Jarosław Bothur, guitarist Mark Waggoner and drummer Kazimierz Jonkisz. The album presents ten original pieces (one in two versions), seven composed by Rodowicz and three by Hołownia.

The music is all strictly melodic mainstream Jazz, on the lighter side of the idiom, but the compositions are solid and well crafted, and in the hands of these veteran performers they are all also splendidly executed.

Although this is not the kind of Jazz I tend to listen to on an everyday basis, I firmly believe that it is a legitimate part of the genre, especially since it is accessible to a much wider audience than just the hardcore Jazz buffs. As long as the music has an intrinsic artistic value, is honest and professionally executed, it is fine with me, regardless of what the Jazz snobs my say. Overall this is a lightweight, pleasant listening experience, with Jazzy flavor and a solid entertainment value. Recommended for listeners with such inclinations!

Kulpowicz Quartet - Expression (2019)

Kulpowicz Quartet

Sławomir Kulpowicz - electric piano
Piotr Cieślikowski - tenor & soprano saxophones
Wojciech Pulcyn - double bass
Kazimierz Jonkisz - drums
Tomasz Dąbrowski - trumpet (2,3,5)

Expression

FOR TUNE 0145

By Adam Baruch

This is an archive release of music recorded by the legendary Polish Jazz pianist/composer Sławomir Kulpowicz and his quartet shortly before his untimely death in 2008. Following a long period of inactivity on stage Kulpowicz reformed his ensemble called simply The Quartet in 2006 with saxophonist Piotr Cieślikowski, bassist Wojciech Pulcyn and drummer Kazimierz Jonkisz. They recorded this album in 2007 but it remained unreleased following the havoc of his death. This album presents six tracks selected from the studio tapes, all original compositions by Kulpowicz. Trumpeter Tomasz Dąbrowski added (overdubbed) trumpet parts to three tracks of the original recording in 2018.

Kulpowicz, who was one of the most talented Polish Jazz composers/pianists and a fascinating personality, was a devoted follower of John Coltrane´s music and his own compositions followed stylistically and spiritually the legacy of the great Master, which the music on this album reflects beautifully. The material recorded by Kulpowicz constitutes one the absolute peaks of the Polish interpretation of American Modern Jazz, avoiding mimicking and replication and adding a fresh, independent approach, and this album beautifully solidifies this approach, being a valuable addition to the legacy Kulpowicz left behind him. 

I was somewhat taken aback by the idea of overdubbing the original recordings, which at first glance looks quite sacrilegious, but upon further examination it looks like the original material was intended to be overdubbed by guest musicians, with obvious rhythm section only gaps left within the music waiting to be filled. The musical producer Ryszard Wojciul couldn´t have found a more appropriate musician to create the missing pieces of the puzzle than Dabrowski, who stood up to the challenge outstandingly. Sometimes doing the unthinkable is simply the right thing to do.

Overall this is an absolutely brilliant piece of music, an outstanding addition to the legacy of Kulpowicz in particular and Polish Jazz in general. For Tune managed to create another must have item for the Polish Jazz connoisseurs and the release of this album is of the same level of importance for Polish Jazz like the releases of previously undiscovered material by John Coltrane for global Jazz scene. An absolute must!

Kazimierz Jonkisz Energy – 6 Hours With Ronnie (2015)

Kazimierz Jonkisz Energy

Borys Janczarski - tenor saxophone
Tomasz Grzegorski - tenor saxophone
Ronnie Cuber - baritone saxophone
Robert Murakowski - trumpet
Jan Smoczyński - piano
Wojciech Pulcyn - double bass
Kazimierz Jonkisz - drums

6 Hours With Ronnie

FOR TUNE 0070

By Adam Baruch

This album documents the meeting between veteran Polish Jazz drummer Kazimierz Jonkisz and his ensemble Energy with legendary American baritone saxophonist Ronnie Cuber. The following musicians also take part in the recording: saxophonists Borys Janczarski and Tomasz Grzegorski, trumpeter Robert Murakowski, pianist Jan Smoczyński and bassist Wojciech Pulcyn. The album was recorded at the fabulous Studio Tokarnia, owned by Smoczyński, who also engineered and mastered the album, with the usual spectacular sonic result. The music includes six compositions, two of which are originals by Pulcyn, one is by Cuber and the remaining three are standards.

The music is, as expected, straightforward mainstream Jazz, with the two Pulcyn tunes being by far the most refreshing pieces on this album. It is executed without a flaw by all the participants, although the session seems to be lacking any high energy or particular joy of life, which is typically present on the best Jazz recordings.

Overall this is a nice, well played and well recorded mainstream Jazz album, which is no different from thousands of similar albums recorded before. As such it contributes nothing to the Jazz milieu and with all due respect is simply banal. Smoczyński plays some great introvert piano parts and Pulcyn, as always, keeps time beautifully, but other than that it's all déjà vu. Of course since baritone saxophone is not heard very often, this is a good opportunity to enjoy this beautiful instrument being played well.

Kazimierz Jonkisz - Jazz Energy (2013) *** 1/2

Kazimierz Jonkisz

Borys Janczarski - tenor saxophone
Tomasz Grzegorski - tenor & soprano saxophone
Jerzy Małek - trumpet [4,5,6]
Wojciech Pulcyn - double bass
Kazimierz Jonkisz - drums

Jazz Energy (2013)

By Maciej Nowotny

Kazimierz Jonkisz, born in 1948, is a legend of Polish jazz and arguably one of the best drummers of its golden era along with equally prominent Czesław Bartkowski or Janusz Stefański. He collaborated with almost every significant jazz musician in Poland, among them those the greatest like Zbigniew Namysłowski, Mieczysław Kosz, Adam Makowicz, Michał Urbaniak or Jan Ptaszyn Wróblewski. He was also one of the first or even the first drummer in Polish jazz who created and led his own ensemble. With his bands he recorded for acclaimed Polish Jazz series in 1980 "Tiritaka" and in 1987 "Outsider" which count among the best albums in whole history of jazz music in Poland.

Unlike many of his colleagues from that era who either became inactive or have nothing interesting to say, Jonkisz continued to record important albums also in new "capitalistic" times. Perhaps it helped him that since 1992 he was working with younger generation as a teacher of drumming at well-known Warsaw Music College. Anyway he was able to establish relationships with younger players and appeared on such successful albums as, only very lately, Piotr Lemańczyk's "Naha Poeple" (2009) or Joanna Gajda's "Heaven Earth Earth Heaven" (2011). But admirers of his talent have waited impatiently for his own project and been longing for times when his albums gave direction to jazz in our country.

Those times are now well over, at least in my opinion, and those giants of the past like Namysłowski, Karolak, Urbaniak and even Stańko himself are not any more so influential as before. Zimpel, Trzaska, Rogiński, Masecki, Obara are now among those who go in the vanguard of improvised music in Poland. Still it is great news that Jonkisz has once again assembled the band and at last recorded new material. Especially since it will probably fulfill all expectations of his fans as it is a straight-ahead continuation of a language he used on his famous albums of 80ties. Music is clearly build upon hard bop legacy, there is no innovation here, no breaking old structures which is now the sign-of-times of new jazz music worldwide. Instead it is nostalgic journey to those magic decades of 50ties and 60ties when in the US, thanks to great black musicians, jazz music exploded as new kind of art and way of the living. 

Luckily it does not sound even a bit antique or outdated, as many such albums do, which it owes as much to the youthful vigour of the leader as to the enthusiasm of younger generation of players who surround him and who are, at least as jazz scene in Poland is concerned, the creme-de-creme of our mainstream jazz. Borys Janczarski on tenor saxophone, Tomasz Grzegorski on tenor and soprano saxophones, Jerzy Małek on trumpet plus Wojciech Pulcyn on doublebass are creating a great team full of dedication which makes this classic jazz sounds fresh and invigorating. Incidentally, as in a fourth tune titled "Confidence", this jazz energy is joined by a stroke of genius once again proving that in this kind of music good melody means everything. All in all this CD is mandatory for all Polish jazz fans, even if it was for this one wonderful tune!

Kose, Holownia, Jonkisz, Suchanek - Just Friends (2009)

Kose, Holownia, Jonkisz, Suchanek

Sibel Köse - vocal
Bogdan Holownia - piano
Bronislaw Suchanek - bass
Kazimierz Jonkisz drums

Just Friends (2009)

Turkish singer Sibel Kose backed by Polish top rhythm section in persons of double bassist Bronisław Suchanek and drummer Kazimierz Jonkich, together with pianist Bogdan Hołownia, deliver what may be described as perfect piece of classical jazz music. What I mean by this term? Music that does not pretend to be living and contemporary but reproduces with love and dedication what jazz was in golden era during 50ties and 60ties last century. To rehearse this music is as to listen in philharmony to works of Mozart, Beethoven and Mahler. We do not expect novelty but a reproduction as close to the spirit of the original as possible. And looking from such point of view this music in really damn good! 

Track listing:

1. That old feeling
2. Tis autumn
3. Indian summer
4. Just friends
5. Reminiscence
6. If you never come to me
7. For all we know
8. I've got the world on a string

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

Kazimierz Jonkisz – Tiritaka (Polish Jazz Vol.62, 1980)

Kazimierz Jonkisz - drums

Krzesimir Debski - electric violin
Andrzej Olejniczak - tenor and soprano saxophone
Janusz Skowron - Piano
Andrzej Lukasik - Bass

Tiritaka (Polish Jazz Vol.62, 1980)

This is an excellent album by a Polish Jazz quintet, led by veteran drummer Kazimierz Jonkisz (ex-Zbigniew Namyslowski quintet). The quintet's two soloists are: the young brilliant violinist Krzesimir Debski (shortly before he formed his own group String Connection, which would dominate the Polish scene in the first half of the 1980s) and saxophonist Andrzej Olejniczak, who fronted the most important Polish groups in the 1970s like Extra Ball and Sun Ship. They are joined by pianist Janusz Skowron (also future member of String Connection and later for many years with Tomasz Stanko) and a young bassist Andrzej Lukasik. Of the six tracks on the album, five were composed by Debski, who already at that time was a most promising composer in addition to his virtuoso violin performances. Packed with talent and great music, this is a superb example of modern Polish Jazz at its best and one of the strongest albums in the legendary Polish Jazz series. The harmonizing between the violin and soprano saxophone creates an unbelievable sound, which has very few parallels on record. This is a must to all Polish Jazz lovers and anybody interested in European Jazz in general.

1. Tiritaka (Krzesimir Debski) 6:09; 2. We're All Waiting (Krzesimir Debski) 9:14; 3. For Slawosz (Krzesimir Debski) 5:20; 4. Tuohitorvi (Krzesimir Debski) 8:32; 5. Joewer (Krzesimir Debski) 8:02; 6. For Marc (Kazimierz Jonkisz) 3:03

By Adam Baruch

http://adambaruch.com/

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

Joanna Gajda Quartet - Heaven Earth Earth Heaven (2010)

When I was young I trained for a swimmer, usually swimming in sprint relays, being young however I preferred to swim solo. To my objections my old and experienced trainer always responded in such words: "Maciej, only the strongest teams may field winning relay, that's why I appreciate medals in relays many times more than solo ones". That is very much true in jazz as well and that is also why this recording is so astonishing. Because all of a sudden from the deepest ranks of Polish Jazz team has come forth Joanna Gajda and recorded the CD that is simply outstanding!

Most of data to this article I take from interview Mrs Gajda gave to Jan Cegiełka in Jazz Forum November issue. We learn from it that Mrs Gajda graduated piano from renowned Katowice Music Academy. She is now teaching herself in Kalisz Music Academy but she testifies that only two years before she has became assertive enough (through influence of Piotr Wojtasik to whose mentorship she owes a lot) to start enlisting musicians to her own band. And she managed to gather around herself very talented ones: Borys Janczarski (tenor saxophone) has very smoky sound and his virtuosity reminds the style of magnificent Bobby Watson; Andrzej Święs is promising young bassist, his play provides rock-solid base for this hard-swinging jazz; Sebastian Frankiewicz is quick as a silver young drummer who already recorded interesting album Hendrix Piano with Artur Dutkiewicz Trio this year. As guest appears on this album: Marian Pawlik ona bass, star drummer Kazimierz Jonkisz and fantastic singer Natalia Przybysz.

And exactly the little cameo of Natalia Przybysz who sings wonderful tune to words of St Luke Gospel Don't be afraid little flock is where I would like to turn spotlights first. Vocal of Przybysz is simply smashing, thoughtful and yearning piano of Gajda is flying sky high and support by Swięś & Frankiewicz sensitive enough to blow your mind away! I find no words apt to express my wonder what they do to mainly modal jazz in one piece after another: yes, it is mainstream play but their ability to invoke emotions is revelatory. Strong gospel connotations are omnipresent in this music pointing clearly enough where an idea of the title of album comes from. Finally let me add that all these excellent compositions are written by Joanna Gajda. Great jazz woman appeared in Polish Jazz. People please believe in her! And I do and shall wait for her next CD very impatiently...

I you want to buy this record check this link: http://wwylomie.com/heaven-earth-eart-heaven-cd.html

If you want to listen to more music from this album: http://www.myspace.com/joannagajdaquartet

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

Piotr Lemańczyk - Naha People (2009)

Too few people in Poland noticed and appreciated this album as it deserved. In my opinion however this was not only one of the best jazz recordings last year but also one of the most intriguing over last couple of years. Moreover I honestly cannot recall anyone in Poland playing on trumpet (Tomasz Stańko apart of course) on a level Tim Hagans is playing on this CD. Speaking shortly this is item that every jazz lover shall definitely inspect more carefully and listen many times over.

Certainly mainstream jazz but it has all charm of modern jazz as it is forward thinking, complex and infinitely refined. All musicians involved in this project play simply masterfully. Tim Hagans who is one of the best trumpet players on this planet shows that his artistic potential is simply limitless. His trumpet weavers and meanders as butterfly on a spring meadow in full blossom. Piotr Lemańczyk bass is rock solid and deep as some far away storm on the edge of dream and reality. He is assisted by fantastic young vibraphonist Dominik Bukowski whose strokes are as light as first raindrops on freshly opened flowers in the morning. Nor worse is veteran drummer Kazimierz Jonkisz whose intricate play reminds me of sun beams hide-and-seek game with shadows in some old and mysterious forest. On tunes 1,6,7 excellent saxophonist Maciej Sikała appears his presence subtle and unobtrusive as moon waning in morning light. Finally, I would like to notice very high level of recording and mastering of the sound for which Michał Mielnik and Tomek Cybula were responsible.

All compositions are by Piotr Lemańczyk and are very good but if I was to find some fault in this magnificent project I would say that tempos of tunes might be a bit more diversified. But apart from this minor objection I find this album very rewarding and cannot but listen to it over and over again. Fantastic music! 

To learn more about the leader please visit: http://www.piotrlemanczyk.com/. To hear some music from this album: http://www.myspace.com/lemanczykpiotr.

By Maciej Nowotny

http://kochamjazz.blox.pl/html