Michał Urbaniak Organator - "D- Day in Tomaszów"

Michał Urbaniak Organator 

Michał Urbaniak – skrzypce, saksofony
Wojciech Karolak – organy Hammonda
Piotr Wojtasik – trąbka
Gabriel Niedziela – gitara
Frank Parker – perkusja

Tytuł płyty: "D- Day in Tomaszów"

Wydawnictwo: For Tune (2024)

Tekst: Paweł Ziemba

W historii jazzu zdarzają się momenty szczególne – koncerty, które w chwili wykonania są po prostu kolejnym wieczorem na scenie, lecz z upływem czasu zaczynają nabierać zupełnie innego znaczenia. Dopiero po latach okazuje się, że były spotkaniem muzyków, którzy reprezentowali różne pokolenia, odmienne doświadczenia i własne języki improwizacji, a jednak potrafili stworzyć wspólną przestrzeń brzmienia. Takie nagrania stają się czymś więcej niż dokumentem koncertu – są zapisem chwili, której nie da się powtórzyć.

Wiesław Pieregorólka - "Big Band Wiesława Pieregorólki"

Big Band Wiesława Pieregorólki

Henryk Miśkiewicz – as, ts
Wiesław Wysocki – as, cl
Janusz Muniak – ts
Paweł Dalach – ts, cl
Waldemar Kurpiński – bs
Tomasz Szukalski – ts
Joachim Ziebura – fl
Janusz Kania – tp, flh
Wacław Smoliński – tp, flh
Henryk Majewski – tp, flh
Mieczysław Pawelec – tp, flh
Robert Majewski – tp, flh
Dariusz Macioch – tb
Jerzy Wysocki – tb
Waldemar Wąchała – tb
Andrzej Życzyński – b-tb
Mariusz Bogdanowicz – b
Adam Buczek – dr (1-3, 6, 8)
Mirosław Żyta – dr (4, 5, 7)
Wojciech Karolak – p, org
Wiesław Pieregorólka – leader

Tytuł: "Big Band Wiesława Pieregorólki"

Wydawca: GAD Records (2025)

Tekst: Szymon Stępnik

W latach osiemdziesiątych Wiesław Pieregorólka, absolwent wydziału jazzu katowickiej Akademii Muzycznej i kompozytor wielkiego przeboju Andrzeja Zauchy „C’est La Vie – Paryż z pocztówki”, stworzył big band. Zaprosił do współpracy zarówno prawdziwych weteranów polskiej sceny jazzowej, jak i przedstawicieli młodszego pokolenia — w tym Wojciecha Karolaka, który napisał dla niego kilka utworów. Owocem ich współpracy był wydany w 1989 roku album “Big Band Pieregorólka”, który następnie doczekał się reedycji w roku 2025.

Nika Lubowicz & All Stars - Nika sings Ella

Nika Lubowicz & All Stars

Nika Lubowicz – vocals (solo: 1, 2, 4, 7, 10)
Henryk Miśkiewicz – alto saxophone (1-4, 6-9) (solo: 2, 7, 8, 9)
Piotr Baron – tenor saxophone (1-4, 6-10) (solo: 4, 7, 9)
Robert Murakowski – trumpet (1-4, 6, 8, 10) (solo: 1, 3, 6)
Grzegorz Nagórski – trombone (6, 9, 10) (solo: 2, 4, 6, 9, 10)
Dariusz Plichta – trombone (1-4, 8)
Kamil Karaszewski – horn (1-4, 8)
Andrzej Jagodziński – piano (1-10) (solo: 1, 3, 5, 6, 9, 10)
Wojciech Pulcyn – double bass (1-4, 6-10)
Kazimierz Jonkisz – drums (3, 6, 7, 9, 10)
Marcin Jahr – drums (1, 2, 4, 8)
Wojciech Myrczek – vocals (8, 9)
Wiesław Pieregorólka – bandleader

Arrangements by Wojciech Karolak (3, 8) & Wiesław Pieregorólka (1, 2, 4, 6, 9, 10).

Nika sings Ella (2022)

Wydawca: For Tune

Autor tekstu: Mateusz Chorążewicz

W sierpniu 2022 roku premierę miał album Niki Lubowicz „Nika Sings Ella”, który stanowi hołd dla twórczości „Pierwszej Damy Piosenki”. Na krążku znajdziemy dziesięć kompozycji, w tym takie hity jak „Cheek to Cheek”, „In a Mellow Tone”, czy „It Don’t Mean a Thing”. Za aranżacje odpowiadali Wiesław Pieregorólka oraz Wojtek Karolak, któremu niestety nie dane było wziąć udziału w nagraniach.

Nika Lubowicz zaprosiła do współpracy prawdziwą śmietankę polskiego jazzu. Na płycie usłyszymy takich mistrzów jak Henryk Miśkiewicz, Piotr Baron, Robert Murakowski, Grzegorz Nagórski, Dariusz Plichta, Kamil Karaszewski, Andrzej Jagodziński, Wojciech Pulcyn, Kazimierz Jonkisz, Marcin Jahr oraz Wojciech Myrczek.

Album muzycznie głęboko zakorzeniony jest w tradycji swingu. Nie znajdziemy tu właściwie żadnych odstępstw od tradycyjnego brzmienia tego typu muzyki. Trzeba uczciwie przyznać, że aranże oraz ich wykonanie stoją na niezwykle wysokim poziomie. Ciężko spodziewać się czegoś innego po takim składzie. Uwagę zwraca także fakt, że Nika Lubowicz nie stara się imitować Elli. Frazę prowadzi w charakterystyczny dla siebie sposób, dzięki czemu standardy jazzowe ujęte na płycie, choć na wskroś swingujące, mają w sobie mały element oryginalności.

Niemniej jednak, w głowę zachodzę w jakim celu wydawane są tego typu albumy. Pomimo genialnego wykonania, obecności mistrzów polskiego jazzu i interesującego głosu Niki Lubowicz, nie ma w tej muzyce czegoś ekstra. Płyta niestety nie wnosi nic ciekawego do dorobku polskiej sceny jazzowej. Wszystko jest tu bardzo bezpieczne i ortodoksyjne. Przyjemne dla ucha… i właściwie to wszystko.

W materiałach promocyjnych możemy przeczytać, że album stanowi dla Niki Lubowicz artystyczny hołd dla twórczości Elli Fitzgerald, która była i nadal jest dla Niki wzorem i inspiracją. Jednak porządne wykonanie to niestety w moim odczuciu za mało. Rozumiem koncert ku czci Elli, a nawet całą trasę koncertową po Polsce. Nawet sam bym się na takie wydarzenie wybrał. Nie rozumiem jednak koncepcji nagrania takiego albumu. Jedynie bardzo zagorzali fani swingu być może znajdą tu coś dla siebie.

Polish Jazz Quartet – Meets Studio M-2 (2017)

Polish Jazz Quartet

Jan Ptaszyn Wróblewski - saxophone
Wojciech Karolak - piano
Juliusz Sandecki - bass
Andrzej Dąbrowski - drums

Meets Studio M-2

GAD 054


By Adam Baruch

This is a sensational archival album presenting the recordings by one of the formative modern Polish Jazz ensembles, the Polish Jazz Quartet, which comprised of saxophonist/composer Jan Ptaszyn Wróblewski, pianist/composer Wojciech Karolak, bassist Juliusz Sandecki and drummer Andrzej Dąbrowski. The music included herein was recorded at the Polish Radio Studio M-2 with the studio orchestra conducted by Bogusław Klimczuk. Twelve wonderful pieces of early modern Polish Jazz are included on this album, seven of which are original compositions by Wroblewski, two are original compositions by Karolak and the remaining three are by other Polish composers, arranged by Wróblewski or Karolak. This album is the only source of recorded material by the Polish Jazz Quartet other than their debut album released in 1965 as the third volume of the legendary "Polish Jazz" series.

The fact that the album does not include any American standards is extremely significant and points the way towards the development of the newborn Polish Jazz scene, which from its early days tried to create music different from the Jazz tradition, breaking away from the limitations and exploring new avenues, combining Jazz with the European musical tradition, local folklore and other influences, which eventually were to produce the "Polish Jazz Sound", which became an integral part of the Polish Cultural heritage.

Stylistically the music moves between Swing, Bebop and Orchestral Jazz, still very much rooted in the American Jazz tradition, but already clearly trying to break away from it, which can be heard especially in Wróblewski's masterful arrangements, which are very different from the American Big Band convention. The melodies are also much more sophisticated and diverse that the standard Bebop tunes, which served as vehicles for improvisation, whereas in the tunes present here the melodic contents has a much larger presence and position.

The performances by all the musicians involved in these sessions are brilliant and one would never guess that this music was recorded beyond the Iron Curtain, where Jazz was in its early stages of development (at least on the National scale) and the musicians involved had very limited access to recorded material or performing experience. Listening to this album feels like taking a time machine trip five decades back in time, in order to visit the early childhood of modern Polish Jazz and the experience is truly magical. As usual the fact that this music is available for us to enjoy is by no means trivial and only thanks to the efforts of Michał Wilczyński, owner of the GAD Records label, it became a reality. Polish Jazz connoisseurs should be ever so grateful to this man for his unprecedented work.

Polish Jazz Quartet Meets Studio M-2 - nieznane nagrania z lat 1964-66

Jan Ptaszyn Wróblewski – tenor saxophone, flute
Wojciech Karolak – piano
Juliusz Sandecki – bass
Andrzej Dąbrowski – drums

Pod koniec lutego nakładem GAD Records miała miejsce premiera "nowej" płyty formacji Polish Jazz Quartet, wyjątkowego zespołu, który w latach 60. tworzyli Jan Ptaszyn Wróblewski, Wojciech Karolak, Andrzej Dąbrowski oraz – przemiennie – Roman Dyląg i Juliusz Sandecki. Nagrali jedną z pierwszych płyt w słynnej serii „Polish Jazz”. To jednak tylko część ich historii.

W latach 1964-66 Polish Jazz Quartet współpracował z radiowym Studiem M-2 Bogusława Klimczuka. Muzycy w składzie poszerzonym do małego big-bandu zarejestrowali szereg autorskich kompozycji oraz wyjątkowe adaptacje przedwojennych szlagierów, które dzisiaj brzmią jak najlepsze amerykańskie standardy. Wszystkie te utwory, poza kilkoma prezentacjami radiowymi, nie były nigdzie wcześniej publikowane. Teraz ukazują się na płycie CD (limitowana edycja winylowa ukaże się wiosną), wzbogacone o książeczkę z barwnymi wspomnieniami Jana Ptaszyna Wróblewskiego.

To był projekt bez precedensu – przyznaje po latach Ptaszyn. Cechą tego niezwykłego zespołu był fakt, że... tak naprawdę żadnego zespołu nie było. Pod nazwą Studia M-2 kryła się grupa aranżerów i kompozytorów, otwarte studio nagraniowe, od którego projekt wziął swoją nazwę, oraz niezwykle sprawny inspektor nagrań. Klimczuk skupił wokół siebie cały ówczesny aranżerski kwiat i był także otwarty na współpracę z jazzmanami. Każdy z nas mógł wymyślić utwór na dowolny zestaw instrumentalny – to mogła być sekcja rytmiczna ze smyczkami, mniejszy lub większy big-band, harfy, oboje, waltornie... Mogliśmy sięgać po absolutnie wszystko. Jedynym warunkiem było napisanie kilku partytur na ten sam zestaw instrumentów, by wykonawcom sesja się opłaciła.

"Polish Jazz Quartet Meets Studio M-2" kontynuuje odkrywanie nieznanych, słabo udokumentowanych płytowo kart z historii polskiego jazzu, zapoczątkowane przez GAD Records w 2010 roku albumem "Nora" kwartetu Zbigniewa Seiferta. W katalogu wydawnictwa znalazły się także liczne nagrania archiwalne Jerzego Miliana, Krzysztofa Sadowskiego czy formacji SBB. W przygotowaniu kolejne tytuły.

Karolak / Urbaniak / Bartkowski – Moving South (2009) ****

Wojciech Karolak - keyboards

Michal Urbaniak - violin

Czeslaw Bartkowski - drums

ANEX 314






By Adam Baruch

This is the only album recorded by the fabulous Polish Jazz trio, comprising of keyboardist / composer Wojciech Karolak, violinist / saxophonist / composer Michal Urbaniak and legendary drummer Czeslaw Bartkowski. In many respects this is a companion album to the groundbreaking album by the Michal Urbaniak Constellation, which was released as part of the Polish Jazz series ("In Concert", Vol.36) and recorded the same year as this album. Both Karolak and Bartkowski were members of Constellation and therefore it's hardly surprising that stylistically the music is very similar.

The album includes five compositions (one is a three-part suite), four by Karolak and one by Urbaniak, which can be roughly categorized as Jazz-Rock Fusion, but they are so unique and eons ahead of their time that simplistic labeling is not doing them justice. This is truly visionary music, capturing all three musicians at the peak of their creative powers. Although Karolak composed most of the music on this album, Urbaniak's concept of Fusion / Funk are the primary forces at work here. His use of electronics to enhance the sound of his violin is simply brilliant and completely innovative. Karolak plays also brilliantly, with his Hammond ripping the sound-space to shreds. Bartkowski is driving the music forward like mad, being the Jazziest element of the music, busy but not intrusive, with fantastic polyrhythmic feel and incredible technique.

In retrospect this is one of the most important Polish Fusion albums, which sadly remains mostly unknown even to the local fans and especially so abroad. This reissue creates another chance for this album to be re-discovered, and I recommend to all the Fusion diehard fans to start looking for this gem ASAP!

Side Note: The Poljazz label, which originally released this album, was active for 20 years (between 1972 and 1991) and was owned by the Polish Jazz Society. Considering the fact that the music industry in the Socialist State was centralized and totally controlled, with just one State owned music company producing all the albums, the possibilities to record and release Jazz albums were extremely limited. Poljazz was conceived and founded in order to allow for many more Jazz (and other) albums to be released independently from the State owned Polskie Nagrania / Muza and as such revolutionized the music industry at the time, being the only such enterprise in Eastern Europe. The Polish label Anex reissued many of the original Poljazz albums on CD, bringing this fabulous music back to life.

S.P.P.T Chalturnik / Polish Radio Jazz Studio Orchestra – S.P.P.T Chalturnik / Polish Radio Jazz Studio Orchestra (2009) ***1/2

Jan Ptaszyn Wroblewski - saxophone / composer / arramger / bandleader
Janusz Muniak - saxophone
Zbigniew Namyslowski - saxophone
Tomasz Szukalski - saxophone
Wojciech Karolak - keyboards
Jan Jarczyk - piano
Bronislaw Suchanek - bass
Czeslaw Bartkowski - drums

POLJAZZ / ANEX 312

By Adam Baruch

The material presented on this album originates from two separate LPs released by the Poljazz label, each contributing one side of the original LP. The logic behind it is that the original Poljazz releases often included two sides of completely unrelated material, artificially combined for a variety of reasons, mostly economic. These two sides of two separate LPs are connected by the central personality behind the music, the Polish Jazz saxophonist / composer / arranger / bandleader Jan Ptaszyn Wroblewski.

Wroblewski was the founder and leader of the band S.P.P.T Chalturnik, which was formed in order to present Jazz with a humorous and tongue in cheek attitude, featuring well known standards as well as original material by the leader. The band included the absolute crème de la crème of the Polish Jazz scene: saxophonists Janusz Muniak, Zbigniew Namyslowski and Tomasz Szukalski, keyboardist Wojciech Karolak, bassist Bronislaw Suchanek and drummer Czeslaw Bartkowski. The wonderful arrangements and whimsy performances are all brilliant, especially in view of the fact that they show that Jazz doesn't have to be treated always so seriously.

Wroblewski was also the director of the Polish Radio Jazz Studio Orchestra during the years 1968-1978, which was one of the most important incubators and places of refuge for the young Polish Jazz musicians under the Socialist regime, providing them with a steady income. The orchestra performs a very ambitious piece of music composed by the young pianist Jan Jarczyk called "A Double Concerto For Five Soloists And Orchestra", which features as soloists top Polish Jazz players of the time: violinist Zbigniew Seifert, saxophonist Tomasz Szukalski and Janusz Muniak and trumpeter Tomasz Stanko. Legendary American drummer Stu Martin also participates in the recording. The music is a very interesting example of early Orchestral Jazz works, which combine contemporary Classical techniques with Free Jazz improvisation.

Side Note: The Poljazz label, which originally released this album, was active for 20 years (between 1972 and 1991) and was owned by the Polish Jazz Society. Considering the fact that the music industry in the Socialist State was centralized and totally controlled, with just one State owned music company producing all the albums, the possibilities to record and release Jazz albums were extremely limited. Poljazz was conceived and founded in order to allow for many more Jazz (and other) albums to be released independently from the State owned Polskie Nagrania / Muza and as such revolutionized the music industry at the time, being the only such enterprise in Eastern Europe. The Polish label Anex reissued many of the original Poljazz albums on CD, bringing this fabulous music back to life.

Various Artists – Polish Radio Jazz Archives Vol.06 (2013) ***1/2

Andrzej Kurylewicz - trumpet
Wanda Warska - vocals
Wojciech Karolak - piano
Jan Tomaszewski Big Band
Jerzy Matuszkiewicz Swingtet
New Orleans Stompers

POLSKIE RADIO 1625




By Adam Baruch

This is the sixth installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland's most important Jazz venue, the annual Jazz Jamboree Festival and many other festivals as well.

The material collected here presents a second batch of recordings made during the 5^th Jazz Jamboree Festival, which took place between October 27 and 29, 1962 in Warsaw. The artists include mostly Polish Jazz ensembles: Andrzej Kurylewicz quintet (with Kurylewicz playing trumpet rather than piano), legendary singer Wanda Warska with pianist Wojciech Karolak trio, Jan Tomaszewski Big Band, Jerzy Matuszkiewicz Swingtet and New Orleans Stompers. In addition the album also includes two tracks by the Hungarian pianist Atilla Garay and his trio and one track by Soviet pianist Vadim Sakun and his sextet, which includes legendary Soviet Jazz players like guitarist Nikolaj Gromin and saxophonist Aleksiej Kozlov. In many respects this is a review of Eastern European Jazz at the time.

The music includes original compositions (Kurylewicz, Garay and Gromin) and Jazz standards, from Dixieland to Bebop, which were the model for most modern European Jazz musicians at the time, leading to the development of a new style, which would crystallize over the next few years. The performances are all excellent and their invaluable historical significance is beyond reproach. Beautifully restored sound quality and a warm ambience of the live analog recording is a true joy.

As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its meaning to the development of Polish Jazz in particular and Polish Culture in general. Nevertheless this is an essential piece of history which every Polish / Eastern European Jazz fan will surely consider an absolute must.

Various Artists – Polish Radio Jazz Archives Vol.03 (2013) ***1/2

Various Artists incl.
Wojciech Karolak - piano
Krzysztof Komeda - piano
Jerzy Milian - vibraphone

POLSKIE RADIO 1599






By Adam Baruch

This is the third installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland's most important Jazz venue, the annual Jazz Jamboree Festival and many other festivals as well.

The material collected here presents recordings made during the 5^th Jazz Jamboree, which took place between October 27 and 29, 1962 in Warsaw. The artists include two Scandinavian Jazz ensembles: Swedish trombonist Eje Thelin and his quintet and the Jazz Fraktionen quintet featuring the Danish saxophonist John Tchicai. One track features the American trumpeter Don Ellis accompanied by a Polish trio led by pianist Wojciech Karolak, which was already presented on volume 2 of this series, offering here an alternate take. Another track presents the quintet led by Polish vibraphonist Jerzy Milian, which features the legendary Krzysztof Komeda on piano. The last track presents the Danish vibraphonist Louis Hjulmand also accompanied by pianist Wojciech Karolak and his trio. At the time Poland kept a relatively open relation with the Scandinavian countries, as opposed to the Western Europe, which explains the presence of several Scandinavian players at the festival. Also some Polish Jazz managed to play in Scandinavia at that time, including Komeda.

Except for Ellis, who plays an original composition, all the other ensembles play Jazz standards, mostly Bebop, which was the model for most modern European Jazz musicians at the time, leading to the development of a new style, which would crystallize over the next few years. The performances are all excellent and their invaluable historical significance is beyond reproach. Beautifully restored sound quality and a warm ambience of the live analog recording is a true joy.

As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its meaning to the development of Polish Jazz in particular and Polish Culture in general. Nevertheless this is an essential piece of history which every Polish Jazz fan will surely consider an absolute must.

Jarosław Śmietana & Bill Neal - Live At Impart (2012)

Jarosław Śmietana & Bill Neal

Jarek Śmietana - guitar, vocal
Bill Neal - vocal, tenor sax
Wojciech Karolak - keyboards, Hammonds
Paweł Tomaszewski - keayboards
Marcin Lamch - bass
Adam Czerwiński -drums

Live at Impart (2012)

By Maciej Nowotny

This is an album containing basically  only blues music. Still it features some of the best Polish jazz players as guitarist Jarek Śmietana, keyboardists Wojtek Karolak and Paweł Tomaszewski, bassist Marcin Lamch and drummer Adam Czerwiński, so it is justified to write about it on this blog. Co-leader, along with  Śmietana, is an Australian vocalist Bill Neal who occasionally also play some notes on tenor sax. 

Such a high-quality team produces of course very good music. They reproduce all time blues and rock classics from repertoire of such well known bands as The Animals, Fleetwood Mac or such great musicians as Ray Charles or Jimmy Hendrix. Most of these tunes Jarek Śmietana and Wojtek Karolak arranged for studio album of the latter titled "I love The Blues" and released a year before this disc.

The time has comes for some assesement of this music. I believe it can be two-fold depending on which point of view you represent. If you treat blues (or jazz) as some definite form of music which is basically finished and shall be now copied (better or worse) by new generations then you should be very happy with this album. It sounds very well, even if nothing special distinguishes it from similar (or identical) one (or more) hundred other good blues albums recorded during last, say, century or so.

However if you feel that blues (and especially jazz) shall be living form of music whose vitality depends on its ability to change to reflect the evolution of world around then it is rather depressing. No challenge, no innovation, no creativity - very well played but so well known that eventually boring.

Don Ellis / Wojciech Karolak Trio – Polish Radio Jazz Archives Vol.02 (2013)

Don Ellis - trumpet
Wojciech Karolak - piano
Roman Dylag - bass
Andrzej Dabrowski - drums

POLSKIE RADIO 1590





By Adam Baruch

This is the second installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland's most important Jazz venue, the annual Jazz Jamboree Festival and many other festivals as well.

The material presented here was recorded in 1962 during the 5^th Jazz Jamboree and features American trumpeter Don Ellis, accompanied by a Polish rhythm section consisting of pianist Wojciech Karolak, bassist Roman Dylag and drummer Andrzej Dabrowski. All the six tracks were recorded live during the Festival, the last of which is an extended suite composed by Polish pianist / composer Andrzej Trzaskowski presented as part of a concert dedicated to the Third Stream (early Jazz-Classical Fusion initiated by American composer Gunther Schuller in the late 1950s). On that track the quartet is accompanied by the Polish National Philharmonic Chamber Orchestra. Of the five shorter Jazz pieces, two are original compositions by Ellis and the remaining three are standards.

Ellis was the second US musician who opted to play with a local rhythm section, following Stan Getz who did so two years earlier (as captured on the first volume of this series). Although he was just 28 years old at the time, he already had a lot of experience and quite a reputation as a result of playing with many top American Jazz acts in the late 1950s and early 1960s. His Polish partners: Karolak (aged 23), Dylag (aged 24) and Dabrowski (aged 24) sound like veterans, obviously ready and able for the occasion. Ellis was the ideal choice as a performer of the orchestral piece by Trzaskowski, as he was one of the musicians / composers involved in this genre from its early stage.

There is a clear division between the first part of this album, which includes the five Jazz pieces and the orchestral suite, which is quite avant-garde and geared more towards Classical music listeners. Both parts are excellent, each presenting different merits of course. The fact that Trzaskowski composed the orchestral suite at that time is quite astonishing, considering the limited information about contemporary musical trends and developments that managed to cross over from behind the iron curtain. Obviously he was a man of great vision beyond his obvious talents as a player and composer.

The wonderful ambience of the hall and the remastered sound quality are spectacular, worm and natural, leaving many contemporary recordings way behind, even though they were done 51 years ago using quite primitive equipment.

The only note of criticism about this new edition is the lack of a proper booklet with proper liner notes, photographs and other well deserved details, which this monumental music truly deserves. Polish Radio really should have made an effort there. A pity!

In retrospect this is a great document of the era and an integral part of the Polish Jazz saga, which deserves to be told and studied. The presence of the orchestral suite makes this an absolute must for collectors of Polish Jazz albums and Third Stream followers.

Maciej Jeleniewski & Deer Project - Stop The Time (2013)

Maciej Jeleniewski - producer

Piotr Remiszewski - producer

Guests:
Jarosław Śmietana - guitar
Karen Edwards - vocal
Jerzy Mazzoll - clarinet
Wojtek Karolak - keyboard
Mirosław Kaczmarczyk - guitar
Piotr Iwicki - drums
Tomek Lipnicki - raeding text

Stop The Time (2013)

By Maciej Nowotny

Maciej Jeleniewski and Piotr Remiszewski teamed-up and as Deer Project produced this album which features many respected jazz musicians. Jeleniewski is known as a bass guitarist playing in rhythm section of pop band Oczi Cziorne (together with avantgarde drummer Michał Gos). Piotr Remiszewski has similar background and has been playing as a drummer and also arranging and producing in number of pop projects. 

The overall style of this release verges between pop, smooth jazz and mainstream jazz (OK, this  last reference is a bit of exaggeration I admit). For hardcore jazz lovers who look always forward to see future of this music it will probably sound too sweet and predictable. But one must be aware that jazz audience consists of various people of different needs. For a significant part of it jazz is less spiritual matter but just one of stylistics they found useful for certain occasions or moods in their life. I believe that's why this music when played in fancy bar or during evening meeting with friends may fit perfectly to enhance the beauty of the moment. Perhaps not as a source of any distinctive aural experience in itself it yet may serve well a classy background to other activities.

Although as I said it tastes best when served in background it may still offer some surprisingly nice moments when we catch some of outstanding solos of excellent jazz musicians Jeleniewski and Remiszewski invited to this project. Jarosław Śmietana guitar passages in "Thoughts Moving", Jurek Mazzoll hauntingly beautiful bass clarinet solo in "Fountime" are enough to redeem this music but that's not the end since additionally we will find on this album also a legendary keyboardist Wojtek Karolak, excellent vocalist Karen Edwards or Mirosław Kaczmarczyk and Piotr Iwicki from Loud Jazz Band. These are big or in same cases even great names in Polish jazz but please do not expect anything revolutionary from this music. It was all heard hundreds of times before, and no new ways are explored here. Still if you like such an easy and uncomplicated side of jazz it may be pleasant experience, especially since it is very well recorded.

Tracklist :
1. Myśli Przeprowadzka
2. Przegrana Wieczór
3. Fountime
4. Widok z okna
5. San Francisco Come Back
6. Nikt nie ma to jak profesor
7. W czasie między
8. Niech was Bóg błogosławi Wariata
9. Violet Brainwashed
10. Empty Chair
11. Sophie Sticated

Jan Ptaszyn Wroblewski - Made In Poland (1995)

Jan Ptaszyn Wróblewski - tenor & bass saxophones, leader, arranger

Henryk Miskiewicz - alto saxophone
Piotr baron - tenor saxophone
Robert Majewski - trumpet
Piotr Wojtasik - trumpet
Henryk Majewski - trumpet
Sławomir Rosiak - trombone
Andrzej jagodziński - piano, keyboards
Wojciech Karolak - keyboards (4, 6, 7)
Adam Cegielski - bass
Jacek Olter - drums

Made In Poland (1995)

Easy-going mainstream jazz as usual for Jan Ptaszyn Wróblewski but of the highest quality in terms of purely musical performance. When I am listening to it right now it strikes how much it is indebted in best arangements written for ensambles led by legendary Art Blackey or by then young Charles Tolliver. I mean of course arrangements from 70ties last century, it is therefore more than obvious that music on this disc by no means discovered anything new. It is nonetheless more than just able copy mainly because of musicians who at moments play notes with true authencity and enthusiasm so characteric for jazz music. Piotr Baron on saxophone deserves most praise in this context but Henryk Majewski and Piotr Wojtasik on trumpets, Andrzej Jagodziński on piano and Jacek Olter on drums made no worse impression on me. All in all, I do not regret time spent on rehearsing this oldie. 

Track listing:
1. Go Right
2. Mr. Olek
3. Moment Musical
4. For Joseph
5. Drivin'
6. Chcha muzyka objawowa
7. Final Theme / Polka Oj-ra

By Maciej Nowotny

http://kochamjazz.blox.pl

Wojciech Karolak – Easy! (Polish Jazz Vol.81 Deluxe, 1974)

Wojciech Karolak - Hammond & Farfisa Vip organs, Fender piano 

Orchestra conducted by Jan 'Ptaszyn' Wróblewski -
Jan Ptaszyn Wróblewski - conductor
Tomasz Szukalski - soprano saxophone (solo 2)
Tomasz Stańko - trumpet (solo 1)
Zbigniew Namysłowski - alto saxophone (solo 5)
Janusz Muniak - reeds

Easy! (Polish Jazz Vol.81 Deluxe, 1974)

This relatively little known but excellent album presents Polish Jazz keyboardist / composer / arranger / bandleader Wojciech Karolak in a relaxed atmosphere and in company of the crème de la crème of the Polish Jazz musicians of the period that he cooperated with on many occasions before. The idea was to present a less complex / sophisticated music performed by top Jazz players, but in retrospect the result surely surpassed all the intensions and expectations and this is definitely some of the best of his work. 

Recorded at a time when the Jazz-Rock Fusion in Poland was rapidly developing and achieving the peak of its creativity, spearheaded by Michal Urbaniak and his group, of which Karolak was a member. It is hardly surprising therefore that this album includes many of the characteristics of the early 1970s Polish Fusion, which of course in term was strongly influenced by the pioneering and groundbreaking work done by Miles Davis at the time, which served as a model to the entire worldwide music community. 

Although perhaps more melodic than the Urbaniak's recordings, this album has plenty of innovative moves, like the usage of early synthesizers, electric piano and of course his organ, excellent brass arrangements on some tunes and superb soloing by the musicians involved, which include trumpeter Tomasz Stanko, saxophonists Zbigniew Namyslowski, Janusz Muniak and Tomasz Szukalski, drummer Czeslaw Bartkowski and many others. Karolak composed seven of the eight tracks on this album with one track being contributed by the great Jan Ptaszyn Wroblewski. Lovers of Polish Jazz should be rejoiced by the fact that this album was reissued as part of the extended legendary Polish Jazz series. A must!

Track listing:1. A Day In The City [05:28]; 2. (DACP 796) Endless Transit [04:17]; 3. Instant Groove [07:09]; 4. Strzeż się Szczeżui [03:58]; 5. Easy [05:57]; 6. Why Not Samba [04:16]; 7. Seven Shades Of Blue [04:04]; 8. Goodbye [06:30]

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

Jan Ptaszyn Wroblewski – Sprzedawcy Glonow (Polish Jazz Vol.90 Deluxe, 1973)

Jan Ptaszyn Wróblewski - tenor saxophone (1, 2, 4, 6), conductor

Studio Jazzowe P.R. - directed by Jan 'Ptaszyn' Wróblewski
Tomasz Szukalski - tenor sax, soprano sax, bass clarinet (1, 3-6)
Michał Urbaniak - violin (1), soprano sax (2)
Zbigniew Namysłowski - alto sax, flute (1-6)
Tomasz Stańko - trumpet (2, 3, 4, 6)
Adam Makowicz - Fender electric piano (4)
Marek Bliziński - guitar (1, 4, 5)
Wojciech Karolak - Hammond organ (1, 5)
Włodzimierz Nahorny - alto sax, flute (1-6)
Zbigniew Seifert - alto sax (2,3), violin (6)
Stanisław Mizeracki - trumpet (1,2,3,4,6);
Bogdan Dembek - trumpet (1,3,4,5,6)
Bogusław Skawina - trumpet (2)
Laco Deczi - trumpet (5)
Józef Grabarski - trumpet (1)
Stanisław Cieślak - trombone (1-6)
Andrzej Brzeski - trombone (1,2,3,4,6)
Andrzej Piela - trombone (2,3,5,6)
Jan Jarczyk - trombone (1,4,5)
Dariusz Filiochowski - French horn (1,3,5,6)
Dariusz Szewczyk - French horn (4)
Zdzisław Piernik - tuba (2,3,5,6)
Janusz Muniak - tenor sax, soprano sax, flute (2,3,5,6)
Waldemar Kurpiński - baritone sax, clarinet (1,3,4,5,6)
Andrzej Trzaskowski - piano ( 6)
Paweł Jarzębski - bass (1,2,4,5)
Bronisław Suchanek - bass (3,5,6)
Janusz Stefański - drums (2,3,5,6)
Czesław Bartkowski - drums (1,4), percussion (5)
Kazimierz Jonkisz - percussion (1,3,4,5,6)

Sprzedawcy Glonow (Polish Jazz Vol.90 Deluxe, 1973)

This relatively little known brilliant album presents Polish Jazz saxophonist / composer / arranger / bandleader Jan Ptaszyn Wroblewski mainly in the capacity as the director of the Polish Radio Jazz Orchestra, a superb collection of top musicians, which functioned as a catalyst and incubator to generations of Polish Jazz musicians as well as a first rate workshop and recording platform. Wroblewski, one of Polish Jazz veterans and Godfathers, led the orchestra for many years with great success and these recordings prove how great it really was. He also composed three of the six extended compositions included here with the other three composed by Tomasz Stanko, Zbigniew Namyslowski and Andrzej Trzaskowski each contributing one composition. The arrangements are absolutely brilliant as are the performances, with the orchestra fronted as such first rate soloists like Stanko, Namyslowski, Michal Urbaniak (playing sax on one track and violin on another), Tomasz Szukalski, Adam Makowicz, Marek Blizinski, Wojciech Karolak, Zbigniew Seifert and of course Wroblewski himself, in short the crème de la crème of the Polish Jazz scene at the time. The music is very modern and even borders on Free at times, presenting very rare examples of Jazz orchestra accompanying a freely improvising soloist. This album is an absolute must to all Polish Jazz lovers and in retrospect is of the best Polish Jazz albums ever recorded. Grab it!

Track ,listing: 1. Sprzedaż glon [06:18] 2. Bez wyciszenia (Namysłowski) [06:04] 3. Cytat z samego siebie (Stańko) [09:09] 4. Wyznacznik pierwszy ('Ptaszyn' Wróblewski) [09:50] 5. Jan Szpargatoł Mahawiśnia ('Ptaszyn' Wróblewski) [06:26] 6. Magma (Trzaskowski) [05:18] 

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

Ewa Bem – Loves The Beatles (Polish Jazz Vol.84 Deluxe, 1984)

Ewa Bem - vocals, background vocals (1, 2, 6-8, 10-12 ), percussion (50)

Marek Stefankiewicz - Fender Rhodes, acoustic piano (1, 9)

Winicjusz Chróst - guitars (1, 2, 6-7, 9, 11), drums programming (2, 6-7)
Arkadiusz Żak - bass guitar (1, 9)
Tomasz Szukalski - tenor sax (1, 6, 9-10, 12)
Wojciech Karolak - Fender Rhodes (2), acoustic piano (2, 6), synthesizers (4, 6, 7)
Wojciech Kowalewski - percussion (2-6, 8, 10-12) drums (3-5, 7-8, 10-12)
Jerzy Kaczmarek - Fender Rhodes (3-5, 8, 10-12), synthesizers (3-5, 8, 10-12), acoustic piano (11)
Romuald Frey - guitar (3-5, 8, 10-12)
Mieczysław Jurecki - bass guitar (3-5, 8, 10-12)
Henryk Majewski - trumpet (3-6, 8, 10)
Stanisław Mizeracki - trumpet (3-5, 8, 10)
Dariusz Macioch - trombone (3-5, 8, 10)
Roman Syrek - trombone (3-5, 8, 10)
Andrzej Jagodziński - French Horn (9)

Loves The Beatles (Polish Jazz Vol.84 Deluxe, 1984)

This is quite an unusual album on which Polish Jazz singer Ewa Bem undertakes the difficult task of interpreting twelve songs by the Beatles, a concept which usually very quickly turns into a disaster. However, this time the result is quite surprising, with the original songs being arranged often very faraway from their original form, rhythm and atmosphere, which is actually quite interesting and certainly shows a lot of potential. Bem’s vocal qualities are beyond reproach and she is supported by an excellent team of the best Polish players, like saxophonist Tomasz Szukalski, trumpeter Henryk Majewski and many others, which contributes significantly to the overall result. In retrospect the use of synthesizers, which is the dreaded trademark of the 1980s, sounds pretty dated today, but that unfortunately can’t be helped. It is certainly interesting to revisit this album to get a fresh perspective as to what can be done with Pop material in the Jazz sphere. Worth investigating!

Track listing: 1. I Will [04:31]; 2. Here, There And Everywhere [03:57]; 3. Get Back [01:56]; 4. A Hard Day's Night [03:14]; 5. Something [03:16]; 6. You're Going To Lose That Girl [03:41]; 7. Drive My Car

[03:31]; 8. The Fool On The Hill [03:03]; 9. I'll Follow The Sun [03:50]; 10. Blackbird [03:40]; 11. Here Comes The Sun [02:37]; 12. Strawberry Fields Forever [04:13]

By Maciej Nowotny

http://kochamjazz.blox.pl

Karolak / Szukalski / Bartkowski – Time Killers (Polish Jazz Vol.89 Deluxe, 1985)

Karolak / Szukalski / Bartkowski

Wojciech Karolak - organ, synthesizer
Tomasz Szukalski - tenor & baritone saxophones (6)
Czesław "Mały" Bartkowski - drums

Time Killers (Polish Jazz Vol.89 Deluxe, 1985)

This is the only album by Polish Jazz supergroup Karolak / Szukalski / Bartkowski, which united three veterans of the local scene: keyboardist / composer Wojciech Karolak, who wrote and arranged all the music included on this album, saxophonist Tomasz Szukalski and drummer Czeslaw Bartkowski. The album has a very unique sound due to the unusual instrumentation, as well as a superb groove, which is usually associated with American recordings. Karolak performs the difficult task of both soloing and accompanying his partners, using the organ bass pedals to supply the bass parts. Szukalski again proves his excellent taste and technical abilities, especially on the track where he plays the baritone sax. Bartkowski is stable like a rock and drives the music forward constantly, with his usual virtuosity. This music sounds remarkably fresh almost thirty years after it was recorded, and it's probably only a matter of time before some DJ lays his hands on this stuff and makes people dance to it. Highly recommended!

Track listing: 1. Anniversary Blue; 2. Double - B; 3. Gem; 4. State Train;  5. Trata-Tata; 6. Pass into; 7. Silence; 8. Time Killers

By Adam Baruch
www.adambaruch.com

Tomasz Szukalski - Tina Kamila (Polish Jazz Extended Vol. 83, 2005)

Tomasz Szukalski - tenor sax

Czesław Bartkowski - drums
Dariusz Oleszkiewicz - double bass
Wojciech Karolak - piano
Grand Standard Orchestra Jana Pt. Wróblewskiego

Tina Kamila (Polish Jazz Extended Vol. 83)  

This wonderful album is the debut recording as a leader by Polish Jazz saxophonist / composer Tomasz Szukalski, one of the veterans of the local scene. Although Szukalski has been active on the scene for many years and participated in many recordings, the opportunity to make an album under his own name came only relatively late in his career path. This album is quite a surprise in many respects, as it presents Szukalski playing Jazz standards accompanied by the Grand Standard Orchestra led and conducted by Jan "Ptaszyn" Wroblewski. His tenor sounds absolutely marvelous against the orchestra's strings and the album is one of the most beautifully melodic Polish Jazz releases. Stylistically the album resembles similar sax and strings recordings, such as those by Ben Webster for example, and Szukalski's virtuosity and incredible feel easily match those of the legendary Jazz Masters. He is accompanied by a great rhythm section with pianist Wojciech Karolak, bassist Dariusz Oleszkiewicz and drummer Czeslaw Bartkowski. The music comprises mostly of Jazz standards, but includes also compositions by Polish Jazz composers like Karolak, Wroblewski, Bronislaw Suchanek and one tune by the Szukalski himself. In retrospect this album lost nothing of its power and intrinsic beauty, and any Jazz lover in the world should be able to enjoy it wholeheartedly. Brilliant stuff!

Track listing: 1. In The Wee Small Hours Of The Morning (Mann, Hilliard); 2. Laura (D. Raskin); 3. Like Someone In Love (Burke, Van Heussen); 4. Dolej olej (J. Pt. Wróblewski); 5. In A Sentimental Mood (Ellington, Mills); 6. Stardust (H. Carmichael); 7. Lonesome Dancer (B. Suchanek); 8. Ballada o spełnionych snach (W. Karolak); 9. My One And Only Love (Mellin, Wood); 10. Tina Kamila

By Adam Baruch
www.adambaruch.com

Michal Urbaniak / Constellation – In Concert (Polish Jazz Vol.36, 1973)

Michal Urbaniak / Constellation (band)

Michał Urbaniak - el. violin
Urszula Dudziak - vocal, percussion instr.
Wojciech Karolak - Hammond Organ, Fartisa
Czesław Bartkowski - drums
Adam Makowicz - Fender piano & Fender bass

In Concert (Polish Jazz Vol.36, 1973) 

This is the second album on the legendary Polish Jazz series by the Polish saxophonist / violinist / composer / bandleader Michal Urbaniak. A veteran Polish Jazz musician, Urbaniak was a member of the legendary ensembles led by Krzysztof Komeda, where he played the saxophone, but by the early 1970 he switched to the violin and plunged into Jazz-Rock Fusion, rapidly becoming one of the most inventive and creative pioneers of the genre. This album and the albums recorded in Germany and later in the USA are absolute Fusion milestones, but also stand out as completely unique in their approach to the genre. Urbaniak combined the marvelous abilities of his wife Urszula Dudziak and her extraordinary and experimental vocalese technique with his common usage of Polish Folklore motifs, creating a superb and completely unparalleled Fusion music. This live recording captures his baseless / double keyboard ensemble, which also includes organist Wojciech Karolak, pianist Adam Makowicz and drummer Czeslaw Bartkowski. The music, all composed by Urbaniak, is simply out of this world, brilliant and fresh, absolutely resistant to the tides of time and fashion. In retrospect one can only regret that Fusion followed mostly the direction of flashy virtuosic display of neck-breaking guitar races rather than the direction proposed by Urbaniak's Fusion, but it's unfortunately too late now. At least we can savor this music, 40 years after it was recorded, well aged and beautifully eternal. A must!

Track listing: 1. Bengal (17:41); 2. Spokoj (3:32); 3. Lato (8:01); 4. Seresta (9:42); 5. Theme (3:04)

By Adam Baruch
www.adambaruch.com

Stanislaw Sojka – Blublula (Polish Jazz Vol.63, 1981)

Stanisław Soyka - vocals

Wojciech Karolak - piano, leader

Zbigniew Wegehaupt - bass
Czesław Bartkowski - drums

Blublula (Polish Jazz Vol.63, 1981)

This is the 2nd album by the excellent Polish Jazz vocalist Stanislaw Sojka, who dominated the male vocal spot on the local scene since the early 1980s and is still very much active today. Always in the gray area between Jazz, Gospel, Blues, Rhythm And Blues and even Pop, Sojka is a first rate interpreter and lately also composer. His live performances are legendary and his versatility is awe inspiring. This early album finds him in a superb company of top Polish Jazz players: pianist Wojciech Karolak, bassist Zbigniew Wegehaupt and veteran drummer Czeslaw Bartkowski, a fantastic trio by any standard. He performs eight Jazz standards, but performed with flare and outstanding originality, using scat singing, playing with words and other improvisational techniques. This is a breathtaking performance, from start to finish, which every Jazz fan should be exposed to at some point. An absolute must!

Track Listing: A1. I’m just a lucky so and so (D. Ellington – M. David); A2. Oh, What a Beautiful Morning (R. Rodgers – O. Hammerstein II); A3. Satin Doll (D. Ellington – J. Mercer); A4. Blue Monk (T. Monk – S. Sojka); B1. I’ve Known Rivers (G. Bartz – G. Bartz); B2. Doxy (S. Rollins); B3. Naima (J. Coltrane); B4. P.S. (All Blues) (M. Davis)

By Adam Baruch

http://adambaruch.com/