Lena Piękniewska - Coś Przyjdzie: Miłość Lub Wojna (2019)

Lena Piękniewska

Lena Piękniewska - vocal
Jacek Kita - piano
Michał Górczyński - clarinet, saxophone
Wojciech Pulcyn - double bass
Sebastian Frankiewicz - drums

Coś Przyjdzie: Miłość Lub Wojna

POLSKIE RADIO 2265

By Adam Baruch

This is a live recording at the Polish Radio of a wonderful Jazz & Poetry project by vocalist Lena Piękniewska and her quartet, which includes clarinetist/saxophonist Michał Górczyński, pianist Jacek Kita, bassist Wojciech Pulcyn and drummer Sebastian Frankiewicz. It presents ten songs composed by Paweł Skorupka with lyrics by Jewish/Polish poets, mostly children, who all bar one perished during the Holocaust. They were Abram Cytryn from Łódź, who died in Auschwitz at the age of seventeen, Zuzanna Ginczanka (real name Sara Ginzburg), who was executed in Kraków at the age of twenty seven, Janka Hescheles (today Janina Altman), who is the only survival now living in Israel and finally Abramek Koplowicz from Łódź, who died in Auschwitz at the age of fourteen. One poem is by an unknown author, found in Auschwitz after liberation. This project was premiered during the third edition of the Singer Jazz Festival (2016) in Warsaw, of which I am the Artistic Director.

It is impossible to describe the emotional upheaval involved in listening to this song cycle, especially to people like myself, who have a direct Holocaust involvement. Everything connected with the memory of the Holocaust, and in this case also Holocaust children, is always immeasurably painful and this is why when I was first introduced to this project I did not hide my skepticism. I am very happy to say that Skorupka, Piękniewska and her team managed to shatter my skepticism completely and when the music was over my eyes were full of tears but my heart was full of joy upon realizing that this project certainly does not trivialize the memory of the Holocaust victims and pays a loving tribute to the loss and the bitter destiny of Polish Jews, being an important document of times and souls lost but not forgotten, as well as the integration of Polish Jews in creating Polish Culture.

Of course this project can be also viewed on pure aesthetic ground, detached from its historic legacy. Skorupka composed truly beautiful melodies, full of the typical Polish Jazz melancholy, which suit the often extremely difficult lyrics absolutely ideally. The instrumentalists, some of Polish Jazz finest of course, stand up to the challenge with flying colors, as expected. Górczyński is the absolute star of the evening as his brilliant soloing expresses simply magnificently the anguish and suffering inherent in these songs, sometimes only indirectly, emphasizing the dichotomy between some of these poems and the circumstances in which they way created, which is often astounding and heartwrenching. And finally Piękniewska, with her delicate, as if reserved delivery, manages to create the magic atmosphere of this project. She beautifully eschews theatrics and unnecessary boastfulness, which might have hurt the essence, deciding to take the "less is more" path, with grace and elegance as well as full of deep emotion.

I would like to thank all the people involved in this project for creating such an important tribute to the tragedy and pointing towards hope. It is wonderful to see this project finally available on record, better late than never of course. This is an absolute must have for every Polish Jazz connoisseur and Jazz & Poetry lover, wherever they might be.

Wacław Zimpel To Tu Orchestra – Nature Moves (2014)

Wacław Zimpel To Tu Orchestra

Wacław Zimpel - clarinets
Paweł Postaremczak - saxophones
Dominik Strycharski - flutes
Jacek Kita - upright piano
Maciej Cierliński - hurdy-gurdy
Wojtek Traczyk - double bass
Mike Majkowski - double bass
Paweł Szpura - drums
Hubert Zemler - drums

Nature Moves

FOR TUNE 0036

By Adam Baruch

This is the debut album by Polish Jazz clarinetist / composer / bandleader Wacław Zimpel and his nonet called To Tu Orchestra (the name is probably a wink in the direction of the legendary Warsaw club Pardon, To Tu), which includes saxophonist Paweł Postaremczak, flautist Dominik Strycharski, hurdy-gurdy player Maciej Cierliński, pianist Jacek Kita, bassists Wojtek Traczyk and Mike Majkowski and drummers Paweł Szpura and Hubert Zemler. The album includes six original compositions, arranged into three mini suites, of one, three and two parts respectively.

The music is in many respects a continuation of Zimpel's earlier work with the group Hera, which combines elements of avant-garde, Jazz and contemporary Classical music with World Music from all over the world. The strongest influence on this album is minimal music pioneered decades earlier by Philip Glass, Steve Reich, Terry Riley and others, which Zimpel embraces, most evidently in the first of the three mini suites but in fact throughout the entire album. The repeated structures returning cyclically, typical in minimal music, which are normally produced by electronic or acoustic orchestral patterns, are created here by World Music patterns, like Balinese gamelan music, slowly changing and intensifying until they reach a massive sound, but do not reach an expected crescendo. Minimalism continues to be present in the rest of the compositions, simply changing the geographic colorization, using Japanese, Middle Eastern and other folkloristic influences.

Zimpel is undoubtedly a master of atmosphere and building tension, which accompany his earlier work as well, but come to a fruition and perfection on this album. The large ensemble allows him to "paint" much denser multilayered vistas, which move freely in the World Music universe. The music does not actually get into Jazzy improvisation until the very last piece on the album, so listeners anticipating that facet of Zimpel's music are in for a disappointment.

What emerges here is a new type of minimal music which amalgamates the earlier forms of minimalism with World Music, creating a World Minimal Music. Zimpel evidently had a great fun creating this music and it is also very listenable, but the fundamental question as to what Zimpel wanted to achieve remains open, at least in my case. I have not been overwhelmed neither by the aesthetics nor by the musical result, which after all simply states nihil novi sub sole. But it is very well done for sure!

Wacław Zimpel To Tu Orchestra - Nature Moves (2014)

Wacław Zimpel To Tu Orchestra

Wacław Zimpel - A, Bb & alto clarinets

Paweł Postaremczak - tenor & soprano saxophones

Dominik Strycharski - alto & tenor flutes

Jacek Kita - upright piano

Maciej Cierliński - hurdy-gurdy

Wojtek Traczyk - double bass

Mike Majkowski - double bass

Paweł Szpura - drums

Hubert Zemler - drums, metallophone

Nature Moves

FOR TUNE 0036

By Dirk Blasejezak

A small orchestra actually appears as a logical next step for Wacław Zimpel. For me he is one of the outstanding artists in Poland as I have already written in my review on "Stone Fog". And although that last one was a pleasure to listen to, it still did not completely convince me - but that's totally different here. I would describe "Nature Moves" as his masterpiece so far! Surely some fans of his projects like Hera or Undivided will not agree as here many traditional elements of (Free) Jazz are missing - or not so obvious. Instead, the whole album is more of a consistent composition whose title seems to fit quite perfectly. Therefore traditional jazz fans should be careful: It takes a lot of openness to approach this piece of work. In many parts it is more a reminiscence to minimalists such as Steve Reich or Terry Riley than to the american jazz tradition. But it seems as if those borders are at the moment extended very much, especially in contemporary Polish jazz. As an example the recently released album by Trzy Tony ("Efekt Księżyca", Requiem Records) might be cited. Personally, I like these transgressions very much.

As a listener you can expect long repetitive passages, just as known from minimalism. Impressive is the incredibly harmonious sound of the To To Orchestra though. Most of the musicians already know each other from previous projects, but nonetheless this harmony is an evidence of the huge dedication to the work. The backbone of the orchestra are the musicians of Hera (Paweł Postaremczak, Maciej Cierliński, Paweł Szpura and of course Wacław Zimpel). Wojtek Traczyk is known from his solo work but also through his bass playing in "The Light" - another project with Wacław Zimpel. Added to this is Jacek Kita, the pianist of one my favorite bands: Levity; and Dominik Strycharski, who just recently convinced with his play on Pulsarus. Hubert Zemler played in a variety of projects in the last years in which some of the here assembled musicians were involved too. Solely Mike Majkowski I only know from one collaboration with Mikołaj Trzaska ... But what's indeed amazing is that on these recordings Wacław Zimpel actually managed to combine those nine musicians into a uniform orchestral body to create a wonderful work of incredible harmony. That's also the reason why it's so difficult to tell something about the individual musicians - everyone seems to blend seamlessly into the collective.

For the impatient jazz fans I recommend track 3 ("Dry Landscape"), and the closing "Where The Prairie Meets The Mountains." Both pieces offer more traditional jazz elements than the other tracks on this album, while still not falling out of the line. For all other listeners I would absolutely recommend to listen to this album quietly in its entirety. The quietness is especially important. If you listen to this record on the side it might appear monotonous. The subtle nuances during the development of the individual pieces will become apparent only with due attention. But if you pay the attention it deserves to this album, you will be rewarded with a truly special listening experience.

There is one last thing I would like to say: I have deliberately avoided a comparison with "Alaman" as the approach is a completely different one here. I still mention it though, to point out that this is yet another outstanding example of a great intercourse with the "Big Band" that has become slightly dusty in recent decades. It’s in particular the differences between these two wonderful recordings that show what is possible with this ensemble! And even though I’m aware that it requires not only outstanding musicians and orchestra leaders, but that it's also a huge logistical challenge, I sincerely hope that more will dare follow this path!

Levity Trio & Toshinori Kondo - Chopin Shuffle (2010)

Levity Trio & Toshinori Kondo

Jacek Kita - fortepian, pianet, syntezatory, samplery

Piotr Domagalski - kontrabas, gitara basowa, szklanka, papier, odglosy paszcza
Jerzy Rogiewicz - perkusja
+
Toshinori Kondo - trabka elektryczna
Gaba Kulka - spiew (8)
Grzegorz Uzdanski - recytacja (9)
Raphael Roginski - gitara elektryczna (6)
Tomasz Duda - saksofon barytonowy (12-A, 10-B)

Chopin Shuffle (2010)

Levity is Jacek Kita (keyboards), Piotr Domagalski (basses) and Jerzy Rogiewicz (drums). They started playing together in 2005, when Kita and Rogiewicz met during their composition studies at Academy of Music in Krakow. Their debut, self titled album released in 2009 by buoyant label Lado ABC was exploring the boundaries of improvisation within the schemes of classical jazz song form. All pieces written by Levity, ranged from ethereal „scandinavian” sounding lyricism to complex, polytonal broken beats played with punk energy. 

Their second, double album „Chopin Shuffle” (Universal 2010) presented the band extending their sound with synthesisers, electric basses, effects, samples and top notch production. It is also a concept album with all the pieces based on Frederic Chopin’s cycle of 24 preludes op.28. A special guest on „Chopin Shuffle” is Toshinori Kondo – legendary Japanese avantgarde trumpet player. Moreover the album features Gabriela Kulka (vocals), Grzegorz Uzdanski (poetry), Raphael Roginski (guitar) and Tomasz Duda (baritone sax).

„On Chopin Shuffle a weel trained ear may hear politexturalism of John Zorn, Jamie Saft’s serenity, rhythmic combinations of Autechre and Aphex Twin, naivity of polish cartoons from the sixties, hardcore noise, gentleness of a good song. And Chopin? Not too much, but that’s the strenght of Levity – they made Chopin’s preludes they own pieces. „Shuffle” is the most adventurous up to date attempt of creative use of Chopins music.” 

Tracklisting: 

CD 1: 1. The Funniest Joke; 2. Canis Major; 3. Fashion Victims; 4. Ticking Love; 5. Kolberger; 6. Grave; 7. Riff?49 (Chant Of The Plants); 8. Sans Voix; 9. Cieplo; 10. Tempus Fungus; 11. Elephant Vs Lion; 12. 16 Tons?

CD 2: 1. Humans; 2. Keya; 3. Take Me To The Woods; 4. Hommage A Emil Zatopek; 5. A Miracle; 6. Mchy; 7. We Also Have Snow In Poland; 8. In C; 9. Hennessey; 10. Passacaglia - Animals; 11. Interludium; 12. Finale - Spirits

By Jacek Hawryluk
Polish Radio

Levity - Afternoon Delights (Lado ABC, 2011) by Stef Gijssels

Levity (band)

Jacek Kita - keys
Piotr Domagalski - bass
Jerzy Rogiewicz - drums

Afternoon Delights (Lado ABC, 2011)

Following on from Headbrain and Dorota posts one may ask the question ... is their much of interest to be found in the 'never mind the tune, watch my technique' jazz (Berkley, Banff, Conservatory) movement? Or maybe you're wondering whether Peter Brotzmann or Matts Gustafson could blow a little louder? Or should you just dig out a rock album and turn up the volume, then look no further 'Levity' is here!

As Headbrain and Dorota weren't really jazz albums (and who cares, if the music good and pushes at boundaries) this isn't a jazz album either. However Levity's previous albums were, although slightly left of center at that. The album confirms that this band is a restless searching unit, constantly looking for new takes on music.

This is Levity's 3rd album to date and a very nice one at that, an album with many elements coming together in a singularly mature way. 'Afternoon Delights' comes at you from all sides in a similar way that early Genesis or Pink Floyd albums did, touching on jazz but only it's elements. From the albums opening track 'Clap your hands, Pikku Myy', a prolonged intro to what you're about to hear (almost like Genesis' 'The Lamb lies down on Broadway'), to the closing 'Everyone survived', the music never stops. 'Clap your hands, Pikku Myy' also introduces you to the sound world you'll be visiting for the next 52 minutes, a slightly old sounding piano (later on synths, loops etc), heavy bass sounds, and drums that could be post-rock meets free-jazz! This very original mixture of beats and grooves, melodies and sound effects is quite unclassifiable, at times minimal and at others dense. Listeners of pure jazz should be wary (or embrace) the music which has little (if any) in the way of solos as such, however one can hear immediately the complexity of the music which seems to have a balance between planned and loosely improvised sections which constantly surprise.

You could comment on each individual track, but since the whole album seems (to me) to be composed and recorded as one, it makes little sense to deconstruct something that has been so carefully put together. Every possible angle is taken on this music from old sounding synths to hard rocking drums, trip-hop grooves, etherial floating ghost music, distorted bass melodies, and the occasional traditional - almost - piano trio, something which actually has to be heard to be believed.

Tags for this excellent album could be - Bad Plus meets Genesis meets Tortoise meets Deerhoof meets ... to name a few.

Levity is : Jack Kita (kbds), Piotr Domagalski (bass), Jerzy Rogiewicz (drms).

Buy from either (download) Bandcamp or (buy a hard copy at) Serpent.

Track listing: 01. Clap your hands, Pikku Myy; 02. Tak; 03. Little symphony no.2; 04. La vitesse; 05. i; 06. Przygoda w garażu; 07. ii; 08. Over the rainbow; 09. Komunia; 10. Slightly different otherness; 11. Wrzesień; 12. Everyone survived

By Stef Gijssels
http://freejazz-stef.blogspot.com/

Levity - Afternoon Delights (Lado ABC, 2011) by Maciej Nowotny

Levity (band)

Jacek Kita - keys
Piotr Domagalski - bass
Jerzy Rogiewicz - drums

Afternoon Delights (Lado ABC, 2011)

Stop crying. Stop shouting. Stop yelling at me. That jazz is dead. I hate this kind of bullshit! It only has changed. Faster than you or me, that's true. It doesn't remind Miles music. Coltrane music. Coleman music. Monk music. It has evolved into new language. Reflecting our times. Our problems. Our reality. Are you ready for a test? In my hands I have two pills - blue and red - and it is for you to decide whether you want to stay in jazz as it was devised 100 years ago in New Orlean or you want to wake up to new music? It may be unpleasant, rough, coarse and very different from what you already know but it is as fresh, authentic and genuine as jazz we used to love for so many years...

For example it may sound like music on newest Levity album titled 'Afternoon Delights'. It all started almost too conventional with their debut recording 'Levity' in 2005 which spoke in jazz trio language rooted in tradition of Bill Evans, Keith Jarrett and Brad Mehldau legendary combos. But already on that first disc something was not exactly right... notes were going slightly mad... spiraling away like rebelling snowflakes going not only down but in all possible directions. Yeah, that was cool but at the same time weird and... fascinating, beautiful! This process deepened on their next album 'Chopin Shuffle' when they somehow managed to decompose Chopin without falling into trap of being either too obvious or too detached from it. But their latest disc is by far the best of all these albums. Why? Because it retains lightness of their first album with innovative approach of second while retaining this unmistikable feature of slight madness present in all recordings by Jacek Kita (keys), Piotr Domagalski (bass) and Jerzy Rogiewicz (drums). It is as much ambitious as accessible, as much appealing to ageing connoisseur as to novice, speaking shortly: it is very, very good disc and our NEW ALBUM OF THE MONTH!!! 

Unofficial video to song "Clap Your Hands Pikku My" from "Afternoon Delights":

Clap your hands Pikku My (unofficial) from kasai on Vimeo.

Author: Maciej Nowotny

http://kochamjazz.blox.pl/html

Levity - Levity (2009)

Levity - rarely the name of the band so well reflects the music it plays: gracious, light-hearted, joyful! While most of Polish jazz trios imitate Bill Evans, Keith Jarrett, Esbjorn Svensson or Brad Mehladau, Levity takes a little from each of them but manages to sound completely fresh and original. How it is possible? 

The explanation may be such that the rhythm is treated here as in electronically inspired dance music. In order to enliven it it's played acoustically and by very exquisite musicians who blend it with typical human unpredictability. All this nuances are decorated by a set of vamp melodies making meal in this pot very tasty indeed.

Who is responsible for making this delicious music? Jacek Kita plays on piano, his phrasing unpretentious and melodious and Piotr Domagalski on double bass, creates bass line as deep that it seems it's infrared and will start shine red in darkness. But man of the day is Jerzy Rogiewicz, whom we know well from such splendid recordings as Pink Freud's "Monster Of Jazz", whose play on drums reminds me Hawaiian big waves as it is equally powerful yet allowing his partners magnificent rides.

All in all, this is definitely recommendable disc, very interesting debut indeed...

PS. Let me also pay tribute to Polish Lado ABC record company for issuing yet another excellent album!

PS2. More music from Levity: http://www.myspace.com/levitytrio/music/songs/yakuza-37505977

Please, listen to 3rd tune on the album titled "Rotwang", in concert version:

Author: Maciej Nowotny

http://kochamjazz.blox.pl/html