Kusiołek / Czekanowa / Postaremczak / Nowara - Qui Pro Quo (2015)

Kusiołek / Czekanowa / Postaremczak / Nowara

Robert Kusiołek - accordion, bandoneon
Elena Czekanowa - piano, sound effects
Paweł Postaremczak - tenor & soprano saxophones
Grzegorz Nowara - bass & contrabass tubas

Qui Pro Quo

MPC003

By Michał Pudło

Zastosowanie akordeonu (tudzież harmonium, bandoneonu, bajanu i innych „klawiszo-miechów”) w muzyce „złożonej” kojarzyło mi się dotychczas głównie ze współczesną muzyką klasyczną, kompozycjami Sofii Gubaiduliny i Franza Constanta. Jeżeli interesują was choć trochę „atonalne dreszczowce”, to polecam gorąco wymienioną parę. Partytury Gubaiduliny wyróżniają się spośród innych post-serialistycznych rzeczy zapałem, natchnieniem i rozmachem (co bodajże jest efektem gorliwej wiary kompozytorki). Proszę mi oddać przysługę i posłuchać jej kameralnego „In croce” czy „De profundis” na bajan solo. Constant z kolei eksperymentował z akordeonem, wystawiając ten instrument na czoło orkiestry symfonicznej w swoim kapitalnym „Concerto [na wymieniony skład]”. W nurcie improwizacji nie spotykamy wielu akordeonistów, dlatego cieszy obecność Roberta Kusiołka i jego wybory artystyczne.

Na „Qui Pro Quo” słyszymy (poza wspomnianym akordeonem) również fortepian, tubę i saksofon. Na ostatnim z wymienionych instrumentów Paweł Postaremczak gra z niespotykaną finezją, w stylu znanym z jego albumu „Affinity” z 2012 roku (trio z Ksawerym Wójcińskim i Klausem Kugelem). Ale istota rzeczy tkwi raczej w połączeniu barw i brzmień, niż w umiejętnościach pojedynczych muzyków. Bliżej kwartetowi do obrazowej muzyki awangardowej niż do jazzu czy improwizacji.

Przechodząc jednak do sedna, czyli do „Qui Pro Quo”: materiał brzmi zaskakująco i piszę to z czystym sumieniem. W pierwszej kolejności uderza melodyjność. Wspaniała melodyjność zbudowana na piekielnie nietypowych taktykach wykonawczych. Żaden członek/członkini kwartetu nie gra w sposób, który zaakceptowaliby konserwatywni słuchacze, a jednocześnie muzyka zamiast traumatyzować i wzburzać, emanuje harmonią. Wędruje z nami leśną knieją, trzymając czule za rękę. Okazjonalnie zdarzają się momenty ekspresyjne, jak np. w „Act III”, ale już w „Act IV” kwartet rozwija na bazie figlarnego saksofonu i kroczącego akordeonu kolejną przygodę fabularną. Elena Czekanowa gra pasjonujące melodie, uruchamiając zarówno klawiaturę, jak i strunowe bebechy fortepianu, a Grzegorz Nowara, cóż, doskonale dynamizuje muzykę niskimi rejestrami tuby. Całość obywa się bez basu i perkusji. Wniosek jest prosty: to wielowymiarowa muzyka dla odważnych słuchaczy.

Perry Robinson / Christian Ramond / Klaus Kugel / Robert Kusiolek - The Universe (2014) ****

Perry Robinson / Christian Ramond / Klaus Kugel / Robert Kusiolek

Perry Robinson - clarinet
Robert Kusiolek - accordion
Christian Ramond - double bass
Klaus Kugel - drums

The Universe (2014)



By Maciej Nowotny

Ever since his debut "Nuntium" (2011) I look forward for any recording by the accordionist Robert Kusiołek. In Poland there is no voice like his as he uses accordion creating music verging between the pure sonorostic experiment, contemporary classics and jazz. That is perhaps why, though being very original artist indeed, he remains rather unrecognized in our country: he is simply too difficult to put in any definite category. Unfortunately the public, and even more critics, loath music and musicians evading well-known labels. Yet please trust me if in music you feel inclined on taking "the roads less traveled" you will find this record very rewarding.

As on his first album Kusiołek leads the band consisting of four musicians: Klaus Kugel on drums, Christian Ramond on bass (replacing Ksawery Wójciński) and - very important change - Perry Robinson on clarinet instead of violinist Anton Sjarov. The music itself is clearly a continuation of what we could find on "Nuntium" but Robinson's clarinet changes thoroughly the sound of this ensamble. He does not need to be introduced as he is one of the leading American clarinetists for over half a century. But it should be underlined that he managed to fit perfectly into Kusiołek's ideas. Their dialogues supported by such a creative and technically proficient rhythm section as Kugel and Ramond well justify not one or two but many rehearsals of this album as there is plenty here to discover.

What I like most in Kusiołek's music is "the space". I believe only few musicians know how to use silence to provide their music with more breathing space, to add to it new dimension, a distant horizon. I speak through metaphors but I hope that those of you who are attentive listeners will understand. This "space" element is captured during live recordings what is as much impressive as necessary to avoid this music being too cold and sterile. Contrary to that although it remains somehow otherworldly yet it is very direct. A significant achievement!

Robert Kusiołek - Nuntium (2011) by Stephan Moore

Robert Kusiolek (accordion, electronics)
Anton Sjarov (violin)
Ksawery Wojcinski (bass)
Klaus Kugel (drums)

Multikulti Project (2011)

Courtesy of JazzWrap we we able to to post this very interesting review of one of the most intruiging issues in Polish avantjazz this year: 

Another big thank you to the excellent Polish Jazz blog for turning me on to another emerging artist on the global scene. Nestled somewhere between the works of Kronos Quartet and ECM's "New Series" lies this rewarding and inventive piece of modernism by accordionist, Robert Kusiolek.

Obvious Astor Piazzolla comparisons would arise when listening to a piece composed by an accordionist but let's truly take Kusitolek's Nuntium debut on its own merits. Kusiolek is a well studied and uniquely gifted musician, composer and improviser.

Combining a classical tradition with avant garde aesthetics his quartet build a deeply melodic but emotional responsive album built on seven "chapters". Each chapter finds the group experimenting with different sound structures that are beautifully executed and set a lovely and relaxed mood. "Chapter III" and "Chapter VII" both present an exploratory vision of Kusiolek's thoughts as a composer he's combination of chamber music and minimalism wrapped in long verses and tightly interwoven storytelling.

Both Sjarov and Wojcinski shine in a dueling interchanges with Kusiolek on "Chapter V" which moves up and down in pace. Sjarov adds that free jazz movement in his subtle but highly effective basslines. "Chapter V" really is where the group lets loose in dramatic fashion with Kugel and Kusiolek ripping through chords with reckless abandon. "Chapter VI" brings things to bit of a more level tone but still with a sense of freedom and adventure led by some fine improvisation by Kusiolek and Sjarov.

Moving through various themes and patterns in just under 50 minutes, Nuntium is relaxing, thought-provoking and beautiful. In the same manner in which Kronos Quartet have been destroying the thoughts of classical music for decades, Robert Kusiolek's arrive shows that there are more musicians thinking how modernism can continue move upward and beyond. Nuntium may not be every one's cup of tea but if you are a fan of avant garde and improvised chamber music, Robert Kusiolek has created brilliant work that is a serious must listen.



Author of text: Stephan Moore (JazzWrap)

Robert Kusiołek - Nuntium (2011) by Maciej Nowotny

Of all kinds of avantgarde, minimalistic approach appeals to me the least, but this album proves that with great music even such a skeptic as I am could be convinced. The main actor on this recording is silence: all sounds produced by musicians are only intended to underline silence inner energy and its power to transcend. I remember from school Latin proverb: "Ne nuntium necare" which translates into English "Don't kill messanger". Therefore I assume that title of the album points out towards musicians and message they want to deliver to audience. Let me then ask: who are those modern era "jazz messengers"?

Robert Kusiołek was up-to-this-moment a figure completely unknown to me: he graduated from Poznań Music Academy and is now studying in Hannover Music Scholl in prof. Elsbeth Moser class. He is accordionist and composer focused mostly on modern chamber music but on this album his musical ideas do fit very well with those of avantgarde jazz. The latter are represented by Wójcinski, the double bass player, who is one of the the brightest stars on Polish free jazz scene, collaborating already with Wacław Zimpel or  Mikołaj Trzaska, and Klaus Kugel, a German drummer whose filigree and delicate style is perfect complement for general mood of this music. Finally on violin Bulgarian Anton Sjarov appears, who is young musician with excellent classical music background, but open to experimental music whose play saturates music on this album with the sound of utmost refine and beauty.

Summarizing, this is deep and challenging album containing highly original jazz message from great players indeed. Essential position in Polish jazz catalogue of year 2011 and perhaps one of first contenders for album of the year title.

Let me also add that it is another great issue from Multikulti after last year "Hera" and "Passion" which makes them one of the most significant labels in Polish jazz along with Not Two Records.

  

Author: Maciej Nowotny

http://kochamjazz.blox.pl/html