Piotr Damasiewicz & Power Of The Horns Ensemble - Polska (2019)

Piotr Damasiewicz & Power Of The Horns Ensemble

Piotr Damasiewicz - trumpet
Maciej Obara - alto saxophone
Gerard Lebik - tenor saxophone
Adam Pindur - soprano saxophone
Paweł Niewiadomski - trombone
Dominik Wania - piano
Ksawery Wójciński - double bass


Jakub Cywiński - double bass
Samuel Hall - drums

Polska

ASTIGMATIC 011

By Adam Baruch

This is the second album by Polish trumpeter/composer Piotr Damasiewicz and his Power Of The Horns Ensemble and their first studio recording. It features a nonet version of the ensemble which also includes saxophonists Maciej Obara, Adam Pindur and Gerard Lebik, trombonist Paweł Niewiadomski, pianist Dominik Wania, bassists Ksawery Wójciński and Jakub Cywiński and Australian born drummer Samuel Hall. The album presents four (one in two parts) original compositions, all by Damasiewicz.

The debut album "Alaman", recorded live in 2012 (i.e. six years earlier), was the first release of the now legendary For Tune Records label, and created quite a stir at the time. It was recorded by an eleven-piece version of the ensemble, which included only five of the musicians present on this new recording and presented just three expanded tracks, characterized by extensive improvisations. The raw power of the horns and super-sized rhythm section combined with the youthful excitement associated with the occasion managed to create some magic moments, which the recording certainly reflected, but which did not prove to have a long-lasting value. In retrospect the status of "…one of the most captivating albums in the history of Polish jazz…" is certainly a hype rather that an objective statement.

The new album is a complete about face and presents perfectly well-behaved, modern mainstream Jazz, with smooth performances but limited level of enthusiasm. Of course this is a perfectly legitimate approach; considering the time that passed since the debut; maturity, age and experience certainly have their influence. Yet Damasiewicz seems to cling to the past by including on this album older material, like the title tune which originates from 2014 and even one composition already presented on the debut, which perhaps indicates a shortage of new material. But regardless of the past connections, the music on this album is based on rather basic melodic elements, repeated continuously with little variations, except for the ensemble dynamics. The "wall of sound" approach of the debut is now replaced by a more chamber like approach typical of Polish Jazz from the 1960s, and a retro sound and ambience.

Damasiewicz dedicates the compositions on the album to the Godfathers of Polish Jazz: Krzysztof Komeda, Tomasz Stańko and Tomasz Szukalski and to his teacher Piotr Wojtasik, all of whom obviously influenced his musical path, which is well reflected within the music on this album, and which, as already stated, often ventures into the climates invented and developed by his Mentors and which characterize Polish Jazz or at least its early days. The album's title seems to suggest that the music on this album is the continuation of that magic "Polishness" that Polish Jazz offers at its core; a daring statement by all means, which will be judged by history alone.

The individual performances by the leader and the ensemble members are, as expected, highly professional, but if not for the excellent, as always, contributions by Wania, who in the period separating these two recordings made one giant step after another, the music would have became almost banal, a déjà vu of sorts. Considering the astonishing level of the musicianship on the Polish Jazz scene, something more spectacular would have been needed in this music to become "…sublime and unique…". The album's liner notes, from which all the above quotes are taken, is fascinating, full of hints, allegories and references - definitely worth reading!

Piotr Damasiewicz Quintet - Tribute To Szakal - trasa

Loft 5R / Gliwice 29.05

Geneza / Katowice 30.05

Piec Art / Kraków 31.05

Piec Art / Kraków 1.06

Vertigo / Wrocław 2.06

Apropos / Wałbrzych 3.06

Metrum Jazz / Bielsko Biała 4.06

Zespół zadebiutował 30 lipca 2015 z okazji „Wieczoru Szakala”. Był to koncert upamiętniający legendarnego saksofonistę Tomasza Szukalskiego który odbył się w Łodzi na festiwalu „Letnia Akademia Jazzu”. Tego wieczoru, oddając hołd Szukalskiemu, wystąpiły dwie formacje – kwintet Piotra Damasiewicza i kwartet Tomasza Stańki. Muzyka jaką prezentuje Damasiewicz wraz z zespołem odnosi się nie tylko do postaci wielkiego mistrza, ale w dużej mierze do czasów, w których saksofonista współtworzył najlepsze lata polskiej sceny jazzowej. W związku z tym w repertuarze zespołu oprócz utworów wykonywanych kiedyś przez Szukalskiego, znajdują się także utrzymane w założonej stylistyce kompozycje Piotra Damasiewicza i Gerarda Lebika.

Piotr Damasiewicz Quintet został zaproszony do Stanów Zjednoczonych, gdzie pod koniec czerwca tego roku zagra krótką trasę koncertową. Przed wylotem muzycy planują koncerty w wybranych miastach naszego kraju. Kwintet prezentuje muzyczny dialog wypracowany na przestrzeni 15 lat znajomości, dwóch niepodrabialnych postaci współczesnej sceny muzycznej – Damasiewicza i Lebika. Przez ten czas artyści zdobyli bogate doświadczenie podczas ponad stu wspólnych koncertów, wielu sesji nagraniowych, kilku albumów i pracy konceptualnej nad rozwojem artystycznym, w którym wykształcili indywidualny język improwizacji, jaki jest niepowtarzalną i niezapisywalną częścią ich muzyki.

Nowy kwintet to także okazja, by niektóre z utworów, które powstawały w latach przepełnionych inspiracjami jazzowymi mogły być przypomniane lub usłyszane po raz pierwszy przez szerszą publiczność. W tym kompozycje takie jak m.in. „Zarys Szczęścia” (utwór ten w oparciu o wspólną m.in z Lebikiem rejestrację studia nagraniowego Akademii Muzycznej we Wrocławiu zdobył II nagrodę na konkursie kompozytorskim im. Krzysztofa Komedy) oraz „God's Will”, który został wydany na wysoko ocenionym przez krytyków albumie „Mnemotaksja” w 2014 r. Są to utwory wskazujące kierunek w jakim rozwijała się estetyczna wrażliwość muzyków, którzy w tej chwili działają nie tylko w granicach muzyki jazzowej. Ponadto bardzo ważnym elementem dotyczącym nowego projektu „Tribute to Szakal” jest fakt, iż Lebik jako saksofonista tenorowy postrzegany jest w znaczącej części polskiego środowiska jazzowego, jako rozwijający kontynuator wzorca frazy i brzmienia wybitnego saksofonisty Tomasza Szukalskiego.

Piotr Damasiewicz - trąbka
Gerard Lebik - saksofon
Artur Tuźnik - fortepian
Max Mucha - kontrabas
Krzysztof Dziedzic - perkusja

Piotr Damasiewicz

Trębacz i kompozytor. Reprezentant Polski w międzynarodowych platformach Take Five Europe i Jazz Plays Europe. Jest laureatem nagrody fonograficznej Fryderyk 2013, nagrody Warto 2012 przyznawanej przez Gazetę Wyborczą, Nagrody Muzycznej Wrocławia 2013, oraz konkursu kompozytorskiego im. Krzysztofa Komedy. Muzyk Roku 2013 według rankingu Polish Jazz Blogspot. Jego płyty od kilku lat są w ścisłej czołówce wydawniczej w Polsce. Jest liderem dwóch europejskich platform muzycznych: Art Meetings i Melting Pot Laboratory, gdzie rozwija idee otwartej improwizacji w zetknięciu się z innymi dziedzinami sztuki. W swojej twórczości sięga do języka jazzu, XX wiecznej muzyki klasycznej, muzyki najnowszej, w tym europejskiej muzyki improwizowanej. Damasiewicz ma okazję prezentować swoją twórczość zarówno w swoich autorskich projektach: Power Of The Horns, Mnemotaksja, Hadrons, ImproGraphic, jak i w tych, których jest współautorem: VeNN Circles, Red Trio Quintet, Art Escape Quintet. Ponadto jest autorem muzyki do spektakli teatralnych, ścieżki dźwiękowej do filmu "Zapach Lwowa", oraz współkompozytorem jazzowego hymnu europejskiego na 25-lecie organizacji European Jazz Network.

Gerard Lebik

Gerard Lebik ­ muzyk, artysta dźwiękowy mieszkający we Wrocławiu. Tworzy na polu muzyki improwizowanej, eksperymentalnej i intermedialnej. Jest autorem instalacji i interwencji dźwiękowych. Tworzy dźwięk i muzykę przez improwizację, notację muzyczną  oraz manipulowanie materiałem dźwiękowym używając media akustyczne i elektroniczne. Poszukuje na polu fenomenów audybilnych używając różnych narzędzi i technik: saksofony, generatory fal zopan, kompresory powietrza, magnetowidy VHS, obiekty video, software. W 2007 ukończył Wrocławską Akademię Muzyczną na Wydziale Jazzu.

Artur Tuźnik

Artur Tuźnik zadebiutował na międzynarodowej scenie jazzowej albumem ''Quintet'' z jego Licak Quintet feat. Anders Mogensen, nakładem duńskiej wytwórni BlackOut w 2011 roku. Płyta została doskonale przyjęta przez krytykę jako “excellent contemporary record and real must listen'', a sam Artur był opisywany jako ''niezwykle utalentowany improwizator'' i „wybitny solista”. W różnych projektach Tuźnik dzielił scenę z artystami takimi jak Tomasz Stańko, Jeremy Pelt, Anders Christensen, Jakob Høyer, Maciej Obara, Tomas Franck, Alex Riel, Jesper Lundgaard, Richard Andersson, Anders Mogensen, Andreas Lang, Nils Davidsen i wielu innych. Z zespołami pod swoim nazwiskiem, jest laureatem Grand Prix na międzynarodowych konkursach m.in w Hoeilaart (Belgia), Almeria (Hiszpania) Jazz Nad Odrą, Bielska Zadymka Jazzowa, czy Blue Note Poznań Competition. Był również nagradzany jako najlepszy instrumentalista na konkursach B-Jazz Burghausen (Niemcy), Getxo Jazz (Hiszpania) oraz na Konkursie Improwizacji Jazzowej w Katowicach. 

Max Mucha

Urodzony w 1989 w Częstochowie. W roku 2008 ukończył Państwowe Liceum Muzyczne im. Marcina Józefa Żebrowskiego w Częstochowie. W tym samym roku rozpoczął studia w Instytucie Jazzu Akademii Muzycznej w Katowicach, ukończone w roku 2013, następnie studiował w Jazz Institut Berlin w klasie Grega Cohena. Współpracuje z takimi artystami jak: Dominik Wania, Maciej Obara, Sławek Jaskułke, Logan Richardson, Philipp Gropper, Ronny Graupe, Elias Stemeseder. Występował m.in. z Januszem Muniakiem, Tomaszem Stańko, Adamem Pierończykiem czy Piotrem Wojtasikiem. Wybrane nagrody indywidualne i zespołowe: Indywidualna nagroda dla największego talentu festiwalu na International Tarnów Jazz Contest 2009 oraz 2010, również Grand Prix tego festiwalu z zespołem Jarek Bothur Quartet w 2009 roku, Grand Prix XXXIV Festiwalu Jazz Juniors w Krakowie w roku 2010 z zespołem Jarek Bothur Quartet, I miejsce na festiwalu Jazz Hoeilaart 2013 (Belgia) z zepołem Artur Tuźnik Trio, Indywidualna nagroda dla najlepszego basisty na tym samym festiwalu. I miejsce na festiwalu ClasiJazz Almeria 2014 (Hiszpania) z zespołem Artur Tuźnik Trio.

Krzysztof Dziedzic

Czołowy polski perkusista jazzowy. Urodzony w 1975 r. w Bielsku-Białej. Wielokrotny laureat konkursów jazzowych m.in: Jazz Juniors 93', 94', 97', Pomorska Jesień Jazzowa 97', Jazz nad Odrą 97' - wyróżnienie indywidualne. Występował z czołówką polskich i światowych muzyków jazzowych. Do najważniejszych z którymi współpracował i nagrywał należy wymienić: Piotr Wojtasik - albumy „Quest” i „Escape”, Kwartet Janusza Muniaka, Tomasz Szukalski, Tomasz Szukalski-Twist Band, trio Wojciecha Karolaka, kwintet Zbigniewa Namysłowskiego, Sławomir Jaskółke Trio-albumy „Sugarfree”, „On” i ''Fill The Philharmonics'', zespół Henryka Miśkiewicza-albumy „Full Drive” i „Full Drive 2”, Adam Pierończyk-albumy ''Busem po Sau Paulo'', ''Live in Berlin” i „Adam Pierończyk Trio”, Jarosław Śmietana -''What's going on?'', Wojciech Majewski - “Opowieść”, Nigel Kennedy-albumy dla wytwórni EMI:„ Shhh” i "The best of Nigel Kennedy”. Koncertował w największych i najbardziej prestiżowych salach i festiwalach na świecie takich jak Sydney Opera House, Royal Albert Hall-Londyn, North See Jazz Festival, Jazz Jambore, czy Warsaw Summer Jazz Days, ponadto niemal we wszystkich krajach europejskich, a także w Japonii, Chinach, Brazylii, Izraelu, Malezji i USA. 

Piotr Damasiewicz Quartet - Mnemotaksja (2014)

Piotr Damasiewicz - trumpet
Gerard Lebik - tenor saxophone, contralto clarinet
Maciej Garbowski - double bass
Wojciech Romanowski - drums

FOR TUNE 0028






By Adam Baruch

This is the debut album by the Polish Jazz quartet led by trumpeter / composer Piotr Damasiewicz, which also includes saxophonist Gerard Lebik, bassist Maciej Garbowski and drummer Wojciech Romanowski. The music was conceived and created around 2008 / 2009, when the quartet played and rehearsed inside the Baptist Church in the center of Wroclaw, and where it was also eventually recorded live but without audience. It was available as an obscure private edition in a CD-R version and finally got its long overdue formal release, after a careful remix and sonic improvement by the excellent For Tune label. The album consists of ten original compositions, nine of which are by Damasiewicz and one by Garbowski.

There is no doubt that Damasiewicz manages to establish a well deserved position as one of the top young Polish Jazz trumpeters on the contemporary scene, which is not by any means self-understandable considering the truly fierce competition and incredible flow of talent in that area. It is worth to compare this album with the trio recording Garbowski and Damasiewicz made at about the same time, called "Elements", which to some extent has a similar atmosphere.

Stylistically the album sounds quite "retro", resembling the glorious moments when modern Polish Jazz was at the first peak of its aesthetic and artistic development, led by the Godfathers of the genre like Krzysztof Komeda, Tomasz Stanko and others. The compositions are very much in the same mood as the music played then: romantic, minimalistic, delicate and full of lyricism and intrinsic melancholy. The same elements that made that music created half a Century ago completely eternal and outside of the time scale, are at work here as well. This music might have been made any time between the 1960s and now and would have fitted perfectly, being simply aloof from fads and fashions.

The performances are also exceptional in every respect, both individually and collectively. Everything is kept in a relaxed, but disciplined mode, with conversation between the musicians being kept at the epicenter. The solos are inconspicuous, emerging slowly from the melodic heads, gently prompted by the superb rhythm section, which demonstrates an incredible affinity towards the music at all times, being as much creative as the two horns every step of the way. Garbowski has already an established record as one of the leading Polish Jazz bassists, but Romanowski, who also cooperates with another superb Polish Jazz trumpeter, Artur Majewski, is a true discovery herein.

Overall this is definitely one of the strongest and most significant statements on the Polish Jazz scene in the last decade, even though Damasiewicz has moved on in the meantime towards more improvised music beyond any stylistic conventions. Even if this album should remain as his only contribution to modern Polish Jazz in the true sense of the Jazz tradition, it will still be a remarkable achievement. This is also one of the most remarkable albums in the fast growing catalogue of the For Tune label, certainly from a historic perspective. Undoubtedly this is an album every true connoisseur of Jazz will cherish in his collection and return to repeatedly.

RED Trio feat. Lebik & Damasiewicz - trasa !!!

Wrocław – 14 kwietnia, klub Firlej, godz. 19:00
Kraków – 15 kwietnia, klub Alchemia, godz. 20:00
Warszawa – 16 kwietnia, Klub Kultury Saska Kępa, godz. 19:00

Przedstawiciele sceny muzyki improwizowanej najwyższych lotów odwiedzają Polskę coraz częściej. Najciekawsi muzycy, największe gwiazdy i doskonałe dźwięki to zjawiska do jakich powoli zaczynamy się przyzwyczajać. Tym razem na trzy koncerty przylatuje skład niezwykły, bo stworzony z dala od Chicago, z dala od Skandynawii... Nietypowe spojrzenie na współczesną muzykę improwizowaną z korzeniem jazzowym prezentowane przez najciekawszych europejskich muzyków – portugalskie Red Trio już niedługo ukaże się fanom we Wrocławiu, Krakowie i Warszawie. Występy w naszym kraju, budzą dodatkową ciekawość z powodu spotkania gwiazd (Hernani Faustino, Rodrigo Pinherio i Gabriel Ferrandini) z wielkimi osobowościami polskiej sceny jazzowej. Będzie to kreacja kwintetu z udziałem polskich artystów, Piotra Damasiewicza oraz Gerarda Lebika. Jak zabrzmi taki zestaw? To dopiero gratka dla wielbicieli muzyki improwizowanej, będzie się działo!

Red Trio to zespół trzech lizbońskich muzyków: Hernani Faustino, Rodrigo Pinherio i Gabriel Ferrandini. Ta trójka to reprezentacja czołówki niezwykle silnej portugalskiej sceny muzyki improwizowanej. Zespół przedstawia wielotorowe podejście do muzyki i jej kreowania przez improwizację. Dźwięki tworzone przez Red Trio nazywane są free jazzem, jednak sami muzycy starają się uciekać od szufladkowych definicji własnej sztuki. Formacja eksploruje najbardziej płodne zestawienie jazzowego tria, czyli połączenie fortepianu, kontrabasu i perkusji. Jednak idea z reguły uprzywilejowanego fortepianu obsługiwanego przez sekcję, ustępuje tu miejsca trzem graczom będącym na równych pozycjach, którzy podejmują próbę symbiotycznej i interaktywnej improwizacji pomiędzy sobą, kreując przestrzeń, w której barwa i rytm spajają się w całość.

Red Trio nagrywa dla renomowanych wytwórni płytowych, takich jak Clean Feed i No Business, koncertując na całym świecie, będąc gościem prestiżowych festiwali i sal koncertowych. Zespół ma na swoim koncie docenione przez krytyków z całego globu nagrania (m.in. z Natem Wooleyem i Johnem Butcherem). Album „Empire” nagrany z Johnem Butcherem otrzymał tytuł Płyty Roku (Album Of The Year) wg. najbardziej opiniotwórczego światowego portalu jazzowego (All About Jazz). Zespół obecnie promuje swoją najnowszą płytę „Rebento” wydaną przez prestiżową oficynę No Business.

Tym razem Red Trio zaprosiło do współpracy wyróżniających się na polskiej scenie artystów – trębacza Piotra Damasiewicza oraz saksofonistę Gerarda Lebika. Połączyła ich wspólna pasja do kreowania nowych zdarzeń muzycznych poprzez stawianie artystycznych wyzwań. Z każdym z muzyków Piotr Damasiewicz i Gerard Lebik występowali już w różnych konstelacjach. Z Rodrigo Pinheiro i Hernani Faustino mieli okazję poznać się podczas pobytów w Portugalii, gdzie zagrali okazjonalne koncerty i zarejestrowali sesje nagraniowe. Współpraca z Gabrielem Ferrandinim od dwóch lat jest dużo mocniejsza. Damasiewicz i Lebik współtworzą z perkusistą formacje Power Of The Horns oraz ImproGraphic.

Piotr Damasiewicz Project - Imprographic 1 (2013)

Piotr Damasiewicz - trumpet
Gerard Lebik - saxophone
Jakub Mielcarek - bass
Gabriel Ferrandini - drums

FOR TUNE 0006







By Adam Baruch

This double CD album captures live performances by the quartet called Piotr Damasiewicz Project, led by Polish Jazz trumpeter Piotr Damasiewicz, with saxophonist Gerard Lebik, bassist Jakub Mielcarek (both members of the Polish ensemble Erase) and Portuguese drummer Gabriel Ferrandini. The music was recorded over a short period of just six days during the quartet's performances in three clubs, each in a different Polish city. All the music is spontaneously improvised and is credited to all the quartet members.

Stylistically the music belongs to the gray area between spontaneous Improvised Music, Free Jazz and contemporary Avant-garde. The concept of using graphic notations instead of notes, as the basic directions upon which the improvisations are based, is of course quite old and was pioneered decades ago by such Jazz icons as Anthony Braxton as well as several contemporary Classical composers.

Although Damasiewicz and his colleagues are obviously very talented musicians, this music leaves me stone cold. Having been listening to this kind of music for the last fifty years, I don't find any substance here, which justifies listening to this music for over two hours; there is no real innovation, no fire that I can feel, no concept except for total freedom. Even the collective improvisation is quite limited, as the two soloists rarely play together and the rhythm section contributes very little to the overall result. Of course there are some great moments, but overall this is not going anywhere as far as I can hear. There are some differences between the music on the first and on the second CD of this set, with the latter being definitely more engaging to the listener, but still it was mostly a déjà vu of music heard many times before. Although the liner notes hint towards such legendary sources of influence as the British Spontaneous Music Ensemble, or Peter Brötzmann's Machine Gun and other European improvising ensembles, honestly I fail to see the parallels here.

Of course this kind of music deserves to be documented and kudos to the For Tune label for including it in its catalogue. Hardcore Avant-garde fans will definitely find this interesting, as this kind of music is certainly quite rare these days.

Erase – New And Old Dreams (2013) ***1/2

Gerard Lebik - tenor saxophone
Max Mucha - bass
Jakub Mielcarek - bass
Michal Trela - drums

FOR TUNE 0014







By Adam Baruch

This is the debut album by Polish Jazz quartet Erase, which consists of saxophonist Gerard Lebik, bassists Max Mucha and Jakub Mielcarek and drummer Michal Trela. The album presents a live recording at Warsaw's Pardon To Tu club, which in the last few years managed to establish an honorary position as the home of the avant-garde scene in the country's Capital. The quartet performs five completely improvised pieces attributed to all the four musicians.

The quartet presents music, which is naturally associated with the mid 1960s, when Free Jazz was at its artistic peak and musicians like Albert Ayler, John Coltrane, Eric Dolphy and others bravely broke the ties with Jazz conventions and stepped into uncharted territory to expand the Art Form beyond the known boundaries. However, keeping in mind that all this happened fifty years ago, playing Free Jazz today lost much of its originality, especially in view of the fact that its true pioneers are all dead by now.

On the other hand, bands like Erase are needed today to shake up the somewhat stagnant Jazz scene, which often gravitates towards the dreaded retrograde mainstream. Therefore this total and uncompromising music is a welcome wake up call in that respect. Of course Erase has a lot to say on its own account, with the drenched saxophone wall-of-sound effect and the double bass lines and intensive drumming. It is a brutal encounter, which can leave no listener indifferent.

Free Jazz is mostly an essence of a live performance and Free Jazz recordings suffer from the same problem that food suffers from, i.e. eating it is quite different than seeing pictures of it. Hearing this concert was probably a momentous experience for those lucky to be there at the time. The recording is only a secondary experience. That does not mean of course that the music is not worth being recorded, on the contrary For Tune made exactly the right decision to include it in their catalogue, simply for what it is: unadulterated explosion of musical energy, which pays tribute to the glorious past. And since nobody else is doing anything remotely similar, even more so!

I don't know if the album's title is a tribute to the fabulous Old And New Dreams ensemble, which by itself was a tribute to Ornette Coleman; regardless if this is intentional or not, it is certainly most appropriate.

Piotr Damasiewicz - Mnemotaksja (2009)

Piotr Damasiewicz – trąbka

Gerard Lebik – saksofon tenorowy
Maciej Garbowski – kontrabas
Wojciech Romanowski – perkusja

Mnemotaksja (2009)

It was in 2007 that this avant-jazz quartet first met. The unique acoustic setting and atmosphere of a neo-baroque Baptist church where the music was created, have become an inspiration to discovering a new quality of sound and creating a finished composition. The quartet’s music contains both fixed, composed parts and improvised shifts from the formal structures to a collective free dialogue. In July 2008, the formation recorded an album entitled Mnemotaxis. The music on the album is a summary over a period of three years of the artistic development of the band’s founder – Piotr Damasiewicz – who at the time was mainly connected with the improvised music environment in Wroclaw. Mnemotaxis is a concept created by the leader, which – in an arbitrary and allegoric way – refers to potential human abilities that condition their survival in the surrounding reality. It also refers to the leader’s individual perception of his own spiritual journey.

Music sample: http://en.piotrdamas.com/mnemotaksja

Foton Quartet - Zomo Hall (Not Two Record, 2011)

Foton Quartet (group)

Gerad Lebik (sax)
Artur Majewski (trumpet)
Jakub Cywiński (bass)
Wojciech Romanowski (drums)

Zomo Hall (Not Two Record, 2011)

In the manner of a heart-to heart conversation defined by leisurely pace and thoughtful exchange of views, the Polish Foton Quartet navigates its way through a loosely lyrical though unscripted 59-minute program. None of the participants are well-known outside their home country, but that might not stay the case for long, based on their strength as a unit; full of sensitive listening which puts the group first, there is empathy in abundance here. While placement and color of sound is important, they reside within the jazz vernacular, even slipping into tempo at times, slightly melancholic though with barely a trace of the blues. Oceanic currents come to mind as lines drift to and fro, coming together and apart within the overall tide.

On tenor saxophone, Gerard Lebik adds occasional eastern European harmonies, and expands into squawks when the backing becomes heated. Often in tandem with Artur Majewski's poised trumpet, the reedman spirals into animated convocation. Both horns lodge predominantly in the conventional registers, making their impact more through what they say than how they say it. For bassist Jakub Cywinski and drummer Wojciech Romanowski, responsiveness appears the prime concern, both proving particularly attuned to Majewski's riffs and flurries. All convince as technically assured, and though lacking that distinctive edge which separates out the upper echelons, their perfectly judged contributions—knowing when to play and when not to play—make for subtle but purposeful communion.

Each of the six cuts traverses a lot of ground, offering ample space for the foursome to stretch out. By way of example, on "Five," the longest piece, Cywinski's sinewy pizzicato intro leads into relaxed dialogue with the horns, before Romanowski's unhurried and spacey percussion shadows meandering contralto clarinet. Later he sparingly accompanies another darkly voiced bass feature, eventually joined by limpid trumpet and clattering percussion. But it's not all quite so mazy: the short concluding "Six" provides an emphatic and spirited finale.

Track Listing: One; Two; Three; Four; Five; Six.

Personnel: Gerard Lebik: tenor saxophone, contralto clarinet; Artur Majewski: trumpet; Jakub Cywinski: bass; Wojciech Romanowski: drums.

By John Sharpe 

http://www.allaboutjazz.com

Piotr Damasiewicz - Hadrons (Ars Cameralis, 2011)

Piotr Damasiewicz – trumpet

Maciej Obara – alto saxophone
Gerard Lebik – tenor saxophone, contra-alto clarinet
Maciej Garbowski – double bass
Wojciech Romanowski – drums
Orchestra Aukso under the direction of Marek Moś

Hadrons (Ars Cameralis, 2011)

(Editor) Recorded with creme-de-creme of young Polish jazz men and very ambitious in scope, this debut disc by Piotr Damasiewicz annouces arrival of very talented player to Polish jazz scene. 

"The idea of joining a chamber orchestra with a jazz rhythm section and three wind instruments was to create a coherent form – both in terms of expression and sound, within the fixed compositional structure of the orchestra and the improvised layer of the jazz band.

Through the title, I referred to the recent research in the area of quantum chromodynamics (QCD). I have noticed some analogy between the behaviour of hadrons in particular reactions and the progression in the sound layer of my piece inspired by the contemporary new music (especially by free jazz masters’ activity). I also became interested in antimatter viewed in the context of myself as an artist, but also in the context of consciousness of a contemporary human.

Hadrons are particles held together by the strong interaction and made of quarks. In quantum chromodynamics, quarks may exist in asymptotic freedom, interacting with each other through the so called force of strong interaction. One of the particular features of the interacting quarks is the correlation between them. The closer they get, the weaker is their interaction, while it increases with increasing the distance. In search for the analogies between the quarks’ behaviour and the musicians’ improvisation, I referred to the free jazz masters’ achievements from the 1960s. By gradually moving away from the pre-established tonal and rhythmic structure, they increased the degree of expressiveness to its peak. In order to do it, they often used counterpoints as opposite forces constructing the new dimension of a musical utterance, oscillating between a dialogue and a fight.

Physicists assigned to the particles three arbitrary colours which – according to the well established colour symbolism – are not insignificant for me. They are a reflection of character within the context of creating tensions in the composition structure. These colours are blue, red and green – from which the composition derives its three-piece order, preceded by an open, improvised introduction of the soloists. Those parts follow themselves attacca.

The orchestra performs here a form-creating role but it is not limited to this function – it has a vital impact on building and relieving the tensions, entering by turns into dialogue and fight with the soloists. According to the strong interactions theory, at times the orchestra is a strong counterpoint, and at times a background for the improvisation, providing in the meantime specific basis and direction for the shape of improvisation, the tone, and the sonic structure of the composition.

The symbolic meaning of fundamental particles emphasizes as well the importance of fundamental essence in my life. I consider it to be the spiritual way I try to follow not only in the context of my development as an artist, but above all as a man.

My music, as far as it is possible today, aspires to be an autonomous creation that works as an individual expression of what I identify with as it comes to my perception of reality, which also means art and its role in my life. Some of my suggestions related to the explanation of the composition form, its origins, as well as the analogies (also those regarding the musical content) I used here, have mainly a symbolic dimension. These inspirations and issues that are important to me show to a large degree the ideas that influenced not only the significant part of my creation process, but also me personally."

(Editor) This video comes from different project by Damasiewicz called Damas Ensemble Power of the Horns. But it shows what kind of talent this young man possesses:

Source: from liner notes attached to "Hadrons"

Slug Duo - Fully Improvised Sets From Falanster 2009 ( 2010); Slug Duo - Organic Stone (2010); Mikrokolektyw - Revisit (2010)

This essay of Stef Gijssels (I want to thank him for permission to republish it here - make sure to check his fantastic web site http://freejazz-stef.blogspot.com/) treats about jazz duos: great topic especially as far as free jazz is concerned. Since duos are for free music the same as trios for cool jazz or quartets and quintets for bop. As examples to clarify his ideas he uses three very interesting, avantgarde albums issued last year in Poland. Although I would rate them a bit higher (especially in Mikrokolektyw case), I believe this text gives valuable insight into one of main free jazz genres and some of most interesting recordings in Polish avantjazz last year...

"The Art Of The Duo

In the earliest days of mankind, next to more functional and formal language utterances, our distant ancestors did something special: they made music, creating melody over rhythm and sharing the experience together, creating, communicating and enjoying it, listening and interacting, possibly dancing too. Unlike any other art form, this is still magic today. There is nothing comparable to the completeness of that experience: pure, social, expressive, and lifting the individual high above himself or herself, becoming part of a communal experience, something spiritual, something bigger than life.

This feeling of communion and spontaneous creation is the essence of free music. That's why I like horn-percussion duets because they embody this in its perfect form of freedom without becoming the chaos of too many voices conflicting, because it allows for more precise and attentive listening. 

That's what I felt when I heard this Polish duo for the first time some weeks ago. The Slug Duo is Jakub Suchar on drums, percussion, moog synthesizer and elctronics, and Gerard Lebik on tenor sax, contra alto clarinet, generators, DIY, and electonics.Surprisingly enough, the duo released two albums this year on the same Polish label.

Slug Duo - Fully Improvised Sets From Falanster 2009 (Vytvornia OM, 2010) ****

The first album was recorded live at the Falanster Club in Wroclaw, Poland, in November of last year. The music is mainly acoustic with ongoing superb and varied free improvisation : from incredibly playful and rhythmic interaction, over fierce and wild moments, they can easily switch to more sensitive slower passages and back. It is all very straight-ahead, without too many pyrotechnics, and it is really a joy to listen to from beginning to end. It is pure, unadultered fun. The audience, though limited in number, claps and cheers, adding some value to this performance. It is so good, that it is real easy to recommend. 

Slug Duo - Organic Stone (Vytvornia OM, 2010) ***

Their second release, "Organic Stone", is a little bit of a different beast. Recorded in the studio, it starts well, with a deep slow and free interaction between howling tenor and thundering drums. On the third track the electronics enter into play, and then this guy's attention starts to drift off. Yes, there is some drumming to be heard under the crackling noise, but we are far away from the pristine joy of celebrating music in its simplest form. We have left the realm of "close celebration" and we have entered the realm of "distant posture", with sounds that are made of plastic instead of made of wood. The same holds true for the rhythms, why would you process them into an endless repetitive beat if you can add lots of variation and subtle changes with natural playing. Luckily, the natural sound dominates most tracks and the playing is really good. 

Mikrokolektyw - Revisit (Delmark, 2010) ***

We find drummer Kuba Suchar back on this new album on Delmark, with Artur Majewski on trumpet and electronics. That it appears on Delmark is no real suprise, since the influence and support of Rob Mazurek is quite clear, not only because of the format, but also through the use of electronics in processing the sounds. But both Mazurek and Majewski have influences that go back to Don Cherry, which is obvious in the joyful free and melodious playing that Majewski demonstrates. 

But then the whole thing falls flat on its face at moments because of the use of silly electronic sounds. And don't get me wrong : there are tracks with electronic processing that really sound good. I have always been a fan of Mazurek and the Chicago Underground Duo, for whom electronic processing is almost a must, but you have to know how to use it, and to which degree. It should be functional for the overall listening experience, and not disturb the rest of the sound. 

This is again one of those albums that sound great if you just select the better tracks. And if the electronic part is used sparingly, the result is really powerful, like in "Running Without Effort", or very functional as on the title track or on "Tiring Holiday", it works to perfection. 

Maybe I'm getting too old, but why would anyone want to ruin the good ideas they have? An album with great moments, but unfortunately insufficiently consistent."



Author of text: Stef Gijssels (http://freejazz-stef.blogspot.com/)

Foton Quartet - Zomo Hall (2010) by Stephan Moore

Issued just at the end of last year "Zomo Hall" remains one of the most fascinating album of this year. Please, read this review written by Stephan Moore from excellent JazzWrap web site in order to learn more about this music...

Foton Quartet (group)

Gerad Lebik (sax)
Artur Majewski (trumpet)
Jakub Cywiński (bass)
Wojciech Romanowski (drums)

 Not Two Records (2010)

The rich and versatile Polish jazz scene has gone through a big transform in interest over the last decade. Due in large part to the resurgence of the great Tomasz Stanko. Over the last few years a number of artists have leaped into the consciousness of jazz fans all across the globe. From Marcin Wasilewski Trio, Mikrokoletyw to RGG Trio, Polish artists are showing us all that great, creative and forward thinking jazz can come from more than just Norway, Sweden, Portugal, Denmark, England, U.S. and a few select countries.

One such collective is Foton Quartet and their debut, Zomo Hall (Not Two Records). Zomo Hall might sound like a trip into the avant garde for the uninitiated, its actually upon the deeper listening that you will find the detail. There are qualities here that are reminiscent of the more experimental work of Ornette Coleman, Don Cherry and Art Ensemble. But the journey through these six "untitled" tracks is truly fruitful and a superb listen.

Artur Majewski (also a member of the duo Mikrokoletyw) and Gerad Lebik combine to bring forth some incredible phrasing and stellar improvising throughout this recording. Track three has a steady meditative tonality with both horns taking different patterns while Cywinski lays down a dreamlike bassline. Majewski later gains a bit of steam midway through but the track never loses its reflective aural sculpture.

Track five brought back memories of listening to Ornette Coleman's soundtrack for Naked Lunch. It's a journey through recess of my own mind that I'd rather not experience. A powerful performance from both Lebik and Cywinski, who turns his bass almost into a cello. This is the longest track on the album but its also the deepest and most creative as it takes the listener through a number of different themes all quiet in nature but adventurous in execution. Track six does stretch out with the band demonstrating that it can take the listener to far reaches of thought while still holding your interest (in only two and a half short minutes).

Foton Quartet is yet another piece of the new Polish jazz scene that must be heard by a wider audience. Zomo Hall standups against anything from rest the minimal, avant garde in other countries. And the work of Artur Majewski should really start to be noticed by more people as well. His collaborative work on the scene for me, is some of the best in Europe at the moment. 

Zomo Hall was a hard record for me to find. I had known about it for some time but couldn't even stumble across it. Then one day my good friends at Downtown Music Gallery got it in and I immediately put down the money. I suggest if you are interested in something new and creative--do yourself a favour and pick up Zomo Hall. Highly Recommend!

Author: Stephan Moore 

http://jazzwrap.blogspot.com/

Foton Quartet - Zomo Hall (2010) by Maciej Nowotny

This time it will be very short because it's simply must-have. Would this record arrive a little earlier, not just at the end of the last year, it could very well be a winner in Best Polish Free Jazz album of 2010. But who cares about all this Grammy-like nonsense-talk: good music is good music so trust me and go for this one without hesitation! 

Recorded in some post-industrial production hall among piles of garbage, rubble and twisted reinforcing steel it sounds like. Deep breath. Like 50 or more years ago Miles Davis, John Coltrane, Julian Cannonbal Adderley, Paul Chamber and Jimmy Cobb in "Kind of Blue" when they laid foundations for what was to became cool jazz. As Marcin Kiciński noted in his Polish review it is impossible to describe what music on this album is but it very easy say what it is not: jazzy playing imitating hundreds times over reproduced cliches invented more than half century ago. This is JAZZ as Miles defined it: "any kind of music in process of discovery something new". 

So please remember those names: Gerard Lebik (tenor saxophone, contra alto clarinet), Asrtur Majewski (trumpet), Jakub Cywiński (double bass), Wojciech Romanowski (drums). If you do not know them from bands like Mikrokolektyw, Robotobibok, Slug Duo, Ziemia Planeta Ludzi, it is now the highest time for Foton Quartet or some extraordinary music would pass you by. Let me end this post with word of stef as posted in English review of this record on his blog: "Extremely beautiful! The year has only just begun, and this is to me already a strong contender for the best of the year lists".

Please, it is OBLIGATORY now for you to check this video! Enjoy :-)

PS. The disc was recorded for best Polish recording label Not Two and is available worldwide through its catalogue.

foton zomo hall record session 2008 from gerardlebik on Vimeo.

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