Electric Stories - "Total Music Vol.1"

Electric Stories

Bogusław Raatz – gitara elektryczna, cyfrowy syntezator gitarowy, syntezator analogowy, smyczek elektryczny, fusion sitar, głos
Grant Calvin Weston – perkusja

Goście specjalni:
Grzegorz „Gre” Korybalski – gitara basowa (utwory 2, 6, 7, 8, 9, 10)
Steve Kindler – 9-strunowe skrzypce elektryczne (1, 3, 7)
Jakub Marszałek – trąbka, kornet (6, 7)
Jerzy Marszałek – puzon (6)
Wojciech Jachna – trąbka (10)
Krzysztof Majchrzak – gitara basowa (5)
Daniel Mackiewicz – instrumenty perkusyjne / perkusjonalia (2, 3, 4, 5, 6, 8, 9)
Dariusz Brzeziński – instrumenty klawiszowe / keyboard (2)
Adrian Raatz – gitara elektryczna (7, 8)

Tytuł: "Total Music Vol.1" 

Wydawca: RG records

Premiera: 20 luty 2026

Tekst: Maciej Nowotny

Bogusław Raatz to gitarzysta, kompozytor i aranżer chadzający własnymi drogami po obrzeżach naszej jazzrockowej sceny. Ale może właśnie niezależność artystyczna, jaką sobie wypracował – gdyż ma to szczęście, że nie żyje wyłącznie z muzyki – sprawia, że od lat dostarcza słuchaczom bardzo oryginalną i do niczego niepodobną muzykę. Po opisywanych w ostatnich latach na naszych łamach jego projektach poświęconych Witkacemu, tym razem już bez wsparcia filozoficznego, ale dalej celebruje obszar swojej wolności artystycznej, dopisując kolejny rozdział do współpracy z cenionym amerykańskim perkusistą Grantem Calvinem Westonem, swego czasu grającym z samym Ornettem Colemanem.

Witkacy Tribute Ensamble – "Nie z świata tego"

Witkacy Tribute Ensamble

Bogusław Raatz – gitary, syntezator analogowy
Grant Calvin Weston – perkusja
Grzegorz Gre Korybalski – bas
Steve Kindler – skrzypce 9-wtrunowe, programowanie
Eurazja Srzednicka – śpiew
Paweł Sakowski – śpiew, recytacje
Al Macdowell – bas
Daniel Mackiewicz – dżembe
Wojciech Jachna – trąbka
Krzysztof Majchrzak – bas
Dariusz Brzeziński – instr. klawiszowe
Wytwórnia:
RG Records

"Nie z świata tego" (2023)

Autor tekstu: Mateusz Chorążewicz

Niemal dokładnie rok temu do moich rąk trafił pierwszy album grupy Witkacy Tribute Ensamble pod przewodnictwem Bogusława Raatza. Płyta była nieco dziwna, ale i wyjątkowa zarazem. Nie dało się obok niej przejść obojętnie. Wszystko to sprawiło, że z niecierpliwością oczekiwałem kontynuacji.

„Nie z świata tego” jeszcze bardziej oddala się od jazzu niż miało to miejsce w przypadku „Wistości Rzeczy”. Charakter albumu jest wyraźnie odmienny, choć nadal osadzony w około-rockowych klimatach. Muzyka raczej towarzyszy tekstom, stanowi dla nich tło, a warstwy liryczna od muzycznej przez większość czasu są wyraźnie od siebie odklejone. W czasie odsłuchu doświadczam czegoś, czego w przypadku pierwszego albumu nie było – jestem w stanie skupić uwagę albo na tekstach albo na muzyce. Odsłuchałem płytę kilkukrotnie i problem ten pojawił się za każdym razem. Świadomy i analityczny odbiór obu płaszczyzn jednocześnie jest w moim przypadku awykonalny.

Słabym punktem muzyki wydają się być kompozycje, które zwyczajnie nie są tak interesujące jak na „Wistości Rzeczy”. Ogólny charakter muzyki teoretycznie pasuje do wybranych tekstów, ale czegoś tu brakuje. Utwory zawierają dużo zapętlonych fragmentów, które momentami wręcz zaczynają irytować. Co dziwne, ów zapętlenia wcale nie ułatwiają odbioru muzyki i tekstów jako jedną, spójną całość. Ma to miejsce szczególnie w pierwszej części płyty.

Na uznanie zasługuje ostatni, czteroczęściowy utwór „Nie z świata tego”, który jest prawdziwym majstersztykiem. Jest on wolny od właściwie wszystkich mankamentów kompozycji poprzedzających. Gdyby tak było przez całą płytę, byłbym w siódmym niebie.

Mimo wszystko jestem daleki od totalnego grillowania albumu. „Nie z świata tego” to wprawdzie jeden z wielu w ostatnim czasie nawiązujący do polskiej spuścizny literackiej, ale warto jednak zwrócić uwagę na fakt, że Witkacy Tribute Ensamble to projekt, który nie rozpoczął swojej działalności tylko dlatego, że akurat taka panuje moda i nie poprzestał na jednej płycie. Bogusław Raatz aktywnie eksploruje tę dziedzinę i pomimo średnio tym razem udanej próby, mam gorącą nadzieję na kontynuację. Raz, że pierwsza płyta była kapitalna i szkoda byłoby zostawić po projekcie lekki niesmak. Dwa, że pomysł jest naprawdę wyjątkowy i wart dalszego zgłębienia.

Witkacy Tribute Ensemble - Wistość Rzeczy (2022)

Witkacy Tribute Ensemble 

Bogusław Raatz – gitary, fussion sitar, tampura
Grant Calvin Weston – perkusja
Grzegorz "Gre” Korybalski – bas
Steve Kindler – skrzypce 9-wtrunowe, programowanie
Eurazja Srzednicka – śpiew
Paweł Sakowski – śpiew, recytacje
Sławomir Ciesielski – perkusjonalia, głosy
Daniel Mackiewicz – dżembe
Wojciech Jachna – trąbka
Robert Bielak – skrzypce
Dariusz Brzeziński – instr. klawiszowe

Wistość Rzeczy (2022)

Wydawca: RG Media

Autor tekst: Mateusz Chorążewicz

Album „Wistość Rzeczy” to hołd dla twórczości Witkacego. Kim był Witkacy i że budzi kontrowersje do czasów dzisiejszych nie trzeba chyba tłumaczyć. Tym ciekawej zapowiadała się płyta w wykonaniu Witkacy Tribute Ensemble pod kierownictwem Bogusława Raatza.

W nagraniach wzięli udział Grant Calvin Weston (perkusja), Grzegorz "Gre" Korybalski (bas), Steve Kindler (skrzypce 9-wtrunowe, programowanie), Eurazja Srzednicka (śpiew), Paweł Sakowski (śpiew, recytacje), Sławomir Ciesielski (perkusjonalia, głosy), Daniel Mackiewicz (dżembe), Wojciech Jachna (trąbka), Robert Bielak (skrzypce), Dariusz Brzeziński (instr. klawiszowe) oraz lider Bogusław Raatz (gitary, fussion sitar, tampura).

Powiedzieć, że jest to album dziwny, to powiedzieć mało. Całość nastawiona jest głównie na brzmienia rockowe, choć nie tylko. Znajdziemy tu też choćby motywy ambientowe. Niewątpliwie muzyka jest mało jazzowa. Jeśli już miałbym ją gdzieś sklasyfikować, to wpadłaby do szuflady „Fusion”, ale to stanowczo zbyt generalizujące stwierdzenie. Słuchając tych nagrań odnosiłem silne wrażenie, że muzyka ta pasuje do tego co wiemy i czego domyślamy się o Witkacym. Wydaje się, że Bogusław Raatz chciał nie tylko oddać hołd twórczości Witkacego, ale również spróbować wejść do jego umysłu, poznać jego charakter na ile to możliwe i odzwierciedlić to w muzyce.

Czy Witkacy Tribute Ensemble osiągnęło swój cel? Absolutnie! Album nie tylko świetnie brzmi, genialnie się go słucha, jest perfekcyjny wykonawczo i muzycznie. On również skłania do głębokiej refleksji. Krótko mówiąc, jest to dzieło przez duże „D”.

Albumów jazzowych, czy około-jazzowych oscylujących wokół polskiej spuścizny kulturalnej (w tym literackiej) jest w ostatnich latach dość sporo. Wystarczy wspomnieć, że w samym tylko 2022 mieliśmy przynajmniej dwie wartościowe płyty odnoszące się do twórczości Witkacego. Mowa tu o albumie „Witkacy – Narkotyki” Leszka Kułakowskiego i właśnie „Wistość Rzeczy” w wykonaniu Witkacy Tribute Ensemble pod kierownictwem Bogusława Raatza.

Obie te płyty leżą na zupełnie różnych półkach stylistycznych i tym samym dowodzą w jak różnorodny sposób można zbudować przekaz, który jest jednak na swój sposób spójny, gdy na warsztat wezmą go ludzie, którzy wiedzą co robią. Do „Wistości Rzeczy” będę wracał z wielką przyjemnością.

Ritual Art Orchestra – Atmosphere (2018)

Ritual Art Orchestra

Steve Kindler - violin
Bogusław Raatz - guitar
Daniel Mackiewicz - percussion

Atmosphere

RG 103




By Adam Baruch

This is the debut album by the Polish ensemble Ritual Art Orchestra (a.k.a. R-A-O), which already released an album under an earlier moniker (Ritual Duo). The current lineup of the ensemble consists of American violinist/composer Steve Kindler and Polish multi-instrumentalist/composer Bogusław Raatz and percussionist Daniel Mackiewicz. The album presents nine original compositions, five by Kindler and four by Raatz.

The music is an interesting amalgam of Ethnic/World Music elements, Electronic/Ambient influences and Jazzy improvisations. Although performed by just three musicians, it is heavily overdubbed and often reaches orchestral proportions. The Ethnic influences originate from many different Cultures, like Middle Eastern and Far Eastern, Balinese, African and others, which makes the music diverse and avoids the repetition and sameness that many projects of this kind suffer from.

All three members of the ensemble display their individual talents, which although are quite dissimilar, work very well together. Kindler uses a 9 string violin, which has a very unique sound. Raatz plays guitars and a plethora of ethnic instruments like oud and sitar, each contributing a unique layer to the overall sound tapestry. Mackiewicz adds the rhythmic layer, again using several different instruments, which also enriches the overall sound. The music is very well recorded and the album offers excellent sound quality.

Overall this is a musical journey around the world, which Jazz-World Fusion enthusiasts should find quite interesting and entertaining. It offers many improvised passages and subtle melodies, with a certain New Age flavor, which characterized recordings of this kind in the 1990s. It is definitely worth listening to by people who like this kind of music already, but also an opportunity for others to discover this idiom.

The Cyclists – Etiudy Miejskie (2013) ***

Daniel Mackiewicz - keyboards
Wojciech Wozniak - bass
Jacek Buhl - drums
DJ G.R.Z.A.N.A. - sampler

PRIVATE EDITION






By Adam Baruch

This is the second album by Polish experimental quartet The Cyclists, formed by keyboardist Daniel Mackiewicz (Sing Sing Penelope) with other musicians from the Bydgoszcz scene: bassist Wojciech Wozniak, drummer Jacek Buhl (Glabulator) and DJ G.R.Z.A.N.A. Together they play thirteen relatively short pieces, eleven of which were composed / improvised by the entire quartet and two were composed by Krzysztof Gruse, also a well known Bydgoszcz household name.

The music is a mixture between Jazz-Rock Fusion ditties and the ambient ventures produced by the DJ, which together sounds like an updated version of early Soft Machine sans the vocals. The compositions, although pretty basic, are all nicely melodic and the Rhodes electric piano brings waves of nostalgia. There is essentially nothing very innovative here, or perhaps the entire proceedings are purposely retrograde; in any case this is a nice and very listenable piece of music, but overall quite déjà vu.

Of course these are very talented musicians and they produced some excellent music in the past, so one should accept this project as an attempt to relax and have fun, which is exactly what it is all about.

Mazzoll - Muzyka dla supersamow (2000)

Jerzy Mazzoll - bass clarinet

Andrzej Major Przybielski - trumpet
Tomasz Gwinciński - perkusja, guitar
Daniel Mackiewicz - keyboards
Michał Bunio Skrok - bass, samples



Muzyka dla supersamow (2000)

Outstanding! Jerzy Mazzoll, a clarinetist, enjoys on our scene somewhat a status of Thelonius Monk, Albert Ayler or Cecil Taylor. Undoubtely one of greatest innovayors by many he is still seen as force a bit too unpredictabile and out of control. Yet exactly because of such his traits he never ceases to surprise thus reviving spirit of freedom in Polish jazz. 

On this album he decided to enter a dialogue with major social changes that take place in Polish society since it adopted capitalism in 1989. One of its manifestions is spreading of great shopping centers in cities. They become places where people not only meet, they also stroll, flirt, pray. It is therefore great move by Mazzoll and his collegues to bring improvised music into such a space and let it resound it with an atmosphere of those places. In this task he was accompanied by his long time friend Tomek Gwinciński on drums and guitar, legendary trumpeter Andrzej Przybielski, Daniel Mackiewicz on keyboards and Michał Skrok who was responsible for electronically  generated samples.  

Music is challenging in best meaning of this word: communicative, obvioulsly referring to elevator-type typical supermarket music (tracks' titles are simply names of products in shop) but at the same time a bit weird, unquieting and very inspiring. Speaking shortly, outstanding achievement and clearly influencing by its aesthetics many projects of younger generation musisians such as as Pink Freud, SzaZa or recently Horny Trees.

Tracklisting:
01. SAŁATA LODOWAI+ 1X
02. OGÓREK DŁUGI I+0.535kgx2.99
03. SALAMI WYKWINTNE 0.190kg x33.95
04. WYKAŁACZKI 300SZT
05. KETCH. PIK 1X 3.65
06. MIET. SZCZEC. 12P 1X1.19
07. MAJONEZ BABUNI 400ML
08. BROKUŁY 1X 6.03
09. BROKUŁY 2X 3.12
10. PSTRĄG FIL.B/S+
11. KWOTA OPODATKOWANA A
12. KWOTA OPODATKOWANA B
13. KWOTA OPODATKOWANA C
14. Podatek PTU "Gaj" (sł. A. Osiecka, muz. M. Grechuta)

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

Sing Sing Penelope – Sing Sing Penelope (2005)

Sing Sing Penelope (band)

Daniel Mackiewicz - electric piano, analog synth
Tomasz Glazik - tenor & baritone saxophones, synth
Wojciech Jachna - trumpet
Patryk Węcławek - bass, percussion, kalimba
Rafał Gorzycki - drums

Sing Sing Penelope (2005)

This is the debut album by the sensational Polish ensemble Sing Sing Penelope, founded in Bydgoszcz in 2001 by four musicians: keyboardist Daniel Mackiewicz, bassist Patryk Weclawek, drummer / percussionist Rafal Gorzycki and saxophonist Tomasz Glazik. They were joined in 2003 by trumpeter Wojciech Jachna and the quintet lineup, which recorded this album, was born. Obviously based on the Jazz-Rock and modern Jazz roots, this ensemble acts as a creative unit and treats their original music (credited to all the five members) as an experimental canvas, expanding it into new and uncharted territory. Rather that use well established patterns and musical structures they try to innovate constantly, which puts them apart from most of their contemporaries. Combining melodic themes, pulsating rhythms and a lot of freedom in the improvisations they mange to create something fresh, challenging and often unexpected, which will be their trademark in all their future recordings. In fact this little known (at the time of its release) album marks the birth of was to become the most interesting ensemble active on the Polish scene in the first decade of the 21st Century. By now this is already a classic recording, which sadly is very difficult to find today. A must!

Link to samples of music:  http://www.singsingpenelope.com/records/sing_sing_penelope.html 

Track listing: 1. Hosanna - 13:06; 2. Kabunga - 9:0; 3. Struktury pana b - 13:22; 4. Das boot - 6:47 

By Adam Baruch
www.adambaruch.com

Sing Sing Penelope & DJ Strangefruit - Electrogride (S. A. Mozg, 2010)

Sing Sing Penelope & DJ Strangefruit (band)

Daniel Mackiewicz - fender pianoWojciech Jachna - trumpet
Patryk Węcławek - bass
Rafał Gorzycki - drums
Olek Kaminski - s. saxophone
Sebastian Gruchot - violin
DJ Strangefruit - live electronics

Electrogride (S. A. Mozg, 2010)

This is the 5th album by the sensational Polish ensemble Sing Sing Penelope, recorded in cooperation with Norwegian DJ Strangefruit (real name Pal Nyhus) and Polish (resident in Norway) violinist Sebastian Gruchot. The regular SSP lineup (trumpeter Wojciech Jachna, saxophonist Tomasz Glazik, keyboardist Daniel Mackiewicz, bassist Patryk Weclawek and drummer / percussionist Rafal Gorzycki) is slightly changed with saxophonist Aleksander Kaminski fulfilling the position of the absent Glazik. The circumstances surrounding the recording of this album are connected to the Smolensk catastrophe, in which a plane carrying Polish Government officials crushed killing everybody on board. The musicians who recorded this album were suppose to tour Polish clubs, but as a result of the mourning the concerts were cancelled and instead they recorded the album, which was distributed free of charge in the clubs, where the concerts were supposed to be played. Of course today this album is a rare collector's item.

Musically this album marks another expansion of SSP already adventurous music into new territory, with the inclusion of electronics and ambient elements. The music becomes more contemplative and spacey, in comparison to their earlier efforts, but the Jazz solos and overall atmosphere is unmistakably SSP. Another innovation is the use of World Music percussive elements by Gorzycki, which adds another dimension to the music. The album's ac hoc nature and the short (EP size) repertoire are all results of the on the spot decision to make the album at the time and the fruition of the ideas contained herein was fully realized in their next album. In retrospect this little gem appends a valuable add-on to the splendid recorded legacy of the ensemble so far and as usual is a splendid piece of contemporary music of rare quality.

Track listing: 1. electrogride part 1; 2. electrogride part 2; 3. electrogride part 3; 4. electrogride part 4; 5. electrogride part 5; 6. electrogride part 6

By Adam Baruch
www.adambaruch.com

Sing Sing Penelope – This Is The Music / Volume 1 (2012)

Sing Sing Penelope (band)

Wojciech Jachna - trumpet
Aleksander Kamiński - soprano saxophone
Tomasz Glazik - tenor saxophone, bass clarinet
Daniel Mackiewicz - rhodes, tabla, percussion
Patryk Węcławek - bass
Rafał Gorzycki - drums
DJ Strangefruit - live electronics
Sebastian Gruchot - violin

This Is The Music / Volume 1 (2012) 

This is the 6th album by the brilliant Polish ensemble Sing Sing Penelope, formed and led by drummer Rafal Gorzycki, which includes also trumpeter Wojciech Jachna, saxophonists Aleksander Kaminski (new member) and Tomasz Glazik, keyboardist Daniel Mackiewicz and bassist Patryk Weclawek. Two guest artists, who played on the ensemble's previous recordings, are also present here: violinist Sebastian Gruchot and DJ Strangefruit from Norway on live electronics. It seems that SSP (as they are known in this age of shortcuts) can do no wrong and this album is every bit as grand as everything else they attempted previously, which after six albums and ten years amounts both to a substantial body of music as much as their impeccable reputation. The music, contributed collectively or individually by all participants, is as usual a completely original mix of styles and sub-genres, disregarding boundaries and freely moving from one territory to another. Atmospheric / ambient electronic sounds over strong, pulsating rhythmic patterns and Jazz solos on top seems to be shortest way to describe this music, although it manages to escape any simple depiction, which of course means there is interesting stuff happening here. In many respects this album sums up the decade of the ensemble's existence, covering everything from their Jazz-Rock efforts, through the Free Jazz improvisations and recent ambient vistas. In retrospect SSP emerge as perhaps the most interesting phenomenon of the first decade of the 21st Century on the Polish scene, being the most consistent, searching and completely disregarding fads group of young musicians around. An absolute must to any serious Jazz listener, wishing to reach beyond the obvious!

Sample of music: http://www.singsingpenelope.com/mp3/Mini.mp3

Track listing: 1. Bread; 2. Blue Hypergiant; 3. Mini Song; 4. This Is The Music; 5. Vennesla; 6. Skarb

By Adam Baruch

www.adambaruch.com

Sing Sing Penelope – Music For Umbrellas (Monotype Records, 2006)

Sing Sing Penelope (band)

tomasz glazik - tenor & baritone saxophones, flute, synth 

rafał gorzycki - drums
wojciech jachna - trumpet, flugelhorn
daniel mackiewicz - electric piano, synth, organ, tabla, percussion
patryk węcławek - bass, double bass, kalimba, percussion
sebastian gruchot - violin (track 2)

Music For Umbrellas (Monotype Records, 2006)

This is the 2nd album by the incredible Polish Jazz ensemble Sing Sing Penelope, led by drummer Rafal Gorzycki and also including trumpeter Wojciech Jachna, saxophonist Tomasz Glazik, keyboardist Daniel Mackiewicz and bassist Patryk Weclawek. Violinist Sebastian Gruchot guests on one track. They play all original music, composed mostly by Gorzycki and Jachna or credited to the ensemble. Stylistically this is an incredible mixture of many elements from Jazz, Rock, Ambient, RIO and other areas, completely eluding any attempt of pinpointing or categorization. They are definitely one of the most interesting and most consistently excellent ensembles currently active on the Polish scene, which of course is a major compliment. All these players are excellent instrumentalist, the music is fresh, unusual and truly intelligent, but in spite its complex nature manages to embrace the element of melody, which is often mostly lost in adventurous attempts tried by others. I suppose that if Frank Zappa was alive today, he'd have loved to play with these young musicians behind him, but so would a lot of other great musicians. In any case this, and the other recordings by this group, is a beacon of hope that not all is lost in music in the 21st Century. Absolutely not to be missed!

Tracklisting: 1. Chickens [5:33]; 2. Fis & Love [10:22]; 3. La Couchette [7:53]; 4. Black Minority [7:26]; 5. Walce Bydgoskie [9:20]; 6. Summa Musica [10:16]

By Adam Baruch

http://adambaruch.com/

Sing Sing Penelope / Andrzej Przybielski – Stirli People – In Jazzga (Monotype Rec., 2009) by Adam Baruch

Sing Sing Penelope (band)

Andrzej Przybielski - trumpet, flugelhorn, cornet, pocket trumpet

Wojtek Jachna - trumpet
Tomasz Glazik - tenor & baritone saxophones
Daniel Mackiewicz - electric piano, organ, percussion
Patryk Węcławek - bass
Rafał Gorzycki - drums, percussion

Stirli People – In Jazzga (Monotype Rec., 2009)

This phenomenal recording presents a somewhat unlikely cooperation between young Polish ensemble Sing Sing Penelope and the dark prince of Polish Jazz avant-garde, genius trumpeter / composer Andrzej Przybielski (now sadly departed). Sing Sing Penelope, formed by Polish drummer / composer Rafal Gorzycki also includes brilliant trumpeter Wojciech Jachna, saxophonist Tomasz Glazik, keyboardist Daniel Mackiewicz and bassist Patryk Weclawek. They recorded three albums since the mid-2000s, all of which are excellent, and this is their fourth release. 

Przybielski was a key figure on the Polish avant-garde scene since the 1960s, and his scarce, but mostly brilliant recorded legacy is a prime example of the Eastern-European Jazz at its most creative best. The music created by the young members of the ensemble and the veteran trumpeter is a wonderful surprise, completely unexpected not only due to the age and musical background differences but mainly because of the vibrancy and vitality of the result, which resembles the power and verve of the early electric Miles Davis ensembles. The sound is very modern and up to date, mostly up tempo and sometimes quite Rock oriented, but always within the Jazz aesthetic and always simply radiant. Of the seven composition presented on the album Przybielski is credited with three, another three are co-credited to him and the group and the last one is by the group. 

The most striking feature of the album is of course the double trumpet front line, which is simply phenomenal. Jachna already proved his ability as a player on several albums featuring his unique talents and playing alongside a genius such as Przybielski must have proven a unique inspiration, which is evident from the result. Przybielski himself simply plays beautifully all the way and this recording is definitely one of his best moments. As much as two saxophones lineups are very popular in Jazz, a two trumpets ones are almost inexistent, which is a great pity, as this recording proves beyond any doubt. But of course all the participants of this recording deserve to be praised, as everybody contributes towards the unprecedented success. Overall this is one of the strongest Polish Jazz albums recorded recently and a grand memorial to the talents of Andrzej Przybielski, who received almost no recognition before his untimely and tragic death. Definitely a must to every connoisseur of Polish and Eastern-European Jazz!

Track listing: 1. No, a reszta gdzie? [00:25]; 2. W arce [06:19]; 3. Stirli People [18:57]; 4. Do krwi [04:16]; 5. Góru [09:38]; 6. Talkin' Part II [06:05]; 7. Hosanna SSP [10:45]

By Adam Baruch

http://adambaruch.com/

Sing Sing Penelope – We Remember Krzeselko (2008) by Adam Baruch

Sing Sing Penelope (band)

Tomasz Glazik - tenor & baritone saxophones, flute, synth
Wojciech Jachna - trumpet, flugelhorn
Daniel Mackiewicz - electric piano, synth, organ, percussion
Patryk Węcławek - bass, double bass, percussion
Rafał Gorzycki - drums
Sebastian Gruchot - violin (track 1,3,4,7)

We Remember Krzeselko (2008)

This is the 3rd album by excellent Polish ensemble Sing Sing Penelope, led by drummer / composer Rafal Gorzycki, one of the most versatile and diligent Polish musicians, who also created and leads other ensembles, like Ecstasy Project. Gorzycki incorporates Jazz tradition with contemporary Classical music, Avant-garde, Rock, Punk and a myriad of other genres and sub-genres, completely ignoring conventions, like many of his Polish contemporaries on the off-centre music scene. 

His recording legacy in the last decade is quite prolific, presenting many quite contrasting, but always intriguing musical vistas. This album is definitely one of the most interesting of his recordings, and one of the best albums coming out of Poland in the first decade of the 21st Century. On this album the ensemble includes trumpeter Wojciech Jachna, saxophonist Tomasz Glazik, keyboardist Daniel Mackiewicz and bassist Patryk Weclawek. Violinist Sebastian Gruchot guests on four tracks. The music, all original of course, is a stunning amalgam of Modern Jazz, Avant-Rock, RIO, contemporary Classical; in short completely beyond classification. Somehow all this makes perfect sense musically and leaves the innocent listener completely stunned. The strange thing is that this music might appeal to Jazz and Rock (especially Progressive Rock) audiences with equal might, but certainly it's extremely unlikely someone might stay indifferent to it.

In short this is a blast of an album, which took me by complete surprise and made me return to it several times already. As to the album's title, I have no idea what the ensemble really meant, even after watching the short video included on the album, but my guess would be that it's a pun on the many Polish Jazz albums dedicated to the memory of Krzysztof Komeda, including the famous "We`ll Remember Komeda" album? In any case this album is an absolute must!

Track listing: 1. "No Title" – 06:35; 2. "James Bond" – 07:25; 3. "Talkin'" – 04:05; 4. "Farewell Dutch Hering" – 10:24; 5. "It Has Just Begun, Doctor" – 10:28; 6. "Third Man On The Moon" – 07:43

By Adam Baruch

http://adambaruch.com/

Sing Sing Penelope & DJ Strangefruit - Electrogride (S. A. Mozg, 2010)

Sing Sing Penelope & DJ Strangefruit (band)

Daniel Mackiewicz - fender piano

Wojciech Jachna - trumpet

Patryk Węcławek - bass

Rafał Gorzycki - drums

Olek Kaminski - s. saxophone

Sebastian Gruchot - violin

DJ Strangefruit - live electronics

Electrogride (S. A. Mozg, 2010)

Rafał Gorzycki is moving force behind few of most interesting bands playing avantgarde jazz in Poland. Be it Ecstasy Project ('Reminiscence Europae'), Dziki Jazz or Sing Sing Penelope ('Stirli People In Jazzga') he always goes along the way of what is open-minded and free in modern jazz. No different is 'Electrogride" where he united forces with Norwegian DJ Strangefruit to saturate his language with electronically generated sounds. With this album Gorzycki directed his music towards minimalism until now absent on his albums.  Although on his previous releases rhythm and noise always played main role here silence and trance take over. One must be prepared for patient and thoughtful rehearsal to appreciate elegant if somewhat monotonic (at moments) features of this music.  

By Maciej Nowotny (http://kochamjazz.blox.pl/html)

Sing Sing Penelope + Andrzej Przybielski - Stirli People in Jazzga (2008) by Maciej Nowotny

I am not a professional jazz critic, I make money elsewhere. But if I were one, I would choose always to listen to music from concert first before issuing my opinion about musician or band. Best example is Tomasz Stańko music as recorded for ECM: I am not that great fun of it. It's too monotonous for me, too monochromatic and monosyllabic. Yeah, that was a joke but to be honest I always find Stańko during concerts many times better than on any CD. If music is well played live it engages not only our mind but also body, down to its smallest cell, every part of it begin to resound, sway, dance, illuminate! I believe true jazz lovers know what I mean... Do you?

So speaking shortly if I have a choice I shall always go for live recordings. And that's why out of all albums of excellent Sing Sing Penelope band I choose this one as the best (the same story is with Pink Freud's live CD titled "Alchemia"). But that's not everything which makes this album so extraordinary, because apart from being recorded live in legendary Mózg (in Bydgoszcz) and Jazzga (in Łódź) clubs, its musical appeal is augmented by presence of trumpeter Andrzej Przybielski.

He is known in Poland under nick name "Major". His style formed in 70ties when he collaborated with giants of Polish pop scene like Czesław Niemen and SBB. His sound is most influenced by Miles Davis trumpet as we know it from such legendary albums as "Bitches Brew" or "Tribute to Jack Johnson". He finds himself best when surrounded by musicians who love to play together producing trance-like rhythms, an atmosphere of other-worldness, of spiritual detachment and trip to outer space. That is at least how he sounds on this recording where he not only follows steps of Great Mage from his 70ties period but is also pushing boundaries much further entering free jazz dimensions never or rarely visited by Miles. Can you imagine attitude more faithful to the soul of jazz than one displayed by Przybielski and his young companions?

I am sure we will hear more great music from Tomasz Glazik (sax), Rafał Gorzycki (drums), Wojciech Jachna (trumpet), Daniel Mackiewicz (piano & percussion), Patryk Węcławek (bass) but unfortunately not from Andrzej Przybielski any more. He departed as of yesterday - 9th Februrary 2011 - leaving all jazz lovers in Poland in state of deep shock. Regardless of countless recordings he made so far and his 65 years, we hoped to hear still more fantastic music in future from him. But it ends here ... or perhaps not as stated his long time companion Piotr Baron who on Facebook wrote on this occasion: "Farewell in Heaven Major". This short note in its humbleness is the only tribute I can offer to this man of note...

Track listing: Track listing: 1. No, a reszta gdzie? [00:25]; 2. W arce [06:19]; 3. Stirli People [18:57]; 4. Do krwi [04:16]; 5. Góru [09:38]; 6. Talkin' Part II [06:05]; 7. Hosanna SSP [10:45]

Check this fragment of concert with material from the album to get to know how great loss we are forced to accept:

By Maciej Nowotny

http://kochamjazz.blox.pl/html

  

Sing Sing Penelope - We Remember Krzeselko (2008) by Maciej Nowotny

One of the reasons that polish contemporary jazz scene is relatively unknown to international audience is that it is so much avant garde. The reason lays in "Brain", but I am not thinking only about this misteriuos organ located usually in our head but rather of the famous music club located in Bydgoszcz, in northern part of Poland, foggy and cold Pomerania.

So it happened in Poland that after 50ties when polish jazz was born, 6oties when it reached maturtity and blossomed, 70 ties when it went abroad and become known in other countries, in 80ties it became stagnant and closed to musical developments that took place outside the genre. It coincided of course with the dramatic situation in the country which after the Solidarity movement was crushed by gen. Jaruzelski in 1981 became very bleak, grey and uninspired place to live in. Then year 1989 happened and the communism was over but it took many years before country started to recover from the gloom of the past.

In such a dire conditions few crazy poeple like Ryszard Tymon Tymański, Leszek Możdżer, Maciej Sikała and Mikołaj Trzaska from Tricity (consisted of Gdynia, Sopot and heroic Gdańsk) formed a group called Love (Miłość) that was to change the course of history o polish jazz. As well-known critic Tomasz Szachowski once wrote: "Miłość began a creative ferment, it gathered a group of believers, it led to the creation of a new stream in Polish jazz. Today this stream gathers at least over ten musicians, it has its own record company (Biodro Records), its own festival ("Muzyka z Mózgu" / "Music from the Brain"), and a number of clubs of which "Brain" located in Bydgoszcz is the most important." This new movement was called yass in opposite to jazz and was always alternative to main stream, avant garde, experimental and free. Though Sing Sing Penelope is a band that belongs to second generation of young polish yass players it retains all characteristical features of its founders.

Sing Sing Penelope consissts of following players:

Tomasz Glazik - tenor & baritone saxophones, flute, synth

Wojciech Jachna - trumpet, flugelhorn
Daniel Mackiewicz - electric piano, synth, organ, percussion
Patryk Węcławek - bass, double bass, percussion
Rafał Gorzycki - drums
Sebastian Gruchot - violin (track 1,3,4,7)

All these guys are excellent players, very well educated, very creative and active in multiple projects and bands that play similar progressive music like Pink Freud, Contemporary Noise Quartet, Ecstasy Project or Robotobibok. These bands all form the core of polish avantgarde which is another interesting aspect of thriving polish jazz scene which cerainly should draw more attention from foreign listeners and recording companies.

Please listen to cover track from this album, a song composed on the occasion of funeral rite of little chair ("krzesełko"). This shows what young artists think about generally sad and reflective tone of polish jazz and classical music ;-)

By Maciej Nowotny

http://kochamjazz.blox.pl/html