Przemek Dyakowski & Take It Easy - "The Best of Przemek Dyakowski & Take it Easy / Port Gdynia od 100 lat nadaje rytm"

Przemek Dyakowski & Take It Easy

Joanna Knitter - vocal
Przemek Dyakowski - tenor saxophone
Wojciech Staroniewicz - tenor saxophone
Dominik Bukowski - vibraphone
Artur Jurek - Hammond Organ, piano
Jan Rejnowicz - piano
Janusz "Macek" Mackiewicz - double bass
Maksymilian Kreft, Tomasz Sowiński, Roman Ślefarski - drums

"The Best of Przemek Dyakowski & Take it Easy / Port Gdynia od 100 lat nadaje rytm"

Wydawca: Allegro Records (2024)

Tekst: Maciej Nowotny

"Warto czasem powiedzieć sobie wyluzuj!' - do tego jednego zdania możnaby sprowadzić recenzję tego albumu. Nagrany przez weterena trójmiejskiej sceny saksofonistę Przemka Dyakowskiego z towarzyszeniem tych samych co zawsze - wyśmienitych! - muzyków jest nienagannie zagranym hołdem dla klasycznego jazzu, a zwłaszcza jazzowej piosenki. Stąd kluczowa rola wokalistki Joanny Knitter, która z sukcesem wywiązuje się z zadania, a w której wykonaniu słyszymy garść zaśpiewanych standardów np. Duke'a Ellingtona, ale przede wszystkim polskich mistrzów, a szczególnie Jerzego Dudusia Matuszkiewicza. Poważne recenzowanie tej płyty byłyby zbrodnią, bo muzycy grają tak samo od 50 lat, nie zmieniając ani o jotę stylistyki, ale jest to przy tym tak czule, ciepło, pogodnie zagrane i zrealizowane, że po prostu nie można się na artystów gniewać, a muzyki wyłączyć. Myślę, że idealnie sprawdziłaby się ona na jakimś transatlantyku (zresztą podobny repertuar na pewno nie raz wybrzmiewał na "Batorym") i chociaż dzisiaj wszystkie te statki leżą dawno na dnie lub są pocięte na żyletki, to muzyka trwa i oby trwała jak najdłużej. Bo jest częścią historii kultury Trójmiasta, niekiedy bardzo piękną, uzmysławiającą nam, że czasami - niestety - to co najlepsze nas czeka już dawno się wydarzyło. Zresztą posłuchajcie takich piosenek z tej płyty jak na przykład wspaniałego "Szeptem" ze słowami Zbigniewa Ardjanskiego i muzyką Jerzego Abratowskiego, bardzo pięknie, bez zbędnej emfazy zaśpiewaną przez Knitter, by ze smutkiem stwierdzić, że takich piosenek się już dzisiaj (niemal) nie pisze i tak nie śpiewa. 

Przemek Dyakowski Take It Easy VI - Ludmiła (2023)

Przemek Dyakowski Take It Easy VI

Joanna Knitter – śpiew

Przemek Dyakowski – saksofon tenorowy
Wojciech Staroniewicz – saksofon tenorowy
Dominik Bukowski – wibrafon
Artur Jurek – organy Hammonda, fortepian
Janusz „Macek” Mackiewicz – kontrabas
Maksymilian Kreft – perkusja

Ludmiła (2023)

Wydawca: Allegro Records

Autor tekstu: Maciej Nowotny

To już szósta edycja tego nieustającego projektu legendy trójmiejskiej sceny jazzowej saksofonisty Przemka Dyakowskiego i grupy przyjaciół w osobach saksofonisty Wojtka Staroniewicza, wibrafonisty Dominika Bukowskiego, grającego na organach Hammonda i na fortepianie Artura Jurka, na kontrabasie Janusza Mackiewicza i na perkusji Maksymiliana Krefta. Skupieni w tej formacji muzycy lubią sobie pograć razem i wspólnie celebrują jazz tradycyjny, rozbujany swingiem, a nawet nieco taneczny. Dla piszącego te słowa i dla większości młodszych słuchaczy ten jazz może troszkę "trącić mychą", ale pamiętajmy, że wiek przeciętnego słuchacza jazzu - a na pewno jazzu tradycyjnego - dawno przekroczył 50 lat. To do takiej publiczności, a nawet starszej skierowany jest ten album poświęcony zmarłej w 1961 piosenkarce Ludmile Jakubczak. Nawet dla osób z mojej generacji, rocznika 1966, jej piosenki znane są jako ulubione moich rodziców i brzmiące już kilka dekad temu, nieco staroświecko. Czy pamiętają Państwo takie tytuły jak "Gdy mi Ciebie zabraknie", "Szeptem", "Wakacje z deszczem" czy kultową "Alabamę"? Jeśli tak to na pewno świetnie orientujecie się co oznaczają skróty ZSMP, RWPG, ZBOWiD, ale nic Wam kolei nie powiedzą inne jak KPop, FreeImprov czy Grunge. Minęła nie epoka, lecz kilka epok, w tym epok muzycznych, nie wyłączając tych dotyczących jazzu. Niczego z tych ewolucji i rewolucji nie usłyszymy na tej płycie. Czy to zarzut? Bynajmniej.

Nie wszystko może, a nawet powinno się zmieniać. Zmieniają się epoki, zmieniają się estetyki i gatunki, ale pozostaje miłość do muzyki, ładna melodia, mądry, a czasem dowcipny tekst i radość czerpana z grania razem. I to wszystko tu jest! Dzięki temu, mimo że muzyka ta jest beznadziejnie sentymentalna, to słucha się jej... świetnie. A nawet z pewnym żalem... Bo gdzież dzisiaj są takie melodie jak te, które pisali Jerzy Abratowski czy inni luminarze polskiej piosenki jak Władysław Szpilman czy Jerzy Wasowski? Gdzie teksty takie jak te, które wyczarować potrafili np. Agnieszka Osiecka czy Kazimierz Winkler? Gdzie taka czułość jak między grającym na saksofonie ponad osiemdziesięcioletnim Przemkiem Dyakowskim, a wokalistką Joanną Knitter, która potrafiła powściągnąć swój drapieżny styl i swingować jakby jutro miał się skończyć świat. Wiecie co? Postęp w jazzie jest zdecydowanie przereklamowany i często zapominamy, że miłość do tradycji jest w nim co najmniej równie potrzebna i ważna.

Przemek Dyakowski / Leszek Możdżer / Sławek Jaskułke - Melisa (2007)

Przemek Dyakowski, Leszek Możdżer, Sławek Jaskułke

Przemek Dyakowski – saksofony
Leszek Możdżer – fortepian w utworach 1, 3, 6, 8, 9
Sławek Jaskułke – fortepian w utworach 2, 4, 5, 7
Dominik Bukowski – wibrafon
Janusz Mackiewicz – kontrabas
Tomek Sowiński – perkusja
Irek Wojtczak – flet w utworze 3

Wydawca: Outside Music

"Melisa" (2007)

Autor tekstu: Marcin Kaleta

Najprzyjemniejszy polski jazzowy album wszech czasów? Kandydatów wskazać można oczywiście wielu. Państwo na pewno mają własne preferencje i własnych faworytów. Przy okazji, proszę pod postem na FB wpisywać propozycje.

Ja tymczasem zgłaszam "Melisę" (2007) Przemka Dyakowskiego. Znajdziemy tu granie delikatne, stonowane, nieśpieszne. Jak muśnięcie płatków róży. Albo poświata neonów w spokojnej metropolii nocą. Księżyca. Świecy. Bądź niczym poranna rosa. Letni leniwy powiew. I szelest liści. Fascynująco. Porywająco. Kołysząco. Unosząco. Uwodząco.

Lecz granie niebanalne. Przesądzają o tym czynniki elementarne: wybitna pianistyka (Leszek Możdżer w pięciu utworach, Sławek Jaskułke w czterech) oraz wibrafonistyka (Dominik Bukowski), do tego aktywna i kreatywna sekcja rytmiczna (Janusz Mackiewicz na kontrabasie i Tomasz Sowiński na perkusji), wreszcie saksofony lidera rodem z lat 50. Jeszcze flet, incydentalnie (Irek Wojtczak). Utworów mamy dziewięć: jeden jest tradycyjny, po dwa napisali Dyakowski, Możdżer i Bukowski, jeden pochodzi z opery Feliksa Nowowiejskiego, za bonusowy zaś odpowiadają pospołu: nigeryjsko-polski poeta, muzyk i pedagog Larry Ok Ugwu, ponadto Dyakowski z Możdżerem.

Dla mnie ta pozycja była niezwykłym zaskoczeniem. Wcześniej słuchałem Przemek Dyakowski Take It Easy V: "Ach, to był szał..." z piosenkami Jerzego "Dudusia" Matuszkiewicza w wykonaniu Joanny Knitter. W porządku: miłe, lecz zbyt powszednie, mocno estradowe i przygoda, póki co, jednorazowa. Z kolei "Melisa" otulała mnie i osnuwała przez kilka tygodni. Do takiej muzyki się wraca — dla wytchnienia, relaksu. Działa niczym napar z melisy, czyli pomaga ukoić nerwy, uporać ze zdenerwowaniem czy stresem. Żadnych zbędnych popisów, niczego awangardowego. Prostota. Nastrój. Melodia. Powab. Kwintesencja przyjemności.

W tej opinii nie jestem odosobniony. Marek Dusza z pisma "Audio" przyznał najwyższą notę 5/5 w obu kategoriach: wykonanie i nagranie. Bo też materiał został znakomicie zarejestrowany. Do tego przyczynił się Możdżer i dlatego zapewne lider pozwolił mu zanucić na koniec, w "Larry, The Rebel of Love". To już jednak nie był najlepszy pomysł. Nawet ktoś go tam wyśmiał w trakcie (albo on sam siebie). Z tym że nadal przebywamy w krainie jakiejś baśni, stąd można mu wybaczyć. A i odbiorcom to wszystko bardzo się spodobało, o czym świadczy status tzw. złotej płyty w 2008.

Może zatem warto zainteresować się najnowszą pozycją w katalogu Allegro Records: Przemek Dyakowski Take It Easy VI: "Ludmiła", z repertuarem śp. Ludmiły Jakubczak? Zapowiedź brzmi zachęcająco: "Wykorzystując stylistykę swingową, czyli znak rozpoznawczy naszego zespołu, podjęliśmy próbę nadania kompozycjom Jerzego Abratowskiego, Hanny Skalskiej czy Władysława Szpilmana nieco innego koloru, zachowując jednak ogromny szacunek do oryginałów".

Jakub Hajdun Trio - Utwory własne (2022)

Jakub Handun Trio

Jakub Hajdun, fortepian
Janusz Mac­­kiewicz, kontrabas
Roman Ślefarski, perkusjapo

Utwory własne (2022)

Wydawca: Soliton

Autor tekstu: Jędrek Janicki

Trio Jakuba Hajduna na debiutanckiej płycie wydanej w 2020 roku (zatytułowanej dla niepoznaki Jakub Hajdun Trio) brzmiało efektownie, lecz nie wykraczało tak naprawdę poza mniej lub bardziej schematyczne odegranie stylistyki dawnych mistrzów – w tym wypadku najwyraźniejsze inspiracje stanowili zdecydowanie Bill Evans oraz McCoy Tyner. Dwa lata muzycznego rozwoju pozwoliły jednak zespołowi (który nadal obok pianisty-lidera Jakuba Hajduna tworzą kontrabasista Janusz Mackiewicz oraz perkusista Roman Ślefarski) na wytworzenie o wiele oryginalniejszego języka ekspresji. Choć Hajdunowi nadal bardzo blisko do jazzowego frazowania gigantów gatunku z lat pięćdziesiątych czy sześćdziesiątych (i nic w tym złego, wszak byli to prawdziwi bogowie!), to bardzo chętnie cały zespół rzuca się w odmęty tak modnego kiedyś third streamu. Na szczególną uwagę zwracają partie solowe Hajduna, które swoją delikatnością i wyczuciem zwłaszcza melodii powoduje, że ta nieco oldschoolowa płyta wybrzmiewa świeżo. Moim prywatnym faworytem pozostaje utwór IV – 6/5-5/4 – być może dlatego, że uwielbiam Dave’a Brubecka, a być może dlatego, że całe trio w tej właśnie kompozycji najpełniej ukazuje swój niemały kunszt interpretacyjny.

Jakub Hajdun Trio - Jakub Hajdun Trio (2020)

Jakub Hajdun Trio

Jakub Hajdun - piano

Janusz Mackiewicz - bass

Roman Ślefarski- drums

Jakub Hajdun Trio

SMJ 5903684230631

By Adam Baruch

This is the debut album by young Polish Jazz pianist Jakub Hajdun recorded in a classic Jazz piano trio setting with bassist Janusz Mackiewicz and drummer Roman Ślefarski. The album presents five tracks which are all Jazz standards, two of which combine two standards each.

The music is completely within the classic Jazz mainstream idiom, sounding like many similar piano trio recordings, and yet at the time of hectic barrage of sounds we live in today it is like a miraculous oasis in a desert, delightful with its tranquility and familiarity.

Hajdun is an excellent pianist, showing a great technique and feeling for the music. Perhaps not very original in his approach and interpretation, but certainly able to carry a tune in a most pleasant way, bringing joy and a smile, like all good music should. Supported by a superb rhythm section, which plays exactly as the doctor prescribed, staying in time and perfect sync with the leader, what else can one ask for? The obviously intentional retro sound and highly swinging approach sounds like honey to one's ears after years of all that Avant-Garde katzenjammer ;)

Yes, yes, I can already hear the critics saying this is something one can hear in a coffee house… Where I ask? Show me? I'd love to have my coffee (and cake mind you) in that coffee house every day while listening to this delightful music. Get lost, you snobs! In short if you like good, old, swinging Jazz piano trio, this is it. They don't make music like this any more! The only critique I can think of is the fact that it lasts for only just over forty minutes.

Wojciech Staroniewicz A'Freak-aN Project - Live In Gdańsk (2019)

Wojciech Staroniewicz A'Freak-aN Project

Wojtek Staroniewicz - saxophone
Przemek Dyakowski - saxophone
Darek Herbasz - saxophone
Marcin Janek - saxophone
Dominik Bukowski - vibraphone
Janusz Mackiewicz - bass
Roman Ślefarski - drums
Larry Okey Ugwu - percussion


Live In Gdańsk

Allegro 038

By Adam Baruch

This is the third album by veteran Polish Jazz saxophonist / composer / bandleader Wojciech Staroniewicz and his A`Freak-aN Project ensemble, which is an octet featuring a saxophone quartet and an extended rhythm section: Staroniewicz on tenor, Przemek Dyakowski on tenor, Dariusz Herbasz on baritone, Marcin Janek on soprano, Dominik Bukowski on vibraphone, Janusz Mackiewicz on bass, Roman Ślefarski on drums and Larry Okey Ugwu on percussion. The album, which was recorded live at Radio Gdańsk, presents seven compositions, two of which are originals by Staroniewicz, four are by Krzysztof Komeda and one is by McCoy Tyner, all arranged by Staroniewicz.

This album is in fact a live version of the previous album by the ensemble from 2015, called "A'Freak-Komeda Project", except for the Tyner track. Therefore basically everything I wrote about that album applies also here - just click on the link.

As Staroniewicz says on the album's artwork, this album is a great opportunity to compare the same music recorded in studio and live, which of course can be very different. The live concert setting offers much more dynamics and excitement and expanded improvisations, but is prone to minor "mishaps", which in retrospect are usually simply charming.

Since the Komeda arrangements are really very special, I recommend to Polish Jazz enthusiasts to put their hands on this album as well and compare these versions with the studio ones, and enjoy a great live album with excellent musicians on board.

Elec-Tri-City - Depth Of Focus (2017)

Elec-Tri-City

Marcin Wądołowski - guitar
Dominik Bukowski - xylosynth
Janusz Mackiewicz - bass, minimoog
Grzegorz Sycz - drums, percussion

Depth Of Focus



SOLITON 707

By Adam Baruch

This is the second album by Polish Jazz-Rock Fusion ensemble Elec-Tri-City, which comprises of bassist/keyboardist/composer Janusz Mackiewicz, guitarist Marcin Wądołowski, vibraphonist Dominik Bukowski (who plays his electronic vibraphone called xylosynth) and drummer Grzegorz Sycz. The album presents ten original compositions, seven of which are by Mackiewicz and the remaining three are one each by the other ensemble members.

The album continues the path set by the debut and presents a superbly elegant Jazz-Rock Fusion, based on beautiful melodic compositions, which serve as vehicles for extended improvisations by the ensemble members. The music brings fond memories of what Fusion was at its early days, when it was all about the music and not about technical, but boring proficiency show-offs by mediocre musicians. Each and every one of the tunes on this album is a wonderful piece of stylish music, which stands very well on its own.

All four members of the ensemble are experienced musicians with impressive personal record and the music they play here is evidently a labor of love and joy of playing. There is plenty of superb guitar, synthesizer, bass and drum solos to keep every Fusion fan happy. Overall this is a very enjoyable and yet exceptionally musical and elegant album, which is a true joy to listen to from start to end; one of those pieces of music that can simply "make your day". Warmly recommended!

Swingujące 3miasto (series) - Emil Kowalski (2014)

Swingujące 3miasto (series)

Emil Kowalski - clarinet
Leszek Możdżer - piano
Sławek Jaskułke - piano
Dominik Bukowski - vibraphone
Cezary Paciorek - accordion
Piotr Lemańczyk - bass
Janusz Mackiewicz - bass
Tomasz Sowiński - drums
Adam Czerwiński - drums


Emil Kowalski

SMJ 2014

By Robert Ratajczak

Seria płytowa "Swingujące 3miasto" ukazująca się początkowo nakładem wydawnictwa Soliton, a następnie przejęta przez Stowarzyszenie Muzyków Jazzowych Sopot, przypomina, a wielu miłośnikom jazzu dopiero przedstawia, najciekawszych wykonawców w historii pomorskiego jazzu. Jak dotąd pojawiły się na rynku płyty: Antykwintet, Baszta, Flamingo, Rama 111 i Leszek Dranicki (oraz kompilacja "Był Gdańsk" wydana przez Jazz Forum). Inicjatorem i szefem artystycznym tego niezwykle interesującego przedsięwzięcia jest Marcin Jacobson.

Szósta płyta z serii poświęcona została w całości nagraniom Emila Kowalskiego, zmarłego przedwcześnie w 2008 roku, jednego z najwybitniejszych klarnecistów w dziejach polskiego jazzu. W trakcie swej niezwykle obfitej w rozliczne konstelacje działalności, Kowalski zasilał składy takich formacji, jak Rama 111 czy Seaside Dixieland, oraz współpracował z całą rzeszą jazzowych instrumentalistów, pośród których warto wymienić choćby Eddie'ego Hendersona, Brada Terry'ego, Eda Schullera czy artystów polskich, takich jak Sławek Jaskułke, Leszek Dranicki, Wojciech Niedziela, Dominik Bukowski czy Leszek Możdżer.

Niewątpliwą frajdą dla jazzowych archiwistów są kompozycje Fryderyka Chopina w aranżacji na klarnet, akordeon i w jednym przypadku kontrabas, jakie Emil Kowalski przygotował z myślą o kolejnej płycie. Pozostałe nagrania wybrano z albumów: "Children Of Bird" (1999), "Kolędy" (2002) i "Playing Benny Goodman" (2003). 

Podczas drugiej w zestawie kompozycji Goodmana - "Benny's Buggle" - zwraca uwagę "ciężka" praca kontrabasu, będącego w tym nagraniu niejako wyznacznikiem brzmienia całego utworu. Janusz Mackiewicz funduje nam ponadto w czwartej minucie doskonałą partię solową. Akordeon Cezarego Paciorka świetnie współgra z wibrafonem Dominika Bukowskiego, przekomarzając się z klarnetem lidera. Kunszt Mackiewicza zachwyca w każdym spośród siedmiu nagrań zrealizowanych w składzie z kontrabasem. To właśnie niskie tony basowe wraz z ciężkimi akordami fortepianu Leszka Możdżera i szaleńczą perkusją Adama Czerwińskiego wyznaczają nurt dla linii klarnetu podczas rozimprowizowanego tematu Charlie'ego Parkera "Diverse", zarejestrowanego w Gdańsku w 1999 roku.

Uwagę przyciągają też klasyczne kolędy w aranżacjach Dominika Bukowskiego ("Jezus Malusieńki") i Emila Kowalskiego ("Oj, maluśki, maluśki") zamieszczone na końcu albumu. Wydawać by się mogło, iż w tak ogranych tematach trudno przekazać cokolwiek, czego jeszcze muzyczne ucho nie dostrzegło, a jednak... To po prostu kawałek świetnego jazzowego grania z dominującą rolą zarówno klarnetu, jak i wibrafonu oraz gitary basowej (Piotr Lemańczyk). Doskonałe przypomnienie, a zarazem płytowa wizytówka jednej z najbardziej nieodżałowanych postaci polskiego jazzu, jaką jest Emil Kowalski. Wyjątkowa perełka całej serii "Swingujące 3miasto".

www.longplay.blox.pl

Przemek Dyakowski/Take It Easy IV – Swing! (2015)

Przemek Dyakowski/Take It Easy IV

Joanna Knitter - vocals
Przemek Dyakowski - saxophone
Wojciech Staroniewicz - saxophone
Dominik Bukowski - vibraphone
Artur Jurek - keyboards
Janusz Mackiewicz - bass
Tomasz Sowiński - drums

Swing!

ALLEGRO 032

By Adam Baruch

This is a live recording of a concert that celebrated the 80th Birthday Anniversary of the veteran Polish Jazz saxophonist Przemek Dyakowski. The music, recorded at Radio Gdańsk, was performed by a group of Dyakowski's friends, which included, in addition to him of course, vocalist Joanna Knitter, saxophonist Wojciech Staroniewicz, vibraphonist Dominik Bukowski, keyboardist Artur Jurek (who also arranged all the songs), bassist Janusz Mackiewicz and drummer Tomasz Sowiński. A few guest musicians also took part in the proceedings. The album presents eight songs (and a bonus track with vocalese by Hanna Banaszak), seven of which are originals: two each by Staroniewicz and Knitter, and one each by Dyakowski, Bukowski and Mackiewicz. Knitter also wrote the lyrics (in English) to all these original songs. The last song is a standard.

The music is exactly what the album's title promises: a set of songs kept within the mainstream Jazz tradition, all of which sound as if they were well known Jazz standards, which of course means that they are all beautifully crafted to the highest standard. The performances are also excellent, executed with flair and obvious professionalism, spiced with many beautiful solos. The relaxed atmosphere and good sound make the music flow smoothly from one song to another, with an overall effect of joyous occasion and great fun had by all the musicians present

Knitter manages to pass the test of singing in English, which usually has a disastrous result on Polish Jazz albums. Her pronunciation, although obviously non-English, is charming enough and highly musical, which makes the overall result comparable to other great non-native English language singers. Her singing here and her warm timbre fit the general concept of the music like a glove. Her lyrics are also quite excellent, so she comes out of this recording definitely on the winning side.

Overall this album is definitely as good, if not better, than most American mainstream/Swing albums, and the original music herein is way better, which of course means that Polish Jazz is not inferior anymore to anything from across the pond.

Special Jazz Sextet – Projekt Elbląg (2011)

Special Jazz Sextet

Bartek Krzywda - keyboards
Szymon Zuehelke - saxophone
Artur Olewniczak - trombone
Marcin Gawdzis - trumpet
Janusz Mackiewicz - bass
Grzegorz Sycz - drums

Projekt Elblag



ALLEGRO 022

By Adam Baruch

This is the debut album by a Polish Jazz sextet, which changed its lineup and name several times before settling with the name Special Jazz Sextet, before this album was recorded. It is led by keyboardist Bartek Krzywda and includes saxophonist Szymon Zuehlke, trombonist Artur Olewniczak, trumpeter Marcin Gawdzis, bassist Janusz Mackiewicz and drummer Grzegorz Sycz. Saxophonist Przemek Dyakowski guests on five tracks and guitarist Jaroslaw Smietana and violinist Jerry Goodman each guest on one track. The album presents eight original compositions, all by Krzywda.

The music is melodic mainstream Jazz bordering on Jazz-Rock Fusion. The brass section is skillfully used in the arrangements to support the keyboards/rhythm section passages and overall the sextet functions as a solid well synchronized unit, achieving a polished and highly professional effect. There are plenty of excellent solo parts by all the participants and the guests.

The individual contributions by all the participants are truly outstanding and although these are not "famous" Polish Jazz musicians, their level of technical proficiency and skillful delivery are as good as those by musicians from the "premier league", which of course is a testimony of the incredibly high level of Polish Jazz in general. Overall this is a very well played mainstream Jazz album, which should be satisfying to all listeners the world over. It is fun to listen to and presents first-class musicianship and interesting compositions.

Wojciech Staroniewicz - A'Freak-Komeda Project (2015)

Wojciech Staroniewicz

Wojciech Staroniewicz - tenor saxophone
Przemek Dyakowski - tenor saxophone
Darek Herbasz - baritone saxophone
Marcin Janek - soprano saxophone
Dominik Bukowski - marimba, vibraphone, xylosynth
Janusz Mackiewicz - bass
Roman Ślefarski - drums
Larry Okey Ugwu - afrikan percussion, wooden flute

A'Freak-Komeda Project

ALLEGRO 029

By Adam Baruch

This is the second album by veteran Polish Jazz saxophonist/composer Wojciech Staroniewicz and his A'Freak-aN Project ensemble, which consists of a four saxophones front line: Staroniewicz on tenor, Przemek Dyakowski on tenor, Dariusz Herbasz on baritone and Marcin Janek on soprano. The extended rhythm section includes vibraphonist Dominik Bukowski, bassist Janusz Mackiewicz, drummer Roman Ślefarski and percussionist Larry Okey Ugwu. As the title suggests, the album is dedicated to the music of Krzysztof Komeda and four of the six tracks presented here were composed by Komeda, and the remaining two are original composition by Staroniewicz, who also arranged all the music.

The African influences on this album, similarly to its predecessor, are relatively subtle and are wisely intertwined with the Jazz content, being felt primarily on the rhythmic plane and the overall atmosphere of the music. As a result this music is still very much mainstream Jazz, and not overtly a Jazz-World Fusion, although African spirit is present during the entire proceedings.

The arrangements of Komeda's tunes work all very nicely, which on one hand proves that Komeda's music is completely universal, and on the other that Staroniewicz and his colleagues do a great job here, lovingly and respectfully treating the creations of the great composer. The two originals by Staroniewicz ale also first rate tunes, fitting the overall atmosphere of the album.

The four saxophones section plays both superb ensemble arrangements and inspired individual solos, which are a true delight. Bukowski is also excellent, as usual, as is the solid rhythm section, which simply does a perfect job here. The level of instrumental work on this album is highly professional and full of joy and elegance.

Altogether this is a superb mainstream Jazz album, which features great music, intelligent arrangements and perfect execution. The almost impossible task of saying something innovative in relation to Komeda's music was successfully achieved here as well. Therefore hopefully as many Jazz fans as possible will decide to check out this beautiful little gem and share its gift of music. Once again I'd like to say that the graphic design of this album, which continues its predecessor's idea, is among the most elegant and eye-catching album designs on the Polish Jazz market.

Janusz Mackiewicz – Frogsville (2008)

Grzegorz Nagorski - trombone
Dariusz Herbasz - saxophone
Dominik Bukowski - vibraphone
Janusz Mackiewicz - bass
Adam Czerwinski - drums

ECNALUMBA 002





By Adam Baruch

This is the second album as a leader by Polish Jazz bassist / composer Janusz Mackiewicz. It is a live recording, which also features saxophonist Dariusz Herbasz, trombonist Grzegorz Nagorski, vibraphonist Dominik Bukowski and drummer Adam Czerwinski, all well seasoned players from the Polish Baltic Tricity scene. The quintet performs seven compositions, six of which are original compositions: four by Mackiewicz, one each by Bukowski and Herbasz and the last one is a Charles Mingus tune.

The music is all well within mainstream Jazz, but the excellent compositions and spotless execution turn it into a very pleasant listening experience, mostly low key and somewhat subdued. The music is definitely not trying to break any new musical ground, but it does represent highly professional well played contemporary Jazz, which is accessible to a wide Jazz audience and should satisfy most regular Jazz connoisseurs all over the world.

In many respects this music has a nostalgic feel of the be bop hay days as captured during the 1950s and 1960s on Blue Note, Prestige and other labels, but with a more contemporary sound quality. This album is definitely worth checking out, especially for Polish Jazz collectors, as it proves beyond any doubt that Polish Jazz musicians can play classic Jazz as well as the guys across the pond.

Marcin Wadolowski - Blue Night Session (2014)

Marcin Wadolowski - guitar
Wojciech Staroniewicz - saxophone
Dominik Bukowski - vibraphone
Janusz Mackiewicz - bass
Adam Czerwinski - drums

ALLEGRO 028




By Adam Baruch

This is the second album by the Polish Jazz guitarist / composer Marcin Wadolowski, recorded in a quintet setting with saxophonist Wojciech Staroniewicz, vibraphonist Dominik Bukowski, bassist Janusz Mackiewicz and drummer Adam Czerwinski, all seasoned players from the Polish Tricity region. The album presents ten original compositions, all by Wadolowski. Wadolowski can be also heard as a member of Elec-Tri-City and Moongang.

The music is all very melodic and kept within the mainstream Jazz conventions. All the tracks are relatively short, creating a sort of "songs" album, although of course entirely instrumental, in contrast to a typical Jazz recording, which focuses on the improvisational skills. Wadolowski simply decides to concentrate on featuring his skills as a composer and presenting his music rather than his and his quintets performing talents. There is basically absolutely nothing wrong with such approach of course.

Nevertheless the album features very talented and skilled instrumentalists and although the framework and time limitations of this album allow rather modest contributions, those are all executed perfectly. Staroniewicz is a marvelous player and so is Bukowski, who uses recently more and more the xylosynth (a combination of xylophone and synthesizer, which sound really more like a keyboard and produces some very beautiful moments. The rhythm section is also perfect for the job, staying mostly in the background but providing a solid support for the soloist and doing it with grace and elegance. As to the leader, personally I prefer his work in a more electric / Fusion / Funky environment than playing gentle almost acoustic guitar, which limits his possibilities or perhaps exposes more his technical weaknesses, but overall his performance is also quite satisfactory.

All in all we have here a pleasant well played album, which should satisfy most Jazz connoisseurs, with a slight tendency towards melodic and less complex musical forms. This album is quite ideal for a lazy evening with a glass of a wonderful cognac or very old single malt on ice.

Janusz Mackiewicz - Elec-Tri-City (2013)

Dominik Bukowski - vibraphone
Marcin Wądołowski - guitar

Janusz Mackiewicz - bass

Grzegorz Sycz - drums

with

Maciej Sikała - saxophone

Leszek Możdżer - keyboards

BITTT 002

By Adam Baruch

This is the debut album by Polish Jazz-Rock / Funk ensemble Elec-Tri-City, formed by bassist Janusz Mackiewicz and including also the excellent veteran vibraphonist Dominik Bukowski, guitarist Marcin Wadolowski and drummer Grzegorz Sycz. As the word-play title suggests, the band members originate from the country's Tricity on the Baltic Sea. Several guest musicians participate on the album, most notably the keyboards wizard Leszek Mozdzer. The album includes seven original compositions all by Mackiewicz.

The music lies well within the boundaries of the Jazz-Rock Fusion / Funk variety, but presents an up to date version of the idiom and even tries to expand its boundaries by adding somewhat more electronic ambience and more advanced harmonic structures as well as more ambitious improvisations than usually utilized by musicians operating within these genres. The compositions are surely better than most sketchy melodic lines usually used in Funk over a repetitious rhythmic pattern. In short this music is a breath of fresh air as far as Funk & Co are concerned.

The individual contributions are all beyond reproach, which is not surprising considering the obvious abilities of the musicians involved. Mackiewicz plays some pretty "nasty" bass lines, which can wake up the dead, Bukowski and his xylosynth (xylophone-synthesizer) produces superb atmospheric sonic layers and inspired solos, Wadolowski adds a gutsy, Bluesy guitar sound and Sycz keeps the entire shamadan moving forward straight to the listeners guts (or heart). Even Mozdzer plays here considerably more imaginatively than on his solo albums lately.

Overall this is an excellent album as far as Funk is concerned, elegant and entertaining and above all great fun. I enjoyed every minute of this music, which is definitely more suitable for warm climates. Thank you guys for bringing some joy to life!

Various Artists – Przyjaciele Graja Hajduna (2011)

Wanda Staroniewicz - vocals
Wlodzimierz Nahorny - piano
Piotr Nadolski - trumpet
Marcin Wadolowski - guitar
Wojciech Staroniewicz - saxophone
Janusz Mackiewicz - bass
Dominik Bukowski - vibraphone
Darek Herbasz - saxophone
Adam Golicki - percussion
Kuba Hajdun - piano

ALLEGRO 023

By Adam Baruch

This album presents the live recording of a memorial concert dedicated to the Polish pianist / composer Janusz Hajdun, who died a year before this concert took place. Hajdun composed music to more than a hundred films, including the short animated film "Tango", which was the first and so far only Polish film to win the Oscar in 1983, as well as many popular songs. His music was characterized by a distinctive swing and a Jazz spirit, and therefore it is only natural that the Polish Jazz musicians taking part in this concert would pay this loving tribute to the beautiful music composed by Hajdun, hoping to preserve it for posterity.

The album presents thirteen compositions by Hajdun (in two cases co-compositions), all of which were beautifully arranged by the participating musicians and three of which include vocals sung by Wanda Staroniewicz. The instrumentalist are: legendary pianist Wlodzimierz Nahorny, trumpeter Piotr Nadolski, guitarist Marcin Wadolowski, saxophonist Wojciech Staroniewicz, bassist Janusz Mackiewicz, vibraphonist Dominik Bukowski, saxophonist Dariusz Herbasz, percussionist Adam Golicki and pianist Kuba Hajdun (the composer's son).

The music is truly beautiful, full of the typical Polish lyricism, somewhat melancholic and even gloomy, but always absorbing and aesthetically perfect. There is more than a coincidental similarity to Krzysztof Komeda's cinematic work, which indisputably inspired Hajdun, as it did all Polish composers. Hearing all this music collected here makes a great impact as a sum total and emphasizes his incredible value as a composer and contributor to the development of Polish Culture.

The performances are inspired and overall perfect, full of superb solos and excellent team work, kept in relative low-key, as appropriate for a memorial concert. Ranging from solo piano performances to a full-blown Jazz ensemble, things are definitely happening here, which should leave no listener cold. The fact that people pay tribute to their departed colleagues and mentors is heartwarming and commendable and when it is done with such love, dedication and talent, it becomes an unforgettable event.

This is Polish Jazz at its best, and as such it deserves to be listened to with attention and open-mindedness. Taking care of the past and the heritage is every bit as important as taking care of the future, let's not forget it.

Wojciech Staroniewicz – A`FreAK-aN Project (2011)

Wojtek Staroniewicz - saxophone, leader
Przemek Dyakowski - saxophone
Darek Herbasz - saxophone
Irek Wojtczak - saxophone
Dominik Bukowski - marimba, vibraphone, kalimba
Janusz Mackiewicz - bass
Adam Czerwinski - drums
Larry Okey Ugwu - percussion
Slawomir Berny - percussion

ALLEGRO 021

By Adam Baruch

This is a very interesting concept album by veteran Polish Jazz saxophonist / composer Wojciech Staroniewicz, dedicated to African music. Staroniewicz assembled an unusual lineup, fronted by a four-saxophone brass section: himself on tenor, Przemek Dyakowski on tenor, Dariusz Herbasz on baritone and Irek Wojtczak on tenor and soprano saxophones. There are no keyboards, as appropriate for African music, which are replaced by typical African instruments like marimba and kalimba, with some vibraphone, all played by Dominik Bukowski. The rhythm section comprises of bassist Janusz Mackiewicz and drummer Adam Czerwinski and two percussionists complete the lineup: Larry Okey Ugwu and Slawomir Berny. The album includes seven original compositions, all by the leader, and was recorded "live" in the studio.

Rather than copying obvious African elements, Staroniewicz creates a set of compositions, which are African more in spirit than in form, a task which is most commendable and of course much more difficult. The brass arrangements sound similar to African Brass Bands, mostly those from Southern part of the continent, but what is most impressive, is that Staroniewicz presents Africa as a whole, with music influences originating from all the four corners of the Black Continent – North with its Middle-Eastern flavor, West with its typical rhythm signatures, East with its enchanting expressive melodies and South with its highly energetic, danceable spirit. The decision not to include keyboards, especially electronic ones, adds significantly to the authenticity and genuineness of the overall result.

Although obviously a team effort, especially in light of the live recording circumstances, there are plenty of great solos by all the players involved. These are all experienced and talented musicians, mostly leaders of their own ensembles and the common strength of their conglomerated effort is quite impressive. One should note that although this is obviously a Jazz-World Fusion album, the ethnic elements are not dominating the basic Jazz feel and order of things here, which happens so often in this genre. After all these are European musicians, who grew up on European aesthetics and heritage, and for them pretending to be native Africans would be ridiculous. Therefore this subtle and intelligent approach is much more effective.

In addition to the great musical content the album is also beautifully packaged and the graphic design of the digipak enclosure is simply wonderful and highly original, which proves how much thought and love went into making this album.

Highly recommended to Jazz-World Fusion enthusiasts, who should enjoy this music wholeheartedly and repeatedly, discovering the many layers it has to offer. Nice stuff!

Przemek Dyakowski - Take It Easy III (Soliton, 2012)

Przemek Dyakowski – saksofon tenorowy, lider (1-10)

Joanna Knitter – Posiewnik – wokal (1-10)
Dominik Bukowski – wibrafon (1-2, 4-10)
Artur Jurek – fortepian, aranżacje, producent (1-3, 10)
Janusz Macek Mackiewicz – kontrabas (1-10)
Tomasz Sowiński – perkusja (4-9)
Roman Ślefarski – perkusja (1-3, 10)

Kwartet Smyczkowy Cappelli Gedanensis (1-3, 10):
Katarzyna Kowacz – I skrzypce
Katarzyna Rogalska – II skrzypce
Małgorzata Chomicz – altówka
Alicja Lach-Owsiany – wiolonczela

Take It Easy III (Soliton, 2012)

Saxophonist Przemek Dyakowski is a legend on Tri City jazz scene. He very well fits in mainstream like in 'Projekt Elbląg' (2011) by Specjal Jazz Sextet & Jerry Goodman, Jarek Smietana, in etno & folk jazz in Wojtek Staroniewicz 'Afreakan Project' (2011) or in more 'twisted' jazz like on young saxophonist Irek Wojtczak debut recording 'Direct Memory Access' (2011). I only quote very recent ones out of hundred or more other albums on which he appeared.   

His newest recording however is an instance of 'new classical jazz music' which I am not a very big fan of. What I mean by this term? Music which is as dead as, say, music of Beethoven, Mozart or Wagner and which is rehearsed by a band of awesome instrumentalists who in this way pay homage to old grand masters of the past. This is duty full of honor if a bit dull and uninspiring if repeated too often. And  this is the case as far as this recording is concerned because it is third disc in a small series by Dyakowski dedicated to classic jazz. 

Once again we may hear here great jazz standards born on Broadway almost one hundred years ago played and sung almost identically as they were played by George Gershwin, Duke Ellington and so many others. Except that they lack spontaneity and authenticity which are present in original recordings of that era. Summarizing, sweet and lovely without doubt but hopelessly predictable and boring if you are bound to 'real' jazz defined as 'sound of surprise'...

Track listing: 1. Lady be good – G. Gershwin 3:58; 2. Sophisticated Lady – D. Ellington 5:02; 3. I wish I knew – D. Gordon & H. Warren 5:25; 4. I ain’t got nothin’ but the blues – D. Ellington 5:31; 5. East of the sun and West of the moon – D. Bowman 8:31; 6. You go to my head – J. F. Coots & H. Gillespie 8:27; 7. Ain’t misbehavin’ – T. Fats Waller 5:18; 8. I got it bad – D. Ellington 3:41; 9. I wish you love – Ch. Trenet 5:17; 10. I kiss your hand, madame – R. Erwin 4:22

By Maciej Nowotny

http://kochamjazz.blox.pl

Janusz Mackiewicz Quartet - Uklad Scalony (Soliton, 2009)

Janusz Mackiewicz Quartet (band)

Darek Herbasz - tenor and baritone saxophones
Dominik Bukowski - vibraphone, marimba

Janusz Mackiewicz - double bass
Michał Szczeblewski - drums

Układ Scalony (Soliton, 2009)

Death of a sideman, birth of a leader. That's how in short may be described this stage of a career of bassist Janusz Mackiewicz. Few musicians are able to travel that way and even fewer, like Mackiewicz, do that with a success. His debut in this new role was "Frogsville" released in 2008 but with this album he goes even further. Where? Towards ambitious mainstream jazz, marked by interesting compositions of the leader (all originals!), high quality of interplay between musicians whose exceptional skills are beyond question and occasionally looking towards distant shore of avantgarde. What else is needed to make such a simple-minded listener as I am happy?  

Listen to piece of his music from aforementioned "Frogsville:

Author: Maciej Nowotny

http://kochamjazz.blox.pl/html

Marcin Wadołowski Quintet - Git Majonez (Soliton, 2011)

Marcin Wadołowski Quintet (band)

Marcin Wądołowski - guitar

Adam Czerwiński - drums

Darek Herbasz - saxophone

Janusz Mackiewicz - doublebass

Piotr Mania - piano

Git Majonez (Soliton, 2011)

I was very curious about this recording, good opinions about it reached me from many directions. The explanation of this good opinions is simple: album's strongest side are melodies, all penned by a leader, guitarist Marcin Wądołowski. He really deserves accolade for them as one after another the tunes keep listener attached to speakers, the music flows so captivating, so well played, so light and warm that it is impossible to stop. Moreover it is all very well played, musicianship is at astonishing level and to no surprise since  players participating in this session are from first ranks in Polish jazz: Piotr Mania on piano, Adam Czerwiński on drums, Darek Herbasz on saxophone and Janusz Mackiewicz on double-bass, they all play perfectly. So summarizing it is decent debut album although I am a bit worried where Marcin Wądołowski will go from this point? If he continues to play even prettier and sweeter on his next albums he will soon find himself on smooth side of jazz. And I am not sure this is the turn of events he desires most... 

Small display of Marcin Wądołowski on guitar:

Author: Maciej Nowotny

http://kochamjazz.blox.pl

Specjal Jazz Sextet & Jerry Goodman, Jarek Smietana - Projekt Elbląg (Allegro, 2011)

Special Jazz Sextet (band)

Bartek Krzywda - keyboards

Szymon Zuehlke - tenor saxophone

Artur "Żółwik" Olewniczak - trombone
Marcin Gawdzis - trumpet
Janusz "Macek" Mackiewicz - acoustic bass
Grzegorz Sycz - drums

Special guests:
Przemek Dyakowski - soprano saxophone
Jarek Śmietana - guitar (6)
Jerry Goodman - violin (10)

Yet another interesting album from Allegro Records released this year (check also "Afreakan Project" and "Facing The Challenge") and again it is pleasent surprise. Surprise because though musicians are not from first ranks of Polish jazz yet they deliver very good music indeed. All compositions are by Bartek Krzywda while all members of the sextet taking part in this project are from Elbląg (or connected to this city). It is astonishing that so many fantastic musicians live in this relatively small city and that they managed to join their forces to deliver such a palatable dish. As far as regular members of this sextet are concerned I want to single out Marcin Gawdzis, the outstanding trumpeter, that should be much better known on Polish scene. Melodic lines as supplied by his instrument underline catchy Krzywda compositions and saturate music with lyricism and levity. But other players input is of no less quality be it Szymon Zuehlke on tenor saxophone, Artur Olewniczak on trombone or rhythm section: Janusz Mackiewicz on double bass and Grzegorz Sycz on drums. A lot of spice is added by guests' appearance: soprano saxophone by Przemek Dyakowski is an outstanding counterpoint to Gawdzis' trumpet, Jerry Goodman violin sounds other-worldly and hauntingly beautiful (like on "The Heart On A Plate") and finally well-known guitar of Jarek Śmietana. All in all, this is definitely worthy debut by Special Jazz Sextet, a tribute both to jazz and to city of Elbląg (from which also come from Jerzy Małek whose excellent album "Air" is our October Album Of The Month). 

Promo video: 

Author: Maciej Nowotny

http://kochamjazz.blox.pl/html