Makowicz & Medyna – "New York Flavors"

Makowicz & Medyna

Adam Makowicz – fortepian
Krzysztof Medyna – saksofon tenorowy

Tytuł płyty: "New York Flavors"  

Wydawca: For Tune (2025)

Tekst: Mateusz Chorążewicz

Link do muzyki na Bandcamp

24 listopada 2010, Polska Filharmonia Bałtycka w Gdańsku, koncert duetu Joshuy Redmana i Brada Mehldaua. Byłem niedługo po osiemnastce i jazz dopiero zaczynał mnie na dobre wciągać. Szedłem bez oczekiwań, ba, z lekkim powątpiewaniem – fortepian i saksofon, „pewnie będzie nudno". Wyszło dokładnie odwrotnie: tamten wieczór do dziś uznaję za najlepsze jazzowe dźwięki, jakie słyszałem na żywo. To on przypieczętował, że jazz potraktuję jednak na poważnie, a nie na żarty, ze studiami na akademii muzycznej włącznie.

Adam Makowicz - Welcome Back, Adam (2023)

Adam Makowicz

Adam Makowicz - fortepian

„Welcome Back, Adam” (2023)

Wydawnictwo: For Tune Records 

Tekst: Paweł Ziemba

Działające od 2013 roku, na polskim rynku wydawnictw płytowe For Tune Records, po raz kolejny udowadnia, swoją wiodącą rolę w propagowaniu, polskiej muzyki jazzowej. Po rewelacyjnie przyjętym albumie Jana Ptaszyna Wróblewskiego „On the Road Again” vol. 1, ukazuje się najnowszy album Adama Makowicza „Welcome Back, Adam”.

Makowicz należy do tego nielicznego grona polskich muzyków jazzowych, którzy zdobyli rozpoznawalność wśród słuchaczy i zrobili światową karierę.  Pianista, kompozytor, mocno osadzony w tradycji amerykańskiej pianistyki jazzowej, jak również nieustający popularyzator klasycznych amerykańskich standardów, skomponowanych przez powszechnie znanych Cole'a Portera, Irvinga Berlina, George’a Gershwina, Richarda Rodgersa, Jerome’a Kerna i wielu innych. 

To co wyróżnia Makowicza - to unikalny styl. Jego muzyczna wrażliwość w połączeniu z nieprawdopodobną techniką pianistyczną (zwłaszcza lewej ręki), czynią jego grę wirtuozerską. Od ponad 40 lat sposób grania artysty nie uległa jakieś zasadniczej zmianie, co dla niektórych może być zaskakujące, ale z pewnością należy ten fakt uznać za ewenement w skali światowej.  Z drugiej strony, trudno nie zauważyć, że takie elementy jak harmonia, rytm, uległy pewnym zmianom. Pewne niuanse interpretacyjne, poszerzenie repertuaru o kolejnych kompozytorów jak i własne kompozycje to elementy, które cieszą najbardziej.  Jednak głównym założeniom swojej muzyki, artysta pozostaje wierny do dziś.

„Welcome Back, Adam” to kolejny solowy album ukazujący się po wydanym w 2017 roku „Swinging Ivories”. Album zawiera aż 17 utworów; wśród nich znalazło się 8 oryginalnych kompozycji pianisty i 7 popularnych standardów. Repertuar do jakiego już po trochu nas muzyk przyzwyczaił i w jakim czuje się najlepiej.

Wirtuozeria, elegancja w grze i intymność przekazu stanowią ważne cechy języka muzycznego artysty. W nagraniach „Welcome Back, Adam” znajdziemy wiele charakterystycznych dla gry Makowicza elementów: linia melodyczna tematu prowadzona jest przez lewą rękę, podczas gdy prawa realizuje bogaty plan ozdobników. Pauzy, rabata, zróżnicowanie dynamiki – majstersztyk. Makowicz obdarzony jest wyjątkowym, charakterystycznym dla siebie dotykiem klawiatury. Bardzo elegancki, czysty w przekazie, przyjemnie brzmiący – taki z klasą. Posiada rzadką umiejętność budowy wyjątkowej wieloplanowości w brzmieniu i zdecydowanie wyczuwalny swing. Kołyszące się frazy muzyczne, brzmią jak wypowiadane zdania, zawsze coś mówią - są intymnym przekazem do słuchacza. 

Na uwagę zasługują własne kompozycje artysty. Brzmią świeżo, są melodyjne i przyjemne w słuchaniu. Mam nadzieję, że Pan Adam zdecyduje się kiedyś na nagranie albumu wyłącznie z własnymi utworami. 

Albumu słucha się dobrze i z ogromna przyjemnością. Na podkreślenie zasługuje jego jednorodność. Kompozycje Makowicza nie odbiegają dynamiką, stylistyką od znanych standardów amerykańskich. Zaproponowany układ utworów na płycie jest wręcz doskonały. To wszystko sprawia, że pomimo tak dużej ilości różnych kompozycji, muzyka brzmi przystępnie i bardzo naturalnie. 

Słyszałem kiedyś taką przypowiastkę, że chyba nie ma takiego miejsca na Globie, w którym nie grał Makowicz, a jeśli jednak jest, to tylko dlatego, że w okolicy nie było porządnego fortepianu bądź odpowiedniej sali koncertowej. Słuchając „Welcome Back, Adam” nie musimy się martwić o jakość, muzyka została zarejestrowana w wyjątkowej pod względem akustyki sali koncertowej Nowa Miodowa w Warszawie.

Festiwal Jazz & Literatura 2019

Osiem koncertów oraz dwa wydarzenia: literackie i edukacyjno-artystyczne. 7 września, jako zapowiedź V edycji festiwalu Jazz & Literatura, w Muzeum Zamkowym w Pszczynie wystąpił wybitny argentyński pianista i kompozytor Julio Mazziotti. Faktyczna inauguracja festiwalu - recital fortepianowy legendy jazzu, mistrza improwizacji Adama Makowicza - odbyła się 6 października w postindustrialnej przestrzeni chorzowskiej Sztygarki. W Chorzowskim Centrum Kultury zagrało Kasia Pietrzko Trio, porywające Dock In Absolute z Wielkiego Księstwa Luksemburga i polsko-japoński kwartet Tomasza Dąbrowskiego Ad Hoc Ninjazz wystąpili w Miejskim Domu Kultury Batory. Literacki akcent pojawił się w nietuzinkowych tekstach zespołu MÓW (Starochorzowski Dom Kultury) oraz w autorskich piosenkach duetu Bolewski & Tubis (Park Tradycji w Siemianowicach Śląskich). Organizatorzy przygotowali literacką niespodziankę we współpracy z Wolnością Czytania 2019, a także przedstawili wernisaż "Niezwykłe historie z Polski i Japonii" dzięki uprzejmości Muzeum Sztuki i Techniki Japońskiej Manggha z Krakowa.

Festiwal Jazz & Literatura jest wspólną inicjatywą Miejskiego Domu Kultury Batory reprezentowanego przez Dyrektora Sylwestra Paprockiego oraz Agencji New Talents’ Resources Marzena Anioł i powstał w porozumieniu z Miastem Chorzów. Współorganizatorami tegorocznej edycji byli: Miasto Chorzów, Muzeum Zamkowe w Pszczynie – Instytucja Kultury Samorządu Województwa Śląskiego, Chorzowskie Centrum Kultury, Kompleks Sztygarka, Starochorzowski Dom Kultury, Siemianowickie Centrum Kultury - Park Tradycji, Wolność Czytania oraz Muzeum Sztuki i Techniki Japońskiej Manggha z Krakowa .

Przedstawiamy krótką fotorelacją z wybranych wydarzeń festiwalu.

                                            Julio Mazziotti

                               Adam Makowicz (fot. Jarek Rerych)

                           Adam Makowicz (fot. Jarek Rerych)

                                                 MÓW

                     Tomasz Dąbrowski Ad Hoc (fot. Kinga Brzezicka)

                            Dock In Absolute (fot. Anna Wietecha)

                         Dock In Absolute (fot. Anna Wietecha)

                                         Bolewski & Tubis

                                           Bolewski & Tubis

Adam Makowicz i zespół MÓW na festiwalu Jazz & Literatura 2019 !!!

Adam Makowicz - Chorzów, Sztygarka - 06.10.2019, godz. 19.00.

Adam Makowicz to legenda jazzu, mistrz improwizacji, wybitny pianista i kompozytor. Współpracował z Tomaszem Stańko, Andrzejem Kurylewiczem, Zbigniewem Namysłowskim, Michałem Urbaniakiem, Janem "Ptaszynem" Wróblewskim, Urszulą Dudziak oraz z Leszkiem Możdżerem. Występował ze słynną Duke Ellington Orchestra oraz z najwybitniejszymi artystami jazzowymi, do których należą: Sarah Vaughan, Earl Hines, Teddy Wilson, George Shearing, Marian McPartland, Benny Goodman, Herbie Hancock, Phil Woods, Freddie Hubbard, George Mraz, Al Foster, Jack DeJohnette, Charlie Haden. Artysta dużo nagrywał dla wytwórni fonograficznej CBS Columbia. Grał w amerykańskich klubach jazzowych oraz w renomowanych salach koncertowych takich jak Carnegie Hall w Nowym Jorku. 

Urodził się w 1940 roku w Czechach, w polskiej rodzinie mieszkającej wówczas na Śląsku Cieszyńskim. W 1946 z rodzicami powrócił do Polski i osiadł w Rybniku. Od 1978 roku Nowy Jork, Manhattan, stał się jego stałym domem. Dopiero po 1989 roku mógł ponownie odwiedzić Polskę, do której przyjeżdża teraz regularnie. W marcu 2018 roku miała miejsce premiera najnowszej płyty Adama Makowicza „Swinging Ivories”, na której zarejestrowano jego recital w Studiu Koncertowym im. Witolda Lutosławskiego w Warszawie. Jej wersja winylowa ukazała się w lutym 2019. Na koncercie otwarcia V Festiwalu Jazz&Literatura 2019 możemy się spodziewać własnych kompozycji Mistrza, standardów jazzowych oraz klasyki, szczególnie Chopina.

MÓW - Chorzów, Starochorzowski Dom Kultury - 08.10.2019, godz. 19.00.

Zespół MÓW to jazzowo-soulowe brzmienie z nutką RnB i nietuzinkowe teksty. Jesienią 2017 światło dzienne ujrzała debiutancka EPka zespołu. W 2018 ukazała się pierwsza płyta "Historie zebrane" wydana przez słowacką wytwórnię Hevhetia.

Grupę tworzą:

Ania Bratek (wokal) - kobieta śpiewająca i pracująca. Skończyła wokalistykę jazzową na warszawskiej "Bednarskiej". Współzałożycielka zespół KidBrown (Opole, Debiuty 2015). Udziela się również w projektach Praise Trio oraz chórze gospelowym "Z Miłości". MÓW to jej pomysł, melodie i teksty.

Aga Derlak (fortepian i śpiew) - liderka Aga Derlak Trio. Za swój debiutancki album otrzymała Fryderyka w kategorii Jazzowy Debiut Roku. Kształciła się u M. Tokaja, Z. Namysłowskiego oraz P. Tomaszewskiego. Jest studentką AM w Katowicach na Wydziale Jazzu. Wraz ze swoim triem została nagrodzona na licznych konkursach jazzowych.

Arek Grygo (fortepian) - pochodzący z Białegostoku pianista, klawiszowiec, producent, absolwent Wydziału Jazzu Akademii Muzycznej w Katowicach w klasie elektronicznych instrumentów klawiszowych. Jest członkiem m.in. H2J Trio, prowadzi również autorskie projekty. Współpracował między innymi z Yarosh Organ Trio, Piotrem Schmidtem, Krzysztofem Gradziukiem, Filipem Mozulem, czy Pawłem Tomaszewskim.

Mateusz Szewczyk (gitara basowa) - student AM w Katowicach na wydziale jazzu. Jest członkiem wielu zespołów i projektów, m. in. Early Birds, chór gospel "Z Miłości" i wiele innych. Kontrabasista i basówkarz, od ponad 9 lat rozwija się na obu tych instrumentach, czerpiąc inspiracje z wszelkich źródeł muzycznych. 

Patryk Zakrzewski (perkusja) - multiperkusjonalista, muzyk sesyjny, absolwent AM w Katowicach na wydziałach klasycznym i jazzowym. Współpracował z wieloma artystami polskiej oraz zagranicznej sceny muzycznej. Akompaniował w programach Idol oraz Taniec z gwiazdami.

Adam Makowicz – Swinging Ivories (2018)

Adam Makowicz

Adam Makowicz - piano

Swinging Ivories

POLSKIE RADIO 2169






By Adam Baruch

This is an album presenting a solo piano recital by Polish (resident in Canada) Jazz pianist / composer Adam Makowicz, recorded live by the Polish Radio during his visit in Poland. The album includes sixteen relatively short pieces, nine of which are original compositions by Makowicz and seven are his interpretations of Jazz standards.

After being a part of the Polish Jazz core in its formative years, Makowicz left Poland in the late 1970s, first for the US and later moved to Canada. He is the only Jazz musician of Polish origin, who managed to achieve relative success and a respectful position in America, most probably due to the fact that stylistically his playing is as "American" as they come, based on the great legacy of the classic Jazz piano Masters, which he masterly reproduces.

The music is all wonderfully melodic and well within the mainstream idiom, easy on the ear and smooth as a baby's behind, overflowing with arpeggios and strong left hand rhythmic stride, in short exactly what the fans of such music love to hear. The original compositions by Makowicz sound exactly as if they belong to the standards in the Real Book. There is no innovation or experimentation, but everything is played with taste and perfection as expected. Overall this is a classic solo piano album, excellently performed and well recorded which should bring joy to mainstream Jazz lovers and melodic solo piano recordings enthusiasts.

Adam Makowicz Trio – Interface (1987)

Adam Makowicz Trio

Adam Makowicz - piano
Palle Danielsson - bass
Jon Christiansen - drums

Interface

SONET 963




By Adam Baruch

This is an album by Polish Jazz pianist/composer Adam Makowicz, who left Poland in the late 1970s and lived first in NY and later moved to Toronto, Canada. This album, recorded in Sweden, on which Makowicz is accompanied by one of the most celebrated European rhythm sections: Swedish bassist Palle Danielsson and Norwegian drummer Jon Christensen, presents eight original compositions, all by Makowicz.

The album is a wonderful testimony both of the technical brilliance of Makowicz as a pianist and his superb talents as a composer. His seemingly endless arpeggios and other impressive ornamentations are a continuous joy to the listener and the wonderful melodies float one after another with ease and charm. The rhythm section obviously enjoys this session as much as the leader and both musicians support him amicably and elegantly.

Sadly this album managed to pass under the radar of most Polish Jazz fans and is today quite difficult to find. I definitely recommend getting a copy as long as it is still possible, as no Polish Jazz discography is complete without this album!

NOVI – NOVI In Wonderland (1998)

NOVI

Bernard Kawka - vocals
Ewa Wanat - vocals
Waldemar Parzyński - vocals
Janusz Mych - vocals
Adam Makowicz - piano
Roman Dyląg - bass
Zbigniew Namysłowski - saxophone



NOVI In Wonderland

MPS 2541

By Adam Baruch

This is a Japanese reissue of the legendary album by the no less legendary Polish Jazz vocal quartet NOVI, led by vocalist/composer Bernard Kawka, which also included Ewa Wanat, Waldemar Parzyński and Janusz Mych. On this album they are accompanied by a rhythm section, which comprises of Polish pianist Adam Matyszkowicz (a.k.a. Adam Makowicz) and bassist Roman Dyląg and American (resident in Europe since 1964) drummer Billy Brooks. American trumpeter Idrees Suleiman and Polish saxophonist Zbigniew Namysłowski participate on selected tracks. The album presents five original compositions, three by Kawka and two by Parzyński, and four standards, three arranged by Parzyński and one by Kawka.

The album was produced by my friend and mentor, Joachim Berendt, and was recorded at the celebrated SABA studio in Villingen, Black Forest, where so many of the great European Jazz albums were recorded between mid-1960s and late 1970s. It was one of the first recordings of a Polish Jazz ensemble made outside is their country and across the Iron Curtain, which was a sensational occurrence at the time. Berendt, who was an avid Polish Jazz lover and supporter, helped the Polish Jazz scene tremendously during its hard times. Sadly he is rarely remembered today, which is of course a crying shame.

Musically as well and sonically this is definitely one of the best recordings by NOVI, recorded at their creative peak. Chronologically this was their second album, but since it was not released in Poland (and still is not available there) it is not usually counted as part of their Polish discography. Both the vocal and the instrumental parts are absolutely perfect and are part on the vocal Jazz canon, created earlier on by the French vocal Jazz ensembles Les Double Six and The Swingle Singers. The original vinyl copy of this album is a mega-rare collectors' item and is priced accordingly. This Japanese reissue is also pretty rare these days. For Polish Jazz collectors and faithful fans, this is an absolute must of course.

Various Artists – Polish Radio Jazz Archives Vol. 30 (2017)

Various Artists

Zbigniew Namysłowski - saxophone
Adam Makowicz - piano
Janusz Kozłowski - bass
Czesław Bartkowski - drums
and others

Polish Radio Jazz Archives Vol.30


POLSKIE RADIO 2063

By Adam Baruch

This is the thirtieth installment in the series of releases initiated by the Polish Radio, which presents archive Jazz recordings from the radio vaults. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland's most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well. The tracks presented here were recorded live in October 1966 during the ninth Jazz Jamboree Festival in Warsaw and are the second volume of a collection of tracks from that event.

The first ten tracks present the legendary French vocal group The Swingle Singers, led by Ward Swingle (an American in Paris) and including seven more vocalists. The vocal octet is accompanied by bassist Guy Pedersen and drummer Daniel Humair. In contrast to the earlier iconic French vocal ensemble Les Double Six (which included several of the Swingle Singers members earlier on), which sung vocal versions of Jazz standards, The Swingle Singers performed mostly vocal Jazz arrangements of Classical Music pieces, by Johann Sebastian Bach, Wolfgang Amadeus Mozart and others. The tracks present here are all in this particular idiom.

The next two tracks present a trio led by American organist Lou Bennett, who moved to Paris in 1960. The other members of the trio are: Belgian guitarist Philip Catherine and Italian drummer Franco Manzecchi. These tracks are of interest as early examples of Catherine's playing before he started his illustrious solo career. The last track presents a Polish Jazz quartet led by saxophonist Zbigniew Namysłowski, which also includes pianist Adam Matyszkowicz (a.k.a. Adam Makowicz), bassist Janusz Kozłowski and drummer Czesław Bartkowski. They perform an original composition by Namyslowski, recorded on his debut Polish album by the same lineup.

The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes/booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must.

Adam Makowicz – Winter Flowers (1993)

Adam Makowicz

Adam Makowicz - piano

Winter Flowers

GOWI 02






By Adam Baruch

This is a reissue of a solo piano album by the brilliant Polish Jazz pianist/composer Adam Makowicz, which was originally recorded in Czechoslovakia and released on the Supraphon label. It was the third solo piano album by Makowicz (see "Live Embers" and "Piano Vistas Unlimited" recorded earlier), recorded shortly before he left for the US, where he recorded his first American album, also solo piano, and entitled simply "Adam". Both these albums were released more or less in parallel. This album presents ten original compositions by Makowicz. Several tunes on this album were also recorded for the US album, some under different names, which included in addition to Makowicz originals also five standards.

Makowicz was one of the very few Polish Jazz musicians that managed to establish a solid career in the US and lived there for many years, before moving to Canada. His technical brilliance and extensive Classical Music background allowed him to establish a concert pianist career. He was banned in Poland after moving to the US and the ban was lifted only after the fall of the Socialist regime, but this Czechoslovak album was available during that dark period.

Makowicz is known for his love and interpretation of the music of Frederic Chopin and his original music bears Chopin's influence almost in every aspect: melodically, harmonically and lyrically. One might speculate that if Chopin would have lived in our times, his music might have sounded very similar to that of Makowicz. In the US Makowicz was often compared to Art Tatum and Oscar Peterson, but quite honestly these comparisons are quite inappropriate, as Tatum and Peterson might have been symbols of piano playing technique but did not possess the European idiosyncrasies that only European born musicians are blessed with.

In retrospect this album lost nothing of its charm and elegance and personally is still my favorite Makowicz album, perhaps because it is entirely based on his original music. A classic Jazz piano album and a must for all fans of Polish Jazz of course!

Michal Urbaniak Group - Inactin (1973)

Michal Urbaniak Group

Michal Urbaniak - electric violin, violectra, soprano sax
Urszula Dudziak - vocal, Dynacord, Echocord, percussion
Adam Makowicz - Fender piano, Hohner clarinet
Roman Dylag - Barcus Berry bass and electric bass
Czeslaw Bartkowski - drums, Paiste cymbals
Branislav Kovacev - conga-drums

Inactin (2014)

By Maciej Nowotny

If one were looking for a single most important contribution of Polish jazz musicians into world jazz heritage that would perhaps be the rediscovery of a violin in jazz. Works by Zbigniew Seifert paved the way for other Polish jazz violinists to be eventually recognized worldwide. Among them Michał Urbaniak plays the pivotal role as one of the most famous due to his collaboration with Miles Davis in 80ties on "Tutu" and "Music from Siesta" albums.

Urbaniak's career prior to collaboration with Miles remains as one of the most interesting adventures in Polish jazz history. He was among those who very early realized that jazz is taking great twist toward fusion incorporating in its idiom influences from rock, funk, rhythm'n'blues and folk music from all over the world. Michał plunged into this stream where he found his own place and uniqueness of his language eventually drew the attention of Davis. While rehearsing this album recorded in 1973 one can only admire the quality of this music which did not grow old even a bit.

But this album is memorable not only due to Urbaniak's violin but also due to breathtaking performance by his then wife Urszula Dudziak. Undisputable Polish jazz singer number one at that era she was as powerful and original voice as Urbaniak's. On this album her voice plays role of the one more instrument, there are no songs, no words are spoken, but Dudziak's vocalizes are just beyond the praise. As much as are performances of other musicians taking part in this session, all cream the creme of Polish jazz: pianist Adam Makowicz, double-bassist Roman Dylag, drummer Czeslaw Bartkowski and Serbian congas player Branislav Kovacev. What more can I say save that this is the Polish jazz at its best and simply the kind of album that is nothing less than a pure must!

Tracks Listing
1. Inactin (6:58)
2. Alu (3:58)
3. Ekim (5:49)
4. Silence (3:31)
5. Fall (7:42)
6. Groovy Desert (5:01)
7. Lato (8:06)

Adam Makowicz Trio - Music of Jerome Kern (Concord Jazz, 1993)

Adam Makowicz - piano

George Mraz - bass
Alan Dawson - drums

Music of Jerome Kern (Concord Jazz, 1993)

Adam Makowicz is a pianist heavily influenced by Art Tatum. Makowicz explains being amazed (like so many) by Tatum as he listened to him for hours in his native Poland. That led the door to listening to other pianists such as Hines, Teddy Wilson, etc., eventually serving as a catalyst for his going out on his own.

The two influences I notice are Tatum and Monk. Tatum's influence is very strong, felt in the runs throughout many of the songs and also the style of the introductions, although the runs are less pervasive than in Tatum's case. However, when they do appear they are spectacularly performed, and have the advantage of technology that Tatum didn't have, resulting in a very crisp sound.

Monk's influence is more subtle. Like Monk, Makowicz prefers not to stray too far from the melody letting that be the basis of his improvisation, although he can do creative things with the harmony (although not nearly as strident as Monk).

The trio's music is very easy to listen to (it's melodic, and swings), yet has many moments which warrant close listening as well. The average length of the songs is between 5 and 6 minutes, so there is enough time for some exploration beyond a simple statement of the melody. One devise Makowicz uses more often than many is to play in parallel (that is, keeping the same chords as the melody goes up or down), which leads to some interesting effects.

It is ironic that Kern so disliked jazz musicians "tinkering" with his melodies when they so effortlessly lend themselves to improvisation with wonderful effect in the hands of talented musicians such as these.

By Tom Ewall



Track Listing
1. All the Things You Are
2. Way You Look Tonight, The
3. Who?
4. Song Is You, The
5. I Won't Dance
6. Ol' Man River
7. Long Ago (And Far Away)
8. Smoke Gets in Your Eyes
9. Yesterdays
10. Dearly Beloved
11. I'm Old Fashioned

Jan Ptaszyn Wroblewski – Sprzedawcy Glonow (Polish Jazz Vol.90 Deluxe, 1973)

Jan Ptaszyn Wróblewski - tenor saxophone (1, 2, 4, 6), conductor

Studio Jazzowe P.R. - directed by Jan 'Ptaszyn' Wróblewski
Tomasz Szukalski - tenor sax, soprano sax, bass clarinet (1, 3-6)
Michał Urbaniak - violin (1), soprano sax (2)
Zbigniew Namysłowski - alto sax, flute (1-6)
Tomasz Stańko - trumpet (2, 3, 4, 6)
Adam Makowicz - Fender electric piano (4)
Marek Bliziński - guitar (1, 4, 5)
Wojciech Karolak - Hammond organ (1, 5)
Włodzimierz Nahorny - alto sax, flute (1-6)
Zbigniew Seifert - alto sax (2,3), violin (6)
Stanisław Mizeracki - trumpet (1,2,3,4,6);
Bogdan Dembek - trumpet (1,3,4,5,6)
Bogusław Skawina - trumpet (2)
Laco Deczi - trumpet (5)
Józef Grabarski - trumpet (1)
Stanisław Cieślak - trombone (1-6)
Andrzej Brzeski - trombone (1,2,3,4,6)
Andrzej Piela - trombone (2,3,5,6)
Jan Jarczyk - trombone (1,4,5)
Dariusz Filiochowski - French horn (1,3,5,6)
Dariusz Szewczyk - French horn (4)
Zdzisław Piernik - tuba (2,3,5,6)
Janusz Muniak - tenor sax, soprano sax, flute (2,3,5,6)
Waldemar Kurpiński - baritone sax, clarinet (1,3,4,5,6)
Andrzej Trzaskowski - piano ( 6)
Paweł Jarzębski - bass (1,2,4,5)
Bronisław Suchanek - bass (3,5,6)
Janusz Stefański - drums (2,3,5,6)
Czesław Bartkowski - drums (1,4), percussion (5)
Kazimierz Jonkisz - percussion (1,3,4,5,6)

Sprzedawcy Glonow (Polish Jazz Vol.90 Deluxe, 1973)

This relatively little known brilliant album presents Polish Jazz saxophonist / composer / arranger / bandleader Jan Ptaszyn Wroblewski mainly in the capacity as the director of the Polish Radio Jazz Orchestra, a superb collection of top musicians, which functioned as a catalyst and incubator to generations of Polish Jazz musicians as well as a first rate workshop and recording platform. Wroblewski, one of Polish Jazz veterans and Godfathers, led the orchestra for many years with great success and these recordings prove how great it really was. He also composed three of the six extended compositions included here with the other three composed by Tomasz Stanko, Zbigniew Namyslowski and Andrzej Trzaskowski each contributing one composition. The arrangements are absolutely brilliant as are the performances, with the orchestra fronted as such first rate soloists like Stanko, Namyslowski, Michal Urbaniak (playing sax on one track and violin on another), Tomasz Szukalski, Adam Makowicz, Marek Blizinski, Wojciech Karolak, Zbigniew Seifert and of course Wroblewski himself, in short the crème de la crème of the Polish Jazz scene at the time. The music is very modern and even borders on Free at times, presenting very rare examples of Jazz orchestra accompanying a freely improvising soloist. This album is an absolute must to all Polish Jazz lovers and in retrospect is of the best Polish Jazz albums ever recorded. Grab it!

Track ,listing: 1. Sprzedaż glon [06:18] 2. Bez wyciszenia (Namysłowski) [06:04] 3. Cytat z samego siebie (Stańko) [09:09] 4. Wyznacznik pierwszy ('Ptaszyn' Wróblewski) [09:50] 5. Jan Szpargatoł Mahawiśnia ('Ptaszyn' Wróblewski) [06:26] 6. Magma (Trzaskowski) [05:18] 

By Adam Baruch
http://www.adambaruch.com/

Makowicz & Mozdzer - Live at the Carnegie Hall (2005)

Adam Makowicz - piano

Leszek Mozdzer - piano.

Live at the Carnegie Hall (2005)

Adam Makowicz has such phenomenal technique at the keyboard that it sometimes sounds as if he's playing with four hands. On his latest album there really are four hands at work, though two of them belong to fellow Polish piano sensation Leszek Mozdzer. Their solo and duet excursions on Chopin and popular standards, recorded live at Carnegie Hall's Weill Recital Hall last year, make for one of the most stunning showcases of piano virtuosity in recent memory.

Makowicz, a New Yorker for 25 years since fleeing his then-repressive homeland, opens the album with a pair of jazz improvisations on Chopin that steer the great Polish composer's romantic melodies through an entirely seamless web of blues, swing, and bebop, even adding a touch of stride. It's a tough act to follow, much less sit side by side with, but the thirty-something Mozdzer—a new face on the American scene, but a major figure in Polish jazz—proves he's up to the task on three Chopin duets with Makowicz.

Rather than battle with piano pyrotechnics, the two men engage in a performance of restraint, subtlety, and supreme musical sympathy, making it hard to tell where one pair of hands ends and the other begins. Mozdzer follows with a solo nod to his colleague's piano hero on Makowicz' "Tatum on My Mind. (A solo Mozdzer recital at Merkin Concert Hall last month showed him an engagingly offbeat performer—and dresser—as he dazzled the audience with more Chopin and a handful of impressionistic originals that recalled Keith Jarrett's '70s-era improvisations.)

The set closes with a half-dozen often breathtaking duet takes on standards by Richard Rodgers, Leonard Bernstein, Cole Porter, and Duke Ellington. As an encore, Makowicz and Mozdzer turn to a piece that epitomizes the album's Poland meets New York credo: Krzysztof Komeda's theme from Roman Polanski's '60s New York City horror classic Rosemary's Baby. This celebration of Poland and America, classical music and jazz, is already a platinum seller in Poland; it warrants serious attention from jazz fans around the world.

Track Listing: Frederic Chopin: Prelude 24 in D Minor, Op 28; Fantasie - Impromptu, Op 66; Prelude in G major no. 3, Op 28; Prelude in E major, no. 7, Op 28; Prelude in E flat major, no. 17, Op 28; Tatum on My Mind, Surrey with the Fringe on Top, Some Other Time, Love is Here to Stay, Begin the Beguine, Night and Day, Caravan, Rosemary's Baby. 

By Joel Roberts
http://www.allaboutjazz.com

Michal Urbaniak / Constellation – In Concert (Polish Jazz Vol.36, 1973)

Michal Urbaniak / Constellation (band)

Michał Urbaniak - el. violin
Urszula Dudziak - vocal, percussion instr.
Wojciech Karolak - Hammond Organ, Fartisa
Czesław Bartkowski - drums
Adam Makowicz - Fender piano & Fender bass

In Concert (Polish Jazz Vol.36, 1973) 

This is the second album on the legendary Polish Jazz series by the Polish saxophonist / violinist / composer / bandleader Michal Urbaniak. A veteran Polish Jazz musician, Urbaniak was a member of the legendary ensembles led by Krzysztof Komeda, where he played the saxophone, but by the early 1970 he switched to the violin and plunged into Jazz-Rock Fusion, rapidly becoming one of the most inventive and creative pioneers of the genre. This album and the albums recorded in Germany and later in the USA are absolute Fusion milestones, but also stand out as completely unique in their approach to the genre. Urbaniak combined the marvelous abilities of his wife Urszula Dudziak and her extraordinary and experimental vocalese technique with his common usage of Polish Folklore motifs, creating a superb and completely unparalleled Fusion music. This live recording captures his baseless / double keyboard ensemble, which also includes organist Wojciech Karolak, pianist Adam Makowicz and drummer Czeslaw Bartkowski. The music, all composed by Urbaniak, is simply out of this world, brilliant and fresh, absolutely resistant to the tides of time and fashion. In retrospect one can only regret that Fusion followed mostly the direction of flashy virtuosic display of neck-breaking guitar races rather than the direction proposed by Urbaniak's Fusion, but it's unfortunately too late now. At least we can savor this music, 40 years after it was recorded, well aged and beautifully eternal. A must!

Track listing: 1. Bengal (17:41); 2. Spokoj (3:32); 3. Lato (8:01); 4. Seresta (9:42); 5. Theme (3:04)

By Adam Baruch
www.adambaruch.com

Adam Makowicz - Naughty Baby (Novus, 1987)

Adam Makowicz - piano

Charlie Haden - bass

Dave Holland - bass

Al Foster - drums

Naughty Baby (Novus, 1987)

Recorded in 1987, with Charlie Haden (bass) and Al Foster (drums) on 5 tracks, and Dave Holland (bass) added on the other 6. This is quite simply a supreme piano album. The album's subtitle "Honoring George Gershwin" is substantiated by the witty arrangements of material ranging from "They All Laughed" to "Rhapsody in Blue", as well as by the playing of all four participants.

The album is included in "The Essential Jazz Records vol. 2" by Max Harrison and others, [my reason for seeking it out] where Harrison gives a full review and places it in relation to the pianist's other early recordings. To summarise, Makowicz is usually credited with phenomenal technique, but with little discussion of the use to which he puts it, but this of course is to miss the point. To quote Harrison, "Nowhere does the individuality of expression arise solely from complexity of method, as the toccata-like "Fascinatin' Rhythm" shows. This is close to a straightforward trio performance, at least at first; but as it unfolds this gesture towards conventionality serves to emphasise the personal nature of Makowicz's ideas in themselves and of the pianistic forms in which he casts them."

Track listing: 1 Somebody Loves Me (DeSylva, Gershwin, MacDonald) 4:30; 2 They All Laughed (Gershwin, Gershwin) 5:53; 3 Prelude, No. 2 (Gershwin) 5:47; 4 Maybe (Gershwin, Gershwin) 5:57; 5 Fascinating Rhythm (Gershwin, Gershwin) 3:15; 6 Naughty Baby (Gershwin, Gershwin) 4:24; 7 Oh Bess, Oh Where's My Bess? (Gershwin, Gershwin, Heyward) 2:35; 8 Embraceable You (Gershwin, Gershwin) 6:07; 9 Rhapsody in Blue (Gershwin) 6:13; 10 My Man's Gone Now (Gershwin, Gershwin, Heyward) 4:20; 11 Summertime (Gershwin, Gershwin, Heyward) 4:00

By T. A. King

Adam Makowicz – Live Embers (Polish Jazz Vol.43,1975)

Adam Makowicz - piano

Live Embers (Polish Jazz Vol.43, 1975)

This is the 2nd album in the legendary Polish Jazz series by the brilliant Polish pianist / composer Adam Makowicz, his first solo piano recording (a format he loves very much as documented in future recordings) and the first solo piano album in the entire series. By the time this album was recorded, Makowicz was the top piano Player on the local scene and one of the best European Jazz pianists. In the late 1970s Makowicz left Poland and settled in USA, like several other Polish Jazz players, escaping the socialist regime. His wonderful musicality, deep lyricism and typical European way to combine the Jazz tradition with the European Classical tradition (mainly Romanticism) make him a unique voice, which is always worth listening to. On this album he performs mainly his own wonderful music, spiced by his interpretation of a couple of Scott Joplin and John Coltrane tunes. This is a brilliant album and a must for Jazz piano lovers. Highly recommended!

Track listing: 01. Żarzące się węgielki I; 02. Raz tak, raz nie; 03. Passiflora; 04. Pociecha; 05. Ballada dla R; 06. Licznie do końca; 07. Tańcząca Panda; 08. Milowe Kroki; 09. Opalizacja; 10. Artysta Kabaretowy; 11. Żarzące się węgielki II




By Adam Baruch

http://adambaruch.com/

Zbigniew Namyslowski Quartet (Polish Jazz Vol. 6, 1966)

Zbigniew Namysłowski Quartet (band) 

Zbigniew Namysłowski - alto sax
Adam Matyszkowicz (Makowicz) - piano
Janusz Kozłowski - bass
Czesław Bartkowski - drums

(Polish Jazz Vol. 6, 1966)

(Editor) One of the best and most significant recordings of then just 27-years old legendary Polish altoist Zbigniew Namysłowski...

"Jazz fills up my life. It means to me everything -- said Namyslowski. -- Playing in a quartet suits me best... Until recently I did not set great store by composition. But now to be successful one cannot merely play Horace Silver's themes and other people's arrangements. And so I have created my own quartet and my own music, to be able to play what I want and how I want...". 

Quoting these words I cannot help recalling a thin and insignificant looking boy who burdened with a huge cello scrambled on to the gigantic stage of the Forest Opera in order to play with the Modern Combo group, which was taking part at the II International Jazz Festival at Sopot (August 1957), as a completely unknown soloist. And yet a few years later Zbyszek Namyslowski won recognition not only with jazz fans and connoisseurs at home but also with the exacting critics abroad -- after numerous tours of his quartet in such countries as Italy, Belgium, West Germany, Switzerland, Czechoslovakia, Yugoslavia, Finland, USA. Namyslowski went through most suitable stages before he achieved his present-day results; he played the trombone in traditional and swing bands, for some time also the trumpet and cornet, and when there was need he accompanied the vocalists on piano. 

But the ambitious musician was never after the label of a "multi-instrumentalist". Eventually he chose the alto saxophone in which he could prove himself completely. What we appreciate with Namyslowski particularly is his equally enthusiastic attitude to all styles in jazz; he is always himself while playing hard-bop along with rhythm and blues, free-jazz and the third current along with the fringes of pop-music, and who at the same time would feel an irresistible fascination towards new ventures? A separate chapter could be devoted to Namyslowski's compositions, the more so that his ambition is to draw inspiration from Polish folk-lore which leads to the sort of music that Poland exports as her contribution to the world of jazz. 

While writing on Namyslowski we must say a few words about the remaining members of the band as they also have their say in modern jazz. The pianist ADAM MATYSZKOWICZ (b. 1940) made his first steps as jazzman within the Cracow "jazz boheme"; in 1963 he made his mark as member of "The Jazz Darlings", and already in those days critics predicted him a fine career which was to lead him subsequently to appearances in the quartet of the known Polish tenore saxophonist Michal Urbaniak. His greatest success abroad was his accompanying to the known Polish group "Novi" which won the first prize at the 15th International Jazz Festival in Zurich (1965). The percussionist CZESLAW BARTKOWSKI also became a jazzman in a student milieu having begun his career in the FAR quartet. In 1961 he made himself known to the wider public at the International Jazz Jamboree at the Warsaw Philharmonic, then he participated in the triumphant tour of Namyslowski's quartet (among others in Britain, Italy, West Germany). From time to time he joins other bands such as the excellent quartet of the Polish pianist Krzysztof Komeda. The bass player JANUSZ KOZLOWSKI (b. 1941) started, like his colleagues, as member of modern student bands. For some time he played with traditional bands such as "Warsaw Stompers", Ragtime Jazz Band, the group Bossa Nova Combo and "Pagart's" big band with whom he went on numerous tours abroad.

Siodmawka (Seven-Four Bars) -- After the composition based on Polish mountaineer's themes called "Piatawka" (Five-Four Bars) in which Namyslowski used rarely appearing in jazz rhythm 5/4, the composer went here still farther and used in "Siodmawka" the beat 714. Along with the free form we hive here harmonies of a mountaineer's tune. This is undoubtedly one of the most interesting items of the record. 

Despair -- In respect of melody and harmony, an equally interesting piece. This is a twelve-bar form of  blues, but without the use of the blues scale. 

Frances the Terror -- Here we come to know the quartet operating within free-jazz, the sort of music which perhaps does not appeal to all, but expresses, however, the artistic changes occurring in our days and the evolution of jazz. The band is improvising in two tempi, two phases, and does it very consistently. 

The Beetle Humming in the Reeds -- A folk-tune again, this time it's a Krakowiak. The quartet plays it with dash and half-jokingly. 

My Dominique -- A typical ballad of simple harmonies, in slow tempo. The composer wrote it with his little daughter, Dominika, in mind. 

The Wardrobe -- The composition, which is being played dynamically and in a "dirty" way, may be regarded as a mixture: free harmony + big beat. Let's hear what's been the result. 

Mead Drinker Lola -- A sort of Charleston, a musical joke with typical solo parts. It can do without commentary, being simply a musical relaxation. 

"Despite the comings and goings of our many American visitors in 1964, one of the most refreshing things to hit the British jazz scene last year was the visit of these four young Poles. This album... is a striking illustration of the high standard of European jazz. ("Melody Maker", London, Jan. 9th 1965) "...As an orthodox modern jazz group, they possess all the qualities one would look for in their American counterpart... As a group, the four men are obviously well accustomed to each other's playing.. In addition their music has a strange attractive flavor which one can only put down to their contact with Polish folk music...".  

(Editor) Please check "The Wardrobe" (Szafa) from this album:

Text:  original line notes from the album's back cover ("The Times", London, 18.3.1966)

Legendary Makowicz in Chicago!!!

(Editor) If you want to get acquainted with legend of Polish jazz, pianist Adam Makowicz, there is unique opportunity by attending his concert in Chicago, Chopin Theatre, Wednesday, 7th September 2011, 8:0o pm. For more details:

http://www.allsoulsjazz.com/

Sample of his music:

Czeslaw Bartkowski - Drums Dream (Polish Jazz Vol. 50, 1977)

Czesław Bartkowski - drums

Tomasz Stańko - trumpet

Tomasz Szukalski - soprano saxophone

Adam Makowicz - electric piano

Wojciech Karolak - keyboards

"Studio Jazzowe PR" Orchestra conducted by Jan Ptaszyn Wróblewski

Polskie Nagrania, 1977

Series of vinyls which were issued as Polish Jazz series  (check this fantastic website for more info) by Polskie Nagrania is indeed inexhaustible for its hidden treasures. This record is excellent example of this truth for three different reasons: two are pretty much obvious, one - a bit unexpected.

First, this album features all-star band with Tomasz Stańko on trumpet, Tomasz Szukalski on saxophone, Adam Makowicz on piano and Wojciech Karolak on keyboards. Tomasz Stańko presence alone justifies enough careful examining of this album especially since mid-seventies were perhaps most creative period in whole Stańko career as evidenced by such his recordings described on this blog as "Music For K" (1970), "Purple Sun" (1973), "Twet" (1974) or "Balladyna" (1976). Taking into account that other players are no less brilliant and they subsequently developed significant careers on their own (like Adam Makowicz for example), one must not be puzzled that music on this album is simply breathtaking, forward thinking and very rewarding regardless many years that passed since its creation.

Second, and perhaps even more important is that this album stands out among many other great Polish jazz albums of that period because it's main focus is rhythm, pulse, groove. It's of course all due to fantastic play by leader, Czesław Bartkowski, one of the best Polish drummers in that age which is evidenced not only by this issue but by many others (check for example recently re-issued Zbigniew Namysłowski "Live At Kosmos").  Bartkowski talent shines throughout whole album in a manner of old masters of jazz drumming like Art Blackey, Billy Higgins or Tony Williams. Splendid achievement!

Third, most unexpected is that although 33 years passed since this album was printed, it is still carefully listened by young generation, both in Poland (as evidenced in "Polish Jazz" by duo of Polish DJs named Skalpel) and, more surprisingly, abroad. I have received recently clear evidence of that when on my mail box landed "Drums Dream" mixes made by Jason McGuiness based in Los Angeles, US. That's why I love jazz: music which appeal lays as well in respect for tradition as in strive for novelty.

Check title track from original album:

and one of Jason McGuiness remixes (more about this project here):

 Rozmowa Z Dzwonem (Conversation With A Bell) by Analog Burners 

Author of text: Maciej Nowotny

http://kochamjazz.blox.pl/html

...