Resonance Ensemble - What Country Is This? (NotTwo, 2012) by Stephan Moore

Resonance Ensemble (band)

Ken Vandermark (sax, clarinet)
Mikolaj Trzaska (sax, clarinet)
Michael Zerang (drums)
Tim Daisy (drums)
Steve Swell (trombone)
Per -Ake Holmander (tuba)
Dave Rempis (sax)
Magnus Broo (trumpet)
Waclaw Zimpel (clarinet)

What Country Is This? (Not Two Records; 2012)

One of Ken Vandermark's larger ensembles, Resonance, has always expressed itself with poetic vibrancy. On the groups latest, What Country Is This?, they again explore sound through a series of rising arches and steady calms. And as usual, spanning three long epic pieces that investigate some of the influences of Vandermark.

"Fabric Monument" (dedicated to Polish poet, Czeslaw Milosz) drops down like an anvil with intersecting horn sections opening up in fine Ornette Coleman, Albert Ayler fashion while later settling down into a dark sprawling, almost New Orleans funeral celebration. The second piece "Acoustic Fence" illustrates a series of ascending themes with the ensemble in devilish marching mode. Dedicated to the great Polish composer, Witold Lutoslawski, this piece has multiple layers and varying harmonic structures. Broo and Swell lead the group through a series of crackling improvised movements off-set by some terrific work on the drums by Daisy and Zerang.

The final piece is dedicated to the late, Fred Anderson. "Open Window Theory," is a great showcase of how the American and European free form ethos has evolved over the last two decades. Opening brightly and hovering just overhead, Vandermark and company deliver a message that has a chamber ensemble quality to it. The sound is broken into jagged chords and quickly electrified by Trzaska and Zimpel. Rempis, Vandermark and Holmlander each pour a great deal of haunting muted tones across the canvas before the rest of the group rejoin and turn the piece into a funky, Chicago blues style portrait. While Anderson was never a funky player, Resonance show the explosive and exploratory nature that embodied Anderson's music for over four decades.

Vandermark's Resonance Ensemble continues to astound with each record. "What Country Is This?" is just another brick in the foundation of one his best ensembles outside of the Vandermark 5. Definitely an album of the year on our desk. But isn't every Ken Vandermark record!?!

Track listing:
1. Fabric Monument (for Czeslaw Milosz) [18:52]
2. Acoustic Fence (for Witold Lutosławski) [15:58]
3. Open Window Theory (for Fred Anderson) [12:49]

By Stephan Moore
http://jazzwrap.blogspot.com

Niski Szum - Songs From The Woods (AudioTong, 2011) by Stephan Moore

Niski Szum (project)

Marcin Dymiter - guitar, voice

Songs From The Woods (AudioTong, 2011)

I'm actually more familiar with Polish electronic/guitarist, Marcin Dymiter's work with Arszyn than his solo material. But upon listening to his most recent release, Songs From The Woods, I have a lot of catching up to do. This is a brilliant work of sonic sculpture that at times is cold and dreamy yet romantic and spacious. It reminded me of Sonic Boom (ex-Spacemen 3). And that's impressive!

"Blues From The Green Hills" rides along like an American western. A bluesy theme accompanied by electronic manipulations/reverb provides for surrealistic journey into Dymiter new soundscape.

"The Woods Parts I-II" are Dymiter emitting a lush ambient tone that is reflective as it is cold. The piece is based on Robert Frost poem Stopping By The Woods On A Snowy Evening with Dymiter utilizing soft well masked vocals. It's passages provide a somber level of comfort and move the listen into dark territory--but you will actually like going there.

The highlight piece is "The River," a long dense droning number, with chords that eventually envelope you like a cocoon. Dymiter's use of guitars and electronics manifold into a swirling hypnotic blur as you enter the middle section of the piece. But somehow he pulls through to the other side with grace and beauty. It's that night you look up into the sky and everything seems almost perfect (for awhile) and then you brought back to earth.

"Songs From The Woods" is a nice discovery and well balanced mixture of electronics, blues, folk and minimalism. So if you enjoy your music with touch of adventure and solitude, you would be well served by checking out Marcin Dymiter.

Tracklisting:
1 Blues From The Green Hills 7:55
2 The Woods, Part 1 6:34
3 The River (For Ota Pavel) 16:35
4 The Woods, Part 2 6:26

By Stephan Moore
http://jazzwrap.blogspot.com

Inner Ear (Trzaska / Swell / Holmlander / Daisy) - Breathing Steam (Kilogram Records, 2011) by Stephan Moore

Inner Ear Quartet (band)

Mikolaj Trzaska - alto saxophone, bass clarinet, tarogat
Steve Swell - trombone
Per-Ake Holmlander - tuba
Tim Daisy - drums

Breathing Steam (Kilogram Records 2011)

Made up of members from Ken Vandermark's Resonance Ensemble, Inner Ear takes much of the Chicago sax man's ethics and expands on it for this stellar debut, Breathing Steam. The reduced size of the group (a quartet) allows the themes from Resonance to--as the title suggests--breath. There is a bit more experimentation as well as harmonic resilience throughout this session.

There's no leader here, so each musician gets an opportunity to stretch their chords as only the burst energy that is the opener, "Lonely Consumer." Trzaska and Daisy tear through notes in counterpoint fashion. It's a duel of juxtapositions, with Trzaska screeching into heavens; while Daisy adds staccato patterns all around. It's beautifully laid out. Vandermark would be very happy. "Monster Confession" is dark and loose. The group move in various haunting directions with Homlander's tuba presenting some ominous sounds and then folding into some great improvised work by Daisy and Swell.

"For Our Mothers" has soft avant-blues texture to it. The quartet moves slowly through some dark passages with Trzaska portraying almost a funeral-like tone. Swell and Homlander add a billowing quality to this offering that quietly fades into the distance just as it began.

Breathing Steam might be just a one-off for these members of the larger Resonance Ensemble but its a rich and organic experience that is many times over worth listening and looking out for. Sometimes the sum is just as good and significant as the whole. Inner Ear is rewarding stuff.

By Stephan Moore

http://jazzwrap.blogspot.com/

Topolski / Szwelnik - Polymer (2012)

Topolski/Szwelnik (duo)

Krzystof Topolski (drums, electronics)
Tomasz Szwelnik (piano, guitar, electronics)

Polymer (Self Produced; 2012)

I stumbled into Krzystof Topolski's work as Arsyn last year thanks to Maciej at the great blog, Polish Jazz. Since then I have been devouring everything I could find with his name on it.

On his latest collaboration, Polymer, he has created another other-worldly concoction of found sounds and beautiful improvisations. Added by the Cage-ian work on keys by Tomasz Szwelnik, the duo set out on a path that is dense and expansive. Their use of space and soft, short notes develops a level of calm in the listeners ears as these two long pieces move through your speakers and your mind.

"Poly I" builds slowly with pops and subtle percussion's and kit brushes until midway where Topolski and Szwelnik deliver an abstract exchange of ideas with broken chord changes and interesting sound effects, leaving you wondering if you are experiencing a performance by The Necks. It's fascinating material that later moves a series of nature sounds aided by some light strumming from Szwelnik on guitar. A quiet yet haunting conclusion to an opening movement.

"Poly II" picks up on the haunting imagery with some echo chamber effects on the drums and stop/start pecking the piano. "Poly II" seems to be the more free formed of the two pieces. Each musician plays off the other uniquely with different instruments and layered effects/loops. Topolski makes great use on found instruments within the opening minutes as his percussion sounds almost like hard pulses on the vibes.

The atmospherics are revved up towards the middle as the sound become more deep and ominous. Almost turning into a groove before leveling off with a melody that emerges by Szwelnik's hands. This carries on for awhile before returning to a bass drum heavy with electro-acoustics and experimentation. The duo battle this theme out to the end wonderfully with chimes and counterpoints from all sides.

Polymer, like many of Krzystof Topolski's other combinations is an acquired taste. And like the chemical definition of the albums title, there are multiple streams occurring throughout this forty minute piece, but if you let your mind wonder through the darkness, you'll find this is yet again an unbelievable journey.

By Stephan Moore

http://jazzwrap.blogspot.com/ 

Fred Lonberg-Holm & Piotr Melech - Coarse Day

Fred Lonberg-Holm (cello)

Piotr Melech (clarinet)


Coarse Day (Multikulti; 2011)

Avant garde duos are pretty prevalent at the moment, no matter what the instrument(s). But what makes the best ones stand out is the quality of the musicianship and the depth of the material.

As with my earlier discussion on the Daniel Levin/Tim Daisy release, The Flower and The Bear, Fred Lonberg-Holm and Piotr Melech have created a richly diverse and highly challenging document that is both absorbing and thought provoking.

Lonberg-Holm, a member of various outfits in Chicago (most notably The Vandermark 5) and Melech, a growing presence of the Polish avant garde scene (including his trio Enterout) together, explore a strange world of soundscapes on Coarse Day. It's a densely packed session with movements that are multi-layered and demanding of the listener's concentration.

"Cloudburst" is pops and crackles with a sense of adventure. Lonberg-Holm maneuvers up and down the scales like a cat stuck in an aqueduct. Melech's clarinet(s) create an echo chamber that is both haunting and exhilarating. "Tangle Of Loops" feels almost anti-avant garde. I felt Longberg-Holm and Melech have a number of exchanges that are humorous and well improvised. My mind drifted into a jovial exploration into Raymond Scott (although I'm certain that was not the composers intentions). The use of electronics and sound manipulation on "Tangle Of Loops" gives the piece a schizophrenic edge that is genuinely exciting.

"Mildew Gourmets" moves out melodically in a somber spiritual pattern, similar to Coltrane's "A Love Supreme." It's hypnotic and relaxing tone is a calming departure point for the session and provides further insight into the duo's composition talents.

Coarse Day while challenging, is an album that once it sinks in--will become a fixture on your stereo. Lonberg-Holm and Melech have created an album that is filled with improvisation but also subtle accessibility that deserves intense listening. Haunting, beautiful and emotional.

Stephan Moore
http://jazzwrap.blogspot.com/

Tomasz Licak/Artur Tuznik Quintet - Quintet (Blackout Music, 2011) by Stephan Moore

Tomasz Licak (sax) & Artur Tuznik (piano)

Andreas Lang (bass)
Anders Mogensen (drums)
Tomasz Dabrowski (trumpet)


Quintet (Blackout Music, 2011)

A wonderful discovery for me in the last few days has been a quintet session from Tomasz Licak and Artur Tuznik. This fairly new (in terms of lineup) Polish/Danish quintet are young but possess the great energy and punch of their influences. The group combine a sensual style of contemporary modern with well crafted improvisation. Their latest release, simply titled,Quintet feels like mid-period Branford Marsalis or an adventurous One For All.

The group manage to sound well at home in the modern hard bop setting as they do when they let the rhythm fly. "Uwaga" comes pounding out of the speaker with vigour. Tuznik and Mogensen drive the beat with cinematic effect. Tuznik shapes the piece with somber relaxed movements intertwined with improvised changes. These are cut across boisterous chords from the horn section which make "Uwaga" a massive opening statement.

"Lightblub In Green" reminds of the best moments of being in a jazz club and closing my eyes to the rhythm. Lang and Licak have a lovely exchange midway through that could resemble Jackie Mclean and Paul Chambers at their Blue Note best. The quintet quietly swing with verve and each member's contribution is heard crystal clear. The tone is lowered on the melodic and beautiful "Nardis" (also featured on their previous album as Last Call). It's a technical and introspective piece where Tuznik takes center stage and delivers a performance that slowly envelops you with very powerful emotions. Tearful.

While most of the material on Quintet has a contemporary atmosphere, "Hobbit" rips the cover off the box and the group conjure up a funky groove built inside patterns of free jazz. It may have the uninitiated shaking their heads and they will eventually be sucked into the groove. There are individual moments where band members create subtle colours and tones and then return to the fire free form of their original theme.

"Quintet" is a stellar addition to the brief catalog of Licak and Tuznik and they will definitely be one of the creative duos that we will be talking about in the next few years. I loved this record and think its a must for every music fan. And I'm not just talking jazz fans. This is the wonderful balance between contemporary and free jazz.

Author: Stephan Moore
http://jazzwrap.blogspot.com/

Nucleon - Fitoplankton (Audio Tong, 2011)

Nucleon (group)
Aleksander Papierz (sax)
Michal Dymny (guitar)
Tomek Gluc (electronics)
Jakub Rutkowski (drums)
Andrzej Sawik (piano)

Fitoplankton (Audio Tong; 2011)

(Editor) Stephan Moore (check his excellent blog: JazzWrap) sheds light on this very interesting third release by Nucleon:

With a combination of traditional fusion and a modern rock aesthetic, Nucleon are building an exciting book of material that we should really take note of. The group, developed by founding members Jakub Rutowski and Andrzej Sawik, quietly (or loudly) built a huge following within their home country of Poland. Their self-titled debut ("Nucleon") was fantastic and had all the elements of a young group searching through their influences but also creating its own identity.

The ensemble suffered a major loss last year with the unexpected passing of the classically trained co-leader, Sawik before the group could finish its next record. But Nucleon forged on and created the beautiful, Fitoplankton, an album that explodes through the speakers with vibrancy and urgency. With a sound that is reminiscent of King Crimson, Headhunters, Last Exit and ironically, Nucleus, Nucleon is that "something different" you've been looking for the last couple of weeks.

"Where R U Going Boy?" rambles ans swirls with almost 'third stream' quality in the outset with Papierz and Gluc leading the charge. Sawik, whose piano parts are sampled in perfectly, joins in as the rest of group follow. It's an heavy laden groove that has lots of funky moments but the standout performances lay between Papierz, whose delivery is on fire along with Rutkowski's pulsating timing that never lets the group simmer down. "Metalug", another bristling piece highlights the groups rock influences with a cavalcade of chords in its opening that never really lets up. It's a short piece that soon rolls into the quiet and evocative "Sola W Occie" which is driven by Sawik's classical keys and gently moves back and forth between ambient and experimental thought. Papierz delivers some nice almost Coleman-esque solo passages with Gluc and Rutkowski adding eerie direction just underneath his notes.

"Fitoplankton" presented me with thoughts of Red era King Crimson mixed with the keyboard psychedelics of Headhunters. The group mix a sense of raw, gritty energy thorugh Dymny and Rutkowski but tempered by some buoyant floatation from Papierz.

Nucleon are a group that I hope will soldier on after the lose of their influential co-founder. They found a way to intermingle Sawik's pieces into this power record which keeps his name alive. But it also gives the group a new point of direction for the future. 

Check music from this inspiring CD:

Author of test: Stephan Moore
http://jazzwrap.blogspot.com/

Undivided - Moves Between Clouds (Multikulti, 2011) by Stephan Moore

Undivided (group)

Klaus Kugel (drums)
Perry Robinson (clarinet)
Waclaw Zimpel (clarinet, bass clarinet)
Bobby Few (piano)
Mark Tokar (bass)

Moves Between Clouds (MultiKulti; 2011)

(Editor) One of most awaited free jazz albums in Poland this year x-rated by Stephan Moore (http://jazzwrap.blogspot.com/):

This is a fascinating live recording. One that should be listened to at night to get the full experience. Undivided is a collective born from the mind of clarinetist, Waclaw Zimpel, who has worked with Ken Vandermark, Robert Kusiolek and Aram Shelton to name a few.

On first listen you may automatically get the feeling of late 60's free jazz floating throughout the pieces. But as you continue to absorb the music you will grasp hold of the experiments that quintet are reaching for on their second release, Moves Between Clouds (MultiKulti Records). It reminds of when hard bop began its transition towards free jazz. There's still shadows of expressive melody but there is more of an introspective quality to the music that is rich and rewarding.

With three long tracks the audience and you the listener get a much more in-depth experimentation in sound than the rolling epic of their debut, The Passion. As with late Coltrane, Eric Dolphy, Jimmy Giuffre and even some Donald Byrd records of the time period,Moves Between Clouds has a spiritual and almost folkish element to it.

The addition of Perry Robinson to the quartet gives this live recording it's cultural feel. The title track bares this out. "Moves Between Clouds" has Robinson and Zimpel sharing and intertwining passages. Few's playing underlines the contemplative nature of the piece. It's a slow, droning number that only hits heavy notes when Tokar and Kugel raise the pulse (only slightly) keeping the listeners sense of adventure engaged.

"Moves Between Clouds" is blissful and hypnotic in its delivery. Few's repetitive tones are matched by Robinson and Zimpel beautiful rising arpeggios on both "Hoping The Morning Sky" and the closing number "What A Big Quiet Noise". Kugel as always makes an impact with crisp and exploratory timing.Undivided have presented one of those solid live performances that you wish you were in the audience that night. Thankfully the date was recorded and we can all experience it. Excellent stuff.

(Editor) Check this video which features different personnel (Wacław Zimpel with all-Polish line up) but nonetheless gives an idea of what kind of energy Undivided delivers during concerts:

Author: Stephan Moore

http://jazzwrap.blogspot.com/

Jachna / Buhl - Niedokończone książki aka Unfinished Books (Audio Tong, 2011) by Stephan Moore

Jachna/Buhl (duo)

Niedokonczone Ksiazki (translated: Unfinished Books)

Wojtek Jachna (trumpet, electronics)
Jacek Buhl (drums)

Audio Tong Music, 2011

Courtesy of Stephan Moore (check his excellent JazzWrap blog) we publish text about album that has made biggest impression on me in recent times...

A recent and unbelievably exciting discovery is the second release from the duo Jachna & Buhl, Niedokonczone Ksiazki (translated: Unfinished Books). Utilizing elements of jazz, electronica, early prog and found sound, Jachna and Buhl have created a wonderful and riveting document of rhythms, tones and ideas that will have you decidedly beside yourself as to what to call this - Jazz? Avant Garde? Third Stream Jazz? Electronica? World? Or what? There are places on Unfishised Books, where you may hear influences of Faust, My Bloody Valentine or Jon Hassell. I have been listening to this record non-stop for the last two weeks (twice a day in some cases).

In a similar vein to Mikrokolektyw from last year, this duo consist of drums and trumpet/electronics. But that's really where the similarities end. Jachna/Buhl employ their acoustic instruments with limited electronic manipulation. This gives the record a raw feel but also adds an experimental quality when the electronics are introduced. On "Modlitwa", the duo utilize all the space available and conjure a rich and expansive acoustic dialogue that is both exciting as it is exploratory. "Bernstein's Mood" rolls out with a funky repetitive pattern from Buhl and phrasing from Jachna that could fit neatly along side a piece of West Side Story (if West Side Story were an experimental musical). 

"Przyplyw Odplyw" has an ambient-dub quality to it that is reminiscent of mid-period Jon Hassell. It's a slow developing piece that is mainly dominated by Buhl's rhythmic passages. Jachna's performance is layered in beautifully. "Przyplyw Odplyw" moves upward and out but still maintains a melody, expression and direction that holds your interest throughout. Both musicians along with the electronic elements deployed in this piece are truly sublime. "Zmeczony Los" closes out the session with a slow moving rhythm, manipulated trumpet and other found sounds that feel more ethnological in structure than jazz based. The drums feel very tribal and Buhl's playing is eerie and emotional. It's ambient, dub, experimental and electronica rolled into six minutes of solitude. 

This is one of those records that is always up our alley at JazzWrap. Wojtek Jachna and Jacek Buhl have created an album that is strikingly different than most of the material you will hear this year. Fusing various elements of the musical spectrum, they have maintained the acoustic richness of their instruments with the far-reaching spirit of third stream jazz to create an album--Unfinished Books -- that is worth every dollar, euro or pound it takes you to find it. Highly Recommended.

Check samples of music from this album:

Author of text: Stephan Moore 

http://jazzwrap.blogspot.com/

...

Andrzej Przybielski / Oleś Brothers - Abstract (2005); De Profundis (2011) by Stephan Moore

Andrzej Przybielski (trumpet)

Marcin Oles (bass)

Bartlomiej Oles (drums)

Not Two Records, 2005

Fantastic text by Stephan Moore from http://jazzwrap.blogspot.com/ dedicated to great Polish trumpeter Andrzej Przybielski. Thanks Stephan! 

Andrzej Przybielski was one of those truly underrated musicians that never got even close to the word "recognized" in the wider public. For probably those outside Poland and parts of Europe, the name Andrzej Przybielski will unfortunately mean nothing. But, he is revered in his homeland and his passing this February will touch the artistic community in Poland for years to come. Fellow Polish trumpeter, Tomasz Stanko has also acknowledged Przybieslski's legendary status. Przybielski's playing might be more fierce and adventurous than Stanko. He could turn phrases like Woody Shaw, Freddie Hubbard or Don Cherry. His loss is the entire jazz community's loss but hopefully in this digital age his legend can grow and be cemented.

Andrzej Przybielski, while having a pretty lengthy catalog, didn't record with any great frequency. Only in the last decade did it seem like he was really recording at a decent pace. He began playing more in the avant garde style in the 60s and 70s. As he got older his playing became more statesman-like but still had a distinctive bit to it. In the last few years he paired up with Europe's most prolific rhythm sections, the Oles Brothers, and formed a trio that recorded two albums under Przybielski's name, and two under the Oles Brothers direction as Custom Trio.

Abstract (Not Two Records, 2005) is a perfect introduction to Przybielski style. Abstract features moments of hard bop mixed with free jazz that form a beautiful and crisp document for a group with evolving ideas. You could compare the youthful injection from the Oles Brothers to that of the Marcin Wasilewski Trio for Tomasz Stanko. The energy featured on "Ride" forces the group into exchanges that are both explosive and beautiful. Przybielski and Bartlomiej demonstrate a brilliant piece of interplay midway through "Ride" that will undoubtedly have you stunned. The classic "Afro Blue" also gets a deep rendering which is drastically different from both the Mongo Santamaria original and the more well-known John Coltrane version. The trio really deconstruct this piece with a great deal of improvisation and post-bop vision. Elsewhere, "Epitafium dla Jacka" illustrates a more relaxed nature to Przybielski's playing that sets him alongside Miles Davis or even Clifford Brown.

Andrzej Przybielski (trumpet)

Marcin Oles (bass)

Bartlomiej Oles (drums)

De Profundis (Fenomedia, 2011) 

It would be six year later that we would get the chance to experience this trio again. This time, in the form of a live album De Profundis (FenomMedia, 2011). De Profundis features tracks from Abstract, including a boisterous version of "Afro Blue" that really brings out the power of Marcin's bass playing. The trio is sublime form on this evening. There's consistency, but also a good deal of improvising throughout. The members have played with each other so long that you can tell they know the other's next move. The title track screams with an immediacy and beauty that you might not get on the previous album, and later develops into a bit a of call and response between the members and then a gentle fade out. "Guru" is a midtempo blues tinged number that has an incredibly introspective quality to it. The album closes on a more chamber/improvisational version of "De Profundis" that sees the trio moving in various directions but still keeps a distinct harmolodic tone that will encapsulate the listener until the end.

The passing of Andrzej Przybielski may not be felt throughout the entire jazz community but these two records are perfect documents of what the world will miss. Przybielski was never an artist who really wanted the spotlight. He played his music - when he was ready to play. When he wanted to record. And the results are something that we are all better off for after listening. Whatever you do this week, Abstract and De Profundis should be on your list of records to check out. A legend has gone but his music will touch more than he will ever know...

Author of text: Stephan Moore (http://jazzwrap.blogspot.com/)

Marcin Wasilewski Trio - Faithful (ECM, 2011) by Stephan Moore

Marcin Wasilewski Trio

Marcin Wasilewski (piano)
Michal Miskiewicz (drums)
Slawomir Kurkiewicz (bass)

ECM Records, 2011

Certainly one of the most interesting mainstream albums issued this year, now in Stephan Moore review:

Six albums on and the Marcin Wasilewski Trio (originally known as Simple Acoustic Trio) have evolved into a relaxed, introspective and now adventuresome outfit. The trio's stint with Tomasz Stanko and some warm production work from Manfred Eicher of ECM have helped the group hone its sound as well as their performances. Their use of space is clever and precise and makes their latest album, Faithful, one of their best and one of JazzWrap best albums so far this year.

Adventuresome is one the aforementioned words I used to describe MWT's advancement. The opening of Faithful, "An den kleinen Radioapparat", the group explore German composer Hans Eisler classical standard sans vocals. Without the vocals the listener is clearly focused on the instrumentation. And the delivery from Wasilewski is sublime. Miskiewicz's subtle brushes add a layer of mystery that still reflects upon the original composition. "Night Train To You," moves with lovely but rapid pace. Wasilewski while setting the structure has written a piece that still allows the group to improvise throughout.

One of the things I've always enjoyed with MWT's albums is there ability to reshape and re-imagine other artists material. As evident on Paul Bley's "Big Foot" where by the very nature of the composition, the trio strive and deliver a powerful yet playful performance. Kurkiewicz's movements in dense and propulsive. Wasilewski's uptempo rhythms really give Bley's original a run for the money. It's one of the best versions of this piece I've heard (not that there are a whole lot). While on "Oz Guizos" (originally written by Hermeto Pascoal) the trio are wonderfully melodic and add a sense of spaciousness that gives the members wide breathing room. Kurkiewicz strumming is sublime and helps the piece move gently up and down.

The delightful "Lugano Lake" closes the albums and for me encapsulates the trio's recent form of the last few years. It's peaceful, agile and dynamic all the while holding a sense of that many listeners will gravitate to. Marcin Wasilewski has emerged as a colourful and daring pianist in the last few years. The trio as a whole continue to solidify their name on the global psyche. The diversity of Faithful may finally send the Marcin Wasilewski Trio into the level of recognition. This is a brilliant piece of work from a group that gets better and better with every outing. Deep. Personal. Reflective. And Highly Recommended.

Author of text: Stephan Moore (http://jazzwrap.blogspot.com/)

The Resonance Ensemble - Kafka In Flight (2011) by Stephan Moore

Resonance Ensemble (group)

Ken Vandermark (sax, clarinet) 

Mikolaj Trzaska (sax, clarinet)

Mark Tokar (bass)

Michael Zerang (drums)

Tim Daisy (drums)

Steve Swell (trombone)

Per -Ake Holmander (tuba)

Dave Rempis (sax)

Magnus Broo (trumpet)

Waclaw Zimpel (clarinet)

Kafka In Flight (Not Two Records, 2011)

Although we got already nice review of this album by Bartek Adamczak, here is anothere interesting text about by Stephan Moore from http://jazzwrap.blogspot.com/. Certainly music deserves as much attention as possible since it is one of the best recordings in which Polish jazz artists particpated this year... 

This is an album I have been waiting for since I read about it on Ken Vandermark's twitter feed a few months ago. The Resonance Ensemble is the brainchild of the great Chicago saxophonist, Ken Vandermark. In the similar vein to Peter Brotzmann's Tentet (which Vandermark is also a member), Resonance embarks on large scale compositions. But where PBT tend to move into the upper stratosphere in theory--Vandermark is keeping things within a linear pattern as far as the tone is concerned. There is a great deal of improvisation happening but its within the melody and rhythm of the writing.

Resonance Ensemble was first developed out of a series of concerts and studio sessions that were later recorded in 2008 (Live In Lviv) and then for the 10CD box (Resonance Box). What's remarkable is that as Vandermark states in the notes to this album, because of the size of the band and the various groups they lead and projects they participate in, its difficult to get any rehearsal time before live shows or recording. I don't think any of us would notice or care. Why you ask? Because the results are something truly unbelievable.

For the group's third album Kafka In Flight, recorded live in Poland, Vandermark guides the group with three lengthy pieces of jubilant free form that would make you feel as if Ellington, Coltrane, Cherry, Coleman, Blakey, Chambers (and take the your pick of the rest) had gotten together in your backyard. Kafka In Flight is smokin'. Unlike even Vandermark's main group (The Vandermark 5), Resonance Ensemble seem to enjoy mixing the past in a large bowl and coming up with interesting and riviting concoctions. The opener, "The Pier" is fast moving and allows for moments in which each member can contribute and expound on Vandermark's material. It's a real treasure of ideas that surface. The always incredible Tim Daisy delivers an excellent improvised mid-section, accompanied by a good portion of the horn section and Vandermark on clarinet, explore and exchange some intense possibilities but it works unbelievably well.

"Rope" is a bit more cinematic, led by some great performances from Per-Ake Holmlander on tuba (a rare instrument in modern free jazz) and Magnus Broo (trumpet). "Rope" moves from funky to experimental to comforting (so-to-speak) and gives the listener a lot to absorb. Michael Zerang and Tim Daisy are superb as they duel it out with sharp intersecting chant from each of the wind players. "Coal Marker" rounds out this hour long journey in style. It's the ensemble releasing all it's force into your speaker (and you better be able to deal with it). There are spontaneous moments that sees the group in unison but also exchanging circular rhythmic patterns. This is a group that somehow, despite little time together, knows exactly what the other is going to do and each is up for the challenge.

Kafka In Flight is an album and performance that is built around the ability of Ken Vandermark to write excellent material that is interchangeable for each member. You can picture most of these notes performed by different members and each coming up with a different result. But the result would still be amazing. Kafka In Flight is yet another step in the already legendary career of Ken Vandermark. While the first two albums are both hard to find and in the case of the boxed set--expensive--you should definitely seek out Kafka In Flight. It is well worth every avant garde fan's dollars. One of our Top Albums Of The 2011.

Author of text: Stephan Moore (http://jazzwrap.blogspot.com/)

RGG - One (2011) by Stephan Moore

RGG (group; formed 2001)
Przemyslaw Raminiak (piano)
Maciej Grabowski (bass)
Krysztof Gradziuk (drums)

One (Fonografika)

Here's the thing. This year has started off with some really incredible albums. Many of which I would never have heard or at least spent months trying to find. One of the groups that I was turned on to this year was RGG out of Poland. RGG are arguably one of the best kept secrets on the global jazz scene. Their latest album, One, is a great example of how outstanding the group has become. They have been grabbing attention since they made their major debut at the 2002 Bielsko Jazz Blizzard Festival (for the uninitiated this is one of the best jazz festivals in Europe).

There have been many trios over the last decade with great ideas and impressive efforts. Comparisons of RGG and fellow countrymen, the Marcin Wasilewski Trio always come to the forefront when both groups put out an album (in this case within weeks of each other). I believe the difference lies in the compositions and production. RGG have been able to expand and take the listener on various journeys over their career. I'm not saying MWT haven't done the same. I'm saying MWT have taken a more direct contemplative approach. RGG continue experiment (loosely put) on each record.

With five albums under their belt, all of which have featured expansive themes, intimate performances, and some fully improvised works, RGG have returned with One, a more focused and extremely balanced session. Opening with the warm and melodic title track, RGG set a mood similar to that of Tord Gustafsson or EST. "One" contains a beautiful passage from Maciej Garbowski on bass and Raminiak's keys turn the melody into an intimate observation of a rainy day. "Around Again" (a Carla Bley composition) is the perfect showcase for RGG's ability to stand apart. Like the original there is a real sense of vibrancy that the listener will connect with immediately.

"Almost Blues" really shines. The group are in full force as a unit with each member getting an opportunity to let loose. Gradziuk's solos are fierce and really exciting--keeping the tune humming, despite its short length. "C.T." is dedicated to Cecil Taylor and highlights the improvised nature of the trio. This was brought out in previous albums but in this Cecil Taylor inspired tune you can see the band stretching and having a lot fun doing it. "On The Way To Road 11" is simply a beautiful ballad that reminds me of the some of the more intimate and intricate Keith Jarrett trio pieces. 

With One, RGG have managed to combined elements of each of their explorations from albums past into a bold and impressive outing that should be on everyone's wish list this year. In a very short time period they have become one of my favourite groups. If you have the chance you must seek out RGG's One. Highly Recommended.

Author of text: Stephan Moore (http://jazzwrap.blogspot.com/)

Robert Kusiołek - Nuntium (2011) by Stephan Moore

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

Multikulti Project (2011)

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

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

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

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

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

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



Author of text: Stephan Moore (JazzWrap)

Foton Quartet - Zomo Hall (2010) by Stephan Moore

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

Foton Quartet (group)

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

 Not Two Records (2010)

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

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

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

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

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

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

Author: Stephan Moore 

http://jazzwrap.blogspot.com/