Zbigniew Lewandowski - Zbigniew Lewandowski (2020)

Zbigniew Lewandowski

Andrzej Przybielski - trumpet
Piotr Baron - saxophone
Andrzej Olejniczak - saxophone
Paweł Ścierański - guitar
Krzysztof Ścierański - bass guitar
Mieczysław Jurecki - bass guitar
Jose Torres - percussion
Zbigniew Lewandowski - drums, synth

Zbigniew Lewandowski

GAD 121

By Adam Baruch

This is a reissue of the debut album by Polish Jazz drummer / composer / bandleader Zbigniew Lewandowski, originally released on the legendary Poljazz label. The music was recorded in 1983 during two sessions separated by several months, with two lineups. The first lineup was a quintet which included alongside Lewandowski also iconic trumpeter Andrzej Przybielski, saxophonist Piotr Baron, guitarist Paweł Ścierański and bass guitarist Krzysztof Ścierański. The second lineup was extended to an octet and included also saxophonist Andrzej Olejniczak, second bass guitarist Mieczysław Jurecki and percussionist Jose Torres. The original LP presented six tracks but this remastered edition was expanded by two additional tracks from the first session, previously unissued. All the compositions were by the musicians participating in the recording except for one standard.

The music, influenced by the revolutionary work of Miles Davis, has a distinct Fusion tinge, but is very far from an attempt to copy the great Master. Przybielski, aged thirty-nine at the time of the recording, was already Poland's most idiosyncratic Jazz musician and trumpet Genius. He displays the full range of his abilities, and the fact that the music is Fusion oriented, offers a rare opportunity to hear him in that specific idiom, rather than within his "usual" Avant-Garde environment. His performances on this album are amongst the most extensive documents of his playing, including his weird sense of humor. In retrospect this album emphasizes the devastating loss Polish Jazz suffered with his untimely death in 2011. I had the immense luck and pleasure to produce the album "The Book Of Job", just a couple of years after this recording was made, which also featured Przybielski at his absolute best.

Baron, only twenty-two years old at the time, also contributes wonderfully to the album's overall ambience, offering his compositions, most of the arrangements and excellent soloing. The rest of the players were already more experienced and their professionalism and obvious talents are clearly evident in the resulting music. Overall this is a momentous recording, perhaps one of the most important Polish Jazz albums from the 1980s, and beyond. Polish Jazz/Fusion fans should be grateful to GAD Records for resurrecting this gem and saving it from oblivion. Brilliant stuff!

Susan Weinert & Martin Weinert - Fjord (2015)

Susan Weinert & Martin Weinert

Torun Eriksen - voice
Susan Weinert - guitar
Martin Weinert - bass

Andrzej Olejniczak - saxophone

Julia Hülsmann - electric piano

Leszek Możdżer - piano

Cezary Konrad - drums

Florian Schneider - drums
David Kuckhermann - percussion

Joss Turnbull - percussion

Fjord

Tough Tone 2015

By Krzysztof Komorek

Recenzję zacznę od dygresji, która mimo pozorów jest dość istotna dla mojej oceny tej płyty. W moim ulubionym serialu "Przyjaciele", jeden z bohaterów próbował w którymś z odcinków za wszelką cenę polubić nową partnerkę swojego współlokatora. Niestety, bez pozytywnego efektu. Kończy się to wszystko jedynie płaczliwymi zapewnieniami: "próbowałem stary, naprawdę próbowałem".

Otóż mam podobną sytuację w przypadku Torun Eriksen. Norweska wokalistka zbiera całkiem niezłe recenzje i ma grono swoich zwolenników. Ja jednak mimo usilnych i wielokrotnych prób zupełnie nie umiem przekonać się do jej twórczości. Próbowałem Proszę Państwa, naprawdę próbowałem. Pięć z dwunastu utworów na najnowszej płycie małżeństwa Weinertów wprawia mnie w związku z tym w nieuchronną irytację. Pięć utworów, w których śpiewa (i do których napisała teksty) właśnie Torun Eriksen. Nie pomaga nawet gościnny akompaniament Leszka Możdżera w mającym zadatki na przebój "Circus". Gdyby nie wokal, ten utwór byłby niczym przysłowiowa wisienka na torcie. Niestety na moje subiektywne uprzedzenia nic nie poradzę. Jednak osoby lubiące Torun Eriksen z ukontentowaniem powinny odebrać te nagrania, a nie znających wokalistki także od zapoznania się z próbkami jej talentu nie zamierzam odwodzić.

Ale, ale, proszę jeszcze nie uciekać. Jest przecież pozostałe siedem-dwunastych płyty. "Fjord" jest bowiem wyborem nagrań z dwóch równolegle prowadzonych przez Susan Weinert projektów: tytułowego Fjord z Torun Eriksen oraz WOW Trio mającego w składzie Andrzeja Olejniczaka. Pięć kolejnych nagrań to tria i kwartety – na szczęście czysto instrumentalne - z udziałem właśnie naszego znakomitego saksofonisty. Tego słucha się z ogromną przyjemnością. Przyznam się, że często włączałem jedynie parzyste utwory z tej płyty (tak akurat układają się w zestawie nagrań te z Andrzejem Olejniczakiem). Ostatnie dwa zagrane są przez Weinertów - jeden w trio (z Cezarym Konradem), jeden zaś w duecie. Melodyjne, mainstreamowe nagrania, może nie wybitne, ale zdecydowanie przyjemne dla ucha, z gitarą a la Ulf Wakenius i - powtórzę to jeszcze raz - świetnym saksofonem. Płyta dla miłośników jazzu wagi lekkiej.

Na koniec wrócę jeszcze do kwestii personalnych. Gdyby dziwiła Państwa znaczna reprezentacja polskich muzyków na płycie, to zaznaczyć należy, że Państwo Weinertowie związani są z Polską dość mocno, chociażby poprzez wieloletnie wykłady na jazzowych warsztatach w Chodzieży. Stąd też tak liczne zaproszenia do nagrań dla naszych rodzimych tuzów jazzu. Dla porządku należy też wspomnieć, że gośćmi duetu liderów byli jeszcze: nagrywająca regularnie dla ECM, niemiecka pianistka Julia Julia Hülsmann oraz perkusiści/perkusjonaliści: David Kuckhermann, Florian Schneider i Joss Turnbull.

Andrzej Olejniczak – New Sax Concertos (2014)

Andrzej Olejniczak

Andrzej Olejniczak - saxophone
with Polish Radio Orchestra

New Sax Concertos

POLSKIE RADIO 1855-1856





By Adam Baruch

This is a wonderful album by Polish (living in Spain) Jazz saxophonist Andrzej Olejniczak, who performs three "borderline" pieces bridging Jazz and Classical music, which feature the saxophone as the leading instrument. The album was recorded live with Olejniczak performing the music with the Polish Radio Orchestra conducted by Krzesimir Debski. Drummer Lukasz Zyta is featured as co-soloist on one track.

The first piece, entitled "Focus Suite", was written by American composer Eddie Sauter specifically for saxophonist Stan Getz, who recorded the suite in 1961 on the album entitled "Focus", which to this day remains as one of the most revered Jazz recordings of all times. The original recording features Getz supported by a Jazz piano trio (pianist Steve Kuhn, bassist John Neves and drummer Roy Haynes) and a small string ensemble, with the music beautifully arranged by Sauter.

The second piece, entitled "Sax Concerto For Soprano Saxophone And Symphony Orchestra, was written by American composer Mark Kuss in 2006.

The third piece, entitled "Jazz Concerto For Saxophone And Orchestra", was written by Polish violinist/composer/conductor Krzesimir Debski in 2008. Debski and Olejniczak were both members of the legendary Polish Jazz ensemble String Connection, which was active in the 1980s. The concerto was written for Olejniczak and incorporates many of the themes that appeared on the albums String Connection recorded at the time and the solo saxophone parts are based on transcriptions of the violin solos played by Debski at the time. In many respects this concerto symbolizes the closing of a time loop bringing the two great musicians together again.

The music is excellently performed by Olejniczak, who has a beautiful tone and superb technique. Although most of the music here is composed, there are plenty of opportunities for Olejniczak to express his own improvised passages, making this entire performance a once in a lifetime event. The orchestra is also top notch, supporting the soloist with elegance and obvious sympathy.

Fans of Jazz-Classical fusion will find this music right up their alley, but listeners of both Classical Music and Jazz should find this music worth their attention, especially in view of its aesthetic merits. Warmly recommended!

Olejniczak / Sendecki European Quartet – Birthday Live #2 (2013) ****

Andrzej Olejniczak - tenor & soprano saxophones, bass clarinet
Wladyslaw Sendecki - piano, keyboards
Laurent Vernerey - bass
Mark Mondesir - drums

BLUE NOTE


By Adam Baruch

This is a live recording at the Blue Note Poznan Jazz club, celebrating the club's fourteenth Anniversary, by a wonderful quartet led by two extraordinary Polish Jazz heroes: saxophonist Andrzej Olejniczak and pianist Wladyslaw Sendecki, with French bassist Laurent Vernerey and British drummer Mark Mondesir. Olejniczak and Sendecki share some of the glory days of the Polish Jazz in the 1970s, when they were both members of the legendary Extra Ball ensemble and founders of the no less legendary Sun Ship ensemble. Both living now outside of Poland (Olejniczak in Spain and Sendecki in Germany) they are still an integral part of the Polish Jazz phenomenon, as this album proves beyond any doubt. The album includes seven pieces, two each by Olejniczak, Sendecki and Krzysztof Komeda and the remaining one being a folk tune arranged by Sendecki.

The members of this quartet are some of the finest European Jazz musicians and the resulting album is simply exceptional in every respect. The music is all excellent from start to finish, modern full-fledged and highly spirited Jazz with numerous superb solo spots and an exceptional live ambience, which happens only rarely. It is obvious that everybody had a wonderful time and the musicians are simply giving everything they have, sharing, supporting and challenging each other constantly in perfect harmony and with telepathic thoughtfulness. Although the two soloists are naturally in the center of attention, one must immediately recognize the incredible role of the outstanding rhythm section, which stands shoulder to shoulder with the soloists at all times.

The saxophone and piano solos are all sensational and there is no exaggeration whatsoever in that statement. In many respects these performances are absolute classics, which should be taught at music schools as examples of what real Jazz is all about, especially European Jazz, as this is, again in many respects, a revelation of the European elegance and sophistication that makes all the difference. This music is completely devoid of ego trips and attempts to prove who can play faster or louder or prettier, it is simply a perfect teamwork, which is always the ground upon great Jazz music is firmly based.

The last tune on the album is dedicated to the memory of the great Polish Jazz bassist Zbigniew Wegehaupt, who was not only a friend of the Polish musicians but also a dear personal friend of mine and whose tragic and premature death left a scar in the hearts of all of us.

There is not much more that needs to be said here, except for Gracias, Danke, Merci, Thanks and of course Dziekuje to all the people involved for this heartbreakingly beautiful music.

Various Artists – Tribute To Komeda (2012)

Janusz Olejniczak - piano
Zbigniew Wrombel - bass
Krzysztof Przybylowicz - drums
Maciej Fortuna - trumpet
Karol Szymanowski - vibraphone
Andrzej Olejniczak - saxophone
Wladyslaw Sendecki - piano
Lena Ladoff - piano
and others

Private Edition


By Adam Baruch

There is no doubt that the legendary figure of pianist / composer / bandleader Krzysztof Komeda, the Godfather of Polish Jazz, is still very much present on the local scene, more than forty years after his untimely and tragic death. Komeda's charisma, mystique, prophetic vision and above all his extraordinary talent as a composer keep his legacy alive generation after generation, with his musical heritage being passed on to the upcoming young Polish Jazz artists, as an integral part of the modern Polish Culture.

In the scope of those forty plus years since Komeda's death the Polish Jazz scene produced a plethora of recordings, concerts, festivals and other events dedicated to his memory. As a result the idea of commemorating Komeda has been overexploited and often even abused by lesser quality attempts, which result in blemishing his memory rather than uphold it. Fortunately this album is definitely not one of those damaging efforts; on the contrary, it offers many new and fascinating discoveries, as well as thrilling interpretations by excellent musicians, which treat the music with respect and obvious admiration.

The album includes ten Komeda compositions, performed by several different ensembles: pianist Janusz Olejniczak with Atom String Quartet, bassist Zbigniew Wrombel and his quintet (drummer Krzysztof Przybylowicz, trumpeter Maciej Fortuna, pianist Piotr Wrombel, vibraphonist Karol Szymanowski) with actor Kamil Mackowiak, the duo of saxophonist Andrzej Olejniczak and pianist Wladyslaw Sendecki, the duo of tuba player Zdzislaw Piernik and synthesizer player Tadeusz Studnik and finally solo piano performances by Lena Ledoff.

Such diverse settings are an ideal vehicle to present the diversity of Komeda's music and the endless possibilities, in which it can me expressed and interpreted. All the performances are truly superb, moving and deeply engaging and pay a fitting homage to Komeda's heritage. My personal preferences are the trumpet pats by Maciej Fortuna, the incomparable piano playing of my friend Wladyslaw Sendecki and the solo piano pieces by Ledoff. But each and every musician participating in this recording deserves full admiration and respect. The quality of these live recordings in not ideal, but neither is life, so true music lovers can certainly live with it and enjoy it immensely.

The most interesting two pieces on this album are the early Komeda Jazz and Poetry compositions to poems by Jerzy S. Sito, known mainly for his work as translator, who died in 2011. Komeda's involvement with the Jazz and Poetry movement, presented by him during the 1960 Jazz Jamboree festival, is one of the most fascinating, but sadly neglected, milestones of his career. The two pieces were restored from Komeda's notes by the great vibraphonist / composer Jerzy Milian, who was a member of Komeda's group in the late 1950s. Honestly that entire program simply screams for proper restoration work.

Overall this is a superb piece of music, which is worthy of an honorable place in any serious Polish Jazz music collection and should be of interest to the many Komeda followers all over the world. Brilliant stuff!

String Connection - Workoholic (1982)

String Connection (band)

Krzesimir Dębski – violin, piano, Polymoog
Zbigniew Lewandowski – drums
Andrzej Olejniczak – tenor & soprano saxophones
Janusz Skowron – Fender, Hammond, Polymoog
Krzysztof Ścierański – bass guitar

guests:
Mirosław Michalak – guitar (1 & 5)
Zdzisław Śróda – trombone (1)

Workoholic (1982)

String Connection is one of the top "stars" of the polish 80'. Playing hundreds of shows (not only in Poland) durring that period and recording few great albums, Krzesimir Dębski's (violin) crew managed to break into hearts of many (not only) jazz fans. Disbandment in 1988 was not yet the end of String Connection - they managed to play few shows in 1998 and decided to return for longer tour in 2011, issuing live album in 2012.

Their compositions are quite "listenable" - lots of beautiful classical influenced melodies by Dębski, strong rhythm section, great piano and sax. Much of that can be experienced on "Bokra", the very first tune from SC first album "Workoholic". Here it is:

There is a lot of dynamic, groovy playing here, still leaving place for calmer moods. The song starts and ends with orchestral-sounding section (faded out in the end), kind of unusual - 3 bars in length makes it feel like being "too short". Afterwards, the main, groovy rhythm appears followed by the melody played together by violin and sax. The tune runs like that into the next section and, after repeating the main groove, calms the mood down - beautiful sax playing here. This softer section leads the way to the soloing cycle. Piano, violing and sax solos are played over the same chordal pattern (8 bars) launched 4 and a half times for each solo - every instrument ends it's part by reaching F# minor chord, on which music morphes into the main groove (plus melody). Second and third solo (violin and sax) start with calming the music down for two turns. After the solos, the main rhythm + melody is repeated as in the begining, along with the next section, making it's way to the ending part.

Score and tab: https://docs.google.com/open?id=0Bw7O1HDkrEexejFJcmwzYlg2ZlU
Score only: https://docs.google.com/open?id=0Bw7O1HDkrEexR3E5TnVkUTJiazQ
Tab only: https://docs.google.com/open?id=0Bw7O1HDkrEexYU5DYUtlOEFhLWM

Krzysztof Ścierański is considered to be one of the best bass players in Poland. Somebody called him "Polish Pastorius" once, but his style is quite different from famous Jaco. Ścierański, a self-taught musician, plays fretted basses (I don't know if he ever played fretless), "digs" stuff like slapping, or harmonics and likes to use bass effects (chorus, reverb, delay and so). The first "big" thing he got involved into was Laboratorium - polish jazz-fusion band of 70'-80', considered by many the best polish fusion band. Before String Connection, Krzysztof played in Zbigniew Namysłowski's fusion outfit called Air Condition and, after SC, lots of great projects, gigs and solo stuff. IMHO the most important bassist in Polish fusion. Just listen to this performance by, mentioned earlier, Air Condition with Namysłowski:

One word of explaination about String Connection album name. As you might notice, there is no such word in English as "Workoholic". "Workaholic" yes, not "Workoholic". Krzesimir Dębski explained in one of his interviews, that he made that word up - there was a trend is polish jazz then to do such things. He wanted to join "work" with "alcoholic", as he considered himself to be addicted to work (if somebody plays rehearsals at 4 a.m., like Dębski did in early stage of SC era, should be IMHO considered workaholic) and didn't know that very similar word already exists. That's why there is a "typo" in the album title.

By Brian The Fire
http://fusionbasstabs.blogspot.com 

Track listing:
"Bokra" (K. Dębski) – 7:10
"Cantabile in H-Moll" (K. Dębski) – 6:00
"Kill the Raven" (J. Skowron) – 3:48
"Quasi String Waltz" (K. Dębski) – 3:20
"Workoholic" (K. Dębski) – 4:32
"Seekuh" (K. Ścierański) – 3:10
"Primary" (J. Skowron) – 5:10
"Gutan Dance" (K. Dębski) – 5:30

Andrzej Olejniczak & Apertus String Quartet - Different Choice (2011)

Andrzej Olejniczak - tenor & soprano saxophones

Apertus String Quartet:
Joanna Łuczak - violin
Marta Kaliska - violin
Joanna Krysicka-Gwarda - viola
Marta Katarzyna Filipiak - cello

Different Choice (2011)

Veteran Polish saxophonist Andrzej Olejniczak, who was a member of such legendary ensembles as Extra Ball, Sun Ship and String Connection, left Poland in the mid 1980s and disappeared completely from the local scene for many years. He continued his career as a musician and educator in Spain, which is quite successful and fruitful. 

The idea to record an album featuring the saxophone playing with a string quartet and improvising to its accompaniment fascinated Olejniczak for many years and was finally realized in 2010, when this album was recorded in Poland with the Polish Apertus String Quartet. The music was mostly composed and arranged by the great Polish violinist / composer Krzesimir Debski, the leader of String Connection, with Olejniczak contributing three compositions and two additional compositions being by other composers. The overall concept is to create a synthesis between Jazz and contemporary Classical music, with Olejniczak, who plays tenor and soprano saxophones, improvising at length over a pre-arranged background performed by the string quartet. 

This is definitely "serious" music, which has absolutely nothing to do with the popular sax & strings muzak, a music which requires attentive listening and quite an intellectual effort to follow. Olejniczak is a very experienced improviser and his tangled and convoluted solos are often challenging, and with the complex layers of the music played by the strings the total musical experience might easily prove a bit too much for a casual listener. Serious music connoisseurs however, should be able to enjoy this music profoundly. It does require several listening sessions, but the effort is definitely worth it. Such musical journeys are rare and Olejniczak (and Debski, who is definitely a major force behind this music) deserves praise and respect for pulling it through and making "different choices" indeed. It won't probably prove to be a very "popular" album, but this is exactly the reason why such music should be made, especially at a time when Artistry is fighting for its very existence. Wholeheartedly recommended!

Track listing:
1. Poise
2. New Romantic Expectation
3. Radkowi
4. Viuda Negra
5. Reminiscence
6. Cantabile in h-moll
7. Music for Soprano Saxophone and String Quartet
8. Canzonetta
9. New Romantic Temptation

By Adam Baruch

http://www.adambaruch.com/

Big Band Katowice – Music For My Friends (Polish Jazz Vol.52, 1978)

Big Band Katowice

guests:
Andrzej Olejniczak - tenor saxophone (3, 5)
Władysław Sendecki - piano (3, 5)
Jarosław Śmietana - guitar (1, 2, 3, 5, 6, 7, 8)
Zbigniew Wegehaupt - bass (1, 2, 4)

Music For My Friends (Polish Jazz Vol.52, 1978)

Katowice, the Capital of Upper Silesia - Poland's industrial region, was very important to the development of the Polish Jazz scene due to the fact that the local Music Academy was the first and for many years the only higher educational facility teaching a Jazz programme which awarded a degree in Music. The highly dedicated faculty and stuff directed generation after generation of young Polish musicians towards a career in Jazz music and in time the majority of the local Jazz scene was indeed a collection of the Katowice Music Academy alumni, the names of which are simply too numerous to mention. This phenomenon emphasizes the crucial importance of music education and its contribution to Culture. This album presents a Jazz Big Band led by trumpeter / composer Zbigniew Kalemba and comprising of the students of the Katowice Music Academy and guest soloists, some of which were ex-students, such as guitarist Jaroslaw Smietana, bassist Zbigniew Wegehaupt, pianist Wladyslaw Sendecki and many others. They perform eight compositions, five of which are originals and three standards, all beautifully arranged and passionately performed. The majority of the music has a distinct Jazz-Rock Fusion feel, which is not surprising as the genre ruled the local scene in the late 1970s. Since the Polish Jazz series includes only a handful of Big Band recordings, this is a most valuable addition to the overall presentation of the Polish Jazz scene. Warmly recommended!

Track listing:

01. Happening
02. Lil' Darlin'
03. Sorcery
04. Ballada dla Alicji
05. Madrox
06. Hey, Man
07. Music For My Friend
08. Experience

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

Andrzej Olejniczak & Apertus String Quartet - Different Choice (2011)

Andrzej Olejniczak - tenor & soprano saxophones

Apertus String Quartet:
Joanna Łuczak - violin
Marta Kaliska - violin
Joanna Krysicka-Gwarda - viola
Marta Katarzyna Filipiak - cello

Different Choice (2011)

"I am truly impressed. It is a rare to come cross music like this. Many elements deserve particular attention and admiration. As a saxophonist, I especially value Andrzej’s wonderful playing technique. Next, there is the auality of the recording. The proportions, sound of instruments, quantity and quality of the reverb – all are outstanding. And the third, and probably the most important factor (for me especially so), the repertoire. The compositions and arrangements, both of the jazz- and more classical- style are absolutely the best possible. Being a jazzman though, I wish Andrzej had had more space and liberty for improvisation, as he is an excellent, one of this kind, improviser. My favourites are Viuda Negra and Radkowi ballade, due to their jazz-character, which is so close to my heart. I must also give my appreciation to the string quartet for they so skilful and “musical” performance of this extremely difficult repertoire. Here, the music really is unique. For connoisseurs to appreciate, and for everyone to listen to and admire – fantastic."

Zbigniew Namysłowski – jazz saxophonist and composer

Playing with a string quartet and improvising to its accompaniment with no rhythm section is something I have always been dreaming of, ever since I studied classical music on clarinet, performing quintets by W.A. Mozart and C.M. von Weber. Next, there was my fascination with Focus by Stan Getz and Luminescence by Jan Garbarek. Since then, I have been involved in many different projects, and this idea was still on the back burner, waiting for the right moment, which just didn’t seen to arrive [chyba “seem to”?? – taka moja mała korektorska uwaga na boku].Finally, after many years, I realized that it would be great to try something that would inspire me, some new musical experience with a challenge to explore different concepts of playing. Performing with the string quartet made me even more disciplined in terms of technique, rhythm and dynamic. It provoked me to reflect on my way of playing enriching me as musician. While selecting the repertoire I tried to create music that is open, not addressed to one-style-fans only. I hope I have managed to do it successfully. Enjoy listening.

Andrzej Olejniczak



Track listing:
1. Poise
2. New Romantic Expectation
3. Radkowi
4. Viuda Negra
5. Reminiscence
6. Cantabile in h-moll
7. Music for Soprano Saxophone and String Quartet
8. Canzonetta
9. New Romantic Temptation

Source: info from albums's sleeve

Andrzej Olejniczak & Inaki Salvator Quartet - Catch (1994)

Andrzej Olejniczak & Inaki Salvator Quartet 

Andrzej Olejniczak - saxophone
Iñaki Salvador - piano
Jordi Gaspar - double bass
David Xirgu - drums

Catch (1994)

I recently got few albums of Andrzej Olejniczak released after he emmigrated to Spain and I am more and more convinced that Polish scene suffered great loss with his departure. Since these discs are simply excellent! As only consolation it comes that Olejniczak eventually was also appreciated in new country of his residence as this album became according to local critics "Best Jazz Album" in Spain in 1994. Remarkable achievement if somewhat bitter from Polish point of view...

"Catch" was recorded with pianist Inaki Salvador, champion of Basque jazz scene but elsewhere no name like other muscians appearing on this CD that is Jordi Gaspar on double bass and David Xirgu on drums. Certainly they provide decent background but without Olejniczak blasting horn it would be yet another disc among thousands of mainstream records. With him however it is something more than that: it is personal journey to musical world of very talented artist who with his instrument have something to say about basic human emotions, enlivens them and transcends allowing full musicial catharsis. Wholeheartedly recommended!

Track listing:
1. De vispera (8'50)..........................Iñaki Salvador
2. 33 (8'32).....................................Andrzej Olejniczak
3. Mind (7'30)..................................Iñaki Salvador
4. La ultima oportunidad (7'04)..........Andrzej Olejniczak
5. En marzo (8'41)...........................Iñaki Salvador
6. Radkowi (8'50).............................Andrzej Olejniczak
7. Cedar's blues (8'11).....................Cedar Walton

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

Andrzej Olejniczak - Live at Altxerri (2004)

Andrzej Olejniczak Quaret

Andrzej Olejniczak - soprano & tenor saxophones

Ivan "Melon" Gonzalez Lewis - piano

Jules Bikoko - bass
Julian Vaughn - drums

Live at Altxerii (2004)

Once hero of Polish jazz, saxophonist Andrzej Olejniczak, vanished from my radar long ago after he had emmigrated to Spain. We remember him from playing in best Polish bands of era of fusion jazz namely Extra Ball and Sun Ship which he created with such strong musicians as pianist Władysław Sendecki, bassist Witold  Szczurek and drummer Marek Stach. Only recently I found him on come back release by String Connection ("2012") but I was not much impressed as this project turned out to be nothing more than sentimental journey to the past glory of this legendary band of 80ties. I wondered what is he doing now? I couldn't believe that musician of such a class abondon music at all. Fortunately few weeks ago I found in my local CD shops this release. By far no novelty but relatively fresh it attestes that Olejniczak did not lose anything at all from his exceptional versatility on saxophone. With utmost ease he cuts through some original and standard tunes inducing in listener whole range of emotions from sadness to enthusiasm and beyond. The explosive nature of this recording is secured by first class partners which surround him, all musicians completely uknwkn to me:  Ivan "Melon" Gonzalez Lewis on piano, Jules Bikoko on bass and Julian Vaughn on drums. It is however clear almost from very first notes that they are top class players and have this "black" spontaineity which makes music bouncing and dancing. Excellent stuff!

Track listing : 1. UMMG; 2. Cryin' Blues; 3. Call It A Dream; 4. Viuda Negra; 5. Zamora; 6. Night And Day

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

String Connection – 2012 (Polskie Radio, 2012) by Adam Baruch

String Connection (band)

Krzesimir Dębski - violin, keys, Hammond
Andrzej Olejniczak - soprano and tenor saxophone, bass clarinet
Janusz Skowron - piano, Fender
Krzysztof Ścierański - bass guitar
Krzysztof Przybyłowicz - drums, percussions
Anna Jurksztowicz - vocal (6 i 8)

2012 (Polskie Radio, 2011)

Over 20 years after the Polish Jazz ensemble String Connection ceased to exist after several years of leading the local Jazz scene, here they are again, reunited, rejuvenated and recharged with new energies. Led by the violin virtuoso / composer Krzesimir Debski, who founded the original group in 1981 and who was also responsible for group's breakup due to his mounting commitments as a composer for film and contemporary Classical music, the group also includes original members: saxophonist Andrzej Olejniczak, keyboardist Janusz Skowron, bassist Krzysztof Scieranski and drummer Krzysztof Przybylowicz. Female vocalist Anna Jurksztowicz guests on two tracks. The music was composed mostly by Debski (six of the eight tunes on the album) with Olejniczak and Scieranski contributing one composition each. All these players are of course masters of their trade and their performances are always top notch, as expected. The music covers a wide spectrum of compositions, from World Music influences to Fusion, with the typical Eastern-European awareness of somewhat quirky melody lines and rhythmic patterns. There are no surprises here or groundbreaking innovations, but a lot of excellent and enjoyable music. For Jazz violin connoisseurs this is a must of course, as Jazz albums with violin are unfortunately a rarity, especially those of such quality like this one. Recommended!

Track listing: 1. Istrian Sideways; 2. Croatia On My Mind; 3. El Juguete; 4. Das Salzperlspiel; 5. Obsession; 6. Saranjeet Kaur; 7. Cien Kilos De Papas; 8. O Czym Marzą Dziewczyny



By Adam Baruch

http://adambaruch.com/

Kazimierz Jonkisz – Tiritaka (Polish Jazz Vol.62, 1980)

Kazimierz Jonkisz - drums

Krzesimir Debski - electric violin
Andrzej Olejniczak - tenor and soprano saxophone
Janusz Skowron - Piano
Andrzej Lukasik - Bass

Tiritaka (Polish Jazz Vol.62, 1980)

This is an excellent album by a Polish Jazz quintet, led by veteran drummer Kazimierz Jonkisz (ex-Zbigniew Namyslowski quintet). The quintet's two soloists are: the young brilliant violinist Krzesimir Debski (shortly before he formed his own group String Connection, which would dominate the Polish scene in the first half of the 1980s) and saxophonist Andrzej Olejniczak, who fronted the most important Polish groups in the 1970s like Extra Ball and Sun Ship. They are joined by pianist Janusz Skowron (also future member of String Connection and later for many years with Tomasz Stanko) and a young bassist Andrzej Lukasik. Of the six tracks on the album, five were composed by Debski, who already at that time was a most promising composer in addition to his virtuoso violin performances. Packed with talent and great music, this is a superb example of modern Polish Jazz at its best and one of the strongest albums in the legendary Polish Jazz series. The harmonizing between the violin and soprano saxophone creates an unbelievable sound, which has very few parallels on record. This is a must to all Polish Jazz lovers and anybody interested in European Jazz in general.

1. Tiritaka (Krzesimir Debski) 6:09; 2. We're All Waiting (Krzesimir Debski) 9:14; 3. For Slawosz (Krzesimir Debski) 5:20; 4. Tuohitorvi (Krzesimir Debski) 8:32; 5. Joewer (Krzesimir Debski) 8:02; 6. For Marc (Kazimierz Jonkisz) 3:03

By Adam Baruch

http://adambaruch.com/

Możdżer/Olejniczak/Walicki/Konrad - Birthday Live (2003)

Leszek Możdżer - piano
Andrzej Olejniczak - tenor & soprano sax
Olo Walicki - bass
Cezary Konrad - drums

Birthday Live (2003)

This is kinda Polish "All Stars" event! Set up to celebrate 3rd anniversary of famous Blue Note club in Poznań it featured four invited artists of highest caliber. Leszek Możdżer enjoys in Poland super star status and has become since recording of this album also more recognized abroad because of his contract with ACT. Andrzej Olejniczak was one of main figures behind band called String Connection, arguably the most important group in Polish jazz in 80ties. Unfortunately he afterwards vanished from our scene since he emigrated to Spain. Olo Walicki was, along with Możdżer, one of protagonist in yass revolution in Polish jazz in 90ties. Since then he has made significant contribution to our scene not only in jazz but also in theater and film music. Cezary Konrad is now very much as much in pop when he plays with Anna Maria Jopek and in quality jazz bands of Krzysztof Herdzin or Marek Napiórkowski. These musicians now live and create in totally different musical landscapes and it is really astonishing how Blue Note managed to gather them together! 

What is even more astonishing is that these musicians had only one rehearsal prior to concert! And yet the outcome of such experiment is simply breathtaking.. Music burst with energy, vibrates with passion and explodes with spontaneity! Both composed and improvised material are in perfect balance. Although it is obviously mainstream in character with clear bop affinities yet it sounds all fresh, rejuvenating, vital. One of thess great recordings you don't want to miss if you love Polish jazz...

1. Felux (Walicki); 2. Chloe (Olejniczak); 3. Express 6.10 (Możdżer); 4. Sir Lester (Możdżer); 5. Egoa (Olejniczak)

By Maciej Nowotny

http://kochamjazz.blox.pl/html

String Connection - 2012 (Polskie Radio, 2012) by Maciej Nowotny

String Connection (band)

Krzesimir Dębski - violin, keys, Hammond
Andrzej Olejniczak - soprano and tenor saxophone, bass clarinet

Janusz Skowron - piano, Fender
Krzysztof Ścierański - bass guitar
Krzysztof Przybyłowicz - drums, percussions
Anna Jurksztowicz - vocal (6 i 8)

2012 (Polskie Radio, 2011)

String Connection is a band which existed from 1981 to 1988. In darkest times of martial law imposed by gen. Jaruzelski this music was a beacon of light in Polish jazz. It brought high quality, energetic and optimistic muse to people depressed by dire political situation and unbelievable hardships of living in country whose economy was falling apart. By 1988 however when this collective disbanded their music sounded already outdated and not reflecting changes in then fast changing world. Changes which eventually in 1989 brought freedom to Poland. It is therefore no surprise that reactivated after more than 20 years after it ceased to function this project cannot be taken as anything else than sentimental journey to the past. It brings nothing new and though music is very well played, it lacks in zeal and enthusiasm so characteristic to these musicians back in 80ties. I especially regret that such exceptional artists as violinist Krzesimir Dębski or saxophonist Andrzej Olejniczak stopped contributing creatively to Polish Jazz. This CD although sweet and charming is proof that they were unable to enter in dialogue with new aesthetics which emerged in jazz in last 20 years or so. Saying all that I must admit that rehearsing this album brought me a lot of pleasure! It is brilliantly played, songs are easy to catch and it tastes perfect when accompanying morning coffee. Though very little of jazz is present in these sounds, at least of jazz as it is understood at the beginning of XXI century...

Track listing: 1. Istrian Sideways; 2. Croatia On My Mind; 3. El Juguete; 4. Das Salzperlspiel; 5. Obsession; 6. Saranjeet Kaur; 7. Cien Kilos De Papas; 8. O Czym Marzą Dziewczyny

String Connection 2012 by adamkubalica

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