Loud Jazz Band - Live In Oslo (2020)

Loud Jazz Band

Mirosław Kaczmarczyk - guitar
Paweł Kaczmarczyk - piano
Wojciech Staroniewicz - saxophone
Paweł Pańta - bass
and others

Live In Oslo



LJB 010

By Adam Baruch

As the title suggests, this is a live recording celebrating the 30th anniversary of the multi-national Jazz-Rock Fusion ensemble called Loud Jazz Band, founded and led by Polish guitarist/composer Mirosław Kaczmarczyk. The nonet lineup, which is captured on this album, includes also trombonist Oyvind Braekke, saxophonist Wojciech Staroniewicz, pianist Paweł Kaczmarczyk, bassist Paweł Pańta, drummer Ivan Makedonov, percussionist Kenneth Ekornes and pedal steel guitar player Kjetil Roysland. The concert presents the ensemble performing five original compositions, all by the leader.

The music of the Loud Jazz Band is a highly polished, melodic and mostly lyrical Jazz-Rock Fusion, with a well balanced ratio between the more Jazz oriented brass solos and more Rock oriented guitar and keyboard solos, supported by a superbly slick and well oiled rhythm section. The compositions get expanded treatments, which allow for all the ensemble members to show off their chops. The band is obviously one of the best of its kind in Europe, definitely more ambitious and sophisticated than most. It is a real pleasure to hear this band in action, especially in view of the superb solos performed in the duration, which spice the proceedings enormously.

Although Fusion is usually quite a limited idiom musically, the Loud Jazz Band consistently manage to prove that with talent and right attitude Fusion can be exciting, interesting and intelligent. The combination of the electric Rock elements and the Big Band Jazz sound they create is unique and remains completely relevant, now in their fourth decade of activity. Although the music on this album was released previously on the band's studio albums, these live renditions are definitely worth hearing. Overall this is, as usual, an excellent album and for Fusion and Jazz fans a highly recommended piece of excellent music, which yields nothing but pure delight!

Sasha Strunin – Autoportrety (2019)

Sasha Strunin

Sasha Strunin - vocal
Gary Guthman - flugelhorn
Filip Wojciechowski - piano
Pawel Pańta - bass
Cezary Konrad - drums

Autoportrety




SOLITON 943

By Adam Baruch

There is no doubt that Jazz and Poetry were meant for each other. Both are, after all, the enfants terribles of their respective Art Forms, music and literature. Both embody the impossible balance between intellectual and emotional, both led the Avant-Garde movements in their respective fields and their amalgamation into the Jazz & Poetry idiom was simply inevitable. Therefore it is hardly surprising that Jazz & Poetry played a pivotal role during the 1960s Renaissance of the post WWII Culture in Poland and continues to be a vital ingredient of the local milieu ever since. 

The music and the poetry present on this album are a wonderful example of the vivacity of the contemporary Jazz & Poetry idiom in Poland and in many respects one of the most ambitious attempts of its kind to date. The poetry of Miron Białoszewski, one of Poland´s twentieth Century most important literary figures, is not only expressive and profound but also difficult, complex and often controversial. His unconventional usage of language structures, word games and other idiosyncratic characteristics of his Avant-Garde approach to poetry make his poems extremely awkward to combine with music, requiring an acrobatic ability both from the composer and the vocalist. 

Gary Guthman, an American composer/arranger/trumpeter and a Jazz veteran living in Warsaw, deserves the highest praise for coalescing Białoszewski´s words with his music, presenting a coherent, harmonious musical flow which compliments the poetry wonderfully. What is even more astonishing is that the music is beautifully melodic and swinging, in contrast to the Avant-Garde spirit of the poetry itself. Perhaps it is a reflection of Białoszewski´s passion of music, which is inherently embedded in his poetry, despite its external enmity. 

Sasha Strunin is of course the absolute Diva of this project, singing the thorny, complicated texts with elegance, flair and incredible passion. Her depth of expression and the power of phrasing are truly hair-raising, blood-curdling and spine-chilling. Her total and unconditional dedication to this project is a beacon other Artist should follow. A relative newcomer to the Polish Jazz idiom, Sasha is today surely one of its greatest treasures.

Lora Szafran/Bogdan Hołownia – Wars Szpilman Wasowski. I Tak Się Trudno Rozstać… (2018)

Lora Szafran/Bogdan Hołownia

Lora Szafran - vocals
Bogdan Hołownia - piano
Robert Murakowski - trumpet
Paweł Pańta - bass
Sebastian Frankiewicz - drums

Wars Szpilman Wasowski. I Tak Się Trudno Rozstać…



POLSKIE RADIO 2177

By Adam Baruch

This is a live recording by Polish Jazz vocalist Lora Szafran accompanied by a quartet led by pianist Bogdan Hołownia, which also includes trumpeter Robert Murakowski, bassist Paweł Pańta and drummer Sebastian Frankiewicz. The album presents twelve Polish evergreens (often called Polish standards), composed by three renowned Polish composers: Henryk Wars, Wladyslaw Szpilman and Jerzy Wasowski and featuring lyrics by celebrated Polish poets and lyricists.

The music holds no surprises to the Polish listeners, as these are songs that the older generation is very much familiar with and which have been around for many years being clearly an integral part of the Polish Cultural heritage. Of course, as such, they have all been performed and recorded many times before and as a result this album offers nothing new in this respect.

Szafran and the instrumentalist are all veteran performers and professionals, so this material offers no challenge whatsoever, especially in view of the fact that it was meant as entertainment and a nostalgic revisit of this material, rather than a Jazz event. Of course the performance was first class from start to finish. Overall this is a nice tribute to beautiful Polish songs, which offer wonderful music and intelligent, sensitive lyrics, and as such is sadly a symbol of how the values of popular music changed over time from artistry to trash.

Wojciech Majewski – Nie Było Lata (2017)

Wojciech Majewski

Wojciech Majewski - piano
Henryk Miśkiewicz - alto saxophone
Robert Murakowski - trumpet, flugelhorn
Sławomir Kurkiewicz - double bass
Paweł Pańta - double bass
Michał Miśkiewicz - drums


Krzysztof Szmańda - percussion
and others

Nie Było Lata

MTJ 11769

By Adam Baruch

This is an album by Polish Jazz pianist/composer Wojciech Majewski, dedicated to poetry written by the relatively esoteric Polish poet/playwright Stanisław Grochowiak. This ambitious and complex project involves an ensemble of Polish Jazz instrumentalists, a string quartet, a brass/woodwind section, six vocalists and two persons reciting poems. Some of the well known musicians appearing on this album are: saxophonist Henryk Miśkiewicz, bassists Sławomir Kurkiewicz and Paweł Pańta, drummer Michał Miśkiewicz, percussionist Krzysztof Szmańda and vocalists Janusz Szrom and Stanisław Soyka. The entire list is simply way too long to be listed. The album presents twenty one relatively short pieces, all linked together into a Jazz & Poetry suite.

The music is a collection of Jazz songs which use the poems as lyrics and background/incidental music played under the recitation of the poems or between the songs. Mostly deeply melancholic and often outright gloomy, the music does ideally suit the texts, which of course is the essence of this project. As such it is a brilliant collaboration of music and words, which expresses the spirit of Grochowiak's complex poetry. The songs are superbly performed by the vocalists invited by the composer and are all a continuation of the Polish lyrical Jazz & Poetry tradition.

There is no doubt that Polish Jazz musicians create more Jazz & Poetry projects than any other country on earth, which reflects their sensitivity to Art Forms other than music. Music and words are of course both expressions of the innermost human feelings and the combination of the two is probably the most powerful means of human creativity. The love of the Polish language and Polish literary tradition is a strong characteristic of this and other similar projects.

Although the language barrier seemingly limits the potential audience to Polish Language speaking listeners, the overall wealth and powerful musical content this album offers should be also of interest to people who do not know the language but can enjoy the music and absorb the Artistic atmosphere. Overall this is a wonderful piece of music artistry, clever, intelligent, sensitive and dazzling in its complexity. It will take a while for the listener to comprehend the multi-layered intricacy of this music and its many hidden treasures, but every effort invested in the listening process will pay back with hefty interest. Definitely most wholeheartedly recommended!

Kostov/Pańta/Konrad Trio - Konwersacje (2017)

Kostov/Pańta/Konrad Trio

Konstantin Kostov - piano
Paweł Pańta - double bass
Cezary Konrad - drums

Konwersacje

SRMT 2017




By Krzysztof Komorek

"Konwersacje" to pierwsza wydana w Polsce płyta, dzięki której słuchacze mają możność poznania Konstantina Kostova. Bułgarski pianista, wykładowca monachijskiej Hochschule für Musik und Theater, nagrywał już w Niemczech ze swoimi rodakami. Miał też możliwość współpracy z polskimi muzykami, a na "Konwersacjach" skład klasycznego tria uzupełnia doświadczona, zgrana sekcja rytmiczna Paweł Pańta – Cezary Konrad. Album firmuje swoimi nazwiskami cała trójka i rzeczywiście łatwo stwierdzić można, że choć oryginalne kompozycje niemal bez wyjątku są autorstwa pianisty (poza perkusyjnym monologiem), to płyta jest rozmową trzech równoprawnych muzyków, a nie dyskusją zdominowaną głosem fortepianu.

Przyznam, że na samym początku, jeszcze przed rozpoczęciem odsłuchu, koncepcja wydawnictwa trochę drażniła. Lista utworów sugerowała nieco bezładny miszmasz: Chopin, Gershwin, Albinioni, Monk, solowe interludia i zespołowe improwizacje. Tylko godzina grania i aż piętnaście utworów, z czego jedna trzecia, sądząc z czasów trwania, ma charakter muzycznych przerywników. Jednak z tego niezbyt zachęcającego początku objawił się nadspodziewanie ciekawy i dobry album.

Najmocniejszymi punktami płyty są cztery tytułowe "Conversations" charakterem odchodzące nieco od pozostałych, bardziej melodyjnych nagrań. Najbliższa ich klimatom jest interpretacja monkowskiego "Evidence". Dwa wykonane solo przez Kostova "Piano Monologs", choć są tutaj wyraźnie wyodrębnione – nie tylko tytułem – potraktować można jako wstępy do pojawiających się po nich "Consolation" i wspomnianego już utworu Monka. Jako miłośnik rozbudowanych form nieco żałuję, że nie są po prostu długimi, solowymi intrami do tych nagrań, płynnie przechodzącymi w zespołowe interpretacje właściwych tematów. 

Nieco kontrowersyjnie, acz bardzo oryginalnie, wypada "I Got Rhythm" Gerswina. Za to znakomitym zakończeniem jest "Recado Bossa Nova" brazylijskiego klasyka, pianisty i kompozytora Djalmy Ferreiry. Dobre wykonania bronią koncepcji płyty, choć według mnie mogłaby być ona jeszcze lepsza, gdyby chociażby zrezygnować z interpretacji klasycznych i aż za dobrze znanych kompozycji Albinioniego i Chopina, a w zamian za to rozbudować "konwersacyjną" zawartość płyty.

Cezariusz Gadzina – Mosty (2017)

Cezariusz Gadzina

Cezariusz Gadzina - alto & soprano saxophones
Robert Majewski - trumpet, flugelhorn
Maciej Sikała - tenor saxophone
Grzegorz Nagórski - trombone, euphonium
Cezary Paciorek - accordion
Paweł Pańta - double bass


Piotr Iwicki - percussion
Cezary Konrad - drums

Mosty

UNIVERSAL MUSIC POLSKA 602557812039

By Adam Baruch

This is an album by Polish (resident in Belgium) saxophonist/composer Cezariusz Gadzina, recorded with a host of top Polish Jazz musicians, which includes trumpeter Robert Majewski, saxophonist Maciej Sikała, trombonist Grzegorz Nagórski, accordionist Cezary Paciorek, bassist Paweł Pańta, percussionist Piotr Iwicki and drummer Cezary Konrad – a dream team by all respects. The album presents eight original compositions, all by Gadzina, all entitled "Bridge" in eight different languages ("Mosty" means bridges in Polish), symbolizing the connections between a plethora of genres and sub-genres present within the contemporary Jazz idiom.

Gadzina is primarily familiar for his work in the Jazz-Classical Fusion field and his previous recordings, including the excellent "The Fifth Element", testify to his affinity to this particular field. However, this recording seems to leave Classical Music out of the formula, concentrating on the Jazz side of Gadzina's personality.

Stylistically the music sits well within the boundaries of modern mainstream Jazz language, offering excellent compositions and interesting arrangements, none of which are trivial or banal. The music is full of unexpected twists and turns, tempo changes and multiple themes, all within one composition, which of course makes listening to this music a real fun for true Jazz fans. The compositions are diverse enough to keep the listener interested and balance well between the beautifully melodic ballads and the up-tempo numbers.

The individual performances are all top notch, as expected from these highly experienced musicians. Personally I love the prominent presence of the accordion, a much neglected instrument in Jazz, and the percussion ornamentations, which add another layer of rhythmic contents. But of course the trumpet solo parts, excellent saxophone work, pulsating bass lines and everything else are just right. The overall octet sound is not to busy and allows all instruments to be perfectly audible.

Overall this is a great mainstream album, much more ambitious and advanced musically than the standard albums recorded in this genre. It is not about discovering any new territory, but offers novel approach to arrangement and very solid composition and performance standards. As such it deserves to be listened to and surely enjoyed as well.

Wojciech Gogolewski Trio – Medytacje Wiejskiego Listonosza Jazzowego (2015)

Wojciech Gogolewski Trio

Wojciech Gogolewski - piano
Paweł Pańta - bass
Adam Lewandowski - drums, cajon

Medytacje Wiejskiego Listonosza Jazzowego

SRMT 2015


By Adam Baruch

This is an album by Polish Jazz piano trio led by veteran pianist/composer Wojciech Gogolewski, with bassist Paweł Pańta and drummer Adam Lewandowski. As the album's title suggests, at least to those familiar with the Polish music scene, this album is dedicated to the music by the legendary Polish Rock group Skaldowie and pays tribute to their extraordinary talents. The album presents ten songs Skaldowie created during their heyday, all composed by Andrzej Zieliński (one of the two Zieliński brothers who led the group) and arranged for Jazz trio by Gogolewski.

It is of course completely impossible for someone like me, who grew up listening to the music of Skaldowie, to be in any way objective while listening to this album, and indeed I don't intend to be objective at all. This is a marvelous piece of music in every respect, even without the tsunami of nostalgia, which floods my brain while listening to it, since it perfectly holds water just by being what it really is, i.e. an excellent piano trio album playing some superbly crafted music, beautifully recorded and perfectly executed.

Of course the music of Zieliński presents some of the most incredibly weaved melodies on this planet, full of "impossible" chord changes and weird harmonies, tempi shifts and other musicological mumble-jumble, which most people have absolutely no idea about, but which simply work wonders and create some of the most beautiful songs ever written, which made our childhood and then adolescence so incredibly beautiful. Comparing Skaldowie to the Beatles would have been mostly unfair to the Polish group, as they were light-years ahead musically. The fact that their music transfers so gracefully into the Jazz idiom is a great proof of its quality, whereas most Jazz arrangements of Beatles songs never really rise above pastiche.

I am pretty sure this album should be universally appealing to every Jazz connoisseur around, even those who can't find Poland on the map. This music is simply universal and its elegance and typical European sophistication is irresistible. I can only wholeheartedly thank the people involved in creating this masterpiece for the immense pleasure it has bestowed upon me. Perhaps some listeners, happy with what they find here, will reach out for the original Skaldowie albums, where this music originates from, to take another step on the path of exploration. Bless you all!

Maciej Miecznikowski & Krzysia Górniak – Tribute To Nat King Cole (2015)

Maciej Miecznikowski & Krzysia Górniak

Maciej Miecznikowski - vocals, guitar
Krzysia Górniak - guitar
Paweł Pańta - bass
Adam Lewandowski - drums
Atom String Quartet

Tribute To Nat King Cole


DUX 1237

By Adam Baruch

This is an album by Polish vocalist/guitarist Maciej Miecznikowski and female guitarist Krzysia Górniak, who present their interpretations of eleven songs associated with the legacy of American singer/pianist Nat King Cole. The pair is accompanied by veteran Polish Jazz rhythm section: bassist Paweł Pańta and drummer Adam Lewandowski and the excellent Polish Atom String Quartet (violinists Dawid Lubowicz and Mateusz Smoczyński, violist Michał Zaborski and cellist Krzysztof Lenczowski).

Miecznikowski sings the songs in a very straightforward manner, very closely to the original performances. His English pronunciation and accent are bearable, but not ideal of course, part of the usual insurmountable problems that Polish vocalists face while singing English lyrics. He uses his smooth baritone voice with skill and intelligence and all in all his vocal performances are fine, but not exceptional and surely not extraordinary.

The string arrangements are also pretty mundane, kept well in the background and adding very little to the overall effect. Of course Atom String Quartet is a superb ensemble, but here their role is severely limited, not to say a stronger word. The rhythm section does its job amicably, but again there us very little it can actually contribute within this concept.

The only ray of sunshine on this album is the incredible guitar work by Górniak, who really shines from start to finish. She plays a real Jazz guitar, something almost completely absent on today's scene with all the guitarists playing Fusion or God only knows what, but surely not Jazz guitar. In short there is almost no reason to listen to this album other than to listen to some great guitar parts, since what is the sense in listening to pale versions of songs when one can hear the originals? A decent album, that's what it is.

Pańta/Dys/Szmańda – Play Bach/Beethoven/Chopin/Małecki (2015)

Pańta/Dys/Szmańda

Krzysztof Dys - piano
Paweł Pańta - double bass
Krzysztof Szmańda - drums

Play Bach / Beethoven / Chopin / Małecki

PRIVATE EDITION



By Adam Baruch

This is a tribute album dedicated to the memory of the Polish Jazz pianist/composer Marcin Małecki, who died in 2008 after losing the battle with cancer. The material on this album was intended to be recorded by Malecki on his second album, but sadly that recording never materialized. This album recreates the ideas from the remaining scores and the piano parts are played by Krzysztof Dys, together with the original members of Małecki's trio, bassist Paweł Pańta and drummer Krzysztof Szmańda. As the title suggests, the album includes two original compositions by Malecki and five arrangements of classical pieces. The music was fabulously recorded at the Studio Tokarnia with Jan Smoczyński at the helm, as always.

The music is everything one might expect from a Jazz-Classical Fusion album, with clever arrangements of well known Classical pieces beautifully performed by first class musicians, who are amongst the best on the Polish Jazz scene. Kept well within the mainstream Jazz conventions, the music manages to keep the listener on his toes mainly due to the virtuosic performances by all three members of the trio. Dys reveals his Classical roots and his wonderful ability to swing, Pańta plays complex yet natural bass lines and Szmańda vigorously keeps things swinging, with a great drums solo displaying his abilities.

This is as good a classic Jazz piano trio album as they come and every fan of piano trio should enjoy this to the max, especially those people who like Jazzy interpretations of Classical music. It is also a beautiful example of friendship and honoring a friend's memory, which is commendable, especially in a world where every man for himself seems to be the leading motto. Well done Gentlemen!

Włodek Pawlik – Struny Na Ziemi (2011)

Włodek Pawlik

Lora Szafran - vocals
Marek Bałata - vocals
Robert Więckiewicz - recitation
Włodek Pawlik - piano
Paweł Pańta -  bass
Cezary Konrad - drums
Mikołaj Wielecki - percussion

Struny Na Ziemi


POLSKIE RADIO 1395

By Adam Baruch

This is a beautiful album by Polish pianist/composer Włodek Pawlik, which presents a Jazz & Poetry project dedicated to the poetry of Jarosław Iwaszkiewicz, one of the most renowned 20th Century Polish literary figures, although quite controversial on the convoluted Polish political landscape. Pawlik created sixteen musical settings to poems by Iwaszkiewicz, which are executed by a fabulous cast which includes vocalists Lora Szafran and Marek Bałata, actor Robert Więckiewicz, bassist Paweł Pańta, drummer Cezary Konrad and percussionist Mikołaj Wielecki.

The Jazz & Poetry idiom has always been one of great fortes of Polish Jazz and the beautiful Polish poetry seems always to magically inspire musicians and makes them to come up with their best work. This album is another example of this phenomenon and it is absolutely wonderful from start to finish. Pawlik seems to be completely comfortable with the short "song" oriented environment and weaves a series of beautifully melodic, expressive and impressive pieces, which are certainly among his strongest manifestations as a composer.

The vocals and recitation are also superbly executed, with Szafran demonstrating again that she has but a few equals. A pity she does not record more, as her singing is always a source of heavenly pleasure. The instrumental quartet performs spotlessly, with Pawlik sensitive and lyrical phrases amicably and masterfully accompanied by the excellent rhythm section.

Overall this is a classic example of the Jazz & Poetry idiom, which glorifies the Polish Culture in the best possible way. The combination of words and music is probably the most powerful tool to bring the best out of the Artists and the listeners. Of course the lyrics in Polish seemingly limit the audience to the Polish speakers, but honestly this album can move the hearts of listeners who do not understand a word of Polish by the sheer magic of its intelligence and intellectual content. Strangely this album made very little impact on the Polish scene at the time of its release. Some people probably can't bury political hatchets even when it comes to Culture.

Włodek Pawlik Trio - America (2015)

Włodek Pawlik Trio

Włodek Pawlik - piano
Paweł Pańta - bass
Cezary Konrad - drums

America

Pawlik Relations 2015




By Jakub Pożarowszczyk

Włodek Pawlik powrócił w 2015 roku z nowym wydawnictwem po olbrzymim sukcesie, jakim okazała się nagrodzona Grammy "Night In Calisia". "America" jest podsumowaniem pewnego etapu kariery muzyka, a zarazem oddaniem hołdu Stanom Zjednoczonym i kulturalnemu, a szczególnie jazzowemu tyglowi, dzięki któremu, jak sam muzyk nas przekonuje, jest tym, kim jest, i dzięki temu może zachwycać nas kolejnymi nagraniami sygnowanymi swoim nazwiskiem.

Od momentu premiery "Night In Calisia" fani mieli już okazję posłuchać koncertowego "Wieczorem", na którym pianista zaprezentował – wraz z polskimi wokalistami takimi jak Dorota Miśkiewicz, Natalia Wilk czy Kuba Badach – jazzowe kompozycje do liryków lubelskiego poety Józefa Czechowicza, a ponadto w 2014 roku poobcować z "Night In Calisia Live". Faktem jednak jest, że ostatnie lata u Pawlika były skupione przede wszystkim wokół promocji "Night In Calisia". 

"America" stanowi swoiste resume dotychczasowego dorobku Pawlika. Sam to zresztą przyznaje w książeczce dołączonej do wydawnictwa. Jako że album jest właśnie skonstruowany w takiej formie, to mamy na nim kompozycje z różnych dziedzin aktywności artysty. Od jego premierowych kompozycji, po te nieopublikowane, schowane przez lata w szufladzie. Ponadto na płycie uświadczymy urywki z twórczości w dziedzinie muzyki filmowej, której Pawlik trochę nagrał w karierze i, last but no least, mamy dwie kompozycje polskich gigantów fortepianu, jak Fryderyk Chopin i Ignacy Paderewski, które zostały przełożone na jazzową modłę.

Wita nas faktycznie amerykańska w treści kompozycja "America". Czuć w niej klimat, ten zdecydowanie pozytywny, Stanów Zjednoczonych jako ziemi obiecanej, american dream i kraju wolności i swobód. Trzeba podkreślić, że Włodek Pawlik tę muzykę napisał w 1988 roku, więc zapewne ówczesne doznania artysty związane z Ameryką, należy teraz, w przełożeniu na obecne czasy, liczyć u niego podwójnie. Ta kompozycja aż kipi radością, nadzieją, jest bardzo dynamiczna w swojej strukturze. Szczególnie taką jest "Speed Limit", kolejna z dawnych kompozycji Pawlika, również tętniąca zgiełkiem amerykańskich ulic i codziennego życia. W podobnym klimacie skomponowany został ponadto "Blue Munk", jedyny zupełnie nowy utwór stworzony i nagrany na potrzeby albumu.

Z pozostałych propozycji na uwagę zasługuje "The Office" – utwór pochodzący ze ścieżki filmowej do kapitalnego filmu "Rewers" w reżyserii Borysa Lankosza. Pawlik zagrał tutaj subtelny, fortepianowy temat, urzekający swoimi dźwiękami, lecz będący tym samym dziwnie niepokojący. Jeszcze więcej mroku ma w sobie "Crows" pochodzący oryginalnie z trochę już zapomnianego dramatu "Wrony" w reżyserii Doroty Kędzierzawskiej. "Chopinowski Mazurek op. 68" ma z kolei lekko smooth jazzowy posmak, Pawlik z zespołem nie boi się improwizować, podobnie jak w "Nokturnie" Paderewskiego. W tych dwóch kompozycjach doskonale wyczuwalna jest wirtuozeria pianisty i muzyków jemu towarzyszących - kontrabasisty Pawła Pańty i perkusisty Cezarego Konrada.

"America" wydaje się lżejsza w formie od poprzednich płyt Pawlika, jednak to chyba charakter tego wydawnictwa wymuszał taki zabieg. W końcowym rozrachunku zupełnie to nie przeszkadza, bowiem wydaje się, że zestaw zadowoli największych maniaków jazzu, fanów samego artysty i osób, takich jak ja, które z jazzem obcują od czasu do czasu.

Łukasz Pawlik – Lonely Journey (2016)

Łukasz Pawlik

Łukasz Pawlik - piano, synthesizers
Dawid Główczewski - alto & soprano saxophones
Michael "Patches" Stewart - trumpet
Mike Stern - guitar
Paweł Pańta - bass guitar
Cezary Konrad - drums


Lonely Journey

PAWLIK RELATIONS 011

By Adam Baruch

This is the debut album as a leader by Polish keyboardist/composer Łukasz Pawlik, recorded with saxophonist Dawid Główczewski, bassist Paweł Pańta and drummer Cezary Konrad. The polish team is joined by American guitarist Mike Stern on one track and trumpeter Michael "Patches" Stewart on three tracks. The album presents eight original compositions, all by Pawlik.

The music is a slick, melodic Jazz-Funk/Groove/Smooth Jazz, similar to countless other albums of this sort. It is very well performed by all participants, who are true pros, and makes your feet tap, but once it's over there is nothing left. The compositions are all pretty good, but again, hardly remarkable or memorable.

Why on earth would a talented Polish young musician play music, which others (yes Americans) have been playing ad nauseam since the 1970s, not moving an inch forward in the last almost 50 years. Admittedly the Polish team is in every respect as good as their American counterparts, so what? Although this kind of music has its followers, which of course is fine, this is only very marginally, if at all, Jazz and should not be labeled as such.

Overall this is a good Funk/Groove album, very well played, which lovers of the genre should enjoy in full, but definitely not something a Jazz connoisseur would listen to. And yes, Stern's solo is as good as one might expect.

Randy Brecker / Wlodek Pawlik – Night In Calisia (2012)

Randy Brecker - trumpet
Wlodek Pawlik - piano / composer
Pawel Panta - bass
Cezary Konrad - drums

Kalish Philhamonic Orchestra
Adam Klocek - conductor

LICOMP 014


By Adam Baruch

This is the second album on which the legendary American trumpeter Randy Brecker cooperates with Polish Jazz pianist / composer Wlodek Pawlik, performing a Jazz suite composed by Pawlik. Their previous cooperation resulted in the album "Tykocin Jazz Suite", which was very warmly received by critics and audiences alike. This time they perform the "Night In Calisia" suite, which was commissioned by the Polish City of Kalisz to commemorate its 1850 Anniversary. The music is performed by Brecker, a piano trio led by Pawlik with bassist Pawel Panta and drummer Cezary Konrad and the Kalisz Philharmonic Orchestra conducted by Adam Klocek. The suite is sub-divided into six sections, which together provide a continuous flow of integrated music.

The suite is based on several melodic themes, which reappear throughout the sections, with some passages performed by the orchestra and others featuring the piano trio and the trumpeter. There are several extended solos, all executed perfectly as expected from such high-class musicians. The instrumentation and arrangements balance beautifully between the Jazz undercurrent and the orchestral parts, with naturally tend to sound more Classical in nature. The music is wonderfully lyrical and melodic, tranquil and serene most of the time, simply stroking the listener's attention note by note. Brecker plays simply outstanding, with exceptional clarity and stability, which is extremely difficult. Pawlik fills the space with the melodic motifs, always attentive and gentle. The bassist displays sheer virtuosic qualities and a warm sound of rare beauty and the veteran drummer keeps time, when keeping time is needed and gently strokes the set during the more atmospheric passages. This is pure bliss.

I suppose some listeners and Jazz connoisseurs might find this music to be slightly "sugary" at times. Well, perhaps so, but it certainly does not bother me at all. This is supposed to be a melodic, Jazz oriented amalgam of cross-genre explorations, well framed within the Classical tradition as well as the Jazz heritage. Pawlik is obviously a Master of his trade, which anybody listening to this recording must admit fair and square. There is a plentitude of wonderful Jazz / Classical interplays, which are intelligent, interesting and entertaining. The artistry involved both in the composition as well as the execution of this music is definitely praiseworthy.

This album is highly recommended to listeners, who love the proximity of Jazz and contemporary Classical music, and who will find this work delicious at all times. Pawlik confirms his position as a major force on the Polish Jazz scene and listening to Brecker's trumpet is always a pleasure. Well done!

Filip Wojciechowski Trio - Classic Jazz (2003)

Filip Wojciechowski - piano

Paweł Pańta - bass
Cezary Konrad - drums

Classic Jazz (2003)

The Filip Wojciechowski Trio with the leader and Cezary Konrad-drums and Paweł Pańta – bass and double bas, has been honored with many awards not only in its native Poland where it received 1st prize at the Jazz Competition in Kraków but also at the 9th Jazz Competition in Leverkusen and the European Jazz Contest in Hoeilart-Belgium. The Trio has appeared at renowned music festivals including the Sommets Musicaux de Gstaad in Switzerland , 10th European International Festival in Athens, 14th Music Festival Oldenburger Promenade and the 60th International Chopin Festival in Duszniki Zdrój. Filip Wojciechowski Trio has been distinguished for its performances of the classical repertoire in a jazz style, this has resulted in his records such as „Classic Jazz „for German company with his own adaptations of classical works and “Romantic Meets Jazz” for polish company Dux with Robert Majewski as guest trumpeter. In the year 2010 Polish Radio released new recording of Filip Wojciechowski Trio “Chopin” in honor of the 200th anniversary of the composer birth.

Track listing:
Ludwig van Beethoven - Rondo, Allegro 3. Satz aus dem Klavierkonzert nr 3 c-moll op.37
Johann Sebastian Bach - Courante a.d. Partita G-dur BWV 829 ; Choral "Jesus bleibet meine Freude" a.d. Kantate "Herz und Mund und Tat und Leben" BWV 147
Johann Sebastian Bach - Inventio 13 a-moll BWV 784
Wolfgang Amadeus Mozart - La ci darem la mano
Frederic Chopin - Etude f-moll op.25 nr 2
Frederic Chopin - Etude es-moll op.10 nr 6
Frederic Chopin - Etude F-dur op.10 nr 8
Frederic Chopin - Grande valse brillante Es-dur op.18 nr 1
Frederic Chopin - Mazurka D-dur op.33
Robert Schumann - "Traumerei" aus Kinderszenen op.15
Franz Liszt - Liebestraum nr 3 As-dur op.62
Johannes Brahms - Ungarischer Tanz nr 5 g-moll
Filip Wojciechowski - Meeting

Source: http://www.mmusic.eu

Andrzej Kurylewicz – Trio (Polskie Radio, 2007)

Andrzej Kurylewicz - piano

Paweł Pańta - double bass
Cezary Konrad - percussion

Trio (Polskie Radio, 2007)

(Editor) Recorded on 2001.

The legendary Polish Jazz pianist / composer Andrzej Kurylewicz is one of the godfathers of the great Polish Jazz movement, starting from the 1950s. Sadly his role is often almost forgotten and certainly much less appreciated that that of his counterpart pianist / composer Krzysztof Komeda, who managed to achieve some international exposure and prominence. Kurylewicz is a formidable force and his skills as pianist / composer / arranger / conductor are truly admirable. He also composed music for cinema, theatre and TV as well and contemporary classical music. 

Unfortunately his recorded legacy of Jazz performances is rather limited and therefore the outmost importance of this superb album, which documents his return to Jazz piano after several years of absence, with his brilliant trio with bassist Pawel Panta and drummer Cezary Konrad. These absolutely stunning recordings present the trio playing a set of original compositions and standards, played with finesse and taste completely unmatched. Of course the age and experience of the veteran musician have a lot to do with this (he was almost 70 by the time of this recording) but the talent and above all his incredible feel for Jazz, melody and improvisation, which are simply beyond what most other musicians have to offer. In his own compositions Kurylewicz is deeply rooted in the Polish musical tradition, which incorporates folklore and Classical music. His interpretation is typically European; elegant, sophisticated, clever and moving and this music simply uplifts the listener to another plane. The album also includes several video clips taken during the recording sessions of this album, which are also a great pleasure to watch. In short this is a great example of Polish (and European) Jazz at its finest moments, which should be treasured by Jazz connoisseurs around the world. A must!

Track listing:

CD 1
1. Polskie drogi / The Polish Pathways
2. My Bonnie...
3. Juz kocham Cie tyle lat / I've been loving you for so many years
4. W cieniu Szymanowskiego / In the Shadow of Szymanowski
5. Czulosc / Tenderness
6. All The Things You Are - in up tempo
7. Sophisticated Lady
8. Przybyli ulani / The Cavalry Have Knocked on the Window
9. The Autumn Leaves

CD 2
1. Laura i Filon / Laura and Filon
2. Body and Soul
3. Bye, Bye Blackbird
4. The Man I Love
5. La Valse Minime
pliki filmowe video / video files:
6. Polskie drogi / The Polish Pathways
7. W cieniu Szymanowskiego / In the Shadow of Szymanowski
8. Rozmowa w studiu podczas nagran / A conversation during the studio recording




By Adam Baruch

http://adambaruch.com/

Gary Guthman - Solar Eclipse (LEMCD, 2011)

Gary Guthman - trumpet, flugelhorn

Filip Wojciechowski - piano

Paweł Pańta - electric/acoustic bass

Cezary Konrad - drums

Solar Eclipse (LEMCD, 2011)

Gary Guthman, who recently has become resident in Poland, invited to his quartet Filip Wojciechowski on piano, Paweł Pańta on bass, Cezary Konrad on drums and together they recorded album titled "Solar Eclipse". The music on this release is faithful to the idea of jazz as understood by Wynton Marsalis that is American classical music where the value of the music depends on how close it manages to stay to its New Orlean roots. If you share this point of view this album may prove to be satisfactory for you:

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

Filip Wojciechowski - Moments (Licomp, 2011)

Filip Wojciechowski - piano 

Gary Guthman - trumpet, flugerhorn

Marcin Kajper - tenor sax, sopran sax
Paweł Pańta - doublebass, electric bass
Cezary Konrad - drums
Oskar Wojciechowski - acoustic guitar

Polish Philharmonic Sinfonia Baltica in Słupsk
Bohdan Jarmołowicz - conductor 

Moments (Licomp, 2011)

One of my friends Adam Domagała (check his interesting blog Z dżezem lżej) has recently told me that as far as smooth jazz is concerned, its quality rests mainly in how attractive are melodies. If to appraise this disc by such a measure it is rather unconvincing. This feeling of disappointment is increased by simplified, predictable and so-many-times-played arrangements. One must feel astonished indeed why so well educated and gifted musicians decided to play so schematic notes?! No freedom, no spontaineity, no innovation. Sure it is technically decent but jazz is not classical music! In fact the idea of jazz goes quite opposite!!! Jazz is all about searching for what is unexpected, surprise, spontaneous. Few such moments if any may be found in this music.  If however, like Wynton Marsalis or his likes, you treat jazz as new classical music in which success should be measured by fidelity of copy of music of masters (Davis, Coltrane, Evans etc.) of the past, well, then it is possible that you will have quite opposite opinion to mine!!! You will be enthusiastic about musicians' technical proficiency, their discipline in playing notes distinctively and so so smooth. You may even come to conclusion that this music is beautiful as many find women after many cosmetic surgeries correcting face, breasts, legs etc. very attractive. But I cannot... sorry...

Check sample of music from this album to draw your own conclusions:

Author: Maciej Nowotny

http://kochamjazz.blox.pl/html

Warszawa Kyiv Express - Huculski Blues (ViVi Sound, 2011)

Warszawa Kyiv Express

Cat Donskoj - trumpet, trombone
Mariusz Kozłowski - tenor, baritone, alt saxes
Piotr Karol Sawicki - piano
Paweł Pańta - doublebass, electric bass guitar
Witek Wilk - percussion
Adam Lewandowski - drums, percussion
Rastamaniek - guest

ViVi Sound, 2011

Adam Baruch (check his music boutique www.jazzis.com) about recent Polish-Ukrainian etnojazz joint venture:

This is the debut album by the Polish / Ukrainian Jazz-World Fusion ensemble Warszawa Kyiv Express, comprising of five Polish and one Ukrainian musicians, playing what they describe as a tribute to the musical traditions of Eastern Europe, which is a mixture of Polish, Ukrainian, Jewish, Gypsy and other influences. The ensemble is co-led by Polish pianist Piotr Karol Sawicki and Ukrainian trumpeter Konstantyn Donskoj, who are also credited for writing all the music on this album except for one track, which is a folk song with a Jazz arrangement. Although it´s obvious that these musicians can play, the entire concept just doesn´t work well for me. The connection between the folkloristic motifs and the Jazz arrangements sound completely artificial and simply dishonest. It seems this album was made to measure rather than a result of a spontaneous intellectual effort. My Polish friends tell me that this album was received enthusiastically by local Jazz critics and the public… well what can I say, except perhaps that the reasons for liking it rest outside the musical sphere (political perhaps, with some Poles still mourning the loss of the Eastern territories?) In view of the splendid Polish Jazz heritage as far as Ethno-Jazz is concerned, which goes back many years into the past, this album is dangerously close to being a fad, following the trends rather than an artistic truth. However, I can understand the fact that some people like this music, as it is after all well and skillfully played, and touches on many nostalgic notes, with very many pretty notes… Go figure…

More about this band and their musc: http://wkexpress.bandcamp.com/releases

Author of text: Adam Baruch 

http://www.adambaruch.com/

Włodek Pawlik - We Are From Here (The Kielce Philharmonic Orchestra, 2010)

Włodek Pawlik is good example of how third-stream jazz is popular in Poland. There are countless recordings exploring this so many times plowed field with particular emphasis on Chopin compositions, regarded as hero of national culture and all that blah blah. I often wonder where this fascination with classical music comes from: my supposition is that it is related to the fact that most of jazz musicians in Poland undergo classical education. Good side of that is that technical level of Polish instrumentalists is really high, the weak side is that they are kind of limited in their imagination, they lack bravery, open-mindedness, spirit-of-rebel to cast behind themselves all that they so industriously learned during classical education.

This record of Włodek Pawlik is an example of such attitude: no one can deny his virtuosity in playing the piano and his compositional talent as displayed on this album. If he stucked to jazz as he more or less did on first track titled "Puls 11/8 na fortepian, flet, orkiestrę smyczkową i sekcję rytmiczną", it would be magnificent CD. This is great composition, very well played where both jazz and symphonic elements are perfectly balanced. 

But after this gem tune lasting 13:59 comes kind of suite titled "We Are Fro Here" lasting more than half an hour which is simply yet another typical post-romantic peace of music that unfortunately sounds so all-too-well-known, so easy-to-predict-what-will-be-next that I only with great difficulty forced myself to listen to this record more than once for sake of this review. Part of the problem lies as well in rather suppressed and lacking-breath sound of The Kielce Philharmonic Orchestra. Or is it poor level of recording? Or both?

Check this film to feel general mood of the music although material comes from different recording "Tykocin Suite" featuring trumpeter Randy Brecker who added a lot to this music:

Author of text: Maciej Nowotny (http://kochamjazz.blox.pl/html)