Piotr Lemańczyk Electric Band - Boost Time (2021)

Piotr Lemańczyk Electric Band

Piotr Lemańczyk - 6 String Bass Guitar

Krzysztof Herdzin - Moog Synthesizers 
Marcin Wądołowski - Guitar 
Tomasz Łosowski - Drums 
Szymon Łukowski - Tenor & Soprano Sax 
Cezary Paciorek - Fender Rhodes 
Dominik Bukowski - Vibraphone
Mikołaj Stańko - Drums
Ariel Suchowiecki - Fender Rhodes

Boost Time (2021)

Wydawca: Daymusic.pl

Tekst: Maciej Nowotny

Piotra Lemańczyka odnajdziemy grającego doprawdy w niezliczonych składach, a przyczyna jest taka, że jest po prostu świetnym muzykiem. Precyzyjniej - kontrabasistą. Mogę nawet powiedzieć, że rozpoznaję jego sound na kontrabasie, albo tak sobie wyobrażam: głęboki, zdyscyplinowany, elegancki. To, co szczególnie w nim cenię, to fakt że chociaż jego bas zawsze wyraźnie słychać jako odrębny instrument, to bardzo często jest on tak perfekcyjnie wkomponowany w rytm, że stanowi z nim jedność. Moim osobistym zdaniem tak właśnie brzmieć jest najtrudniejsze, bo człowiek nie powinien słyszeć walczacych ze sobą o uwagę różnych instrumentów, ale zespół jako całość, kreujący dźwięk, a właściwie przestrzeń, bo przecież muzyka jej właśnie potrzebuje, aby fale rozchodziły się wokoło.<

Napisałem te parę słów powyżej, żeby podziękować muzykowi, którego warsztat cenię i cieszy mnie on na niemal każdej wydawanej z jego udziałem płycie. Z drugiej strony Piotr Lemańczyk przez ostatnią dekadę tak silnie kojarzył mi się z kontrabasem, że przyzwyczaiłem się już czego się po nim spodziewać. Niby nic złego, ale jednak wiecie, że jazz to muzyka, która potrafi nas zaskakiwać, zatem może w sposób nieuświadomiony, ale oczekiwałem czegoś więcej po tym muzyku. I... doczekałem się. Bowiem Piotr "przesiadł" się na potrzeby tego nagrania z kontrabasu na 6-cio strunową elektryczną gitarę basową. 

Wybór gitary basowej 6-cio strunowej (zamiast powszechnie używanej 4-strunowej wersji) sugeruje, że lider traktuje elektryczną basówkę jako główny instrument, który będzie prowadził tak rytmiczną jak  melodyczną linię zespołu definiując jego brzmienie. Pod pewnymi względami 6-ciostrunowa gitara basowa może być traktowana jak normalna gitara, dając używającemu ją muzykowi pełnię środków wyrazu i pozwalając oprzeć cały koncept płyty właśnie o ten instrument. I tak dokładnie jest na tym krążku, co nie jest znowu tak często spotykane, a tym bardziej nie jest zbyt często uwieńczane sukcesem. Tu się to udało: mamy płytę nagraną przez gitarzystę basowego, w dobrym tego słowa znaczeniu wirtuozerską, bardzo zróżnicowaną, opartą nie tylko o groove, ale przede wszystkim o język współczesnego jazzu, pełen współgrania między instrumentami, eksperymentów rytmicznych i improwizacji. 

Cóż pozostaje recenzentowi jak po prostu bić brawo i wyrazić uznanie dla odważnej decyzji Lemańczyka, który tą płytą zmienia swój wizerunek. Płyta brzmi świetnie, co jest zasługą tyleż samego lidera co gwiazdorskiego zespołu, który zebrał. Takie nazwiska jak Krzysztof Herdzin, Marcin Wądołowski, Dominik Bukowski, Tomasz Łosowski, Szymon Łukowski, Cezary Paciorek i inni pokazują, że mamy tu do czynienia trochę z nagraniem all-stars co jeszcze dodaje smaczku odsłuchowi tego materiału. Podsumowując, płyta bardzo udana i godna zarekomendowania. Mam nadzieję, że to nie jest ostatnie słowo Lemańczyka na tej ścieżce, a dopiero początek nowej, pięknej przygody. 

Szymon Sutor - Jazz Septet & String Orchestra (2019)

Szymon Sutor

Szymon Sutor - conductor
Adam Pierończyk - tenor & soprano saxophones
Maciej Grzywacz - guitar
Cezary Paciorek - accordion
Gaba Janusz - voice
Dominik Kisiel - piano
Michał Bąk - double bass
Patryk Dobosz - drums
with string orchestra

Jazz Septet & String Orchestra

SUTOR MUSIC 2019

By Krzysztof Komorek

Kompozytor, aranżer, dyrygent, pianista. Tak sam opisuje siebie Szymon Sutor. "Jazz Septet & String Orchestra" jest pierwszym albumem, który firmuje swoim nazwiskiem. Jednak trudno mówić, że jest debiutantem absolutnym. Liczne kompozycje do spektakli teatralnych i filmów, nagrody – między innymi dwukrotnie podczas Międzynarodowego Konkursu Kompozytorskiego im. Krzysztofa Komedy – zaangażowanie w wiele, zróżnicowanych projektów muzycznych, współpraca ze znakomitościami świata jazzu, klasyki i muzyki rozrywkowej, świadczą o pokaźnym doświadczeniu, jakie już udało mu się zdobyć. 

Słuchacza może zaskoczyć skala przedsięwzięcia wybrana na debiutancki album. Jednak poznawszy biografię artysty,  można było takiej właśnie decyzji się domyślić. Duże formy stanowią ewidentnie pasję Sutora. Wspomniane już prace dla teatru, cztero-częściowa msza "Missa de Beata Maria Virgine", współautorstwo wykonanej premierowo podczas szczytu klimatycznego ONZ 2018 w Katowicach kompozycji "The Lost Seasons" inspirowanej "Czterema porami roku" Vivaldiego, wreszcie prowadzenie własnej orkiestry rozrywkowej, stanowią najważniejsze składniki jego artystycznego curriculum vitae. 

Właśnie połączeniem jazzu, klasyki i muzyki rozrywkowej cechuje się debiutancki album Szymona Sutora. Jazzowy septet w doborowym składzie wspaniale równoważy się z 24-osobową orkiestrą smyczkową. Stricte jazzowe fragmenty przeplatają się z muzyką, która znakomicie sprawdziła by się w charakterze ilustracyjnym. Wśród smyczków znaleźć można znakomitych solistów (Tomasz Chyła). Z kolei septetem dowodzi Adam Pierończyk, który – według zamieszczonych na płycie podziękowań – był dobrym duchem całego projektu przez cały czas jego powstawania. 

I to solówki saksofonów wyróżniają się na ogół z jazzowych fragmentów całego albumu. Najciekawiej brzmi tu "Ceper", gdzie interesująco przeplata się gra właśnie saksofonu, perkusji i fortepianu. Oszczędnie, ale równie świetnie wplatają się w muzyczną narrację wokalizy. Pewnym wyjątkiem jest bonusowy "Monday". Delikatna ballada, niemal w całości oddana we władanie fortepianowi, który przez długie fragmenty prezentuje się solowo, niekiedy tylko dopuszczając delikatny szmer smyczków w tle. Bardzo interesujący debiut w oryginalnej, dość mało eksploatowanej w naszym kraju jazzowo-symfonicznej formule. 

Singiel promujący album "Jazz Septet & String Orchestra" Szymona Sutora

Szymon Sutor - kompozytor/dyrygent
Adam Pierończyk - saksofon tenorowy & sopranowy
Maciej Grzywacz - gitara
Cezary Paciorek - akordeon
Gaba Janusz - głos
Dominik Kisiel - fortepian
Michał Bąk - kontrabas
Patryk Dobosz- perkusja

Prezentujemy singiel "First Look", promujący debiutancki album ,"Jazz Septet & String Orchestra" kompozytora, aranżera i dyrygenta Szymona Sutora. Będzie to precyzyjnie zaplanowana forma muzyczna łącząca jazz z klasycznym brzmieniem orkiestry smyczkowej, ujęta w siedmiu oryginalnych kompozycjach młodego artysty. Gościem specjalnym na płycie jest czołowy polski muzyk, saksofonista Adam Pierończyk, dwukrotny laureat nagrody polskiego przemysłu fonograficznego ,"Fryderyka", a przez magazyn Jazz Forum 15-ty raz z rzędu wybrany najlepszym saksofonistą sopranowym. Album od 12 listopada będzie do nabycia w salonach Empik, a także zostanie udostępniony na platformach muzycznych.

Szymon Sutor - kompozytor, aranżer, dyrygent oraz pianista. Laureat IX oraz X Międzynarodowego Konkursu Kompozytorskiego im. Krzysztofa Komedy. Zdobywca tytułu „Osobowość roku 2015” w kategorii „Kultura” w plebiscycie Dziennika Bałtyckiego, Stypendium Marszałka Województwa Pomorskiego dla Twórców Kultury 2018 oraz Stypendium Kulturalnego Prezydenta Miasta Gdańska. Na swoim koncie posiada wiele kompozycji zarówno na aparat kameralny, jak i symfoniczny, w tym czteroczęściową mszę „Missa de Beata Maria Virgine” na orkiestrę symfoniczną, chór mieszany, trio jazzowe oraz solistów.

Współautor kompozycji „The Lost Seasons” inspirowanej dziełem „The Four Seasons” A. Vivaldiego wykonanej premierowo podczas szczytu klimatycznego ONZ 2018 w Katowicach. Kierownik muzyczny oraz dyrygent koncertu symfonicznego „Świat Mistrza Beksińskiego”, którego premiera miała miejsce w Filharmonii Narodowej w Warszawie. Zaangażowany w liczne projekty muzyczne, współpracuje z wybitnymi artystami muzyki poważnej, jazzowej oraz rozrywkowej. Założyciel, aranżer oraz dyrygent orkiestry rozrywkowej Szymon Sutor Orchestra.

Zaliczony do grona najlepszych dyplomantów rocznika 2016/2017 Akademii Muzycznej im. S. Moniuszki w Gdańsku. Jego kompozycja na septet jazzowy oraz orkiestrę smyczkową została wykonana przez orkiestrę Polskiej Filharmonii Bałtyckiej pod dyrekcją Maestro George Tchitchinadze podczas koncertu „Pomorskie Talenty”. Od roku akademickiego 2016/17 Szymon Sutor jest pracownikiem dydaktycznym Akademii Muzycznej im. St. Moniuszki w Gdańsku w katedrze “Jazzu i Muzyki Estradowej”. Kompozytora charakteryzuje swobodne łączenie aparatu symfonicznego z muzyką rozrywkową oraz improwizacją jazzową, a wszechstronność stylistyczna przekłada się na wielobarwność oraz oryginalność jego muzyki.

Cezary Paciorek Quintet - Emil: Live At Radio Gdańsk (2019)

Cezary Paciorek

Cezary Paciorek - accordion
Marcin Janek - clarinet
Filip Kowalski - viola
Paweł Urowski - double bass
Adam Golicki - drums

Emil: Live At Radio Gdańsk

SOLITON 944


By Adam Baruch

This is an album by veteran Polish Jazz accordionist/composer Cezary Paciorek recorded live in a quintet setting with clarinetist Marcin Janek, violist Filip Kowalski, bassist Paweł Urowski and drummer Adam Golicki. The project is a tribute to the clarinetist/composer Emil Kowalski, who passed unexpectedly in 2008 and who was a lifetime friend and musical partner of Paciorek. Kowalski was a prominent Jazz-Classical and Jazz-World Fusion activist and a much loved personality on the Polish Baltic Tricity scene. The majority of the music on this album was composed by Paciorek but includes also two Classical pieces arranged by Kowalski and a medley of standards.

The music offers a pretty diverse collection of melodic Jazz tunes with both World and Classical Music influences, as expected by the project's objective, performed completely acoustically, offering a fresh and immediate sound rarely found on albums today. The sound of the live recording is clear and well defined, with the bass a bit too high and the drums too low in the mix, but nothing that would spoil the fun of listening to the music. The compositions by Paciorek are all solid, with a tinge of melancholy always present.

The performances are professional, as expected from these experienced musicians, with Paciorek delivering his virtuosic solo parts, which are the heart of the entire project. But Filip Kowalski (the son of the late Emil Kowalski) and Janek also deliver some splendid soloing. The rhythm section is up to par with the three soloists and provides a steady, reliable and tasteful backing. Overall this is a nice collegial gesture which honors a memory of a friend musician, who deserves to be remembered, as much as a pleasant musical venture, which can be enjoyed by a wide audience of Jazz and around listeners.

Ad Shave – Ad Complementum (2018)

Ad Shave

Maciej Sikała - tenor & soprano saxophones
Marcin Gawdzis - trumpet (7)
Michał Ciesielski - piano, keyboards
Cezary Paciorek - piano, synth, accordion
Krzysztof Paul - guitar (9,10)
Piotr Lemańczyk - double bass
Paul Rutschka - bass (9,10)

Piotr Gierszewski - bass
Adam Golicki - drums

Ad Complementum

SOLITON 880

By Adam Baruch

This is an album by Polish Jazz drummer/composer Adam Golicki, which compliments (as the title suggests) his debut album entitled "Ad Shave", released this time under the Ad Shave moniker rather than under his own name. It was recorded with an excellent team of Polish Jazz musicians which include saxophonist Maciej Sikała, trumpeter Marcin Gawdzis, pianist/accordionist Cezary Paciorek, bassist Piotr Lemańczyk and several other musicians appearing on selected tracks. The album presents ten tracks, seven of which are composed or co-composed by Golicki, one each is composed by Paciorek and Lemańczyk and one is a Classical piece.

The music is a wonderful collection of beautiful melodies, arranged mostly in a smooth Jazz-Rock Fusion mode and superbly performed by all the musicians involved. Although not innovative as such, the music is simply perfect in what it stands for and a schoolbook example of contemporary Fusion, which concentrates on excellent compositions and skillful arrangements rather than exploring endless instrumental doodling.

The album is a most enjoyable ride, full of excellently weaved melodies, exciting soloing and a coherent "good time" approach, which is a breath of fresh air as far as most contemporary Fusion is concerned. Personally I had a great time listening to this music, which although seemingly pretty straightforward, does not make any compromises as far as aesthetic values are concerned and is an example of good taste and first class craftsmanship both on the compositional and performing platforms. Warmly recommended to Jazz-Rock Fusion fans, which prefer depth to flashy showmanship!

Marcin Gawdzis Quartet – Mind Recovery (2018)

Marcin Gawdzis Quartet

Marcin Gawdzis - trumpet, flugelhorn
Cezary Paciorek - piano
Piotr Lemańczyk - double bass
Tomasz Sowiński - drums

Mind Recovery

SOLITON 892


By Adam Baruch

This is an album by veteran Polish Jazz trumpeter/composer Marcin Gawdzis recorded in a quartet setting with other veterans of the Polish Baltic Jazz scene: pianist Cezary Paciorek (mostly known as an accordion virtuoso), brilliant bassist Piotr Lemańczyk and drummer Tomasz Sowiński. The album presents seven original compositions, all by Gawdzis.

The music is a highly melodic mainstream Jazz, somewhere between Bebop and Hard Bop, but with the usual Polish twist, adding elements of Slavic melancholy and lyricism. Al the melodies are wonderfully crafted and harmonically coherent, serving as excellent examples of contemporary Jazz firmly based in the classic Jazz tradition. If blind tested this album might be easily mistaken as a Blue Note session from the 1960s, and I mean this as a compliment.

All four instrumentalists present a proficient technical level and a high sensitivity, which is obviously world class in every respect. Gawdzis has a clear and precise tonality and his solos are perfectly structured. Paciorek is the romantic of the four and his harmonies are always where they belong and his solos are heartbreaking. Lemańczyk, as always, pours his heart out and his bass lines are elegant and sophisticated, as expected from one of the top bass players in the country. Sowiński plays delicately, in accordance with the character of the music, staying mostly in the background, but his presence is felt in the places where a rhythmic support is needed.

Polish Jazz scene is famous for its young generation of superb Avant-Garde/modernist trumpeters, which is truly amazing in every respect, but there are still several excellent conventional players, like Gawdzis, who also deserve the attention of Jazz fans; this album is definitely the proof of such well deserved attention. Overall this is a splendid mainstream Jazz album with excellent compositions and admirable performances, which should be interesting to every Jazz connoisseur on this globe. Very well done Gentlemen!

Laura Cubi Villena & Adam Wendt Acoustic Set – Por La Noche (2015)

Laura Cubi Villena & Adam Wendt Acoustic Set

Laura Cubi Villena - vocals
Adam Wendt - saxophone
Cezary Paciorek - accordion
Jarosław Stokowski - bass
Amber String Quartet

Por La Noche



SOLITON 757

By Adam Baruch

This is an album by Spanish vocalist/lyricist Laura Cubi Villena, recorded with the Polish ensemble led by saxophonist Adam Wendt, which also includes accordionist Cezary Paciorek (Paweł Zagańczyk also plays accordion on one track), bassist Jarosław Stokowski and the Amber String Quartet. The album presents twelve original tracks all composed by Wendt with lyrics by Villena. Villena and Wendt collaborated already on the last album by Adam Wendt Acoustic Set ("Acoustic Travel") which apparently worked well for both of them, leading to this full album recorded together.

The music is only marginally Jazz oriented and offers a dominant Spanish/Latin flavor, using elements of Tango and other World Music motifs. The music is beautifully arranged and the instrumental performances are all excellent, as expected from these veteran pros. The accordion parts are especially beautiful, as are the heartfelt saxophone solos. Villena has a deep and sensuous voice, with a rasping coloring, and her delivery is ideal for the melodic contents and sounds authentic and striking.

Overall this is a fine Jazz-World Fusion/Smooth Jazz offering, which does not compromise any musical qualities and offers first class entertaining. For lovers of Latin music and the Tango, this is quite a feast. This music, with the help of a good bottle of wine, is able to teleport the listener back in time to the streets of Buenos Aires, where the Tango used to be a way of life.

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.

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

Swingujące 3miasto (series)

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


Emil Kowalski

SMJ 2014

By Robert Ratajczak

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

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

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

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

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

www.longplay.blox.pl

(0-58) – Do Dziesieciu (2001) ***1/2

Krystyna Stanko - vocals
Maciek Grzywacz - guitar
Olo Wolicki - bass
with
Cezary Paciorek - accordion
Cezary Konrad - drums
Grzegorz Grzyb - drums
Adam Pieronczyk - saxophone

OLO 003


By Adam Baruch

This is the second album by Polish Jazz vocalist Krystyna Stanko and her debut recording with the group (0-58), which placed her as a co-leader with guitarist / composer Maciej Grzywacz and bassist / composer Olgierd Walicki. The group also included accordionist Cezary Paciorek and alternating drummers Cezary Konrad and Grzegorz Grzyb. Saxophonist Adam Pieronczyk guests on two tracks. The album includes nine original compositions, four each by Grzywacz and Walicki and one by Stanko with lyrics all written by Stanko.

Musically the album presents a process of searching after a unique identity, which takes the musicians exploring many different avenues, such as Blues, chanson, alternative Pop and of course Jazz. The songs are very diverse in their tempi, moods and melodic ranges and the album keeps changing quite dramatically between one song and another. Listening to the album is like embarking on a journey with destination unknown. On the whole the approach is acoustic and rather intimate.

The instrumentalists perform splendidly, improvising extensively between the vocal parts. Grzywacz and Walicki both play some outstanding instrumental parts as do the guest soloists. Stanko is theatrical and somewhat reserved, perhaps still not aware or her formidable vocal ability, which will flower on her later recordings.

In retrospect this is a very interesting document of the Polish Jazz scene at the turn of the Millennium. Obviously the young generation of musicians is looking for something different than the mainstream tradition and with Yass paving the way in the previous decade, everything is open and nothing is taboo any more. The album is unfortunately out of print since many years and it took me ages to track a copy down – lucky me!

Zbigniew Namyslowski – 3 Nights (1999)

Zbigniew Namyslowski - saxophone
Krzysztof Herdzin - piano
Olo Walicki - bass
Grzegorz Grzyb - drums
with
Piotr Wojtasik - trumpet
Grzgorz Nagorski - trombone
Cezary Paciorek - accordion
Jose Torres - percussion

POLONIA 174/176

By Adam Baruch

This album by Polish Jazz Colossus saxophonist Zbigniew Namyslowski documents a live recording captured during three consecutive nights at the legendary Warsaw Jazz Club "Akwarium". Accompanied by his regular (at the time) quartet, with pianist Krzysztof Herdzin, bassist Olgierd Walicki and drummer Grzegorz Grzyb, as well as guest musicians: trumpeter Piotr Wojtasik, trombonist Grzegorz Nagorski, accordionist Cezary Paciorek and percussionist Jose Torres, Namyslowski played a different program each night, which comprised entirely of his original compositions, twenty three of them in total.

Although not intended as such, this recording is a sort of retrospective, both for Namyslowski the composer and Namyslowski the player. Approaching the age of sixty Namyslowski celebrated four decades of activity on the local and international scenes: recording some of the Polish Jazz milestone albums, grooming generations of Jazz musicians and playing countless concerts, an impressive record, which only very few other musicians share with him. Among the compositions performed one can find a few of his early tunes, going over thirty years back before the date of this recording, as well as some recently composed ones.

The three nights seem to have quite a different character, although it's difficult to guess if that was intended. The first night is all up-tempo tunes, performed by a septet with strong presence of the percussion, which spices the music with a Cuban feel. The second night is more modern mainstream, performed by a sextet and the last night is the most adventurous, with odd meters and World Music influenced compositions, which are often Namyslowski's trademark. Overall the quality of the compositions and the performances are of course excellent. Namyslowski always knew how to pick up his group members, almost always from the ranks of one young generation after another. Walicki and Grzyb represent the youngest (at the time) generation and both prove to be able to stand shoulder to shoulder with the veterans. Herdzin, who played for several years with Namyslowski in the late 1990s, was still relatively unknown at the time (in the years to come his career was about to literally explode) and is the most interesting soloist on this album except the Boss of course. The guest players are all well known and their contributions are professional, but not very inspiring, except perhaps for Paciorek, who is so original that his playing is always fascinating.

In the long discography by Namyslowski, this is perhaps not one of his milestone recordings, but in retrospect it definitely reflects his exceptional abilities as a player, composer and bandleader. The sound quality of these live recordings is spotless and has a warm aura and superb presence. This is a must have for the many Namyslowski fans and Polish Jazz buffs in general!

Zbigniew Namyslowski – Dances (1997)

Zbigniew Namyslowski - saxophone, flute, trombone
Krzysztof Herdzin - piano
Olgierd Walicki - bass
Grzegorz Grzyb - drums
Cezary Paciorek - accordion
Maciej Strzelczyk - violin
Jose Torres - percussion

POLONIA 133



By Adam Baruch

This album by veteran Polish Jazz saxophonist / composer Zbigniew Namyslowski summarizes many years of his career by concentrating on one of the most important characteristics of his music: the symbiosis of Jazz and World Music, or more precisely Jazz and folklore, as represented by dances from different regions. The album comprises of fourteen original compositions by Namyslowski, all of which are based on specific dance rhythms, like tango, waltz and samba or Polish folk dances like mazurka, kujawiak and oberek. Several of the compositions included on this album are new arrangements of compositions recorded and released previously over time.

The music is performed by a quartet, which besides Namyslowski, who plays saxophone, flute and trombone (his original instrument) includes also pianist Krzysztof Herdzin, bassists Olgierd Walicki and drummer Grzegorz Grzyb. Three additional players expand the lineup to a septet: accordionist Cezary Paciorek, violinist Maciej Strzelczyk and percussionist Jose Torres. A Cuban percussion group guests on one tune (obviously the samba).

Namyslowski's ability to compose melodies, which fit the various rhythms and meters, including some very odd meters indeed, is absolutely phenomenal. This album is full of such clever tunes, which happen also to be delightful and sound completely "easy" in spite of their complex and capricious nature. The actual performance is of course first-rate, as always with ensembles led by Namyslowski, who is very strict and meticulous as far as playing is concerned.

In many respects this is the most unconventional album ever recorded by Namyslowski in which Jazz plays still a central role, but is intertwined with the folkloristic elements so tightly, that is sounds often like a soundtrack to a documentary produced by National Geographic. Jazz connoisseurs will find this album absolutely charming in every respect, even though it covers musical ground not habitually associated with Jazz.

It might be very difficult to find, but I urge every Polish Jazz enthusiast to lay their hand on a copy of this gem. Listening to this music is such a great fun!

Wojciech Staroniewicz – Karambola (1999)

Wojciech Staroniewicz - saxophone
Robert Majewski - trumpet
Grzegorz Nagorski - trombone
Cezary Paciorek - piano
Olgierd Walicki - bass
Cezary Konrad - drums
Nippy Noya - perscussion

ALLEGRO 001



By Adam Baruch

This album by veteran Polish Jazz saxophonist / composer Wojciech Staroniewicz was recorded with a septet, which also included trumpeter Robert Majewski, trombonist Grzegorz Nagorski, pianist Cezary Paciorek, bassist Olgierd Walicki, drummer Cezary Konrad and Indonesian (living in Netherlands) percussionist Nippy Noya. It includes seven compositions, five of which are originals by the leader and two are standards.

It was also the first release on his own record label, called Allegro Records, one of the first musician's owned independent record labels in Poland, which just a decade prior to the release date of this album finally managed to shake off the Socialist regime. During that regime's rule, which lasted for forty five years, all recordings in Poland were released only by the state owned record label, which single-handedly dictated which music saw the light of day and which didn't. Of course as a result many great musicians, especially those with avant garde inclinations or anti-Government attitude, never received the opportunity to make an album. After the regime's fall by the end of 1980s, the economic realities replaced the political censorship as a decisive factor as to which music will be released, and an independent, self owned record label is definitely the best solution. In retrospect Allegro Records managed to become one of the leading such labels in Poland, releasing consistently excellent material by the owner, his many friends and other Polish Jazz musicians.

The music on this album presents a change of direction for Staroniewicz, as for the first time his great love for World Music is revealed in full. Strongly influenced by Cuban music and other South American musical accents, the music emerges as a superb amalgam of classic mainstream with these folkloristic elements. Beautifully arranged and perfectly executed, it is a non-stop delight from start to finish, with plenty of great soloing and excellent support by the rhythm section. The presence of Noya adds greatly to the overall sound and enhances the World Music feel. Although to a great extent sophisticated, the music sounds really "easy" and most of all danceable, which is a rare achievement. There is an incredible version of George Gershwin's "Summertime" here, which will make your behind vibrate.

This is definitely an album every true Jazz connoisseur would love to have in his collection. I can't help it but to recommend it wholeheartedly. Superb stuff!

(0-58) – Tryby (2003)

Krystyna Stanko - vocals
Maciej Grzywacz - guitar
Cezary Paciorek - accordion
Piotr Lemanczyk - bass
Marcin Jahr - drums

PRIVATE EDITION






By Adam Baruch

This is the third album by Polish Jazz vocalist Krystyna Stanko and her second recording with the group (0-58), which paired her as a co-leader with guitarist / composer Maciej Grzywacz. The group also included accordionist Cezary Paciorek, bassist Piotr Lemanczyk and drummer Marcin Jahr. The album includes eight original compositions, seven of which are by Grzywacz with lyrics by Stanko and one is an instrumental by Lemanczyk, where Stanko uses wordless vocalese only.

Musically the album is a striking amalgam of cross-genre explorations, which could be labeled as Jazz-Rock Fusion, but in truth comprises of many other musical influences and sources, from French musette via alternative Rock, RIO, Fusion, Prog and probably quite a few others, all resting firmly in the Jazz tradition. The eclecticism is not only part of the composition but is also reflected in the entirely unusual overall sonic atmosphere, which moves between the accordion inspired jubilation to dark, melancholic and deeply lyrical pieces, especially those featuring Stanko with Grzywacz on acoustic guitar and supported by the incredible bass lines by Lemanczyk and percussive ornamentation by Jahr. The album offers so many incredible musical moments that by and large the listener has barely time to enjoy one piece of music and is immediately thrown into completely new surroundings.

The level of performances on this album is simply astounding. Stanko, as usual, presents the lyrics with a theatrical sensitivity and the instrumentalists magically perform a set of chameleonic tricks, changing moods and tempi on the fly, often using those strange odd meters, which make music exciting. The decision to use the accordion is a blessing as this fantastic instrument is able to produce a variety of sounds, so sweet and natural, that no synthesizer can ever come close to. Paciorek is obviously a Master and his solos, as well as his accompaniments are a real joy. Grzywacz is a versatile player with great technique and sensitivity, which is quite evident here and his solos are a classic examples of what Jazz / Fusion guitar playing should be all about. Lemanczyk is a true giant, and his strong acoustic bass lines on this album often sound as if produced by a bass guitar, which is quite incredible, Jahr is an excellent drummer and his all-around experience playing in many different musical areas makes him an ideal contributor on this recording.

In retrospect it appears that this is definitely one of the best offerings of the Polish Jazz / Fusion scene in the first decade of the 21^st Century and it certainly deserves much more attention and praise than it originally gained at the time of its release. Seemingly out of print, perhaps a reissue us in order? Delightful stuff!

(0-58) - Tryby (2003)

(0-58) - band

Krystyna Stańko - vocal
Maciej Grzywacz - guitars
Cezary Paciorek - accordion
Piotr Lemańczyk - bass
Marcin Jahr - drums

special guest: Paul Ruschka - voice
/Joachim Leusmann - text

Tryby (2003)

Band called 0-58 (beginning of phone numbers in Tri City) does not exist any more. Pity. It consisted of first rate musicians: Maciej Grzywacz on guitars, Cezary Paciorek on accordion and excellent rhythm section in persons of double bassist Piotr Lemańczyk and drummer Marcin Jahr. Main role however was played by a vocalist Krystyna Stańko and it is in my humble opinion her best album ever. She sounds self-assured, her articulation is immaculate, voice clear and deep. Also texts she sings are far from trivial. This is her by far most "free" album I know and in such a set up her talent shone brightly. All in all, it is really worthy to give this album second chance, especially since it is now available full for free for rehearsal online...

Track listing:

1. Tryby
2. Z natury proste
3. Słowa na pył
4. Na głos
5. Gdy zapytam
6. Kto szuka?
7. Zernik
8. Znaleźć cel

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

Wojciech Staroniewicz - Karambola (Allegro, 1999)

Wojciech Staroniewicz - tenor and soprano saxophones

Robert Majewski - trumpet, flugelhorn
Grzegorz Nagórski - trombone
Cezary Paciorek - accordion
Olo Walicki - bass
Cezary Konrad - drums
Nippy Noya - congas, percussion

Karambola (Allegro, 1999)

(Editor) Very decent mainstream album with virtuoso playing by saxophonist Wojtek Staroniewicz. Few excerpts from translated reviews I found on  www.polishjazz.com:

"Wojtek Staroniewicz... an instrumentally perfect musician, emotionally mature, flawlessly combines in his play the Yang of Coltrane and the Ying of West Coast musicians. His soprano sax sometimes sounds almost exactly like Candless's oboe." 

Grzegorz Tusiewicz - Onet Jazz

"Trying to describe this extraordinary musical event I am left with no option but to capitulate. I was literally staring with my mouth open and listening, absorbing, absorbing the music and drowning in delight. Oh, man! If this carambolic concert is ever to be repeated, do take the risk and spend your last ten zloty (or even more, if jazz is to be subject to inflation) to see it, simply because it is worth it."

Stanislaw Danielewicz "Jazzi Magazine" 28/1998 

"Already the first piece amazed me with the diabolic rhythmic divisions, executed with freedom full of disinvolture. The next thing that followed was, like in Hitchcock, only crescendo...".

Roman Kowal "Jazz Forum" 9/1998 

1. Karambola 6'52; 2. Melo d'Amelie 5'38; 3. Pros & Cons 7'45; 4. How Insensitive 4'28; 5. When You're Sleeping 6'19; 6. Summertime 7'20; 7. Up Train 9'58

Wojciech Staroniewicz – Handmade (Allegro Records, 2002)

Wojciech Staroniewicz - tenor and soprano saxophones

Cezary Paciorek - accordion

Maciej Grzywacz - guitar

Piotr Lemańczyk - bass

Tomasz Sowiński - drums 

Handmade (Allegro Records, 2002)

This is a beautiful album by Polish saxophonist / composer Wojciech Staroniewicz, recorded with his quintet, which is somewhat unusual, as it also includes accordionist Cezary Paciorek, a rare combination these days. The other musicians are: guitarist Maciej Grzywacz, bassist Piotr Lemanczyk and drummer Tomasz Sowinski. These are all excellent and experienced players, so the result is spotless on the technical front as well as very interesting from the musical standpoint. Staroniewicz has a wonderfully worm tone on his tenor saxophone and an unusually melodic approach, which does not diminish his improvisational qualities, which are truly impressive. The accordion adds a wonderful fuzzy "old time feel" to the entire session, and the Fusion guitar solos are a nice contrast. The music is mostly original with just two standards included for good measure. Overall this album is a lot of fun to listen to and a great proof that solid, melodic Jazz can be also of high quality and interest. Most warmly recommended to love their mainstream Jazz with a twist!

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

Olo Walicki - Trauma Theater (2010)

Olo Walicki is bassist and composer, born in 1974 in Gdansk. He was among those who in early 90ties created yass,  refreshing and rejuvenating movement on Polish jazz scene, taking place in Tri City (Gdańsk, Gdynia, Sopot) which  put more stress on free and improvised element in music than mainstream jazz which up-to-that-date was dominant in Poland. He collaborated with such significant figures of this movement as Jerzy Mazzoll, Jacek Olter (they played together in band called Blue Pilot), Tymon Tymański, Mikołaj Trzaska and Leszek Możdżer - all of them (except Olter who committed suicide) are now creme de creme of Polish jazz. But he never limited himself to only one paradigm, apart from yass he was also present in mainstream playing in Zbigniew Namysłowski Quartet, in free jazz Łoskot (Din) and in alternative pop Szwagierkolaska and Oczi Cziorne. So it comes as no surprise that in 2003 he began to cooperate with Ingmar Villqist, Swedish director, in order to create music for his theater productions. And although I am rather skeptical as far as theater music is concerned to be able to stand alone on itself I must admit that this music has potential to keep jazz listener attention for its own sake. At least this is exactly the story which happened with myself because from the very first notes of this album I could not stop to listen to it and then not to buy it. Strong rhythms, polyphonies, dark and ominous mood of this music captivate me and made puzzled. Whether your reaction shall be similar to mine you can check by listening to some samples of this music from artist's web page:

http://www.olowalicki.com/mp3.php?id=11

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