Adam Baruch's introduction to Polish Jazz Series

"Polish Jazz" Series 

A Historic Perspective 

Check our page for list of all (one day...) Polish Jazz Series releases": 

http://polish-jazz.blogspot.com/p/alternatywa.html

The "Polish Jazz" series of releases, a milestone episode in the history of Jazz in Poland, will soon celebrate its 50th birthday. It's almost impossible to refer to the development of Jazz in Poland without referring to the recordings released in that series, as they encompass a major part of the Jazz heritage and history as well as document the unique and incredible achievements of the Polish Jazz from its early days to full maturity.

 The "Polish Jazz" series must be seen always, even in retrospect, in the proper historic perspective, which involves the understanding of political / social circumstances in Poland between the end of WWII and the collapse of the Soviet-ruled Eastern-European Block, of which Poland was a part. The fact that Poland had a nondemocratic Socialist government, centralized economy and strict censorship over all aspects of life, art included, is a major consideration, which had its influence on the unique way the Polish Jazz developed, survived and triumphed against all odds. 

The series was launched in 1964 by the only record company active in Poland at the time, the State-owned Polskie Nagrania (Polish Recordings) and released under the company's main label "Muza". Its instigators were Ryszard Sielicki (label's artistic director) and Andrzej Karpinski (label's executive producer). The great Polish photographer / graphic designer Marek Karewicz was responsible for most of the photographs appearing on the covers and the design of the cover art itself of the individual albums in the series. Albums continued to be released as a part of the series until the end of 1989, and during the 26 years of its existence, the series amounted to 76 releases, a staggering amount of music by any standard.

In retrospect one must respectfully admit, that the series includes some of the most important music ever recorded in Poland, Easter-Europe, Europe and even the World. With musicians / performers / composers / arrangers / bandleaders / visionaries and prophets such as Krzysztof Komeda, Andrzej Kurylewicz, Andrzej Trzaskowski, Zbigniew Namyslowski, Tomasz Stanko, Michal Urbaniak, Adam Makowicz, Czeslaw Bartkowski, Janusz Muniak, Jan "Ptaszyn" Wroblewski and many, many others, the entire contents of the series is a goldmine of exquisite musical achievements. One should truly admire the series for many reasons; for example the decision to make the cover art bilingual (in Polish and English) was really unprecedented at the time (in view of the East-West relationships), but on the other hand the Polish government often used Polish Jazz as a propaganda tool to "sell" the human face of Socialism outside of the country's borders. Regardless of what the initial intention was, the English texts enabled many listeners in the West to get at least some information about the music and the musicians, which trickled continuously outside of Poland. 

Another extremely important characteristic of the series was its honest and again unprecedented policy to include all possible forms of Jazz as part of the series: from Dixieland to Free, from Big Band to solo performances, vocal and instrumental, established artists and newcomers, etc. This policy proved to be especially significant in the long term, as many of the recordings in the series would have been never realized otherwise. Of course the fact that Polskie Nagrania were a State-owned monopoly had its implications; some of Poland's great musicians, especially those who were associated with anti-government political affiliations, were never included as part of the series. Others, especially those more avant-garde inclined, with less social skills and "elbows" were also ignored. Obviously ego trips, personal preferences and other typical human relationships feuds also played part in the overall decision making, as to who's going to be recorded and included in the series, which resulted in somewhat uneven artistic level / aesthetic quality of the music. Some of the wrongs that were made at the time were later vindicated, others remind unrepaired. In retrospect one must admit that the series managed to achieve infinitely more positive things for Polish Jazz than the collateral damage it caused. 

It should also be noted that during the period the "Polish Jazz" series was active, Polskie Nagrania released some Jazz albums, which were not part of the series. It was never completely clear why that happened, but in many respects these recordings were in reality also part of the "Polish Jazz" scene even if not formally part of the series itself, and should be seen as closely related. To see an accurate picture of the history of recorded Jazz in Poland, one must also remember that the monopoly of Polskie Nagrania ended in 1973, when the Polish Jazz Society (PSJ, an organization formally uniting Polish Jazz musicians, but in fact a full fledged business venture – another improbability in a Socialist country, which was allowed by the government to flourish for political reasons) established its own record label called Poljazz. Starting as a record club for PSJ members, the label swiftly developed, under the management of Marek Cabanowski, into a full fledged business. However, what started as a label dedicated to Polish Jazz, soon lost its focus and moved into other musical areas in parallel to its Jazz activity, mainly for commercial reasons. Poljazz albums often suffered from poor production, questionable quality of the music and other tribulations, which seriously damaged the overall quality level of its releases. Nevertheless Poljazz did release a substantial amount of excellent Polish Jazz albums, but that is another story altogether. 

The "Polish Jazz" series has been remastered and reissued on CD in the mid-2000s mainly by Polskie Nagrania and Polskie Radio (Polish Radio) labels, but also by several smaller labels like Power Bros, Metal Mind, etc., but promptly disappeared from the shelves. These reissues, although properly remastered, suffered from poor packaging and most importantly missed an updated liner notes, presenting the music in a proper historic perspective. Many of the albums in the original series were never released on CD yet. This sad state of affairs is a shame for Polish Cultural heritage and should definitely be remedied as soon as possible. Of course the state of the music industry today is hardly encouraging as to the possibility this will happen any time soon. 

Adam Baruch 

February 2012 

www.adambaruch.com

Stanislaw Sojka – Blublula (Polish Jazz Vol.63, 1981)

Stanisław Soyka - vocals

Wojciech Karolak - piano, leader

Zbigniew Wegehaupt - bass
Czesław Bartkowski - drums

Blublula (Polish Jazz Vol.63, 1981)

This is the 2nd album by the excellent Polish Jazz vocalist Stanislaw Sojka, who dominated the male vocal spot on the local scene since the early 1980s and is still very much active today. Always in the gray area between Jazz, Gospel, Blues, Rhythm And Blues and even Pop, Sojka is a first rate interpreter and lately also composer. His live performances are legendary and his versatility is awe inspiring. This early album finds him in a superb company of top Polish Jazz players: pianist Wojciech Karolak, bassist Zbigniew Wegehaupt and veteran drummer Czeslaw Bartkowski, a fantastic trio by any standard. He performs eight Jazz standards, but performed with flare and outstanding originality, using scat singing, playing with words and other improvisational techniques. This is a breathtaking performance, from start to finish, which every Jazz fan should be exposed to at some point. An absolute must!

Track Listing: A1. I’m just a lucky so and so (D. Ellington – M. David); A2. Oh, What a Beautiful Morning (R. Rodgers – O. Hammerstein II); A3. Satin Doll (D. Ellington – J. Mercer); A4. Blue Monk (T. Monk – S. Sojka); B1. I’ve Known Rivers (G. Bartz – G. Bartz); B2. Doxy (S. Rollins); B3. Naima (J. Coltrane); B4. P.S. (All Blues) (M. Davis)

By Adam Baruch

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Ewa Bem – Be A Man (Polish Jazz Vol.65, 1981)

Ewa Bem - vocal

Henryk Majewski - leader, flugelhorn, trumpet
Henryk Miśkiewicz - clarinet, alto saxophone
Zbigniew Jaremko - tenor saxophone
Zbigniew Konopczyński - trombone
Andrzej Jagodziński - piano
Jerzy Stawarz - bass
Henryk Stefański - guitar
Tadeusz Federowski - drums
String Orchestra conducted by Zbigniew Jaremko
Zbigniew Wodecki - vocal

Be A Man (Polish Jazz Vol.65)
 

This is the 2nd album by the excellent Polish Jazz vocalist Ewa Bem, who dominated the female vocals spot in her country in the late 1970s and 1980s and is still active today. The five songs, which were included on side A of the vinyl LP are standards, which she sings in English and the six songs on side B of the vinyl LP are all originals, written especially for her, which she sings in Polish. She is accompanied by a wonderful octet, called Swing Session, led by Polish Jazz icon, trumpeter Henryk Majewski, who also wrote the wonderful arrangements. The octet members include also reedmen Henryk Miskiewicz and Zbigniew Jaremko, trombonist Zbigniew Konopczynski, guitarist Henryk Stefanski, pianist Andrzej Jagodzinski, bassist Jerzy Stwarz and drummer Tadeusz Federowski. Male vocalist Zbigniew Wodecki guests on two songs and three songs have also string arrangements. Whatever Bem misses as a virtuoso vocalist, she fully compensates by her wonderfully warm tone and exceptional musicality. Her interpretation and delivery are first-rate and she is definitely a world-class performer. Although pretty mainstream, this music is done with elegance and taste, which is why it stands the test of time wonderfully. Warmly recommended to fans of female Jazz vocals!

Track listing: 1 Medley: Them There Eyes, Love Is Here To Stay, Exactly Like You, The Days Of Wine And Roses, When The Saints Go Marching In (arr. H. Majewski) [06:26]; 2 Misty (E. Gerner - J. Burke) [04:31]; 3 The Man I Love (G. Gershwin - I. Gershwin) [03:47]; 4 Oh What A Beautiful Mornin' (R. Rodgers - O. Hammerstein II) [03:29]; 5 Grovin' High (C. Parker) [01:21]; 6 Badz mezczyzna (H. Majewski - M. Czubaszek) [02:56]; 7 Czy powie mi pan dzien dobry (Z. Jaremko - M. Wojtaszewska); Zbigniew Wodecki [03:30]; 8 Dzien dobry Mr. Blues (J. Wasowski - G. Perkun) [05:39]; 9 Wyznanie wieczorne (Z. Jaremko - K. Trębacz) [02:52]; 10 Tylko dni (Z. Jaremko - M. Czubaszek) [02:47]; 11 Rob co chcesz (H. Majewski - M. Czubaszek) [02:42]

By Adam Baruch

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Hagaw – Do You Love Hagaw? (Polish Jazz Vol.12, 1967)

Asocjacja Hagaw (band)

Grzegorz Brudko - banjo, leader
Henryk Kowalski - violin
Wlodzimierz Ciuk - trumpet
Jerzy Kowalski - trombone
Ryszard Kula - alto sax
Wlodzimierz Halik - bass
Krzysztof Adamek - drums, washboard

Do You Love Hagaw? (Polish Jazz Vol.12, 1967)

The Polish traditional Jazz ensemble Hagaw was one of several excellent groups formed in the 1960s, when traditional Jazz enjoyed an enormous revival in Poland, especially among students, co-existing peacefully with modern Jazz, which flourished in parallel. This is their debut album on which the ensemble plays a set of fifteen wonderful original compositions, most of all written by their primary composers: leader / banjoist Grzegorz Brudko and trumpeter Wlodzimierz Ciuk. Other band members include violinist Henryk Kowalski, trombonist Jerzy Kowalski, saxophonist Ryszard Kula, bassist Wlodzimierz Halik and drummer Krzysztof Adamek. Their music is a unique mixture of early Jazz; New Orleans, Dixieland and Swing, mixed with Eastern-European influences and spiced with a great sense of humor. The group enjoyed enormous success in their country and all over the world, and they continued to tour for many years. Any true Jazz fan, even if his musical preferences lie elsewhere, should be able to appreciate how good this music is, how well it withstood the tides of time, and how enjoyable it is, transcending artificial categorization by genre. Wholeheartedly recommended!

Track listing: 01. Czy Pani Kocha Hagawa; 02. Meloniki na gorąco; 03. wesoła Pioseneczka; 04. Bardzo szkoda mi zajączka; 05. Pamiętnik pewnego impertynenta; 06. Taniec z czasów Górnego; 07. Tułaczka Wija Drewniaka; 08. Chlau, Chlapu; 09. Będę Gangsterem; 10. Oj - Biada!; 11. Swawole lokomtyw, czyli wspomnienia pomocnika masztynistki; 12. Koty na poddaszu; 13. Być może...; 14. Mówiłaś, że lubisz kije samobije; 15. Zachciało Ci się Grzesiu prać o tej porze

By Adam Baruch

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Jaroslaw Smietana – Sounds & Colors (Polish Jazz Vol.73, 1987)

Jaroslaw Smietana – electric guitar, acoustic Fender guitar, keyboards, voices

Jacek Pelc – premier drums, paiste cymbals, percussions
Antoni Debski – Fender bass, synthesizer
Piotr Baron – Selmer Mark VII tenor saxophone, soprano, clarinet, keyboards

 Sounds & Colors (Polish Jazz Vol.73, 1987)

This is an excellent album by Polish guitarist / composer Jaroslaw Smietana, his first recording under his name in the legendary Polish Jazz series, although he already released two albums with his group Extra Ball a decade earlier. Undoubtedly the best Polish Fusion guitar player, Smietana is also a great tunesmith; this album includes six of his wonderful compositions (and one standard), performed by a superb quartet, which includes side by side with the leader saxophonist Piotr Baron (one of future best Polish sax players), bassist Antoni Debski and drummer Jacek Pelc. The music is very similar to what one might expect from the best Fusion groups around at the time, especially Weather Report, which is a clear model. The guitar (and occasional keyboards) - sax exchanges could be very easily mistaken for another Joe Zawinul / Wayne Shorter dialog. But there is enough originality here, both in the compositions and the performances, to dismiss any accusations of plagiarism. These excellent musicians are not to be taken for granted and overall this album is as good, if not better, that any other Fusion album recorded anywhere on this planet. Fusion fans will definitely enjoy this album with no reservations, but the general Jazz loving public should be able to have a great time with it as well. It lost nothing of its charm over time!

Tracj listing: 1 Sounds And Colours; 2 Okapi, Pekari, Karibu; 3 Flashing Dance; 4 Every Day Niagara; 5 Turtle Song; 6 Days Of Wine And Roses; 7 Try To Make It Belter

By Adam Baruch

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Lora Szafran – Lonesome Dancer (Polish Jazz Vol.76, 1989)

Lora Szafran - vocal

Wojciech Niedziela - piano
Jacek Niedziela - bass
Piotr Wojtasik - trumpet, fluegelhorn
Adam Czerwiński - drums

Lonesome Dancer (Polish Jazz Vol.76,  1989)

This is the excellent debut album by female Polish Jazz vocalist Lora Szafran, the best new arrival on the local scene in the 1980s in the vocal department. She was blessed with great musicality, versatility and superb vocal abilities, which are rare and precious. On this album she is accompanied by an exceptional quartet called New Presentation, consisting of the best young Polish Jazz musicians at the time: pianist / composer / leader Wojciech Niedziela, his brother bassist Jacek Niedziela, drummer Adam Czerwinski and the excellent trumpeter Piotr Wojtasik. Together they perform nine songs, two of which were composed by Wojciech Niedziela, two others are by other Polish composers and the rest are Jazz standards. The overall level of performance is truly excellent from start to finish and for people who love mainstream Jazz delivered with taste and virtuosity, this is a must.

Side Note: This is the last album released under the "Polish Jazz" series, and as the volume number suggests the entire series consists of 76 albums released between mid-1960s and late 1980s. Some of the best European Jazz ever recorded can be found in this exceptional collection of recordings, which is often collected by Jazz fans around the world. A giant box set with all the 76 albums in mini-sleeve replicas would be a "dream come true" for true lovers of Polish Jazz. Hopefully soon!

Track listing: 1. Summertime; 2. Sweet Love To Keep; 3. New York Lament; 4. New York Lament; 5. My Funny Valentine; 6. Lonesome Dancer; 7. Kiss Me Right; 8. Sleep Safe And Warm; 9. A melancholy 

By Adam Baruch

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Jan Ptaszyn Wroblewski / Wojciech Karolak – Mainstream (Polish Jazz Vol.40, 1973)

Jan Ptaszyn Wróblewski - tenor saxophone

Wojciech Karolak - Hammond organ

Marek Blizinski - guitar
Czeslaw 'Mały' Bartkowski - drums

Mainstream (Polish Jazz Vol.40, 1973)

This album presents a meeting between two Polish Jazz veterans: saxophonist / composer Jan "Ptaszyn" Wroblewski and keyboardist Wojciech Karolak. The two cooperated in various Jazz ensembles since the late 1950s and until mid 1960s and this album marks their reunion in the studio after several years of not playing together due to Karolak's residence in Sweden in the late 1960s / early 1970s. The two are joined by another veteran, drummer Czeslaw Bartkowski, and excellent guitarist Marek Blizinski and together they play six tunes, five of which are standards and one id a Wroblewski original. Karolak plays the Hammond Organ, a sound that would be associated with him for his entire future career, and his passion fro that instrument is clearly evident here. Wroblewski and Blizinski play fire solos and Bartkowski drives the quartet forward at all times. Although typically mainstream, this is still great Jazz, performed with passion and considerable talent, which should be enjoyable to all Jazz connoisseurs. Recommended!

Track listing: 01. I Hear Music; 02. My Favourite Things; 03. Dookoła Wojtek; 04. Walkin'; 05. I got it Bad; 06. It Could Happen To Sou

By Adam Baruch

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Jan "Ptaszyn" Wroblewski – “Flyin` Lady" (Polish Jazz Vol.55, 1978)

Jan “Ptaszyn” Wróblewski – tenor sax

Marek Bliziński – guitar
Witold Szczurek – bass
Andrzej Dąbrowski – drums

“Flyin` Lady" (Polish Jazz Vol.55, 1978)

This is an excellent album by Polish veteran Jazz saxophonist / composer / arranger / bandleader Jan "Ptaszyn" Wroblewski. One of the great pioneers of the Polish Jazz movement since the 1950s, Wroblewski remained very active on the local scene in many capacities, which included leading his own ensembles, directing the Polish Radio Jazz Studio Orchestra and teaching generations of Polish Jazz musicians. Wroblewski always firmly stood for the Jazz tradition, keeping the mainstream Jazz in Poland on a very high level. He was rarely associated with the Polish Jazz modernists and avoided Free Jazz excursions, even when these were fashionable. Nevertheless his unique and innovative approach to Jazz composition and virtuosic ability as a player make his very extensive legacy an infinite source of superb Jazz moments. This album presents six original compositions by Wroblewski, superbly performed by a quartet, which includes guitarist Marek Blizinski, bassist Witold Szczurek and drummer Andrzej Dabrowski. Blizinski should be noted as one of the greatest Polish guitarists and perhaps the Jazziest one, who avoided getting into Fusion at all costs, keeping his sound in the Wes Montgomery / Barney Kessel tradition. Altogether this is a great example of the versatility of the Polish Jazz scene and its excellence, regardless of the specific sub-genre in question. Highly recommended!

Track listing:  A1. Pastuszek Stomp; A2. Grzmot nad ranem; A3. Bossa Nostra; B1. Pani Ptakowa; B2. Dlaczego małpa...; B3. Licheć Checioł Dana

By Adam Baruch

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Jerzy Milian – Baazaar (Polish Jazz Vol.17, 1969)

Jerzy Milian -  vibraphone, marimba

Jacek Bednarek - double bass
Grzegorz Gierłowski - drums
Janusz Mych - flute
Ewa Wanat - vocals

Baazaar (Polish Jazz Vol.17, 1969)

This is the debut album by veteran Polish Jazz vibraphonist / composer Jerzy Milian, one of the godfathers of modern Jazz in Poland. Milian started to play in the 1950s and was a member of the legendary sextet led by Krzysztof Komeda, who persuaded him to move from piano to vibraphone. In time Milian became one of the top vibraphone players in Europe as well as an excellent composer with highly personal style. His music was always quite sophisticated and unusual, quite ahead of its time. The early Komeda influence was replaced later on by his own original compositional direction, which flirted with Cool, Third Stream, contemporary Classical and World Music. This album presents eight of his original compositions (one co-composed with Komeda) performed by a trio, which includes bassist Jacek Bednarek and drummer Grzegorz Gierlowski. Two members of the legendary Polish vocal group NOVI: vocalist Ewa Wanat and flautist Janusz Mych also participate. This is a splendid example of European Jazz, which was rapidly developing in Eastern Europe by late 1960s and which still sounds great regardless half a century later. Highly recommended!

Track listing: 01. Memory of bach; 02. My Favourite Band; 03. Rewelacyjny Luciano; 04. Szkice Ludowe; 05. Tempus Jazz 67; 06. Bazar w Aszchabadzie; 07. Serial Rag; 08. Velse Ex Cathedra

By Adam Baruch

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

Adam Makowicz - piano

Live Embers (Polish Jazz Vol.43, 1975)

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

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




By Adam Baruch

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Janusz Muniak – Question Mark (Polish Jazz Vol.54, 1978)

Janusz Muniak - sax

Jerzy Bezucha - drums, percussion
Marek Bliziński - guitar
Andrzej Dechnik - bass
Paweł Perliński - piano, electric piano

Question Mark (Polish Jazz Vol.54, 1978)

This is the debut album as a leader by the great Polish saxophonist / composer Janusz Muniak, one of the forefathers of modern Polish Jazz. His legacy includes the membership in such legendary Polish ensembles as those led by Andrzej Trzaskowski, Krzysztof Komeda and Tomasz Stanko as well as leading his own groups. He is accompanied here by his quintet, which includes pianist Pawel Perlinski, guitarist Marek Blizinski, bassist Andrzej Dechnik and drummer Jerzy Bezucha, all excellent players themselves. Muniak has a completely unique, natural style of improvisation, which is passionate and highly expressive, putting him somewhat aside in a class of his own besides the other distinguished Polish saxophonists, like Zbigniew Namyslowski for example. His compositions incorporate beautifully Polish folklore and the Jazz tradition, often unintentionally, but always brilliantly. This is on of the strongest albums in the legendary Polish Jazz series, which is a very high distinction by any standard. This is a must to lovers of Polish and Eastern-European Jazz and a timeless masterpiece.

Track listing: A1. Przejażdżka walcem [12:10]; A2. Taniec Pawia [07:27]; B1. Obertas [09:50]; B2. Znak zapytania [10:12]

By Adam Baruch

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Zbigniew Namyslowski – Open (Polish Jazz Vol.74, 1987)

Zbigniew Namysłowski - alto & sopranino saxophones

Kuba Stankiewicz - piano, keybords
Dariusz Oleszkiewicz - bass
Jerzy Głód - drums
Jose Torres - percussion

Open (Polish Jazz Vol.74, 1987)

This is a superb album by Polish Jazz veteran, saxophonist / composer Zbigniew Namyslowski, recorded with a great quintet which includes pianist Kuba Stankiewicz, bassist Dariusz Oleszkiewicz, drummer Jerzy Glod and percussionist Jose Torres. All the music, except for one standard, was composed by Namyslowski, who seems to be completely untouched by time, full of creative and performing powers and always at the edge of latest Jazz developments. It is his music, which is the true magic here, and although his performances as well as those of the other players are all excellent, the music is immediately recognizable as Polish Jazz, which is hardly surprising when coming from one of the Godfathers of the genre. It was always Namyslowski's ability to create a perfect link between the Jazz tradition and Polish folklore, which is deeply embedded in his cultural background, which made him a model for a new breed of European Jazz players, those who would stand proudly and say that they can contribute something new and fresh to the already established tradition of American Jazz and make it their own. In retrospect this is another milestone recording in the long and glorious recorded legacy that Namyslowski managed to bestow upon us, and hopefully will be also enjoyed by future generations. A must!

Track listing: 1. Double Trouble Blues; 2. Cuban Tango Mohito; 3. Bop-Berek; 4. 3xSpagetti; 5. Rachitic March; 6. Who Can I Turn To; 7. Very Sad Bossa; 8. Cy To Blues, Cy Nie Blues

(Editor) Based on Polish folk dance oberek "Bop-Berek" may be also translated as "bop hide-and-seek". Typical Namysłowski sense of humour... This tune is featured on this album although here played in different casts and few years later...

By Adam Baruch

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Laboratorium – Quasimodo (Polish Jazz Vol.58, 1979)

Laboratorium (band)

Janusz Grzywacz – Acoustic Piano, Rhodes Piano, Arp Oddessey
Marek Stryszowski – Vocalm Vocal by "Space Chorus Rolland" Alto Sax, Soprano Sax
Pawel Scieranski – Acoustic Guitar, Electric Guitar
Krzysztof Scieranski – Bass Guitar
Mieczyslaw Gorka – Drums, Percussion

Quasimodo (Polish Jazz Vol.58)

This is the 2nd album by Polish Jazz-Rock Fusion ensemble Laboratorium, which was one of several great Polish bands (like Extra Ball for example) playing in that vein during the 1970s. Founded by keyboardist Janusz Grzywacz, the band's founding members included also saxophonist / vocalist Marek Stryszowski and drummer Mieczyslaw Gorka. After an initial period of trying to find a musical identity, the band was joined by brothers Pawel Scieranski on guitar and Krzysztof Scieranski on bass (one of the greatest Polish bass players) and settled into the Fusion genre, with a musical approach and sound not far away from Weather Report. This, their second recording, presents them in their full power and the recording is quite stunning in its sophistication and instrumental aptitude. The music includes pieces composed by all members of the group. As opposed to most American Fusion at the time, which was mostly based on simplistic melodies and endless instrumental doodling, this music is atmospheric, intelligent, sophisticated, well developed and coherent, clearly well rooted in the European musical tradition. Fusion fans are well advised to try this out and explore this wonderful music, which is expanding the genre's limitations to the max. This music will also interest fans Prog fans, as it is close in spirit to the Canterbury genre. Superb stuff!

Track listing: A1 – Przejazd / The Journey; I'm Sorry, I'm Not The Driver; A2 – Etiudka / Little Etude Sniegowa Panienenka / The Snow Girl; A3 – Lady Rolland; B1 – Quasimodo; B2 – Kyokushinkai; B3 – Ikona / An Icon – in memory of Zbigniew Seifert

By Adam Baruch

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Sun Ship – Follow Us (Polish Jazz Vol.61, 1979)

Sun Ship (band)

Władysław Sendecki - piano, el. piano, polymog, arp omni
Zbigniew Jaremko - soprano saxophone, tenor saxophone
Henryk Miśkiewicz - soprano saxophone
Witold Szczurek - bass, violoncello
Marek Stach - drums

Follow Us (Polish Jazz Vol.61, 1979)

This is the only studio recording by the excellent Polish Jazz ensemble Sun Ship, founded in 1978 by two ex-Extra Ball members: virtuoso pianist / composer Wladyslaw Sendecki and saxophonist Andrzej Olejniczak, with bassist Witold Szczurek and drummer Marek Stach. Olejniczak left son after the group was founded, to be replaced by a double saxophone front line consisting of Zbigniew Jaremko and Henryk Miskiewicz. Miskiewicz was the group's second composer and contributed two of the five compositions present on this album in addition to the three compositions by the leader, Sendecki. Sun Ship was the first of the Polish ensembles, which tried to leave behind them the Jazz-Rock Fusion, which was the predominant genre in the 1970s and return to mainstream Jazz, with more advanced chord changes and extended improvisations, which they did extremely well. Sendecki's keyboard wizardry is plainly evident on this beautiful album, as are the highly developed skills as improvisers. In retrospect this is one of the most interesting Polish Jazz recordings of that turbulent period. Highly recommended!

Track Listing: 01. Prymka; 02. Ballada na wiosnę; 03. Szipson; 04. Mrówka, jak wiemy; 05. Należy się wykupić

By Adam Baruch

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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/

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

Zbigniew Namysłowski Quartet (band) 

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

(Polish Jazz Vol. 6, 1966)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Zbigniew Namysłowski - Kuyaviak Goes Funky (Polish Jazz Vol. 46, 1975)

Zbigniew Namysłowski - alto sax
Tomasz Szukalski - tenor sax, soprano sax
Wojciech Karolak - electric piano
Paweł Jarzębski - bass
Czesław Bartkowski - drums

Polskie Nagrania, 1975

One of the best, though short-lived groups led by Namyslowski was the 1974-76 Quintet with Karolak, Szukalski, Jarzebski and Bartkowski. These excellent jazzmen were lucky to record, in March 1975, rather unusual music by Namyslowski: the highly original pieces that sparked again the touchy problem of Polish folklore presence in jazz. Namyslowski had already earlier intrigued sensitive listeners with his probably unconscious infusing into his music some characteristics of the Polish Mountainers' folklore ("Siodmawka","Piatawka"),but only now this side of his creative imagination showed itself so strongly. The centerpiece of this record is the three-movement title composition in 15/8 meter. Here we can enjoy contrasting tempos and moods, mediations and chantings, bass ostinatos, obstinate shifting of two chords, and, in the last section, rock-like repetitive rhythm-patterns, moving back into pensive, melancholy chants that finally fade away to end the piece. But even here the folk colouring stems not form any methodical background studies or intentions.

Namyslowski simply allows his musical nature to pronounce itself freely, and exactly such a spontaneity is what makes it precious from the jazz standpoint. In "Sad Little Johnny", the first pastoral section is followed by the busy funk rhythms and free sax improvisations. Also in the "Quiet Afternoon" the prolonged and beautiful immersion in poetic meditation finds its momentary contrast in the ragged alto solo, backed by electric piano and drums, after which the music returns to the dreamy mood. "Little Lamb Lost" strayed obviously somewhere in the Polish Tatra Mountains, for in spite of rock rhythms (even with their help) the motifs and scales of Podhale region are very much evident.

Small sample of magnificent music from this album:

Author of text: Andrzej Schmidt

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

Czesław Bartkowski - drums

Tomasz Stańko - trumpet

Tomasz Szukalski - soprano saxophone

Adam Makowicz - electric piano

Wojciech Karolak - keyboards

"Studio Jazzowe PR" Orchestra conducted by Jan Ptaszyn Wróblewski

Polskie Nagrania, 1977

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

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

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

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

Check title track from original album:

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

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

Author of text: Maciej Nowotny

http://kochamjazz.blox.pl/html

...

Kazimierz Jonkisz - Top Six Outsider (Polish Jazz Vol. 71, 1987)

Volume nr 71 in great Polish Jazz series (which i got thanks to welovepolish.blogspot.com) brings us music which sounds as fresh now as it did on the day of its recording 25 years before. A bunch of then young players: Kazimierz Jonkisz (drums), Witold Szczurek (bass), Krzysztof Popek (flute), Piotr Adamski (piano), Maciej Strzelczyk (violin) and Henryk Gembalski (violin) showed such an energy and enthusiasm on this record that it was obvious that they had to become key players on Polish jazz scene in 80ties and 90ties. 

As far as leader of this band is concerned, Kazimierz Jonkisz started his career by taking taking part in recording of famous Zbigniew Namysłowski album "Winobranie" in 1973 and since then was very active playing with most important players in those times like Jan Ptaszyn Wróblewski, Tomasz Szukalski, Włodzimierz Nahorny etc. From 1974 until 1976 he was playing in Jazz Carries group with Henryk Miśkiewicz among others with whom he recorded album titled "Jazz Carriers: Carry On!" in 1973. Finally in 1978 he set up his own band which with different personel carried on for quite long time recording such interesting albums as "Tiri Taka" in 1980, "Top Six" in 1986 and "XYZ" in 1987. 

In musical terms this is mainstream jazz owing a lot to hard bop era with delicate Polish folk accents. It rocks as hell but presence of both violins and flute make music sound so original and Polish, unmistakably one of great recordings of serious players in Polish jazz.

PS. Please note a very interesting album cover which is a joke directed toward communist regime hated by most of Polish jazzmen: lap decorations containing portraits of musicians remind medals of Soviet heroes ;-)))

Check this link for a composition by Krzysztof Popek "Polinelia" from this record.

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

Stańko, Szukalski, Vesala, Warren - TWET (Polish Jazz – Vol. 39, 1974)

Recently (http://kochamjazz.blogspot.com/2010/06/tomasz-stanko-quintet-music-for-k-1970.html) I've started what was intendend as complete review of Tomasz Stańsko discography. After 3 months comes next review so at this rate the whole project shall be completed in 40 years or so... Going back to subject I listened this time to the album titled TWET (title comes from combined letters of artists names). Issued in 1974 is Stańko's third album as a leader. The set up of musicians changes completely from aforementioned Music For K. Peter Warren is American bassist and his presence by Stańko side turned up to be only incidental. We shall however bu grateful to him for providing solid and compassionate base line for this rather wild and free jazz recording.

Edvard Vesala, Finnish drummer, on the contrary, became a long time companion of Tomasz. Daring, creative and somewhat crazy (they both doped heavily in those years) he fits perfectly to introvertic yet top-notch avantgarde style of Stańko those days. 

Tomasz Szulaski, nicknemaed "Jackal", was another worthy addition to Stańko group. Szukalski talent exploded at the beginning of 70ties when with Zbigniew Namysłowski group he recorded such fantastic discs as Winobranie and Kuyawiak Goes Funky. Szukalski  warlike, all-or-nothing and uncompromising attitude to playing saxophone was  another perfect addition to leader of the band elegant, moody and pensive trumpet.

All these building bricks jagged in so well that from the first notes of first composition on this album titled Dark Awakening (arguably the best one on the album) we feel this rehearsal shall be something special. Artistic unity, ambitious design, great individualities drawn together: all those components necessary for cooking up great recording are obvious on this disc and they do work. The material is complex, deep, challenging to both mind and heart so all can be said about TWET except that it is nice and easy to listen. And that is my one and only objection to this music: I feel that besides such a weirdo crazy about free jazz as I am few people really ever return to this album and listen to this undoubtedly awesome music.

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