Green Revolution – Rewolucja zielona (2022)

Green Revolution

Andrzej Przybielski – tp
Marek Kazana – as, bar
Michał Kulenty – ss, ts
Krzysztof Szmigiero – g
Zbigniew Heflich – bg
Marcin Pospieszalski – bg
Michał Zduniak – perc, dr
Jorgos Skolias – voc
Kamil Konikiewicz – child’s voice
Wojciech Konikiewicz – voc, keyb, drum machine programming, hca, occ, perc, toy panflute

Rewolucja zielona (2022)

Wytwórnia: GAD Records

Autor tekstu: Mateusz Chorążewicz

Wojciecha Konikiewicza chyba nikomu nie trzeba przedstawiać. Nieco inaczej jest z projektem Green Revolution, który artysta powołał do życia w 1984 roku i który funkcjonował do roku 1994. W ręce wpadł mi nagrany na przełomie lat 1987/1988 album „Rewolucja zielona”, który doczekał się wydania dopiero w pierwszej połowie roku 2022 nakładem niezastąpionej w takich przypadkach wytwórni GAD Records.

W nagraniach wzięli udział Andrzej Przybielski (tp), Marek Kazana (as, bar), Michał Kulenty (ss, ts), Krzysztof Szmigiero (g), Zbigniew Heflich (bg), Marcin Pospieszalski (bg), Michał Zduniak (perc, dr), Jorgos Skolias (voc), Kamil Konikiewicz (voice) oraz Wojciech Konikiewicz (voc, keyb, drum machine programming, hca, occ, perc, toy panflute).

Miles Davis z okresu fusion, Weather Report, Frank Zappa. To są pierwsze skojarzenia, które nasuwają się w aż nader oczywisty sposób. Nie oznacza to bynajmniej, że muzyka zawarta na krążku jest czymś odtwórczym. Nie była taka ani pod koniec lat ’80, ale nie jest taka również teraz. Najlepiej niech świadczy o tym fakt, że chyba mało kto spodziewałby się tutaj rapowanego wiersza Mirona Białoszewskiego. Niemniej jednak, płyta przepełniona jest brzmieniami charakterystycznymi dla lat ’80 i tak też należy ją traktować.

Nagrań dokonano w jednym z najlepszych dla fusion okresie na naszym rodzimym rynku. To właśnie wtedy swoje sukcesy świętował m.in. Walk Away. Tym bardziej szkoda, że „Rewolucja zielona” nie została wydana zaraz po nagraniach. Mogłaby bowiem wnieść coś nowego, świeżego do polskiej sceny jazz-rocka. Mnogość stylistyk, do których odwołują się kompozycje (m.in. rap, czy reggae) oraz zastosowane koncepcje brzmieniowe czynią „Rewolucję zieloną” bardzo interesującą pozycją nie tylko z historycznego punktu widzenia.

Podsumowując, „Rewolucja zielona” to kawał kapitalnej muzyki dla każdego fana fusion lat ’80. Silna inspiracja amerykańską sceną jazz-rocka jest wyraźnie słyszalna. Mimo tego, udało się tu przemycić elementy bliższe naszemu sercu, jak choćby poezja Białoszewskiego. Album oczywiście nie jest szczególnie odkrywczy z dzisiejszej perspektywy czasu pod kątem muzycznym. Niemniej jednak, stanowi bardzo wartościowy zapis historyczny i prezentuje polską scenę fusion lat ’80 w nieco innym świetle.

Podobno Wojciech Konikiewicz nie wyklucza powrotu projektu na scenę. Życzyłbym sobie, aby tak się stało.

Andrzej Przybielski & Oleś Brothers - Short Farewell: The Lost Session (2021)

Andrzej Przybielski & Oleś Brothers

Andrzej Przybielski - trumpet
Marcin Oleś - bass
Bartłomiej Oleś - drums

Short Farewell: The Lost Session

AUDIO CAVE 2021/001

 

By Adam Baruch

This is an archival album presenting recordings made by the legendary Polish Jazz trumpeter Andrzej Przybielski, with the superb rhythm section consisting of bassist Marcin Oleś and his twin brother Bartłomiej Oleś (collectively known as Oleś Brothers). These recordings were considered lost for all these years until now, and after being miraculously recovered and restored, are presented here for the first time. The album presents eleven original compositions, one twelve minutes long and the others running from just under half a minute and up to about four minutes. Three of the compositions are credited to Przybielski, six to Oleś Brothers, one to the trio and finally one to Bartłomiej Oleś.

Przybielski and Oleś Brothers recorded together several times, going back to the turn of the Millennium. First they recorded two albums with the Custom Trio, which featured the Oleś Brothers: “Free Bop” and “Andrzej Przybielski & Custom Trio”. At the time the music included here was recorded (2003), they recorded the album “Abstract” and some years later (2010) they recorded the album “De Profundis”. This album is of course a precious addition to their common recorded legacy and a historic document of the outmost importance.

Przybielski, who died in 2011, was one of Polish Jazz most idiosyncratic figures, a fearless Avant-Gardist and a loner, who was rejected by the local Jazz mainstream and its establishment and as a result was offered relatively few opportunities to record and perform, always acting on the artistic fringe. His sublime technique allowed him to play with heartbreaking lyricism and uncompromising honesty, which sadly was recognized by but a few. I was extremely lucky and fortunate to meet and work with Przybielski during the recording of “The Book Of Job” album, which left an immense impression on me at the time.

It is great to see that Przybielski and his music are not forgotten and are preserved by those who knew and worked with him, carrying the legacy to the next generations. Projects, like this one, are beautiful examples of preservation of High Culture, especially in days when the world is being drowned is mindless excrements.

For true fans of Polish Jazz and European Avant-Garde, this album, despite its short playing time, is an absolute must, of course, literally worth its weight in gold. It would be sacrilegious to treat this music as accidental “leftovers” and it deserves to be treated with love and respect. A great memorial gesture celebrating the tenth anniversary of Przybielski’s premature departure.

Andrzej Przybielski & Oleś Brothers - Short Farewell: The Lost Session - premiera nowej płyty w wytwórni Audio Cave

Andrzej Przybielski - trąbka, flugelhorn

Marcin Oleś - kontrabas

Bartłomiej Oleś - perkusja

Andrzej Przybielski to jedna z najbardziej barwnych postaci w historii polskiej sceny jazzowej. Był muzykiem wielkiej wrażliwości, dysponował jednym z najpiękniejszych brzmień trąbki na świecie, dzięki czemu był rozpoznawalny po jednym dźwięku, co jest domeną jedynie największych artystów. Legendarny "Major" chadzał własnymi ścieżkami i zawsze pozostawał bezkompromisowy - zarówno w życiu, jak i w muzyce. Jego niespotykanego podejścia do gry i absolutnie wyjątkowego brzmienia nie sposób pomylić z kimkolwiek innym. Jednych zachwycał, innych irytował, ale nikogo nie pozostawiał obojętnym. Niestety nigdy nie udało mu się w pełni wyrazić swojego talentu. Uważał muzykę za sztukę wolności, nie uznawał prób. Jazz był dla niego synonimem kreatywności. Grał z wieloma, ale tylko nieliczni potrafili za nim nadążyć. Bez wątpienia udawało się to braciom Oleś, którzy z Przybielskim spotykali się wielokrotnie, a efekty ich wspólnej pracy zawsze były co najmniej intrygujące.

Andrzej Przybielski odszedł dziesięć lat temu. "Short Farewell: The Lost Session" to płyta, której nikt nie planował. O wspólnej sesji trębacza z braćmi Oleś z 2003 roku pamiętał jednak Bartłomiej Oleś. "Studio, w którym nagrywaliśmy, nie istnieje od lat. Wraz z jego zamknięciem przepadło również całe archiwum, w tym - jak myśleliśmy - dźwięki, które nagraliśmy z Andrzejem. Kiedy blisko dwadzieścia lat później rozmawiałem na ten temat z Michałem Rosickim, okazało się, że część nagrań, zrealizowanych przez niego dla HH Poland, prawdopodobnie znajduje się w jego prywatnym archiwum... Na moją prośbą przeszukał je i natrafił na ślady sesji z Andrzejem Przybielskim" - wspomina perkusista.

Odnaleziony materiał niemal cudem udało się odzyskać z taśm streamerowych - starego i dość kapryśnego reliktu przeszłości. Trzeba tu wspomnieć o ogromnym zaangażowaniu Bartłomieja Olesia, który z kilku zapomnianych miniatur i improwizacji ułożył niezwykle żywy, narracyjnie spójny i zaskakująco świeży album: "Short Farewell" jest powrotem do ludzi, miejsc i czasów, których już nie ma. Muzyka, która wtedy powstała i sposób w jaki graliśmy także należą do przeszłości. Jednak biorąc pod uwagę wielki deficyt nagrań Andrzeja, zdecydowaliśmy się podzielić tym krótkim, muzycznym pożegnaniem".

Efektem tych wszystkich starań jest właśnie album "Short Farewell: The Lost Session", na którym znajduje się niespełna pół godziny niepublikowanej dotąd nigdzie muzyki. Płyta jest również - a może przede wszystkim - hołdem dla legendarnego muzyka oraz jego niepowtarzalnego i niezwykle oryginalnego brzmienia, która ukazuje się dokładnie w dziesiątą rocznicę jego śmierci.

Zbigniew Lewandowski - Zbigniew Lewandowski (2020)

Zbigniew Lewandowski

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

Zbigniew Lewandowski

GAD 121

By Adam Baruch

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

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

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

Soyka & Przybielski – Sztuka Błądzenia (2000)

Soyka/Przybielski

Stanisław Soyka - piano, violin
Andrzej Przybielski - trumpet

Sztuka Błądzenia

POMATON 026





By Adam Baruch

This is an album by the Polish duo which comprises of the vocalist/pianist/violinist Stanisław Soyka and legendary trumpeter Andrzej Przybielski. Soyka does not perform any vocals on this album and appears only as pianist and violinist. The album, recorded during two sessions held a couple of months apart, presents fifteen relatively short freely improvised pieces, not credited on the album's artwork and therefore assumed to be co-composed by the duo members. Soyka and Przybielski cooperated on several recording projects over the years.

The music is obviously a result of searching for new forms of expression, especially as far as Soyka is concerned, since he is mostly associated with Blues and mainstream vocal Jazz, in complete contrast to Przybielski, who was always associated with the avant-garde Polish Jazz movement, although he could play brilliant melodic music as well, when required to do so. Therefore the effort to bridge between the natural environments of the two players is an impossible task and the result fails to create any relevant results. Soyka is completely lost in the Improvising Music idiom and Przybielski is just playing along.

Przybielski plays some brilliant trumpet passages, but they are completely detached from the piano and violin parts created by Syjka and sound completely out of place. Although the album's title promises the listener to discover the art of wandering, in fact he is sadly exposed to the failure of senseless wandering. Although every piece of recorded music by Przybielski is a treasure chest, this album is probably the weakest effort he was ever involved with and as a result it is only marginally interesting.

Question Mark – Laboratory (2010)

Question Mark

Bogusław Raatz - guitars, keyboard
Jacek Dołęga - bass guitar
Marek Matuszewski - drums
Robert Bielak - violin, guitar
Andrzej Przybielski - trumpet, cornet

Laboratory


QM 002

By Adam Baruch

This is an album by Polish Progressive Rock/Jazz-Rock Fusion trio Question Mark, led by guitarist Bogusław Raatz and including also bassist Jacek Dołęga and drummer Marek Matuszewski. Violinist/guitarist Robert Bielak guests on most of the tracks and the legendary trumpeter Andrzej Przybielski guests on one track. The album presents twelve original instrumental compositions by the trio members, three of which are three-part mini suites.

The music introduces some basic themes, which are then used as basis for extended instrumental improvisations, mostly by guitar and violin. The violin improvisations are more Jazz/Fusion oriented and the guitar improvisations are more Prog oriented, so the album is overall quite diverse and multifaceted. The rhythm section is very Rock oriented, which sets the rhythmic patters somewhat towards Heavy Rock, but not overwhelmingly so, which still leaves the instrumental improvisation to be the center of this music.

The track with Przybielski is of course outstanding and one can only regret that the entire album was not recorder with him, which would have turned it into a remarkable album. But at least we can hear the amazing trumpet work on one track, which of course is good enough reason to have this album. Przybielski had the chameleonic ability to feel completely at ease in any musical environment, from extreme avant-garde to commercial Pop, and Fusion/Rock suited him as well as anything else, which is evident here.

The violin work is also quite impressive and people interested in Fusion violin sound should find this album fascinating as well. This album is pretty obscure even on the Polish scene, so perhaps people reading these lines will make an effort to look it up now, as it is definitely worth investigating!

Andrzej Mitan/Grzegorz Rogala – Kiedy Umiera Czlowiek/Podniesienie (2013)

Andrzej Mitan/Grzegorz Rogala

Andrzej Mitan - vocals
Andrzej Bieżan - piano
Andrzej Przybielski - trumpet
Helmut Nadolski - bass
and others

Kiedy Umiera Człowiek/Podniesienie


TRZECIA FALA 001

By Adam Baruch

This DVD is another reminder of the fact that Polish Avant-Garde is alive and kicking and from time to time also takes a look back at its fascinating roots. The legendary figure of Andrzej Mitan, which re-appears in the limelight from time to time, mostly completely unexpectedly, is always full of surprises. This time Mitan produces a multi-media project combining music and cinematography (or video-art), resulting in this debut release on a new Polish label called Trzecia Fala, headed by a young Art enthusiast Łukasz Strzelczyk.

Back in the mid-1980s, when Poland was in its most depressing period, both politically and culturally, Polish Avant-Garde was enjoying a renaissance of sorts, taking advantage of the state of confusion that the Socialistic Regime was in due to the eminent collapse of the system already clearly apparent and as a result with a laxer censorship in place. Andrzej Mitan, who always believed in doing things rather than talking about them, released in 1984 a series of very bold musical statements by avant-garde musicians as five independently pressed LPs under the Alma Art moniker, which also presented outrageous and innovative packaging designed by avant-garde artists, including for example a barb-wired LP sleeve. Those five albums have become record collector's Holy Grail due to the fact that only 1000 copies of each album were pressed, reaching today astronomical prices on the collector's market. In 1987 four more albums appeared in a similar effort.

This DVD uses part of the first of these legendary album as the musical layer, combining it with a video-art by Polish experimental artists Grzegorz Rogala, who utilizes a technique called time stretching, which in this case takes a 3 seconds long fragment of video and stretches it to last for about seven minutes, which produces an almost still like picture with barely visible change. The combination of the tension induced by the video and the dramatic musical background produce together a powerful statement, which is also quite unique.

The music, which was recorded during the 1983 Jazz Jamboree in Warsaw (organized shortly after the Martial Law in Poland was lifted and obviously symbolizing an eruption of liberty), is performed by many Polish Avant-Garde legends, like bassist/leader Helmut Nadolski, vocalist Andrzej Mitan, pianist Andrzej Bieżan (who died shortly after the recording), trumpeter Andrzej Przybielski and others, appearing under the moniker of Jubileuszowa Orkiestra Helmuta Nadolskiego.

In retrospect it becomes clearly evident that these nine albums released by Mitan in the 1980s are extremely important documents of Polish Jazz and Polish Avant-Garde and absolutely have to be made available again, the sooner the better. Considering the fact that this DVD was also released as a numbered limited edition of 100 copies, it is by now as impossible to get as those legendary albums.

Stol Panski – Gadajace Drzewo (1997)

Stół Pański

Zbigniew Kunkowski - guitar
Andrzej Przybielski - trumpet
Sławomir Kulpowicz - keyboards
Janusz Smyk - flute & Saxophone
Krzysztof Ścierański - bass
Michał Zduniak - drums
and others

Gadające Drzewo

ZBIG 001

By Adam Baruch

This is the only album by Polish Jazz ensemble Stół Pański, led by guitarist/composer Zbigniew Kunkowski, which also featured trumpeter Andrzej Przybielski, flautist/saxophonist Janusz Smyk, keyboardist Sławomir Kulpowicz, bassist Krzysztof Ścierański, drummer Michał Zduniak, vocalist Joachim Janko, violinist Henryk Gembalski, saxophonist Aleksander Korecki and several other players. Some of these players used to be a decade earlier members of the legendary ensemble Free Cooperation. The album presents seven original compositions, all composed by Kunkowski and arranged by Kulpowicz. There is also a hidden/undocumented track, which follows the seven tracks, which is a free improvised piece.

Musically the album presents a fascinating amalgam of Jazz with Groove, Funk and World Music. Most of the music consists of a simple melody line played over a repetitive groove and serving as a background for extensive improvisations by the soloists. The main and most impressive soloist is of course the legendary trumpeter Andrzej Przybielski. Who plays on this album some of the most coherent and beautiful solos in his entire career, which bridge between his free improvising tendencies and the melodic approach he uses here. Especially impressive are his muted trumpet parts, which easily compare to those played by Miles Davis. Since every note of the Przybielski legacy is utterly sacred, this album is an absolutely must to every follower of the Polish Jazz trumpet heritage.

Overall this album is one of the hidden gems in the Polish Jazz discography, which disappeared from the shelves shortly after being released almost two decades ago and never reissued. True Polish Jazz fans should make every effort to get hold of a copy, at all costs.

Tribute To Miles Orchestra – Live (1998)

Tribute To Miles Orchestra

Mariusz Mielczarek - saxophone
Andrzej Przybielski - trumpet
Wojciech Konikiewicz - keyboards
Janusz Yanina Iwański - guitar
Marcin Pospieszalski - bass
Radek Maciński - drums
Piotr Iwicki - percussion

Live

WARNER MUSIC POLAND 039842388922

By Adam Baruch

This is the only album by Polish Jazz ensemble Tribute To Miles Orchestra (a.k.a. TTMO), led by keyboardist/composer Wojciech Konikiewicz, which also featured trumpeter Andrzej Przybielski, saxophonist Mariusz Mielczarek, guitarist Janusz Yanina Iwanski, bassist Marcin Pospieszalski, drummer Radek Macinski and percussionist (usually keyboardists) Piotr Iwicki. The album, which was recorded live at the legendary Akwarium club in Warsaw, presents six compositions, five of which are by Miles Davis and one is by Konikiewicz (dedicated to Davis).

Musically the album presents the style Miles Davis utilized during the last period of his career, when he switched to Warner Bros. and released the world shattering "Tutu", presenting a combination of Funk and electronic music, which at the time was as innovative as every other giant step Davis took during his career. The Polish Jazz musicians handle the Funk rhythmic challenge formidably and paraphrasing on the "white man can't jump" - white man definitely can Funk! There are plenty of superb solos and passionate moments, as well as interesting arrangements of earlier Davis compositions transcribed into the Funky style. The remarkable bass playing, which is the basis upon which this music is built, is the core element of its success. But all the participants are contributing extraordinarily and the overall result is way beyond what one might expect.

The most thrilling and astonishing facet of this album is the presence of trumpeter Andrzej Przybielski, who is ordinarily associated with the Free/avant-garde Polish scene. This is surely the most "conventional" recording that Przybielski ever took part in and his sound and imitation of the Miles Davis phrasing are simply marvelous. The invitation of Przybielski to participate on this album was a prophetic and bold move by Konikiewicz, who is therefore credited for showing us a face of the legendary trumpeter that we never knew about and is preserved here for posterity.

There is no doubt that the idea behind this album was influenced by the two Miles Davis visits in Poland, in 1983 and in 1988 (I attended that concert), which are generally accepted as life changing experience for the Polish Jazz scene, both collectively as a community and individually as directly influencing the local musicians. The second visit, which happened shortly before Poland was finally released from the grip of the Socialist regime, was a symbol of a changing reality, which at the time was just around the corner (pun intended).

The album suffers from some minor sound quality problems due to the recording conditions, but those are completely negligible in view of the musical contents and the historic significance of this album. The fact that this album disappeared from the shelves almost immediately after it was released and was never reissued is a crying shame.

Free Cooperation – Polish Radio Jazz Archives Vol.18 (2014)

Free Cooperation

Andrzej Przybielski - trumpet
Aleksander Korecki - saxophone
Wojciech Konikiewicz - keyboards
Janusz Yanina Iwanski - guitar
Wojciech Czajkowski - bass
and others

Polish Radio Jazz Archives Vol.18

POLSKIE RADIO 1668

By Adam Baruch

This is the eighteenth installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland's most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well.

This album is perhaps one of the most important pieces of the Polish Jazz legacy issued so far as a part of this series. It presents the cult Free Cooperation ensemble, an informal gathering of top young Polish Jazz musicians active in the 1980s, which in retrospect turned out to be the next generation of the local scene, which carried on the tradition into the difficult next decade, after Poland finally received its political independence. The music of Free Cooperation was an eccentric amalgam of cross-genre explorations, moving between Reggae and Jazz-Rock, through the Jazz Big Band tradition and far out into collective improvisation and even some World Music influences. The music was composed by the ensemble's members, like keyboardist Wojciech Konikiewicz, flautist/saxophonist Aleksander Korecki, guitarist Janusz Yanina Iwanski and bassist Wojciech Czajkowski.

Among the ensemble members we find the legendary trumpeter Andrzej Przybielski, whose solos on this album are absolutely breathtaking. Other members include trumpeters Antoni Gralak and Mariusz Stopnicki, saxophonists Mateusz Pospieszalski and Marek Kazana, trombonist Bronislaw Duzy, electric bassist Marcin Pospieszalski, violinist Henryk Gembalski and drummers Michal Zduniak and Sarandis Juvanudis. Piotr Bikont recited poetry, which accompanied some of the compositions.

Listening to the music today, almost three decades after it was recorded, clearly points out how revolutionary and ahead of its time it was, not only as far as the local scene is concerned, but on the entire European Jazz scale. Free Cooperation came to the public attention thanks to their appearance at the 1985 Jazz Jamboree festival, which is documented here on one of the tracks; the other six tracks were recorded at the Polish Radio Studio in Poznan some months earlier. The ensemble was active between 1985 and 1988 and recorded two albums for the Poljazz label, which are still waiting to be reissued, which is a true shame. In April 2014 the remaining members reactivated Free Cooperation playing a gig in a club in Krakow.

The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes/booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must.

Side Note: In 1985 I returned to Poland for the first time after leaving the country in 1967, in order to record the now legendary "The Book Of Job" project (follow the link to read the entire story). Andrzej Przybielski was one of the musicians participating in that project and he told me about Free Cooperation, which I than saw in person a few days after the recording was over on the stage of the Sala Kongresowa during the a.m. Jazz Jamboree performance, which of course left me flabbergasted. This album is therefore especially dear to my heart.

Andrzej Przybielski / Custom Trio – Andrzej Przybielski & Custom Trio (2001) ****1/2

Andrzej Przybielski - trumpet
Janusz Smyk - saxophone
Marin Oles - bass
Bartlomiej Brat Oles - drums

POLONIA 273







By Adam Baruch

This is the second album by legendary Polish Jazz trumpeter Andrzej Przybielski with the Custom Trio, which consists of saxophonist Janusz Smyk, bassist Marcin Oles and drummer Bartlomiej Brat Oles (collectively known as Oles Brothers – Poland's most respected Free Jazz rhythm section). The music was recorded live at a coffee house in Bydgoszcz, a town where Przybielski lived and which is an important center of Polish Free Jazz / Improvised Music activity. They perform seven original compositions, all composed by Przybielski except one co-composed with Tymon Tymanski, another legendary Polish Jazz figure and the pioneer of Yass. Sadly the sound quality is truly sub-standard, almost certainly captured on a portable cassette recorder, which hampers the otherwise sublime musical experience.

The music is of course simply magnificent, presenting the essence of Free Jazz at its absolute apex, performed with flair and complete dedication. Przybielski is at top form and his solos soar straight to heaven. The young and relatively little known Smyk also plays like there is no tomorrow, standing firmly shoulder to shoulder with the Maestro. The fabulous rhythm section drives the entire vehicle forward ceaselessly with outstanding energy and drive. In retrospect there are very few other Polish Jazz recordings of this kind, which can be considered similar in quality and importance.

Just a decade after this recording was made Przybielski died, neglected, lonely and forsaken. His talent was never recognized and appreciated during his lifetime, his complex personality and behavioral abnormalities estranged him from society and of course the establishment. Like so many great Artists the recognition, albeit marginal, was absolutely too little, too late. Therefore this album is another important piece of the limited legacy Przybielski left us to remember him by and of course an essential piece of Polish Jazz history.

Andrzej Przybielski - W sferze dotyku (In the sphere of touch) (1984)

Andrzej Przybielski - trumpet

W sferze dotyku (In the sphere of touch) (1984)

I was always fascinated by a person of Doubting Thomas. Unlike majority of people he seemed to me no stupid and vulgar man who could not believe in Jesus resurrection. I felt that in deepest sense his desire to actually touch his Master is the essence of humanity. Because in the sphere created by touch all most important human affairs are taking place. Starting from mothers hug soon after our birth. To first kiss exchanged between lovers. First blow you receive from enemies. And so on until the end when we can only pray to have some friendly soul to eventually close our eyes.

But can one somehow touch music? Well, I may surprise you, but I think it is possible. When music really touches me not only my mind answers but my body resonates as well. Honestly without my body answering to such a call by stepping, dancing, moving around I feel a bit like Doubting Thomas. I simply do not believe in music which leave me bodyless, ethereal, unreal. I am flesh and bone. I live and one day I will die. Music invades my soma and we are both in kind of erotical relation.

Well, I believe I will stop here. What is the point of talking about all these things? No point obviously. It is only a pretext to cast more light on music whose rehearsal is no ordinary experience. Music which touches innermost of my soul and trancends this moment into. Into what? Check it for yourself. Confront yourself with piece of art that is overstepping all boundaries of muscical genres, of space, of time. Clearly one of the most powerful recordings in history of Polish Jazz remains uknknown almost to everybody as much in Poland as abroad. Obscure to the absurd point that it is impossible for me to reconstruct the full line-up of of musicians who took part in this astonishing session. I know for sure only that it featured trumpeter Andrzej Przybielski. If you want to get to know more about him check my review of his "Open Session" (2011) or Adam Baruch's text about "De Profundis" (2011). Hero he was and damned, cursed, rejected. Two years after his death no less than throughout his whole life.

Track listing: 1. Promotion 2. Krzykousty 3. Free Bop Towarzyski 4. Big Jack 5. W Sferze Dotyku 6. On

Full album: http://www.mediafire.com/?vijy2uk4nzm

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

Mazzoll - Muzyka dla supersamow (2000)

Jerzy Mazzoll - bass clarinet

Andrzej Major Przybielski - trumpet
Tomasz Gwinciński - perkusja, guitar
Daniel Mackiewicz - keyboards
Michał Bunio Skrok - bass, samples



Muzyka dla supersamow (2000)

Outstanding! Jerzy Mazzoll, a clarinetist, enjoys on our scene somewhat a status of Thelonius Monk, Albert Ayler or Cecil Taylor. Undoubtely one of greatest innovayors by many he is still seen as force a bit too unpredictabile and out of control. Yet exactly because of such his traits he never ceases to surprise thus reviving spirit of freedom in Polish jazz. 

On this album he decided to enter a dialogue with major social changes that take place in Polish society since it adopted capitalism in 1989. One of its manifestions is spreading of great shopping centers in cities. They become places where people not only meet, they also stroll, flirt, pray. It is therefore great move by Mazzoll and his collegues to bring improvised music into such a space and let it resound it with an atmosphere of those places. In this task he was accompanied by his long time friend Tomek Gwinciński on drums and guitar, legendary trumpeter Andrzej Przybielski, Daniel Mackiewicz on keyboards and Michał Skrok who was responsible for electronically  generated samples.  

Music is challenging in best meaning of this word: communicative, obvioulsly referring to elevator-type typical supermarket music (tracks' titles are simply names of products in shop) but at the same time a bit weird, unquieting and very inspiring. Speaking shortly, outstanding achievement and clearly influencing by its aesthetics many projects of younger generation musisians such as as Pink Freud, SzaZa or recently Horny Trees.

Tracklisting:
01. SAŁATA LODOWAI+ 1X
02. OGÓREK DŁUGI I+0.535kgx2.99
03. SALAMI WYKWINTNE 0.190kg x33.95
04. WYKAŁACZKI 300SZT
05. KETCH. PIK 1X 3.65
06. MIET. SZCZEC. 12P 1X1.19
07. MAJONEZ BABUNI 400ML
08. BROKUŁY 1X 6.03
09. BROKUŁY 2X 3.12
10. PSTRĄG FIL.B/S+
11. KWOTA OPODATKOWANA A
12. KWOTA OPODATKOWANA B
13. KWOTA OPODATKOWANA C
14. Podatek PTU "Gaj" (sł. A. Osiecka, muz. M. Grechuta)

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

Czesław Niemen - Marionetki (Polskie Nagrania, 1972)

Czeslaw Niemen - organ, piano, vocals

Apostolis Anthimos - guitar
Andrzej Przybielski - trumpet
Helmut Nadolski - bass, vocals
Jerzy Piotrowski - drums
Jozef Skrzek - bass, piano, organ, vocals

Marionetki (Polskie Nagrania, 1972)

This is the first Niemen album with the then SBB members. Psychedelic and blues components still here, with jazz and avantgarde elements." Marionetki" is a mournful ballad with church sounding organ and calm trumpet. "Piosenka Dla Zmarłej" starts with floating organ and continues with Niemen's soulful vocal and bluesy guitar of Anthimos. "Z Pierwszych Ważniejszych Odkryc"is a pure hendrixian psychedelic blues. Excellent ! "Ptaszek" is a filler with vocal , upright bass and laughing. "Com Uczynił": Niemen steps in the jazz territory: agressive hammond playing a'la Quatermass and soaring trumpet. Second vinyl begins the "Requiem Dla Van Gogha".This is a pure contemporary piece with reading role of the upright bass, prepared piano and space sounding organ, infuenced by John Cage. "Sariusz" is an another filler. The last "Inicjały" is very Miles Davis- In Silent way sounding, with Niemen's vocal acrobatic. This is very interesting, experimental album. (by fluiddruid)

This album shows a phase of improvisation and psychedelic rock made ​​in the seventies in Poland Psychedelic moments presents a chaotic context, which goes to other moments of pure rock We can hear some jazz improvisation in the context of fusion, mixed with moments ethnic backgrounds, which makes this multifaceted album difficult to appreciate in the first hearings. The lyrics are in Polish and I know your message but the voice is pleasant and is not the main component of this work It is a good time to appreciate jazz fusion and enjoy good times rock, but we have to get used to enjoy these more complex jobs that can only be properly assessed after several auditions. Another great Polish author of Progressive and compulsory for lovers of progressive rock in Eastern Europe, which is high quality and to discover these unique works 4 stars but 4,5 really. (by Joao Paulo)

 

Tracklisting: 1.Requiem dla Van Gogha, 2.Sariusz, 3.Inicjały, 4.Marionetki, 5.Piosenka dla zmarłej, 6.Z pierwszych ważniejszych odkryć, 7.Ptaszek, 8.Com uczynił

source: http://www.progarchives.com

Sing Sing Penelope / Andrzej Przybielski – Stirli People – In Jazzga (Monotype Rec., 2009) by Adam Baruch

Sing Sing Penelope (band)

Andrzej Przybielski - trumpet, flugelhorn, cornet, pocket trumpet

Wojtek Jachna - trumpet
Tomasz Glazik - tenor & baritone saxophones
Daniel Mackiewicz - electric piano, organ, percussion
Patryk Węcławek - bass
Rafał Gorzycki - drums, percussion

Stirli People – In Jazzga (Monotype Rec., 2009)

This phenomenal recording presents a somewhat unlikely cooperation between young Polish ensemble Sing Sing Penelope and the dark prince of Polish Jazz avant-garde, genius trumpeter / composer Andrzej Przybielski (now sadly departed). Sing Sing Penelope, formed by Polish drummer / composer Rafal Gorzycki also includes brilliant trumpeter Wojciech Jachna, saxophonist Tomasz Glazik, keyboardist Daniel Mackiewicz and bassist Patryk Weclawek. They recorded three albums since the mid-2000s, all of which are excellent, and this is their fourth release. 

Przybielski was a key figure on the Polish avant-garde scene since the 1960s, and his scarce, but mostly brilliant recorded legacy is a prime example of the Eastern-European Jazz at its most creative best. The music created by the young members of the ensemble and the veteran trumpeter is a wonderful surprise, completely unexpected not only due to the age and musical background differences but mainly because of the vibrancy and vitality of the result, which resembles the power and verve of the early electric Miles Davis ensembles. The sound is very modern and up to date, mostly up tempo and sometimes quite Rock oriented, but always within the Jazz aesthetic and always simply radiant. Of the seven composition presented on the album Przybielski is credited with three, another three are co-credited to him and the group and the last one is by the group. 

The most striking feature of the album is of course the double trumpet front line, which is simply phenomenal. Jachna already proved his ability as a player on several albums featuring his unique talents and playing alongside a genius such as Przybielski must have proven a unique inspiration, which is evident from the result. Przybielski himself simply plays beautifully all the way and this recording is definitely one of his best moments. As much as two saxophones lineups are very popular in Jazz, a two trumpets ones are almost inexistent, which is a great pity, as this recording proves beyond any doubt. But of course all the participants of this recording deserve to be praised, as everybody contributes towards the unprecedented success. Overall this is one of the strongest Polish Jazz albums recorded recently and a grand memorial to the talents of Andrzej Przybielski, who received almost no recognition before his untimely and tragic death. Definitely a must to every connoisseur of Polish and Eastern-European Jazz!

Track listing: 1. No, a reszta gdzie? [00:25]; 2. W arce [06:19]; 3. Stirli People [18:57]; 4. Do krwi [04:16]; 5. Góru [09:38]; 6. Talkin' Part II [06:05]; 7. Hosanna SSP [10:45]

By Adam Baruch

http://adambaruch.com/

Custom Trio / Andrzej Przybielski – Free Bop (Polonia Records, 2000)

Andrzej Przybielski - trumpet, flugelhorn

Custom Trio (band)

Krzysztof Kapel - tenor & soprano sax
Marcin Oleś - bass
Bartłomiej Brat Oleś - drums

Free Bop (Polonia Records, 2000)

This is probably the best album recorded by the recently deceased Polish trumpet virtuoso / composer Andrzej Przybielski, who remains largely unknown to most Jazz aficionados even in his native country. An eccentric and outsider, Przybielski was blessed with an incredible talent, which unfortunately was recognized only by very few connoisseurs. This studio recording, obviously well planned and relaxed, allows the great trumpeter to relax fully and play his heart out to the fullest, accompanied by excellent musicians worthy of his company, which are called Custom Trio. The trio consists of saxophonist Krzysztof Kapel and the Oles Brothers: bassist Marcin Oles and drummer Bartlomiej Brat Oles – Poland's Free Jazz most notable rhythm section. Together as a quartet they perform nine original compositions, five of which were composed by Przybielski and the remaining four by B.B. Oles.

The performances are absolutely stellar and the album is one of the best Polish (and definitely not only Polish) Jazz albums ever recorded. As much as that sounds overblown, if you can listen to this music, you'll be instantly convinced. Any other player placed opposite (or side by side) a genius like Przybielski is in a great danger of appearing pale. Luckily Kapel is capably to blow like only a few can, matching everything that Przybielski plays with a vengeance. This is simply unbelievable music, which stands easily opposite such legendary sessions as the early Ornette Coleman with Don Cherry. In short this is essential Jazz, which can only be played by a very small group of exceptionally gifted players, which is definitely the case here. Brilliant!

1. A.P. Custom Signal; 2. Free Bop; 3. Motyw romantyczny; 4. Vertigo; 5. Sweet Music; 6. Hasło; 7. W Arce; 8. Requiem in Blue; 9. Crazy Corps



By Adam Baruch
http://adambaruch.com/

Andrzej Przybielski - Abstracy (Not Two, 2005) by Adam Baruch

Andrzej Przybielski - trumpet, fluegelhorn, pocket trumpet

Marcin Oleś - double bass
Bartłomiej Brat Oleś - drums, bells, gong

Abstracy (Not Two, 2005)

This is the first album recorded by Polish avant-garde Jazz trumpeter / composer Andrzej Przybielski with the fantastic rhythm section of Oles Brothers: bassist Marcin Oles and drummer Bartlomiej Brat Oles, and a unique document of the genius of Przybielski at work. The sessions, completely spontaneous and unplanned, capture on the spot improvisations by the trio, based of sketchy melodies and somewhat chaotic instruction given to the two "youngsters" by the legendary player seconds before the music starts. The relaxed atmosphere of this sessions and apparent good mood of the leader (the tape keeps running when he makes his little jokes) results in some of the best moments of Przybielski's playing ever, full of energy, Godly inspiration and great talent. Unfortunately with Przybielski's untimely death in February 2011, all we have lest are his rather scarce recordings, which should be cherished for generations to come. It's interesting to compare this recording with the posthumously released "De Profundis", recorded by the same trio, some seven years apart. Some of the music on both recordings originated in the same themes, but is completely different of course. This music is an absolute treasure in every respect and one can only hope that more people will discover this music, now saved for posterity. Absolute must to all avant-garde Jazz connoisseurs!

Track list: 1. Openscat; 2. Ride; 3. Afroblue; 4. Skok; 5. Ballada; 6. Epitafium dla Jacka; 7. Cherry; 8. Afroblue II; 9. Final

Different band and music but presence of Andrzej Przybielski as overwhelming as ever...

By Adam Baruch
http://adambaruch.com/

Andrzej Przybielski – Tren Zalobny (Multikulti, 2011) by Adam Baruch

Andrzej Przybielski - trumpet, pocket trumpet, flugelhorn, cornet

Jacek Mazurkiewicz - double bass, electronics
Paweł 'Model' Osicki - drums

Tren Żałobny (Multikulti, 2011)

This is the third posthumous release (in a few months) by the great Polish avant-garde trumpeter / composer Andrzej Przybielski, which is about as many albums as he released under his name during his entire life. This sad statistic once more reminds us that Art should be appreciated preferably while the Artist is still with us rather than when he's gone. But, "better late than never", which is a solace for the fools, applies nevertheless. This album collects the recordings (both live and studio) Przybielski made with two young musicians: bassist Jacek Mazurkiewicz and drummer Pawel Osicki, which were one of his last projects. 

The music is quite different from the acoustic trio performances with the Oles Brothers, as it also includes some electronically generated sound layers, vocal parts (with Przybielski's distinctive voice) and other effects, which expand the scope significantly. In many respects this is a lesser known side of Przybielski's activity, although he was involved with many innovative projects his entire life, some of which lied well beyond the Jazz idiom. Of course the music is brilliant and challenging as always in his case and attentive and open-minded listeners should find here an unusual and most rewarding musical experience. The album is an overwhelming proof of Przybielski's versatility and complete disregard of conventions and limitations, which makes his untimely death even more tragic, as he definitely was one of very few of his class. Modern avant-garde Jazz lovers rejoice!

Track list: 1. Intro [Andrzej Przybielski]; 2. Tren Żałobny [1]; 3. De Profundis; 4. Rotacje II, part 1; 5. Rotacje II, part 2; 6. Rotacje II, part 3 [Guru]; 7. Sacrum; 8. Tren Żałobny [2]; 9. Outro

By Adam Baruch
http://adambaruch.com/

Tomasz Stanko – Peyotl - Witkacy (Polonia Records, 1996)

Tomasz Stanko - trumpet

Janusz Skowron - synthesizer Yamaha DX7

Antymos Apostolis - guitars, drums and percussion
Vitold Rek - electric and acoustic bass
Zbigniew Brysiak - percussion
Tadeusz Sudnik - synthi...aks
Andrzej "Major" Przybielski - trumpet
Marek Walczewski - voice 

Peyotl - Witkacy (Polonia Records, 1996)

(Editor) This is re-issue of album originally released in 1987 by Poljazz.

This is probably the most significant recording by Polish trumpeter virtuoso / composer Tomasz Stanko, surely at least among his Polish recordings before his later ECM period. Following Mile Davis, Stanko switched to Jazz-Rock Fusion (albeit a decade later) and his 1980s output with his Freelectronic ensemble is radically different from the Free Jazz he played in the 1970s. 

This double album consists of one studio recording and one live recording, both expressing Stanko's power as a performer and a composer to the max. The studio album, which was compiled over a period of two years, presents music composed by Stanko at the period when he was experimenting with hallucinogens and was deeply influenced by the writings of the Polish mystic / philosopher / avant-garde artist Witkacy (Stanislaw Ignacy Witkiewicz), who was also an early experimenter with drugs. Text excerpts from Witkacy's book about drugs are recited and closely incorporated into the fascinating music, which floats over a repetitious hypnotic vamp and layers of electronic keyboard sounds. The highlight of this album is undoubtedly the inclusion of a second genius trumpet player, Andrzej Przybielski, who exchanges licks with Stanko in a brilliant manner. The fact that Stanko invited Przybielski to participate in this recording is a testimony of how highly he regarded his unbelievable talent. Other musicians participating in these recordings are: keyboardists Janusz Skowron and Tadeusz Sudnik, guitarist Apostolis Anthimos, bassist Witold Szczurek, and drummer Zbigniew Barysiak. The recitation is by the great actor Marek Walczewski. 

In retrospect the fact that this music was recorded almost 30 years ago seem incomprehensible, as it so much more advanced that almost any music done these days. Stanko's genius definitely reaches here one of its great peaks, which luckily for us was captured for posterity. Sadly this album is probably little known by his worldwide fan base, as it is very difficult to find, which of course is a shame. If one must own just one Stanko album, this is it, at least as far as I'm concerned. Absolute unadulterated genius!

Author: Adam Baruch

http://www.adambaruch.com/

check also his music boutique: https://www.jazzis.com/shop/

Maestro Trytony - Enoptronia (Mozg, 1996)

Maestro Trytony (band)

Tomasz Gwincinski - guitar, leader
Renata Suchodolska - cello
Tomasz Pawlicki - flute, keyboards
Tomasz Hesse - bass
Rafal Gorzycki - drums

special guests:
Andrzej Przybielski - trumpet
Marta Handschke - voice
Jacek Majewski - conga
Wojciech Kuczyniecki - bass clarinet
Wojciech Gibas - fagot
Tadeusz Michalski - bass clarinet

Mozg, 1997

Maestro Trytony is key group in history of Polish avantgarde scene. Its history dates back to 1991 when trio Trytony was brought to life by Tomasz Gwińciński (guitarist) together with Jacek Pawlicki (doublebass) and Jacek Buhl (drums). This squad recorded two albums: "Tańce Bydgoskie" (1991) and "Zarys Matematyki Niewinnej - koncert w Mózgu" (1995) while Tomasz Gwińciński also recorded with Jerzy Mazzoll and his Artythmic Perfection group (check their "A" album) and Łoskot (listen to excellent "Sun"). All these projects made Gwińciński key player in lively Bydgoszcz music scene which focused first around Trytony club (that's where name of band comes from) and then around famous Mózg club.

But Gwińciński did not give up on Trytony and it happened around that time that he had some theater projects (BTW his favourite occupation up to present day) where he mostly used classical music language. He therefore started experiments (as we read on Mózg web page) in "blending motifs of contemporary chamber music (Bartok, Strawiński, Ines) with New York avantjazz aesthetics and that peculiar Polish lyricism a'la Komeda". To achieve new sound he needed bigger band so he began to cooperate with whole new set of musicians, a much bigger group than previously, among whom there were now many classically trained players. In years to come especially fruitful turned out to be Gwińciński relationship with drummer Rafał Gorzycki (check excellent albums he made with bands called Ecstasy Project or Sing Sing Penelope) and with legendary trumpeter Andrzej Przybielski. These new band recorded in 1997 new album titled "Enoptronia" which may be described as "a tone poem" and immediately became one the most important albums as far as yass movement (new free and avantgarde music in Poland) is concerned. Obligatory!   

Just a sample of Maestro Trytony sound:

Author of text: Maciej Nowotny

http://kochamjazz.blox.pl/html