Marcin Łosik Trio – Emotional Phrasing (2015)

Marcin Łosik Trio

Marcin Łosik - piano
Ksawery Wójciński - bass
Robert Rasz - drums

Emotional Phrasing

DOT TIME 9037




By Adam Baruch

This is the debut album by Polish Jazz pianist/composer Marcin Łosik, recorded in a classic piano trio format with bassist Ksawery Wójciński and drummer Robert Rasz. It presents eight original compositions, all by Łosik.

From the very onset of the music it is immediately clear that Łosik is yet another representative of the incredibly talented new wave of Polish Jazz pianists/composers that is erupting on the local scene in the last decade. His highly sensitive, versatile and emotional piano playing is completely inconsistent with his age and so are his compositional abilities, which are revealed in full herein.

The music reflects beautifully the typical Polish approach to Jazz composition, which merges lyricism and romanticism with highly advanced harmonic development, leaving enough breathing space and air for the musicians to express themselves and to have a mystery element floating somewhere between the notes. All eight compositions are equally interesting and intelligent, which by itself is already an outstanding achievement.

The individual contributions by the trio members are all stellar, but all quite different from each other. Losik plays with passion but strokes the keys delicately and with great sensitivity, improvising elegantly and often playing around with the tempi, which could be well described by the album's title. He leaves a lot of space for Wójciński, who is carrying the burden of the metronome brilliantly along the way but also plays several dazzling solos. I must say that this is definitely some the best playing I have heard by Wójciński over the years, solid, precise, highly melodic and technically brilliant. Rasz keeps his drumming well in check, painting the rhythmic textures amicably and most of all not trying to dominate the music. As a trio these musicians function as close to perfection as one might expect, obviously communicating and cooperating at all times.

If this is what Łosik is able to show us on his debut album, it becomes truly frightening to contemplate what he can achieve in a decade. The young European musicians of today show a level of education and proficiency which musicians half a century ago achieved only after decades of playing experience. In any case this is definitely a most impressive debut, which deserves the attention of all fans of European Jazz, wherever they might be. Well done indeed!

Uri Caine/Ksawery Wójciński/Robert Rasz - Szpilman (2014) *****

Uri Caine / Ksawery Wójciński / Robert Rasz 

Uri Caine - piano

Ksawery Wójciński - double bass

Robert Rasz - drums

Szpilman (2014)




By Maciej Nowotny

Thanks to Roman Polański film "Pianist", awarded with 3 Oscars in 2003, Władysław Szpilman became universally one of the symbols of the survivors of Holocaust. But few people abroad or even in his native Poland were acquainted to any degree with his musical oeuvre. The reason for this is that Szpilman was first of all the performer and composer of very light and noncommittal popular tunes. Our grandparents or even parents knew melodies he composed by heart and I remember my father to whistle it to himself while he was shaving in the morning. But over last decades the complete change in the musical tastes of younger generations saw Szpilman songs less and less performed. Even the success of Polański movie did not change the situation and one must confess with complete surprise that this specific project is probably the first serious try to interpret songs written by Szpilman in jazz manner. That is not merely reproducing how they were played hundreds or thousands times before but digging deeper to try to discover them anew.

The occasion for this was created by the order from the Tzadik festival in Poznań for its 2013 edition and by the support of Narodowy Instytut Audiowizualny which together with Multikulti recording label was responsible for releasing this album. In this case the public money was spent well as not only the legacy of the exceptional artist was reminded to the public but also young promising musicians were given the opportunity to prove themselves in inspiring project with the world class artist. Uri Caine does not need to be presented to world jazz audience so let me only add that just from the start he seemed to me the perfect choice. Like Szpilman himself his style is built first of all on the strong foundation of classical music with jazz or pop being complementary. Last but not least he also is of the Jewish origin as Szpilman was.

He is supported on this album by the double-bassist Ksawery Wójciński and the drummer Robert Rasz - arguably one the most "restless minds" in young Polish improvised music. The more one must admire how well they fitted in Caine's orthodox approach to this music. All tunes are easy to recognize and only gradually with the music and album unfolding the Caine and his young collaborators are starting to reveal to us some deeper layers of Szpilman and their own musical ideas. Although I admire Caine's technical proficiency and unbounded creativity I must confess that without Wójciński spontaneity and Rasz unpredictability it would feel somehow incomplete. All in all it is unquestionably the unique album and one of the strong contenders for the title of the Best Album in 2014 in Polish jazz.

Aga Kiepuszewska – Silence (2012)

Aga Kiepuszewska - vocals
Nikola Kolodziejczyk - piano
Maciej Szczycinski - bass
Robert Rasz - drums

POLKIE RADIO 1519





by Adam Baruch

This is the debut solo album by Polish Jazz vocalist / songwriter Aga Kiepuszewska, who also took part in the phenomenal album she recorded with the Polish Jazz ensemble Soundcheck, called "Marysia – Wiersze Z Kazachstanu". On this album Aga presents ten original songs, five of which were composed by Soundcheck's leader, saxophonist Maciej Kocinski, two by keyboardist Nikola Kolodziejczyk, who accompanies Aga on this album, another two by keyboardist Kamil Urbanski and the remaining one by Aga herself. Aga wrote the lyrics to eight of the songs (two in English and the rest in Polish) and the remaining two are poems by the great Polish poet and Nobel Prize laureate Czeslaw Milosz. One of the songs appears twice on the album, the second time as a bonus track in the form of a radio edit. The two other musicians supporting Aga on this album are bassist Maciej Szczycinski and drummer Robert Rasz.

This is definitely a very ambitious project, which reflects Aga's many talents at their best. The fact that the album made little impact on the local scene is truly criminal, and the only logical explanation could be the astonishing plentitude of wonderful Jazz being produced in Poland these days, but nevertheless this is an album, which deserves much more attention.

As a vocalist, Aga emerges full of self confidence and wonderful sensibility, which is evident from the moment she opens her mouth. She is in full control of her voice, both on the acoustic as well as the emotional scales. Her timbre and mannerisms are remarkably close to those of the "other" Aga of Polish Jazz, Aga Zaryan of course. Perhaps the fact that Aga Kiepuszewska chose to sing deeply lyrical and poetic material and her innermost feelings are reflected in her vocals are the cause of the proximity. However, there is no attempt here of consciously copying Zaryan's style, and the young Kiepuszewska will surely reach her completely unique and personal manner of expression in the not too distant feature.

The amazing lyrics Aga wrote for her songs are another big surprise, which in the age when completely moronic songs rule the airwaves, are truly exceptional. Deeply personal, these little pearls are remarkably poetic and meaningful, fitting the music perfectly. Good lyrics are so difficult to find these days and this album is full of them; how wonderful!

Aga gets a superb support from the trio, which accompanies her with obvious empathy and elegance. Kolodziejczyk is a great player with virtuosic qualities and remarkable sensitivity, and is one of the upcoming stars of the Polish Jazz scene. Szczycinski, who plays solidly and supportively, also uses arco passages and even utilizes the Middle Eastern oud to make the outmost effort to make this music as perfect as possible. Rasz also makes the best of it all, playing with varying intensity always in sync with the music and utilizing additional percussion instruments to enhance the overall result.

All in all this is a remarkable debut effort, which hopefully is a forerunner to other great achievements, just please Aga don't keep us in suspense for too long. This is wholeheartedly recommended to all lovers of vocal Jazz, Polish Jazz and good music in all forms and shapes. Kudos!

Rasz, Kucz, Kwiatkowski - Prenty (2012)

Rasz, Kucz, Kwiatkowski (band)

Robert Rasz - drumms, percussions
Konrad Kucz - Oriental and Western virtual instruments, loops
Mateusz Kwiatkowski - cello

guest: Krzysztof Brade - guitar samplings

Prenty (2012)

By Maciej Nowotny

Human is not only a certain, rather peculiar, animal species but also an idea. I can imagine that it may once exist without homo sapiens although it would make me sad. Can machines be human? No. I don't think they ever will be. But perhaps they will snob to behave like human. At which area it seems possible? Perhaps music. To a certain degree it has already started. Ages ago it all began with human voice and later with instruments made of natural materials: pipe of reed, drum of skin or lira of tendons. Each epoch brings its own wave of instruments following slow development of industrial talents of human kind: organs, piano or saxophone. Finally new age of computers has come. Moore's law stating that the computing power doubles approximately every two years means also that at this insane pace doubles also possibilities in computer driven generation of yet unheard combinations of new sounds. If you like to check how creative the use of this technology may be I recommend you to listen to this album. 

It is a perfect mixture of industrial, ambient, modern dance and classical music with minimal yet important addition of jazz spontaneity and improvisation. Robert Rasz is a drummer and percussionist I have observed carefully for last couple of years. His versatility allows him to fit well as much in indie pop music projects (like with Gaba Kulka on excellent "Hat, Rabbit") or in avant jazz enterprises (like in fabulous "Afekty" recorded in trio with Wacław Zimpel and Wojtek Traczyk). Konrad Kucz is a composer and producer who specializes in ambient music (he also worked together with Gaba Kulka on her "Sleep Walk"). On this record he operated different Oriental and Western virtual instruments and created loops. Mateusz Kwiatkowski is classically trained cellist and composer who collaborated with Raphael Rogiński, Ksawery Wójciński or Paweł Postaremczak in ephemeral but interesting groups striving to enliven classical music with infusion of modern dance music.

It would be difficult to find three musicians of more different backgrounds yet creating music that coherent! In terms of mood it sounds as a soundtrack to would-be sequel to cult Ridley Scott "Blade Runner" movie. Disturbing, insane, ghastly: it conjures true magic causing alternately chills and ecstasy. It is true one of the most astonishing sonic adventures in Polish music last year!

Promo mix:

and a video clip to first track on this album:

Gaba Kulka - Hat, Rabbit (2009)

Gaba Kulka 

vocals, piano, keyboards - Gaba
drums - Robert Rasz
guitar - Piotr Aleksandrowicz
bass, cowbell - Kornel Jasiński
violin (Lady Celeste) - Konstanty Kulka
additional vocals (Aaa, Niejasności) - Czesław Mozil
saxophone, flute - Tomasz Duda
trumpet - Tomasz Ziętek
trombone - Marcin Muras

Hat, Rabbit (2009)

'Hat, rabbit' went gold the year it was released (2009), it was also nominated for Best Alternative Album (at the Polish record industry awards - Fryderyki), garnered high critical praise, and won over a great number of fans, beginning a new chapter for Gaba. 

Most notably, it was her first departure from solo-piano sound - 'Hat, rabbit' is most of all a band record (recorded with her longtime stage allies, Raalya), and a live-band energy permeates almost every song. And while it has its share of mysterious, dark ballads, the over-the-top-cabaret-rock prevails. Think 'Queen', and you won't be far from the mark! 

This time, we've included an extra track - 'Devil's Headlights', which was recorded for the album but dropped shortly before release (mostly because we wanted to keep the album a certain length, and partly because it didn't fit in). And now here it is! 

Track listing:
2. Heard the Light
3. Aaa
4. Niejasnośc
5. Love Me
6. Challenger
7. Emily
8. Kara Niny
9. Lady Celeste
10. Propaganda
11. Bosso
12. Słuchaj
13. Over

source:  http://music.gabakulka.com

The Light - Afekty (MultiKulti, 2009)

The Light (band)

Wacław Zimpel - clarinet, bass clarinet

Robert Rasz - drums
Wojciech Traczyk - bass

Afekty (MultiKulti, 2009)

Almost exactly a year ago, a wrote this enthusiastic review of "The Light", the debut album of the Polish trio consisting of Wacław Zimpel on clarinet, bass clarinet, and tarogato, Wojciech Traczyk on bass, and Robert Rasz on drums. Now, with their sophomore album, they confirm their quality, musical skills and vision. It is even more focused than the first album, and they perform only their own material. The approach is still as gentle, sensitive and free as the previous one, with great explorations of timbre and sound, finding a wonderful balance between rhythmic drive as on the last track "Shangri La", and lyrical and emotional delivery, as on "Rozpacz", on which a plaintive tarogato dialogues with a mourning arco, or intense creativity, as on "Hridaja", or percussive improv as on "Sattwa" on which the bass clarinet is propulsed forward by Rasz's drumming, short, compact and powerful. Despite all the adventure and freedom of spirit, the trio is still fully entrenched in the jazz tradition, a great vantage point from which to explore. And the best thing is that the three musicians share the same vision and hence interact to perfection on this highly varied album. Highly recommended.

Author: Stef Gijssels

http://polish-jazz.blogspot.com/