Paweł Niewiadomski Quartet – Introduction (2015)

Paweł Niewiadomski Quartet

Paweł Niewiadomski - trombone
Jakub Skowroński - tenor saxophone
Ksawery Wójciński - double bass
Wojciech Romanowski - drums

Introduction

FOR TUNE 0085

By Adam Baruch

This is the debut album by Polish trombonist/composer Paweł Niewiadomski recorded in a quartet setting with saxophonist Jakub Skowroński, bassist Ksawery Wójciński and drummer Wojciech Romanowski. The album presents six original compositions, all by Niewiadomski.

Trombone-led Jazz ensembles are relatively rare and therefore every time one of those lands on my lap it receives special attention. In this case the attention turned out to we well justified, as this album is definitely a surprising gem. The music, although based on melodic themes stated at the beginning, develops into a Free Form group improvisation, which are full of passion and imaginative approach to the expanded Jazz idiom.

Although still relatively young, these musicians are all experienced improvisers and excellent instrumentalists, with skills, technique and evident talent. These qualities, combined with the obvious camaraderie and mutual respect between the quartet members enables a creative atmosphere which results in very effective musical achievements. The resulting music is cohesive, highly passionate and aesthetically just right, which is a pleasure to listen to.

The individual statements by the quartet members are all top notch: Niewiadomski pushes the limited trombone possibilities into the realm of physically impossible, Skowroński adds his convoluted saxophone statements, Wójciński holds the entire album together with his superb bass pulsations, which are nothing short of sheer virtuosity and finally Romanowski adds fire and brimstone to the proceedings, topping the overall sound with condensed rhythmic ornaments. The trombone/saxophone unisono parts, which later develop into fiery exchanges, are the highlights of this album, but the overall level of performances is incredibly high.

This is definitely a most impressive debut, introducing another player on the Polish Improvised Music scene, which is worth being followed, expecting only the best to come. This album will be very hard to beat, so I'm already waiting to hear the follow up, but in the meantime this is something the trombone connoisseurs and Polish Jazz fans will definitely not want to miss. Magnificent playing!

Piotr Damasiewicz Quartet - Mnemotaksja (2014)

Piotr Damasiewicz - trumpet
Gerard Lebik - tenor saxophone, contralto clarinet
Maciej Garbowski - double bass
Wojciech Romanowski - drums

FOR TUNE 0028






By Adam Baruch

This is the debut album by the Polish Jazz quartet led by trumpeter / composer Piotr Damasiewicz, which also includes saxophonist Gerard Lebik, bassist Maciej Garbowski and drummer Wojciech Romanowski. The music was conceived and created around 2008 / 2009, when the quartet played and rehearsed inside the Baptist Church in the center of Wroclaw, and where it was also eventually recorded live but without audience. It was available as an obscure private edition in a CD-R version and finally got its long overdue formal release, after a careful remix and sonic improvement by the excellent For Tune label. The album consists of ten original compositions, nine of which are by Damasiewicz and one by Garbowski.

There is no doubt that Damasiewicz manages to establish a well deserved position as one of the top young Polish Jazz trumpeters on the contemporary scene, which is not by any means self-understandable considering the truly fierce competition and incredible flow of talent in that area. It is worth to compare this album with the trio recording Garbowski and Damasiewicz made at about the same time, called "Elements", which to some extent has a similar atmosphere.

Stylistically the album sounds quite "retro", resembling the glorious moments when modern Polish Jazz was at the first peak of its aesthetic and artistic development, led by the Godfathers of the genre like Krzysztof Komeda, Tomasz Stanko and others. The compositions are very much in the same mood as the music played then: romantic, minimalistic, delicate and full of lyricism and intrinsic melancholy. The same elements that made that music created half a Century ago completely eternal and outside of the time scale, are at work here as well. This music might have been made any time between the 1960s and now and would have fitted perfectly, being simply aloof from fads and fashions.

The performances are also exceptional in every respect, both individually and collectively. Everything is kept in a relaxed, but disciplined mode, with conversation between the musicians being kept at the epicenter. The solos are inconspicuous, emerging slowly from the melodic heads, gently prompted by the superb rhythm section, which demonstrates an incredible affinity towards the music at all times, being as much creative as the two horns every step of the way. Garbowski has already an established record as one of the leading Polish Jazz bassists, but Romanowski, who also cooperates with another superb Polish Jazz trumpeter, Artur Majewski, is a true discovery herein.

Overall this is definitely one of the strongest and most significant statements on the Polish Jazz scene in the last decade, even though Damasiewicz has moved on in the meantime towards more improvised music beyond any stylistic conventions. Even if this album should remain as his only contribution to modern Polish Jazz in the true sense of the Jazz tradition, it will still be a remarkable achievement. This is also one of the most remarkable albums in the fast growing catalogue of the For Tune label, certainly from a historic perspective. Undoubtedly this is an album every true connoisseur of Jazz will cherish in his collection and return to repeatedly.

Marcin Ciupidro - Talking Tree (2013)

Marcin Ciupidro

Marcin Ciupidro - vibraphone, marimba, Moog
Shoko Sakai - marimba
Mateusz Rybicki - clarinets
Zbigniew Kozera - double bass
Hubert Zemler - drums
Wojciech Romanowski - drums
Marcin Rak - drums

Talking Tree (2013)

By Maciej Nowotny

Marcin Cipiudro may be recognized by Polish public thanks to his cooperation with the cult band called Robotobibok. After the dissolution of this group, one of the first in Poland experimenting with usage of electronic and dance rhythm in modern jazz, its members dispersed into different projects and collectives. Two of its most important members, trumpeter Artur Majewski and drummer Jakub Suchar, formed Mikrokolektyw which become one of the leading avant jazz formations in our country. Saxophonist Adam Pindur on the other hand turned toward mainstream by participating in hugely successful project of another young trumpeter Piotr Damasiewicz. All these musicians are connected in some way with a city of Wrocław as is Marcin Ciupidro.

So far he was not so well known as his other colleagues from Robotobibok but it may very well change with his first own record "Talking Tree". Supported by Japanese marimba player Shoko Sakai, clarinetist Mateusz Rybicki, bassist Zbigniew Kozera and drummers Hubert Zemler, Wojciech Romanowski, Marcin Rak, Marcin Ciupidro with his vibraphone created a musicial space like no other in Polish music. As in Robotobok his music is saturated with complicated yet dance-like rhythms, full of freedom but far from chaotic. What did really astonished me on this record is wonderful use of melody, the art which seems to be almost forgotten in modern avant jazz music. Ciupidro proves that melody is still a powerful tool of communication though it is a challenge how to make it sound fresh and original. But here Ciupidro is fully successful and as often with good tunes it is simply impossible to stop listening to this album and it now accompanies me as much at home, at work or during long car rides. There are albums which instead of speaking too much of it is better just to listen to. We are lucky to have a sample of music from it accompanying this note, so do not hesitate, turn on your Hi-Fi and judge for yourself...

Power Of The Horns - Alaman (2013)

Power Of The Horns (2013)

Piotr Damasiewicz - trumpet, voice
Adam Pindur - soprano sax
Maciej Obara - alto sax
Marek Pospieszalski - tenor sax, bass clarinet, flute, growl
Paweł Niewiadomski - trombone
Dominik Wania - piano
Max Mucha - double bass
Jakub Mielcarek - double bass
Wojciech Romanowski - drums
Gabriel Ferrandini - drums
Tomas Sanchez – percussion

Alaman (2013)

By Bartek Adamczak

I wrote briefly about the Power of the Horns on the occasion of their Warsaw Summer Jazz Days concert and I promised that I'd write more soon. "Alaman" is not only group's debut release but, with the number 001, it's also the first position in the catalogue of a new polish jazz music label ForTune, a quick view on their list makes you sure the guys are serious about publishing good music.

Power of the Horns is led by Piotr Damasiewicz whose responsbile for the compositions and for conducting the group that gathers together some of the hottest names on the polish modern jazz scene. They've been performing together for a couple of years, gaining a big, if underground, reputation, the official release was in fact long overdue.

Just to write down the names of the band members it seems like half of the review is done, this in fact a BIG band - five horns, three drummers, two basses, a piano - that's a high-decibel versatile tactical unit. The Horns referred by the group's name are the wind instruments, as one might think at first, but the bull's horns, like the ones you'd find on a Viking warrior's helmet.

"Alaman" is a name of the group of german tribes that would attack the western lands of Roman Empire. As the jazz evolved, big orchestral groups were a challenge for any composer - to expand the palette of sounds, to enrich the expression of an individual espression and to civilize the tones. Power of the Horns are the Allemani of jazz - young warriors trying to fight the civilisation.

The cd/dvd is comprised of three monumental pieces "Alaman", "Troid" and "Psalm for William Parker". The musis is at the same time monumental and rebelious. Damasiewicz compositions are based on infectious grooves and majestic vamps which emerge from the mysterious mists of meditative sounds and dissolve within the ecstatic madness of ferocious solos. The tunes and rhythms are irresistible and the bands walks the fine line of balance between arranged and spontaneous, between choir war-songs and individual explosions. There are speedy bop lines, solemn tunes, energetic riffs, percussion fiesta, fiery horn cries as well abstract impressionism (special recognition to Dominik Wania who manages to carve his own space in between the horns and rhythm section).

If you like like huge sound, this will not leave you dissapointed. What is more important though, Power of the Horns' music is not only about power - there's a vision behind it and means to realise it. Those guys are wild yet well organized - civilized jazz doesn't stand a chance against the Allemani tribe.

Michał Wróblewski Trio – I Remember (2011)

Michał Wróblewski Trio

Michał Wróblewski - piano
Michał Jaros - bass
Michał Bryndal - drums

I Remember (2011)




By Adam Baruch

This is the debut album by the young Polish Jazz pianist / composer Michal Wroblewski, recorded with his trio with bassist Michal Jaros and drummers Michal Bryndal and Wojciech Romanowski. The first version of this album was recorded by the trio with Bryndal and released as a promo. This, the final version of the album adds four more tracks recorded by the trio with Romanowski. Since both trios recorded the title track, the album's nine tracks are in fact only eight distinct compositions, of which five were composed by Wroblewski, one by Jaros, one is an interpretation of a John Coltrane tune and the title track is a contemporary house composition, which proves that Wroblewski listens to other music than Jazz as well. Both trio sessions were recorded at the legendary Studio Tokarnia, with Jan Smoczynski behind the knobs, which is always a guarantee of superb sonic quality.

The Polish Jazz scene seems to be an endless source of excellent piano players over the years, and the contemporary scene, which hosts both the veterans, the middle aged and the young pianist is simply exploding with talent and activity. Wroblewski is certainly one of the interesting newcomers, who still have to pay the dues and put forward their accomplishments before achieving an honorary position on the pedestal reserved for the Polish Jazz piano giants. Judging by this recording he's certainly on the right track, as the music presented on this album is quite excellent, both from the point of view of the performance and the compositions. Both trios play elegantly and display individual skills as well as an ensemble spirit, carefully listening to each other. The compositions present a nice balance between the melodic themes, rhythmic progressions and harmonic structures, which are ideal vehicles for the improvised passages. There is a frequent usage of Classical quotes and neo-romantic mannerisms, which are probably mostly sub-conscious and quite understandable considering the pianist's age.

The overall level of performance is quite excellent, turning this album into an ideal type of piano trio experience, which many Jazz connoisseurs greatly enjoy. The album could have been slightly longer and more adventurous musically, but than again many listeners will probably wish to change absolutely nothing. One can only hope that future recordings by Wroblewski will show him striving to achieve an individual voice and unique style, which will surely come to fruition as he gets older and more experienced. Keeping things in the right perspective, this is definitely a most impressive debut, exposing a talent to be watched. This album is highly recommended to piano trio enthusiasts, but basically every Jazz lover should be able to deeply enjoy this music. Great stuff!

Piotr Damasiewicz - Mnemotaksja (2009)

Piotr Damasiewicz – trąbka

Gerard Lebik – saksofon tenorowy
Maciej Garbowski – kontrabas
Wojciech Romanowski – perkusja

Mnemotaksja (2009)

It was in 2007 that this avant-jazz quartet first met. The unique acoustic setting and atmosphere of a neo-baroque Baptist church where the music was created, have become an inspiration to discovering a new quality of sound and creating a finished composition. The quartet’s music contains both fixed, composed parts and improvised shifts from the formal structures to a collective free dialogue. In July 2008, the formation recorded an album entitled Mnemotaxis. The music on the album is a summary over a period of three years of the artistic development of the band’s founder – Piotr Damasiewicz – who at the time was mainly connected with the improvised music environment in Wroclaw. Mnemotaxis is a concept created by the leader, which – in an arbitrary and allegoric way – refers to potential human abilities that condition their survival in the surrounding reality. It also refers to the leader’s individual perception of his own spiritual journey.

Music sample: http://en.piotrdamas.com/mnemotaksja

Foton Quartet - Zomo Hall (Not Two Record, 2011)

Foton Quartet (group)

Gerad Lebik (sax)
Artur Majewski (trumpet)
Jakub Cywiński (bass)
Wojciech Romanowski (drums)

Zomo Hall (Not Two Record, 2011)

In the manner of a heart-to heart conversation defined by leisurely pace and thoughtful exchange of views, the Polish Foton Quartet navigates its way through a loosely lyrical though unscripted 59-minute program. None of the participants are well-known outside their home country, but that might not stay the case for long, based on their strength as a unit; full of sensitive listening which puts the group first, there is empathy in abundance here. While placement and color of sound is important, they reside within the jazz vernacular, even slipping into tempo at times, slightly melancholic though with barely a trace of the blues. Oceanic currents come to mind as lines drift to and fro, coming together and apart within the overall tide.

On tenor saxophone, Gerard Lebik adds occasional eastern European harmonies, and expands into squawks when the backing becomes heated. Often in tandem with Artur Majewski's poised trumpet, the reedman spirals into animated convocation. Both horns lodge predominantly in the conventional registers, making their impact more through what they say than how they say it. For bassist Jakub Cywinski and drummer Wojciech Romanowski, responsiveness appears the prime concern, both proving particularly attuned to Majewski's riffs and flurries. All convince as technically assured, and though lacking that distinctive edge which separates out the upper echelons, their perfectly judged contributions—knowing when to play and when not to play—make for subtle but purposeful communion.

Each of the six cuts traverses a lot of ground, offering ample space for the foursome to stretch out. By way of example, on "Five," the longest piece, Cywinski's sinewy pizzicato intro leads into relaxed dialogue with the horns, before Romanowski's unhurried and spacey percussion shadows meandering contralto clarinet. Later he sparingly accompanies another darkly voiced bass feature, eventually joined by limpid trumpet and clattering percussion. But it's not all quite so mazy: the short concluding "Six" provides an emphatic and spirited finale.

Track Listing: One; Two; Three; Four; Five; Six.

Personnel: Gerard Lebik: tenor saxophone, contralto clarinet; Artur Majewski: trumpet; Jakub Cywinski: bass; Wojciech Romanowski: drums.

By John Sharpe 

http://www.allaboutjazz.com

Piotr Damasiewicz - Hadrons (Ars Cameralis, 2011)

Piotr Damasiewicz – trumpet

Maciej Obara – alto saxophone
Gerard Lebik – tenor saxophone, contra-alto clarinet
Maciej Garbowski – double bass
Wojciech Romanowski – drums
Orchestra Aukso under the direction of Marek Moś

Hadrons (Ars Cameralis, 2011)

(Editor) Recorded with creme-de-creme of young Polish jazz men and very ambitious in scope, this debut disc by Piotr Damasiewicz annouces arrival of very talented player to Polish jazz scene. 

"The idea of joining a chamber orchestra with a jazz rhythm section and three wind instruments was to create a coherent form – both in terms of expression and sound, within the fixed compositional structure of the orchestra and the improvised layer of the jazz band.

Through the title, I referred to the recent research in the area of quantum chromodynamics (QCD). I have noticed some analogy between the behaviour of hadrons in particular reactions and the progression in the sound layer of my piece inspired by the contemporary new music (especially by free jazz masters’ activity). I also became interested in antimatter viewed in the context of myself as an artist, but also in the context of consciousness of a contemporary human.

Hadrons are particles held together by the strong interaction and made of quarks. In quantum chromodynamics, quarks may exist in asymptotic freedom, interacting with each other through the so called force of strong interaction. One of the particular features of the interacting quarks is the correlation between them. The closer they get, the weaker is their interaction, while it increases with increasing the distance. In search for the analogies between the quarks’ behaviour and the musicians’ improvisation, I referred to the free jazz masters’ achievements from the 1960s. By gradually moving away from the pre-established tonal and rhythmic structure, they increased the degree of expressiveness to its peak. In order to do it, they often used counterpoints as opposite forces constructing the new dimension of a musical utterance, oscillating between a dialogue and a fight.

Physicists assigned to the particles three arbitrary colours which – according to the well established colour symbolism – are not insignificant for me. They are a reflection of character within the context of creating tensions in the composition structure. These colours are blue, red and green – from which the composition derives its three-piece order, preceded by an open, improvised introduction of the soloists. Those parts follow themselves attacca.

The orchestra performs here a form-creating role but it is not limited to this function – it has a vital impact on building and relieving the tensions, entering by turns into dialogue and fight with the soloists. According to the strong interactions theory, at times the orchestra is a strong counterpoint, and at times a background for the improvisation, providing in the meantime specific basis and direction for the shape of improvisation, the tone, and the sonic structure of the composition.

The symbolic meaning of fundamental particles emphasizes as well the importance of fundamental essence in my life. I consider it to be the spiritual way I try to follow not only in the context of my development as an artist, but above all as a man.

My music, as far as it is possible today, aspires to be an autonomous creation that works as an individual expression of what I identify with as it comes to my perception of reality, which also means art and its role in my life. Some of my suggestions related to the explanation of the composition form, its origins, as well as the analogies (also those regarding the musical content) I used here, have mainly a symbolic dimension. These inspirations and issues that are important to me show to a large degree the ideas that influenced not only the significant part of my creation process, but also me personally."

(Editor) This video comes from different project by Damasiewicz called Damas Ensemble Power of the Horns. But it shows what kind of talent this young man possesses:

Source: from liner notes attached to "Hadrons"

Foton Quartet - Zomo Hall (2010) by Stephan Moore

Issued just at the end of last year "Zomo Hall" remains one of the most fascinating album of this year. Please, read this review written by Stephan Moore from excellent JazzWrap web site in order to learn more about this music...

Foton Quartet (group)

Gerad Lebik (sax)
Artur Majewski (trumpet)
Jakub Cywiński (bass)
Wojciech Romanowski (drums)

 Not Two Records (2010)

The rich and versatile Polish jazz scene has gone through a big transform in interest over the last decade. Due in large part to the resurgence of the great Tomasz Stanko. Over the last few years a number of artists have leaped into the consciousness of jazz fans all across the globe. From Marcin Wasilewski Trio, Mikrokoletyw to RGG Trio, Polish artists are showing us all that great, creative and forward thinking jazz can come from more than just Norway, Sweden, Portugal, Denmark, England, U.S. and a few select countries.

One such collective is Foton Quartet and their debut, Zomo Hall (Not Two Records). Zomo Hall might sound like a trip into the avant garde for the uninitiated, its actually upon the deeper listening that you will find the detail. There are qualities here that are reminiscent of the more experimental work of Ornette Coleman, Don Cherry and Art Ensemble. But the journey through these six "untitled" tracks is truly fruitful and a superb listen.

Artur Majewski (also a member of the duo Mikrokoletyw) and Gerad Lebik combine to bring forth some incredible phrasing and stellar improvising throughout this recording. Track three has a steady meditative tonality with both horns taking different patterns while Cywinski lays down a dreamlike bassline. Majewski later gains a bit of steam midway through but the track never loses its reflective aural sculpture.

Track five brought back memories of listening to Ornette Coleman's soundtrack for Naked Lunch. It's a journey through recess of my own mind that I'd rather not experience. A powerful performance from both Lebik and Cywinski, who turns his bass almost into a cello. This is the longest track on the album but its also the deepest and most creative as it takes the listener through a number of different themes all quiet in nature but adventurous in execution. Track six does stretch out with the band demonstrating that it can take the listener to far reaches of thought while still holding your interest (in only two and a half short minutes).

Foton Quartet is yet another piece of the new Polish jazz scene that must be heard by a wider audience. Zomo Hall standups against anything from rest the minimal, avant garde in other countries. And the work of Artur Majewski should really start to be noticed by more people as well. His collaborative work on the scene for me, is some of the best in Europe at the moment. 

Zomo Hall was a hard record for me to find. I had known about it for some time but couldn't even stumble across it. Then one day my good friends at Downtown Music Gallery got it in and I immediately put down the money. I suggest if you are interested in something new and creative--do yourself a favour and pick up Zomo Hall. Highly Recommend!

Author: Stephan Moore 

http://jazzwrap.blogspot.com/

Foton Quartet - Zomo Hall (2010) by Maciej Nowotny

This time it will be very short because it's simply must-have. Would this record arrive a little earlier, not just at the end of the last year, it could very well be a winner in Best Polish Free Jazz album of 2010. But who cares about all this Grammy-like nonsense-talk: good music is good music so trust me and go for this one without hesitation! 

Recorded in some post-industrial production hall among piles of garbage, rubble and twisted reinforcing steel it sounds like. Deep breath. Like 50 or more years ago Miles Davis, John Coltrane, Julian Cannonbal Adderley, Paul Chamber and Jimmy Cobb in "Kind of Blue" when they laid foundations for what was to became cool jazz. As Marcin Kiciński noted in his Polish review it is impossible to describe what music on this album is but it very easy say what it is not: jazzy playing imitating hundreds times over reproduced cliches invented more than half century ago. This is JAZZ as Miles defined it: "any kind of music in process of discovery something new". 

So please remember those names: Gerard Lebik (tenor saxophone, contra alto clarinet), Asrtur Majewski (trumpet), Jakub Cywiński (double bass), Wojciech Romanowski (drums). If you do not know them from bands like Mikrokolektyw, Robotobibok, Slug Duo, Ziemia Planeta Ludzi, it is now the highest time for Foton Quartet or some extraordinary music would pass you by. Let me end this post with word of stef as posted in English review of this record on his blog: "Extremely beautiful! The year has only just begun, and this is to me already a strong contender for the best of the year lists".

Please, it is OBLIGATORY now for you to check this video! Enjoy :-)

PS. The disc was recorded for best Polish recording label Not Two and is available worldwide through its catalogue.

foton zomo hall record session 2008 from gerardlebik on Vimeo.

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