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Pokazywanie postów oznaczonych etykietą Schmidt Andrzej. Pokaż wszystkie posty
Pokazywanie postów oznaczonych etykietą Schmidt Andrzej. Pokaż wszystkie posty

piątek, 3 lutego 2012

Maciej Sikala - Blue Destinations (PowerBros, 2004)

Maciej Sikala - tenor and soprano saxophones

Ryszard Tymon Tymanski - bass
Jacek Olter - drums 

Blue Destinations (PowerBros, 2004)




(Editor) Recorded in 1997

It takes a good deal of self-confidence, skill and creative talent to play in a pianoless group. The steady presence of chordal sounds - be it guitar - is of invaluable support, you seemingly can't dispose of. True, it was rejected and slighted in the '60-s by the free - jazz avantgarde, but the majority of harmony-oriented hornplayers preferred not to take chances. But then, many older jazz afficjonados recall the experiments (successful) in the "50-s, by the brilliant West Coast exponents, Chet Baker, Gerry Mulligan and Bob Brookmeyer. To say they succeeded is not enough. It was an excellent jazz. The same can be said of Jimmy Giuffre's trios. Those men had harmony in their bones.

Here we listen to this CD and have the similar thing to admire: Maciek Sikala pianoless trio but with the basist Ryszard Tymon Tymanski who can be blamed for any kind of musical extravaganza but who surely doesn't lack harmonic thinking and so he provides sufficient background and support. Jacek Olter is a versatile drummer who feels equally at ease with swing, freaky ideas or hard rock rhythms. So, Maciek can rely on his partners, the more so that he knows them thoroughly for many years. As to his harmonic and melodic imagination., there's no worry. He spread his wings already during his studies at the Katowice Academy of Music, when he won the 1-st Prize in the 1986 International Jazz Improvisation Competition. Since then he proved his worth again and again, playing with such high-ranking groups: Quintessence, Milosc, Rodowicz Quartet, Piotr Wojtasik Formation. He gained approval and admiration.

Like many distinguished tenor players, he finally took to soprano saxophone. We can hear his soprano improvisations and we marvel: an opalescent, well-rounded tone, even and simply beatiful; something that broadens his tenor playing virtuosity. Inventive? Well, what do expect from an improvisation competition prize-winner? - Besides, there are his compositions to convince you. As to his partnership understanding it's almost metaphisical, as it should be. Improvised soli by Sikala form perfectly build and melodious compositions. All in all, I invite you to just listen and enjoy. For this is jazz, and an exquisite one.

"Blues For Tymon" from this album:



Author: Andrzej Schmidt

czwartek, 29 września 2011

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

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

Polskie Nagrania, 1975



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

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

Small sample of magnificent music from this album:


Author of text: Andrzej Schmidt

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