Janusz Skowron - "Polish Jazz Jazz Archives vol. 35"

Janusz Skowron

Wykonawcy: Tomasz Stańko – Janusz Skowron, Kwartet Tomasza Stańko, Kwartet Zbigniewa Namysłowskiego, Kwintet Piotra Wojtasika, Kwartet Kazimierza Jonkisza, String Connection, Kwintet Zbigniewa Lewandowskiego, Carte Blanche.

Tytuł płyty: "Polish Jazz Jazz Archives vol. 35"

Wydawca: Agencja Muzyczna Polskiego Radia (2022)

Tekst: Maciej Nowotny

To wydawnictwo to perełka w skądinąd wyśmienitej jako całość serii "Polish Jazz Radio Archives" (vol. 35). Perełka w tym sensie, że mamy okazję poznać lepiej muzyka, który był obecny na ponad 72 jazzowych płytach wydanych w Polsce (dużo w czasach, gdy nie nagrywało się aż tyle i tak łatwo jak dzisiaj). Przy czym nie były to byle jakie płyty byle jakich zespołów, o czym świadczy wybór muzyki na tym krążku zagranej przez tak świetne, niekiedy wręcz legendarne składy jak Kwartet Kazimierza Jonkisza, String Connection, Freelectronic Tomasza Stańki, Kwartet Zbigniewa Namysłowskiego czy Walk Away.

Wybór muzyki wydanej na tym albumie obejmuje lata 1981-1998, a zatem jest ona utrzymana w ramach dość długiej, ale jednak jednej epoki w polskim jazzie. Może dzięki temu, ale także osobowości Skowrona, który spełniał się głównie jako sideman, a jego muzyczny język, raz ukształtowany, raczej nie ewoluował dalej, mamy tu do słuchania materiał dość spójny muzycznie, mimo grających tak różnorodnych zestawów muzyków. Dzięki temu dało się uniknąć wrażenia chaosu i nie przystających do siebie muzycznych nurtów, co bywa tak częstym grzechem wszystkich składanek.

Duża w tym zapewne zasługa znanego polskiego krytyka jazzowego Tomasza Tłuczkiewicza, który dokonał wyboru muzyki na ten krążek, pracowicie przeszukując archiwa Polskiego Radia, wybrał utwory nie tylko świetnie brzmiące, które nawzajem dobrze się uzupełniają, ale prezentujące przegląd tego co w tamtej epoce polskiego jazzu było wyjątkowo ważne i udane. Osiągnięcie to niemałe i wymagające docenienia zwłaszcza, że większość nagrań, które wybrał nie była nigdy dotąd publikowana! Jeśli dodać świetne linear notes pióra Tłuczkiewicza, zawierające przy każdym utworze krótką historię danego utworu, informacje na temat zespołu i roli jaką grał w nim Janusz Skowron, a to wszystko w formie krótkich wypowiedzi uczestniczących w nagraniach muzyków, to ręce same składają się do oklasków. Wspaniała robota!

Podsumowując, płyta stanowi unikalną wizytówkę muzyka drugiego planu w złotej epoce polskiego jazzu, bez którego jednak nie sposób wyobrazić sobie niektórych z najważniejszych nagrań w historii muzyki tego gatunku w Polsce. Dodatkowo jest to przyczynek do roli jaką pełnił Zakład dla Niewidomych w Laskach, dzięki którego bezcennej misji i włączeniu muzyki do programów edukacyjnych dla niewidomych dzieci, wiele talentów mogło rozwinąć muzyczne skrzydła i wzbogacić nie tylko polski jazz (pamiętajmy w tym kontekście o Mieczysławie Koszu). 

Winicjusz Chróst - Promienie dźwięku (2021)

Winicjusz Chróst

Promienie dźwięku (2021)

Wydawca: GAD Records

Tekst: Mateusz Chorążewicz

Winicjusz Chróst to jeden z najważniejszych polskich muzyków lat 70-tych i 80-tych XX wieku, który za życia nie doczekał się swojej autorskiej, solowej płyty. Album "Promienie dźwięku", który swoją premierę miał w listopadzie 2021 to w istocie antologia nagrań artysty.

Na całość składa się dwanaście zremasterowanych utworów z archiwum Polskiego Radia z okresu lat 1983 – 1987. Poza Winicjuszem Chróstem na gitarze i syntezatorze usłyszymy tu także takich artystów jak Adam Lewandowski (perkusja), Jerzy Bartz (perkusjonalia), Zbigniew Wegehaupt (kontrabas), Janusz Skowron (fortepian), Joanna Morska (wokal), Ewa Bem (wokal), Izabela Zając (wokal), Czesław Bartkowski (perkusja), czy Janusz Smyk (saksofon tenorowy). Od takiego składu należy oczekiwać samych najlepszych rzeczy i taki też materiał otrzymujemy.

Wszystkie kompozycje zachowane są w stylistyce fusion, która w tamtym okresie właściwie królowała na szeroko rozumianej polskiej scenie jazzowej. Wiele brzmień, zastosowanych harmonii, czy form kompozycyjnych od razu przywodzi na myśl takie zespoły jak choćby Weather Report. Muzyka jest silnie inspirowana amerykańską szkołą fusion i jako taką należy ją traktować.

Co zwróciło moją szczególną uwagę to fakt, że całość brzmi w sposób bardzo spójny, pomimo sporego rozstrzału czasowego nagrań. Nie mówię już nawet o charakterze muzyki, ale również o różnorodności środowiska nagraniowego. Osoby odpowiedzialne za przygotowanie zremasterowanych wersji wykonały tu kawał naprawdę dobrej roboty.

Dnia 28.03.2022 przypada druga rocznica śmierci Winicjusza Chrósta. Uważam, że album Promienie dźwięku to wspaniały hołd dla całej kariery muzyka, który nie doczekał swojej solowej płyty. Oczywiście muzyka sama w sobie nie jest w żaden sposób przełomowa. Nie wywróci ona do góry nogami naszego postrzegania muzyki fusion czy nawet dotychczasowej wiedzy o twórczości Winicjusza Chrósta, ale przez nie o to w tym przypadku chodzi. Dzięki tej płycie otrzymujemy świetnej jakości materiał muzyczny niejako dokumentujący dokonania artysty i utrwalający pamięć o nim.

Specjalne podziękowania należą się córce Winicjusza, Aleksandrze Chróst, która trzyma pieczę nad twórczością ojca i dzięki której album taki jak ten ujrzał światło dzienne.

Tomasz Stańko – A Farewell To Maria (Soundtrack) (1994)

Tomasz Stańko

Tomasz Stańko - trumpet
Tomasz Szukalski - saxophone
Janusz Skowron - keyboards
Adam Cegielski - bass
Cezary Konrad - drums
and others

 A Farewell To Maria



GOWI 12

By Adam Baruch

This is an album by legendary Polish Jazz trumpeter Tomasz Stańko, which presents the music used as a soundtrack of an obscure Polish TV movie "A Farewell To Maria", directed by Filip Zylber. The music is performed by a large cast of top Polish Jazz musicians, like saxophonist Tomasz Szukalski, keyboardist Janusz Skowron, bassists Andrzej Cudzich and Adam Cegielski, drummer Cezary Konrad and others, as well as a string quartet. The album comprises of thirteen relatively short tracks, which appear within the film.

The music is a wonderful example of the strength of Stańko the composer and is based around the leitmotif, which is, as always, a heartwrenching ballad that Stańko masterly created. But the album also includes several additional melodic and improvised pieces, which create a diverse and fascinating musical experience. In contrast to many soundtrack albums, this one works perfectly well by itself, detached from the cinematic layer.

The performances are all top notch, again as expected, and in many respects this album firmly belongs to the mainstream of Stańko's recorded heritage. It's a great pity that this album so little known by Stanko's fans and the fact that it is impossible to find a copy of this album is a crying shame. Grab it if you can find it!

Tadeusz Sudnik - Tadeusz Sudnik & His Friends In Art (2017)

Tadeusz Sudnik

Tadeusz Sudnik - synthi AKS, electronics, computers
Tomasz Stańko - trumpet
Adam Pierończyk - saxophone
Aleksander Korecki - saxophone
Tomasz Duda - saxophone
Janusz Skowron - keyboards
Witold Szczurek - bass guitar
Zbigniew Wegehaupt - double bass

Andrzej Mitan - sound poetry
and others

Tadeusz Sudnik & His Friends In Art 

AUDIO CAVE 001 2017

By Robert Ratajczak

Płyta "Tadeusz Sudnik & His Friends In Art" to zbiór nagrań mistrza instrumentów elektronicznych z lat 1986-2005, dokonanych z udziałem takich znakomitości, jak m.in. Tomasz Stańko, Adam Pierończyk, Witold Szczurek, Janusz Skowron czy Zbigniew Wegehaupt. Tadeusz Sudnik to działający od wielu lat muzyk, kompozytor i realizator dźwięku, założyciel historycznego już Studia Dźwięków Niemożliwych. Artysta przez kilkanaście lat związany był ze Studiem Eksperymentalnym Polskiego Radia, gdzie realizował nagrania dla potrzeb teatru, filmu i baletu oraz współpracował z festiwalem Warszawska Jesień.

Zawartość niniejszej płyty to sięgnięcie do archiwum nagrań muzyka kryjącego w sobie nieocenione muzyczne skarby. Już 10 lat temu nakładem wytwórni Polonia Records w cyklu "The Best Of Polish Smooth Jazz" ukazała się płyta firmowana szyldem Tadeusz Sudnik & His Friends In Art. Tym razem jednak mamy do czynienia z wyborem bardziej wyszukanym i bliższym miłośnikom polskiego jazzu. 

Mimo nagrań pochodzących z różnych sesji realizowanych na przestrzeni blisko 20 lat, album robi wrażenie spójnej i zamkniętej całości. Wszystkie utwory łączy wyjątkowa fantazja i zmysł głównego bohatera płyty, eksponującego brzmienie analogowych syntezatorów, elektronicznych przetworników i efektów natury. Mimo przyprawiających o zawrót głowy nazwisk muzyków, jacy pojawiają się na płycie, jej prawdziwym bohaterem są bity, efekty dźwiękowe i ambientowe brzmienie, za którymi stoi Mistrz Ceremonii, Tadeusz Sudnik.

Generowane przez artystę efekty i rozwiązania, zarówno rytmiczne, jak i harmoniczne, to efekt improwizacji. Sudnik doskonale potrafi trafić z pętlą czy samplami zarówno w przypadku trąbki Tomasza Stańki, saksofonu Adama Pierończyka, czy wreszcie nadać wyjątkowego brzmienia recytacjom Andrzeja Mitana. Zgromadzone nagrania prezentują szeroki wachlarz stylistyczny - od elektroniczno-jazzowych dokonań formacji Stańki Freelectronic, poprzez nasycone rytmem transowe utwory w rodzaju "Canadada", aż do awangardowych rejestracji, jak kończące płytę "Symphonix", "Cats In Space" i zrealizowane w ramach Studia Dźwięków Niemożliwych "7'37".

Wydawnictwo będące rodzajem starannie przygotowanej antologii Tadeusza Sudnika, ukazującej rozmaite etapy jego działalności, stanowi prawdziwą gratkę zarówno dla miłośników muzyki elektronicznej, jak i zwolenników jazzu.

www.longplayrecenzje.blox.pl

String Connection - Workoholic (1982)

String Connection (band)

Krzesimir Dębski – violin, piano, Polymoog
Zbigniew Lewandowski – drums
Andrzej Olejniczak – tenor & soprano saxophones
Janusz Skowron – Fender, Hammond, Polymoog
Krzysztof Ścierański – bass guitar

guests:
Mirosław Michalak – guitar (1 & 5)
Zdzisław Śróda – trombone (1)

Workoholic (1982)

String Connection is one of the top "stars" of the polish 80'. Playing hundreds of shows (not only in Poland) durring that period and recording few great albums, Krzesimir Dębski's (violin) crew managed to break into hearts of many (not only) jazz fans. Disbandment in 1988 was not yet the end of String Connection - they managed to play few shows in 1998 and decided to return for longer tour in 2011, issuing live album in 2012.

Their compositions are quite "listenable" - lots of beautiful classical influenced melodies by Dębski, strong rhythm section, great piano and sax. Much of that can be experienced on "Bokra", the very first tune from SC first album "Workoholic". Here it is:

There is a lot of dynamic, groovy playing here, still leaving place for calmer moods. The song starts and ends with orchestral-sounding section (faded out in the end), kind of unusual - 3 bars in length makes it feel like being "too short". Afterwards, the main, groovy rhythm appears followed by the melody played together by violin and sax. The tune runs like that into the next section and, after repeating the main groove, calms the mood down - beautiful sax playing here. This softer section leads the way to the soloing cycle. Piano, violing and sax solos are played over the same chordal pattern (8 bars) launched 4 and a half times for each solo - every instrument ends it's part by reaching F# minor chord, on which music morphes into the main groove (plus melody). Second and third solo (violin and sax) start with calming the music down for two turns. After the solos, the main rhythm + melody is repeated as in the begining, along with the next section, making it's way to the ending part.

Score and tab: https://docs.google.com/open?id=0Bw7O1HDkrEexejFJcmwzYlg2ZlU
Score only: https://docs.google.com/open?id=0Bw7O1HDkrEexR3E5TnVkUTJiazQ
Tab only: https://docs.google.com/open?id=0Bw7O1HDkrEexYU5DYUtlOEFhLWM

Krzysztof Ścierański is considered to be one of the best bass players in Poland. Somebody called him "Polish Pastorius" once, but his style is quite different from famous Jaco. Ścierański, a self-taught musician, plays fretted basses (I don't know if he ever played fretless), "digs" stuff like slapping, or harmonics and likes to use bass effects (chorus, reverb, delay and so). The first "big" thing he got involved into was Laboratorium - polish jazz-fusion band of 70'-80', considered by many the best polish fusion band. Before String Connection, Krzysztof played in Zbigniew Namysłowski's fusion outfit called Air Condition and, after SC, lots of great projects, gigs and solo stuff. IMHO the most important bassist in Polish fusion. Just listen to this performance by, mentioned earlier, Air Condition with Namysłowski:

One word of explaination about String Connection album name. As you might notice, there is no such word in English as "Workoholic". "Workaholic" yes, not "Workoholic". Krzesimir Dębski explained in one of his interviews, that he made that word up - there was a trend is polish jazz then to do such things. He wanted to join "work" with "alcoholic", as he considered himself to be addicted to work (if somebody plays rehearsals at 4 a.m., like Dębski did in early stage of SC era, should be IMHO considered workaholic) and didn't know that very similar word already exists. That's why there is a "typo" in the album title.

By Brian The Fire
http://fusionbasstabs.blogspot.com 

Track listing:
"Bokra" (K. Dębski) – 7:10
"Cantabile in H-Moll" (K. Dębski) – 6:00
"Kill the Raven" (J. Skowron) – 3:48
"Quasi String Waltz" (K. Dębski) – 3:20
"Workoholic" (K. Dębski) – 4:32
"Seekuh" (K. Ścierański) – 3:10
"Primary" (J. Skowron) – 5:10
"Gutan Dance" (K. Dębski) – 5:30

String Connection – 2012 (Polskie Radio, 2012) by Adam Baruch

String Connection (band)

Krzesimir Dębski - violin, keys, Hammond
Andrzej Olejniczak - soprano and tenor saxophone, bass clarinet
Janusz Skowron - piano, Fender
Krzysztof Ścierański - bass guitar
Krzysztof Przybyłowicz - drums, percussions
Anna Jurksztowicz - vocal (6 i 8)

2012 (Polskie Radio, 2011)

Over 20 years after the Polish Jazz ensemble String Connection ceased to exist after several years of leading the local Jazz scene, here they are again, reunited, rejuvenated and recharged with new energies. Led by the violin virtuoso / composer Krzesimir Debski, who founded the original group in 1981 and who was also responsible for group's breakup due to his mounting commitments as a composer for film and contemporary Classical music, the group also includes original members: saxophonist Andrzej Olejniczak, keyboardist Janusz Skowron, bassist Krzysztof Scieranski and drummer Krzysztof Przybylowicz. Female vocalist Anna Jurksztowicz guests on two tracks. The music was composed mostly by Debski (six of the eight tunes on the album) with Olejniczak and Scieranski contributing one composition each. All these players are of course masters of their trade and their performances are always top notch, as expected. The music covers a wide spectrum of compositions, from World Music influences to Fusion, with the typical Eastern-European awareness of somewhat quirky melody lines and rhythmic patterns. There are no surprises here or groundbreaking innovations, but a lot of excellent and enjoyable music. For Jazz violin connoisseurs this is a must of course, as Jazz albums with violin are unfortunately a rarity, especially those of such quality like this one. Recommended!

Track listing: 1. Istrian Sideways; 2. Croatia On My Mind; 3. El Juguete; 4. Das Salzperlspiel; 5. Obsession; 6. Saranjeet Kaur; 7. Cien Kilos De Papas; 8. O Czym Marzą Dziewczyny



By Adam Baruch

http://adambaruch.com/

Kazimierz Jonkisz – Tiritaka (Polish Jazz Vol.62, 1980)

Kazimierz Jonkisz - drums

Krzesimir Debski - electric violin
Andrzej Olejniczak - tenor and soprano saxophone
Janusz Skowron - Piano
Andrzej Lukasik - Bass

Tiritaka (Polish Jazz Vol.62, 1980)

This is an excellent album by a Polish Jazz quintet, led by veteran drummer Kazimierz Jonkisz (ex-Zbigniew Namyslowski quintet). The quintet's two soloists are: the young brilliant violinist Krzesimir Debski (shortly before he formed his own group String Connection, which would dominate the Polish scene in the first half of the 1980s) and saxophonist Andrzej Olejniczak, who fronted the most important Polish groups in the 1970s like Extra Ball and Sun Ship. They are joined by pianist Janusz Skowron (also future member of String Connection and later for many years with Tomasz Stanko) and a young bassist Andrzej Lukasik. Of the six tracks on the album, five were composed by Debski, who already at that time was a most promising composer in addition to his virtuoso violin performances. Packed with talent and great music, this is a superb example of modern Polish Jazz at its best and one of the strongest albums in the legendary Polish Jazz series. The harmonizing between the violin and soprano saxophone creates an unbelievable sound, which has very few parallels on record. This is a must to all Polish Jazz lovers and anybody interested in European Jazz in general.

1. Tiritaka (Krzesimir Debski) 6:09; 2. We're All Waiting (Krzesimir Debski) 9:14; 3. For Slawosz (Krzesimir Debski) 5:20; 4. Tuohitorvi (Krzesimir Debski) 8:32; 5. Joewer (Krzesimir Debski) 8:02; 6. For Marc (Kazimierz Jonkisz) 3:03

By Adam Baruch

http://adambaruch.com/

Tomasz Stanko – Roberto Zucco (Polonia, 1996)

Tomasz Stańko - trumpet

Janusz Skowron - synthesizer
Sławomir Kurkiewicz - bass
Zbigniew Brysiak - percussion
Michał Miśkiewicz - drums
Andrzej Jagodziński - piano (2, 10, 16)
Dorota Miśkiewicz - vocal (2, 16)

Roberto Zucco (Polonia, 1996)

This is a relatively little known brilliant album by Polish virtuoso trumpeter / composer Tomasz Stanko, presenting one of the numerous soundtracks Stanko created for stage and cinema. This soundtrack was used for the Polish production of the theatre play "Roberto Zucco" by Bernard-Marie Koltés, based on the life of infamous Italian serial killer Roberto Succo. The music, which as usual with Stanko's work, stands alone perfectly when removed from the stage context, consists of sixteen relatively short pieces performed by a quintet, quartet or on solo trumpet. Thirteen of these pieces are composed by Stanko and the remaining three are variations on the famous standard "Blue Velvet", of which two include vocal parts by singer Dorota Miskiewicz. This is an ultra rare opportunity to hear Stanko performing a standard, which he almost never does. Other players include pianist Andrzej Jagodzinski, keyboardist Janusz Skowron, bassist Slawomir Kurkiewicz, drummer Michal Miskiewicz and percussionist Zbigniew Barysiak. Overall, as always with Stanko, this music is powerful and delicate simultaneously, simply making you wish it just wouldn't stop. This is of course an absolute must to any Stanko acolyte / collector and a great proof of Stanko's versatility as a composer. Brilliant stuff!

Track listing: 1. Roberto Zucco wersja 1 [05:25]; 2. Blue Velvet wersja 1 [03:38]; 3. Roberto Zucco wersja 2 [02:32]; 4. Roberto Zucco wersja 3 [01:53]; 5. Roberto Zucco wersja 4 [01:23]; 6. Roberto Zucco wersja 5 [01:15]; 7. Roberto Zucco wersja solo 1 [02:14]; 8. Roberto Zucco wersja 6 [02:10]; 9. Roberto Zucco wersja 7 [03:12]; 10. Blue Velvet wersja 4 [02:57]; 11. Roberto Zucco wersja 8 [02:19]; 12. Roberto Zucco wersja 9 [02:40]; 13. Roberto Zucco wersja solo 2 [02:04]; 14. Roberto Zucco wersja 10 [05:11]; 15. Roberto Zucco wersja solo 3 [02:17]; 16. Blue Velvet wersja 3 [03:55]

By Adam Baruch

http://adambaruch.com/

Tomasz Stanko – Live At The Montreux Jazz Festival 1987 (Polonia, 1987)

Tomasz Stańko - trumpet

Janusz Skowron - Yamaha DX7, grand piano
Witold E. Szczurek - electric and double bass
Tadeusz Sudnik - synthi AKS and electronics

Live At The Montreux Jazz Festival 1987 (Polonia, 1987)

This live recording at the Montreux Jazz Festival is the last of the glorious 1980s albums by the polish trumpet virtuoso / composer Tomasz Stanko and his Freelectronic ensemble, here consisting of keyboardists Janusz Skowron and Tadeusz Sudnik and bassist Witold Szczurek. Stanko is in top form and in a great mood, which is evident by the happy atmosphere captured herein. His trumpet soars to incredible heights and the brilliant improvisations chase one another. In retrospect this is a perfect moment captured for posterity, just before the ever-changing Stanko would embark on yet another musical journey with the onset of the 1990s. The 1980s Stanko's Jazz-Rock period was about to be abandoned and replaced by a return to the Jazz tradition and the new (again) Stanko, which would capture worldwide audiences with his ECM recordings. But the 1980s period firmly remains as one of Stanko's most productive and expressive periods and this album is an integral part of that legacy. A must to every Stanko fan!

1. Lady Go; 2. Asmodeus; 3. Sunia; 4. Too Pee; 5. Switzerland; 6. Ha ha ha

By Adam Baruch
http://adambaruch.com/

Zbigniew Namyslowski – The Last Concert (Polonia, 1992)

Zbigniew Namysłowski - flute, sax

Zbigniew Wegehaupt - bass
Maciej Strzelczyk - violin (5, 6)
Janusz Skowron - piano
Cezary Konrad - drums

The Last Concert (Polonia, 1992)

(Editor) Recorded „live” at The Jazz Jamboree, Warsaw, 24. October 1991

This is a brilliant album by veteran Polish saxophonist / composer Zbigniew Namyslowski, one of the pillars of modern Jazz in his country. A superb player and a gifted composer, Namyslowski first as a member of the Krzysztof Komeda's group and later as a leader of his numerous ensembles created excellent music and served as a model to generations of Jazz players in his country. This album, one of very few live recordings by Namyslowski, was captured at Warsaw's Jazz Jamboree festival and features one of the strongest quartets Namyslowski ever led, with pianist Janusz Skowron, bassist Zbigniew Wegehaupt and drummer Cezary Konrad. Violinist Maciej Strzelczyk joins the quartet on a couple of tunes. All seven compositions performed are by Namyslowski and portray his wonderful sense of melody, polyrhythmic approach and tendency to incorporate World Music elements in his music. Two of the tracks are over 10 minutes long, which allows plenty of space for extensive improvisations. I have no idea why this album is entitled "The Last Concert" (perhaps this was the last concert with this particular quartet?), as this certainly wasn't Namyslowski's last live performance and he's still playing brilliantly twenty years later, to the delight to his many admirers and fans, as well as writing great music. For lovers of Polish Jazz, this is an absolute classic, which should be a part of any decent Jazz collection. Highly recommended!

Track List: 1. Total Incompetence; 2. Half Done Chicken; 3. Samba Under Control; 4. Something to Sing; 5. Five in One; 6.What's in Yemikoy; 7. Samba Przestawianka

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/

String Connection - 2012 (Polskie Radio, 2012) by Maciej Nowotny

String Connection (band)

Krzesimir Dębski - violin, keys, Hammond
Andrzej Olejniczak - soprano and tenor saxophone, bass clarinet

Janusz Skowron - piano, Fender
Krzysztof Ścierański - bass guitar
Krzysztof Przybyłowicz - drums, percussions
Anna Jurksztowicz - vocal (6 i 8)

2012 (Polskie Radio, 2011)

String Connection is a band which existed from 1981 to 1988. In darkest times of martial law imposed by gen. Jaruzelski this music was a beacon of light in Polish jazz. It brought high quality, energetic and optimistic muse to people depressed by dire political situation and unbelievable hardships of living in country whose economy was falling apart. By 1988 however when this collective disbanded their music sounded already outdated and not reflecting changes in then fast changing world. Changes which eventually in 1989 brought freedom to Poland. It is therefore no surprise that reactivated after more than 20 years after it ceased to function this project cannot be taken as anything else than sentimental journey to the past. It brings nothing new and though music is very well played, it lacks in zeal and enthusiasm so characteristic to these musicians back in 80ties. I especially regret that such exceptional artists as violinist Krzesimir Dębski or saxophonist Andrzej Olejniczak stopped contributing creatively to Polish Jazz. This CD although sweet and charming is proof that they were unable to enter in dialogue with new aesthetics which emerged in jazz in last 20 years or so. Saying all that I must admit that rehearsing this album brought me a lot of pleasure! It is brilliantly played, songs are easy to catch and it tastes perfect when accompanying morning coffee. Though very little of jazz is present in these sounds, at least of jazz as it is understood at the beginning of XXI century...

Track listing: 1. Istrian Sideways; 2. Croatia On My Mind; 3. El Juguete; 4. Das Salzperlspiel; 5. Obsession; 6. Saranjeet Kaur; 7. Cien Kilos De Papas; 8. O Czym Marzą Dziewczyny

String Connection 2012 by adamkubalica

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

Tomasz Stanko – Tales For A Girl, 12 (Polonia Records, 1995) by Adam Baruch

Tomasz Stańko -  trumpet 

Janusz Skowron -  synthesizer   

Tales For A Girl, 12 (Polonia Records, 1995)

With the 1980s over, Polish trumpeter / composer Tomasz Stanko enters the next decade with another pivotal recording, which marks yet another about face change with the return to "classic" Jazz, as defined by Stanko's unique talent. This incredible album is basically a solo trumpet recording, an extremely bold and difficult project for the artist, which truly emphasizes his genius in full. Accompanied only by keyboardist Janusz Skowron, who produces layers of atmospheric background, Stanko blows with full might presenting thirteen brilliantly concise pieces of music, which are simply mind-blowing. His virtuosity as a performer is demonstrated here perhaps more vividly than on any other Stanko album, certainly any of his previous recordings up to that one. His lyricism and incredible power of expression are overwhelming and the totality of his music is unparalleled. Although solo recordings (in Jazz or other types of music) are usually quite difficult for the less experienced listener, this album is so powerful that is able to mesmerize any listener sensitive to music. This album is the mark every other trumpet album should be measured against, a work of pure genius and an absolutely essential piece of Art in any sense of this word. Stunning!

Author: Adam Baruch

http://www.adambaruch.com/

Tomasz Stanko – Chameleon (1989) by Adam Baruch

Tomasz Stanko - trumpet

Apostolis Anthimos - guitar, bass guitar, drums, percussion, sampler
Janusz Skowron - piano, synthesizer, sampler

Chameleon (1989)

This album's title is perhaps the most concise and precise description of its contents. With the 1970s behind him Polish trumpeter / composer Tomasz Stanko takes a sharp turn off the path he followed previously as the leader of the local Free Jazz / avant-garde scene and as other musicians before him (or like a chameleon) entered the world of Jazz-Rock Fusion.

The album was recorded in Athens in 1982 and remained unreleased until 1989 (by that time Stanko was already moving to the next phase of his career), when it was finally released by a small independent Greek label. But chronologically this is the first recording of Stanko's 1980s "new" style, preceding "C.O.C.X.".
The setting is a trio with guitarist Apostolis Anthimos (of SBB fame), who also plays bass, drums and percussion and young keyboardist Janusz Skowron, who uses the electronic devices to create beautiful sound vistas.

The music is (as always with Stanko) absolutely stunning and quite different from his earlier works. Here we can hear the "easier" or happier side of Stanko, with almost cheerful melody lines and relatively simple rhythmic approach. Let's make no mistake however; this is still Stanko at his best, with his unmistakable personal way of making music, virtuosic blowing and genius musical concept, all this in a slightly more accessible wrap up.

Of the eleven tracks on the album seven were composed by Stanko and four are credited to the trio, as much of the music was actually created on the fly in the studio. In retrospect this is definitely one of the most memorable Stanko albums and an absolute must to all his numerous fans. Just grab it!

Author: Adam Baruch

http://www.adambaruch.com/

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

Tomasz Stanko – Wolnosc w sierpniu (MVD Visual, 2006)

Tomasz Stańko - trumpet, composer

Marcin Wasilewski - piano

Janusz Skowron - synthesizer

Sławomir Kurkiewicz - double-bass

Michal Miśkiewicz - drums

Antymos Apostolis - percussion
Tomasz Szukalski - tenor saxophone
Wojciech Karolak - orchestral arrangements
String Section of Polish Radio Orchestra under the direction of Marcin Nałęcz Niesiolowski

Wolnosc w sierpniu (MVD Visual, 2006)

This magnificent album by Polish trumpeter / composer Tomasz Stanko includes the music commissioned by the Warsaw Rising Museum, which accompanies the permanent exhibition. The heroic and tragic struggle to free the Polish Capital from the Nazi occupation in August of 1944 is to this very day a pivotal episode of modern Polish history, in many respects unresolved (morally and politically) to this very day. The bold decision to bestow the task of composing the music played at the museum upon Poland's most distinguished Jazz composer is surely unusual and highly commendable. Stanko, of course, had little trouble to produce a masterpiece, which consists of a six-piece suite for Jazz combo and string orchestra. The participants are all Polish Jazz heroes, starting with the members of Stanko's regular quartet at the time: pianist Marcin Wasilewski, bassist Slawomir Kurkiewicz and drummer Michal Miskiewicz. Additional players include Stanko's veteran partners: keyboardist Janusz Skowron, saxophonist Tomasz Szukalski and guitarist Antymos Apostolis (who plays only percussion here). Another old friend, keyboardist Wojciech Karolak, is responsible for the string orchestra arrangements, played by the Polish Radio String Orchestra. The music, as always with Stanko, is absolutely breathtaking, from start to finish, performed brilliantly by all the musicians involved. Stanko's trumpet, with its distinctive and unique sound, soars vigorously and caresses gently, both with the same magic quality only he seems to be able to produce. Overall, this is definitely one of the finest Stanko's later period albums and an essential peace of European Jazz. An absolute must!

Side Note: It's a great pity that this album as now out of print and absolutely impossible to find. A repress is desperately in order!

(Editor) Pieśń Kanałów (Song Of The Sewers):

Author: Adam Baruch

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

Tomasz Stanko – Egzekutor (Universal, 2001)

Tomasz Stańko - trumpet

Justyna Steczkowska - vocalise
Janusz Skowron - synthesizer
Slawomir Kurkiewicz - bass
Michal Miskiewicz - percussion
Zbigniew Brysiak - drums

Egzekutor (Universal, 2001)

(Editor) This soundtrack is a must for all in love with Tomasz Stańko blue notes. Read more in Adam Baruch's review:  

Polish trumpet virtuoso / composer Tomasz Stanko is universally recognized as one of world's top Jazz musicians since many years. However, his contributions as composer of music for cinema is somewhat lesser known, which is a pity. Stanko's work in that area started way back to the early 1970s, but even earlier, when he was a member of the legendary Krzysztof Komeda ensemble, he already became intimate with the art of writing for cinema from his mentor, who was one of the greatest soundtrack creators ever, mostly known for his work for Roman Polanski. It is therefore understandable that Stanko's music for films would become heavily influenced by Komeda's approach, which culminates with this soundtrack, written to a brilliant film by Polish director Filip Zylber. In fact this is the second time Stanko contributes the soundtrack to a film by Zylber, with "A Farewell To Maria" being the predecessor to this one. Stanko is accompanied by some impressive players on this album, most notably by singer Justyna Steczkowska, who contributes some breathtaking vocalese parts. Also present are Janusz Skowron on synthesizer, Slawomir Kurkiewicz on bass, Michal Miskiewicz on drums, and Zbigniew Brysiak on percussion, as well as a string quartet. But Stanko's trumpet dominates this music completely and overwhelmingly, when it plays completely solo or is accompanied by other instruments. Stanko's virtuosity and magic sound are truly magnificent and supported by the atmospheric and often melancholic melodic motifs, the overall effect is simply stunning. It is a rare occasion when a soundtrack stand alone as a full fledged Jazz album, and this is a superb example of this being the case. I can only say that every Stanko fan should try and listen to this album, even if finding it today, only 10 years after it was released, is virtually impossible. The album was released as a double set with a CD and DVD Audio (Surround Sound) version of the music, which present different mixes of the same music. An absolute must!

The music from "Egzekutor":

Author: Adam Baruch

http://www.adambaruch.com/

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

Tomasz Stańko - Chameleon (1989) by Maciej Nowotny

My unofficial complete discography of Tomasz Stańko continues with the record titled Chameleon printed originally in Greece in 1989 and only in 2006 in Poland. Why in Greece? Thanks to Apostolis "Lakis" Anthimos, multi instrumentalist (guitars, drums) who at those times lived in Greece and managed to find there producer willing to invest money in this session. Two above mentioned musicians are accompanied on this CD by Janusz Skowron playing keyboards, mainly Roland as far as I can hear.

Eighties were the most erratic and self-destructive period in Stańko life mainly due to situation in Poland which suffered depression under martial law imposed by Gen. Jaruzelski in 1981 in order to suppress Solidarity movement. After seventies when he played state-of-art European version of Ornette Coleman free jazz, in next decade Stańko flirted with pop, electronic music, rock and even reggae starting with recordings titled C.O.C.X. (can be translated into English as D.O.P.E.) and Freeelectronic. So in those terms Chameleon is perhaps most mellow, easy-to-listen and smooth-jazzy record of Stańko and yet it is very, very beautiful and rewarding. 

Stańko as Miles never failed and he can be compared to mythical king Midas who whatever he touched turned into gold. What is fascinating in this record is that despite being at moments very accessible yet it comprises some compositions that counterpoint this sweet and light mood with typical Stańko brooding and bluesy sound. So this music retains Stańko musical identity which we appreciate so much but at the same time, as he states in his recently issued autobiography, could be used during intimate date with his girfriends who would probably run away immediately if exposed to Stańko excellent free jazz recordings as Music For K, Twet or even Balladyna. Typical Stańko sense of humour ;-)))

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