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

Slawomir Kulpowicz – Three Etudes / Prasad In Mangalore (2009) ***1/2

Slawomir Kulpowicz - piano

Jarooslaw Smietana - guitar

Witold Szczurek - bass

Krzysztof Przybylowicz - percussion

Jerzy Bartz - percussion

Jose Torres - percussion

ANEX 319

By Adam Baruch

Following the demise of The Quartet, Polish Jazz pianist / composer Slawomir Kulpowicz founded a new ensemble, which he called In-Formation. Over time several different versions of In-Formation existed, including a duo, a piano trio, quartet and even sextet. In-Formation recorded two albums and later took part in the recording of this album, which was eventually released as a Kulpowicz solo album. The album consists of three solo piano pieces recorded for the Polish Radio and three pieces recorded live by In-Formation during the Jazz Jamboree Festival with guitarist Jaroslaw Smietana, bassist Witold Szczurek (a.k.a. Vitold Rek) and percussionists Krzysztof Przybylowicz, Jerzy Bartz and Jose Torres.

All the music was composed by Kulpowicz and is a direct continuation of his John Coltrane / McCoy Tyner influenced style presented earlier by The Quartet. But in time the music becomes more contemplative and also more personal, as evident mostly on the solo piano pieces. In parallel the Indian and other World Music influences are trickling in steadily and can be already clearly heard herein. The In-Formation pieces are truly superb and present the group as a great vehicle for the Kulpowicz compositions. They also expose Smietana as the first rate player he always was, regardless of the setting.

In retrospect this is a great document of the Polish Jazz scene in the early 1980s and an important part of the legacy Kulpowicz left behind him, which should serve as an endless source of inspiration to new generations of Polish Jazz players. Definitely worth investigating!

Side Note: The Poljazz label, which originally released this album, was active for 20 years (between 1972 and 1991) and was owned by the Polish Jazz Society. Considering the fact that the music industry in the Socialist State was centralized and totally controlled, with just one State owned music company producing all the albums, the possibilities to record and release Jazz albums were extremely limited. Poljazz was conceived and founded in order to allow for many more Jazz (and other) albums to be released independently from the State owned Polskie Nagrania / Muza and as such revolutionized the music industry at the time, being the only such enterprise in Eastern Europe. The Polish label Anex reissued many of the original Poljazz albums on CD, bringing this fabulous music back to life.

In-Formation – In-Formation Trio (2013) ****1/2

Slawomir Kulpowicz - piano

Witold Szczurek - bass

Czeslaw Bartkowski - drums

POLSKIE RADIO 1248






By Adam Baruch

This is the second installment in a series of releases documenting the recorded legacy of the great Polish Jazz pianist / composer Slawomir Kulpowicz, most of which is released for the first time. Kulpowicz, who died prematurely in 2008 at the age of 56, was a victim of cancer. He was a member of groups led by the top Polish Jazz players like Zbigniew Namyslowski and Tomasz Stanko and led / co-led his own ensembles like The Quartet, In-Formation and also cooperated with many other musicians over the years. He was an avid follower of John Coltrane's music and kept in touch with Coltrane's wife Alice Coltrane. Following his visit to India, Kulpowicz discovered Indian music and the spiritual aura of India, which became his own.

Following the demise of The Quartet, Kulpowicz founded a new ensemble, which he called In-Formation. Over time several different versions of In-Formation existed, including a duo, the basic piano trio, presented here, quartet and even sextet. In retrospect the trio proved to be the most successful incarnation of the group. It included bassist Witold Szczurek (a.k.a. Vitold Rek) and legendary drummer Czeslaw Bartkowski. The same trio also served as the rhythm section of the Tomasz Stanko quartet in the early 1980s, recording with him two most impressive albums: "Music 81" and "A I J" (both recorded at the same session).

In-Formation recorded two albums for the Poljazz label, the second of which is partly (three tracks) also included here. The rest of the album (five more tracks) originates in two radio sessions recorded earlier in the same year. All the music was composed by Kulpowicz and is a direct continuation of his John Coltrane / McCoy Tyner influenced style presented earlier by The Quartet. Of course the trio's music is much less intense sonically than the quartet's massive sound, but not less complex or spiritually evolved. Kulpowicz carries, as expected, most of the load, producing his usual vamped chords and dense cadenzas of amazing fluency and virtuosity. The rhythm section supports him splendidly, with Rek emphasizing the melody riffs and Bartkowski providing the swinging drive carrying the music in fast forward most of the album's duration.

The piano trio, which is the ultimate Jazz showcase, was quite a neglected Art form at the time this music was recorded. Therefore these recordings are even more special, as there was no other parallel outfit on the Polish Jazz scene at the time. Of course the piano trio would triumphantly return and re-appear on the Jazz scene later on, including of course the local Polish scene, but at that particular time In-Formation trio was completely unique.

This album is not only a great example of the Jazz piano trio Art, but also a very important document of the development of the Polish Jazz scene. Of course it's an absolute must have for all Polish Jazz connoisseurs and collectors, but every piano trio buff around the globe should find this quite a treat. Great stuff!

Tomasz Stanko - Music 81 (Polish Jazz Vol. 69, 1982)

Tomasz Stańko - trumpet

Sławomir Kulpowicz - piano

Witold Szczurek - bass

Czesław Bartkowski - drums 

Music 81 (Polish Jazz Vol. 69, 1982)

Like many, among them great Miles Davis, in 80ties Tomasz Stańko looked to popular music for inspiration. Slowly his music was losing its free jazz, Ornettian features to become more and more accessible for average listener. Fortunately Stańko did it in entirely his own, individual way. From first note we know exactly whose trumpet is singing and music remains challenging sounding fresh and engaging regardless 30 years since its recording. 

That is partly due to his partners in this recording. Rhythm section is reliable if somewhat too predictable for my modern taste with Witold Szczurek on bass and Czesław Bartkowski on drums. But Sławomir Kulpowicz on piano is different story: his line is influenced by bop piano masters like Bud Powell, Wynton Kelly and, most of all, McCoy Tyner. Beautifully edged and coarse it counterpoints perfectly Stańko slow yet refined trumpet meanderings. This dialogues between Stańko and Kupowicz are without question main attraction of this disc making it indispensable position for any soul enamored in good jazz.

Track listing: 1. Alusta; 2. Daada; 3. Bushka; 4. Third Heavy Ballad; 5. Ahuha

\

By Maciej Nowotny

http://kochamjazz.blox.pl 

Jan "Ptaszyn" Wroblewski – “Flyin` Lady" (Polish Jazz Vol.55, 1978)

Jan “Ptaszyn” Wróblewski – tenor sax

Marek Bliziński – guitar
Witold Szczurek – bass
Andrzej Dąbrowski – drums

“Flyin` Lady" (Polish Jazz Vol.55, 1978)

This is an excellent album by Polish veteran Jazz saxophonist / composer / arranger / bandleader Jan "Ptaszyn" Wroblewski. One of the great pioneers of the Polish Jazz movement since the 1950s, Wroblewski remained very active on the local scene in many capacities, which included leading his own ensembles, directing the Polish Radio Jazz Studio Orchestra and teaching generations of Polish Jazz musicians. Wroblewski always firmly stood for the Jazz tradition, keeping the mainstream Jazz in Poland on a very high level. He was rarely associated with the Polish Jazz modernists and avoided Free Jazz excursions, even when these were fashionable. Nevertheless his unique and innovative approach to Jazz composition and virtuosic ability as a player make his very extensive legacy an infinite source of superb Jazz moments. This album presents six original compositions by Wroblewski, superbly performed by a quartet, which includes guitarist Marek Blizinski, bassist Witold Szczurek and drummer Andrzej Dabrowski. Blizinski should be noted as one of the greatest Polish guitarists and perhaps the Jazziest one, who avoided getting into Fusion at all costs, keeping his sound in the Wes Montgomery / Barney Kessel tradition. Altogether this is a great example of the versatility of the Polish Jazz scene and its excellence, regardless of the specific sub-genre in question. Highly recommended!

Track listing:  A1. Pastuszek Stomp; A2. Grzmot nad ranem; A3. Bossa Nostra; B1. Pani Ptakowa; B2. Dlaczego małpa...; B3. Licheć Checioł Dana

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/

Kazimierz Jonkisz - Top Six Outsider (Polish Jazz Vol. 71, 1987)

Volume nr 71 in great Polish Jazz series (which i got thanks to welovepolish.blogspot.com) brings us music which sounds as fresh now as it did on the day of its recording 25 years before. A bunch of then young players: Kazimierz Jonkisz (drums), Witold Szczurek (bass), Krzysztof Popek (flute), Piotr Adamski (piano), Maciej Strzelczyk (violin) and Henryk Gembalski (violin) showed such an energy and enthusiasm on this record that it was obvious that they had to become key players on Polish jazz scene in 80ties and 90ties. 

As far as leader of this band is concerned, Kazimierz Jonkisz started his career by taking taking part in recording of famous Zbigniew Namysłowski album "Winobranie" in 1973 and since then was very active playing with most important players in those times like Jan Ptaszyn Wróblewski, Tomasz Szukalski, Włodzimierz Nahorny etc. From 1974 until 1976 he was playing in Jazz Carries group with Henryk Miśkiewicz among others with whom he recorded album titled "Jazz Carriers: Carry On!" in 1973. Finally in 1978 he set up his own band which with different personel carried on for quite long time recording such interesting albums as "Tiri Taka" in 1980, "Top Six" in 1986 and "XYZ" in 1987. 

In musical terms this is mainstream jazz owing a lot to hard bop era with delicate Polish folk accents. It rocks as hell but presence of both violins and flute make music sound so original and Polish, unmistakably one of great recordings of serious players in Polish jazz.

PS. Please note a very interesting album cover which is a joke directed toward communist regime hated by most of Polish jazzmen: lap decorations containing portraits of musicians remind medals of Soviet heroes ;-)))

Check this link for a composition by Krzysztof Popek "Polinelia" from this record.

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