Muzycy: Michał Szturomski – elektronika, sampling, produkcja Miłosz Wośko – instrumenty klawiszowe Adeb Chamoun – instrumenty perkusyjne Maciej Szczyciński – kontrabas Jerzy Mazzoll – klarnety Filip Kosior – narracja Aleksandra Kornelia Maj – teksty popularnonaukowe
Tytuł płyty: „Ptaki Polski”
Wydawca: Requiem Records (2025)
Autor tekstu: Mariusz Olczyk
Ptaki Polski wymykają się jazzowej etykiecie – muzyka rozwija się tu zgodnie z logiką przyrody, niemuzycznego gatunku. To w pewnym sensie odwrócenie projektu „Sowy Polski. Podział gatunkowy”: tam solowa elektronika, tu wspólne muzykowanie i żywa improwizacja.
To projekt, w którym Michał Szturomski wraz z zespołem próbuje przełożyć strukturę natury na strukturę dźwięku. Ale nie wprost. Tu nie muzyka ilustruje ptaki, ale to ptaki inicjują muzykę, jakby to one otwierały okno.
This is the debut album by
Polish Jazz quartet T/Aboret comprising of pianist/vocalist Natalia Czekała,
string instruments player/vocalist Karolina Matuszkiewicz, bassist Maciej
Szczyciński and percussionist Krzysztof Guzewicz. A couple of guest players
appear on two tracks. The album presents nine tracks, which are a mixture of
arrangements of folk songs and original compositions. The music was recorded at
the fabulous Monochrom Studio and engineered by Ignacy Gruszecki, offering the
usual excellent sound quality.
The music is heavily soaked in
Polish Folklore, especially that of the Kurpie region, which already was
featured as the central theme of two excellent Polish Jazz albums: "Bukoliki" and "Kurpian Songs & Meditations". In fact, the quartet’s music manages to
incorporate the Folklore so closely into their musical fabric, that it is
impossible to distinguish which of the tracks are arrangements of Folk melodies
and which are original compositions.
The group members play on a
plethora of instruments, especially Matuszkiewicz, most of which are associated
with folk music. The overall acoustic sound is serene, deeply melancholic and
beautifully melodic, with the Jazz elements appearing as an undercurrent
accent, rather than the main facet of the music. This album is one of several
recent Polish Jazz releases, which emphasize the popularity of the trend of
returning to the musical roots, in which young musicians find a remedy for the
constant pressure of the global noise and emptiness of uniform non-culture.
Overall this is a highly
aesthetic, delicate and beautifully designed piece of embracing music, which
offers an immediate, embraceable aural experience, respectful of tradition and
Culture in general. Definitely a breath of fresh air and a most promising debut
effort!
Although her career goes back
over two decades, this is finally the debut album by Polish vocalist Małgorzata
Markiewicz. It was recorded with the vocals supported by a basic trio
consisting of keyboardist Nikola Kołodziejczyk, bass guitarist Maciej
Szczyciński and drummer Michał Bryndal. In addition a string quartet, which is
3/4 of the Atom String Quartet (violinist Dawid Lubowicz, violist Michał Zaborski (Małgorzata's husband) and cellist Krzysztof Lenczowski) and violinist
Marta Zalewska takes part in the recording as well as eight other musicians
playing/singing on selected tracks.
The album presents twelve original songs,
nine of which were composed by Markiewicz (two co-composed with others) and
three were composed by Gabriela Kapczuk. She also wrote three of the lyrics and
co-wrote one with the rest being by different authors. Six of the songs feature
lyrics in Polish language and the other six feature lyrics in English. The
album is elegantly packaged and offers the lyrics, arty photographs and stylish
design.
The songs are all typical
contemporary Polish Pop, very melodic and solidly written but slightly samey. The
album offers a modern production and sound, which I personally don't appreciate
very much. But the instrumental arrangements, with just a tinge of Jazz here
and there, and the playing / singing are absolutely perfect and professional.
If not for the Polish lyrics, this album might have been mistaken for an American
album, which proves that the Poles can beat the Americans at their own Smooth Jazz
production game, but as such does not offer much originality.
With that said, Markiewicz
proves she can write great tunes and sing them with true feeling, even in
English, which most of her local vocal colleagues fail at badly. It is obvious
that a lot of thought and work was invested into creating this album and the
result is highly entertaining and offers a great listening experience, which
Pop and Smooth Jazz listeners should enjoy immensely. Overall this is an excellently
produced and beautifully performed album, full of great tunes and typical
Smooth Jazz feel, which should make aficionados of that genre perfectly happy.
This is the debut album as a leader by the Polish violist Michał Zaborski, mostly recognized as a member of the Atom String Quartet, recorded with a quartet, which also includes pianist Nikola Kołodziejczyk, bassist Maciej Szczyciński and drummer Michał Bryndal. The album presents seven original compositions, all by Zaborski and the music was recorded at the excellent Studio Tokarnia and engineered by Jan Smoczyński.
With the viola in the lead, the
quartet produces a noticeably "different" sound than one expects from
a Jazz recording, and indeed this music, although Jazz oriented, includes also
strongly noticeable additional influences, such as Classical and Folklore
music, which are immediately apparent from the onset. The compositions are all
deeply melancholic and mostly low key, emphasizing a strong melodic presence,
with the themes stated by the viola at the beginning of each piece and than
gently carried on by the fragile piano and viola improvised parts. The piano is
a tad too busy at times, but not extravagantly so. The rhythm section keeps things
to bare minimum, with the bass pulsating in the background and playing a few beautifully
melodic soli and the drums steady and barely audible at times.
And yet the music has an
irresistible charm to it, a magical flow that keeps the listener mesmerized for
the duration of the album, taking him from one piece to the next as if
hypnotized. In spite of the minimalist outcome produced by the musicians, the
music does not seem to be missing anything and is perfectly rounded and whole. The
music is kept mostly on a relaxed level with little dynamics displayed along the
way, which could be considered a bit indistinguishable, but easily forgiven.
Personally I really enjoyed the
music, although I suspect some listeners will find it a bit "too
pretty" and altogether lacking the "kick" Jazz enthusiasts
expect to hear in the music. There is no doubt Zaborski is a virtuoso and his
performances here as every bit as strong as on his numerous earlier recording. His
compositions are heavily influenced by Polish Folklore music and his Classical
Music background, which he openly admits in his music, not trying to make it sound
more Jazzy than it rally is.
Overall this is a very unique album,
different from most of the output arriving on the Polish Jazz scene, and also
different from the material Zaborski records with the Atoms, showing another
facet of his musical personality. A Gentle Giant by all means, who can weave
beautiful melodies and share them with his listeners with obvious love and modesty.
Michał Zaborski - altówka Nikola Kołodziejczyk - fortepian Maciej Szczyciński - kontrabas Michał Bryndal - perkusja
Michał Zaborski Quartet - "Feeling Earth" - to debiutancka płyta altowiolisty Michała Zaborskiego, współtwórcy uznanego już na polskim i europejskim rynku muzycznym zespołu Atom String Quartet. Krążek ukaże się w połowie kwietnia nakładem słowackiej wytwórni Hevhetia i jest zapisem autorskich kompozycji lidera. To pierwszy w Polsce projekt związany z muzyką jazzową, gdzie altówka pełni rolę instrumentu wiodącego. Materiał zawarty na "Feeling Earth" to intrygujące połączenie melodyjnego, europejskiego jazzu z domieszką muzyki regionalnej z różnych zakątków świata, którą w nieoczywisty sposób artysta przemyca w swoich kompozycjach. I to właśnie ona, dzięki swej specyficznej urokliwości i niepowtarzalności, była ogromną fascynacją artysty i w konsekwencji dominującą inspiracją do powstania tego projektu. Rzadkie zestawienie instrumentu, jakim jest altówka, z tradycyjną sekcją jazzową przynosi nową i niezwykle ciekawą, muzyczną jakość.
Działalność w różnych obszarach, zarówno muzyki klasycznej, jak i szeroko rozumianej muzyki improwizowanej, pozwala Michałowi Zaborskiemu na kreowanie swojego indywidualnego stylu. Artysta stale poszukuje nowych środków wyrazu, eksplorując jednocześnie nieznane dotąd możliwości, jakie daje altówka - dotąd śladowo wykorzystywana we współczesnym języku jazzowym. Próba definicji i umiejscowienia tego instrumentu w nowym kontekście jest jednym z bardziej interesujących przedsięwzięć na polskiej scenie muzycznej. W nagraniu płyty wzięli udział muzycy z formacji Stryjo: pianista Nikola Kołodziejczyk, kontrabasista Maciek Szczyciński i perkusista Michał Bryndal. Premiera koncertowa odbędzie się 16.04.2019 w Promie Kultury Saska Kępa w Warszawie, przy okazji cyklu "Cały Ten Jazz".
Nikola Kołodziejczyk - piano
Maciej Szczyciński - bass
Michał Bryndal - drums
A Vista Social Club
PRIVATE EDITION
By Krzysztof Komorek
Ależ Stryjo się tu pięknie uwijo. Żartobliwa metodologia nazywania utworów przez wymieniony tercet usprawiedliwiać może taką formę recenzji ich najnowszej płyty. Dawno, a może nawet nigdy, nie bawiłem się tak dobrze przy lekturze spisu utworów: "Dziecko rozmarynu", "Kaftan trójwarstwowy, przeciwpancerny", "Belzebóbr", zestaw utworów z pierwszej płyty, których jednowyrazowe tytuły układają się w zgrabne "Śniło mi się, że brałem udział w familiadzie". Proszę się jednak nie sugerować tymi słownymi zabawami, bowiem są one jedynie świadectwem lekkiego dystansu muzyków do tworzonej przez siebie materii. Natomiast w warstwie muzycznej nie ma już mowy o żartach.
Po płytę sięgałem z ogromnym zaciekawieniem, Głównie ze względu na skład zespołu. Michała Bryndala kojarzyłem dotąd raczej z nie jazzowych aktywności, moje ostatnie spotkania z twórczością Nikoli Kołodziejczyka to duże składy instrumentalne, natomiast Macieja Szczycińskiego znałem najmniej. Musze przyznać, że już poznanie kulis sesji nagraniowej wzmogło mój podziw w stosunku do omawianego tu wydawnictwa. Płyta jest bowiem całkowicie zaimprowizowana. I nie mamy tu do czynienia z eksplozją free jazzu. To kawał solidnego, nowoczesnego mainstreamu. Tyle tylko, że (jak zdradza to w wywiadach Nikola Kołodziejczyk) bez zapisu nutowego. Ot, muzycy usiedli w studiu, a całość wymyślonej i zagranej wówczas a vista muzyki znalazła się na dwóch płytach.
Chylę czoła przed wyobraźnią i siłą porozumienia pomiędzy muzykami. To nie są jakieś krótkie muzyczne zabawy, urywane nagle tematy i pomysły. Utwory na płycie mają na ogół 6 i więcej minut, a przewrotnie nazwane i umieszczone w środku drugiej płyty "Intro", nawet minut 13. Bardzo dobra płyta, której nie można nie znać.
Marcin Olak - electric & acoustic guitars
Patryk Zakrocki - viola
Maciej Szczyciński - double bass
Krzysztof Szmańda - drums
Bessarabian Journey
FSR022016
By Krzysztof Komorek
Prezentowany na "Bessarabian Journey" program zamówiony został przez organizatorów Festiwalu Nowa Muzyka Żydowska. Jeden z twórców festiwalu i jego dyrektor artystyczny, Miron Zajfert, skierował Marcina Olaka właśnie w stronę Bessarabii. Możemy sobie zadać pytanie, dlaczego właśnie tam? Kraina ta, mogła by być swoistym symbolem symbiozy kultur. Położna na terenach dzisiejszej Mołdawii i Ukrainy zamieszkiwana była przez mieszankę narodowościową, którą w dość znacznej ilości stanowiła właśnie ludność pochodzenia żydowskiego. Wojny i polityka sprawiły, że tamten świat zniknął. Marcin Olak szukał więc natchnienia w kijowskich archiwach, słuchając starych nagrań i studiując dawne zapisy nutowe.
Powstałe kompozycje nagrane zostały na żywo w sali Narodowego Instytutu Audiowizualnego w marcu 2016 roku. Obok lidera projektu w składzie kwartetu zagrali: Krzysztof Szmańda na perkusji, Maciej Szczyciński na basie oraz Patryk Zakrocki na altówce. Siedem spośród dziewięciu nagranych utworów opartych jest na tradycyjnych melodiach z Bessarabii. Pozostałe dwa to kompozycje duetu Zakrocki-Olak oraz samego Marcina Olaka.
Zamysł przeniesienia znalezionych tematów na grunt współczesnej muzyki powiódł się znakomicie. Trzy kwadranse – z niewielkim okładem – tego programu to jednak podróż wcale nie tak oczywista. Źródła poszczególnych muzycznych motywów są często wyraźnie zaznaczone, jednak utwory kierują się potem w stronę jazzu, muzyki klasycznej czy improwizacji.
Na "Bessarabian Journey" nie należy się spodziewać prostego odegrania melodyjek ludowych. Widać, a w zasadzie słychać na tej płycie kawał solidnej roboty wykonanej przy komponowaniu, aranżacji i opracowaniu całości. Wyróżnianie któregokolwiek z muzyków byłoby krzywdą dla pozostałych. Na wysokie oceny zasłużył bez wyjątku cały kwartet. Wskazywanie któregoś z fragmentów płyty także nie powinno przysłaniać faktu, ze mamy do czynienia ze spójną, równą i świetną całością. Mnie w pamięci zapadły "Mazltov" zagrany przez gitarę i bas subtelnie wspomagane perkusją, "Missing Landscape" wykonane w duecie Zakrocki-Olak oraz "Shabes Nign I" z rockowym brzmieniem gitary, powtórzonym potem w finałowym i tytułowym "Bessarabian Journey". Dla porządku i ku chwale wydawcy nadmienić należy, że płyta ukazała się staraniem Fundacji Słuchaj.
This is the second album by Polish Jazz pianist/composer/bandleader Nikola Kołodziejczyk, recorded by an orchestra which includes fifteen musicians from a variety of musical idioms: Classical, Jazz and Folklore, who play among others original instruments from the Baroque era. Together they perform a twelve-piece suite called "Barok Progresywny" composed by Kołodziejczyk. The music was performed completely acoustically and recorded "live" without any overdubs or multiple takes.
Kołodziejczyk's
debut album released a year earlier created quite a stir on the local Polish
music scene, including a nomination for the county's most prestigious music
award. Such dramatic events are unfortunately very hard to beat and so far the
release of this album seems to have created a much more modest response.
The
music on this album is much less exciting in comparison to its predecessor. Heavily
set in Classical Music, with just brief excursions into the Jazz of Folklore
environments, the suite is dominated by melancholic, low key themes, which move
forward slowly and hesitantly, much closer to Serialism or Minimalism than
Baroque. A few excellent Jazz solos erupt sporadically, but as good as they
are, they seem to be detached from the main line of the suite and sound rather out
of place. The overall feeling the listener is left with once the music is over
is quite depressing and therefore in complete contrast to the spirit of Baroque
Music.
Kolodziejczyk
is undoubtedly a very gifted and talented musician/composer and his work so
far gives us a glimpse into his diverse and complex musical personality. Hopefully
his ambitious orchestral projects will continue to be realized and recorded,
which in today's economic reality is far from trivial. Even if this album does
not really make me to jump out of my socks, I'm looking forward to hear more of
his music, the sooner the better.
This is the debut album by young Polish Jazz pianist/composer/bandleader Nikola Kołodziejczyk, recorded by a twenty five piece orchestra, with members who originate from three different countries, which presents a five-part suite, which in turn is a hybrid of contemporary Classical music, classic mainstream Big Band and Free Jazz/Improvised music. There is no doubt that this is a very ambitious project, brought into reality against all odds and one that refuses to compromise and takes no prisoners.
Although highly motivated and
certainly ingenious, this project is not quite as revolutionary or innovative
as one might imagine. In fact it continues the European orchestral Jazz
tradition, which followed a different path from the American orchestral Jazz
tradition, which flourished in the US
in the early 20th Century and was than imported into Europe and mimicked for a few decades until the
emancipation of the European Jazz in the 1960s. Since than a long line of
superb European Jazz orchestras carried the torch towards new horizons,
starting with the British orchestras led by Neil Ardley, Michael Gibbs, Mike
Westbrook and many others and than gradually spread across Europe and even
behind the Iron Curtain, with such notable bandleaders as Gunter Hampel, Hans
Koller, Martial Solal, Gustav Brom and such distinguished ensembles as the NDR
Big Band, the Vienna Art Orchestra and so many others. Many of these European
Jazz orchestras often use similar characteristic devices to those used in the
process of making the music heard on this album: switching between melodic
mainstream Big Band parts and freely improvised passages, using string
arrangements and wordless human vocalese, in short the typical palette of contemporary
European Jazz orchestral music.
Considering Kołodziejczyk's
age, limited experience, restricted resources and all the obstacles that he had
to confront in order to record this album, one must admit that this is a
remarkable achievement, not only from the aesthetic perspective but also from
the pure organizational one. But of course most listeners are not really
interested in the behind the scenes of music making and judge it by what they
hear. As far as the music is concerned, Kołodziejczyk presents a collection of
sonic plateaus, which intertwine and develop slowly, and are best listened to
in the sequence dictated by the album's tracks and as a whole. The separate
parts of the suite do not really stand on their own, as the melodic content of
the entire proceedings is relatively limited. To use a metaphor from a
different media, the suite makes sense the same way a complete canvas of a
painting makes sense, and wouldn't do so if looked at when sliced into several
pieces.
At times one might get the
impression that this music is more about "how" than about
"what". Kołodziejczyk is obviously enamored with the bag of tricks
that are at his disposal as a composer orchestrator, and with the sound of
the orchestra, much more than with the actual compositions, and as a result we
get a complex baroque musical structure, supported by quite simple foundations.
Sometimes the instinctive urge to show as much of one's talents as possible,
here and now, can prove hazardous. This often happens to young and talented
artists and is quite meaningless in a long range, provided that Kolodziejczyk
is treating this project as just one of many lessons he has to go through
during his long and hopefully very successful career.
All in all this is a very
impressive, ambitious and unusual debut album by an obviously talented musician/composer, who presents enormous potential, which hopefully will be fully
realized in his future projects. Since orchestral Jazz albums are extremely
rare, this is even more of a valuable contribution to the Polish Jazz scene.
Thanks to For Tune for finally releasing this album, over three years after it
was recorded, it's certainly better off now in the open for all music lovers to
enjoy. I am anxiously waiting for the next project.
Ryszard Wojciul - alto & soprano saxophones, clarinet, EWI, voice
Bolesław Błaszczyk - piano, keyboards
Marcin Olak - guitars, voice
Jacek Malicki - guitar
Wojciech Szewko - bass guitar
Maciej Szczyciński - double bass
Monika Szulińska - percussion
Jacek Alka - drums
To The Inside (2014)
By Stefan Wood
The Polish group The Intuition Orchestra, is actually a trio, fronted by Ryszard Wojciul, with Boleslaw Błaszczyk and Jacek Alka. Having played in the politically charged underground Polish rock scene in the late 80's, and studying music at the Warsaw Music Academy, Wojciul was exposed to jazz and modern classical, and grew interested in improvised music. When the economy collapsed, he worked for a corporate radio station, and after a decade, returned to playing music, with the emphasis on total improvisation. As a result, no two concerts or albums are alike. On this album, To the Inside, they are accompanied by several musicians, Marcin Olak, Wojciech Szewko, and Jacek Malicki on guitars, Monika Szulińska on percussion, and Maciej Szczyciński on double bass.
The opening track, "Czas Bylo Ruszac," is short but very atmospheric, emphasis on the guitar with a little electronics from Blaszczyk. Delicate but with a flurry of notes, it remindes this listened of early Pink Floyd. The following track, "Transuranowce," has Wojciul playing this sax over a funky percussive Gamelan influenced beat, with a heavy bottom edge provided again by Blaszczyk's electronics. It is an outstanding tune. The group is at their most playful when they let things loose, as in the aforementioned track and in "Zeriba, Zeriba," another wild percussive heavy track, breaking halfway in with a Wojciul solo, then moving back towards a slower but still percussive led beat. An Asian influence is definitely felt, merging with a European stum und drang sensibility; a light exotic flavor tempered by free form unpredictably and drama. "Stolon" is more contemplative, the guitar providing a gentle yet unpredictable solo path, with electronics and a tabla like percussion providing a little tension and spatial flavor. "Transsylwania" is another percussive led track, with piano doing a long solo, sometimes melodic, other times percussive. "Do Wewnatrz," is a guitar led improvised tune with a pseudo flamenco beat. Only occasionally does it feel that the improvising leads to nowhere, as in the anemic "Dziwactwa Zabobon," where there are a lot of things happening -- percussion, sax, electonics, providing a mood, but not leading anywhere, but it is rare.
To the Inside is a strong album of improvisation that harnesses a global range of sounds, fusing them with their Polish sensibilities, and creating a strong work of sonic art. Recommended.
This is the second album as a leader by Polish Jazz vibraphonist / composer Dominik Bukowski, one of the most prominent representatives of Poland's Baltic seashore scene. Bukowski's output over the years is quite prolific and impressive, but stylistically it is mostly associated with lyrical and melodic Jazz, whereas on this album he presents a brass oriented hard bop setting with a distinct "retro" sound and brass dominated arrangements. The album consists of eight original compositions, all by Bukowski (assumedly as credits are not mentioned on the album's cover). The music is performed by a sextet, which besides Bukowski includes also trumpeter Piotr Wojtasik, trombonist Jacek Namyslowski, saxophonist Lukasz Poprawski, bassist Maciej Szczycinski and drummer Sebastian Frankiewicz. It was recorded at the excellent Studio Tokarnia and engineered by Jan Smoczynski with excellent results, as usual.
The music is dominated by the
brass section and Bukowski plays solo sparingly, which altogether reflects his
position as a leader of this session in the composer's and arranger's seats rather
than upfront as an instrumentalists. That unselfish decision is of course praiseworthy
and also creates a superb ensemble sound, which is after all one of the
centerpieces of the Jazz experience. Needless to say the individual performances
by all the participants are above reproach. The brass players perform numerous
excellent solos, the vibraphone lays out the harmonic parts and the excellent
rhythm section moves the music forward with considerable drive but without
being overbearing.
In retrospect this is a
remarkable album, well worth discovering and re-visiting. It is sadly rarely
mentioned among the important Polish Jazz recordings, although it definitely
deserves an honorable mention, as it is quite different from most other albums
recorded in Poland
in the first decade of the 21st Century. It is definitely worthy a
place in any Jazz connoisseur's collection and a proud item in Bukowski's already
remarkable legacy.
Marcin Olak - classical and acoustic guitar
Maciej Szczyciński - bass
Hubert Zemler - drums
Mikołaj "Miki" Wielecki - percussion (tracks 7 & 8)
Crossing Borders (Luna Music, 2012)
Marcin Olak Trio is an exciting, new jazz group from Poland. Music - mostly Marcin's own compositions - can be placed somewhere between jazz and contemporary chamber music. It's concentrated around theacoustic and classical guitar sound, widened with double-bass and prepared drum set. What's interesting: Marcin Olak Trio is one of the few jazz bands in the world (!) when classical and acoustic guitars are are the lead instruments. Electronic instruments are not used, every sound is natural, and musicians become the only source of energy on stage, and a quite efficient one. The Trio played on the most important Polish jazz festivals, like:Warsaw Summer Jazz Days (2008 - that concert was recorded by Polish TV, TVP Kultura), Guitar City (2005, 2008), Jazz na Buduku (2006, 2008), Jazz w Ruinach (2007), Jazz Juniors (2005),Warsaw Underground Jazz (2003) etc. One of the most interesting events was Warsaw Guitar Festival (2008), when Marcin's concerto for jazz trio and symphony orchestra premiere performance took place.
Marcin Olak is one the most interesting Polish jazz guitar players. He is one of the few, who can play modern jazz on classical and acoustic guitars, using specific sound and articulation possibilities of those instruments; sometimes he plays electric guitar as well. He moves between various styles: jazz, classical and contemporary pieces, fully composed and improvised music. Marcin Olak peforms solo and in various bands: from free - jazz combos, through a classical guitar ensambles, up to the symphony orchestra. His own project: Marcin Olak Trio, is especially worth mentioning. The trio has released its first CD, Zealot in 2005. In 2008 another album, Simple Joy was released.
Marcin graduated Fryderyk Chopin's Musical Academy inWarsaw (PL) on classical guitar. He took part in numerous master classes with both classical guitarists (like David Russel or Jorge Cardoso) and jazz performers (like Ralph Towner or Scott Henderson).
Marcin Olak played on some cool guitar and jazz festivals: Warsaw Summer Jazz Days (2008), Warszawska Jesień (2007, 2009), Jazz na Buduku (2006, 2008), Jazz w Ruinach (2007), Guitar City (2005, 2008), Jazz Juniors (2005), Warsaw Underground Jazz (2003) and some more. Warsaw Guitar Festival in 2008 seems especially worth mentioning, as Marcin's own concerto for jazz guitar trio and orchestra was performed there for the first time. Marcin played in the most important concert halls in Poland, National Philharmony Hall inWarsaw and Polish Radio Witold Lutosławski Concert Studio among them. He made numerous recordings for polish radio and TV. He doesn't avoid jazz clubs anyway...
Marcin's improvising art has been appreciated by polish guitarists. As he is one of the very few improvising classical guitar players, Marcin's been asked to write workshops on jazz improvising and harmony in all - polish magazine: Top Guitar.
Tracklist: 1. Crossing Borders – episode 1, 2. Hej, od Krakowa jadę (Blue Deconstruction), 3. Ach, mój Jasieńko (Quasi ad libitum), 4. Na jabłoni jabłko wisi (Work Song), 5. Just One More Day, 6. Blue Study, 7. Waterfall, 8. Olive Tree, 9. Responsorium, 10. Katwar, 11. Infundybuła chronosynklastyczna, 12. Crossing borders – episode 2.
Dominik Bukowski, vibraphonist, is one of best young sidemen in Poland. He played in countless projects and he always brings a lot of value to any recording he takes part in. Just from very recent times one may quote such interesting discs like Piotr Lemańczyk "Naha Poeple" (2009), Krystyna Stańko "Secretly" (2010) or Wojtek Staroniewicz "Afreakan Project" (2011).
But he already has quite a impressive achievements as a leader starting with "Dominik Bukowski & Projektor" (2005) with this record "Times Get Changed" (2008) as second and continued with "Vice Versa" (2009). Though young Bukowski managed to build such a reputation that he easily convinces top Polish jazz players to take part in his projects. On this record he is accompanied by a very strong line-up composed by Piotr Wojtasik (tr), Łukasz Poprawski (as), Jacek Namysłowski (tromb), Maciej Szczyciński (db) and Sebastian Frankiewicz (dr). The band produces impeccable sound, playing as meticolously and precisely as one could wish which fits well with elegant compositions of the leader .
As far as music is concerned it is mainstream jazz and if in the end I was to find some minor objection to this album I would say that it sounds a bit too conservative, predictable and cautious. Since Bukowski already proved that he is great instrumentalist and able composer let us hope that in future he will also find in himself enough strength to search for his own, individual and unique musical vision...
Check Dominik Bukowski website for audio samples of his music and/or watch this video with music from his last album "Vice Versa":
Recently on occasion of writing about Wojtek Mazolewskis's very good "Smells Like Tape Spirit" (2011) album, I've complimented on pianist Joanna Duda and drummer Michał Bryndal. Here is another recording they play together with this difference that Mazolewski's bass is replaced by Maciej Szczyciński's and Joanna Duda acts as a leader. And again I can only say words of praise as far as play of the artists is concerned, but not so much about the music itself. Because it is too often irritating, though I admit that there are great moments as well. I shall be precise where which emotion prevails: while this band is mixing creatively old school funky swinging with post-disco influences of artists like Jamiroquai, I feel comfortable and enjoy this music as inteligent and autoironic show of very talented, young jazz instrumentalists. However when they try to play more seriously and add to this music some avantgarde blend, this feeling of satisfaction is changing into disappoitment as avantgarde is treated by musicians in extremely infantile way. This is old sin of many yass recordings in Poland: they are uneven, shallow, inconsistent. At such moments Duda's play is mechanical and uninspired, Bryndal's drumming schematic and Szczyciński's bass as predicatble as beats programmed by my PC.
Summarizing, I appreciate a lot rebellious and creative soul of these young musicians, I think that they were pretty close to record really good album, but eventually it is kind of unfinished work that sounds like being incomplete... Pity...
PS. Joanna Duda makes a lot of PR noise around herself. Well, I understand that it is necessary in these times to get to the public. But I feel like such focus on PR was to the detriment of the music on this album. It might be good in pop (see examples of Lady Gaga or Doda in Poland) but I doubt whether such a strategy will be effective in world of jazz...
