Aga Derlak - „Neurodivergent”

Aga Derlak - „Neurodivergent” 

Aga Derlak - fortepian
Maciej Szczyciński - kontrabas
Miłosz Berdzik - perkusja

feat. Kacper Malisz - skrzypce

Ttył albumu: "Neurodivergent"

Autor: Robert Kozubal

W zamyśle autorki album ten dotyczy pewnego rodzaju odmienności i tak się składa, że pojawia się w dość szczególnym czasie, kiedy inność nad Wisłą znów wywołuje złe duchy, które – wydawałoby się – dawno wysłaliśmy w zaświaty. Muzyka z najnowszej płyty tria pianistki Agi Derlak „Neurodivergent” przypadkowo, lecz uparcie, przywołuje mi skojarzenia z tymi wydarzeniami.

Bartek Pieszka Quartet – Slow Motion (2014)

Bartek Pieszka - vibraphone
Nikola Kołodziejczyk - piano
Maciej Szczyciński - double bass
Sebastian Kuchczyński - drums
Katarzyna Ruda - oboe (1)
Piotr Toruński - bass clarinet (7)

SJ 008





By Adam Baruch

This is the debut album by the young Polish Jazz vibraphonist Bartek Pieszka and his quartet, which also includes pianist Nikola Kołodziejczyk, bassist Maciej Szczyciński and drummer Sebastian Kuchczyński. Guest musicians: oboe player Katarzyna Ruda and bass clarinetist Piotr Toruński are featured ne one track each. The album presents ten pieces, of which four are standards and six are originals, four by Pieszka, one by Szczyciński and one co-composed by Pieszka and Kołodziejczyk. The album was recorded over a period of two years several years back but only now sees the light of day.

The vibraphone, one of the noblest instruments, which has a wonderful tradition in Jazz music, is sadly almost forgotten in recent years. The Polish Jazz scene is perhaps the last bastion where the vibraphone plays a significant role in Jazz music and new players of the instrument still join the ranks of legendary veterans. It is therefore with great joy and special attention that every new discovery in that area is welcomed by me and other Polish Jazz enthusiasts.

This album presents a balanced mixture of original music and standards, ballads and up-tempo numbers, all kept within mainstream Jazz tradition. There is nothing groundbreaking about this music and the no risks are taken, but the overall result is definitely enjoyable and well done, especially in view of the young age of the players involved. Mainstream Jazz connoisseurs will definitely enjoy this ride from start to finish.

As far as individual contributions are concerned, Pieszka emerges somewhat subdued and is seldom in the lead. To be perfectly hones this album is absolutely "stolen" by the incredible performances by Kołodziejczyk, who plays most of the solos and is by far the most gifted player on this album. The rhythm section is also interesting, which the drummer being a bit too busy for my taste, buy playing with feel and imagination. The bassist is very musical and supportive. The album often makes the impression of a piano trio album rather than a quartet recording. As debuts go, this is fresh and promising, hopefully providing a glimpse of future to come for these youngsters. Definitely a nice listening experience!

Aga Kiepuszewska – Silence (2012)

Aga Kiepuszewska - vocals
Nikola Kolodziejczyk - piano
Maciej Szczycinski - bass
Robert Rasz - drums

POLKIE RADIO 1519





by Adam Baruch

This is the debut solo album by Polish Jazz vocalist / songwriter Aga Kiepuszewska, who also took part in the phenomenal album she recorded with the Polish Jazz ensemble Soundcheck, called "Marysia – Wiersze Z Kazachstanu". On this album Aga presents ten original songs, five of which were composed by Soundcheck's leader, saxophonist Maciej Kocinski, two by keyboardist Nikola Kolodziejczyk, who accompanies Aga on this album, another two by keyboardist Kamil Urbanski and the remaining one by Aga herself. Aga wrote the lyrics to eight of the songs (two in English and the rest in Polish) and the remaining two are poems by the great Polish poet and Nobel Prize laureate Czeslaw Milosz. One of the songs appears twice on the album, the second time as a bonus track in the form of a radio edit. The two other musicians supporting Aga on this album are bassist Maciej Szczycinski and drummer Robert Rasz.

This is definitely a very ambitious project, which reflects Aga's many talents at their best. The fact that the album made little impact on the local scene is truly criminal, and the only logical explanation could be the astonishing plentitude of wonderful Jazz being produced in Poland these days, but nevertheless this is an album, which deserves much more attention.

As a vocalist, Aga emerges full of self confidence and wonderful sensibility, which is evident from the moment she opens her mouth. She is in full control of her voice, both on the acoustic as well as the emotional scales. Her timbre and mannerisms are remarkably close to those of the "other" Aga of Polish Jazz, Aga Zaryan of course. Perhaps the fact that Aga Kiepuszewska chose to sing deeply lyrical and poetic material and her innermost feelings are reflected in her vocals are the cause of the proximity. However, there is no attempt here of consciously copying Zaryan's style, and the young Kiepuszewska will surely reach her completely unique and personal manner of expression in the not too distant feature.

The amazing lyrics Aga wrote for her songs are another big surprise, which in the age when completely moronic songs rule the airwaves, are truly exceptional. Deeply personal, these little pearls are remarkably poetic and meaningful, fitting the music perfectly. Good lyrics are so difficult to find these days and this album is full of them; how wonderful!

Aga gets a superb support from the trio, which accompanies her with obvious empathy and elegance. Kolodziejczyk is a great player with virtuosic qualities and remarkable sensitivity, and is one of the upcoming stars of the Polish Jazz scene. Szczycinski, who plays solidly and supportively, also uses arco passages and even utilizes the Middle Eastern oud to make the outmost effort to make this music as perfect as possible. Rasz also makes the best of it all, playing with varying intensity always in sync with the music and utilizing additional percussion instruments to enhance the overall result.

All in all this is a remarkable debut effort, which hopefully is a forerunner to other great achievements, just please Aga don't keep us in suspense for too long. This is wholeheartedly recommended to all lovers of vocal Jazz, Polish Jazz and good music in all forms and shapes. Kudos!

Marcin Olak Trio - Crossing Borders (2012)

Marcin Olak Trio

Marcin Olak - classical and acoustic guitar
Maciej Szczyciński - bass
Hubert Zemler - drums
Mikołaj "Miki" Wielecki - percussion (tracks 7 & 8)

Crossing Borders (2012) 


By Maciej Nowotny

"Low profile" is an adjective which is rather difficult to translate into Polish language. Yet I like it very much when it applies to jazz. Nowadays there is so much hype around music that it often completely covers up its true artistic value. All these bouncing butts, fake boobs, swollen lips cannot hide from careful listeners that behind the sounds there is nothing. No spirituality, no adventure, no freedom but only money. Cash. Dough. So if you are after true artistic experience look for the projects which are low profile. New album by Marcin Trio may be very good example of such an attitude.

Its is very aptly titled  "Crossing Borders" since it crosses the artificial boundaries of music genres. Music is inspired as much by jazz, blues but also Polish folk and traditional Church music. Though narrative is told in language of mainstream, its soul is free. Because of that it may appeal as much to those who like traditional jazz but also to those who look towards avantgarde for something fresh and inspiring.

It is third recording by this trio after "Zealot" realeased in 2005 and "Simple Joy" in 2008. To be honest I wasn't great fan of this last record. It sounded for me much too predicatble, sweet, superficial. I therefore appreciate more how the music of this band has matured over last few years. It gained in diversity, in depth and in interplay. This is due as much to sophisticated composing and exquisitive playing by the leader as to the development of talent of young players who make up the rhythm section.

Hubert Zemler is one of the most interesting young drummers on Polish scene. This year he released excellent solo drum album "Moped" and he also is an important player on Warsaw avantgarde scene with such succesful projects like Kapacitron, Horny Trees or Namanga to be mentioned. Unlike Zemler who played also on "Simple Joy", bassist Maciej Szczyciński is new person in trio and replaced no less talented Wojtek Traczyk. Szczyciński is known for his versality, he may feel equally at ease on solid mainstream album by Dominik Bukowski (like "Times Get Changed") or in out-of-control enterprise by Joanna Duda ("Muzyka do bólu"), what makes him one of the most sought-after young bassists on our scene.

But of course main focus is on Marcin Olak's guitars. What immediately catches the attention is a beauty of the sound. The background is often minimalistic and Zemler and Szczyciński deserve great applause for being able to communicate effectively without making too much a noise. On this setting filigree improvisations by Olak cause astonishment and it is difficult not to be overwhelmed by delicate appeal of this music. Wholeheartedly recommended!

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.