Klara Cloud & The Vultures - Vauna (2019)

Klara Cloud & The Vultures

Sylwia Klara Zasempa - vocals
Bartosz Dworak - violin
Mateusz Gawęda - piano
Adam Tadel - double bass
Piotr Budniak - drums
Sebastian Kuchczyński - drums
Apostolis Anthimos - guitar (10)

Vauna


CHALLENGE 73476

By Adam Baruch

This is the debut album by young Polish Jazz ensemble Klara Cloud & The Vultures which comprises of vocalist Sylwia Klara Zasempa, violinist Bartosz Dworak, pianist Mateusz Gawęda, bassist Adam Tadel and drummers Piotr Budniak and Sebastian Kuchczyński. Legendary guitarist Apostolis Anthimos guests on one track. The album presents ten tracks, eight of which are original compositions mostly by Zasempa and some created with the help of the entire ensemble (the two instrumental tracks) and finally two are traditional. Most of the lyrics are also by Zasempa. The subject matter of the album refers to Nature, wildlife and harmonious coexistence. The music was recorded at the excellent Monochrom Studio and engineered by Ignacy Gruszecki, with the usual superb sound quality.

The music offers a fascinating concept, combing Jazz-World Music Fusion with Free Jazz, which is quite striking. Although Polish Jazz often sources Slavic music, typical Polish melancholy and Polish Folklore, amalgamating it usually with original mainstream Jazz, but rather rarely so with more adventurous forms, which makes this music immediately outstanding. This does not mean that the music loses contact with melody per se, but the improvisations offer a wide range of freedom, both rhythmically and harmonically, which are not usually found within the Jazz-World Fusion idiom.

Dworak and Gawęda, who are amongst the most celebrated young Polish Jazz players, have plenty of opportunity to show their chops on this album, standing up to the expectations in full. The reinforced rhythm section, with the polyrhythmic double drums (in stereo) and solid bass pulsations, pushes the music steadily forward and serves as an anchor for the listener to keep his bearings. The guitar solo by Anthimos on the final track is simply divine.

Of course the vocals are the epicenter of this music and Zasempa stands up to the challenge with flying colors. She keeps to the basics, avoiding unnecessary theatrics and meanderings, and invests directly in the delivery of the lyrics, often improvising in the process. She does not use vocalese extensively, preferring to "play with the words" rather than with the sounds, but when she does, it works perfectly and hopefully will be used more in future projects. Zasempa is a "total" musician, being obviously the leader, the composer, the lyricist and the main soloist – Woman power incarnate.

Overall this is a beautiful piece of music, excellently put together and executed, original, ambitious and intelligent. Definitely one of the most interesting Polish Jazz releases of 2019. It is also the fifth album by young Polish Jazz musicians to be released on the prestigious Dutch Challenge label, which proves that this music is being recognized beyond the local market and steadily captures the position it truly deserves. Well done Lady and Gentlemen!

Mateusz Sobiechowski Quintet – Vital Music (2018)

Mateusz Sobiechowski Quintet

Mateusz Sobiechowski - piano
Marcin Kaletka - tenor saxophone
Szymon Mika - guitar
Adam Tadel - double bass
Grzegorz Pałka - drums

Vital Music




CHALLENGE 73451

By Adam Baruch

This is the debut album by young Polish Jazz quintet led by pianist/composer Mateusz Sobiechowski with saxophonist Marcin Kaletka, guitarist Szymon Mika, bassist Adam Tadel and drummer Grzegorz Pałka, all representatives of the excellent young Polish Jazz generation. The album presents nine pieces, eight of which are original compositions by Sobiechowski and one is a standard. The album was released by the prestigious Dutch label Challenge Records, which recently entered the Polish Jazz realm. The recording was engineered my Maciej Stach and offers a superb sound quality.

The music is typical contemporary Polish/European mainstream Jazz, based on excellent compositions and performed with elegance and passion. Most of the themes are low key, full of characteristic Polish melancholy, which seems to be omnipresent on the majority of Polish Jazz recordings. The compositions are excellently structured, diverse and interesting enough to produce a fascinating continuity which keeps the listener on his toes.

The performances are also top notch, obviously highly professional, but more importantly heartfelt, artistically inclined and highly aesthetic. All three front line players offer excellent soloing and the rhythm section does a perfect job all the way through, being supportive but not obtrusive. Personally I find the contributions by Mika to be slightly more focused and inspired than those of his peers, but that said, and as already stated, everybody plays splendidly. Sobiechowski solos relatively sparingly for a leader, which is much respected, as it contributes to the overall quintet's team spirit and creates a coherent ensemble statement.

Overall this is a very impressive debut, which offers both superb compositions and elegant execution, which would not shame veteran Jazz musicians anywhere on this planet. It is another manifestation of the strength of the Polish Jazz scene and its continuous development, which is now being recognized beyond the country's borders. Warmly recommended to Jazz connoisseurs the world over!

Julia Kania - Here (2017)

Julia Kania

Julia Kania - vocal
Kajetan Borowski - piano
Szymon Mika - guitar
Adam Tadel - double bass
Piotr Budniak - drums

Here

SJ 026


By Krzysztof Komorek

Dziewięć autorskich kompozycji z własnymi tekstami składa się na debiutancki album wokalistki Julii Kani, studentki katowickiej Akademii Muzycznej. Artystce towarzyszy jej stały kwartet, złożony z muzyków należących, podobnie jak liderka, do młodego pokolenia krajowego jazzu, jednakże już nie anonimowych. To uznani sidemani, liderujący z sukcesami zespołom, laureaci nagród indywidualnych i zespołowych, mający za sobą płytowe debiuty firmowane własnym nazwiskiem: Kajetan Borowski, Piotr Budniak, Adam Tadel. Ponadto gościnnie na płycie zagrał gitarzysta Szymon Mika. 

"Here" to znakomity przykład tego, jak wysoki poziom prezentują dziś propozycje serwowane przez młodą falę polskiego jazzu. Co więcej, album ten pośród wielu interesujących propozycji potrafi się wyróżnić. Po pierwsze świetnymi kompozycjami i niezłymi tekstami. Po drugie instrumentalnymi smaczkami: gitarą Szymona Miki w "Better Go", fortepianem Kajetana Borowskiego w "Forget" i "Masterpiece", czy przenikaniem się obu tych instrumentów w "Advice". No i oczywiście przede wszystkim głosem głównej aktorki tego przedstawienia. Urzekającym w balladach "Departure", "Here" i "Nie Ty", uroczo zabawnym w dowcipnej miniaturze "Masterpiece", pewnym siebie i stanowczym w "Better Go". Głosem zaskakująco dojrzałym, oryginalnym, przykuwającym uwagę słuchacza. 

Trzy kwadranse bardzo, bardzo dobrej muzyki. Uwagi? Tylko jedna. Niczym mantrę powtórzę: dlaczego tak mało po polsku? Jedyne nagranie z polskim tekstem – "Nie Ty" – to wyróżniający się utwór na płycie. Nastrojem, muzyką, także tekstem. Tak udane fragmenty powinny tautorkę zdecydowanie zachęcać do kolejnych prób zmierzenia się z – owszem, przyznaję – trudną materią ojczystego języka. 

Soundmeck – Eruption (2017)

Soundmeck

Sabina Meck - vocals
Paweł Surman - trumpet
Łukasz Kokoszko - guitar
Adam Tadel - bass
Szymon Madej - drums

Eruption




POLSKIE RADIO 2109

By Adam Baruch

This is the second album by Polish Jazz vocalist/composer/lyricist Sabina Meck (a.k.a. Sabina Myrczek) and the first under the ensemble moniker Soundmeck, a quintet led by Meck and also including trumpeter Paweł Surman, guitarist Łukasz Kokoszko, bassist Adam Tadel and drummer Szymon Madej. The album presents eight original songs, one of which has a short instrumental introduction. Seven of the songs feature lyrics in English and one song has lyrics in Polish. Meck wrote all the music and the lyrics.

The music on this album is quite different from what Meck presented on her sensational debut a year earlier. The ensemble has a much richer sound than the previously featured classic piano trio and the sound is much more contemporary, electric, vibrant and sparkling. The music, although still very much Jazzy, opens out to other directions, like Pop, Rock, Cabaret and other genres. Meck's songwriting reaches here the full bloom and presents her as a diverse, sensitive and sophisticated songweaver.

Meck's vocal performances on this album are also a major step forward, again presenting a wider, much more varied vocal technique, use of vocalese and theatrical trickery, which is fascinating and extremely attractive. She handles the English lyrics well, perhaps not completely "properly" as far as the pronunciation is concerned, but her idiosyncrasies are charming rather than problematic. Personally I still love the song with the Polish lyrics best, but that is just me.

The accompanying quartet's instrumental performances are all absolutely brilliant. Kokoszko plays a really tasty guitar and solos abundantly and it is his stylistic diversity that takes the music out of the strict Jazz environment into other areas. His Rock oriented solo on one of the tracks is one of the best Rock guitar solos I came across in a long time. Surman plays less up front, but his unisono parts with Meck are exquisite and are one of the trademarks of the music presented on this album. The rhythm section is also superb all along, keeping the complex music afloat and supporting the vocals amicably, always with grace and elegance.

It is remarkable to hear the delicate balance between the vocals and the instrumental work on this album, one of the best examples of such cooperation. There is an implicit sharing of responsibilities between the ensemble members, mutual respect and a sense of common goal. The time span of vocal and instrumental parts is beautifully balanced, which of course emphasizes the ensemble effect.

Overall this is a remarkable and outstanding album in every respect, definitely one of the best Polish Jazz (and beyond) vocal albums so far this year and a giant step forward for Meck and her compadres. The average age of these musicians is nothing short of astounding and the proportion between their ages and abilities is frightening – in the best way of course. A brilliant piece of music from start to finish, which deserves nothing but praise and respect!

Julia Kania - trasa promująca debiutancki album "Here"

Julia Kania - wokal, kompozycje

Kajetan Borowski - fortepian
Adam Tadel - kontrabas
Piotr Budniak - perkusja

22.11 - Sucha Beskidzka, Cofeina Cafe
23.11 - Bielsko-Biała, sala ZPSM
24.11 - Wrocław, Vertigo Jazz Club
25.11 - Kędzierzyn-Koźle, Kameleon Jazz Club
26.11 - Kraków, Harris Piano Jazz Bar

"Here" to debiutancki album Julii Kani, wokalistki, liderki, autorki tekstów i muzyki, wydany pod szyldem wytwórni SJ Records. Na płycie znajduję się dziewięć autorskich kompozycji - opowieści będących zapisem poszukiwań, przemyśleć i przeżyć samej liderki. Utwory cechuje prostota i oszczędność w środkach, przy jednoczesnym czerpaniu z całej gamy bogactw muzyki jazzowej. Wokalistce towarzyszą przedstawiciele młodej polskiej sceny jazzowej, z którymi na stałe tworzy zespół Julia Kania Quartet: Kajetan Borowski - fortepian, Adam Tadel - kontrabas, Piotr Budniak - perkusja. Oprócz stałego składu zespołu, na płycie można usłyszeć także znakomitego gitarzystę Szymona Mikę. 

Julia Kania – wokalistka, autorka tekstów i muzyki, założycielka i liderka zespołu Julia Kania Quartet. Pochodzi z Bielska-Białej, gdzie ukończyła Państwową Ogólnokształcącą Szkołę Muzyczną I i II stopnia. Obecnie studentka wokalistyki jazzowej w Instytucie Jazzu Akademii Muzycznej w Katowicach. W muzyce szuka prostoty i szczerości. Wyznaje zasadę "mniej znaczy więcej".

The Forest Tuner - Tunes (2016)

The Forest Tuner

Szymon Białorucki - trombone, organ, toypiano
Mateusz Sobiechowski - piano, fender rhodes
Adam Tadel - double bass
Piotr Budniak - drums

Tunes



SJ 015

By Adam Baruch

This is the debut album by a young Polish Jazz quartet called The Forest Tuner, led by trombonist Szymon Białorucki, with pianist Mateusz Sobiechowski, bassist Adam Tadel and drummer Piotr Budniak. The album presents nine original compositions, all by the leader, and was recorded at the splendid Tokarnia Studio, with Jan Smoczyński at the knobs, which as usual guarantees an outstanding sound quality.

The music is pretty straightforward, moving between melodic mainstream Jazz and Jazz-Rock Fusion, excellently performed by all participants. The trombone lead, which of course is fairly rare in a quartet setting, creates an obvious disparity between this particular quartet and most others, with is also characterized by the compositions, which have a stylistic relationship and coherence.

Trombone is of course a very challenging instrument, especially when put in front of a Jazz quartet. Białorucki handles this challenge very well, intelligently avoiding showing off a virtuoso approach to the instrument, and putting the emphasis on feel and melody. Sobiechowski plays wonderfully both as an accompanist and as a soloist and his melodic approach fits the overall mood of the album ideally. The rhythm section stands shoulder to shoulder with the two soloists, with Tadel contributing many impressive bass lines and Budniak providing a solid rhythmic anchor.

Overall this is a very promising debut recording, which as usual emphasizes the incredible level of the young Polish Jazz scene, which seems to be blessed with a plentitude of talent and a healthy dose of ambition. Definitely worth investigation!

Maciek Wojcieszuk Quintet – Maciek Wojcieszuk Quintet (2016)

Maciek Wojcieszuk Quintet

Paweł Palcowski - trumpet
Kuba Łępa - alto saxophone
Paulina Atmańska - piano
Adam Tadel - double bass
Maciek Wojcieszuk - drums

Maciek Wojcieszuk Quintet

SJ 014


By Adam Baruch

This is the debut album by the young Polish Jazz quintet led by drummer Maciek Wojcieszuk, which also includes trumpeter Paweł Palcowski, saxophonist Kuba Łępa, pianist Paulina Atmańska and bassist Adam Tadel. Together they perform seven original compositions (presumably by the leader), while the album's packaging gives no information whatsoever as to the authors of these compositions, which is careless not to mention unwise.

The music is all pretty conventional, well within the Jazz mainstream and the Bebop tradition. The compositions are solid and mature, serving the quintet members well as vehicles for their ensemble parts and their individual solos. Considering the age of these musicians, this is definitely a very fitting display of their talents. The personal abilities of the quintet members might be a bit hesitant at times, but show a lot of promise, and again considering that these are their early professional steps, they deserve a lenient criticism.

It is difficult to point out anyone specific from the quintet's lineup, as they all perform formidably. Personally I think Atmańska stands out due to her unusual approach to the piano, which uses hard vamping a la McCoy Tyner and displays more freedom in her playing than her colleagues. Tadel also deserves a special mention, as his sold bass lines and beautiful solos are some of the album's highlights. But again this album is overall an impressive debut, which can make the leader and his cohorts proud of themselves. The sound quality of the album, recorded at the excellent RecPublica Studios and engineered by Maciej Stach is another of this album's strong points.

Since I had the opportunity to hear these young musicians during their studies at the Jazz Department of the Katowice Music Academy, I am not surprised by their abilities, a phenomenon which characterizes the students at all the Polish Music Academies, where a young generation of Polish Jazz musicians is currently being groomed. The amount of talent among these young musicians is simply staggering, thus making sure that Polish Jazz is destined to flourish in the future as much as it does already now. Definitely an album worth investigating!