Korybalski, Traczyk, Zemler - Don't Try (2022)

Korybalski, Traczyk, Zemler

Łukasz Korybalski – trąbka, flugelhorn, AE modular synth
Wojciech Traczyk – kontrabas
Hubert Zemler – perkusja, instrumenty perkusyjne

Don't Try (2022)

Wydawnictwo: For Tune

Autor tekstu: Maciej Nowotny

Platon, w swoim idealnym Państwie, widział miejsce dla edukacji muzycznej ponieważ był zdania, że poprzez doświadczenie estetyczne o charakterze abstrakcyjnym pomaga ona przygotować umysły do zrozumienia opartej na logice natury Wszechświata. Innymi słowy muzyka i idee są ze sobą nierozerwalnie związane. Można nawet postawić tezę, że muzyka oparta wyłącznie na emocjach ma charakter czysto rozrywkowy, jest przemijająca, ulega korozji czasu. Podczas gdy muzyka przemawiająca do umysłu jest zbudowana na trwalszym fundamecie i może się okazać ponadczasowa, bo odpowiada na odwieczne - "duchowe" - potrzeby słuchacza.

Umysł to jednak nie to samo co intelekt. Warto tę prawdę dogłębnie zrozumieć w życiu w ogóle, ale także w muzyce, a szczególnie nowoczesnej, w jej improwizowanej formie. Jeśli ktoś chciałby się o tym przekonać świetną do tego okazję stanowić będzie odsłuch najnowszego krążka trio Korybalski, Traczyk, Zemler. Trio to wydało właśnie w renomowanej polskiej wytwórni For Tune album noszący wiele mówiący tytuł "Don't Try". Czyli nie próbuj.

Nie próbuj? Czego nie próbuj? Kto niech nie próbuje? Dlaczego nie? Antycypując szereg tych pytań Łukasz Korybalski - utalentowany trębacz - umieścił parę słów, które znaleźć możemy na wewnętrznej stronie albumu:

"(...) Na początku - pojedynczy dźwięk. Wytycza kierunek. Bez słów. Bez znaków. (...) wielość zmiennych nie pozwala przewidzieć co się wydarzy. Zatem lepiej nie próbuj". No właśnie. Jak rozumiecie Państwo czytający te słowa te parę zdań? Nie próbuj nie oznacza oczywiście zachęty do wyłączenia muzyki, lecz coś innego. Oczywiście chodzi o umysł. O pewien jego stan. Taki stan, w którym zostawiamy za sobą wszelkie teoretyczne rozważania, zmartwienia czy się uda, całą chęć kontroli, obawę przed porażką, czy będą słuchać, czy wydadzą, czy się sprzeda, czy Ruski nie walnie wcześniej atomówką, czy żona odejdzie, jakie wyniki przyjdą ze szpitala, czy będę miał za co żyć na emeryturze i milion, miliard, bilion innych powodów, by tylko próbować i ten jeden jedyny aby nie. Jaki?

Na pewno rozumiecie dlaczego zamiast to napisać zachęcę Was raczej po sięgnięcie po muzykę. Trąbka Łukasza, kontrabas Wojciecha i perkusja Huberta - wierzcie mi - na pewno Was nie zawiodą. Chociaż nie wiem  czy uda się Wam usłyszeć najważniejszy instrument jaki wziął udział w nagraniu tej muzyki. To, zależy wyłącznie słuchaczu już od nas. Szczerze Wam tego życzę i mam nadzieję, że choć odrobinę pomogłem tym tekstem, a przynajmniej udało mi się nie zaszkodzić. Przynajmniej tyle mogę powiedzieć, że bardzo się starałem...

Wojtek Traczyk - Runo (2020)

Wojtek Traczyk

Wojtek Traczyk - prepared bass

Runo

PPT 50






By Andrzej Nowak

Jakże miło jest rozpocząć recenzję od zdania, które konsumuje wszystko, co chcielibyśmy powiedzieć o omawianym wydawnictwie. Solowa płyta kontrabasisty Wojtka Traczyka jest po prostu doskonała! Z jednej strony swobodnie improwizowana, a jednak utrzymywana w pełnym dramaturgicznym rynsztunku, z drugiej - silnie eksplorująca tzw. techniki rozszerzone, gdzie listowanie sposobów wydobywania akustycznych dźwięków z prostego instrumentu strunowego zdaje się nie mieć końca, do tego brzmiąca chwilami niezwykle przystępnie i niepozbawiona specyficznej melodyki. Rzućmy okiem, co kryje się w pięciu improwizacjach, trwających łącznie niewiele ponad pół godziny.

Traczyk zaczyna od trzęsienia ziemi, a potem jest jeszcze lepiej. Masakruje smyczkiem (pałeczkami perkusyjnymi?) struny kontrabasu. Każde uderzenie ma swój czas, by wybrzmieć szerokim strumieniem zniekształconych fonii. Harsh double bass i smyk, który wyje niczym pozbawiony dysz saksofon. Muzyk zdaje się mieć więcej niż jedną parę rąk. W kolejnej części smyk ryje bruzdę w podłodze, a narracja stawia repetycję na piedestale najważniejszych metod tej improwizacji. Struny krwawią, włosie smyczka płonie suchym ogniem. Trzecia część przenosi instrument do małego zakładu mechanicznego. Struny burczą, pomiędzy nimi zdają się tańczyć tajemnicze przedmioty. Szarpanie strun ma moc młota pneumatycznego. Wszystko drży i nabiera post-perkusjonalnej poświaty. Surowe, brzęczące matowością frazy powtarzane z dojmującą systematycznością.

Czwarta historia sięga po post-barokowe atrybuty. Gdy wszystkie działania artysty doprowadzą do zbudowania narracji (mamy wrażenie, że w działaniu są już dwa smyczki), kontrabas zacznie śpiewać, krzyczeć i skomleć. To będzie ryk rozpaczy, nie rozsierdzenia. Trzecia symfonia Góreckiego grana tuż po nieudanym przeszczepie mózgu. Tren żałobny wbija się w uszy i sprawia, iż to być może najbardziej przerażający zestaw dźwiękowy, jaki wydał świat od momentu proklamacji pandemii. Piąta improwizacja wydaje się kontynuować ów post-barokowy przepych, pełen dźwięków dekonstruowanych milionem technik. Smyczek (smyczki?) piłują struny, które przyjmują ciężar gatunkowy ciekłego ołowiu. Na sam finał muzyk proponuje post-drummerską nawałnicę, po czym odnajduje ciszę, która pachnie niczym napalm o poranku, i to wcale nie w Wietnamie.

Zebry A Mit - Laumės (2017)

Zebry A Mit

Kamil Szuszkiewicz – trumpet
Olgierd Dokalski – trumpet

Wojtek Traczyk – bass guitar
Hubert Zemler – drums, metallophone

Laumės

FUNDACJA KAISERA SÖZE 2017

By Piotr Wojdat

Muzyka minimalistyczna niejedno ma imię. Taki wniosek można wysnuć po przesłuchaniu "Laumės" grupy Zebry A Mit. I choć minimalizm wywodzi się ze Stanów Zjednoczonych, a szczyt jego popularności przypadł na lata 60. i 70. ubiegłego wieku, to do dzisiaj pozostaje cennym źródłem inspiracji dla artystów reprezentujących różne gatunki muzyczne. Wzorowanie się na dokonaniach La Monte Younga, Steve’a Reicha czy Terry’ego Rileya, by wymienić tych najznamienitszych twórców, nie powinno dziwić. Zaciekawienie może jednak wywołać fakt, że zespół Zebry A Mit brzmi jakby przyświecały mu założenia minimal music, a tak naprawdę źródeł i inspiracji należy doszukiwać się w… tradycyjnych, litewskich pieśniach sutartines. 

Trębacz Kamil Szuszkiewicz, który jest pomysłodawcą i niepisanym liderem formacji, nie chciał w ten sposób stworzyć instrumentalnego odpowiednika wielogłosowych, śpiewanych przez kobiety z Litwy sutartines. Był to punkt wyjścia do zaprezentowania autorskiego projektu, którego wydźwięk byłby jak najbardziej współczesny. Udaje mu się to osiągnąć, co jest również zasługą trębacza Olgierda Dokalskiego, kontrabasisty Wojtka Traczyka oraz perkusisty Huberta Zemlera. Wszyscy wymienieni artyści mają pokaźny bagaż doświadczeń w tworzeniu muzyki zaliczanej do różnych gatunków. W tym konkretnym przypadku przekłada się to nie tylko na ciekawą formę, ale też i na intrygującą treść.

O tym, że "Laumės" to album, którego charakter odbiega znacząco od regularnie wydawanych płyt z muzyką jazzową i improwizowaną, można się już przekonać po pierwszym przesłuchaniu tego półgodzinnego wydawnictwa. Frazy wygrywane przez Szuszkiewicza i Dokalskiego albo się nawarstwiają, albo wybrzmiewają po sobie z lekkim przesunięciem czasowym. Nie ma tu miejsca na solówki czy popisy razem z pozostałymi muzykami. Zamiast tego trębacze nawiązują do wielogłosowości obecnej w tradycyjnych pieśniach litewskich, o których wspomniałem we wstępie. Tworzą polifonie, które robią duże wrażenie, a melodie, czasem nieoczywiste i niekiedy balansujące na granicy przyswajalności, głębiej zapadają w pamięć. Są zresztą oparte na sekcji rytmicznej, która pozornie spełnia jedynie rolę drugoplanową, a często za pomocą prostych środków wyrazu buduje napięcie na pierwszym planie.

Szuszkiewicz, Dokalski, Traczyk i Zemler równie dobrze odnaleźliby się w repertuarze typowo jazzowym z odpowiednią dozą kreatywności. Mają odpowienie umiejętności, zmysł twórczy oraz świadomość, że nie zawsze więcej znaczy lepiej. W przypadku "Laumės" postawili na minimalizm formalny i wykonawczy. Tak naprawdę jedyny w swoim rodzaju, co już samo w sobie powoduje, że wydawnictwo to warto polecić uwadze szanownych czytelników.

Zebry A Mit - 16'25 (2015)

Zebry A Mit

Kamil Szuszkiewicz - trumpet
Wojtek Traczyk - bass
Hubert Zemler - drums
Piotr Dąbrowski - percussion

16'25

Lado SB/11



By Piotr Strzemieczny

Oglądać pod mikroskopem, słuchać przy rozkręconych gałkach głośników. Zebry a Mit, czyli kwartet Szuszkiewicz-Traczyk-Zemler-Dąbrowski, przygotował minialbum, składający się z trzech tylko kawałków. Trzy nagrania w świecie jazzu i free-impro przynoszą często skojarzenia z nawet osiemdziesięcioma minutami muzyki, ale teraz jest inaczej. Chłopaki co prawda ósemkę raz mają, ale tylko w otwierającym płytę utworze "Truf". Za to jakim utworze! 

Rozpoczynający album kawałek to prawdziwy kolos. Osiem minut improwizacji w jazzowo-yassowym stylu z niezłym cyfrowym chaosem w końcówce. Jeśli ktoś przez chwilę pomyślał, że to komputer się zawiesił, nie byłby daleko od prawdy. Te rozdygotane dźwięki wywołują myślową klaustrofobię, ale robią to perfekcyjnie. Dla odmiany "Gudnes" swoją stonowaną melodią sprawia, że można się poczuć jak w toruńskim Tutu. Spokojna trąbka Kamila Szuszkiewicza, ta - wiecie - pełna lamentu, do tego powtarzające się muzyczne pętle i wyczuwalne w tle rozedrgania. A numer trzy? "Lowe", które znowu napędza trąbka, swoim tempem wybrzmiewa tylko do pewnego momentu, bo ten spokój, ba, sielankę przełamują elektroniczne przeszkadzajki, muzyczne piłowania, cyfrowe efekty nadające zamykającemu płytę utworowi kakofoniczny charakter, nawet jeśli nagle słuchaczy atakuje urocza, anielska partia chóru. 

I tak to wygląda właśnie. Zespół, który- nie wiem - jest jednorazowym strzałem czterech utalentowanych i związanych ze stajnią Lado ABC muzyków? Czy może to zamysł na długofalową przygodę wydawniczą? Pożyjemy, zobaczymy. Koncerty Zebry a Mit mają podobno rewelacyjne. Wypadałoby wyczekiwać i wypatrywać szans, by ten kwartet złapać na żywca.

Purusha – Cosmic Friction (2015)

Purusha

Paweł Postaremczak - tenor saxophone
Wojciech Traczyk - double bass
Paweł Szpura - drums

Cosmic Friction

FOR TUNE 0067



By Adam Baruch

This is the debut album by Polish Jazz trio Purusha, which comprises of saxophonist Paweł Postaremczak, bassist Wojciech Traczyk and drummer Paweł Szpura, all three known to Polish Jazz followers as members of the large ensembles led by Wacław Zimpel (Hera and others). The album presents six original pieces, four of which were composed by Traczyk and two are co-credited to all three members of the trio.

The music of Purusha is a "classic" Free Jazz venture, which is its biggest drawback. Free Jazz exploded in the mid 1960s and this music sounds almost exactly as if recorded at that time, i.e. about 50 years ago. With all due respect to the cradle of Free Jazz, Albert Ayler and everything else, the clock keeps ticking. This of course might bring on reflections as to the possible path of Free Jazz in general, which may lead to a conclusion that Free Jazz only truly existed for a brief moment in the 1960s and everything done in that idiom since is simply ripples of that Big Bang?

But aside from the basic problem of being sort of "outdated", the music of Purusha is quite excellent within the boundaries of the Free Jazz idiom. Dominated by the saxophone, as usual in saxophone trios, it explores the various stages of expression between fury and tranquility, exemplifies the group interplay and allows for personal displays of instrumental ability, which are all top notch.

Postaremczak is obviously a highly talented soloist and his approach to the tenor saxophone is very personal and unique. In his hands the saxophone turns into many different instruments, often sounding exotic, weird and wonderful, which of course is very unusual. The rhythm section stands shoulder to shoulder with Postaremczak, both expanding and complimenting his journeys with obvious empathy and spirit of shared goal. Overall this is a very good Free Jazz album for diehard fans of the genre, which although does not innovate, keeps the tradition and legacy alive and kicking. Definitely worth investigation!

Wacław Zimpel To Tu Orchestra – Nature Moves (2014)

Wacław Zimpel To Tu Orchestra

Wacław Zimpel - clarinets
Paweł Postaremczak - saxophones
Dominik Strycharski - flutes
Jacek Kita - upright piano
Maciej Cierliński - hurdy-gurdy
Wojtek Traczyk - double bass
Mike Majkowski - double bass
Paweł Szpura - drums
Hubert Zemler - drums

Nature Moves

FOR TUNE 0036

By Adam Baruch

This is the debut album by Polish Jazz clarinetist / composer / bandleader Wacław Zimpel and his nonet called To Tu Orchestra (the name is probably a wink in the direction of the legendary Warsaw club Pardon, To Tu), which includes saxophonist Paweł Postaremczak, flautist Dominik Strycharski, hurdy-gurdy player Maciej Cierliński, pianist Jacek Kita, bassists Wojtek Traczyk and Mike Majkowski and drummers Paweł Szpura and Hubert Zemler. The album includes six original compositions, arranged into three mini suites, of one, three and two parts respectively.

The music is in many respects a continuation of Zimpel's earlier work with the group Hera, which combines elements of avant-garde, Jazz and contemporary Classical music with World Music from all over the world. The strongest influence on this album is minimal music pioneered decades earlier by Philip Glass, Steve Reich, Terry Riley and others, which Zimpel embraces, most evidently in the first of the three mini suites but in fact throughout the entire album. The repeated structures returning cyclically, typical in minimal music, which are normally produced by electronic or acoustic orchestral patterns, are created here by World Music patterns, like Balinese gamelan music, slowly changing and intensifying until they reach a massive sound, but do not reach an expected crescendo. Minimalism continues to be present in the rest of the compositions, simply changing the geographic colorization, using Japanese, Middle Eastern and other folkloristic influences.

Zimpel is undoubtedly a master of atmosphere and building tension, which accompany his earlier work as well, but come to a fruition and perfection on this album. The large ensemble allows him to "paint" much denser multilayered vistas, which move freely in the World Music universe. The music does not actually get into Jazzy improvisation until the very last piece on the album, so listeners anticipating that facet of Zimpel's music are in for a disappointment.

What emerges here is a new type of minimal music which amalgamates the earlier forms of minimalism with World Music, creating a World Minimal Music. Zimpel evidently had a great fun creating this music and it is also very listenable, but the fundamental question as to what Zimpel wanted to achieve remains open, at least in my case. I have not been overwhelmed neither by the aesthetics nor by the musical result, which after all simply states nihil novi sub sole. But it is very well done for sure!

Wacław Zimpel To Tu Orchestra - Nature Moves (2014)

Wacław Zimpel To Tu Orchestra

Wacław Zimpel - A, Bb & alto clarinets

Paweł Postaremczak - tenor & soprano saxophones

Dominik Strycharski - alto & tenor flutes

Jacek Kita - upright piano

Maciej Cierliński - hurdy-gurdy

Wojtek Traczyk - double bass

Mike Majkowski - double bass

Paweł Szpura - drums

Hubert Zemler - drums, metallophone

Nature Moves

FOR TUNE 0036

By Dirk Blasejezak

A small orchestra actually appears as a logical next step for Wacław Zimpel. For me he is one of the outstanding artists in Poland as I have already written in my review on "Stone Fog". And although that last one was a pleasure to listen to, it still did not completely convince me - but that's totally different here. I would describe "Nature Moves" as his masterpiece so far! Surely some fans of his projects like Hera or Undivided will not agree as here many traditional elements of (Free) Jazz are missing - or not so obvious. Instead, the whole album is more of a consistent composition whose title seems to fit quite perfectly. Therefore traditional jazz fans should be careful: It takes a lot of openness to approach this piece of work. In many parts it is more a reminiscence to minimalists such as Steve Reich or Terry Riley than to the american jazz tradition. But it seems as if those borders are at the moment extended very much, especially in contemporary Polish jazz. As an example the recently released album by Trzy Tony ("Efekt Księżyca", Requiem Records) might be cited. Personally, I like these transgressions very much.

As a listener you can expect long repetitive passages, just as known from minimalism. Impressive is the incredibly harmonious sound of the To To Orchestra though. Most of the musicians already know each other from previous projects, but nonetheless this harmony is an evidence of the huge dedication to the work. The backbone of the orchestra are the musicians of Hera (Paweł Postaremczak, Maciej Cierliński, Paweł Szpura and of course Wacław Zimpel). Wojtek Traczyk is known from his solo work but also through his bass playing in "The Light" - another project with Wacław Zimpel. Added to this is Jacek Kita, the pianist of one my favorite bands: Levity; and Dominik Strycharski, who just recently convinced with his play on Pulsarus. Hubert Zemler played in a variety of projects in the last years in which some of the here assembled musicians were involved too. Solely Mike Majkowski I only know from one collaboration with Mikołaj Trzaska ... But what's indeed amazing is that on these recordings Wacław Zimpel actually managed to combine those nine musicians into a uniform orchestral body to create a wonderful work of incredible harmony. That's also the reason why it's so difficult to tell something about the individual musicians - everyone seems to blend seamlessly into the collective.

For the impatient jazz fans I recommend track 3 ("Dry Landscape"), and the closing "Where The Prairie Meets The Mountains." Both pieces offer more traditional jazz elements than the other tracks on this album, while still not falling out of the line. For all other listeners I would absolutely recommend to listen to this album quietly in its entirety. The quietness is especially important. If you listen to this record on the side it might appear monotonous. The subtle nuances during the development of the individual pieces will become apparent only with due attention. But if you pay the attention it deserves to this album, you will be rewarded with a truly special listening experience.

There is one last thing I would like to say: I have deliberately avoided a comparison with "Alaman" as the approach is a completely different one here. I still mention it though, to point out that this is yet another outstanding example of a great intercourse with the "Big Band" that has become slightly dusty in recent decades. It’s in particular the differences between these two wonderful recordings that show what is possible with this ensemble! And even though I’m aware that it requires not only outstanding musicians and orchestra leaders, but that it's also a huge logistical challenge, I sincerely hope that more will dare follow this path!

Semafor Combo - Semafor Combo (2013) ****

Semafor Combo (band)

Piotr Zabrodzki - alto saxophone, drums, organ
Wojtek Traczyk - double bass
Artur Lawrenz - drums, trumpet
Tomasz Duda - soprano saxophone, alto saxophone, baritone saxophone, flute

Semafor Combo (2013)

By Maciej Nowotny

Perhaps I'm getting old but I find less and less interesting things in so-called avant jazz or free improv these days. One of the reasons is that so many projects are focused on searching for novelty only and in the process of experimentation they lose sight of the average listener's gustos. And the truth is that when I sit in my armchair with a glass o wine in my hand I don't need - at least every single time - to be shell-shocked or profoundly shaken or move to the depths. Quite often I just want to be entertained, cheered and relaxed. Is this so much to ask for? I hope not so. But many "young lions" of today's avantgarde seem to forget about it.

But this recording is quite a different story and because of that stands out a something very unique. Although created by young musicians who are associated with some of most daring projects in Polish music it is a tribute to jazz music of 60ties and, in particular, 70ties. This combination of solid jazz foundation and a free spirit of improvisation produced what can be only described as one of the most rewarding recordings in whole year 2013. Full of of explicit citations from bot international and Polish jazz classics, narrated unhurriedly, playing with form, never imitating but rather re-creating the old languages that slowly become forgotten - this album is an unexpected gem and a very significant achievement for all artists involved in its creation.

Pianist Piotr Zabrodzki. double bassist Wojtek Traczyk, drummer Artur Lawrenz and reedman Tomasz Duda have already many interesting recordings on their own. But nothing yet similar to this one both in style and in spirit. I like to think that though still young with this album they kind of move from age of puberty to that ofmaturity as much in human as in artistic sense. It would be therefore great to see this project continued. Especially since this album, in the line with a spirit of the analogue era, is limited only to less-than-thirty-minutes long-play format. I can only hope that we will hear more of it in future...

Wojtek Traczyk - Free Solo (Multikulti, 2012) by Paolo Casertano

Wojtek Traczyk - double bass 

Free Solo (Multikulti, 2012)

Poland has an increasingly vivid jazz scene. Thanks to the impressive work of labels such as Multikulti and Not Two, together with a remarkable number of jazz festivals, their strong tradition has gained international recognition and expands constantly towards new territories and paths. These young and gifted musicians seem to pay attention to the tradition and strengthen it just as much as they alter it by exploring its outer edges. Just think of the Oles brothers and their collaborations with Ken Vandermark. To this category belongs as well the solo effort of Wojtek Traczyk. We’ve already met him in the bright trio “The Light”. 

According to the liner notes by the musician himself: “Performing solo pulls me out of everyday life and puts me out there in that high place of danger and awareness that I long for risking everything giving everything not knowing yet believing and brings purification and freedom that is so hard to find”.

This is a spiritual journey indeed. Starting from the title of each “stage”. First is “Examen Conscientiae”, a self-examination the musician seems to face alone, using his own private and intimate language. It sounds like a mantra introducing us to the religious dimension and vision of Traczyk. An elongated note repeating in a timeless sequence, the bow flows slowly hesitating to leave the strings, unflappable, almost obliterating itself on the bass neck. You can hear a breath after the first passage. Presumably Traczyk, or maybe it is the instrument itself. On condition that you are willing to hear it. 

The album is short and it deserves a deep listening. How could you otherwise approach to a solo album and to the innermost meanings a musician set down to each single decision he makes when he’s so unveiled to everyone? Especially when he chooses it will not be his - anyway evident - mastery and virtuosity to give uncritically to the listener the keys for it. Traczyk is looking for the right expression, the best structure and the most touching tone to let his thoughts seep out.

The title of the second composition, “Kyrie”, is the transliteration of an ancient Greek word now best known as a vocation prayer in the Christian liturgy. Far baritone melodies and their resonances start to outcrop and come closer merging into “Gloria”. Strings unravel and struggle to find their place, climbing up to the high notes register supported by distorted chords and sharp pitches. There’s a great balance between atonal and tonal. 

After this turmoil, gentle comes “Sanctus” as a short lullaby echoing classical arias. In “Benedictus” and “Agnus Dei” - basically one composition split in two - appears the first pizzicato of the album disguised as short rhythmic patterns spaced out by resonances that envelop the double bass. At first melodic phrasing grows slowly, then it evolves in a brutal attack on the strings. Traczyk whips and hits the wood before partially finding rest in a recurring hypnotic beat on which he inlays brief melodies.

In the closing act strings are turned loose and they blend in a droning stream. Voices decrease, last shrills before coming back to silence.

A real compelling solo debut.

By Paolo Casertano

http://freejazz-stef.blogspot.com

Wojtek Traczyk - Free Solo (Multikulti, 2012)

Wojtek Traczyk - double bass 

Free Solo (Multikulti, 2012)

"I have recently rediscovered the simple yet easily forgotten truth that the path to what I look for in art leads through total commitment almost loosing oneself letting go of ambition and ego yet not backing down staying driven and focused and playing always playing playing sounds playing the sounds that I hear in my head and focusing sounds coming from above and sending them forth like a giant letter L. 

L for Love.

Performing solo pulls me out of everyday lif and puts me out there in that high place of danger and awareness that I long for risking everything giving everything not knowing yet believing and brings purification and freedom that is so hard to find." (Wojtek Traczyk) 

source: linear notes

Muzykoterapia - Piosenki Izy (2011)

Muzykoterapia (band)

Iza Kowalewska - vocal
Kuba Galiński - keyboards
Wojtek Sobura - drums
Dominik Trębski - trumpet
Marcin Gańko - saxophones, flute
Wojtek Traczyk - bass
Jurek Zagórski - guitar

Piosenki Izy (2011)

I reached for this CD because it features some of the most talented young musicians (Wojtek Sobura, Wojtek Traczyk, Marcin Gańko) creating new improvised music in Poland. But let me start with vocalist Iza Kowalewska which is a pivotal figure in this band called Muzykoterapia. She does not have a big voice but she has a personality. Therefore music is diversified, coherent, mature. Although it is clearly pop and have very little in common with jazz yet it is ambitious enough to be listened even by someone who has alergy on typical pop pulp. On the other hand it lacks depth, intensity, spirituality of best jazz music. Except those few moments when aforementioned young lions take over like in track 11 "Kalimba": fully instrumental tune where they cut through African inspired moods in a manner of best acid or new jazz recordings. It is a pity that such an awesome potential was used so rarely on this generally not so bad album...

Track listing: 1 Intro 0:56; 2 Wiatr 3:54; 3 Komedia 4:24; 4 Dym 2:48; 5 Okulary 4:48; 6 Nie Bądź Zły 2:49; 7 Stacja Benzynowa 3:57; 8 Eyala 3:50; 9 Na Wspak 3:45; 10 Ocieplenie 3:09; 11 Kalimby 3:26; 12 Time To Die 4:05; 13 Outro 3:24; 14 Na Wspak (Envee) 

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

The Light - Afekty (MultiKulti, 2009)

The Light (band)

Wacław Zimpel - clarinet, bass clarinet

Robert Rasz - drums
Wojciech Traczyk - bass

Afekty (MultiKulti, 2009)

Almost exactly a year ago, a wrote this enthusiastic review of "The Light", the debut album of the Polish trio consisting of Wacław Zimpel on clarinet, bass clarinet, and tarogato, Wojciech Traczyk on bass, and Robert Rasz on drums. Now, with their sophomore album, they confirm their quality, musical skills and vision. It is even more focused than the first album, and they perform only their own material. The approach is still as gentle, sensitive and free as the previous one, with great explorations of timbre and sound, finding a wonderful balance between rhythmic drive as on the last track "Shangri La", and lyrical and emotional delivery, as on "Rozpacz", on which a plaintive tarogato dialogues with a mourning arco, or intense creativity, as on "Hridaja", or percussive improv as on "Sattwa" on which the bass clarinet is propulsed forward by Rasz's drumming, short, compact and powerful. Despite all the adventure and freedom of spirit, the trio is still fully entrenched in the jazz tradition, a great vantage point from which to explore. And the best thing is that the three musicians share the same vision and hence interact to perfection on this highly varied album. Highly recommended.

Author: Stef Gijssels

http://polish-jazz.blogspot.com/

Kamil Szuszkiewicz - Prolegomena (Slowdownrecords, 2011) by Stef Gijssels

Kamil Szuszkiewicz - trumpet

Marcin Ułanowski - drums

Kuba Cichocki - upright piano

Wojtek Traczyk - double bass

Marcin Gańko - baritone saxophone

Tomasz Duda - baritone saxophone

Prolegomena (Slowdownrecords, 2011)

(Editor) Stef Gijssels review of very strong debut by young, avantjazz trumpeter Kamil Szuszkiewicz.  

In January last year I wrote my first review of some albums with Polish trumpeter Kamil Szuszkiewicz, already sensing that it would not be the last. We find him back as the leader of a full band and with a somewhat more ambitious programme. The band consists of Kuba Cichocki on piano, Tomasz Duda and Marcin Gañko on baritone saxophonen Wojciech Traczyk ion double bass and Marcin Ułanowski on drums. 

Szuskiewicz's compositions and arrangements are really strong, with lots of variation and shifting between melancholy pieces for small ensemble ("Aria", "Pawana"), a pianoless quintet that bookends the album, using the warmth of the horns to the full, but it is when Cichocki's piano joins that the music gets its full dramatic power. The compositions are inventive and contain a wealth of clever rhythmic changes, great arrangements and a kind of inherent tension, with lots of a kind of stop-and-go feel. 

All musicians are excellent, but what is really strong for a debut album is the coherent vision and sound, something special and unique that is captivating and enjoyable. If you need comparisons, then Darren Johnston and Kirk Knuffke come to mind, two trumpeters who also understand how to create complex music with substance. 

Modern jazz at its best. I truly hope Kamil Szuszkiewicz gets audiences outside of Poland. 

(Editor) Check tune "Pavana" from this album:

Stef Gijssels

http://freejazz-stef.blogspot.com

Neurasja - Neurasja (Unzipped Fly Records, 2011)

Neurasja (band)

Asja - vocal 

Karol Czajkowski - guitar & sytnth, production & arrangements

Wojtek Traczyk - bass, double bass
Hubert Zemler - drums

Neurasja (UZF Records, 2011)

If you feel inclined towards jazz and are looking in direction of its distant and glimmering shore from indie rock or indie pop positions then "Neurasja" may be perfect bridge over which you will cross from land of darkness to that of light. It is centered around a psychodelic vocal by Asja who is surrounded by young & excellent jazz instrumentalists: Karol Czajkowski on guitar, Wojtek Traczyk on bass and Hubert Zemler on drums. Check this link for sample of music from this album: http://soundcloud.com/uzf-recordings/neurasja-promomix

Author: Maciej Nowotny

http://kochamjazz.blox.pl/html

Kamil Szuszkiewicz - Prolegomena (Slowdownrecords, 2011)

Kamil Szuszkiewicz - trumpet
Marcin Ułanowski - drums
Kuba Cichocki - upright piano
Wojtek Traczyk - double bass
Marcin Gańko - baritone saxophone
Tomasz Duda - baritone saxophone

Prolegomena (Slowdownrecords, 2011)

That Kamil Szuszkiewicz is great talent in Polish music I've been convinced for a long time. Unlike many critics is this country who obviously are excellent in establishing crucial (and well-paid) positions in Polish media & show business I am simple blogger and my main focus is music. I look for good music, all other issues are secondary. So I've seen Szuszkiewicz being like "crouching tiger, hidden dragon" among Polish young musicians and I've been waiting patiently when his time will come. The snow ball has been growing slowly which is evidenced even on this blog by albums like "Kapacitron" (2009), "Be Like A Child" (2009) or recently outstanding "Chopin Chopin Chopin" (2011) in which he took (significant) part as a sideman.  And now we have his debut under his own name so it is the time to ask a question whether all these promises are fulfilled...?...

Music on the album may be called free but not in form but in spirit. This overall form is well though-out, planned, carefully prepared but at the same time there is enough place left for musicians  to display spontaneity, creativity and bravery of the highest caliber. Moreover regardless its refined form the music remains communicative and relatively easy to listen! Rooted as well in free jazz idiom as in avantgarde classics of XXth century and... in indie pop or rock... it is as much continuation as something completely new... Moody, brooding, bluesy it has all coarse beauty of good modern art, be it painting, sculpture, photography, film or literature. It will fit perfectly as musical commentary to crazy politics of year 2011 with its bankrupting states, compromised politicians, crumbling traditions.
When we look at the cast we discover that along with the leader playing on trumpet, we find here creme-de-creme of young musicians responsible for sudden renaissance of jazz avantgarde in Warsaw in recent years: Wojtek Traczyk (double bass), Marcin Ułanowski (drums), Kuba Cichocki (upright piano), Tomasz Duda  and Marcin Gańko on baritone saxophones. These new wave of young, creative, open and very well educated musicians will alter completely what is the landscape of Polish jazz in years to come...

Promo - Kamil Szuszkiewicz "Prolegomena":

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

Kapacitron - Kapacitron (2009)

This CD does not contain even thirty minutes of music, I cannot therefore call it long play but rather half play. Despite its shortness however it contains splendid music and announces great young players coming to Polish jazz scene. Remember these names: trumpeter Kamil Szuszkiewicz, double-bassist Wojtek Traczyk ("...be like a child...") and two great drummers & percussionists Wojtek Sobura ("The Dudes") and Hubert Zemler ("Branches Of Dirty Delight") since they will play crucial role in Polish jazz in years to come.

As for music on this album it is very inspiring indeed! Yes, it is avantgarde, but composed and played with such musicality, delivering the sound so spacious, and being so fresh and creative, that I cannot stop to listen to it over and over again, simultaneously cursing artists for not recording full decent long play as they should do. Am I overenthusiastic as far as this music is concerned? I don't think so but fortunately you do no have to rely on my wrong, biased and subjective opinions entirely: there is sizable sample available in player embedded below. Enjoy!

Author: Maciej Nowotny

http://kochamjazz.blox.pl/html

Trifonidis Free Orchestra - "...be like a child..." (2009)

Bartek Adamczak finalizes his small cycle about Maciej Trifonidis Bielawski: check other posts about albums "The Dudes" (2010) and "Downtown Project" (2010). He is also writing a very interesting blog about free jazz: http://jazzalchemist.blogspot.com/.

Another big group, my favourite position in the slowdownrecords catalogue - not really surprising if You notice the 'free' word both in the band's name and in this blog's title. While still a set of composed pieces this one allows much more room for improvisation and brings You also the most balanced instrumental line-up - with 2 tenors, 2 altos, 2 trumpets, a tuba and the rhythm section.

Bielawski comes through again with precious melodies and harmonic depth (simply and touching theme of "Free Warsaw", with nice trumpet solo in the middle of the track). The improvisation comes forward not only as a solo inside the composed material but also as a built-in ingredient of the composition's formula - like in spare and spacious "Slam". This band can punch and kick with great energy ("The man with the lash and the beast") but adding to the mix the passion of free-jazz (wonderfully screaming sax over the majestic, epic movement of "Born to fight", boiling ensemble blowout in the "Run") and engaging in more abstract, spontaneous voyages - as in "Chromatic Sixteen" which starts with spare call & response explorations, moves into the fluent sax lines exchange and then into modern swing - nice twist on the nature of improvisation - not coming from, but arriving to the composed material. 

The biggest game changer for me - making this one not only an enjoyable (like "the Dudes" by Tricphonix) but also an engaging listening - is the rhythm section. With Wojtek Traczyk on bass (known from The Light trio with Waclaw Zimpel) and Pawel Szpura (Hera and Cukunft among other projects). This duo can lay the groove but most importantly can push the music forward also in the more uncommon territories when needed. Listen to how wonderfully their playing changes in "Tripolis", between the wild beat of the ensemble section and the light colourfull touches of the solo passage (the track ends also with a nice solo on drums by Szpura). Or how they push forward the "Playground" through the first sax solo - this piece is possibly the highlight of the album, with a fantastic brass trio section (tuba and two trumpets) and the bass solo by Traczyk, the most impressive singular statement of the disc - powerfull arco, rich and colourfull, uncompromising in timbre (wonderfully commented by Szpura on drums), then, as they give back the groove to the band, horn section starts re-building the dynamic momentum, the tension and finally collapse, disassembling the arranged riff into free and wild playing.

"...be like a child..." is a great ending, with clear theme, nicely structured arrangement (gently oscillating vibrato showing again his love of cinematic effect), anchored in the bass line, and balancing the line between solo and ensemble roles - somehow summing up the whole album.

Balancing the whole time - between composed and improvised, big ensemble sound and personal expression - this is a great musical meal, with compositions being the substance but great playing being the sauce and the spice. I have to say that I like it more and more with each listen which is something a really good music should.

You can see this band here (without Luis Nubiola but with Waclaw Zimpel on bass clarinet and Tomek Stawiecki on clarinet) going through first two compositions of this cd: "Born in my own melody" and "Born to fight". And some recent video here (showing even wilder and more expansive playing) leave me with a hope for more coming from this band in the future. Watch as they go through "District" featuring an explosive solo by Ray Dickaty (again bit different line-up, can't tell the faces in the dark though).