Green Revolution – Rewolucja zielona (2022)

Green Revolution

Andrzej Przybielski – tp
Marek Kazana – as, bar
Michał Kulenty – ss, ts
Krzysztof Szmigiero – g
Zbigniew Heflich – bg
Marcin Pospieszalski – bg
Michał Zduniak – perc, dr
Jorgos Skolias – voc
Kamil Konikiewicz – child’s voice
Wojciech Konikiewicz – voc, keyb, drum machine programming, hca, occ, perc, toy panflute

Rewolucja zielona (2022)

Wytwórnia: GAD Records

Autor tekstu: Mateusz Chorążewicz

Wojciecha Konikiewicza chyba nikomu nie trzeba przedstawiać. Nieco inaczej jest z projektem Green Revolution, który artysta powołał do życia w 1984 roku i który funkcjonował do roku 1994. W ręce wpadł mi nagrany na przełomie lat 1987/1988 album „Rewolucja zielona”, który doczekał się wydania dopiero w pierwszej połowie roku 2022 nakładem niezastąpionej w takich przypadkach wytwórni GAD Records.

W nagraniach wzięli udział Andrzej Przybielski (tp), Marek Kazana (as, bar), Michał Kulenty (ss, ts), Krzysztof Szmigiero (g), Zbigniew Heflich (bg), Marcin Pospieszalski (bg), Michał Zduniak (perc, dr), Jorgos Skolias (voc), Kamil Konikiewicz (voice) oraz Wojciech Konikiewicz (voc, keyb, drum machine programming, hca, occ, perc, toy panflute).

Miles Davis z okresu fusion, Weather Report, Frank Zappa. To są pierwsze skojarzenia, które nasuwają się w aż nader oczywisty sposób. Nie oznacza to bynajmniej, że muzyka zawarta na krążku jest czymś odtwórczym. Nie była taka ani pod koniec lat ’80, ale nie jest taka również teraz. Najlepiej niech świadczy o tym fakt, że chyba mało kto spodziewałby się tutaj rapowanego wiersza Mirona Białoszewskiego. Niemniej jednak, płyta przepełniona jest brzmieniami charakterystycznymi dla lat ’80 i tak też należy ją traktować.

Nagrań dokonano w jednym z najlepszych dla fusion okresie na naszym rodzimym rynku. To właśnie wtedy swoje sukcesy świętował m.in. Walk Away. Tym bardziej szkoda, że „Rewolucja zielona” nie została wydana zaraz po nagraniach. Mogłaby bowiem wnieść coś nowego, świeżego do polskiej sceny jazz-rocka. Mnogość stylistyk, do których odwołują się kompozycje (m.in. rap, czy reggae) oraz zastosowane koncepcje brzmieniowe czynią „Rewolucję zieloną” bardzo interesującą pozycją nie tylko z historycznego punktu widzenia.

Podsumowując, „Rewolucja zielona” to kawał kapitalnej muzyki dla każdego fana fusion lat ’80. Silna inspiracja amerykańską sceną jazz-rocka jest wyraźnie słyszalna. Mimo tego, udało się tu przemycić elementy bliższe naszemu sercu, jak choćby poezja Białoszewskiego. Album oczywiście nie jest szczególnie odkrywczy z dzisiejszej perspektywy czasu pod kątem muzycznym. Niemniej jednak, stanowi bardzo wartościowy zapis historyczny i prezentuje polską scenę fusion lat ’80 w nieco innym świetle.

Podobno Wojciech Konikiewicz nie wyklucza powrotu projektu na scenę. Życzyłbym sobie, aby tak się stało.

Gembalski/Iwański/Majchrzak/Zduniak - 1999 Harmolodic Odyssey (2020)

Gembalski / Iwański / Majchrzak / Zduniak

Henryk Gembalski - violin
Janusz Yanina Iwański - guitar
Krzysztof Majchrzak - bass
Michał Zduniak - drums

1999 Harmolodic Odyssey

MTJ 11977

By Adam Baruch

This is an archival album by a Polish Jazz quartet comprising of violinist Henryk Gembalski, guitarist Janusz Yanina Iwański, bassist Krzysztof Majchrzak and drummer Michał Zduniak. The album presents five lengthy improvised pieces, co-credited to the participating musicians. The music was recorded live and waited for over twenty years to be finally released. It is dedicated to the memory of Zduniak, who sadly passed in 2006.

Polish political martyrology created the "cursed soldiers" idiom to commemorate the lesser known heroes of the struggle for independence, but many Polish Culture champions, who acted over the years on the margins of the Polish post WWII State sanctioned mainstream Culture never won the proper recognition, neither collectively as a movement nor individually as fighters for intellectual freedom. Polish Jazz is of course no different. In parallel to the Jazz activities overseen by the State recognized Polish Jazz Society, which controlled the local scene with an iron fist, many less conformist Jazz musicians managed to create their own, mostly Avant-Garde oriented facet of Polish Jazz, which enjoyed many creative peaks. People like Andrzej Mitan, Andrzej Przybielski and many others were almost completely anonymous on the Polish Jazz scene for decades, and even today are known only to a handful of hardcore specialists.

The musicians on this album also belong to the league, which operated mostly on the outskirts of the Polish Jazz mainstream, taking part in ensembles like Labirynt, Tie Break, Free Cooperation and others, playing exactly what they wanted to, regardless if it fit any "party line" or not, and often suffering the consequences.

The music is a mixture of Fusion and Avant-Garde, or Avant-Garde Jazz-Rock Fusion, which is a wonderful amalgam of the four individual voices, with diverse stylistic accents, which creates a forceful statement, losing nothing of its intensity and innovation over time. Between Gembalski, who represents the Free Jazz approach, Iwański, who is a Rocker at heart, Majchrzak, who is a Fusion kicks-ass and Zduniak, who is simply a brilliant drummer beyond classification, the music is a highly concentrated exchange of individual soloing and ensemble playing, which although demanding, is unique and superbly uplifting, with energies equaling an erupting volcano.

Overall this is excellent document of the lesser travelled path of Polish Jazz, that rightfully deserves to be a part of the documented history of the genre. Good to see it finally available and hopefully more of such hidden gems will float to the surface. It would be a Cultural crime to have this music doomed as forgotten.

Chochół/Gembalski/Majchrzak/Zduniak - Our Last Session (2019)

Chochół / Gembalski / Majchrzak / Zduniak

Andrzej Chochół - guitar
Henryk Gembalski - violin
Krzysztof Majchrzak - bass
Michał Zduniak - drums

Our Last Session

PRIVATE EDITION


By Adam Baruch

This is an archival release of an improvised recording session by four Polish Jazz musicians: guitarist Andrzej Chochół, violinist Henryk Gembalski, bassist Krzysztof Majchrzak and drummer Michał Zduniak, all members of groups like Labirynt, Zdubop (or Zdu-bop) and other ensembles, active usually on the alternative Polish Jazz scene far from the fame and glory of the mainstream but certainly not less significant. The session was recorded at the studio owned by Zduniak, who was at the time already gravely ill and sadly died a year to the day since the session date. The album presents seven tracks, six of which are spontaneous improvisations and one was composed by Majchrzak.

The music is an incredibly dense barrage of group improvisation by these four veteran musicians, creating a wall of sound effect, which still enables the individual instruments to be heard clearly. The individual parts vary in their intensity and dynamics, bringing each of the musicians up front, but there are no straightforward solo parts as such.

Although this music is all about group improvisation, the individual contributions are all first rate. Gembalski is sadly one of the most underrated Polish Jazz violinists and his parts on this album are nothing short of spectacular. Majchrzak is a brilliant bass guitarist, also sadly little known beyond a close list of friends and followers. Perhaps the fact that he lives in Paris since many years took him out of the public eye, but he is a world class player and has little competition on the local Polish scene. Chochół contributes some hair-rising electric guitar soli, and he also deserves a much wider recognition. Zduniak contributed superb drumming parts to many iconic Polish Jazz albums and his untimely death was a blow to the scene.

It is truly great to have this music available, as it not only deserves to be heard, but is also an important historic record of the lesser known components of the Polish Jazz scene, which should be remembered and documented. Overall this is a fascinating piece of music with historic significance, which is worth looking for and listening to, and which might surprise many listeners with its richness and uniqueness.

Byrklymyny Trio – Opera In Heaven (2016)

Byrklymyny Trio

Henryk Gembalski - violin
Wojciech Zduniak - bass
Michał Zduniak - drums

Opera In Heaven

ALLEGRO 033




By Adam Baruch 

This is the archival debut album by Byrklymyny Trio led by veteran Polish Jazz violinist Henryk Gembalski and including bassist Wojciech Zduniak and drummer Michał Zduniak. The album presents an original nine-piece suite credited to all three trio members.

The music is quite versatile and moves between Ambient, Jazz and Jazz-Rock Fusion, with an emphasis on the latter, especially due to the use of electric bass and rhythmic Rock patterns. Although based on melodic themes, the music ventures into lengthy improvised passages, which feature the violin using a plethora of synthesized effects, sounding nothing like the traditional acoustic instrument. The overall effect of the music creates a kind of imaginary voyage or soundtrack of an imaginary movie, hypnotic and absorbing.

The rhythm section is very much involved in the actual creation of the music, playing much more than is simply required to keep the tempo, adding polyrhythmic pulsations and groovy/funky bass lines. Combined with the violin extravaganza on top of the rich rhythmic layer the music keeps the listener on edge for the entire duration of the album. This album is another example of the versatility and depth of the Polish Jazz violin school that is experiencing a wonderful renaissance lately and is probably the leading world center of violin oriented Jazz activities in the world, taking over the traditional lead from France. This phenomenon is definitely worth a closer study.

Gembalski, who is a part of the Polish Jazz scene since many years, and who was usually associated with the more avant-garde oriented circles, takes a new position within the mainstream this time, without of course lowering his standards or giving up his musical integrity. This album should expose his great talent to many new listeners, who have somehow missed him earlier on. For violin lover this album is definitely a must, especially in view of its unique approach to the instrument and excellent, albeit unusual, musical contents. Wholeheartedly recommended!

Stol Panski – Gadajace Drzewo (1997)

Stół Pański

Zbigniew Kunkowski - guitar
Andrzej Przybielski - trumpet
Sławomir Kulpowicz - keyboards
Janusz Smyk - flute & Saxophone
Krzysztof Ścierański - bass
Michał Zduniak - drums
and others

Gadające Drzewo

ZBIG 001

By Adam Baruch

This is the only album by Polish Jazz ensemble Stół Pański, led by guitarist/composer Zbigniew Kunkowski, which also featured trumpeter Andrzej Przybielski, flautist/saxophonist Janusz Smyk, keyboardist Sławomir Kulpowicz, bassist Krzysztof Ścierański, drummer Michał Zduniak, vocalist Joachim Janko, violinist Henryk Gembalski, saxophonist Aleksander Korecki and several other players. Some of these players used to be a decade earlier members of the legendary ensemble Free Cooperation. The album presents seven original compositions, all composed by Kunkowski and arranged by Kulpowicz. There is also a hidden/undocumented track, which follows the seven tracks, which is a free improvised piece.

Musically the album presents a fascinating amalgam of Jazz with Groove, Funk and World Music. Most of the music consists of a simple melody line played over a repetitive groove and serving as a background for extensive improvisations by the soloists. The main and most impressive soloist is of course the legendary trumpeter Andrzej Przybielski. Who plays on this album some of the most coherent and beautiful solos in his entire career, which bridge between his free improvising tendencies and the melodic approach he uses here. Especially impressive are his muted trumpet parts, which easily compare to those played by Miles Davis. Since every note of the Przybielski legacy is utterly sacred, this album is an absolutely must to every follower of the Polish Jazz trumpet heritage.

Overall this album is one of the hidden gems in the Polish Jazz discography, which disappeared from the shelves shortly after being released almost two decades ago and never reissued. True Polish Jazz fans should make every effort to get hold of a copy, at all costs.

Jazz Trio – For The Future (2009) ****

Janusz Brych - saxophone
Marek Piatak - piano
Michal Zduniak

POLJAZZ/ ANEX 320







By Adam Baruch

This album features the Polish Jazz trio called simply The Jazz Trio (probably the most unreasonable name one can adopt in such circumstances), which consisted of saxophonist Janusz Brych, pianist Marek Piatak and drummer Michal Zduniak. The pianist composed four of the five compositions present here and co-composed the fifth with the saxophonist. Although little know and mostly forgotten, this is, in retrospect, quite an excellent and unusual album, which Polish Jazz connoisseurs should definitely seek out.

The music is a very strange amalgam of melodic, pre-composed intriguing music, mixed with excellent saxophone improvisations, which are very Free Jazz oriented and superbly executed. Sometimes the saxophone parts are overdubbed, which creates an even stronger "wall of sound" effect, common in Free Jazz. Also the absence of bass, which dramatically influences the sound of the music, contributes to the "strangeness" and of course transfers the responsibility of keeping time towards the piano player and the drummer, who is quite unusual as well. The overall result is definitely fresh and surprising, quite different from what was happening on the local scene at the time. Perhaps it was an early precursor of the Yass scene, which was about to explode in Poland shortly after this album was recorded.

The overall level of individual virtuosity as well as the interplay between the three musicians makes this album a hidden gem, which simply begs to be discovered. It is a pity they never recorded together again (as far as I know) as the trio certainly had the potential of becoming one of the hottest groups on the Polish Jazz scene. But, alas, we'll never know what might have happened. In the meantime let's enjoy what we can hear!

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

Orkiestra Świętokrzyska - Wykłady z geometrii muzyki (2003)

Well, this is a project that could be very interested indeed but it turn out to be disappointment. Intended to be nu jazz and clearly referring to music of Nils Petter Molvaer it sounds however like karaoke jazz: oversimplified, uninspired, predictable. Surely lovers of more accessible music may find this attractive but only provided they are indiscriminate and were not exposed to what is the best in nu jazz.

Sadly, this recordings is so mediocre that even the presence of the artist of highest callibre could not save the day with one exception however: Andrzej Przybielski play on trumpet in "Równoległość" transcend this mundane sounds into celestial harmony. But as soon as his immortal trumpet fades karaoke returns again...

The song with above mentioned magic trumpet of Andrzej Przybielski:

Author of text: Maciej Nowotny (http://kochamjazz.blox.pl/html)