Tomasz Licak & Artur Tuznik Quintet feat. Anders Mogensen - Quintet (BlackOut, 2011) by Maciej Nowotny

Tomasz Licak & Artur Tuźnik Quintet feat. Anders Mogensen (band)

Tomasz Licak - tenor saxophone

Tomasz Dąbrowski - trumpets
Artur Tuźnik - piano
Andreas Lang - bass
Anders Mogensen - drums

Quintet (BlackOut, 2011)

Danish Carl Nielsen Music Academy in Odense has become quite popular among young Polish students lately. Thus the tradition of Polish-Scandinavian jazz links, dating back to Krzysztof Komeda times, is continued and not only by great masters like Tomasz Stańko (check his last "Dark Eyes" with new quintet) but also by young generation. Let me then briefly introduce players: Tomek Licak plays on tenor saxophone while Artur Tuźnik on piano. This is their second recording made together, of which I am aware of, after last year debut album "Last Call". That recording session was a prize for winning in the Bielska Zadymka Jazzowa festival. I wrote a favourable review of this album which featured Scandinavian rhythm-section (Emil Brun Madsen, Rasmus Schmidt) and was assertive mainstream jazz with clear hard bop roots. With minor changes, Tomek Licak replaced by saxophonist Maciek Kądziela, this group won this year in another top festival in Poland namely Jazz Nad Odrą (check this link for details). On "Quintet" we see following changes in personnel: rhythm section remains Scandinavian but musicians changed to Andreas Lang on bass and Anders Mogensen on drums plus Tomek Licak is joined by Tomek Dąbrowski who is rising star among Polish young trumpeters noted already by promising play in Magnolia Quartet or in OFF Quartet (review of this album soon on our blog). All above mentioned musicians are either students or teachers (Mogensen) at Odense. 

So now what is music on this album? When compared to "Last Call" it gives even more punch thanks to inclusion of fifth player, and Dąbrowski on trumpet is not a shy guy, but first of all because of changes in rhythm section.  Pulse as supplied by Andreas Lang and, most of all, Anders Mogensen is varied, energetic, colorful and creates challenging background for horns. And these young Polish horns are great at moments, especially when they play free, wild, unrestrained as in splendid "Uwaga!", "Złooo" or "Last Call" (all compositions by Tuźnik). This last tune features great solo by Dąbrowski but Mogensen drumming is phenomenal as well. "Hobbit" is Tomasz Licak showcase (btw it's his composition) with edgy and aggressive horn interweaving with excellent Dąbrowski trumpet. Last "Flow" shows perhaps what is the future for these players: less structure, less copying of old masters, less boundaries and more...yes...flow. Hopefully this will be direction these promising young musicians will take even more decisively in their next undertakings. Check music to draw your own conclusions:

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

Zbigniew Namysłowski - Kuyaviak Goes Funky (Polish Jazz Vol. 46, 1975)

Zbigniew Namysłowski - alto sax
Tomasz Szukalski - tenor sax, soprano sax
Wojciech Karolak - electric piano
Paweł Jarzębski - bass
Czesław Bartkowski - drums

Polskie Nagrania, 1975

One of the best, though short-lived groups led by Namyslowski was the 1974-76 Quintet with Karolak, Szukalski, Jarzebski and Bartkowski. These excellent jazzmen were lucky to record, in March 1975, rather unusual music by Namyslowski: the highly original pieces that sparked again the touchy problem of Polish folklore presence in jazz. Namyslowski had already earlier intrigued sensitive listeners with his probably unconscious infusing into his music some characteristics of the Polish Mountainers' folklore ("Siodmawka","Piatawka"),but only now this side of his creative imagination showed itself so strongly. The centerpiece of this record is the three-movement title composition in 15/8 meter. Here we can enjoy contrasting tempos and moods, mediations and chantings, bass ostinatos, obstinate shifting of two chords, and, in the last section, rock-like repetitive rhythm-patterns, moving back into pensive, melancholy chants that finally fade away to end the piece. But even here the folk colouring stems not form any methodical background studies or intentions.

Namyslowski simply allows his musical nature to pronounce itself freely, and exactly such a spontaneity is what makes it precious from the jazz standpoint. In "Sad Little Johnny", the first pastoral section is followed by the busy funk rhythms and free sax improvisations. Also in the "Quiet Afternoon" the prolonged and beautiful immersion in poetic meditation finds its momentary contrast in the ragged alto solo, backed by electric piano and drums, after which the music returns to the dreamy mood. "Little Lamb Lost" strayed obviously somewhere in the Polish Tatra Mountains, for in spite of rock rhythms (even with their help) the motifs and scales of Podhale region are very much evident.

Small sample of magnificent music from this album:

Author of text: Andrzej Schmidt

Relacja z koncertu Lean Left w Dragonie



Poznański Klub Dragon powoli staje się centrum jazzowej awangardy w Polsce, jakim niegdyś była krakowska Alchemia. Choć może lepiej powiedzieć, że to centrum znajduje się po prostu tam, gdzie chce pracować Ken Vandermark, a dzięki Wawrzyńcowi Mąkini i Tomkowi Konwentowi chce w Poznaniu. Wielka chwała im za to, bo Ken jest często porównywany do Johna Coltrane’a i słusznie. Zachwyca jego bezkompromisowa kreatywność, całkowite poświęcenie muzyce, niewiarygodna wprost aktywność wyrażająca się w dziesiątkach projektów, w których uczestniczy i których jest siłą napędową. W piątkowy wieczór 16 września 2011 roku publiczność w Dragonie miała okazję słyszeć go grającego z zespołem o nazwie Lean Left, w skład którego wchodzą ponadto Paal Nilssen-Love, legenda awangardowej perkusji, a do tego dwóch graczy mniej mi znanych: Andy Moor i Terrie Hessels, którzy przeszli długą drogę, od momentu gdy w roku 1979 zaczęli grać punk w ramach formacji o nazwie The Ex. Zgarniając po drodze wpływy związane z noisem, rockiem, muzyką etniczną, doszli w końcu na Everest muzyki improwizowanej, bo granie z Vandermarkiem i Nilssen-Love tak właśnie trzeba określić.

Opisywać tę muzę na poziomie etykietek byłoby profanacją, poszukam zatem metafor. Ściana dźwięku jaką na początku stawiają muzycy zszokować może nawet zaprawionych w bojach „metalurgów”. Człowiek czuje się jak niedźwiedź wyrwany w środku zimy ze snu przez atak pancernej dywizji strzelającej ze wszystkich luf! Ale jednocześnie muzyka ta poprzez swoje wyrafinowanie, techniczną perfekcję wykonania i niezwykłe nowatorstwo lokuje się o lata świetlne od zwykle nieporadnych i trywialnych wysiłków większości kapel rockowych, noisowych czy metalowych. Wszyscy muzycy zamiast oczywistych i wielokrotnie powielanych schematów poszukują nigdy jeszcze nie słyszanych dysonansów, polirytmii, pulsu łączącego afrykańską dzikość z industrialną powtarzalnością.



Osią tej muzyki zawsze pozostaje Ken, jak wódz pośród swych legionów, pewnie i z wdziękiem steruje tym tsunami dźwięków za pomocą saksofonu tenorowego, a niekiedy także klarnetu. W centrum natarcia znajduje się zestaw perkusyjny Paale Nilssena Love, który jak artyleria, bombarduje publiczność decybelami precyzyjnych eksplozji. Na skrzydłach atakują zaś na swych gitarach elektrycznych Moor i Hessels jak jeźdźcy apokalipsy, kawaleria porucznika Custera czy szwoleżerowie pod Samosierrą. 

Po koncercie czułem się jak wrak człowieka, wata w uszach sprawiała, że siedzący 20 centymetrów ode mnie Tomek Łuczak musiał krzyczeć, żebym zrozumiał, że chce mnie poznać z Wawrzyńcem Mąkinią. Nie wiedziałem czy to moje nogi się trzęsą, kręci mi się we łbie czy też może budynek wzruszony do głębi tą wybuchową mieszanką zaczął się kołysać i chwiać w posadach. Na szczęście instynktownie włączyłem dyktafon i dzięki temu mogę teraz napisać słów parę o planach Multikulti. Przede wszystkim nowa Hera, kwartet Wacława Zimpela podobno tym razem wzbogacony o dodatkową osobę i brzmienia orientalne. Ale to jeszcze nie koniec jeśli chodzi o tego muzyka, bo w kolejce do wydania czeka jego kwartet z Perrym Robinsonem grający muzykę Żydów z Jemenu. Następnie płyta z udziałem Andrzeja Przybielskiego i dwoma młodymi muzykami: kontrabasistą Jackiem Mazurkiewiczem i grającym na perkusji Pawłem Osickim. Ponadto kwartet z Per-Akke Holmanderem, Robertem Raszem i Robertem Kusiołkiem, którego pamiętamy z doskonałej płyty wydanej na początku tego roku, a zatytułowanej „Nuntium”. Niewykluczone jest też pojawienie się płyty, na której zagrają razem Agusti Fernandez i Mats Gustaffson.

Jak już wspomniałem wyżej oprócz opanowania sztuki czynienia nieziemskiego wprost hałasu wielkie wrażenie w trakcie tego koncertu wywarły na mnie precyzja tej muzyki i wspaniałe zgranie muzyków. W trakcie rozmowy po zakończeniu koncertu uzyskałem od muzyków, w tym Kena, prostą odpowiedź na pytanie skąd takie porozumienie: kilkanaście lat wspólnego grania! Tyle lat wspólnego muzykowania pozwala Lean Left swobodnie szybować ku free jazzowym chmurom i nie bać się słońca. W którego żarze, jak w brzuchu martenowskiego pieca, z punkowo-noisowskiego ołowiu powstało czyste złoto muzyki improwizowanej w duchu naszych czasów…

Autor: Maciej Nowotny

Light Coorporation - Rare Dialect (ReR Megacorp, 2011) by Maciej Nowotny

Light Coorporation (band)

Mariusz Sobański - guitars

Michal Fetler - baritone saxophone, alto saxophone

Michal Pijewski - tenor saxophone

Robert Bielak - violin

Tom Struk - fretless bass

Milosh Krauz - drums

Rare Dialect (ReR Megacorp, 2011)

More and more the PR & commercial factors decide what we think about music. Let me give you an example: such albums of this 2011 year as Tfaruk's "Love Communication", Daktari's "This Is Last Song About Jews Vol. 1" or Contemporary Noise Sextet "Ghostwriter's Joke" got a lot of attention from critics and public but they are definitely no better than this one by Light Coorporation titled "Rare Dialect". Perhaps on contrary! But those three previously mentioned albums were much more aggressively advertised, more skillfully maybe. I wish Light Coorporation had the same support because their music certainly deserves it!

Musically verging between progressive rock aesthetics and jazz open structures it shall sound attractive to all those to whom name likes Jim Black or bands like Mars Volta sound familiar. Leader of the band is guitarist Mariusz Sobański whose guitar blends music with all originality and bravery necessary to make this recording memorable. He is accompanied by pack of young musicians that are completely unknown to me. They probably are altogether new faces in world of jazz but they play really well. Still I feel like there is plenty of space to make this music even better, more refined, more spontaneous, deeper. This space is created mostly by leader who composed whole music but other players do not always go along him: pulse might be more diversified, horns less obvious, violin more passionate but all in all this is definitely successful debut and my credit for Light Coorporation is extended to their next recording...

PS. I would also like to stress very decent level of recording and mixing of this music and exceptionally high level of publishing. 

Check video for music from this album:

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

Andrzej Przybielski & Oles Brothers – De Profundis (Fenomedia, 2011) by Adam Baruch

Andrzej Przybielski & Oleś Brothers

Andrzej Przybielski - trumpet, flugelhorn, cornet, pocket trumpet

Marcin Oles - double bass
Bartlomiej Brat Oles - drums

De Profundis (Fenomedia, 2011)

(Editor) Already described on this blog this recording deservedly receives a lot of attention as much in Poland as worldwide. That is evidenced by this very favorable review by Israeli-based Adam Baruch (check his music boutique http://www.jazzis.com/):  

Recently deceased Polish trumpeter / composer Andrzej Przybielski was without a doubt one of the greatest Polish Jazz musicians of all times. This fact is known only to a very small group of "insiders", familiar with his playing and his role in history of Polish Jazz, mostly on the avant-garde scene, but nevertheless is an undeniable fact. Przybielski was a genius in every respect. His eccentric personality, erratic behavior, alcohol and drug abuse, lack of basic life and organizational skills have placed him on the outskirts of society and only when on stage or in a recording studio his figure would be surrounded by a divine aura and his trumpet would utter some of the most profound sounds ever produced by a human. It's hardly surprising that his recorded legacy is truly pitiful and a "career" spanning over 50 years did not produce even one proper recording as a leader. I feel especially lucky in this case, as Przybielski did play on my "The Book Of Job" production, contributing another small document of his amazing talents.

In the last decade of his life Przybielski was associated with the Oles Brothers: bassist Marcin Oles and drummer Barlomiej Brat Oles, Poland's most formidable Free Jazz rhythm section. This album features a live trio performance by Przybielski with the Oles Brothers, recorded in April 2010 (10 months before his death). They perform five pieces, three of which are credited to Przybielski and the other two to the trio. The music is perfectly suited for the extended improvisations by all the participants, which are the basis of this music. The recording and sound qualities are very good, which adds greatly to the overall effect. The level of musicianship is of course phenomenal and this album ranks among the best Free Jazz albums recently recorded that I happened to listen to. Every moment is simply breathtaking, every sound just right, every note magnificent. Having said that, the fact that Przybielski is no longer with us makes me franticly regret the fact that more such music was not recorded. This is an absolute must and all those Tomasz Stanko fans out there, please listen to this music and discover his unknown soul brother. Brilliant!

"Afroblue" from this album:



Author: Adam Baruch
http://www.adambaruch.com/

Legendary Jerzy Mazzoll is back!!!

Jerzy Mazzoll was one of protagonist of yass movement in Poland in 90ties in previous century. His recordings like this one with Arhythmic Perfection titled "A" and released by Gowi Records in 1995 were arguably among the best during this so creative and tumultuous period in Polish jazz. Many things has happened in Jerzy Mazzoll life since then, some good especially in music where he was constantly searching for new inspirations and exploring restlessly what is surprising in jazz, but some bad as problems with health which effectively stopped his career for few years.

Now he is back and like before the range of his interests is breathtaking! Check just these two projects out of many. First, this one features Jerzy Mazzoll on clarinet, Henrik Frisk on saxophone while I/DEX provides electronically generated sounds and landscapes. Above mentioned artists are supported by inspiring visuals by Analog Visuals group.

Another project features Jerzy Mazzoll along famous singer Sainkho Namtschylak and pianist Piotr Rachoń. Outstanding!

All in all, I believe to be not only one waiting for Jerzy Mazzoll new recordings, hopefully coming yet this year...

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

Helikon: where underground met with heaven in jazz!

(Editor) I welcome warmly among writers on this blog Philip Palmer. In his first text he sheds light on relatively unknown but crucial role of famous jazz clubs in development of Polish jazz scene... Fascinating reading indeed!!! 

The thriving jazz scene in 1960s Krakow mainly centred around three venues. Students tended to catch their jazz at their official club, Pod Jaszczurami, or at Piwnica Pod Baranami. But musicians tended to opt for Helikon, one of the few places in Poland where the artistically inclined could speak their mind without fear of retribution. For this reason, membership was strictly limited to musicians, artists and people who could prove they were ardent jazz fans. The initiated gained entry by whistling ‘klezmer style’, at which point the barman would remove the sofa which blocked the door from the inside and let them in.

Until recently, it was difficult for the curious to find out more about Helikon. But that changed last year with the publication of a collection of contemporary eyewitness accounts given by musicians, their wives, political activists and artists. “Helikon” (PWM, 2006) was compiled by original club member, Grzegorz Tusiewicz.

Tusiewicz clearly remembers the anxious wait in the autumn rain as the club committee carefully perused his membership application and the jubilation when it was granted. For becoming a member of the Helikon was like being invited into an underground network of anti-establishment musicians, artists and thinkers.

The members of the club were united by an interest in modern art, intellectual freedom and political jokes of the kind that had to be whispered into ears in public places. They had a certain manner of dress, a way of combing their hair. According to the account in Tusiewicz’s book by political activist, Adam Macedoński, listening to jazz “was a protest against communism, its rules, the morals it endorsed, the un-Polish culture, or rather the anti-culture of the Soviet paradise.”

The exclusivity of the club extended to performance. Standards were high, especially after bassist, Jan Bryczek took over in 1962. Stanko told Radio Krakow about his first visit to the the club. Krzysztof Komeda was at the piano.

“We weren’t even bold enough to approach him, but I remember his distinctive frame hunched over the piano with that half-mocking, half-derisive, half-serious smile on his face.”

Stanko’s band ‘The Jazz Darings’, featuring Janusz Muniak on saxophone, would eventually take the club by storm with their take on The New Thing. Other revered regulars included Andrzej Kurylewicz, Andrzej Trzaskowski and Zbigniew Seifert.

The reminiscences in Tusiewicz’s book corroborate each other to a remarkable extent. People remember how cramped the club was, especially with musicians sleeping on benches and under the piano. They remember the message-laden prints by Wieslaw Dymny that adorned the walls, the thick smoke, the biting cold (there was no heating) and the thin stream of light filtering down from one small window. But what they most remember is the extraordinary atmosphere generated by uncensored discussions on jazz and politics and of course the intimate performances by jazz greats that still inspire them to this day.

Unlike Pod Jaszczurami and Pod Baranami, which still operate today, Helikon was unceremoniously shut down by the communist authorities in 1969. Tusiewicz attended the sad closing ceremony as the keys were handed over to the local magistrates.

Originally published in the September 2007 edition of Jazzwise.

Author of text: Philip Palmer 

(Editor) As musical accent please listen to Polish Radio Big Band from their album issued in 1965 under Andrzej Kurylewicz who was one of most famous residents of Helikon club in Cracow...

   

Biotone - Unspoken Words (SJ Records, 2011) by Maciej Nowotny

Biotone (band)

Michał Tomaszczyk - trombone

Przemysław Florczak - saxophone

Andrzej Zielak - double bass

Sebastian Kuchczyński - drums

Unspoken Words (SJ Records, 2011)

This is certainly successful debut as leader by young trombonist Michał Tomaszczyk. BTW he is not the only interesting young trombonist that should be noticed in our country: check for example interesting recent releases by Grzegorz Rogala - "Enthuzjazzm" (2011) and "Straying To The Moon" (2010). All musicians taking part in this recording are very young and just graduated from musical academies all over Poland but some of them already made first recordings as Andrzej Zielak who played in Przemysław Strączek Trio on "Earthy Room" (2007) or Sebastian Kuchczyński who collaborated with Strączek as well on "Light & Shadow" (2010) and with Wierba&Schmidt Quintet on recently issued "Black Monolith" (2011). 

Taking all these into account it should not surprise us that this music sounds a bit like graduation recital: full of technical mastery displays, impeccable phrasing and dedication to great masters of American jazz of 50ties and 60ties last century. Each young players deserve words of praise: Michał Tomaszczyk sound  on trombone is sweet and mellow, Przemysław Florczak saxophone soft and compassionate, Andrzej Zielak double bass distinct and clear, Sebastian Kuchczyński drumming precise and yet never too obvious. Michał Tomaszczyk should additionally be commended for composing all tunes on this album which are definitely strong side of this CD. What I admire in this music is that though clearly rooted in jazz tradition it radiates with enthusiasm, commitment, love. 

Ability to saturate music with emotions are clear signs of talent of above mentioned young musicians but of course since we are all so well aware how big competition in now on Polish scene (not mentioning world) question remains open when they all will go from this promising starting point? I hope that they will be capable of finding their own unique language and one day become truly matured artists telling audience their own story. All these great things lie ahead of them and wait for those who dare to reach for them...

Check tune titled "Another Space" from this album:



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

Rafal Mazur / Keir Neuringer - Improwizje (2010); Rafal Mazur / Michal Dymny - Extension (2009); Eve Rise / Rafal Mazur - Elan Vital (2009)

Since his album "Unison Lines" issued in 2010 by Not Two label I've become a great fan of avantgarde bassist Rafał Mazur.  I therefore am waiting impatiently for his new records which unfortunately are still not coming. So in a meantime I was very happy to discover on one of many fast-developing net labels named INSUBORDINATIONS couple of his earlier recordings, available for free rehearsal.

"Improwizje"

Rafał Mazur  - acoustic bass guitar

Keir Neuringer - alto saxophone

On "Improwizje", recorded in Crracow in venue called Bunkier Sztuki on 22th April 2006, once again we meet the same artists as on above mentioned "Unison Lines", that is Rafał Mazur and Keir Neuringer. Mazur bass and Neuringer saxophone harmonize perfectly: while Mazur line is edgy and stumbling, never obvious, always restless and searching, Neuringer alto saxophone yearns, wails, squeals, full of raw emotions and crystal clear communicado. This 18:35 long improvisation proves that there are few duos in Poland, if not in Europe, that can conjure in musical dialogue emotions stronger and more primal than these two musicians.

Check this link for music or download.

"Extension"

Rafał Mazur - acoustic bass guitar

Michał Dymny - electric guitar

On this album, 33:10 minutes long, recorded on 15th May 2008 in Cracow, we got intimate and subdued conversation of two guitars: Mazur - acoustic bass and Michał Dymny - electric one. Regardless change of style for more "cool" we still get here immensely creative work with Michał Dymny eloquent electric guitar being more than enough challenge fo Rafał Mazur bass pulse. Ambiguous and unsettled it all the same provides very rewarding music indeed!  

Check this link for music or download.

"Elan Vital"

Eve Risse - grand piano

Rafał Mazur - acoustic bass guitar

Finally this one recorded 21.06.2008, Centre of Contemporary Arts, in Kraków, lasts 22:52 minutes. Let me quote few lines from its review: "This experimental net label is always reliable for fascinating avant-garde improvisations and Elan Vital is no exception. With the work being totally acoustic, the two artists delicately weave a pattern of fragmented phrases, staccato lines, and soft tones into a fairy tale piece of art. The two musicians pluck through the session on bass and piano strings for approximately two thirds of the time, then change to bow and keyboard for a decidedly more tense interaction. It is a very interesting work that shouldn’t be too odd for the avant-garde music novice. This is another highly recommended online album from the always exploring Insubordinations net label."

Check this link for music or download.

Summarizing, this three albums from highly original bassist Rafał Mazur shall keep us busy while waiting for his new material after above mentioned excellent "Unison Lines" recorded with saxophonist Keir Neuringer last year for Not Two label.

Author of text: Maciej Nowotny

http://kochamjazz.blox.pl/html

Leszek Mozdzer - Komeda (ACT, 2011) by John Fordham

Leszek Możdżer - piano

Komeda (ACT, 2011)

(Editor) Leszek Możdżer newest album "Komeda" remains in focus of public and critics not only in Poland but also throughout Europe which proved by many reviews, among them this interesting one recently published in Guardian:

Germany's ACT label seems to be on a mission to introduce the world to Europe's rising newjazz-classical pianists. Polish pianist Leszek Możdżer is classically trained, but discovered jazz in his late teens. His solo debut for the label is, fittingly, a homage to one of Polish music's legends, the short-lived jazz pianist and movie-score composer Krzysztof Komeda. All eight pieces are Komeda's, and Możdżer gives them a romantic sheen (though one that's abraded by a dissonant urgency) the composer would have understood. The opening Svantetic develops from brightly dancing lines to demonic chordal percussiveness. Low, booming resonances softly boil beneath the tricklingly poignant, then threateningly spiky Sleep Safe and Warm (written for Polanski's film Rosemary's Baby), while the skipping, boppish Cherry is a rare upbeat number. Możdżer's swaying swing and slow-melody nuances suggest Keith Jarrett at times, but his outbursts of percussive playing, flinty treble-note sparks and staccato drum-pattern sounds are all his own. The pianist stops dead in the midst of the closing Moja Ballada, as if in acknowledgement of Komeda's sudden (and mysterious) death in 1969, at the age of 38.

Please listen to tune titled "Sleep Safe And Warm" from this record:

Text: John Fordham

guardian.co.uk