Jazz City Choir – Jazz City Choir (2012)

Małgorzata Korczyńska - Dyrektor, Dyrektor Artystyczny
Anna Gadt - Music Director, conductor, soloist
Joanna Kucharczyk - I soprano
Agata Sasinowska - I soprano
Magdalena Stróżek - II soprano
Małgorzata Romańska - II soprano
Ewa Barczyńska - alto
Aleksandra Bogucka - alto
Grzegorz Duszak - tenor
Adam Konowalski - bass
Karol Yamazaki - bass


AMI 001

By Adam Baruch

This is the excellent debut album by Polish vocal ensemble Jazz City Choir, which comprises of nine female and male vocalists singing together arrangements of Jazz compositions in a new and unprecedented way. Although vocal Jazz ensembles, usually quartets, have a longstanding tradition in Jazz, and even in their native Poland (the superb NOVI quartet), there were very few attempts to take Jazz vocals to the full extent of choir level, like this one. Listeners familiar with this particular niche might remember the work of Singers Unlimited, which also used a choir effect, but it was achieved by multi-tracking the four members of the ensemble, whereas here we have a genuine choir at hand.

The album presents six compositions, four of which are Jazz standards arranged by Pawel Zielak, the choir's house arranger, and two compositions created especially for the choir, one by its soprano singer Joanna Kucharczyk and another by composer Jan Sanejko, a young and very talented person worth watching!. Five of the six compositions feature a lead soloist, which in four cases is the choir's music director and conductor Anna Gadt and in one case the wonderful Polish singer Grzegorz Karnas. Five of the compositions feature vocalese only and one – Chick Corea's "Spain" – features partly lyrics, written by Al Jarreau and sung in English.

The initial impact of this album is completely overwhelming; the power, complexity and inherent beauty of human voices harmonizing and building up multi-layered structures, multiplied by ten individual sound signatures, is breathtaking. Of course in time the initial shock gives way to a more articulate reception, but moving on into the music the stimulation of brain cells continues up to the moment when the very last sound resonates into silence. This is really something else…

Of course a detached and coolheaded analysis reveals certain problems and imperfections, most serious of which is the dichotomy between the musical devices (in this case choral devices) used by the choir, which almost all originate in the world of Classical Music or even earlier musical forms like Medieval chants or early Church music. The transition of these devices into the world of Jazz has puzzled many composers / performers over the years, with varying results. Nevertheless, Jazz City Choir manages to swing at all times, which after all is the basic quality one expects from anything under the Jazz umbrella, even if their tools and paraphernalia originate in another world. Using lyrics, and especially in English, was a completely unnecessary move, exposing their weakest link, but considering it is a minor part of the entire presentation, it can be easily forgiven and hopefully forgotten.

Overall this is a stunning debut and the thought what these people might come up with next is scary (in a positive way). I simply can't wait! It's an absolute most for anybody fond of vocal Jazz in all forms and shapes and of course for connoisseurs of the Jazz-Classical Fusion sub-genre. Respect!

Uda – Lowy Kraby (2013)

Lukasz Krzywicki - guitar
Kuba Sienczyk - bass
Michal Zawadzki - drums

PRIVATE EDITION






By Adam Baruch

This is the third album by young Polish Fusion trio Uda, which comprises of guitarist Lukasz Krzywicki, bassist Kuba Sienczyk and drummer Michal Zawadzki. This album features guest appearances by guitarist Apostolis Anthimos, bassist Krzysztof Scieranski and accordionist Marcin Galazyn. There are thirteen original compositions, which are supposedly co-created by the group members, since no composing credits are specified.

The main point about this music seems to be to offer something quite "different", and different it is. Mixing virtually every style and genre known to man and shunning from nothing, including ridiculous Rap moments, this music is a hodgepodge quite difficult to swallow sometimes. Heavy Metal riffs seem to be the preferred weapon of choice, but there are also quiet passages, which sound quite interesting. Although this music has a strong improvisational element it is much closer to avant-garde Rock than to Fusion. Of course the whole point is to make this music impossible to categorize. The first association is the early music of Frank Zappa, not that Uda are remotely close to his musical genius (nobody is), but the total disregard of form and established rules are also there.

Of course these youngsters can play, and they play well, even exceptionally well, when they do. Many of their devices seem to be borrowed or perhaps purposely used in a form of mockery or ridicule, which works also pretty well. Overall, in spite of the apparent chaos and mayhem, there seems to be a hidden sense behind all this façade of "we don't give a damn". If only they concentrated on what they play rather than on how they play it, things would be much more interesting.

Obviously this music is not very inviting, but for listeners willing to suffer a little, there are definitely many hidden treasures in there. Just keep an open mind and protect your ears! I must say I prefer young musicians experimenting and breaking the rules the way Uda do, rather than join the wave of conformity and produce the usual garbage, which makes you puke instantly. So respect for the courage to be different, and please just a little more focus next time around.

Flamingo – Flamingo (Swinging Tricity Vol.4) (2013)

Jerzy Derfel - piano
Andrzej Dorawa - trombone
Piotr Nadolski - trumpet
Janusz Nalaskowski - drums
Henryk Pietrewicz - bass
Ryszard Podgorski - trumpet
Eugeniusz Pudelewicz - clarinet
Edward Rykaczewski - trombone
Jan Tomaszewski - trombone
Lucjan Wozniak - banjo

SOLITON 250

By Adam Baruch

This is the fourth installment in the excellent archival series documenting Polish Jazz created in the country's Tricity on the Baltic Sea, one of the important centers where Polish Jazz thrives and over the years produced numerous first-rate musicians and superb bands. The series presents material, which in most cases never previously appeared in any form and therefore is of immense historic importance.

This chapter presents the Flamingo ensemble, a Traditional Jazz outfit, which was very popular locally as well as in the rest of the country and even participated in the prestigious annual Jazz Jamboree Festival in Warsaw. The group was founded in the late 1950's, following the great Polish Jazz rebirth after the two historic Sopot (one of the Tricity cities) festivals in 1956 and 1957, which were a turning point in Polish Jazz history. The ensemble existed for about a dozen years until the late 1960s, and unfortunately never managed to record even one album, which sadly was the fate of many Polish Jazz artists during the Socialist regime. However they did record for the Tricity Polish Radio station in Gdansk, where most of the material included on this album comes from, except for five tracks that come from the 1961 Jazz Jamboree Festival, which were previously released by the state owned record label Polskie Nagrania (Muza).

Flamingo was one of quite a few Polish Jazz ensembles playing Traditional Jazz, i.e. Ragtime, Dixieland and New Orleans, as part of the Traditional Jazz Revival, which swept Europe in the 1950s and 1960s. It was founded by pianist Jerzy Derfel, bassist Henryk Pietrewicz and banjoist Lucjan Wozniak. They were soon joined by drummer Janusz Nalaskowski and clarinetist Eugeniusz Pudelewicz. Other group members present on this album were trumpeters Piotr Nadolski and Ryszard Podgorski, and trombonists Andrzej Dorawa, Edward Rykaczewski and Jan Tomaszewski. After the group folded, several members joined other groups; like Rama 111, which appears on an earlier release of this series, and even Niemen's group Akwarele.

The group performed mostly Traditional Jazz standards, with their youthful energy and zest overcoming the lack of experience. The overall level of performances was nothing short of excellent, which gained them quite a following and respect at the time. They performed in several European countries and participated in many jazz festivals. Since their split they managed to get briefly reunited a few times celebrating their past. Most of the Flamingo members live now outside of Poland.

This is another great piece of Polish Jazz history, which should definitely be told and preserved as part of the country's Cultural Heritage. Kudos to Marcin Jacobson for creating this series and keeping it going!

Agnieszka Hekiert – Stories (2012)

Agnieszka Hekiert - vocals

Konstantin Kostov - piano

Robert Kubiszyn - bass

Cezary Konrad - drums

with
Krzysztof Herdzin - flute
Kuba Badach - vocals
Atom String Quartet

UNIVERSAL POLAND 028947651475

By Adam Baruch

Polish Jazz vocalist / composer Agnieszka Hekiert, who combines the careers of a vocalist and a successful vocal coach for TV reality shows, released this album eight years after her last release called "Night And Day Swing", which she recorded with the pianist / composer Krzysztof Herdzin and his trio. In the meantime she also recorded the "European Impressions" album with my dear friend, the great Polish saxophonist / composer Leszek Zadlo, which unfortunately remains unreleased so far. From that session she carried over the Bulgarian pianist / composer Konstantin Kostov (who studied with another friend of mine, the Russian pianist / composer Leonid Tschischik, now living and teaching in Germany), who is her closest collaborator on this album. The other musicians, who constitute the piano trio on this album, are bassist Robert Kubiszyn and drummer Cezary Konrad. Guest appearances also include Herdzin on flute (yes I smiled too), vocalist Kuba Badach and the superb Atom String Quartet.

The album includes twelve songs, four of which are Kostov / Hekiert originals, another four are by Hekiert or feature her lyrics, one is a standard, one is a song by Sting, another one by Polish vocalist Kayah and the last of mysterious Far East source (sic!); overall quite a mishmash of styles and influences, which are unified by the arrangements (the arranger is not listed) and excellent performances by the piano trio. Kostov is a brilliant player, which is evident both on his solo spots and his skillful accompaniment, and so are of course veterans Kubiszyn and Konrad.

Hekiert is a talented vocalist, singing lyrics and vocalese with obvious ease and technical proficiency. Most of the vocals are in Polish, which of course is highly commendable, with few exceptions, which are unfortunately less impressive. Overall the vocal parts are kept within very safe limits of mainstream Jazz, which is somewhat lacking, as she obviously could have taken a few more risks and less obvious choices. Perhaps the fact that the album was released by Universal signifies an attempt to produce a much wider accessible music? In any case compared to some truly exciting vocal albums released in 2012 in Poland, this one sadly does not challenge any of them.

Connoisseurs of vocal Jazz will find this a pleasant listening experience, with excellent instrumental parts and professional vocal performances, no less and no more.

Piotr Domagała - Pnącza (2013)

Piotr Domagała - acoustic guitar, electric guitar, 12-string guitar

Adam Kawończyk - trumpet, flugelhorn, flute

Sławek Berny - tabla, udu, cajon, bongos, djembe, electric tampura, chekere

Pnącza (2013)

By Maciej Nowotny

Piotr Domagała as a guitarist stands alone among other musicians playing on this instrument in Poland. Not only he is a true virtuoso but his mature artistic vision encompassing as much jazz, as Slav folk and world music, unites all these influences into one unique language unmistakably his own.

This is only his second disc after outstanding debut "Slavonic Tales" released in 2009. Unlike others musicians, especially of younger generation, Domagała is neither prolific nor he changes projects and partners like gloves. Inversely he has focused on one enterprise and same musicians to be able to dug deeper into the matter of music.

The effect is fully satisfactory. I should perhaps do not use any labels to describe this music as they would all be misleading. But if forced I would prefer to call it "free mainstream" as it is as close to orthodox jazz as to classical music but first of all free in spirit. 

The success of this venture would be impossible without excellent partners of Domagała: trumpeter Adam Kawończyk and percussionist Sławek Berny. They are both well known and established musicians on our jazz scene. Together they form a trio like no other in Polish jazz and one of very few on European scene. Bound to the highest standards of performance, faithful to jazz and classical music heritage, at the same time they are brave enough to experiment and search for new lands. What else is necessary to make a listener happy? Perhaps one more thing should be mentioned as the sound on this CD is extremely well recorded and mixed which makes the rehearsal of this music even more enjoyable.

PKS Trio – Przystanek Pierwszy (2012)

Sebastian Rucinski - guitar
Kosma Kalamarz - bass
Przemyslaw Smaczny - drums

PRIVATE EDITION






By Adam Baruch

This is the debut album by Polish ensemble PKS Trio, which is a guitar trio consisting of guitarist Sebastian Rucinski, bassist Kosma Kalamarz and drummer Przemyslaw Smaczny. The album presents seven original compositions, authors of which remain unspecified letting one to assume they are all group compositions. Information about the date and place of recording is also missing, but the sound quality, clarity and ambience are excellent, creating a nice balance between the electric and acoustic sound of the trio.

The music is a pretty unique mixture of numerous elements, like Blues, Flamenco and Gypsy music, mixed obviously with Jazz tradition and bits of Fusion. Based on clear melodic motifs the music is stretched out by lengthy improvised passages, with plenty of space for individual soloing. Overall this is very accessible music, which might appeal to both less experienced listeners and veteran connoisseurs, who will find many elegant and delightful moments, especially the wonderful dialogue between the guitar and the bass guitar.

The performances are very good as well, with the guitarist displaying excellent technique and self confidence, the bassist accompanying the guitar faithfully and intelligently throughout and playing some superb solos along the way and the drummer keeping time unobtrusively and precisely. Overall this high level displayed by these young musicians is beyond reproach. The only minor point of criticism might be that the album stays at the same emotional level almost without exception and the music shows little diversity, which creates an overall impression that every track is a bit more of the same. This will surely be improved in their future releases, when the trio gains more experience with producing albums.

Listeners, who love melodic guitar, will find this album delightful immediately, others might need another listening opportunity, but this music eventually wins over most mainstream Jazz lovers. Definitely a debut worthy of respectful approbation!

Krzysztof Herdzin – Almost After (2000)

Krzysztof Herdzin - piano
Adam Cegielski - bass
Cezary Konrad - drums

JAZZ FORUM 020







By Adam Baruch

This is an early album by Polish Jazz pianist / composer Krzysztof Herdzin and his debut recording as a leader of a classic piano trio with bassist Adam Cegielski and drummer Cezary Konrad. It presents eight original compositions, all by Herdzin. At the time this album was recorded Herdzin was a regular member of the ensemble led by Polish Jazz veteran Zbigniew Namyslowski and his reputation as a rising piano prodigy was already pretty much established, but this recording also presents his talent as a composer.

This is a classic piano trio album, in the tradition established decades earlier and polished to perfection by generation of legendary pianists and their respective rhythm sections. Therefore it's extremely difficult to be original or groundbreaking in that specific niche, perhaps even more so than in any other Jazz endeavor. Herdzin doesn't break any particular new ground here, but his passionate playing, accompanied by obvious virtuosity and brilliant technique, manages to create a most impressive piece of Jazz music and a remarkable debut effort. From the very early recorded projects Herdzin exposes a tendency for perfection, well reflected here. His control of timbre, tempo and tone are all excellent and the result sounds accordingly.

Of course even the best pianist is only as good as his rhythm section allows and in this case his partners stand with him shoulder to shoulder, complimenting his efforts with superb companionship and affinity. Overall the trio effort is accomplished here to the fullest, and again, since this is a debut effort, the result is above the level of expectations in such cases.

As a composer, Herdzin emerges here most dominantly as a weaver of great melodies, which fall nicely on the listener's ears, but are in fact quite complicated and very well crafted. Most of his compositions on this album lack the typical Polish Jazz melancholy, which characterizes most of its output, but includes one heartbreaking ballad, which Herdzin uses skillfully to show his arpeggio skills. These pieces are mostly mid-tempo and transmit a happy, cheerful state of mind, which is a nice and refreshing change for once.

In retrospect this is still a very nice album, which can be enjoyed both by Jazz novices and refined connoisseurs, each of them on a different level. Herdzin's numerous talents as composer / arranger and a formidably multi-talented / ferociously busy Artist were yet to come at that stage. The album was released as an add-on to the European Jazz magazine Jazz Forum and was never released commercially. A reissue should definitely be considered, bringing this music to a much wider audience. A splendid piece of work by all means!

Katowice JazzArt Festival 2013

The second edition of JazzArt Festival held in Katowice will present to the audience an extremely diverse programme. We will listen to a lot of jazz in its various forms, but as usually with contemporary music its affinities will be wide: from classical music or avant-garde to electronic, world music and pop. Most importantly there will always float over this musical melting the omnipresent spirit of improvisation. Not without reason, the theme of this festival is a phrase uttered by Telonious Monk "JAZZ TO FREEDOM". Jazz always has been open, able to assimilate different musical threads of which it created a new artistic quality. During 18 concerts in 7 locations in Katowice will perform both recognized jazz stars and artists only applying for such status. Among the foreign guests we may count artists of such a calibre as Manu Katche, Roberto Fonseca or Jan Garbarek & The Hilliard Ensemble. Polish jazz scene will be represented by, among others, Tie Break with Michał Urbaniak or Marcin Masecki. The organizer of the Katowice JazzArt Festival is Cultural Institution Katowice - City of Gardens.

26.04.2013 (Friday) 
18.30 New Tide Orquestra (Rialto)

21.00 Tie Break & Michał Urbaniak (Rialto)
22.30 Jon Irabagon Organ Trio (Hipnoza)

27.04.2013 (Saturday)
18.30 Erik Truffaz 4tet (Rialto)
20.30 Led Bib & Elektro Guzzi (Hipnoza)
22.00 Piotr Damasiewicz ImproGraphic (Gugalander)

28.04.2013 (Sunday)
18.30 Julian Gembalski & Hop-Beats (Rialto)
20.30 Roberto Fonseca (Hipnoza)
22.00 Boeing: Masecki & Górczyński (Gugalander)

30.04.2013 (Tuesday)
18.30 Manu Katche (Rialto)
20.30 Sons of Kemet (Hipnoza)
21.00 Jakub Kościuszko (Katofonia)
22.00 Marek Kądziela Das Quartet (Rajzefiber)

01.05.2013 (Wednesday)
20.30 Jan Garbarek & The Hilliard Ensemble
22.00 Burnt Friedman & Jaki Liebezeit (Hipnoza)

Kamil Szuszkiewicz & Marcin Zabrocki - Szuszkiewicz/Zabrocki (Element Works, 2012)

Kamil Szuszkiewicz - trumpet

Marcin Zabrocki - baritone saxophone, electronics

By Stef Gijssels

Produced in only 40 handmade copies, you can be very happy if you still can acquire a copy, but I can guarantee that it's worth more than its money and postage. The duo are Kamil Szuszkiewicz on trumpet and Marcin Zabrocki on baritone saxophone and electronics.

The eight tracks are fully improvised and of an astonishing beauty, slow, deliberate, cautious, bluesy and sad. My favorite of the lot.

Pad Dap - Raab (2012)

Pad Dab (band)

Anna Maria Pękalska - saxophone
Rafał Gąsior - piano
Alicja Szczypta - bass
Bartosz Wojdak - drums

Raab (2012)



(Editor) Elements of fusion, folk and jazz are all present on this recording but performances unfortunately are on amateur level.