Kasper Tom 5 – Ost Bingo Skruer (2013) ****

Tomasz Dabrowski - trumpet, balkan horn
Rudi Mahall - bass clarinet
Petter Hangsel - trombone
Jens Mikkel Madsen - bass
Kasper Tom Christiansen - drums

BAREFOOT 031



By Adam Baruch

This is the debut album by the European Jazz quintet Kasper Tom 5, led by Danish drummer / composer Kasper Tom Christiansen, with German clarinetist Rudi Mahall, Polish trumpeter Tomasz Dabrowski, Swedish trombonist Petter Hangsel and Danish bassist Jens Mikkel Madsen. Christiansen and Dabrowski are also members of the excellent Hunger Pangs trio. The album presents ten original compositions, six of which were composed by the leader and the remaining four are credited to the entire quintet.

The quintet is constantly walking on a tight rope between "usual" and "unusual", which is of course great fun. Seemingly a standard quintet and yet the brass section features a completely nonstandard bass clarinet / trumpet / trombone front line, which has a completely different sonority from a regular saxophone dominated ensemble. Seemingly playing melodies, yet there is actually more freedom and free improvisation than one might expect or even be able to hear upon the initial encounter. This stuff requires some serious listening in order to be properly digested, which is usually the case with unusual music.

With all the freedom and group improvisation involved, this music is surprisingly "easy" on the ear, mainly because it is completely non aggressive, even in the most passionate moments. The flow of the music is all natural, following a melodic theme or a harmonic sequence, often even introducing several complex intertwined leads, but always executed with grace and obvious mutual respect and understanding between the quintet members. The whole proceedings are a rare example of group members that actually complete each other rather than compete between each other. There is no obvious leader; nobody gets more solo space than anybody else, in short a wonderful unity is achieved herein.

Of course the album is also a superb display of individual skills and talents, but those can be truly appreciated only with repeated listening sessions, allowing the listener to concentrate on a specific instrumentalist rather than listen to the entire ensemble. One way or another, this album is full of wonderful moments, which are simply waiting there to be discovered.

With young European Jazz musicians like these one can look forward to the future with at least some optimism. The renaissance of ambitious music in Europe is truly heartwarming, against all odds and like an oasis in the desert of mediocrity that modern life pushes down our throats. Well done indeed!

Leszek Dranicki – Leszek Dranicki (Swinging Tricity Vol.5) (2013) ***

Leszek Dranicki - vocals, guitar
with
many others

PRIVATE EDITION







By Adam Baruch

This is the fifth 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 vocalist / guitarist Leszek Dranicki, who was a member of the Jazz-Rock Fusion ensemble Baszta, which is also documented in this series, and later played in several other groups (including the legendary Krzak) and recorded as a leader. This album is an expanded reissue of his debut solo album "With A Little Help…", originally released by Polskie Nagrania / Muza, with six bonus tracks recorded later at radio sessions.

The music consists all of Jazz, Blues and Pop standards, which Dranicki sings (in English) and plays guitar on. Although some of the arrangements are pretty nice, the overall effect is far from spectacular. As usual the attempt to sing in English simply falls apart and spoils the pleasure of the instrumental work, which is better by far. Dranicki is a good guitar player with a Bluesy feel and splendid technical efficiency. The two bonus tracks recorded with bassist Andrzej Cudzich and drummer Eryk Kulm are the most impressive and the last two solo tracks are the weakest.

The problem with this album is that is completely lacks any originality and shows how some of the musicians behind the Iron Curtain wanted to copy what was happening elsewhere, rather than create some new facets in their musical explorations. Of course this material is still worthy, especially as part of an archival series.

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!

Motion Trio – Polonium (2013) ****

Janusz Wojtarowicz - accordion
Pawel Baranek - accordion
Maric Galazyn - accordion
with
Leszek Mozdzer - piano

AKORDEONUS 09





By Adam Baruch

The Polish accordion trio, called Motion Trio, is one of the most intriguing musical ensembles active today, mostly acknowledged in the contemporary Classical sphere, but known also to cross over to other music areas, including Jazz. Founded in 1996 by Janusz Wojtarowicz, who is the trio's leader and primary composer of the original music they perform, the trio also includes Pawel Baranek and Marcin Galazyn. Over time the Motion Trio turned out to be a most prolific recording act and this is their eleventh album since 2002.

This album plays tribute to the four great Polish contemporary Classical composers, who achieved international fame and recognition, often more so abroad than at home: Witold Lutoslawski, Krzysztof Penderecki, Henryk Gorecki and Wojciech Kilar. In addition they also play one composition by Wojtarowicz co-composed with accordionist Jacek Holubowski, a member and primary composer of Acoustic Acrobats, another excellent Polish ensemble. Also included, as a special track, is a composition by Marta Plaszynska, a famous Polish composer living in the USA, dedicated to the trio. Polish Jazz pianist Leszek Mozdzer guests on the Gorecki piece.

The accordion is sadly a most mistreated and misunderstood instrument in contemporary music, usually associated with folklore, street music and other "low culture" phenomena by Classical music snobs. Very few music lovers understand the incredible wealth of the instrument, its limitless possibilities and the beauty of its profound sound. Therefore the fantastic exposure that the accordion is given by the Motion Trio is a most welcome occurrence of great musical importance. This, in addition to the sheer virtuosity and inventiveness of the trio members, is a guarantee of first-class musical experience, which this album offers.

Although the unusual instrumentation may seem a bit strange in relation to the four compositions by the four Master composers, open-minded listeners will be very quickly completely absorbed in the new sonorities and re-discover these pieces in a new light, with undeniable delight. Of course playing such ambitious music speaks highly of the trio's cerebral approach on one hand and emotional abilities on the other as far as keeping their minds open to a wide scope of music rather than thread on the easy path to success. During my recent meeting with Maestro Penderecki we discussed this album briefly and he wholeheartedly approved this specific interpretation of his composition, certifying his opinion in writing by autographing my copy of the album ;)

As long as works of Art like this album are being produced, our Culture is still alive and kicking, but for how long, unfortunately no one can predict.

Olejniczak / Sendecki European Quartet – Birthday Live #2 (2013) ****

Andrzej Olejniczak - tenor & soprano saxophones, bass clarinet
Wladyslaw Sendecki - piano, keyboards
Laurent Vernerey - bass
Mark Mondesir - drums

BLUE NOTE


By Adam Baruch

This is a live recording at the Blue Note Poznan Jazz club, celebrating the club's fourteenth Anniversary, by a wonderful quartet led by two extraordinary Polish Jazz heroes: saxophonist Andrzej Olejniczak and pianist Wladyslaw Sendecki, with French bassist Laurent Vernerey and British drummer Mark Mondesir. Olejniczak and Sendecki share some of the glory days of the Polish Jazz in the 1970s, when they were both members of the legendary Extra Ball ensemble and founders of the no less legendary Sun Ship ensemble. Both living now outside of Poland (Olejniczak in Spain and Sendecki in Germany) they are still an integral part of the Polish Jazz phenomenon, as this album proves beyond any doubt. The album includes seven pieces, two each by Olejniczak, Sendecki and Krzysztof Komeda and the remaining one being a folk tune arranged by Sendecki.

The members of this quartet are some of the finest European Jazz musicians and the resulting album is simply exceptional in every respect. The music is all excellent from start to finish, modern full-fledged and highly spirited Jazz with numerous superb solo spots and an exceptional live ambience, which happens only rarely. It is obvious that everybody had a wonderful time and the musicians are simply giving everything they have, sharing, supporting and challenging each other constantly in perfect harmony and with telepathic thoughtfulness. Although the two soloists are naturally in the center of attention, one must immediately recognize the incredible role of the outstanding rhythm section, which stands shoulder to shoulder with the soloists at all times.

The saxophone and piano solos are all sensational and there is no exaggeration whatsoever in that statement. In many respects these performances are absolute classics, which should be taught at music schools as examples of what real Jazz is all about, especially European Jazz, as this is, again in many respects, a revelation of the European elegance and sophistication that makes all the difference. This music is completely devoid of ego trips and attempts to prove who can play faster or louder or prettier, it is simply a perfect teamwork, which is always the ground upon great Jazz music is firmly based.

The last tune on the album is dedicated to the memory of the great Polish Jazz bassist Zbigniew Wegehaupt, who was not only a friend of the Polish musicians but also a dear personal friend of mine and whose tragic and premature death left a scar in the hearts of all of us.

There is not much more that needs to be said here, except for Gracias, Danke, Merci, Thanks and of course Dziekuje to all the people involved for this heartbreakingly beautiful music.

We4 – Harmonijnie (2013) **

Wojciech Milewski - harmonica
Karol Szymanowski - vibraphone
Grzegorz Nadolny - bass
Piotr Biskupski - drums

LONG PLAY






By Adam Baruch

This is the debut album by Polish Jazz quartet called We4, which consists of harmonica player Wojciech Milewski, vibraphonist Karol Szymanowski, bassist Grzegorz Nadolny and drummer Piotr Biskupski. They perform nine tunes, all standards.

The music is on the extreme easy side of the Jazz spectrum, with familiar themes played pleasantly by harmonica, which dominates the proceedings, mellow vibraphone playing mostly in the background, accompanied by a swinging rhythm section. Except for the unusual match between the harmonica and vibraphone the entire proceeding presents no intellectual challenge whatsoever and can be easily played as background music in a hotel lobby or restaurant. The recording quality of this album is very good, in complete contrast to its contents, so HiFi stores selling high range equipment to half-deaf nouveau riche is another place for this album to be used.

Why on earth would someone go through the effort to produce an album like this beats me, but what do I know?

Michal Ciesielski – Between Black & White (2013) ****

Michal Ciesielski - piano

BCD 30









By Adam Baruch

This is the debut album by the young Polish Jazz pianist / composer Michal Ciesielski, which presents thirteen compositions, twelve of which are his own original compositions and one is a standard. Ciesielski performs the music on solo piano, which is a very bold and courageous statement quite unusual for a debut.

Although Ciesielski is a very eloquent pianist, the real surprise here are his delightful compositions; a collection of impressions, miniatures and other ditties, which are all quite charming even if seemingly simplistic. Perhaps a great melody line and an elegant harmony is exactly what we need in times like these, when we are being smothered with overwhelming racket. This album is like a breath of fresh air or a whiff of women's perfume in a malodorous environment.

To be perfectly honest this music is only marginally associated with Jazz. The compositions, or at least most of them, have a distinct Classical music influence, folkloristic touches, Ragtime memories and Broadway classic songwriting qualities, which of course is all perfectly acceptable. Ciesielski will surely find his own language in time, which seems pretty evident judging his achievements so far.

The piano playing is a bit too "pretty" as far as my personal taste is concerned, perhaps due to the influence of pianist Leszek Mozdzer, who seems to be hovering in the background, but again time will surely cure this sooner or later. And pretty or not, it is definitely excellent and enjoyable.

Overall this is an impressive debut, well within the conventional Jazz mainstream, which usually offers little originality, which this album is awash with. Ciesielski is definitely on my radar from now on, destined to go places. Well done indeed!

Maciej Grzywacz – Solo (2014) ***1/2

Maciej Grzywacz - guitar

BLACK WINE 001









By Adam Baruch

This is a solo guitar album by veteran Polish Jazz guitarist / composer Maciej Grzywacz, and after many years of playing mostly electric guitar his comeback to the acoustic classical guitar, his first musical love. The album presents nine tracks, two of which are his compositions and the rest are standards.

Polish Jazz fans familiar with his recordings with the group (0-58) or his earlier solo efforts will find this album quite different in comparison. This is naked acoustic guitar playing completely natural acoustic sounds, usually associated with Classical music. Although the music comes from the Jazz world, the solo guitar arrangements change their overall appearance drastically, especially as far as the rhythmic approach is concerned, which turns the well known Jazz pieces into somewhat somber, melancholic Classical pieces. The melodic themes are still there, but the swing is gone.

Therefore Jazz oriented listeners might find this album a bit too much to swallow, especially in the long term. Although the album is only slightly over thirty minutes in duration, this is way beyond the scope of attention of people who need to tap their feet in order to enjoy music. Although Grzywacz is an excellent player with splendid technical proficiency, which is easily recognizable, I'm afraid the public will find this way above their heads and move on to greener pastures.

I enjoy this music myself, but I don't think that this album adds anything significant to the already superb recorded legacy by Grzywacz. But an artist has a right to indulge himself from time to time.

World Orchestra – Live In Gdansk (2013) ***

Grzech Piotrowski - saxophone, conductor
with
Large Orchestra and international guests

UNIVERSAL 028948107599




By Adam Baruch

The World Orchestra is a brainchild of Polish Jazz saxophonist / composer Grzech Piotrowski, who managed to create an international ensemble of dozens of musicians from all over the world, which performs a sort of Jazz-World Fusion music, based on melodic themes with strong ethnic flavors. This album presents a live recording by the World Orchestra, featuring some world-famous World Music artists, like the Bulgarian kaval player Theodosii Spassov, Finnish kantele player Sinikka Langeland, the Bulgarian Voices Angelite choir and many others. Polish artists included Atom String Quartet, pianist Marcin Wasilewski and a large orchestra; all in all 84 (according to the liner notes) musicians on one stage. They perform fourteen pieces, most of which were composed by Piotrowski, with a few exceptions.

Although the logistics behind this project must have been staggering and the basic idea of combining musical cultures is definitely commendable, the overall result is very problematic. There is no common bond linking the different pieces together, no thematic thread, not even a loosely devised common denominator. As a result each of the pieces more or less works on its own, but is not connected to anything before and after it and the entire concert becomes a sort of tribute to different folkloristic themes, but not more. Although all the musicians involved are true masters of their respective trade, the lush orchestral arrangements and the ambience of Smooth Jazz floating above create a typical overproduced easy-listening music, which keeps the brain in a state of blissful lethargy.

This kind of domesticated World Music is very popular since it is accessible to large crowds, who would definitely have a problem to stomach some authentic Folklore and need the sugary envelope to be able to swallow it. Of course one can wonder is this is the correct way to bring new musical thrills to people, but that becomes a question of moral / artistic choices.

The CD is accompanied by a DVD of the same concert, which adds no additional music beyond the contents of the CD and is therefore completely redundant.

JazzBaltica Ensemble / David Murray – Baltic Suite (1993) ****

Tomasz Stanko - trumpet

with
Big Band

GOWI 05







By Adam Baruch

This is a relatively little known album recorded live by a large assembly of Jazz musicians from several countries situated around the Baltic Sea, called JazzBaltica Ensemble, directed by American saxophonist / composer David Murray. The music was recorded during the second JazzBaltica Festival held in Germany. The ensemble included some of the absolutely top-notch Jazz players from the Baltic countries, such as Polish trumpeter Tomasz Stanko, Swedish bassist Anders Jormin, Finnish drummer Jukkis Uotila and many others. Another American taking part in the ensemble is tuba player Howard Johnson, who very often plays with European Jazz musicians. The music is a suite arranged for a large ensemble / Big Band, which comprises of several earlier compositions by Murray, which were reworked anew and incorporated into a coherent suite.

The music is a wonderful example of a Big Band setting, which allows for a series of expanded improvisations by all the participants, either individually or in small groups, accompanied by the entire ensemble. Although clear melodic themes are stated periodically, most of the music is freely improvised and allows for a large degree of individual expression. The solos are all exceptional, which is not surprising considering the incredible level of the musicians involved.

Although directed by Murray, this is typically European Jazz, with its relaxed and even somewhat melancholic ambience and sophisticated solos, which open up and explore new sonorities well beyond the standard Big Band arrangements. Several of these solo excursions depart beyond the thematic framework of the pieces, which build up this suite, being completely free spirited and spontaneously created, which is a norm as far as European Big Bands are concerned.

Overall this is a superb piece of large ensemble music, exquisitely performed and worthy of an honorable place among other similar efforts of European Jazz. For Tomasz Stanko aficionados, like myself, this is simply a must, especially since so few people know about this album!

Slawek Dudar Quartet – Inside City (2014) ***1/2

Slawek Dudar - saxophone
Robert Jarmuzek - piano
Adam Kabacinski - bass
Wojciech Bulinski - drums
with
Artur Lesicki - guitar
Jacek Zamecki - vocals

LUNA 337



By Adam Baruch

This is the debut album as a leader by Polish Jazz saxophonist / composer Slawek Dudar, recorded by his quartet, which also includes pianist Robert Jarmuzek, bassist Adam Kabacinski and drummer Wojciech Bulinski. A couple of guest musicians: vocalist Jacek Zamiecki and guitarist Artur Lesicki participate on selected tracks. The album presents seven original compositions, all by Dudar.

Musically the album presents the lighter side of the Jazz spectrum, somewhere between mainstream, Jazz-Rock Fusion (when the guitar is present) and Smooth Jazz, but in contrast to most albums released with such characteristics it is a solid and valuable contribution, especially due to the excellent compositions, which are all surprisingly diverse, melodic and far from being trivial or banal. Actually some of these tunes are truly outstanding to be honest.

Dudar has a nice tone and plays with self-confidence and a lot of feeling. He manages to sty within the Jazz framework and not cross over to the Smooth Jazz vocabulary (or lack of it), which is often the case. Jarmuzek plays some splendid piano parts, very supportive and always displaying great taste. His contributions keep the album solidly on the Jazz ground. The rhythm section, especially the drums, although perfectly executed and technically fine, is a bit too Rocky for my taste, but that is a minor point.

The album has a very good sound quality, balance and ambience, which in addition to the fine music makes it a most pleasant listening voyage. For me this music is "sunny" and perfect for a ride on a shore in our kind of weather. Sometimes the morose Polish melancholy is simply too much, and this album manages to avoid it almost completely, except for the last tune, which is a beautiful ballad dedicated to the EST trio – not surprisingly. Very well done gentlemen!