Jaząbu – Łódź Kosmiczna (2017)

Jaząbu

Wojciech Jachna - trumpet, flugelhorn
Tomasz Glazik - tenor saxophone
Marek Kądziela - guitar, electronics
Jacek Buhl - drums, percussion

Łódź Kosmiczna



AUDIO CAVE 2017/009

By Adam Baruch

This is the debut album by Polish avant-garde Jazz quartet Jaząbu, which consists of trumpeter Wojciech Jachna, saxophonist Tomasz Glazik, guitarist Marek Kądziela and drummer Jacek Buhl. The album presents ten original compositions/improvisations, which are not credited on the album's artwork and therefore assumed to be all co-composed by the four quartet members.

The music is quite typical Free Jazz/Improvised music offering, with short melodic lines stated at the beginning of the tracks, which are then developed into group improvisations and feature solos by the individual quartet members. Some of the tracks lack even the basic melodic theme and are completely improvised. The music appears to be working best when it is more contemplative and introvert, and as such delivers a deeply atmospheric musical aura. The more energetic pieces sometimes move into chaotic intensity. The lack of bass, which is only partly compensated by the guitar, creates a fluid, less rigorous rhythmic setting, which suits this music well.

Jachna and Glazik were members of the legendary Sing Sing Penelope ensemble, which was active since the turn of the Millennium, and their musical attitude was largely influenced by their formative years. Jachna and Buhl recorded several albums together in duo and trio formats and all three of them come from similar background. Kądziela is a bit of an outsider here, having been mostly associated with young Polish Jazz musicians active on the Danish scene, but since his return to Poland he is certainly more active on the local scene in several quite diverse environments. Together they represent an interesting amalgam of talent and musical experience, which definitely has a lot to offer.

Although I was not overwhelmed by the music on this album, probably mostly due to the fact that although beautifully performed it offers little innovation, I believe that their future offers might be much more exciting, considering their potential. Of course the album offers some great moments and impressive soloing and the connoisseurs of the Polish avant-garde scene should be quite happy with this music, which more than anything proves that Polish musician are still searching and making an effort to cover uncharted territory, rather than succumb to lethargy.

The Owl – On The Way (2017)

The Owl

Marcin Hałat - violin
Maciej Garbowski - bass
Krzysztof Gradziuk - drums

On The Way

FSR 2017/07




By Adam Baruch

This is the debut album by the Polish trio called The Owl, which comprises of violinist/composer Marcin Hałat, bassist Maciej Garbowski and drummer Krzysztof Gradziuk (the last two well known as the rhythm section of the famous RGG trio). The double CD album presents fourteen original compositions, nine of which were composed by Hałat and five were co-composed by all three members of the trio.

On the Polish Jazz violin scene, which is pretty crowded these days, Hałat arrives as a newcomer, although he has years of experience of playing Classical Music. His sound is quite unusual and unconventional in many respects, surely not typically Jazzy, with obvious Classical phrasing, fingering, and voicing. But when placed opposite one of the mightiest Polish Jazz rhythm sections Hałat is pulled into the Jazz idiom, seemingly almost against his will. His improvisation is also atypical and stays relatively close to the core themes, which after a while gets a bit too uniform.

The musical themes are generally simple, folkloristic little ditties, not really fully developed melodies, which are fine as starting points for the mostly improvised pieces, but hardly able to stand on their own. Nevertheless the music flows smoothly and is able to sound coherent mostly thanks to the incredible swinging feel of the rhythm section. Time after time the listener is faced with the dilemma if he is listening to a Jazz recording or a contemporary Classical piece, all relative to the measure of involvement of the rhythm section.

There is a lot of freedom and space in this music, which characterizes both modern Jazz and Classical idioms. This allows a lot of different forms of dialogue and trialogue conversations within this music, which becomes the most interesting ingredient of the music, especially when it becomes completely improvised as in the five collective pieces. It seems that Hałat was extremely lucky in finding these two partners to record his debut Jazz offering, which probably would have not been possible otherwise. Garbowski and Gradziuk, who have consistently moved towards more open/improvised music in the last few years, prove here that they are able to carry on a full album just on their own, and their contribution here is simply invaluable.

As to Hałat being the next "thing" on the Polish Jazz violin scene, I'd definitely need to hear more and give it some time. This is a very unusual, surprising and even promising album, but it does suffer from some inhibitions which need to be resolved, before Hałat earns his honorable place on the pedestal. Overall this is definitely music that should be investigated and even embraced, as it does offer a novel approach and a lot of courage. Highly recommended!

Jacek Kochan & musiConspiracy - Parentes (2017)

Jacek Kochan & musiConspiracy

Fabrizio Brusca - guitar
Zbigniew Chojnacki - accordion
Łukasz Poprawski - saxophones
Mateusz Smoczyński - violin
Wiesław Wysocki - bass clarinet, baritone saxophone
Michał Kapczuk - bass
Jacek Kochan - drums, percussion, electronics

and others

Parentes

HEVHETIA 0158

By Adam Baruch

This is an album by veteran Polish Jazz drummer/composer Jacek Kochan, recorded in a quartet setting with young virtuoso accordionist Zbigniew Chojnacki, Italian guitarist Fabrizio Brusca and bassist Michał Kapczuk. Ten additional musicians (brass and string sections) play on some tracks. The album presents nine original compositions, all by Kochan.

The music is dominated by odd meters and irregular rhythmic patterns as well as World Music motifs and Rock/Fusion excursions, with strong Jazz affiliations but not really Jazz per se; altogether pretty weird and intriguing mixture of styles and influences. The melodic content is ragged and difficult to follow for an average listener. The overall result is quite a challenge to the listeners, but also offers plenty of opportunities to find a connection with fairly uncommon music.

The individual performances are all excellent with Chojnacki stealing the show with his incredible sensitivity and layers of melodic revelations. Brusca is more proficient in the Rock/Fusion environment than within the Jazz idiom. Kapczuk plays well and provides a solid bottom that holds the music together. The leader's assertive drumming dominates the proceedings taking no prisoners. The occasional orchestral arrangements do not change the character and outcome of the music significantly.

Overall this is an interesting and challenging album, which may require several listening sessions to win the listener over. Kochan does not stay still and constantly tries out new ways to express his musical ideas and doing his own thing, for which he deserves to be praised. This is not easy stuff, but definitely worth investigating.

Marcin Stefaniak Trio – Unveiling (2017)

Marcin Stefaniak Trio

Marcin Stefaniak - tenor & soprano saxophones
Paweł Urowski - double bass
Tomasz Koper - drums

Unveiling

ALPAKA 004



By Adam Baruch

This is the debut album by young Polish Jazz saxophonist/composer Marcin Stefaniak, recorded in a trio setting with bassist Paweł Urowski and drummer Tomasz Koper. The album presents eight original compositions, all by Stefaniak.

The music is a striking version of modern Jazz, melody based but stylistically not really mainstream oriented, often atmospheric and lyrical with clear World Music influences, especially rhythmically. From the very first note it becomes immediately apparent that Stefaniak is both a brilliant composer and an extraordinary player, with clarity of tone and power of expression that usually characterizes musicians after decades of activity in the field. This sequence of compositions presents a coherent musical vision, which is consistently developed throughout the duration of the album.

Stefaniak's long lines and extensive improvisations are in the best post-Coltrane tradition, with no breathing breaks and stupendous fluidity. He seems to be familiar with all the tricks of the trade and as a newcomer on the scene is nothing short of sensational. He is able to change to tone of his tenor and soprano saxophones quite dramatically within the different compositions, as if changing his personality. The soprano often sounds like a clarinet or even a flute, which is able to charm even the most deadly snakes into trance. The general impression Stefanski is able to make on this album is one of a remarkable gifted saxophonist, who has little, if any, limitations.

Although Stefaniak is obviously the centerpiece of the listener's attention, the rhythm section is very prominently featured and becomes an integral part of the overall sound. Urowski is a very experienced player and his bass lines are the anchor of the music. He plays several solos, all of which are excellent illustrations of his fabulous abilities. Koper does a great job as well, limiting his input to the rhythmic necessities and being overtly melodic in his approach. Taken as a whole, the trio functions together splendidly, better than most saxophone trios around, despite the obvious difficulties involved with this specific combination of instruments.

Overall this is a stunning debut effort, definitely one of the best in 2017 on the Polish Jazz scene. On the surface this is perhaps not he most adventurous or unusual effort, but surely one of the most strikingly honest and musically rounded ones - something that happens quite rarely! Chapeau and most warmly recommended!

Jagodziński/Strobel - Tete-A-Tete (2017)

Jagodziński/Strobel

Andrzej Jagodziński - accordion
Janusz Strobel - guitar

Tete-A-Tete

SRMT 2017





By Krzysztof Komorek

W pewnej knajpie, na uboczu, gdzie zawsze najważniejsza była muzyka, od lat mijali się dwaj Panowie. Stali bywalcy, którzy nigdy nie zamienili ze sobą słowa, ograniczając się do przyjacielskich skinięć głową. Wreszcie jednak stało się tak, że zasiedli do rozmowy. Rozmowy muzycznej. Taka oto poetycka historia zawarta w załączonej do wydawnictwa książeczce stanowi wstęp do rzeczywistych spotkań, które zaowocowały omawianą tu płytą. Spotkań dwóch muzycznych tuzów, artystów z ogromnym doświadczeniem: Janusza Strobla, gitarzysty i kompozytora z doświadczeniem jazzowym i klasycznym, oraz Andrzeja Jagodzińskiego, wybitnego pianisty, tym razem grającego jednak tylko na akordeonie. 

Takie wydawnictwa z udziałem znakomitych muzyków, niewspółpracujących ze sobą na stałe, są na świecie czymś zwyczajnym. Ileż to już kapitalnych płyt znajduje się na półkach miłośników muzyki kameralnej, delikatnej, niespiesznej. Przykłady można by mnożyć, ale wymieńmy przy tej okazji chociażby klasyczne już nagrania Charliego Hadena z Gonzalo Rubalcabą czy Patem Methenym, tegoż Metheny’ego z Jimem Hallem czy Dave’a Hollanda z Kennym Barronem. 

"Tete-A-Tete" świetnie wpisuje się w ten kontekst. Tym bardziej, że obaj muzycy również należą do moich ulubieńców: Janusz Strobla pamiętam jeszcze z czasów fascynacji dokonaniami duetu Alber – Strobel. Andrzej Jagodziński w oczywisty sposób kojarzy się z chopinowskimi interpretacjami w wykonaniu autorskiego tria, ale także właśnie z akordeonowymi występami – chociażby przy okazji płyt nagranych z Giovannim Mirabassim. Tutaj mamy dziewięć kompozycji – sześć Strobla i trzy Jagodzińskiego. Trzy kwadranse odprężającej muzyki. Czasem spokojnej, nastrojowej, niekiedy całkiem żwawej i radosnej. Z gitarą wybiegającą ku klimatom raz klasycznym, raz latynoskim, i akordeonem podążającym od czasu do czasu ku nowoczesnemu musette.

Brakowało mi zawsze takich płyt w wykonaniu naszych krajowych, jazzowych znakomitości. Rejestracji, nawet jednorazowych, spotkań wybitnych postaci i grania niewymuszonego jakąkolwiek presją. Mam nadzieję, że album z udziałem tego kapitalnego duetu będzie promyczkiem zwiastującym częstsze tego rodzaju wydawnictwa.

Morte Plays – Postapo (2017)

Morte Plays

Marcin Łukasiewicz - guitar
Patryk Mott - saxophone
Marek Styk - bass
Marek Wesołowski - drums

Postapo

SOLITON 763



By Adam Baruch

This is the second album by young Polish Jazz quartet called Morte Plays, led by guitarist/composer Marcin Łukasiewicz with saxophonist Patryk Mott, bassist Marek Styk and drummer Marek Wesołowski. The album presents eight original compositions, all by Łukasiewicz.

The music is a pretty unique kind of Jazz-Rock Fusion with a nonchalant attitude close to Punk and somewhat similar to Polish Yass, which was popular on the local scene a few decades earlier. Apart from the element of improvisation the music could easily be considered as Rock, especially due to the harsh distorted guitar sound, the electric bass and the rhythm section's clear-cut Rocky attitude. The melodies are pretty basic as well, again sort of Punkish, but make perfect sense in this specific musical environment and present a coherent statement by the group, which obviously means to precisely make a statement of this kind.

Most Jazz purist will probably dismiss this music as being outside of the mainstream Jazz idiom, but that does not mean that this music has less to offer than most of the music made within mainstream Jazz. Personally I have quite enjoyed this album because it is different, raw and honest; definitely not trying to pretend to be something it is not. Such musical honesty is more important in my view than superb technical abilities that produce mundane music.

Since this music should have an appeal to both Jazz and Rock audiences, it will hopefully get the attention it deserves. Once the listener gets used to the harsh sound, the contents below the external layer is quite tempting. Definitely worth investigating!

Improvision Quartet - Free-Folk-Jazz (2017)

Improvision Quartet

Szymon Klima - clarinet
Dominik Wania - piano
Adam Kowalewski - double bass
Przemysław Jarosz - drums

Free-Folk-Jazz

HEVHETIA 0159



By Adam Baruch

This is the debut album by Polish ensemble called Improvision Quartet, which comprises of clarinetist Szymon Klima, pianist Dominik Wania, bassist Adam Kowalewski and drummer Przemysław Jarosz. The album presents six improvisations based on Polish musical Folklore, arranged by the quartet. The album offers an unprecedented high quality recording sound, definitely one of the best I came across this year (2017).

The music, as already mentioned above, consists of Free Form improvisations based on Polish Folklore songs, some of those being well known and others completely obscure. The quartet offers a remarkable ensemble work, which presents a coherent and clear artistic vision, consistently developed throughout the album, deeply rooted in Free Jazz/Improvised Music tradition, but also astonishingly minimalistic, focused and full of breathing space. There is a beautiful atmosphere of relaxation and complete lack of pressure to state anything beyond the necessary. In some respects this album is the continuation of the "Lutosławski Retuned" album recorded three years earlier, but the statements are much bolder and refined this time.

The individual contributions by these virtuosi musicians are all absolutely brilliant from start to finish. The minimalistic approach allows for many solo/duo/trio and eventually also quartet statements, which expose each of the participants in complete "nakedness". Not surprisingly they all manage to come victorious from the challenging circumstances, which present to the listener some of the best moments these musicians ever put on record. Wania's contributions are definitely stellar and for me personally probably they are his best playing ever so far. His wondrous ability to say so much with just a few touches of the keyboard is simply miraculous. But Klima, Kowalewski and especially Jarosz also contribute amazing moments, with the latter producing some of the most amazing percussive effects I had the pleasure to hear.

This is definitely one of the finest hours of Polish Jazz in 2017, although it will probably not achieve the praise it deserves, as usual on the Polish scene, where often some pretty dismal albums get all the distinctions, prizes and attention. Well, life is not fair and people are stupid and deaf.

This is an amazing album from start to finish, which redefines the contemporary Free Jazz idiom, again emphasizing the fact that sublime things in Jazz happen only in Europe. One needs to be born in Poland and suck the Polish Culture from one's mother's breast, to be able to play like that and create music like this one. Luckily the Art aesthetic is universal and anybody on this Earth of ours, with some soul and musical ears should be able to enjoy this music on the deepest level. Absolutely brilliant!

Cezariusz Gadzina – Mosty (2017)

Cezariusz Gadzina

Cezariusz Gadzina - alto & soprano saxophones
Robert Majewski - trumpet, flugelhorn
Maciej Sikała - tenor saxophone
Grzegorz Nagórski - trombone, euphonium
Cezary Paciorek - accordion
Paweł Pańta - double bass


Piotr Iwicki - percussion
Cezary Konrad - drums

Mosty

UNIVERSAL MUSIC POLSKA 602557812039

By Adam Baruch

This is an album by Polish (resident in Belgium) saxophonist/composer Cezariusz Gadzina, recorded with a host of top Polish Jazz musicians, which includes trumpeter Robert Majewski, saxophonist Maciej Sikała, trombonist Grzegorz Nagórski, accordionist Cezary Paciorek, bassist Paweł Pańta, percussionist Piotr Iwicki and drummer Cezary Konrad – a dream team by all respects. The album presents eight original compositions, all by Gadzina, all entitled "Bridge" in eight different languages ("Mosty" means bridges in Polish), symbolizing the connections between a plethora of genres and sub-genres present within the contemporary Jazz idiom.

Gadzina is primarily familiar for his work in the Jazz-Classical Fusion field and his previous recordings, including the excellent "The Fifth Element", testify to his affinity to this particular field. However, this recording seems to leave Classical Music out of the formula, concentrating on the Jazz side of Gadzina's personality.

Stylistically the music sits well within the boundaries of modern mainstream Jazz language, offering excellent compositions and interesting arrangements, none of which are trivial or banal. The music is full of unexpected twists and turns, tempo changes and multiple themes, all within one composition, which of course makes listening to this music a real fun for true Jazz fans. The compositions are diverse enough to keep the listener interested and balance well between the beautifully melodic ballads and the up-tempo numbers.

The individual performances are all top notch, as expected from these highly experienced musicians. Personally I love the prominent presence of the accordion, a much neglected instrument in Jazz, and the percussion ornamentations, which add another layer of rhythmic contents. But of course the trumpet solo parts, excellent saxophone work, pulsating bass lines and everything else are just right. The overall octet sound is not to busy and allows all instruments to be perfectly audible.

Overall this is a great mainstream album, much more ambitious and advanced musically than the standard albums recorded in this genre. It is not about discovering any new territory, but offers novel approach to arrangement and very solid composition and performance standards. As such it deserves to be listened to and surely enjoyed as well.

Trzaska/Mazur/Jørgensen - Jellyspace (2017)

Trzaska/Mazur/Jørgensen

Mikołaj Trzaska - alto & baritone saxophones
Rafał Mazur - acoustic bass guitar
Peter Ole Jørgensen - drums, percussion

Jellyspace

MW 964-1

By Andrzej Nowak

Trzydziesty marca 2017 roku, krakowska Alchemia, a na scenie jakby reinkarnacja tria Volume, które ekscytowało europejskich fanów free jazzu niemal dekadę temu. Mikołaj Trzaska na saksofonie altowym i barytonowym, Peter Ole Jørgensen  na perkusji i perkusjonaliach, na gitarze basowej w miejsce Petera Friisa Nielsena - Rafał Mazur. Jak pokażą wydarzenia na scenie, ów epitet "w miejsce" zupełnie nie przystoi recenzentowi. Świadczy o tym dyspozycja dnia krakowskiego muzyka. Dokumentacja fonograficzna koncertu dociera do nas dzięki Not Two Records. Winylowa edycja trwa niewiele ponad 40 minut i przynosi sześć odcinków muzycznych.

Od pierwszego gwizdka ostry, głęboki tembr basu, wysokie, równie dotkliwe akustycznie pasaże altu (jak zwykle u Mikołaja wyposażone w ogromny bagaż podskórnej melodyki), no i prawdziwy płaszcz wodny perkusyjnych ekscesów. Narracja szyta twardym, niedelikatnym ściegiem. Muzyka gęsta jak ołów. Koło zamachowe współczesnego, europejskiego free jazzu w natarciu! 

W grze Mazura także dużo melodii, jakby muzyk pozostawał w stanie ciągłego poszukiwania wewnętrznej i zewnętrznej harmonii. Może mniej subtelności stylistycznych niż u Friisa Nielsena, za to więcej radości i przyjemności z muzykowania. Szorstka jazda dobrze ośnieżonym stokiem, to porównanie, które konstytuuje grę całego tria. W pełnym słońcu, przy śpiewie, dopiero co wybudzonej ze snu zimowego, hordy niedźwiedzi. Niewyczerpalne pokłady empatii, synergii, komunikacyjnej perfekcji w gronie muzyków, którzy znają się świetnie, ale być może grają w tym układzie personalnym po raz pierwszy. 

Fragment drugi, który następuje zaraz po najdłuższej, pierwszej ekspozycji, zdaje się być bardziej kanciasty w swojej formule, zadziorny, stawiający znaki zapytania, ale znów płynący jednym, zwartym strumieniem dźwięku. Prawdziwy common flow, free jazz w konwulsyjnym rozkwicie! W trzecim odcinku wchodzi baryton. Kroczy dostojnie, choć sekcja gotuje się w 120 stopniach, a emocje tryskają po ścianach (baa, nie tylko one). Niczym pochód pierwszomajowy nad skrajem pięknej przepaści. W ramach komentarza doskonałe pasaże gitary basowej, jakby nieco w poprzek narracji. 

W czwartym melodyka w tubie Trzaski osiąga kolejne wyżyny. Być może polski saksofonista, to najlepszy uczeń Petera Brotzmanna, który bezczelnie postanowił przerosnąć mistrza. Kolejny, mistrzowski komentarz Mazura. Zresztą w parze w dobitnym drummerem, brnie przez ten koncert z taką siłą i maestrią, jakby ich bóg z własnego żebra stworzył. Szczypta semickiej zadumy na dyszach na finał fragmentu, zapewne w ramach docenienia wysiłku sekcji rytmicznej. 

Piąty numer to właśnie sekcja zaczyna niezwykle eksplozywnie. Alt wchodzi po kilkudziesięciu sekundach i dyszy z emocji. Znów baryton, prawdziwy drapieżnik - what a game! Muzycy czujni, jak zawodowi czekiści na prywatnym dżobie! Nic i nikt nie pozostaje tu bez odpowiedzi, bez reakcji. Na sam finał koncertu jakby skromna ballada (co złego, to nie my). Smuga cienia na gryfie gitary, jakże subtelny drumming. Po paru chwilach dynamizują się jednak, jak stado koni w obliczu obnażonych klaczy. Koncert tylko w ramach vinyl time, ale bez jednego zbędnego dźwięku. Brawo!

Rybicki/Kozera - Xu (2017)

Rybicki/Kozera

Mateusz Rybicki - clarinet, bass clarinet, kalimba
Zbigniew Kozera - double bass, kalimba

Xu

MULTIKULTI MPI 036

By Piotr Wojdat

Kolejne wydawnictwo z cyklu "Improvised Music Series", który zapoczątkowała i z dużą konsekwencją kontynuuje poznańska oficyna Multikulti Project, na pierwszy rzut oka powinno zwiastować muzykę o silnym ładunku emocjonalnym i huraganowej ekspresji. Instrumentalne szarże, porywcze solówki, eksperymenty z brzmieniem i technikami gry - to wszystko mogłoby się i znaleźć na albumie duetu Rybicki/Kozera.

Przywołani przeze mnie artyści, choć nie są wciąż bardzo rozpoznawalni na naszej scenie muzycznej, mają wystarczające umiejętności na to, by grać ostry jak brzytwa awangardowy jazz. Udowodnili to m.in. w ramach pięciodniowej rezydencji Petera Brötzmanna w Pardon, To Tu, która miała miejsce w 2016 roku. Na "Xu" pokazują jednak, że improwizacja może mieć zupełnie inne oblicze: dużo bardziej stonowane, kameralne, ale i wciąż odznaczające się poszukującym charakterem.

Klarnecista Mateusz Rybicki i kontrabasista Zbigniew Kozera współpracują ze sobą już od dłuższego czasu. Są wyróżniającymi się postaciami wrocławskiej sceny muzyki jazzowej i eksperymentalnej, a na swoim koncie mają występy u boku Piotra Damasiewicza, Wacława Zimpla, Macieja Obary, czy Mikołaja Trzaski. Razem z basistą Jakubem Cywińskim oraz perkusistą Wojciechem Romanowskim tworzyli kwartet Owl Mountains. Na "Xu" słuchamy jak radzą sobie w duecie na klarnety i kontrabas oraz afrykański instrument kalimba, którego popularyzację w tej części świata zawdzięczamy kongijskiej formacji Konono Nº 1.

Jak już wspomniałem we wstępie, na płycie Rybickiego i Kozery nie uświadczymy szybkich zmian tempa oraz ciągłego napinania free jazzowych muskułów. Dominuje tu raczej klarowna narracja, niespieszne nawiązywanie dialogów i intymna, choć daleka od pretensjonalności atmosfera. Klarnecista snuje nieoczywiste melodie, przywołuje na myśl prawie namacalne filmowe skojarzenia, a kontrabas i egzotycznie brzmiąca kalimba spełniają na wydawnictwie funkcję sekcji rytmicznej.

"Xu" to album, któremu warto poświęcić nieco więcej czasu, żeby docenić jego zawartość i dać mu w pełni wybrzmieć. Nie jest to muzyka od razu chwytająca za gardło i wywołująca nagłe emocje. Jej siłą jest spokój, swobodne budowanie napięcia i klimatu oraz wyczucie w prowadzeniu narracji. Rybicki i Kozera doskonale odnaleźli się w repertuarze kameralnym, a ich muzyka, choć surowa i minimalistyczna, może silnie oddziaływać na wyobraźnię i sprawdza się w obecnych warunkach pogodowych, które widzimy za oknem.