Jerry Bergonzi, Jacek Kochan, Piotr Lemańczyk - Three Point Shot (2010)

After last year excellent Naha (featuring Tim Hagans) Piotr Lemańczyk recorded no less attractive Three Point Show this year. His play on double bass makes great impression on me and reminds me of the giants of this instrument like Dave Holland, Gary Peacock or Steve Swallow. His sound is round, deep and fully controlled, he is virtuoso in the best possible meaning of this word. 

Of course best known among these three musicians is Jerry Bergonzi. We all remember him from long collaboration with Dave Brubeck but he also recorded for Blue Note with Joey Calderazzo and  for Italian Red Records. This second cooperation was especially fruitful which is evidenced by his albums for this company recorded with such its renowned artists like Adam Nussbaum, Bobby Watson or Fred Hersch. I must say that his style full of technical fireworks and simultaneously of great musicality reminds me very much of the style of those three aforementioned great artists. Bergonzi has incredible narrative power and he is telling us his own, fascinating story from the very first note of this album. 

Jacek Kochan, playing on drums, perfectly matches Bergonzi and Lemańczyk with his sophisticated style reminding me such masters of this instrument as above mentioned Adam Nussbaum, Peter Erskine or Brian Blade. He is less providing simple rhythm but rather defining his own ideas about this music, creating little cameos of melody and stressing elements in his partners play that he regards as most significant.

Yes, this music is for jazz brainiacs (I must admit I am one of them) who would listen to this CD over over again relishing upon smallest details proving infinite virtuosity of players. It is like jazz riddle with thousand possible solutions, addictive and rewarding for anyone who is in jazz for highest quality musicianship. And finally what is most surprising that its style is as much mainstream as avant-garde with its constant swirls of rhythm and melody. Highly recommendable!

Please, visit Piotr Lemańczyk sites to listen to samples of music from this album:     

http://www.myspace.com/lemanczykpiotr or http://www.piotrlemanczyk.com/index4.php.

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

Tomasz Stanko Quintet - Purple Sun (1973)

My Stańko disease worsens and though pile of new recordings rises I am stuck to Polish Mag. Today it will be very short here because music is so good that it is not time to waste on spilling out words. I simply regard Stańko's album titled Purple Sun as one of my most favorite if not the most favorite of him. Why?

After the death of Krzysztof Komeda, Polish jazz pianist and composer who Stańko acknowledged as not only his friend but also mentor, he decided to establish his own band in quintet format. With this group he recorded his first album as leader titled Music For K (read K-omeda) being simultaneously the homage to his friend who departed so prematurely and tragically but which also was total breakdown with his style. Since Komeda was cool jazz cat while Stańko started to played free, very much in Ornette Coleman style but yet in somehow different, unique and his own manner.

During those 3 years that lied between those two recordings Stańko's band made incredible progress and I cannot imagine better way to experience this change than listen one of these albums after another. Although music is still free and there is plenty of collective improvisation yet the quintet phrasing gained space, depth and thoughtfulness of the best and most classy liquors. We have here, perhaps for the first time, what was to become Stańko's landmark: bluesy, brooding sound coupled with infinitely refined chiseling of space and silence.

After saying so many warm words about Tomasz let me now turn spotlight to Zbigniew Seifert. Although he was classically trained violinist he begun to play jazz using alto saxophone which was result of his fascination with John Coltrane. With this record however he decided to go back to violin, often electrically transofrmed and treated as saxophone in Trane's manner. It gave the music on this album the unique fusion blend so similar to Miles Davis recording of that time like Bitches Brew for example. Honestly speaking one is in confusion as to determine who is making bigger impression here: Stańko is no question magnificent but Seifert is no less stunning! It especially refers to the only non-Stańko composition titled My Night My day penned by Seifert which is another clear reference to majestic Komeda's Nightime Daytime Requiem. This composition is simply breathtaking and is also executed in perfect manner. Sadly only few years since that recording Seifert was to follow tragically in Komeda footsteps...  

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

Tomasz Stańko - Chameleon (1989) by Maciej Nowotny

My unofficial complete discography of Tomasz Stańko continues with the record titled Chameleon printed originally in Greece in 1989 and only in 2006 in Poland. Why in Greece? Thanks to Apostolis "Lakis" Anthimos, multi instrumentalist (guitars, drums) who at those times lived in Greece and managed to find there producer willing to invest money in this session. Two above mentioned musicians are accompanied on this CD by Janusz Skowron playing keyboards, mainly Roland as far as I can hear.

Eighties were the most erratic and self-destructive period in Stańko life mainly due to situation in Poland which suffered depression under martial law imposed by Gen. Jaruzelski in 1981 in order to suppress Solidarity movement. After seventies when he played state-of-art European version of Ornette Coleman free jazz, in next decade Stańko flirted with pop, electronic music, rock and even reggae starting with recordings titled C.O.C.X. (can be translated into English as D.O.P.E.) and Freeelectronic. So in those terms Chameleon is perhaps most mellow, easy-to-listen and smooth-jazzy record of Stańko and yet it is very, very beautiful and rewarding. 

Stańko as Miles never failed and he can be compared to mythical king Midas who whatever he touched turned into gold. What is fascinating in this record is that despite being at moments very accessible yet it comprises some compositions that counterpoint this sweet and light mood with typical Stańko brooding and bluesy sound. So this music retains Stańko musical identity which we appreciate so much but at the same time, as he states in his recently issued autobiography, could be used during intimate date with his girfriends who would probably run away immediately if exposed to Stańko excellent free jazz recordings as Music For K, Twet or even Balladyna. Typical Stańko sense of humour ;-)))

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

Adam Pierończyk - Komeda Innocent Sorcerer (2010)

In this pot there are all necessary ingredients for even most choosy jazz fan to become interested in. First, Pierończyk got his own, individual sound. Avantgarde, assertive and attacking style of his alto & tenor saxes is coupled with very energetic pulse of his rhythm sections. What is truly peculiar for Pierończyk is that he managed to couple typical Komeda cool jazz mood with modern post jazz style full of folk references. 

Second, Komeda compositions are still unsurpassed in Polish Jazz as far as sex appeal is concerned. They have this unmistakable features of true masterpieces which are recognized by being simultaneously easy-to-listen and yet very complicated, deep, refined.

Finally, again Pierończyk was able to gather around himself musicians of the biggest calibre. Anthony Cox (bass) is present on his second recording this year (after equally recommendable El Buscador  published earlier this year) and he never fails to follow leader's complicated meanders of melody and rhythm; he is accompanied in rhythm section by excellent drummer Łukasz Żyta, a very significant player in this orchestra. 

But apart from fantastic work of these two musicians one is also truly amazed by very creative and lyrical play of Nelson Veras on guitar. This is brilliant move by Pierończyk to include him into his band instead of typical piano, the instrument Komeda himself was playing. By this move Komeda compositions regained fresheness and ability to surprise again. Gary Thomas on tenor saxophone is making up for what is one of the most unusual and yet succesful bands playing Komeda music in history.

All music on the album is composed by Komeda but whether it is relatively unknown Wicker Basket (masterpiece in Pierończyk interpretaion!) or much better known Kattorna, Sleep Safe And Warm or Crazy Girl, it rocks, it rolls, it never ceases to astonish and amaze. Wonderful music, great musicians, one of the gems of year 2010 in Polish Jazz.  

Code Numbers

Ten tekst noszę w sercu od dłuższego jazzu, bo o płycie tej klasy, co najnowszy album pianisty Leszka Kułakowskiego zatytułowany Code Numbers, trzeba napisać coś, co wykracza poza zbyt oczywiste przymiotniki w rodzaju: najlepsza, doskonała, wybitna. Kolejny zatem raz siadam do pisania o tej płycie, ale chyba wreszcie znalazłem klucz do tej muzyki.

Pamiętacie może teorię strun, jedną z najpiękniejszych teorii wszystkiego, jaką kiedykolwiek stworzono? Podobnie jak najnowsza płyta Kułakowskiego, teoria strun pełna jest liczb, które podobno wyjaśniają wszelkie tajemnice budowy naszego świata. Wg niej struny to jednowymiarowe struktury o wielkości 10¯³¹ metrów, z których składają się dwuwymiarowe membrany wibrujące w dziesięciowymiarowej przestrzeni, stanowiące budulec wszystkich znanych nam cząstek elementarnych.

To nieważne, że nic z tego nie rozumiem, nie wiadomo, czy to wszystko jest czymś więcej niż ślepą uliczką, w którą zabrnęli fizycy w poszukiwaniu współczesnego Graala. Wszakże pamiętam, że w VI wieku p.n.e Pitagoras, badając dźwięki greckiej liry odkrył, że harmonii brzmienia drgających strun o różnej długości odpowiada przejrzystość łączących je stosunków matematycznych (½, ⅔, ¾ itd.) . To odkrycie było początkiem teorii muzyki i tak mocno wpłynęło na światopogląd Pitagorasa, że sformułował on pojęcie „harmonii sfer”, podjęte później przez Platona, zgodnie z którym u podstaw całej rzeczywistości tkwi jakaś podstawowa idea, logiczna i niepodważalna, zatem możliwa do wypowiedzenia tak językiem matematyki, jak muzyki, filozofii, a nawet religii.

Jest w tym jakieś szaleństwo bez wątpienia, ale jednocześnie wzlot ducha na niespotykaną skalę i taka też jest muzyka Leszka Kułakowskiego, nie tylko na tej płycie. W kraju pełnym wybitnych pianistów jazzowych (bo gdzie indziej w jednym pokoleniu współistnieją talenty tej miary co Leszek Możdżer, Marcin Wasilewski, Paweł Kaczmarczyk, Piotr Wyleżoł i wielu innych), Leszek Kułakowski zajmuje pozycję kogoś w rodzaju polskiego Theloniusa Monka, Cecila Taylora albo Cedara Waltona, przy czym nie mówię tu o pokrewieństwie brzemienia, lecz o osobowości i twórczym temperamencie. Outsider z natury, ale może i z upodobania, podąża ścieżką rzadziej uczęszczaną, traktem porośniętym burzanem i chwastem. W dziele tym wspaniale go wspomagają jego syn Piotr Kułakowski na basie i Krzysztof Gradziuk na perkusji, którego podziwiamy bardzo za grę w RGG Trio.

I właśnie do stylu tej ostatniej formacji - muzyka ta ma najwięcej podobieństw: wyrafinowana, chłodna, otwarta, improwizująca, rozbrzmiewająca w ciszy impresjonistycznie ledwie naszkicowanej. Nie do pominięcia, jeśli w Waszym krwiobiegu płynie chociaż jedna kropla jazzu.

Maciej Nowotny

Joanna Gajda Quartet - Heaven Earth Earth Heaven (2010)

When I was young I trained for a swimmer, usually swimming in sprint relays, being young however I preferred to swim solo. To my objections my old and experienced trainer always responded in such words: "Maciej, only the strongest teams may field winning relay, that's why I appreciate medals in relays many times more than solo ones". That is very much true in jazz as well and that is also why this recording is so astonishing. Because all of a sudden from the deepest ranks of Polish Jazz team has come forth Joanna Gajda and recorded the CD that is simply outstanding!

Most of data to this article I take from interview Mrs Gajda gave to Jan Cegiełka in Jazz Forum November issue. We learn from it that Mrs Gajda graduated piano from renowned Katowice Music Academy. She is now teaching herself in Kalisz Music Academy but she testifies that only two years before she has became assertive enough (through influence of Piotr Wojtasik to whose mentorship she owes a lot) to start enlisting musicians to her own band. And she managed to gather around herself very talented ones: Borys Janczarski (tenor saxophone) has very smoky sound and his virtuosity reminds the style of magnificent Bobby Watson; Andrzej Święs is promising young bassist, his play provides rock-solid base for this hard-swinging jazz; Sebastian Frankiewicz is quick as a silver young drummer who already recorded interesting album Hendrix Piano with Artur Dutkiewicz Trio this year. As guest appears on this album: Marian Pawlik ona bass, star drummer Kazimierz Jonkisz and fantastic singer Natalia Przybysz.

And exactly the little cameo of Natalia Przybysz who sings wonderful tune to words of St Luke Gospel Don't be afraid little flock is where I would like to turn spotlights first. Vocal of Przybysz is simply smashing, thoughtful and yearning piano of Gajda is flying sky high and support by Swięś & Frankiewicz sensitive enough to blow your mind away! I find no words apt to express my wonder what they do to mainly modal jazz in one piece after another: yes, it is mainstream play but their ability to invoke emotions is revelatory. Strong gospel connotations are omnipresent in this music pointing clearly enough where an idea of the title of album comes from. Finally let me add that all these excellent compositions are written by Joanna Gajda. Great jazz woman appeared in Polish Jazz. People please believe in her! And I do and shall wait for her next CD very impatiently...

I you want to buy this record check this link: http://wwylomie.com/heaven-earth-eart-heaven-cd.html

If you want to listen to more music from this album: http://www.myspace.com/joannagajdaquartet

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

Dwootho - Space Pressures (2010)

This is debut recording let me therefore start with names of musicians as it is proper to introduce them first: Marek Tarnowski (accordion, hammond organ), Tomasz Piątek (tenor saxophone, clarinet), Bartosz Łuczkiewicz (bass), Maciej Dziedzic (drums, percussion) plus Natalia Gllińska (vocal) as a guest. Certainly very interesting still this record is not easy to classify or judge as it melts in one pot flavors rarely heard together. I would rather avoid to name musical genres which echo in this recording (folk, rock, club music and many other) because I feel that the only label describing properly this music is one of jazz which was once defined as simply "sound of surprise". 

Neither mainstream nor avantgarde this music is eluding all classifications and shall not be overlooked by anyone who values creativity, courage and individuality as expressed in melodies and rhythms.

After saying so many nice things about this recording and its authors let me add a small knock. Though I like music on this album I still feel that sometimes artists slump into what is too obvious, easy and predictable. Bass line become at times too mechanical, sax play too sexy, drums somewhat run of mill and only Marek Tarnowski on his accordion never ceases to surprise and amaze. It is done perhaps in order to provide music more accessible for larger audience. Not a bad idea for debut recording but as far as I am concerned I would expect something more free and improvisational next time to make my interest in this band and its music permanent.   

Please listen to a song titled Balkan Groove:

http://www.youtube.com/watch?v=mm9W7-NTEFY&feature=player_embedded

Pulsarus - FAQ (2009)

Trio Pulsarus consists of Dominik "Doministry" Strycharski (flutes), Aleksander Papierz (saxophones) and Jakub Rutkowski (drums) which are on this recording accompanied by following guests: Wojciech Waglewski (guitars), Adam Pierończyk (saxophones), Mikołaj Trzaska (alto saxophone) and Jan Peszek (voice). Certainly one of the most interesting records in Polish Jazz last year proved to have prolonged influence one me so I decided to go back to it and write few words about it encouraging others to get to know it. 

Pulsarus as a band was created in 2003 and they debuted in 2005 by Digital Freejazz, next year followed by CD titled Squared Rotoscope and after 3 years FAQ arrived, "the best one we've made so far" as the leader of the band claims. Musically we have here electro-acoustic jazz which I like very much and associate wit such excellent jazzmen as Evan Parker and Rob Mazurek, or, if we want to dig deeper Steve Reich and Karlheinz Stockhausen. It is therefore very praiseworthy that in these Polish Jazz territory we have this electro-acoustic field as well and cultivated by such talented musicians!

What marks this CD out is its artistic unity to which contributes the fact that almost all music on this album was composed by Strycharski. But this effect is evident also in such details as the cover of this CD which reminds me in mood the old sci-fi horrors as Ridley Scott's Alien. Let us therefore note that for production of the album Piotr Pawlak was responsible on behalf of Biodro Records.

The most controversial point in this astonishing music production is the part in which Polish famous actor Jan Peszek takes part. It takes form of some theatrical monologue, accompanied by music but it sounds really whacky and rather unconvincing to me. On the other hand there is a project that the music on this album will be accompanied by a film then this presence of the Peszek voice on this recording might be more justified. 

All in all this is certainly recording worth your your while let me therefore encourage you strongly to visit following site and listen to the samples of music from this session: http://www.myspace.com/pulsarus 

AUthor: Maciej Nowotny (http://kochamjazz.blox.pl/html)

Piotr Wyleżoł - Children's Episodes (2009)

Marcin Wasilewski, Przemysław Raminiak and Piotr Wyleżoł - certainly names to remember if you are interested in Polish Jazz. They all excel in classic jazz trio format and over years attained level of perfection that cannot be praised too much. Of them all Piotr Wyleżoł style is closest to great Bill Evans tradition or Polish jazz piano genius Mieczysław Kosz. His piano sings, yearns and sighs as if whispering to the ear of lover girl (or boy).   He evokes emotions with ease of true master and takes us on a ride where everything may happen from tenderest lyricism to utter despair and finally to hard swinging jazz redemption. 

Awesome display not only on side of this fantastic pianist but also on the side of his equally gifted companions: bassist Michał Barański and drummer Łukasz Żyta. Honestly speaking the quality of jazz trio owes as much to the competence of the pianist as to the quality of interplay between members of the trio. In this case the level of interplay between artist is breathtaking. And to no surprise as they have been already playing together for 10 years and recorded  such gems  as "Piano Trio" (2006).

This year however may be turning point in Piotr Wyleżoł career because he not only sees this CD issued by well established Fresh Sound New Talent label but he also recorded "Live" (2010) CD in quintet format with fantastic new musicians Pierończyk, Dorouzka, Kowalewski, Dziedzic and also played important role in new Nigel Kennedy jazz project "Shhh!" (2010). Well, so this star on Polish Jazz firmament that shines so brightly cannot be anyone's but his. Congratulations Piotr!

Piotr Lemańczyk - Naha People (2009)

Too few people in Poland noticed and appreciated this album as it deserved. In my opinion however this was not only one of the best jazz recordings last year but also one of the most intriguing over last couple of years. Moreover I honestly cannot recall anyone in Poland playing on trumpet (Tomasz Stańko apart of course) on a level Tim Hagans is playing on this CD. Speaking shortly this is item that every jazz lover shall definitely inspect more carefully and listen many times over.

Certainly mainstream jazz but it has all charm of modern jazz as it is forward thinking, complex and infinitely refined. All musicians involved in this project play simply masterfully. Tim Hagans who is one of the best trumpet players on this planet shows that his artistic potential is simply limitless. His trumpet weavers and meanders as butterfly on a spring meadow in full blossom. Piotr Lemańczyk bass is rock solid and deep as some far away storm on the edge of dream and reality. He is assisted by fantastic young vibraphonist Dominik Bukowski whose strokes are as light as first raindrops on freshly opened flowers in the morning. Nor worse is veteran drummer Kazimierz Jonkisz whose intricate play reminds me of sun beams hide-and-seek game with shadows in some old and mysterious forest. On tunes 1,6,7 excellent saxophonist Maciej Sikała appears his presence subtle and unobtrusive as moon waning in morning light. Finally, I would like to notice very high level of recording and mastering of the sound for which Michał Mielnik and Tomek Cybula were responsible.

All compositions are by Piotr Lemańczyk and are very good but if I was to find some fault in this magnificent project I would say that tempos of tunes might be a bit more diversified. But apart from this minor objection I find this album very rewarding and cannot but listen to it over and over again. Fantastic music! 

To learn more about the leader please visit: http://www.piotrlemanczyk.com/. To hear some music from this album: http://www.myspace.com/lemanczykpiotr.

By Maciej Nowotny

http://kochamjazz.blox.pl/html