DM&P - Insular Dwarfism (Audiotong, 2011) by Stephan Moore

DMP Trio (group)
Pawel Dziadur (electronics, wave_attack software)
Slawomir Maler (sax)
Philip Palmer (sax; found sounds)

Insular Dwarfism (Audio Tong; 2011)

(Editor) Stephan Moore from befriended JazzWrap blog on highly inspiring hard-core electronic and experimental music from recently hyper-active Audiotong label:

DMP Trio and their debut Insular Dwarfism are probably one of the most daring albums I've listened to this year. Originating out of the experimental scene in Krakow, Poland, DMP have strived to achieved a balance between distinct patterns and expressionistic thought.

There are moments where DMP remind me of John Zorn's Painkiller group. It's a very difficult listen but extremely rewarding. I do think we all need challenging music like DMP to ask ourselves what more can be done with sound. And where can it go?

DMP utilize the unique combination of two saxophonists, electronics and what Pawel Dziadur has termed "wave_attack" software, by which he can manipulate "real time" instrumentation without predetermined construction. In short, an even more advanced thought on improvising. The results are fascinating.

"Sea Serpent Fiesta" opens slowly with a modular soundscape that builds into a double barrel cacophony of saxophones and electronics before gently returning to its quiet origins. "Trepanning For Dummies" continues on the same theme but adds an additional level of crackling white noise that could suggest an influence of artists such as John Cage, John Zorn and Faust. The dueling match between Palmer and Maler is quite beautiful and worth your making the journey through this piece with multiple listens.

DMP really works well as a unit. Dziadur's electronics alongside the full-throttle charge of Palmer and Maler at first brush may sound devastating to the ear. But just as early Archie Shepp or recent David S. Ware, you will find the melody and art laying not too far from the edges. "The Worm And A Dip Pen" is another example of this unified display of electronics and horns. Moving swiftly between high pitch and soaring counterpoint, the trio displays a forward thinking range and calmness within a swirling series of thoughts and patterns.

"UV Mother DP" and "Reason In Question" both see the horn section taking the lead with Dziadur adding subtle and accumulating effects around the sides. There is a point at which on "UV Mother DP" rises and never comes back. You just have to follow the journey upwards.

DMP Trio have created a debut that lifts sound investigation to a new level. The main reason why I've fallen in love with Insular Dwarfism is because of the sheer uniqueness of the instrumentation and the recording process. This is challenging music for challenging thinkers. Enjoy...

Author of text: Stephan Moore
http://jazzwrap.blogspot.com/

News from Rafal Gorzycki!!!

Rafał Gorzycki, a drummer, improvisator, member of such great bands as Sing Sing Penelope or Ecstasy Project informed us about his plans for future. 

First, Gorzycki will continue to record with his quartet with Kamil Pater, Paweł Urowski and Irek Wojtczak (who substituted Olek Kamiński). In 2010 he released with this band CD "Dziki Jazz" (2010) which collected very favorable reviews and they plan new album for Autumn 2011. 

But this no the end of good news and in Autumn we shall also be able to listen to new CD by Ecstasy Project, another of Rafał Gorzycki's bands. His recordings with this collective (check for example "Reminiscence") were very well received as in Poland as abroad and I am waiting impatiently for both these albums...

Listen to Ecstasy Project from their last album "Reminiscence":

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

Irek Wojtczak - Direct Memory Access (Nasiono, 2011)

Irek Wojtczak - reed isntruments

Tomasz Ziętek - trumpet

Direct Memory Access (Nasiono, 2011)

Irek Wojtczak, reedist, is player whom I hold in high esteem. Only recently he took part as sideman in such successful projects as free jazz "Freeyo" (2009) with Michał Goś and Wojtek Mazolewski, mainstream on Krystyna Stańko "Secretly" (2010) or ethnojazz Wojciech Staroniewicz "Afreakan Project" (2011). I only mentioned few out of many and it is then no surprise he came to conclusion that time has come for project under his own name. In this undertaking he is backed first of all by trumpeter Tomasz Ziętek who is not only playing on this album but also together with Wojtczak arranged more than half of all tunes. They are backed by magnificent pack of Polish jazz players with names like Przemek Dyakowski, Kuba Staruszkiewicz, Michał Goś, Adam Żuchowski, Piotr Mania, Tymon Tymański, Sławek Jaskułke, Leszek Możdżer, Dominik Bukowski appearing. The only musician not present here is Tomasz Stańko, I am joking of course, but judging by list of players who took part in this recording it should be one of the best albums in recent years. List of players is yet incomplete because "Direct Memory Access" provides kind of ethnojazz music we find here also quite numerous pack of Polish folk players, few musicians with African background and even a choir of Tibetan monks! And string quartet!! I wonder how Irek Wojtczak managed to finance this incredible cast? This is truly fantastic organizational achievement!!!

But from musical point of view it is unsatisfactory. Strange blend of music genders, featuring crowd of players, it leaves impression of chaos and lack of direction. Arrangements are pop-like, music is written to be easy-to-listen and one wonders for what purpose all these fantastic players were gathered here? To play such trivial, shallow and uncomplicated notes? Doubtful as doubtful is artistic effect of all this tremendous effort...

Krzysztof Herdzin Trio - Capacity (LEMCD, 2011) by Maciej Nowotny

Krzysztof Herdzin - piano

Robert Kubiszyn - bass guitar, double bass

Cezary Konrad - drums

Trio (LEMCD, 2011)

Krzysztof Herdzin is a busy man: pianist, composer, arranger, conductor and educator he is active not only in jazz but also in classical music ("Symphonicum") or pop music. He has recorded up to this moment more than 160CDs but for last few years I was waiting for exactly such a project as this one: 100% focused on jazz. I was pretty sure that taking into account his stunning technique, great musicality and compositional talent he would easily make his way back to the very top of Polish jazz trios. And that exactly what has happened with "Capacity" as this is definitely as good as last recordings of other great Polish trios as Marcin Wasilewski Trio ("Faithful"), RGG ("One") or Piotr Wyleżoł Trio ("Children's Episodes").    

Krzysztof Herdzin play on piano is impeccable, for listener as I am who was brought up on classical music, it is pure pleasure to hear with what easy and perfection he handles piano, this total control of instrument let him concentrate on making his notes singing and dancing. And they really do! Robert Kubiszyn is versatile player who is able to play on bass guitar like, say, Marcus Miller while feeling equally at ease when taking double-bass and playing like for example Marc Johnson. Cezary Konrad is mainstream drummer whom I recently heard with Piotr Lemańczyk, Włodek Pawlik or Krystyna Stańko. Both Kubiszyn and Konrad are not my favourite kind pf players since they are a bit predictable and easy-to-read  and once I heard that they were Krzysztof Herdzin picks for this album I was worried what will be outcome of such decision. But I proved to be wrong since while directed by Herdzin and playing his music their undisputable technical mastery is fully exploited to advantage of music. I want especially to stress Kubiszyn performance: his switching between bass guitar and double-bass is very appealing and changes my up-to-this-moment rather skeptical appraisal of this player (though on Tomek Grochot's "My Stories" he already made good impression on me).

Very strong side of music on this album are compositions: all originals except "Prayer For El Salvador" by Russell Ferrante whom we know well from famous Yellowjackets. Music is coherent, diversified, charismatic showing from first note that it was written and arranged by someone with immense skills and experience. 

Well, all in all this is piece of gracious and lighthearted music which shall appeal to all who like fusion and go back with pleasure to music of Return To Forever, Weather Report or early Pat Metheny. But in the end I want to say that appreciating Krzysztof Herdzin performance on this album I simultaneously would expect on his next record some material that he never covered, new stylistics, musicians of personalities strong enough to challenge his own ideas, perhaps from other generation, other countries. Certainly his talent is of such immense capacity that it calls for such opportunities! 

Check promo video for this album:

Author of text:

Maciej Nowotny

http://kochamjazz.blox.pl/html

Janusz Trzcinski - The Book Of Job (1985-2007)

Krzysztof Zgraja (flute and piano)

Andrzej Przybielski (trumpet)

Zbigniew Wegehaupt (bass)

Janusz Trzcinski (drums)

Mieczyslaw Litwinski (sitar)

Milo Kurtis (percussion, Jew’s harp and trombita)

Andrzej Mitan (vocals)

Adam Baruch (narrator hebrew)

Juliusz Berger (narrator hebrew)

Ignacy Machowski (narrator german)

Jerzy Radziwiłowicz (narrator english)

Zdzisław Wardejn (narrator polish)

(Editor) This special recording is as interesting from musical as from historical point of view because its story is reflecting dramatic events in Poland after Solidarity movement became subdued through imposing martial law in 1981. All this in fascinating narration by Adam Baruch (his musique boutique www.jazzis.com):  

The tale of The Book Of Job project originates in 1981, when a group of Polish jazz musicians, actors and other intellectuals decided to stage a production based on one of the most dramatic biblical stories – the story of the sufferings God decided to put on Job to test his faith. To understand the context, one has to remember that at that time Poland was being torn apart by political and social upheaval, led by the “Solidarnosc” movement, in protest against the socialist regime. The political struggle included many strikes and demonstrations, some of which led to violent clashes with the police and people being shot or beaten to death. The biblical story of Job’s suffering seemed to many Poles as an allegory reflecting their situation. 

The project involved a musical suite written especially for the project and performed by top Polish jazz musicians, with fragments of text from the Book of Job being recited by actors. The premiere performance was presented during the 1981 Jazz Jamboree Festival in Warsaw, with further performances scheduled all over Poland. However, on December 13, 1981 the Martial Law was announced in Poland as a last resort to save the regime from crumbling and all art activities were put on hold, with tanks occupying the streets of Warsaw. It seemed that the project was dead after just one performance. The Martial Law was finally lifted in 1983 and it was only a question of time when the Soviet Block was about to disintegrate, but the socialist government stayed in power till the end of the decade. 

In 1985 I received a call from some musician friends in Warsaw, inviting me to come over and co-produce a recording of “The Book Of Job” as well as take part in the expanded multi-lingual version of the project, by reciting the text in Hebrew (in addition to Polish, German and English). As much as I understood the Polish background and circumstances surrounding the project, my interior motives to take part in the project were quite different. I always considered the Book of Job as the closest biblical allegory to the fate of the Jewish People with the Holocaust symbolizing Job’s sufferings and the birth of the State of Israel as the outcome. Therefore realizing this project in Poland, where most of the Holocaust took place seemed more that appropriate to me. I was very excited by the prospect, but the possibility to actually undertake the venture seemed utterly impossible. I left Poland in 1967 and never visited the country since. My Polish citizenship was taken away when I left Poland, and at the time (1985) Poland and Israel had no diplomatic relationships. Poland and all other Socialist countries severed they diplomatic ties with Israel following the 1967 Six Days War, which meant there was no Polish Embassy in Israel, where I could get a Polish visa. In general no Polish visas were issued to Israeli citizens, especially those of Polish origin. My Polish friends started to thread the winding path of Polish bureaucracy and for some strange and completely incomprehensive reasons the Polish Ministry of Foreign Affairs decided to grant me a visa for a few days, which I had to collect in Germany, something that was completely unheard off at the time. 

Finally in the bitterly cold late autumn (October) of 1985 I made the trip to Warsaw via Frankfurt and stepped on Polish soil for the first time in 18 years. I still remember the face of the Polish border police officer when I presented my Israeli passport at the Warsaw airport. I was of course a total nerve wreck, considering the fact that Poland was still very much a police state at that time, and constantly imagined that I could get arrested under any pretext at any given moment. For a few days I never stopped looking around trying to figure out if I’m being followed. Eventually the nervousness disappeared, mostly due to the warm reception I received from my friends, old and new alike. I flew to Krakow, where the production team and the musicians and actors assembled and we started rehearsing and then recording the music and the recitations. The recordings were done in a well-equipped studio, which was located behind the stage of the “Teatr Stu”. Everything went pretty smoothly and I stayed on for a couple of days to mix the tapes for the final master. After the production was over I went for a few days to visit Silesia, the southern, coal-mining part of Poland were I was born, and later on returned to Warsaw. I couldn’t take the master tapes with me, as these would surely be confiscated as illegal political unauthorized contraband, but I was promised they would be sent to me, as I planned to release them on my own Jazzis label, which I planned to start soon after. The producers also promised to release the album in Poland. 

A few days later I was back home in Israel and although I visited Poland many times later, I never heard about the project again. I lost contact with my Polish co-producers and although the tapes did land in my lap many years later, I left them untouched. Imagine my surprise when upon my recent visit to Poland a friend told me that the album was finally released just a few days before I arrived and even some reviews appeared in Polish papers (mentioning me) on the day I arrived. I was flabbergasted, angry for about 10 seconds (for not being consulted about this) and of course ecstatically happy to see this baby finally being born, after a 22 years long pregnancy. Especially so when I saw that the album was beautifully packaged in book format with splendid historical photographs (mine included, looking much younger of course). So much about the background of this album, and as to the contents, listening to it for the first time in so many years I must admit I’m more than proud to be associated with its creation. The music, performed by a wonderful septet of Polish jazz musicians, including Krzysztof Zgraja – flute and piano, Andrzej Przybielski – trumpet, Zbigniew Wegehaupt – bass, Janusz Trzcinski – drums, Mieczyslaw Litwinski – sitar, Milo Kurtis – percussion, Jew’s harp and trombita and Andrzej Mitan – vocals, resembles in spirit the Miles Davis’ Bitches Brew sessions, with plenty of space for solos performed over spacey / funky rhythmic patterns. The recitations are used as overlays, switching between the various languages, creating a dramatic collage effect over the music. Quite ambitious and far reaching in any respect and considering the fact that it was done 22 years ago, I’d say it was well ahead of its time. I suppose not everybody can enjoy this kind of creation as much as I do, but nevertheless it is a momentous piece of intellectual significance, cutting deeply into the listener’s soul, if listened to carefully and attentively.

Check music from this album:

Author of text: Adam Baruch

http://www.adambaruch.com/

Sza / Za (Szamburski, Zakrocki) - Przed Południem, Przed Zmierzchem (Lado ABC, 2009)

SzaZa (band)

Paweł Szamburski - violin, viola, drums

Patryk Zakrocki - clarinets, voice

Przed Południem, Przed Zmierzchem (Lado ABC, 2009)

One of the most astonishing albums recorded in recent years in Polish avantgarde music is little known in Poland, with only few and positive in the country and with virtually no reviews abroad. It's beyond me! Where all these people, critics included, have their ears? How can pure beauty go near them but they remain deaf when it sings for them? This text is my humble and certainly inappropriate attempt to change this state of affairs.

Duo Sza / Za is arguably the best Polish avantgarde duo along with Mikrokolektyw (check their "Revisit") or Jachna / Buhl ("Unfinished Books"). This music is so original, so fresh, so innovatory that no labels may well described it. Only for the reason it puzzles, it disorientates, it pushes boundaries forth it may be called jazz but otherwise it has few if any features of typical jazz music that you might know up to this moment. What is it then like?    

I would compare it to moments of day-dreaming, in minutes of greatest August haze at midday or when twilight comes and all people look suddenly terrified by something unknown and odious. What is most astonishing is that these splendid two CD albums contain music composed for two theater performanes "Before Noon, Before Dusk" (album's title translated) and "Sentimental Piece for 4 Actors" both directed by Paweł Cieplak. But very rarely as in this case thetare music stands entirely for itself and separated from stage communicates so well with a listener. There is not any scratch, cut, roughness which will indicate that this music was rearranged and adjusted to needs of a double CD.

Let us finally ask most important question: who are those artists resposible for such a heavenly music? Paweł Szamburski and Patryk Zakrocki - rememer their names - as they at all probability will be in years to come most original vioces in Polish contemporary music. In fact they already have impressive streak of projects and records they took part in. Szamburski's clarinet may be found on such excellent albums as "Branches Of Dirty Delight" (2009), "Itstikeyt / Fargangenheit" (2010) or "Lark Uprising" (2010). As for Zakrocki's violin on this blog you find him on recording by Tupika (2006) but he is very well known as animator of Warsaw avantgarde and underground scene with more then 10 albums he already appeared in.

Magic music, great muscians, powerful jazz. All is in this music to be wholeheartedly recommended!

Pure magic...check it ot please...

Author of text: Maciej Nowotny

http://kochamjazz.blox.pl/html

Nucleon - Fitoplankton (Audio Tong, 2011)

Nucleon (group)
Aleksander Papierz (sax)
Michal Dymny (guitar)
Tomek Gluc (electronics)
Jakub Rutkowski (drums)
Andrzej Sawik (piano)

Fitoplankton (Audio Tong; 2011)

(Editor) Stephan Moore (check his excellent blog: JazzWrap) sheds light on this very interesting third release by Nucleon:

With a combination of traditional fusion and a modern rock aesthetic, Nucleon are building an exciting book of material that we should really take note of. The group, developed by founding members Jakub Rutowski and Andrzej Sawik, quietly (or loudly) built a huge following within their home country of Poland. Their self-titled debut ("Nucleon") was fantastic and had all the elements of a young group searching through their influences but also creating its own identity.

The ensemble suffered a major loss last year with the unexpected passing of the classically trained co-leader, Sawik before the group could finish its next record. But Nucleon forged on and created the beautiful, Fitoplankton, an album that explodes through the speakers with vibrancy and urgency. With a sound that is reminiscent of King Crimson, Headhunters, Last Exit and ironically, Nucleus, Nucleon is that "something different" you've been looking for the last couple of weeks.

"Where R U Going Boy?" rambles ans swirls with almost 'third stream' quality in the outset with Papierz and Gluc leading the charge. Sawik, whose piano parts are sampled in perfectly, joins in as the rest of group follow. It's an heavy laden groove that has lots of funky moments but the standout performances lay between Papierz, whose delivery is on fire along with Rutkowski's pulsating timing that never lets the group simmer down. "Metalug", another bristling piece highlights the groups rock influences with a cavalcade of chords in its opening that never really lets up. It's a short piece that soon rolls into the quiet and evocative "Sola W Occie" which is driven by Sawik's classical keys and gently moves back and forth between ambient and experimental thought. Papierz delivers some nice almost Coleman-esque solo passages with Gluc and Rutkowski adding eerie direction just underneath his notes.

"Fitoplankton" presented me with thoughts of Red era King Crimson mixed with the keyboard psychedelics of Headhunters. The group mix a sense of raw, gritty energy thorugh Dymny and Rutkowski but tempered by some buoyant floatation from Papierz.

Nucleon are a group that I hope will soldier on after the lose of their influential co-founder. They found a way to intermingle Sawik's pieces into this power record which keeps his name alive. But it also gives the group a new point of direction for the future. 

Check music from this inspiring CD:

Author of test: Stephan Moore
http://jazzwrap.blogspot.com/

Piotr Wojtasik - Hope (Power Bros, 2003)

Piotr Wojtasik - trumpet, fluegelhorn,

David Liebman - tenor saxophone

Clarence Seay - bass

Ronnie Burrage - drums

Leszek Możdżer - piano
Maciej Sikała - tenor saxophone 

I am probably the only reviever in Poland that do not share common admiration towards this music. In my review I will put forth reasons for such a opinion especially in view that this music has multiple strenghts. First of all there could be no stronger line-up in Polish jazz than that gathered for this recording. Trumpeter Piotr Wojtasik, saxophonist Maciej Sikała and especially pianist Leszek Możdżer are real stars and leaders of important bands on their own which played a big role in history of jazz in Poland (like Miłość for example). No less prominent are foreign players: double-bassist Clarence Seay is mostly educator, but he also was playing with Wallace Rooney or Wynton Marsalis. Ronnie Burrage, a drummer, is very similiar story, definitely great instrumentalists and worthy sideman (he played with Archie Shepp and numerous others big names) although he wasn't able to build any coherent career  as original artist on his own. On the other hand Dave Liebman is real star name in world of jazz, well remembered from his cooperation with Miles Davis but since then he consistently builds his reputation as top saxophonist active as well in mainstream as in avantgarde projects.

Therefore one should not wonder that music is really very, very well played. It sounds especially well when it's uptempo reminding great albums of the masters of bop trumpet like Lee Morgan, Kenny Dorham or Freddie Hubbard. When down-tempo music loses a bit of its appeal but remains solid enough to keep listener's attention until bop storm returns again. 

Another strong side of this album are all original composition which fill this CD. Some of them are really good ones though unfortunately they do not go away even for an inch from typical jazz structure with theme, improvisations and reprise. And this is my my only but serious objection to all albums as exemplified by this so good one: what is the point to record yet another albums that sounds exactly like the best bop albums of the past? Jazz is not classicical music and I do not seek in it rehearsals of old music. I am looking forward to music that sounds fresh and reflects present time. So this is basically great piece of retro-jazz...so much and yet so disappointingly little... 

Different staff and tunes and yet style very similar as on most of Piotr Wojtasik recordings:

Author of text: Maciej Nowotny

http://kochamjazz.blox.pl/html

Profesjonalizm - Chopin Chopin Chopin (Lado ABC, 2011) by Maciej Nowotny

Profesjonalizm (band)

Marcin Masecki - piano

Kamil Szuszkiewicz - trumpet

Michał Górczyński - clarinet, saxophon

Tomasz Duda - saxophone

Jerzy Rogiewicz - drums 

Wojciech Domagalski - double bass

Chopin Chopin Chopin (Lado ABC, 2011)

The leader of Profesjonalizm is pianist Marcin Masecki whose talent may be compared only to the greatest in history of Polish jazz as Krzysztof Komeda (pianist himself), Zbigniew Seifert or Tomasz Stańko. I observe his artistic development for more than ten years! He started as child prodigy playing in jams in legendary (now gone) jazz club Akwarium; through his first steps as professional musician taken within Grzech Piotrowski's Alchemik Band ("Sfera Szeptów") when nothing heralded he may once be such a great individuality; then through later recordings with Grzech like "Dracula In Bucharest" when his style began to dominate over music of his senior partner; to astonishing piano solo recordings like "Bob" or "John" which may be seen as last stage in moulding of his unique style. I jump a lot and omit important stages but the point is that Masecki industriously and patiently was building his own language for the most time either misunderstood or even mocked by both other musicians and audience. What was only a promise however on all previously mentioned albums has been fulfilled on "Chopin Chopin Chopin"... 

Before I briefly analyse this fascintaing music let me stop for a moment on other members of this sextet. Drummer Jurek Rogiewicz is a leader on his own (check fantastic "Levity"), his personality, his ubounded energy and enthusiasm are simply beyond description. He is supported in rhythm section by Piotr Domagalski, Rogiewicz partner from above mentioned Levity. No less prominent is brass section which consists of creme-de-creme of young avant-garde players in Polish jazz: trumpeter Kamil Szuszkiewicz ("Kapacitron"), clarinetist and tenor saxophonist Michał Górczyński ("Lark Uprsisng" or "Istikeyt/Fargangenheit") plus Tomasz Duda ("ŚĘ" or "Alchemia" among many others) playing an baritone saxophone.

As far as music is concerned it is fully composed and certainly deserves thorough analysis that would take much more than it is possible for short note on internet blog. However even brief review of influences is truly breathtaking: Bach whose "The Art Of The Fugue" or "The Well Tempered Clavier" are clearly present here; Thelonius Monk with his dissonant yet infinitely precise harmonies; Archie Shepp obsession with marches; Albert Ayler attitude toward composed element in free jazz; but also names from modern classical music should be mentioned as John Cage or Conlon Nancarrow. This picture is complemented by obvious Polish music roots as evidendeced in album's title and last composition on album which is variation on Chopin's Polonaise (B-dur so-cold "Children's"?) and clear Komeda notes scattered all over this CD but not in style, attitude or sound but in ability to establish relationship with present generation, its tastes and preferences.This list is by far incomplete and too simplified, there is much more in here, from tunes from Soviet cartoons ("Wilk i zając") to pre-bop, dense and scurvy sound of big bands from the era before stereo recordings.

I therefore stop here leaving more careful analysis to jazz critics because what I want to say is as simple as this: it is a piece of great modern entertainment nonetheless it is ambitious and deep enough to satisfy even most demanding jazz connoisseurs. It's Polish jazz at its best!!!

Check this video for sample of music:



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

Spejs - Rozwinał mi sie turban (Biodro, 2010)

Spejs (band)

Tomek Glazik - sax, electronics

Karol Szaltis - keyboards

Jacek Buhl - drumms

DJ Awry Sz

Audun Ramo - bass

Sebastian Gruchot - violin

Rozwinął mi się turban ((Biodro, 2010)

This project definitely deserves close examination! Musicians involved are first rate: Tomek Glazik is excellent sax-man who played with such good avantjazz groups as Sing Sing Penelope or Contemporary Noise Sextet; drummer Jacek Buhl is crucial player in Polish avantgarde and his latest release "Unfinished Books" is among top three best Polish jazz albums this year; Sebastian Gruchot is talented violinist who as Glazik is associated with Sing Sing Penelope. The project begun in fertile musical scene focused around legendary Mózg club located in Bydgoszcz.

What kind of music this Polish-Norwegian band delivers? It is deeply rooted in yass movement with its iconoclastic yet self-ironic attitude therefore it sounds fresh and brave. It is also very noisy, with strong electronic component, often chaotic and unstructured which may sound for unprepared ear difficult and edgy. There is plenty of improvisation on this record which is inspiring but it doesn't necessarily mean that this collective freedom brings much beauty to the surface. In fact it often doesn't which is to certain extent deliberate but it is also good example of what Tomasz Stańko once described (having in mind some of his own albums from 70ties) as type of free jazz "interesting for one or two movements but tiresome in the long term". As you probably know I am rather critical toward typical mainstream jazz as it is too predictable but I am also distanced from free jazz that chooses to be uncommunicative. Still, I feel like there is great potential in this band if they stop to stick too closely to long gone yass heritage and engage in dialogue with present audience that looks in jazz less for revolution but more for good, classy yet ambitious entertainment.

Check following video for sample of this band's music:

Author of text: Maciej Nowotny

http://kochamjazz.blox.pl/html