Iiro Rantala / Michael Wollny / Leszek Możdżer - Live at Berlin Philharmonic I (2013)

Iiro Rantala 

Michael Wollny

Leszek Możdżer 

all on piano & Fender Rhodes (on 06 & 08)

Live at Berlin Philharmonic I (2013)

In 1944, the notorious American jazz impresario Norman Grantz (1918 – 2001) had a vision: He wanted to anchor the uniqueness and virtuosity of improvised music deep in society, enable the musicians to garner the rank and recognition that they deserved, and create something entirely new by spontaneously combining different styles and approaches in unexpected ensembles. There could only be one place to make this plan a reality – a classical concert hall: "Jazz at the Philharmonic" was born. Grantz' concerts, which later also went on tour, enjoyed fantastic success for 20 years. He presented the most famous jazz musicians of the era, including the likes of Ella Fitzgerald, Dizzy Gillespie, Oscar Peterson and Lester Young. Jazz got sophisticated.

Jazz at Berlin Philharmonic: The new concert series in the Chamber Music Hall of the Berlin Philharmonic picks up on Norman Grantz' ground-breaking idea. The Berlin Philharmonic Foundation was of the opinion that jazz deserved more attention, and when ACT-owner Siggi Loch remembered the "Jazz at the Philharmonic" concert series, he proposed such a concept for Berlin. It became immediately apparent on 11 December 2012, at the opening night of "Jazz at Berlin Philharmonic", that jazz is a welcome guest. For the first time in its 25-year history, the Kammermusiksaal was completely sold out for a jazz concert, with an audience of 1200. 3 pianists - Iiro Rantala, Leszek Możdżer and Michael Wollny proved – as soloists, in duos and as a trio – that jazz can break down the rigid old borders between "serious" and "entertaining" music. They showed an audience of largely classical fans that, in no uncertain terms, classical and jazz are anything but opposites. The Tagesspiegel newspaper wrote that it was an event "with rarity value for Berlin" and the public broadcaster ZDF said: "That was fantastic, if not to say world class".

The live recording "Jazz at Berlin Philharmonic I" provides the proof of what can happen when musicians that have never played together before join forces in unusual situations. Rantala, Wollny and Możdżer succeed in creating a defining moment in music, in which "jazz and classical meet as equals" (Tagesspiegel), little wonder really, with all three of them being such crossover fans. Michael Wollny, the still only 34 year-old flagship of young German jazz, gets his inspiration just as much from Schubert or Mahler as from Björk or Kraftwerk, which culminates into powerful masterpieces like "Hexentanz", Wollny's solo title on the album of the same name, a chromatically undulating, harmonically sparkling and rhythmically rousing cornucopia of his unrivalled personal expressiveness. 

The Pole Leszek Możdżer enjoyed a classical music education. An exchange between the main musical directions is entirely natural for him, as his impressionist solo "Incognitor" shows. The Finn Iiro Rantala is a kindred spirit in this respect, as can be heard in the duet "Suffering".

Iiro Rantala, the recent Echo Jazz award winner in the field of international piano stands at the peak of the innovative eclectics aligning themselves with the old jazz tradition to study and revere great inventors of piano music and use them for their own ideas. It only makes sense then that the recording begins with him. Rantala's version of Johann Sebastian Bach’s Aria and the Goldberg Variations, the starting and endpoint of all swinging and improvised music, here transported with exemplary care into the present. Nor is it any more a coincidence that he and Wollny follow it up with "Tears For Esbjörn", the poignant homage to one of the most influential jazz pianists of the last 20 years: Esbjörn Svensson, who died in 2008. Indeed, it is the overwhelming duets that make it clear that all three musicians have the same quality playing together as they do as soloists. After all, they all started their careers in bands: Wollny with his trio [em], Rantala with the trio Töykeät and Możdżer in various groups, for example with Lars Danielsson. Then, when they all join together for Chick Corea's "Armando's Rumba" at the end of "Jazz At Berlin Philharmonic", it is the expected highlight that casts a spell on the listener. And all the while, even beneath this raging, masterly Latin party, there is a classical foundation to be heard.

At the latest after the "powerful start" (Tagesspiegel) of the first "Jazz At Berlin Philharmonic" edition there was no doubt that more had to follow. On 25 March, the pianists Joachim Kühn and Yaron Herman meet with Michel Portal on the bass clarinet and violinist Adam Baldych to go on an adventure of free improvisation; a musical dialogue without a net. Norman Grantz would have loved it.

(source: ACT)

Track listing:
1. Aria And Goldberg Variation - 07:12 (Johann S. Bach)
2. Tears For Esbjörn - 06:53 (Iiro Rantala)
3. Hexentanz - 10:22 (Michael Wollny)
4. No Message - 05:28 (Leszek Mozdzer)
5. Incognitor - 05:33 (Leszek Mozdzer)
6. Svantetic - 06:34 (Krzysztof Komeda)
7. Suffering - 08:08 (Lars Danielsson)
8. Armando’s Rumba - 06:16 (Chick Corea)

Soundcheck / Aga Kiepuszewska – Soundcheck IV – Marysia – Wiersze Z Kazachstanu (2011)

Maciej Kocinski - saxophone
Krzysztof Dys - piano
Andrzej Swies - bass
Krzysztof Szmanda - drums
with
Aga Kiepuszewska - vocals
Dell'Arte String Quartet

BCD 27


By Adam Baruch

This is the fourth album by Polish Jazz quartet Soundcheck, which comprises of saxophonist Maciej Kocinski, pianist Krzysztof Dys, bassist Andrzej Swies and drummer Krzysztof Szmanda. It includes eleven original compositions, all of which were composed by Kocinski to the poems written by Maria Kocinska. Vocalist Aga Kiepuszewska sings the lyrics and recites parts of the poems, except for one case where the vocals are performed by child Antosia Kocinska. Several of the pieces also feature string quartet arrangements performed by the Dell`Arte String Quartet.

The album belongs to the Jazz & Poetry genre, which is utilized often in Polish Jazz, certainly more so than in any other country. However, this time the lyrics are not by a well-known Polish poet, but by the Aunt of Soundcheck saxophonist Maciej Kocinski. These beautiful poems were written between 1942 and 1946 in Kazakhstan, where she and her family were exiled by the Soviet authorities after the Soviets accused her Father of anti-Soviet conspiracy. USSR invaded Poland in 1939, just a couple of weeks after the invasion from the west by Nazi Germany, and as a result Poland was divided between the Nazis and the Soviets according to the Molotov-Ribbentrop pact. This very personal history of one young woman, as told by these poems, is a painful memory of the fortunes of very many Poles, who shared her fate.

These poems, although perhaps lacking the glitter of famous lyricists, are no less convincing and certainly no less moving. They are deeply lyrical, full of sadness, pain, longing, despair, hope, love and faith. Now, endorsed by the wonderful musical veil, they were brought back to life, enhanced and revitalized. The music is perfectly suited not only to accompany the poems but also to paint a perfect soundtrack for the story behind them. The entire album sounds like a continuous musical suite, with the songs, recitation and interim instrumental pieces interwoven into a complete conceptual piece, with is not only highly emotionally effective, buy also aesthetically sublime.

The execution is also exceptional, which is not surprising, as Soundcheck have already established a strong position on the Polish Jazz scene in the last few years. Naturally this music is less adventurous or freely improvised than their instrumental albums recorded previously, but that does not mean it is any less ambitious or complex or beautiful. The limitations involved with incorporating lyrics and music obviously did not present a serious challenge neither to the composer not to the players, and as a result they managed to create an uplifting, awe-inspiring, intelligent piece of music. The vocals, which are somewhat restrained and delicate, are also perfect in this framework. Anything spectacular would have simply spoiled the perfect balance achieved here. Of course the vocalist sings beautifully and her ability to restrain herself is admirable. Kocinski plays several breathtaking solos and his playing seems to grow from one album to another. The rest of the group just do what they do best: play their hearts out.

This is definitely one of the most outstanding albums recorded in 2011, an admirable addition to the Polish Jazz legacy and the Polish Jazz & Poetry movement. As long as there are young Jazz musicians on the local scene, capable of producing music of such quality, the faith of Polish Jazz is in good hands.

Wholeheartedly and most warmly recommended!

Piotr Lemanczyk – Amhran (2013)

Seamus Blake - saxophone
Piotr Lemanczyk - bass
Jacek Kochan - drums

SOLITON 257






By Adam Baruch

Polish Jazz bassist / composer Piotr Lemanczyk is a household name on the local scene and over the years he gained a considerable reputation as one of the most talented, versatile, dependable and imaginative bass players around. His numerous recordings in the last decade present a musician of many faces, who feels completely comfortable playing Free Jazz, melodic lyrical mainstream Jazz and anything in between.

This album finds Lemanczyk in a trio setting, with US (British born) saxophonist Seamus Blake and Polish drummer Jacek Kochan, playing mostly music he composed. Of the eight compositions present on the album seven are by Lemanczyk and the remaining one is by Kochan. The music is free-spirited and open, not Free Jazz per se, as it is based on pre-composed themes, but it emphasizes the improvisations, focusing on them rather than on the melodic or even harmonic backbone. Naturally the saxophone stands in the centre of attention, but a careful listener will notice immediately that this is first and foremost a collective performance, which never falls back into a soloist / rhythm section situation, like most other saxophone trio recordings. Although Lemanczyk solos as well, his most significant contribution is simply playing along with his cohorts, demonstrating ears wide open and undivided attention and respect towards his partners. The drums often take a step back on this album, which leaves the dialog between the saxophone and bass as the centerpiece of this beautiful music.

I wonder if other listeners will share my view that this album is largely atypical as far as Polish Jazz is concerned. That omnipresent lyricism / intrinsic melancholy, that is the trademark of Polish Jazz, is almost completely gone herein. If I listened to this music blindfolded, I'd most probably deduce that this is an American album. It is difficult to pinpoint exactly why, but the way the saxophonist improvises and Lemanczyk / Kochan respond is a classic example of contemporary American Jazz characteristics.

Any way one looks at (or rather listens to) this music, one thing is apparent: this is masterly conceived and superbly executed stuff, which has so much to offer that even an experienced Jazz connoisseur will need to contemplate and absorb this music for a while in order to fully comprehend it. There is simply to much aesthetic beauty here to be taken in at one go. One can only hope this music will reach as many appreciative listeners as it truly deserves.

This album is an absolute must for all Polish Jazz fans and any serious Jazz buff anywhere on this planet should be able to enjoy this music to the fullest, even if it will take more than one listening session to get there. Wholeheartedly recommended!

Zbigniew Namyslowski – 3 Nights (1999)

Zbigniew Namyslowski - saxophone
Krzysztof Herdzin - piano
Olo Walicki - bass
Grzegorz Grzyb - drums
with
Piotr Wojtasik - trumpet
Grzgorz Nagorski - trombone
Cezary Paciorek - accordion
Jose Torres - percussion

POLONIA 174/176

By Adam Baruch

This album by Polish Jazz Colossus saxophonist Zbigniew Namyslowski documents a live recording captured during three consecutive nights at the legendary Warsaw Jazz Club "Akwarium". Accompanied by his regular (at the time) quartet, with pianist Krzysztof Herdzin, bassist Olgierd Walicki and drummer Grzegorz Grzyb, as well as guest musicians: trumpeter Piotr Wojtasik, trombonist Grzegorz Nagorski, accordionist Cezary Paciorek and percussionist Jose Torres, Namyslowski played a different program each night, which comprised entirely of his original compositions, twenty three of them in total.

Although not intended as such, this recording is a sort of retrospective, both for Namyslowski the composer and Namyslowski the player. Approaching the age of sixty Namyslowski celebrated four decades of activity on the local and international scenes: recording some of the Polish Jazz milestone albums, grooming generations of Jazz musicians and playing countless concerts, an impressive record, which only very few other musicians share with him. Among the compositions performed one can find a few of his early tunes, going over thirty years back before the date of this recording, as well as some recently composed ones.

The three nights seem to have quite a different character, although it's difficult to guess if that was intended. The first night is all up-tempo tunes, performed by a septet with strong presence of the percussion, which spices the music with a Cuban feel. The second night is more modern mainstream, performed by a sextet and the last night is the most adventurous, with odd meters and World Music influenced compositions, which are often Namyslowski's trademark. Overall the quality of the compositions and the performances are of course excellent. Namyslowski always knew how to pick up his group members, almost always from the ranks of one young generation after another. Walicki and Grzyb represent the youngest (at the time) generation and both prove to be able to stand shoulder to shoulder with the veterans. Herdzin, who played for several years with Namyslowski in the late 1990s, was still relatively unknown at the time (in the years to come his career was about to literally explode) and is the most interesting soloist on this album except the Boss of course. The guest players are all well known and their contributions are professional, but not very inspiring, except perhaps for Paciorek, who is so original that his playing is always fascinating.

In the long discography by Namyslowski, this is perhaps not one of his milestone recordings, but in retrospect it definitely reflects his exceptional abilities as a player, composer and bandleader. The sound quality of these live recordings is spotless and has a warm aura and superb presence. This is a must have for the many Namyslowski fans and Polish Jazz buffs in general!

Olbrzym I Kurdupel – Frrrr… (EP) (2008)

Tomasz Gadecki - saxophone
Marcin Bozek - bass guitar

PRIVATE EDITION







By Adam Baruch

This album the debut recording by the Polish Avant-Garde Jazz duo Olbrzym I Kurdupel or saxophonist Tomasz Gadecki and bassist Marcin Bozek. It includes six original pieces, which time in total just under half an hour and therefore counts as an EP, although it also includes a video of a live performance by the duo, which also times at about half an hour hence one could call it an enhanced EP.

Recorded a short time after the duo met and started to play together, this album is less adventurous than the material they recorded later on for their next full album, with the pieces based on predetermined themes, but already explores the ideas of spontaneous improvisation and composition. Saxophone and bass (electric bass in this case) are quite an unusual pairing, with few examples that one can draw comparisons to, which is all for the best, as they are quite an unique phenomenon. Gadecki plays very much in the early Free Jazz tradition with long, convoluted lines and progressions, while Bozek adds series of rapid pulsations during the up-tempo numbers or reserved bass chords on the more lyrical pieces. There is still a strong melodic feeling, although melodies are not played per se.

There is an obvious empathy and mutual respect, which make this music tick, apparent in the way the two musicians listen to each other all the time with great sensitivity and complement each other musically. It is certainly heartwarming to find such amount of open-mindedness and experimentation these young musicians are blessed with. Olbrzym I Kurdupel is just one of many Avant-Garde Jazz ensembles active in Poland and the fact that such music is thriving there is truly amazing considering that the world at large is steadfastly plunging into moronic anti-music.

Definitely worth exploring, although quite difficult to find as it was not commercially released. Free Jazz buffs will have a field day listening to this one!

Jazz City Choir - Jazz City Choir (2012)

Jazz City Choir (band)

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

Jazz City Choir (2012)

By Maciej Nowotny

This CD is a rare example of wise state patronage over jazz projects in Poland. Last year under auspices of Instytut Muzyki i Tańca (Institute of Music and Dance) the project "Jazzowy Debiut Fonograficzny" (Jazz Debut) was started. The first album to be completed under this scheme was excellent "Tone Raw" (2012) and this one comes as second yet no less interesting.

Jazz City Choir was founded in 2007 by Małgorzata Korczyńska at Łowicka cultural centre and in 2009  joined by Anna Gadt (Stępniewska) who became Music Director. Gadt is well known jazz vocalist on Polish scene with albums like "Still I rise" (2010) through which she gained a respect among the critics and an admiration from public. Under her leadership nine vocalists (Joanna Kucharczyk, Agata Sasinowska, Magdalena Stróżek, Małgorzata Romańska, Ewa Barczyńska, Aleksandra Bogucka, Grzegorz Duszak, Adam Konowalski, Karol Yamazaki) has become an accomplished team capable of dealing with ambitious repertoire. This repertoire is a very strong side of the project and tribute for it should be paid to Paweł Zielak who arranged four out of six tunes and obviously those the most interesting. This list of musicians shall be completed by addition of two instrumentalists, Paweł Puszczało on double-bass and Krzysztof Gradziuk whom we know from famous RGG trio and countless other projects as one of the most creative drummers on Polish scene.

As I mentioned before a very strong side of this album is the selection of compositions. I found especially rewarding interpretations of "Spain" by Chick Corea with Al Jarreau lyrics and two Esbjorn Svensson tunes - "When God Created a Coffee Break" and "Elevation of Love". In this second tune Grzegorz Karnas appears who in my opinion is the most interesting Polish jazz male vocalist these days. His solo and those by Anna Gadt are both highlights of this album which make it sufficient to recommend this CD for any jazz lover in Poland and abroad.

Tracklist:
1. Sing a Song of Song 6:28
(Kenny Garrett, aranżacja:Paweł Zielak) solo: Anna Gadt
2. Elevation of Love 7:12
(Esbjorn Svensson, aranżacja:Paweł Zielak) solo: Grzegorz Karnas
3. And It Happened To Me 3:53
(Joanna Kucharczyk)
4. When God Created z Coffee Break 9:32
(Esbjorn Svensson, aranżacja:Paweł Zielak) solo: Anna Gadt
5. Pulsary 6:23
(Jan Sanejko) solo: Anna Gadt
6. Spain
(Chick Corea, aranżacja:Paweł Zielak) solo: Anna Gadt

Polish-Jazz blog provides media patronage for new album by Tone Raw !!!

Tone Raw

Marek Konarski - saxophone
Sebastian Zawadzki - piano
Thomas Kolarczyk - bass
Kuba Gudz - drums

Tone Raw (2012)

Tone Raw is a band formed in 2012 by young instrumentalists who study in Academies of Music in Berlin and Odense in Denmark. Their music is based in traditional European jazz inspired by ethnic sounds from Germanic, Scandinavian and Slavic nations. Musical heritage and new compositions results in unique mixture of tradition and modernity. Marek Konarski's spontaneous saxophone and lyrical harmony of Sebastian Zawadzki's piano meets rhythm section of drummer Kuba Gudz and Thomas Kolarczyk on the double bass who played with each other in many bands in Berlin. Tone Raw instrumentalits have been awarded in many contests and festival, such us European Jazz Contest in Rome, Novum Jazz Festival and Jazz Juniors in Cracow, Tarnów Jazz Contest or Young Jazz and Blues Bands Contest in Gdynia. Despite the young age, musicians who formed Tone Raw have played concerts throughout the whole world (Poland, Denmark, Germany, Italy Netherlands, Sweden, Belgium, USA, Russia etc.).

Their first album, named after the band Tone Raw, is a result of winning Jazz Debut Album program subsidized by Institute of Music and Dance in Poland and financial help from Office of the Marshal of the Kujawsko-Pomorskie Voivodeship. It was recorded in Tokarnia Studio in Nieporęt in August 2012. Before the recordings band was played the tour in Poland during which spontaneous improvisations turn into the tunes that are included in this album full of enthusiasm and energy coming from the new experience. Besides new compositions by the band, Tone Raw includes Svantetic by Krzysztof Komeda in Sebastian Zawadzki's interpretation.

"The real substance of that music came from looking for the truth about ourselves. Whole concept was born in the distanced Fyn island in Odense where we had met to express our need to create. Monotony and rawness of that place influenced us so much that it resulted in our music. It's peaceful and balanced without exaggeration but with tempestuous character. We think that the biggest beauty lies in the simplicity".

Mikołaj Trzaska - Mikołaj Trzaska Gra Różę (2013)

Mikołaj Trzaska

Mikołaj Trzaska - Bb, bass clarinets, alto saxophones
Wacław Zimpel - alt, Bb, bass clarinets
Michał Górczyński - Bb, bass clarinets
Mike Majkowski - double bass
Adam Żuchowski - double bass
Paweł Szpura - drums

Mikołaj Trzaska Gra Różę (2013)

By Ken Shimamoto

On "Mikołaj Trzaska Gra Różę", recorded live in front of a highly demonstrative audience, multi-reedman Mikołaj Trzaska leads a quintet that’s heavy on deep, woody sounds. The leader, his fellow clarinetist Waclaw Zimpel, and a third reedist, Michal Gorczynski, all play Bb and bass clarinets. Mike Majkowski and Adam Zuchowski play matching double basses, and Pawel Szpura is a masterfully supportive percussionist. Their music draws on free jazz and European free improvised music as well as modern classical music, while forging a distinctive group identity. Symphonic in scope, the seven tracks flow together seamlessly, as if they were movements of a single long piece.

The opening track, “By Boat,” is a leisurely voyage, alternating episodes of horn polyphony with others where the soloists spar with the rhythm section. At one point, the confluence of voices builds to a peak of intensity reminiscent of ‘60s freeblow freakouts, before taking a sharp left turn into more abstract waters. “Buckets On the Doorstep” is a stately chamber piece for the horns and basses. At first, a bass clarinet plays long tones against a pointillistic pizzicato bass. Snatches of melody slither to the surface, then gradually recede.

After this sedate opening, “Bicycle Herd” jars the listener awake with horns that blare and drums that clatter like Brotzmann and Bennink at their most anarchic, then enters a less crowded sonic space. The contrast heightens the impact of the quiet passage, throwing each sound into brilliant relief. A dialogue between bass clarinet, arco bass, and lightly tapped percussion ensues, followed by a lachrymose lament that gives way to a busier contrapuntal exchange. The track segues into the somber-sounding “Despair on Birch.” The group’s gift for empathetic interaction and dynamic variation is a thing of wonder.

“Walk To the Edge” features a stately theme, filled with spiritual longing, played first in unison, then with counterpoint by clarinets and arco bass. In between, the basses play a duet in which melody alternates with bowed multiphonics. Throughout, Szpura’s responsive sprung rhythm provides a sense of openness. On “Harvest Ax,” the jostling horns and basses build tension, while the expansive drums release it. As the piece winds down, a theme of striking simplicity emerges to provide a backdrop for snaky solo explorations, then closure.

The crowd roars its approval, then Trzaska and Co. encore with “Wedding, Boat and the End,” a slight return that carries a palpable sense of dread, ending the proceedings on an uneasy note. Overall, this record is a unified work that leaves the listener with a sense of completeness. An important release.

Beata Pater - Red (2013)

Beata Pater

Beata Pater - vocals, violin

Mark Little - keyboards

Aaron Germaine - bass
André Bush - guitar
Darius Babazedeh - saxophone
Tom Peron - trumpet

Ranzel Merritt - drums

Red 

By C. Michael Bailey

Polish vocalist/composer/violinist Beata Pater, as of late in San Francisco, releases "Red", the third recording in her "colors" series following "Black" (B&B, 2006) and "Blue" (B&B, 2011). She specializes in the no-lyrics singing that is related to, but not exactly the same as scat singing. Much of this is present on Redwhere, an expressive and passionate singer, Pater draws every bit of creativity from her mezzo-soprano voice. Her capability is elastic like that of Betty Carter and Cheryl Bentyne, with the midrange guts of Sarah Vaughan.

"Red", like the previous "color" releases, focuses nominally on the particular color considered, ergo, the original "Big Red" and trumpeter Freddie Hubbard's "Red Clay." Red sports fewer mainstream standards in favor of more Pater compositions and those shared with pianist Mark Little, with "Red Clay" and pianist Herbie Hancock's "Butterfly," which opens the disc, representing the "standards." Pater approaches a hip-hop sensibility on "Sir Doug of Edwards" and A Michael Jackson-infused groove on "Big Red," which features electric guitarist André Bush.

Pater brings all of her James Brown funk to "Red Clay," producing a rendition that is at once curious and fertile. It is a reflection of the entire disc, which houses music that pushes the envelope of vocal jazz and R&B. Pater has seized on a theme and she is riding it for all it is worth. It will be interesting to see where it goes next.

O tym dlaczego ona tańczy NIE dla mnie...

Jeden z moich ulubionych pisarzy Jaroslav Hasek, autor "Przygód Dobrego Wojaka Szwejka", założył w roku 1911 wraz z przyjaciółmi Partię Umiarkowanego Postępu W Granicach Prawa. Przeglądałem ostatnio jej postulaty i stwierdziłem, że prawie nic się one przez lat sto nie zdezaktualizowały. "Wprowadzenie obowiązkowego alkoholizmu" poszerzone o przymus palenia marihuany już właściwie jest na sztandarach jednej z naszych partii. "Nietykalność księży" jest z kolei wśród haseł innej. Także "Zorganizowanie sieci państwowych zakładów wychowawczych dla niedorozwiniętych posłów" mogłoby żywy oddźwięk znaleźć w naszym społeczeństwie.

Jednak Hasek i jego koledzy wiele mogliby się też nauczyć od naszych polityków. Nie wierzycie? To rzućcie okiem na artykuł piętnasty Ustawy o Radiofonii i Telewizji. W myśl tego zapisu "nadawcy programów radiowych przeznaczają co najmniej 33% miesięcznego czasu nadawania w programie utworów słowno-muzycznych na utwory, które są wykonywane w języku polskim, z tego co najmniej 60% w godzinach 5—24." Tak jak on jest tutaj zapisany nie obejmuje on chociażby muzyki muzyki instrumentalnej. Zatem taki na przykład polski jazz żadnej z niego korzyści odnieść nie może. Już prędzej łomotać cały dzień będzie o nasze uszy przebój ostatniego Sylwestra w naszej państwowej (sic!) telewizji czyli "Ona tańczy dla mnie". Przecie to polskie, swojskie, wyśpiewane od ucha do ucha. Że potworne? Że prymitywne? Że głupie jak but? Czy ktoś się zastanowił czy na tym ma polegać promocja naszej kultury? Czy tak ma wyglądać tak potrzebny dla naszej sztuki mecenat Państwa?

Otóż ona tańczy NIE dla mnie! Bo według mnie to jest antypromocja i antymecenat. W ich wyniku nie tylko w niczym politycy nie pomagają naszej kuturze, ale ją wręcz zażynają. Już lepiej doprawdy słuchać Stinga, Adele czy Lany Del Rey niż ich pożal się Boże polskich kopii i podróbek. Dlaczego, pytam się, nie mamy narodowej instytucji, w której pracowałaby grupa kompetentnych ludzi i mądrze, podkreślam mądrze, wspomagałaby polską muzykę? Miliardy złotych poszły na stadiony, na których ani razu się nie pojawiłem, bo po co? Aby oglądać naszych kiepskich kopaczy jak zbierają baty od dosłownie wszystkich w Europie czy na świecie? Żeby spędzić parę godzin wśród kipiącego agresją tłumu pogrążonego w plemiennym amoku? Po co komu ta lekcja bezrefleksyjnego nacjonalizmu? Gdzie tu jakiś powód do prawdziwej narodowej dumy? Ot, wywaliliśmy pieniądze (chociaż nikt nas nie pytał czy tego sobie życzymy) kompletnie bez efektu! Stadiony stoją, FIFA zarobiła miliony, a my przez kolejne dziesięciolecia będziemy musieli do nich dokładać...

Nóż się w kieszeni otwiera, gdy się słyszy, że tylko w tym roku, do działalności samego Stadionu Narodowego trzeba będzie dołożyć 22 miliiony złotych! Chryste Panie! Wyobraźcie sobie Państwo ile dobrego mógłby uczynić powołany do wspierania polskiego jazzu instytut dysponujący takim budżetem?! Przecież większość najlepszych polskich płyt jazzowych wydanych w zeszłym roku to niszowe projekty powstałe za dosłownie grosze. Graniczy doprawdy z cudem, że nasi artyści bez żadnej pomocy Państwa albo z niewielką są w stanie NA PRZEKÓR wszelkim problemom tworzyć i nagrywać tak zdumiewająco piękną muzykę. Ale cały ten gmach na bardzo słabym zbudowany jest fundamencie. Jeśli pozostawi się go tak jak jest to wielkie mam obawy o jego trwałość. PO prostu muzycy klepią biedę! Zresztą nie tylko oni. Klepią biedę organizatorzy koncertów. Klepią biedę piszący o muzyce. I tak dalej i tym podobnie. 

Oburzające! Głupie! Bezmyślne! Zwłaszcza, że rząd potrzebuje jednego dnia by znaleźć dla kulejącego LOT-u 400 milionów złotych! Po co? Czy gdyby LOT przestał istnieć to od jutra na Okęciu przestałyby startować i lądować samoloty? Zapewniam Państwa, że inne firmy szybko zapełniłyby tę lukę. Jednak NIKT, podkreślam nikt, nie zapełni luki po Stańce, po Namysłowskim, po ich starszych i młodszych utalentowanych koleżankach i kolegach, dzięki którym istnieje polski jazz. Bo talentu nie da się kupić za żadne pieniądze. Oprócz iskry Bożej potrzeba mu długiej i ciężkiej pracy. I wzrasta jak drzewo czerpiąc soki z tej ziemi. I trzeba go też od czasu do czasu, bu nie usechł, podlewać i mądrze dbać o niego. NIE tworząc głupie zapisy narzucające pseudopolską muzykę odbiorcom i ograniczające ich wolność wyboru. Lecz aktywnie działając na rzecz wsparcia tego co najlepsze w polskiej kulturze, by przetrwała pamięć o naszych czasach i o ludziach, którzy żyją i tworzą tu i teraz.

Autor: Maciej Nowotny