RGG – Szymanowski (2013) *****

Łukasz Ojdana - piano
Maciej Garbowski - bass
Krzysztof Gradziuk - drums
By Adam Baruch

This is the sixth album by the exquisite Polish Jazz piano trio RGG, and their first release following the changeover of their piano player, with Lukasz Ojdana replacing the founding member Przemyslaw Raminiak. For a piano trio the replacement of the pianist is equivalent more or less to a heart transplant in a human body, which is of course a tremendous upheaval. The fact that such transition not only is possible, but is eventually successful is nothing short of a miracle. Bassist Maciej Garbowski and drummer Krzysztof Gradziuk should be congratulated for going through this experience unspoiled and unshaken in their team spirit. The fact that the trio chose to retain its name (rather than changing it to OGG for example) is a most welcome sign of respect towards their departed colleague and the will to continue the splendid tradition they created so far, a fine and very rare example of camaraderie winning over ego.

But the drama surrounding this album does not end with the personnel change; for the first time the trio decided to pay homage to a Classical composer, in this case the Polish early-20^th Century pianist / composer Karol Szymanowski. Szymanowski, a brilliant early-modernist / impressionist, who combined Polish Folklore and modernist compositional tools, is a rather neglected figure on the Polish scene, which is a great shame. Therefore the fact that RGG decided to make him the center of their new recording fits perfectly their non-conformist approach towards music. Of the thirteen tracks on this album, nine are interpretations of compositions by Szymanowski, three are composed by the bassist and the remaining one is a group composition. The original compositions are of course "in spiritu" inspired by the great composer. Following decades of Polish Jazz musicians obsessively interpreting the music of Frederic Chopin, it's truly refreshing to hear some musicians turning the attention to other great Polish composers, like Szymanowski in this case.

What remains unchanged is the trio's basic approach to music, full of freedom, beautiful silence between the notes, total dedication and amazing intellectual command, which takes the music to lofty peaks. Ideally, the listener of this music should be familiar, at least to some extent, with the original music by Szymanowski, but being realistic, this will be the case only in reference to very few listeners. But this music is so powerful and stunning, that it completely stands on its own as well. RGG managed again to create a sonic universe of its own, which keeps the tradition of the original music at its core alive a Century later, transforming it to contemporary set if aesthetic values and parameters. Perhaps this recording will inspire new listeners to discover Szymanowski, after listening to this gorgeous music: a double winner after all. 

It makes no sense to compare Ojdana with Raminiak and additionally it means absolutely nothing as far as the music is concerned; the only thing that matters is the fact that he became an organic part of the trio, fitting ideally with his two partners and cooperating with them symbiotically and creatively. And most importantly the level of talent of virtuosity displayed by RGG was not lessened by an iota, which firmly places them at the very top of Jazz piano trios not only in their native Poland, but worldwide, easily! I've already written extensively about the talents of Messrs. Garbowski & Gradziuk, suffice to say they are without a doubt closer to Euterpe then most others I happened to have the pleasure to listen to. 

The trio maintains the tradition of recording their albums at the now legendary Studio Tokarnia, under the auspices of the resident sound wizard Jan Smoczynski. The result is nothing short of spectacular, which stands its ground to any ECM recording, again with ease. Therefore for all intents and purposes this album is equivalent to a Keith Jarrett trio album on ECM; it simply does not get any better than this.

Kuba Stankiewicz – Kilar (2013)

Kuba Stankiewicz - piano










By Adam Baruch

This is finally the full album (preceded by a teaser EP), which presents one of the best Polish Jazz pianists Kuba Stankiewicz playing his interpretations of music written by the great Polish contemporary Classical and Cinematic music composer Wojciech Kilar. The music is performed on solo piano, the most "naked" of all formats but also the most unlimited one. Kilar, who is unfortunately less know outside of Poland than his contemporaries like Krzysztof Penderecki, Henryk Gorecki or Witold Lutoslawski, is by no means less important and neither is his wonderful musical legacy. His work as a composer of film scores is truly legendary and his music accompanies over 100 films by all major Polish directors, like Roman Polanski and Andrzej Wajda, and also those beyond Poland, both in Europe and the US (for example Francis Ford Coppola). Although a modernist, Kilar's music is full of romanticism and lyricism, and his sublime sense of melody is second to none.

This album includes twelve compositions by Kilar, ten of which are from film scores and the remaining two from TV serials. Stankiewicz treats Kilar's music with a lot of respect and obvious love. The relaxed and delicate interpretations are full of charming moments, where the improvisations move out and return to the melodic theme. Stankiewicz has a wonderful touch on the piano, which sounds full-bodied and expressive even at a low volume. The overall effect is simply delightful. I especially admire the pianist's humility and modesty which are the predominant features of his approach to the music. He firmly leaves the focus on the amazing compositions, taking only very limited liberties with the original notes and making his personal input subtly concealed, exposed only to the sensitive listener. Contrary to many other Jazz pianists, who often like to dominate their interpretations of other composers' music with their own statements, Stankiewicz simply serves as a vessel bringing Kilar's music to a new audience.

Following decades of Polish Jazz musicians obsessively interpreting the music of Frederic Chopin and Krzysztof Komeda, it's truly refreshing to hear some musicians turning the attention to other great Polish composers, like the sensational "Experiment: Penderecki" released recently by pianist Piotr Orzechowski or the new album by the superb RGG trio performing the music of Karol Szymanowski. This music is very different, but also very interesting and no less challenging intellectually. An absolute must to all piano, solo piano and Jazz-Classical Fusion listeners everywhere. This is a heartwarming piece of music, which is a balsam to the ears, weary from the noise that surrounds us all.

This album was released on a new Polish Jazz record label, called V Records, steered by the producer Adam Domagala. I look forward impatiently to hear the future releases by this label and in the meantime wish the best of luck with this admirable project to both maestro Stankiewicz and his producer.

Marcin Masecki - Polonezy (2013)

Marcin Masecki

Marcin Masecki - conductor, piano
Maurycy Idzikowski, Filip Mazur - trumpets
Michał Górczyński, Tomasz Stawiecki - clarinets
Bartek Smorągiewicz, Tomasz Duda - saxophones
Michał Tomaszczyk, Piotr Wróbel – trmbones
Jerzy Rogiewicz – drums

Polonezy (2013)

By Maciej Nowotny

Marcin Masecki - still young, in his thirties, a graduate of famous Berklee College of Music - has already gathered experience so unbelievably rich that it makes him personality absolutely unique on Polish music scene. In his teens he presented himself to the audience as prodigiously talented pianist employed by some of Polish best jazz musicians. He collaborated with such great players as Andrzej Jagodziński or Zbigniew Wegehaupt of older generation and also some of most successful of jazz musicians from younger one like Grzegorz Piotrowski (Alchemik's "Dracula in Bucharest") or Wojtek Mazolewski (Pink Freud's "Alchemia"). He summed up this period by releasing in 2006 the album "Live at Mińsk Mazowiecki" in so-well known jazz trio format with Garth Stevenson on double bass and Ziv Ravitz on drums which was easily one of the best mainstream recordings in last decade in Polish jazz.

After he had built for himself position on local jazz scene that many could only dream of, still being very young in his twenties, he became disillusioned with so-called mainstream and turned himself entirely toward avantgarde with - yet another surprise - occasional excursions toward indie or even pop music (Paristetris). Of particular interest are his piano solo projects ("Bob", "John" and "Die Kunst Der Fuge") and works for orchestra.

The first of latter was "Chopin Chopin Chopin" (2011) in which as in the lens were focused all features which makes music of Masecki so extraordinary: superb level of performance, child-like enthusiasm but first of all a total originality of his musical ideas which he builds upon as much jazz as classical music foundations. "Polonezy" could be justly seen as continuation to this very successful project. The size of orchestra has become a bit expanded but musicians taking part in recording of "Chopin Chopin Chopin" were kept on crucial positions. But most importantly the music on "Polonezy" retained the adventurous spirit of this first record.

No labels can describe appropriately what awaits you upon listening to this disc. The mixture is so bizarre, yet simultaneously so fresh and coherent that the listener can only choose between love and hate towards this music. For Masecki  there is no way in-between, no compromises, no prisoners taken. But if you are ready to check how would sound Chopin when played by Monk accompanied by auto-ironic swinging military band then you will probably end up being as much awed as I am after the consecutive rehearsals of this outstanding material.

Rama 111 – Rama 111 (Swinging Tricity Vol.2) (2012)

Jan Rejnowicz - leader, organs, piano
Przemysław Dyakowski - tenor & sopran saxophones
Maciej Flont - sax tenor
Eugeniusz Kadyszewski - guitars
Piotr Nadolski - trumpet
Andrzej Nowak - piano
Tadeusz Petrow - sax, flute
Bogusław Skawina - trumpet
Aleksander Śliwa - bass
Andrzej Śliwa - drums

SOLITON 101

By Adam Baruch

This is the second installment in the excellent archival series documenting Polish Jazz created in the country's Tricity on the Baltic Sea, one of the important centers where Polish Jazz thrives and over the years produced numerous first-rate musicians and superb bands. The series presents material, which in most cases never previously appeared in any form and therefore is of immense historic importance.

This chapter presents the Rama 111 ensemble, which is now almost completing five decades of musical activity, having toured extensively worldwide. The group was founded in 1966 and exists to this very day, but unfortunately never managed to record even one album under their name (they did record with the Polish Jazz vocalist Marianna Wroblewska), which sadly was the fate of many Polish Jazz artists during the Socialist regime. However they did record for the Tricity Polish Radio station in Gdansk, where all of the material included on this album comes from.

Rama 111 changed musical directions over the years and in retrospect covered a wide range of styles, from modern mainstream, via Jazz-Rock-Fusion, Swing and even Dixieland. The recordings included on this album originate mostly in the early to mid-1970s, and present primarily their Jazz-Rock side, although the Jazzy side is much more dominant than the Rock elements. It was founded by keyboardist Jan Rejnowicz and over the years featured the following musicians present on this album: saxophonists Przemyslaw Dyakowski, Maciej Flont and Tadeusz Petrow, trumpeters Piotr Nadolski and Boguslaw Skawina, pianist Andrzej Nowak, bassists Eugeniusz Kadyszewski, Roman Skurzynski and Aleksander Sliwa and drummer Andrzej Sliwa.

The group performed both their original compositions, mostly by Rejnowicz, which were truly excellent, as well as their arrangements of Jazz standards, also mostly by Rejnowicz, which were unique and elaborate. The radio recordings have excellent sonic quality and the overall level of performances is superb.

This is another great piece of Polish Jazz history, which should definitely be told and preserved as part of the country's Cultural Heritage. Kudos to Marcin Jacobson for creating this series and keeping it going!

Baszta – Baszta (Swinging Tricity Vol.1) (2011)

Leszek Dranicki - guitar, vocal
Jerzy Główczewski - saxophone
Zbigniew Kędzierski - saxophones
Edward Kolczyński - trumpet, piano
Adam Ochocki - trombone
Jan Rucki - drums
Piotr Sapieja - percussions
Stanisław Suchecki - trombone
Aleksander Śliwa - bass guitar
Lech Woś - Fender piano

SOLITON 074

By Adam Baruch

This is the first installment in the excellent archival series documenting Polish Jazz created in the country's Tricity on the Baltic Sea, one of the important centers where Polish Jazz thrives and over the years produced numerous first-rate musicians and superb bands. The series presents material, which in most cases never previously appeared in any form and therefore is of immense historic importance.

This chapter presents the Baszta ensemble, a Jazz-Rock Fusion / Funk outfit, which was very popular locally as it held the position of the house band at the local student club. The group was founded in 1976 and existed for about five years until the late 1970s, and unfortunately never managed to record even one album, which sadly was the fate of many Polish Jazz artists during the Socialist regime. However they did record for the Tricity Polish Radio station in Gdansk, where about half of the material included on this album comes from, the other half being live recordings from the student club, which was their residence.

Baszta was one of few Polish Jazz ensembles playing "Horn Rock", i.e. horns oriented Jazz-Rock Fusion, similar to Blood, Sweat & Tears, Chase and many other ensembles representing this particular sub-genre. It was founded by trumpeter Edward Kolczynski and over the years featured the following musicians present on this album: guitarist Leszek Dranicki, saxophonists Jerzy Glowczewski and Zbigniew Kedzierski, trombonists Adam Ochocki and Stanislaw Suchecki, keyboardist Lech Wos, bassist Aleksander Sliwa, drummer Jan Rucki and percussionist Piotr Sapieja.

The group performed both their original compositions, mostly by Kolczynski and some by Wos, which were first-rate, as well as their arrangements of Jazz, Rock and Pop standards, which were quite witty and intelligent. The radio recordings have excellent sonic quality, but the live recordings are somewhat low-hi, but still definitely worth listening to. The overall level of performances is superb, except for a few vocal tracks (among the live tracks), which is less appealing.

This is another great piece of Polish Jazz history, which should definitely be told and preserved as part of the country's Cultural Heritage. Kudos to Marcin Jacobson for creating this series and keeping it going!

Art Of Improvisation Creative Festival 2013 - Wroclaw, June 2013, 21-23

ART OF IMPROVISATION Creative Festival is an international, interdisciplinary project dedicated to the broadly defined field of improvisation, emphasizing its richness, diversity and above all, openness. In ART OF IMPROVISATION there are taking part extraordinary artists for whom art is the living matter, and creativity, emotional development, personality, etc. are the basis of the creative process. Initially focused on the music, ART OF IMPROVISATION is widening formula and including performance, dance, theatre etc.

WHY IMPROVISATION…

In a simple meaning improvisation is an act of performing and creating at the same time. But first of all it is a multilevel communication. An artist communicates with himself, with his experience, intuition, imagination. While creating his piece he communicates with other musicians. Finally, he communicates with an audience. The result is not only a concert, not only music but a peculiar performance – in a modern depiction – or a ritual in a primary meaning. Improvisation is also a keyword and it can be used in different ways. It can be a constituent element of a composition or a goal in itself – a collective stream of consciousness. There are a lot of variations and as a result we can experience numerous music events both dynamic and colourful.

After two succesful editions of ART OF IMPROVISATION Meetings (featuring i.e. the legendary Schlippenbach Trio and Axel Dörner – the main representative of reductionism ) this year, for the first time as ART OF IMPROVISATION Festival – we would like to invite you to unique concerts of exceptional bands that will show different aspects of improvisation.

Famed Rock Musician Passes, Had Jazz (and Polish!) Roots

Text by Raymond Rolak
Sports and Entertainment

CHICAGO-- Ray Manzarek, the famed keyboard artist for The Doors, passed after a long battle with bile duct cancer. He was 74 and under treatment at a clinic in Rosenheim, Germany. He was surrounded by family. He became part of Rock-and-Roll history with his jazz influenced electric organ renditions for the historic band. It is reported that The Doors sold over 100 million albums.

Born of Polish decent and attending Chicago St. Rita’s High School, his first real passion was basketball. After some piano lessons that didn’t thrill him, he embraced the Chicago jazz scene. He also earned an Economics degree from DePaul University.

Manzarek was responsible for the left handed bass keyboard sound that became the unique signature of The Doors. He was in film school in 1965 at UCLA when along with Jim Morrison, they started their historic band. They enlisted drummer John Densmore and another friend, guitarist Robby Krieger. Because Manzarek did double duty with the keyboard they never had a bass guitar player. He also did some vocals on The Doors hit recordings.

In 1966, The Doors started to find their niche as the house band at the famed Los Angeles Sunset Strip nightclub, Whisky a Go-Go. The band developed what was described as a unique new L. A. sound and released “Break On Through (to the Other Side)” in early 1967. Then “Light My Fire” shot to No. 1 just two months later. Manzarek will always be known for the opening riff on “Light My Fire.”

His silky keyboards on “Riders On the Storm” are now considered iconic and classic rock. His art set the distinctive musical sound of the Doors apart from everyone else. This L.A. underground sound made The Doors both national and global rock stars.

Manzarek had said in a 2011 interview, “We had auditioned at a club in Los Angeles, and I saw the Fender Rhodes keyboard bass onstage, which belonged to another band. And I thought, ‘Eureka, that’s it. I’ll play that.’” “It worked out fine because it’s basically the way I play the keyboard anyway, with my left hand playing the bass line. And it kept The Doors as a four-side diamond, rather than an evil pentagram, he added.”

Manzarek married Dorothy Fujikawa in Los Angeles on December 21, 1967.

The band carried the baggage of controversy because of Morrison’s alcohol and drug use. Their 1976 performance on the Ed Sullivan Show was mired in giant television dispute because of a censored lyric.

After Morrison’s death in 1971, the band eventually broke up. Manzarek and Krieger had a contentious lawsuit with Densmore about licensing The Doors’ name for commercial purposes. Manzarek also became an author, writing “Light My Fire: My Life with the Doors” in 1998 and “The Poet In Exile” in 2002. He also became a successful producer especially with Punk Music in California.

In a Rolling Stones Magazine article in 1974, Manzarek said, “The Doors’ success was so quick it frightened me. The adulation we received was ridiculous. Nobody was saying much about the music – it was just mystique. The Doors became so mythical in such a short time. It was too much too soon.”

The Doors were inducted into the Rock and Roll Hall of Fame in 1993. Manzarek also reinvented himself playing jazz club dates and some Chicago style Blues. He last recorded in 2010, a blues album with slide guitarist Roy Rogers.

He was born Feb. 12, 1939 in Chicago and his real last name was Manczarek. He dropped the “c.” to simplify the spelling. In semi-retirement he had settled in Napa County. Manzarek is survived by his wife, Dorothy; a son, Pablo; three grandchildren and two brothers, Rick and James Manczarek.

Editor’s Note: Raymond Rolak was one of the producers for the recently released to DVD and Hawaiian comedy, www.getajobmovie.com

Jarosław Śmietana & Bill Neal - Live At Impart (2012)

Jarosław Śmietana & Bill Neal

Jarek Śmietana - guitar, vocal
Bill Neal - vocal, tenor sax
Wojciech Karolak - keyboards, Hammonds
Paweł Tomaszewski - keayboards
Marcin Lamch - bass
Adam Czerwiński -drums

Live at Impart (2012)

By Maciej Nowotny

This is an album containing basically  only blues music. Still it features some of the best Polish jazz players as guitarist Jarek Śmietana, keyboardists Wojtek Karolak and Paweł Tomaszewski, bassist Marcin Lamch and drummer Adam Czerwiński, so it is justified to write about it on this blog. Co-leader, along with  Śmietana, is an Australian vocalist Bill Neal who occasionally also play some notes on tenor sax. 

Such a high-quality team produces of course very good music. They reproduce all time blues and rock classics from repertoire of such well known bands as The Animals, Fleetwood Mac or such great musicians as Ray Charles or Jimmy Hendrix. Most of these tunes Jarek Śmietana and Wojtek Karolak arranged for studio album of the latter titled "I love The Blues" and released a year before this disc.

The time has comes for some assesement of this music. I believe it can be two-fold depending on which point of view you represent. If you treat blues (or jazz) as some definite form of music which is basically finished and shall be now copied (better or worse) by new generations then you should be very happy with this album. It sounds very well, even if nothing special distinguishes it from similar (or identical) one (or more) hundred other good blues albums recorded during last, say, century or so.

However if you feel that blues (and especially jazz) shall be living form of music whose vitality depends on its ability to change to reflect the evolution of world around then it is rather depressing. No challenge, no innovation, no creativity - very well played but so well known that eventually boring.

Oleszak / Turner - Fragments of Parts (2013)

Oleszak / Turner

Witold Oleszak - inner piano
Roger Turner - studio drumset and cymbals

Fragments of Parts (2013)

This is a second disc by this duo I have an opportunity to listen to. Previous one "Over the Title" was interesting piano/drums duo verging between freeimprov and avantgarde classical (such a label sound stranges I admit) music. If you want to learn more about both musicians please read my review of above mentioned album. Stylistically this kind of music is all about experimenting with sound. It can be refreshing experience especially if someone is bored with all too well known mainstream music. However since it  has nothing in itself of melody or even rhythm, just sound distortions and fluctuations, I suppose target for this CD must be rather limited. (Editor)

Waclaw Zimpel Quartet – Stone Fog (2013)

Waclaw Zimpel - clarinet
Krzysztof Dys - piano
Christian Ramond - bass
Klaus Kugel - drums

FOR TUNE 009






By Adam Baruch

This is the debut recording by the quartet led by Polish Jazz clarinetist / composer Waclaw Zimpel with his countryman pianist Krzysztof Dys and two German musicians: bassist Christian Ramond and drummer Klaus Kugel. The album presents eight compositions named using lines from poems by the US poetess Laura Winter. Three of the compositions are credited to Zimpel and the remaining five are group compositions.

Despite his young age (he was 29 years old when this music was recorded) Zimpel is already considered as one of the most important upcoming Free Jazz / Improvised Music figures on the European scene. In the scope of the last decade he managed to cooperate with many first-class musicians from Poland and abroad, play many concerts and record quite a few albums as a leader and as sideman, most of which were received enthusiastically by the critics.

The clarinet, Zimpel's "weapon of choice", is sadly a much neglected instrument in contemporary music, avant-garde and Improvised Music included, and therefore his contributions are especially important, keeping the clarinet tradition alive. Except for the older generation clarinet Giants, like American Perry Robinson, Israeli Harold Rubin, French Louis Sclavis, Italian Gianluigi Trovesi and a handful of others, Zimpel's young voice is a fresh breath of air in this particular niche.

As to the music on this album, I find it slightly less exciting personally in comparison to his earlier recordings with ensembles like Undivided or Hera. Not that this album lacks anything in quality and power of expression, but perhaps it is less based on incorporating World Music motifs, which Zimpel excels at. This album firmly belongs to the "traditional" Free Jazz / Improvised Music milieu, if the word "traditional" applies at all in such cases. But regardless of my personal preferences, this is excellent music from start to finish, performed with passion and masterly ability, by all four musicians involved. The rhythm section provides exceptional backing, moving swiftly between almost swing to free form, Dys on piano spreads layers of twisted harmonic structures and Zimpel, as usual, plays the role of the of Hamelin's Pied Piper, snake charmer and a Hassidic Klezmer, all in one. Most connoisseurs of Free Jazz will find this music very interesting and aesthetically enchanting.

The album was released by a new Polish label called For Tune, which seems to be specializing in "unconventional" musical projects, like this one. All the releases on the label have a distinct graphic design, which appears to be copying the early ECM, Hat Hut and other avant-garde labels following this path. Polish avant-garde Jazz fans know that this label is of course not the first of its kind, but the more the merrier. There is always place for good music and I wish the label a lot of success.