Mack Goldsbury / Polish Connection – Salt Miners Blues (2010) ***

Mack Goldsbury - saxophone

Maciej Fortuna - trumpet

Reggie Moore - piano

Krzysztof Ciesielski - bass

Roman Slefarski - drums

FM 004

By Adam Baruch

This is a live recording by an American / Polish quintet featuring two veteran US Jazz musicians (both resident in Germany): saxophonist / composer Mack Goldsbury and pianist Reggie Moore with three young Polish Jazz players: trumpeter / composer Maciej Fortuna, bassist Krzysztof Ciesielski and drummer Roman Slefarski. They perform eight original compositions; four by Goldsbury, three by Moore and one by Fortuna.

The music, although original, is pretty standard mainstream Jazz, undistinguishable from myriad of other similar tunes, with the exception of the sole composition by Fortuna, which is more ambitious and stands out as the only piece which is less constrained stylistically and even has a glimpse of freely improvised moments.

After listening to the album for a while it becomes quite apparent that Fortuna is by far the best player in the quintet, with the two Americans simply being mundane and overall unimpressive. It is possible that the informal atmosphere of the recording and the proximity to New Year's festivities made everybody less careful and attentive, as the entire set sounds a bit disorganized. The recording quality is also pretty lax, which does not improve the overall result.

Obviously a learning experience for the young Fortuna, who in the meantime proved himself to be one of the most impressive young lions of Polish Jazz, this is definitely not one his finest moments.

Orzechowski/Masecki/Adamus/Capella Cracoviensis – Bach Rewrite (2013) ****

Piotr Orzechowski - rhodes piano
Marcin Masecki - wurlitzer piano
Jan Tomasz Adamus - conductor
+ Capella Cracoviensis

DECCA 602537545759




By Adam Baruch

This is definitely one of the most intriguing albums released in Poland in 2013; a completely cross-genre innovative project, which should interest a wide range of music connoisseurs. It combines the eternal music of Johann Sebastian Bach with two Polish enfants terribles: pianist / composer Piotr Orzechowski (a.k.a. Pianohooligan) and pianist / composer Marcin Masecki, usually associated with avant-garde Polish Jazz but also know to have flirted with Classical music, contemporary and otherwise. Orzechowski included a Bach prelude on his debut demo album in 2011 and then shook up the Polish music scene in 2012 with the album presenting his interpretations of the music by the celebrated Polish composer Krzysztof Penderecki. Masecki performed and recorded many times his interpretations of Classical music pieces earlier on and even recorded in 2012 a complete album covering Bach's "Die Kunst Der Fuge". Therefore this meeting is not really as surprising, as it might appear at the first glance.

The pianists perform three Bach concerti for harpsichord, strings & continuo; each performs one concerto and together they perform a double concerto for two harpsichords. They are accompanied by the Capella Cracoviensis Orchestra conducted by Jan Tomasz Adamus, which specializes in performing early Classical music played on original instruments of the period. The "catch" is that rather than using the harpsichord as intended, Orzechowski uses the Fender Rhodes electric piano and Masecki uses the Wurlitzer electric piano.

Other than the effect of hearing an electric piano accompanied by a Baroque orchestra the album sounds pretty straightforward / "normal" and almost conventional. The big surprises are hidden almost at the very end of each of the concerti, when the pianists perform a "solo" / free improvised section, which of course is not a part of the original concerti (in the double concerto they perform this section together as a duo). This bold and innovative idea is what adds an extra "spark" to what this album offers to its listeners. There is of course also the a.m. disparity between the electric pianos and the orchestra, but after a while it simply vanishes and Bach's music heals this gap quite naturally.

Both pianists and the orchestra perform their roles formidably and the overall effect is pleasing, but not overwhelming. The entire project turns out to be less innovative / challenging that one might expect. The short improvised passages are somewhat alien to the music at large and appear to be more "conceptual" than natural. The orchestra is absolutely perfect and the worm sound of the instruments is a true delight. The sound quality is acceptable, but not sensational. Summa summarum this is a pleasant, interesting album, which tries to bring Bach's music into contemporary environment, which is always commendable. It is not, however, a major / revolutionary concept / achievement.

Side Note: The author of the liner notes accompanying this album keeps rumbling on and on about Wendy Carlos' 1968 album "Switched-On Bach", which was a first of its kind recording of Classical music performed on a Moog synthesizer. I completely fail to see any connection whatsoever between that album and the music included herein. Although innovative, "Switched-On Bach" was after all just a gimmick intended to sell records, which worked very well BTW. Any attempt to uplift its status to a significant masterpiece is simply ridiculous as it connecting it with this album.

Anna Kaluza / Artur Majewski / Rafal Mazur / Kuba Suchar - Tone Hunting (2013) ****

Anna Kaluza / Artur Majewski / Rafal Mazur / Kuba Suchar

Anna Kaluza - alto sax
Artur Majewski - trumpet
Rafał Mazur - acoustic bass guitar
Kuba Suchar - drums, megaphone

Tone Hunting (2013)

This recording confirms everything you may have heard about the dynamism and richness of the Polish jazz and improvised music scene, more and more a rival of the much talked Scandinavian and Portuguese ones. German alto saxophonist Anna Kaluza met in Wroclaw three of the most important musicians around for an exquisite session of abstract jazz, resulting in this beautiful “Tone Hunting”. Herself a new value in ascension, coming from a collaboration with the London Improvisers Orchestra and the very welcomed creation of the Berlin Improvisers Orchestra, she couldn’t have found more defiant partners.

Artur Majewski is on his way to become one of the most intriguing trumpeters in Europe, judging from his work with drums / trumpet duo Mikrokolektyw, co-led with Suchar and the Foton Quartet. Rafal Mazur is a virtuoso of the acoustic bass guitar, having developed extended techniques of his own for its definitive emancipation as an instrument. Drummer (and also a recognized intermedia artist) Kuba Suchar already crossed Poland’s frontiers, having international partnerships with such different people as Rob Mazurek, Nicole Mitchell, Keith Rowe, Kevin Drumm and Matt Bauder, among others. They’re hunting tones indeed, but hear what they do to get them…

(source: Cleen Feed press release)

Anna Kaluza / Artur Majewski / Rafal Mazur / Kuba Suchar - Tone Hunting (Clean Feed 2013) by Jazzariumpl on Mixcloud

Slawomir Kulpowicz / Shujaat Khan – Live (2013) ****1/2

Slawomir Kulpowicz - piano

Shujaat Khan - sitar

Arunangshu Chaudhury - tabla

Krzysztof Scieranski - bass

POLSKIE RADIO 1250

By Adam Baruch

This is the fourth installment in a series of releases documenting the recorded legacy of the great Polish Jazz pianist / composer Slawomir Kulpowicz, most of which is released for the first time. Kulpowicz, who died prematurely in 2008 at the age of 56, was a victim of cancer. He was a member of groups led by the top Polish Jazz players like Zbigniew Namyslowski and Tomasz Stanko and led / co-led his own ensembles like The Quartet, In-Formation and also cooperated with many other musicians over the years. He was an avid follower of John Coltrane's music and kept in touch with Coltrane's wife Alice Coltrane. Following his visit to India, Kulpowicz discovered Indian music and the spiritual aura of India, which became his own.

Kulpowicz visited India for the first time in 1978, when he was a member of the Zbigniew Namyslowski quartet, which played at the Jazz Yatra in Bombay. At the time he met and befriended a young sitar player Shujaat Khan, a descendant of the legendary Khan dynasty of sitar players since hundreds of years. That friendship lasted for almost thirty years as long as Kulpowicz was alive. They played together many times in Poland and abroad. In 1984 Khan visited Poland and recorded a live album with Kulpowicz for the Poljazz label. The last time they played together was in 2006, when Khan visited Poland again, bringing with him the tabla player Arunangshu Chaudhury. Kulpowicz invited the legendary Polish electric bassist Krzysztof Scieranski and the four played together the music presented on this album, which was recorded live at Warsaw Philharmonic Hall.

Considering the fact that European (including Jazz) and Indian music exist on almost completely separate planes, the amalgamation of the two is extremely difficult to achieve. Except for a very few earlier attempts, most importantly the John Mayer / Joe Harriott Indo-Jazz Fusions from the late 1960s / early 1970 and the John McLaughlin's Shakti a decade later, which were groundbreaking and musically just right, most of the other attempts resulted in failures. The music included on this album proves again, that the power of music transcends not only cultural borders but also thousands of years of musical tradition, enabling conversations between musicians originating seemingly from worlds apart.

The album comprises of just three extended pieces, two of which are about half an hour long and the third a quarter of an hour in duration. Named simply "songs", they are improvisations on melodic themes composed by Kulpowicz, performed wonderfully and in perfect harmony by all four musicians. Khan voices the melody at the onset of each piece and then the musicians take extensive solos in turn, with the full quartet returning to the melodic theme several times between the solos. Kulpowicz plays superbly and his solos are simply outstanding statements in the John Coltrane tradition, emphasizing the close relationship between Coltrane's music and the Indian influences, which are often difficult to be discovered in his music, but come to wonderful realization when performed by Kulpowicz. There is so much passion in his playing that one suspect that his premonition as to his fate was already hunting him.

Khan, who since the early meeting with Kulpowicz achieved a Masterly status in Indian music, is an obvious sitar virtuoso and his solos are also breathtaking. Chaudhury and Scieranski, although a priori destined to fulfill a less dominant role in this music, perform both splendidly and their contributions are invaluable. Scieranski especially is to be prized, as his elegant and delicate bass tones manage to keep a perfect balance with his partners and the music which usually exist without the bass foundation so typical in European music.

The music is beautifully recorded and has an outstanding sound quality, especially in view of the fact that it is a live recording. Musically it is one of the finest examples I have ever come across of cross-cultural amalgam that work naturally as "God intended". An absolute must to World-Music enthusiasts and all connoisseurs of great music, regardless of genre, geography or cultural affiliation. Respect!

Gdzie szukać skarbów czyli o najnowszym krążku Kowalewskiego i Wyleżoła

Adam Kowalewski - kontrabas

Piotr Wyleżoł - fortepian

For You (2013)

“Tam skarb, gdzie serce Twoje” myślałem słuchając najnowszej płyty kontrabasisty Adama Kowalewskiego nagranej w duecie z pianistą Piotrem Wyleżołem, a zatytułowanej “For You”. Dla Ciebie, przez Ciebie, dzięki Tobie, z Tobą, o Tobie, Ty, Du, Vous, You odmieniane przez tysiące przypadków, w setkach języków. W emocji, z którą wymawiamy to słowo zawiera się właściwie to co najpiękniejsze z ducha naszej cywilizacji, co zauważył już Martin Buber i co się skrystalizowało w stworzoną przezeń filozofię dialogu. Lecz jak wyrazić ten zachwyt drugą osobą, tę wdzięczność, tę jej nieodzowność muzyką?

Otóż moim zdaniem żaden inny gatunek nie jest lepiej do tego stworzony niż jazz! W zgiełku symfonicznej orkiestry szept dwóch osób często staje się niesłyszalny. W rockowym ekshibicjonizmie intymność relacji dwojga esploatowana jest nierzadko w sposób pornograficzny. A w popie jej czar jakże często ginie pod ciężarem hipokryzji, sztampy i zgranych do bólu klisz. Lecz w jazzie, jak para ptaków w gnieździe, relacja ja i Ty odnajduje dla siebie idealną muzyczną niszę.

Wśród wielu form jakie może ona przybrać duet fortepianu i kontrabasu należy do tych najbardziej wyszukanych. Nieogarniona paleta dźwięków jaką dysponuje fortepian kontrastuje z ograniczoną ich ilością jaką posiada kontrabas. Lecz oba te instrumenty dorównują sobie jeśli chodzi o bogactwo brzmienia. Pod warunkiem wszakże, że znajdą się w rękach muzyków o najwyższych kwalifikacjach, którzy dodatkowo potrafią siebie nawzajem słuchać. Stąd najlepsze duety tego rodzaju nigdy nie są dziełem debiutantów. By mieć coś dopowiedzenia w tym formacie nie wystarczą entuzjazm, energia i “chęć szczera”. Potrzebna jest dojrzałość, a nawet pewnego rodzaju głębia, tak muzycznej wiedzy jak i relacji między muzykami.

Najbardziej interesujące nagrania tego typu zadzięczamy takiemu na przykład Charlie Hadenowi, z których te dokonane z Hankiem Jonesem i Keithem Jarrettem należą do moich ulubionych. Inne szczególnie przeze mnie cenione zostały dokonane przez Paula Bleya z Gary Peacockiem, Cedara Waltona z Ronem Carterem, Stefano Bollaniego z Aresem Tavolazzim czy wreszcie przez legendarnego Billa Evansa z Eddim Gomezem na albumie zatytułowanym “Intuition”. Jak Państwo widzą wszystko to są nazwiska artystów o ustalonej marce, mających za sobą wiele sukcesów. Czy zatem dla Kowalewskiego i Wyleżoła nie było za wcześnie? Otóż nie! Obaj mają przecież za sobą znaczące kariery. Wyleżoł nie jest tak znany jak Możdżer czy Wasilewski, ale należy do tej garstki pianistów w naszym kraju, która nikogo nie udaje, nie naśladuje, nie imituje i może sobie pozwolić na mówienie własnym językiem. Z kolei Kowalewski od ponad dekady należy do najbardziej rozchwytywanych muzyków sesyjnych w naszym kraju.

Obaj spotkali sie po raz pierwszy ponad dekadę temu, a zwieńczeniem tego okresu była nagrana w 2001 w trio, z udziałem perkusisty Łukasza Żyty, płyta “Yearning”. Potem współpracowali przez dobrych kilka lat grając w zespole towarzyszącym angielskiemu skrzypkowi Nigelowi Kennedyemu. Wreszcie kiedy niedawno przyśpieszenia nabrała kariera samego Wyleżoła nie mogło zabraknąć u jego boku Kowalewskiego, czego dowodem jest jego obecność na wyśmienitej płycie “Live” wydanej w roku 2010. Wkróce potem, w roku 2011, artyści nagrali materiał na “For You”, ale niestety przeleżał on w szufladzie kolejne aż dwa lata czekując na wydawcę. Wydawca polski się nie znalazł, ale w końcu zachwycił się nim Jan Sudzina prowadzący słowacki label “Hevhetia”, który zdecydował się go wydać zyskując w ten sposób prawdziwą perłę w swym katalogu.

Muzyka na płycie nie goni za nowością, nie sili się na eksperymenty, nie ulega modom. Artyści są zakochani w jazzowej tradycji, a ich język zbudowany jest na solidnej podstawie muzyki klasycznej. W rezultacie otrzymujemy materiał cudownie wręcz zagrany, pełen wyśmienitych kompozycji w większości pióra Adama Kowalewskiego, których świeżość polega w głównej mierze na bezpretensjonalności i szczerości wypowiedzi. Napisane przez Kowalewskiego dla ukochanej żony “Cause I love You” czy dla syna “Lullaby for You”, otwierające album, swoim filigranowym pięknem po prostu wbiły mnie w fotel już od pierwszych minut słuchania tej płyty. Chociaż nie jestem wielkim fanem tak zwanego “głównego nurtu”, słucham tej płyty raz po raz i nie mogę się od nie oderwać. Może dlatego, iż czuję jakby została zagrana specjalnie dla mnie...

Autor: Maciej Nowotny

Slawomir Kulpowicz – Private Balet Music (2013) ****

Slawomir Kulpowicz - piano

POLSKIE RADIO 1249

By Adam Baruch

This is the third installment in a series of releases documenting the recorded legacy of the great Polish Jazz pianist / composer Slawomir Kulpowicz, most of which is released for the first time. Kulpowicz, who died prematurely in 2008 at the age of 56, was a victim of cancer. He was a member of groups led by the top Polish Jazz players like Zbigniew Namyslowski and Tomasz Stanko and led / co-led his own ensembles like The Quartet, In-Formation and also cooperated with many other musicians over the years. He was an avid follower of John Coltrane's music and kept in touch with Coltrane's wife Alice Coltrane. Following his visit to India, Kulpowicz discovered Indian music and the spiritual aura of India, which became his own.

The turn of the Millennium found Kulpowicz as a refined Artist, with years of experience and success already credited to his impressive list of achievements. He was moving away from the traditional Jazz milieu and getting closer to contemporary Classical forms as well as experimenting with World Music influences. This solo piano recital, recorded live, which presents fourteen of his original compositions, is a portrait of a mature performer and composer, who has a complete control over his instrument as well as the ability to create moods and paint musical vistas with an astonishing ease and elegance.

Kulpowicz was interested in contemporary Classical music from an early age and although the first phase of his career concentrated on Jazz, the next one was quite different. He composed several pieces, which served as music for ballet and turned out to be a remarkable successful. The music on this album bridges these two phases, as the music clearly shows deep love and respect of the Jazz tradition, but the form is much closer to Classical style, in which these beautiful pieces could be considered as fragments of a suite (in this case an imaginary ballet suite) or other short forms like impressions, variations, etc. Regardless how this music is categorized, the level of amalgamation between Jazz and Classical music achieved here is simply exceptional.

Of course solo piano music is often quite difficult and demanding. Less experienced listeners may lack the concentration and dedication required in order to truly appreciate this music in full. This kind of music usually demands repeated listening sessions in order to discover its beauty, elegance and sophistication. On the other hand such investment is usually very well rewarded, as one might expect also in this case. Therefore this music should be taken seriously and relatively gradually, but eventually it will certainly hit the right cords. Wholeheartedly recommended!

In-Formation – In-Formation Trio (2013) ****1/2

Slawomir Kulpowicz - piano

Witold Szczurek - bass

Czeslaw Bartkowski - drums

POLSKIE RADIO 1248






By Adam Baruch

This is the second installment in a series of releases documenting the recorded legacy of the great Polish Jazz pianist / composer Slawomir Kulpowicz, most of which is released for the first time. Kulpowicz, who died prematurely in 2008 at the age of 56, was a victim of cancer. He was a member of groups led by the top Polish Jazz players like Zbigniew Namyslowski and Tomasz Stanko and led / co-led his own ensembles like The Quartet, In-Formation and also cooperated with many other musicians over the years. He was an avid follower of John Coltrane's music and kept in touch with Coltrane's wife Alice Coltrane. Following his visit to India, Kulpowicz discovered Indian music and the spiritual aura of India, which became his own.

Following the demise of The Quartet, Kulpowicz founded a new ensemble, which he called In-Formation. Over time several different versions of In-Formation existed, including a duo, the basic piano trio, presented here, quartet and even sextet. In retrospect the trio proved to be the most successful incarnation of the group. It included bassist Witold Szczurek (a.k.a. Vitold Rek) and legendary drummer Czeslaw Bartkowski. The same trio also served as the rhythm section of the Tomasz Stanko quartet in the early 1980s, recording with him two most impressive albums: "Music 81" and "A I J" (both recorded at the same session).

In-Formation recorded two albums for the Poljazz label, the second of which is partly (three tracks) also included here. The rest of the album (five more tracks) originates in two radio sessions recorded earlier in the same year. All the music was composed by Kulpowicz and is a direct continuation of his John Coltrane / McCoy Tyner influenced style presented earlier by The Quartet. Of course the trio's music is much less intense sonically than the quartet's massive sound, but not less complex or spiritually evolved. Kulpowicz carries, as expected, most of the load, producing his usual vamped chords and dense cadenzas of amazing fluency and virtuosity. The rhythm section supports him splendidly, with Rek emphasizing the melody riffs and Bartkowski providing the swinging drive carrying the music in fast forward most of the album's duration.

The piano trio, which is the ultimate Jazz showcase, was quite a neglected Art form at the time this music was recorded. Therefore these recordings are even more special, as there was no other parallel outfit on the Polish Jazz scene at the time. Of course the piano trio would triumphantly return and re-appear on the Jazz scene later on, including of course the local Polish scene, but at that particular time In-Formation trio was completely unique.

This album is not only a great example of the Jazz piano trio Art, but also a very important document of the development of the Polish Jazz scene. Of course it's an absolute must have for all Polish Jazz connoisseurs and collectors, but every piano trio buff around the globe should find this quite a treat. Great stuff!

Aga Zaryan - Remembering Nina & Abbey (2013) ***

Aga Zaryan - vocal

Geri Allen -piano
Brian Blade - drums
Larry Koonse - guitars
Darek Oleszkiewicz - double bass
Carol Robbins - harp

Remembering Nina & Abbey (2013)

By Maciej Nowotny

Aga Zaryan, together with Maria Anna Jopek, enjoys in Poland the status of local diva. What distinguish her from the flock of equally talented female vocalists in our country is apart from good voice, a very carefully chosen repertoire and fantastic musicians who usually accompany her. Her newest album is not exception to these rules because picking up tunes written and/or performed by such jazz singing goddesses like Nina Simone and Abbey Lincoln will surely attract a lot of attention as much from jazz as pop music audiences. Moreover names of her collaborators on this album among whom we find such excellent musicians like Geri Allen on piano, Brian Blade on drums, Larry Koonse on guitars, Darek Oleszkiewicz on double and Carol Robbins on harp guarantee that apart from seducing singing the instrumental part of the tracks will be of the stellar quality. And it really is! I am sure that this CD will appeal a lot especially to Polish audience. From purely artistic point of view however it is rather a step back for Aga as the music on this album brings nothing new or surprising to what we already knew about her as the vocalist. In fact if someone know well both Nina Simone and Abbey Lincoln performances then he or she may find Zaryan's interpretations rather pale and shy of contesting what we know so well from history. Therefore as far as I am concerned I still wait for more personal and adventurous material from Zaryan, perhaps bringing her back to Polish songs through interpretation of which, in the past on her fabulous album "Umiera Piękno", she once won my heart over to her singing...

Marcin Dyjak's Success at the World Harmonica Festival 2013!

Marcin Dyjak gained a vice-champion title at the World Harmonica Festival 2013! He took a second place in the jazz category at one of the largest harmonica festivals in the world. This prestigious event takes place every four years in the city of Trossingen, Germany, which is famous for the production of Hohner harmonicas. Dyjak represented Poland in the category of Solo Diatonic Jazz / Melody and fought with seventeen other participants from eleven countries. What is more, "the musician has earned the favor of the judges with outstanding performance of his own composition." Second place in such important competition shows just how far can you get through persistence, regularity and hard work. "The result is a confirmation that it is worth to pursue their passions, regardless of adversity" - said Marcin just after winning. The festival is not only a struggle of the participants on stage, it's also an ideal opportunity to gain new skills and knowledge from the best instrumentalists in the world. The awards character is more prestigious rather than material and serves as an invitation to participate in other harmonica festivals in the world. Marcin Dyjak, a musician, harmonica player, teacher. His individual awards : World Harmonica Festival (2013), Harmonica Bridge (2008, 2007), Wielki Ogień (2010), Bluesroads (2010). He frequently appeared with artists such as John Lee Hooker Jr., Jaroslaw Śmietana, Mark Raduli, Grazyna Łobaszewska, and with bands: Daddy's Cash, Oddział Zamkniety, and many others as a sideman. He participated in television and radio programs, such as concert in “Trójka” (wide-spread polish radiostation) - Daddy's Cash & John Lee Hooker Jr. (2013), Jaka to melodia (2012), Kawa czy Herbata (2005). His performing style definitely breaks the existing stereotypes of harmonica. The advanced technique allows for flexible and varied usage of this inconspicuous instrument.

(source: press release)

Quartet – The Quartet (2013) *****

Tomasz Szukalski - saxophone

Slawomir Kulpowicz - piano

Pawel Jarzebski - bass

Janusz Stefanski - drums

POLSKIE RADIO 1246-47






By Adam Baruch

This is the first installment in a series of releases documenting the recorded legacy of the great Polish Jazz pianist / composer Slawomir Kulpowicz, most of which is released for the first time. Kulpowicz, who died prematurely in 2008 at the age of 56, was a victim of cancer. He was a member of groups led by the top Polish Jazz players like Zbigniew Namyslowski and Tomasz Stanko and led / co-led his own ensembles like The Quartet, In-Formation and also cooperated with many other musicians over the years. He was an avid follower of John Coltrane's music and kept in touch with Coltrane's wife Alice Coltrane. Following his visit to India, Kulpowicz discovered Indian music and the spiritual aura of India, which became his own.

The Quartet was formed by the rhythm section of Zbigniew Namyslowski's so called "third quartet", i.e. pianist Slawomir Kulpowicz, bassist Pawel Jarzebski and drummer Janusz Stefanski, with the addition of saxophonist Tomasz Szukalski, one of Poland's all-time greatest Jazz musicians and a spectacular player of rare quality. Although Szukalski naturally dominated the sound of the ensemble, it was Kulpowicz who was the spiritual leader and the sole composer of all the original material they performed. Spiritually the music was soaked in the John Coltrane legacy, with Szukalski playing lengthy "wall of sound" solos, supported passionately by the rhythm section, with Kulpowicz vamping a la McCoy Tyner, Jarzebski delivering virtuosic bass parts and Stefanski raising all hell behind it all, which engulfed the overall effect with incredible power and overwhelming strength of expression, similar in character to the Coltrane late period recording.

In spite of the fact that The Quartet was undoubtedly the most important Polish Jazz ensemble in the late 1970s, their recorded legacy is truly pitiful and includes one live album recorded in 1978 and released by the Poljazz label (reissued by the Anex label) and their sole studio album, recorded in Finland in 1979 and released by the tiny independent Finnish label Leo Records (which released also two albums by Tomasz Stanko from the same period). Therefore this double CD full of superb radio and concert recordings by The Quartet is an absolute marvel and a must have for every Polish / European Jazz connoisseur.

Following the ensemble's breakdown in mid-1980, the Polish Jazz scene will never again experience this kind of music, so close in spirit, sound and emotion to the epicenter of Modern Jazz created by Coltrane. The Quartet's brief three and a half years period was the closest ever moment in which Polish Jazz would become very close to American Jazz of a decade earlier, both in spirit and in practice. The Quartet somehow managed to put aside the omnipresent Polish melancholy and lyricism, which dictates most of the unique music created under the Polish Jazz banner. Usually, when Polish Jazz musicians try to imitate their idols from across the pond, they fail rather miserably, with The Quartet being the only exception, which proves the rule.

Young Polish Jazz musicians should study this music note by note – this is universally sublime document of human expression, freedom and power of creation, which happens rarely. Inspired by Coltrane's music, this creation sparks a life of its own, which stands shoulder to shoulder with the original, without any inferiority complexes whatsoever. It is not a copy of the source; it is a thankful gratitude for the inspiration itself.

Bringing this music out of the vaults is commendable, although keeping it in the vaults for so long was simply criminal. Such treasures of the Polish Cultural heritage should be exposed in all their glory. Hopefully the people in charge of the Polish Radio archives realize that.