Festival Źródła Nowych Talentów jazz & literatura 2015 - przedstawiamy artystów

Serdecznie zapraszamy na pierwszą edycję Festiwalu Źródła Nowych Talentów jazz&literatura 2015. Festiwal trwać będzie w dniach od 7 do 11 października i odbędzie się w różnych obiektach kultury w Chorzowie. W trakcie pięciu dni festiwalowych będzie można uczestniczyć w inspirujących warsztatach literackich i muzycznych oraz niezwykłych koncertach, które pokażą różne odcienie jazzu i jego szeroko rozumiane obrzeża, zahaczając o muzykę etniczną, folk, world music, ethno jazz, nu-jazz, muzykę elektroniczną. Zgodnie z założeniami festiwal będzie prezentować muzyczne i literackie talenty artystów wybitnych, a jednak bliżej nieznanych lokalnej społeczności. Ideą Festiwalu jest również wyławianie talentów wśród uczestników warsztatów i pomaganie im w dalszym rozwoju poprzez plan mecenatu. Festiwal pragnie promować Chorzów jako miejsce mające swój udział w kreowaniu kultury. Ma nadzieję integrować i pobudzać do aktywności lokalną społeczność.

Festiwal Źródła Nowych Talentów jazz&literatura jest wspólną inicjatywą Miejskiego Domu Kultury „Batory” reprezentowanego przez Dyrektora Tomasza Ignalskiego oraz New Talents’ Resources Marzena Anioł i powstał w porozumieniu z Miastem Chorzów.

Program Festiwalu:

MIFRÁS - 9 października (piątek) g. 21.00

Klub Szuflada 15/Furheart Gallery, ul. Wolności 15, Chorzów

Bilety: 15 zł

POMIANOWSKA & KINIOR „SMOK DWUGŁOWY” - 10 października (sobota), g. 19.00 

MDK Batory, ul. Stefana Batorego 6, Chorzów

Bilety: 20 zł / 30 zł (w dniu koncertu)

MONIKA LIDKE - 11 października (niedziela) g. 18.00

MDK Batory, ul. Stefana Batorego 6, Chorzów

Bilety: 30 zł / 40 zł (w dniu koncertu)

KARNET NA WSZYSTKIE KONCERTY: 45 zł

Warsztaty (wstęp wolny, konieczne wcześniejsze zapisy):

literackie – „warsztaty z mistrzem reportażu” – szkoła reportażu z Jolantą Krysowatą

7 października (środa) g. 16.00-18.00 & 8 października (czwartek) g. 16.00-18.00

Furheart Gallery, ul. Wolności 15, Chorzów

muzyczne – „instrumenty smyczkowe różnych muzycznych tradycji świata” – zajęcia instrumentalne z prof. Marią Pomianowską

8 października (czwartek) g. 17.00-19.00 & 9 października (piątek) g. 16.30-18.30

MDK Batory, ul Stefana Batorego 6, Chorzów

muzyczno-literackie dla dzieci – „jak bawić się muzyką i słowem”- terapia przez zajęcia z muzyką i słowem – Ania Broda

8 października (czwartek) g. 15.00-17.00

MDK Batory, ul Stefana Batorego 6, Chorzów

9 października (piątek) g. 15.00-17.00

Ośrodek Integracji Społecznej przy Stowarzyszeniu na Rzecz Rodziny, ul. Pudlerska 22, Chorzów.

Berliński kwartet Mifrás to harmoniczna wolność pozwalająca na eksplorowanie niezbadanych terenów jazzu i na powroty na tradycyjny grunt z domieszką elementów muzyki śródziemnomorskiej i afrykańskiej. To zaproszenie do wspólnego żeglowania po oceanie kolorów i nastrojów ukrytych w kameralnym zestawieniu czterech muzyków bez granic. Skład zespołu: Tom Dayan - perkusja, Paul Kleber - kontrabas, Markus Ehrlich – saksofon, Nils Marquardt - puzon.

"Smok Dwugłowy" to międzygatunkowe spotkanie dwóch wielkich, pozamainstreamowych, osobowości muzycznych - królowej polskiego folku i twórcy stylu Flap. Uzyskany efekt przełożył się na fascynujący kolaż muzyki źródeł ze współczesną sztuką i idealne współgranie elektroniki z akustycznym brzmieniem instrumentów etnicznych. Artyści łączą elementy new wave'u, ambientu, muzyki etnicznej i jazzu. Maria Pomianowska - fidel płocka, suka biłgorajska, gadułka, morin-hur, wokal. Włodzimierz "Kinior" Kiniorski - saksofon, klarnet, perkusjonalia, aranżacje elektroniczne.

Wokalistka i autorka tekstów, Monika Lidke, urzeka swoim ciepłym, subtelnym głosem. Łączy jazz i folk z latynoamerykańskimi brzmieniami, tworząc świeże, oryginalne kompozycje, trafiające do serc słuchaczy. Skład zespołu: Monika Lidke – wokal & gitara akustyczna, Kristian Borring – gitara elektryczna, Tim Fairhall – kontrabas, Chris Nickolls – perkusja. Zespół rezyduje w Londynie.

Piotr Matusik Quartet - Tribute To Chick Corea (2015)

Piotr Matusik Quartet

Piotr Matusik - piano
Jakub Chojnacki - saxophone
Dariusz Ziołek - bass
Adam Buczek - drums

Tribute To Chick Corea

REGIO 602547470744



By Adam Baruch

This is the debut album by young Polish Jazz pianist/composer Piotr Matusik, and as the title suggests it is dedicated to the music of Chick Corea, featuring six Corea classic compositions. The album was recorded in a quartet setting, which includes also saxophonist Jakub Chojnacki, bassist Dariusz Ziołek and drummer Adam Buczek.

Obviously it's not difficult to understand why a young and aspiring pianist would choose Chick Corea as his role model; after all Corea is one of the greatest and most revered Jazz musicians in all times and a brilliant, often visionary pianist/composer. However, recording an album consisting entirely of Chick Corea's compositions as a young pianist's debut album is a hazardous and honestly a questionable decision. It takes years of experience to understand and than tackle the complexity and depth of Corea's compositions, way beyond the sheer ability to play them.

The easiest way to look at it would be to compare each of the compositions featured on this album with the original initial versions of the same compositions as recorded by Corea himself. The album starts with "Now He Sings, Now He Sobs" from the album by the same name recorded by Corea in March 1968, shortly before he started playing with Miles Davis. It was recorded by a trio with Miroslav Vitous on bass and Roy Haynes on drums and marked the beginning of Corea's most avant garde, adventurous and experimental period. At the time of its release the album was completely revolutionary, original and groundbreaking. Now the version of the same composition heard on this album sounds like lounge Smooth Jazz, easy on the ear and of course completely trivializing the original music, which hardly goes well with the "tribute" intention. A similar analysis of all the rest of the album reveals sadly more or less a similar pattern.

Let's get something straight here: these four musicians can play well, even exceptionally well. They are schooled and trained and they know their notes and chords and harmonies. And yet it all comes to nothing as far as creative, ambitious music making is concerned. This album is a terrible mistake, a waste of energy and a lack of direction. Playing someone else's music in a watered down version is definitely not a way to go by a young and aspiring musician. Of course the future is still very much ahead of these musicians, and anything can happen. It is my duty to point them in a right direction, even if this is a seemingly cruel and painful way to do it. Better luck next time.

Special Jazz Sextet – Projekt Elbląg (2011)

Special Jazz Sextet

Bartek Krzywda - keyboards
Szymon Zuehelke - saxophone
Artur Olewniczak - trombone
Marcin Gawdzis - trumpet
Janusz Mackiewicz - bass
Grzegorz Sycz - drums

Projekt Elblag



ALLEGRO 022

By Adam Baruch

This is the debut album by a Polish Jazz sextet, which changed its lineup and name several times before settling with the name Special Jazz Sextet, before this album was recorded. It is led by keyboardist Bartek Krzywda and includes saxophonist Szymon Zuehlke, trombonist Artur Olewniczak, trumpeter Marcin Gawdzis, bassist Janusz Mackiewicz and drummer Grzegorz Sycz. Saxophonist Przemek Dyakowski guests on five tracks and guitarist Jaroslaw Smietana and violinist Jerry Goodman each guest on one track. The album presents eight original compositions, all by Krzywda.

The music is melodic mainstream Jazz bordering on Jazz-Rock Fusion. The brass section is skillfully used in the arrangements to support the keyboards/rhythm section passages and overall the sextet functions as a solid well synchronized unit, achieving a polished and highly professional effect. There are plenty of excellent solo parts by all the participants and the guests.

The individual contributions by all the participants are truly outstanding and although these are not "famous" Polish Jazz musicians, their level of technical proficiency and skillful delivery are as good as those by musicians from the "premier league", which of course is a testimony of the incredibly high level of Polish Jazz in general. Overall this is a very well played mainstream Jazz album, which should be satisfying to all listeners the world over. It is fun to listen to and presents first-class musicianship and interesting compositions.

Festiwal Muzyki Improwizowanej Jazz i Okolice 2015

Festiwal Muzyki Improwizowanej - jaZZ i Okolice / jaZZ & Beyond jest bezpośrednią kontynuacją cyklicznej imprezy muzycznej, realizowanej pod tym samym tytułem od 9 lat w Katowicach, jednak początki naszych muzycznych propozycji sięgają 2004 roku, kiedy to rozpoczęliśmy realizację koncertów w Górnośląskim Centrum Kultury i Jazz Klubie Hipnoza w Katowicach jako cykl: jaZZ i okolice. Od 2012 roku Festiwal jaZZ i Okolice / jaZZ & Beyond realizowany jest jako wydarzenie odbywające się w kilku miastach regionu: Chorzowie, Katowicach, Sosnowcu, Jaworznie, Częstochowie, Tychach i Gliwicach w okresie trzech jesiennych miesięcy: od końca września do połowy grudnia.

Celem festiwalu jest zaprezentowanie melomanom najnowszych obszarów muzycznych poszukiwań w dziedzinie improwizacji, w mniejszym stopniu związanych z tradycyjnym dziedzictwem jazzu, pojmowanym na sposób purystyczny i akademicki, natomiast w większym stopniu stawiającym akcent na aktualności muzyki improwizowanej oraz tworzące go kreatywne artystycznie środowiska w Polsce i na świecie.

Prezentowana muzyka to wielowątkowa podróż po świecie różnorodnych kultur i tradycji, która swoje inspiracje czerpie zarówno z historii amerykańskiego, europejskiego i polskiego jazzu, muzyki soul, rhythm and bluesa, rozmaitości muzyki etno-folkowej, jak również z brzmień muzyki pop-rock, elektroniki, muzyki klasycznej i eksperymentalnej oraz współczesnej kameralistyki.

Pomysłodawcą, autorem programu festiwalu i jego głównym promotorem jest Andrzej Kalinowski, kulturoznawca, wielki pasjonat muzyki, producent muzyczny, autor tekstów o muzyce i wywiadów z muzykami. Tegoroczną, IX edycję festiwalu jaZZ i okolice/jaZZ & beyond 2015 określa motto: "etno inspiracje, brzmienia nowe i źródłowe/jaZZ & beyond Improvised Music Festival 2015: ethnic heritage, new sounds and roots music".

Program festiwalu:

Irek Wojtczak "Folk Five" Polish Quintet / Inauguracja Festiwalu oraz konferencja prasowa 

26 września 2015 godz. 19:00

Zespół Pieśni i Tańca "Śląsk" im. Stanisława Hadyny

ul. Zamkowa 3, 42-286 Koszęcin

Bilety: 10 zł

jazziokolice.com/wydarzenia/irek-wojtczak-folk-five-quintet

Mikołaj Trzaska/John Edwards/Mark Sanders 

17 października 2015 godz. 20:00

Klub Muzyczny 4art

ul. Wieczorka 22, 44-100 Gliwice 

Bilety: 30 zł

jazziokolice.com/wydarzenia/mikolaj-trzaska--john-edwards--mark-sanders 

Dave Douglas "Time Travel" Quintet 

18 października 2015 godz. 19:00

Kinoteatr Rialto

ul. Św. Jana 24, 40-012 Katowice

Bilety: 45 i 55 zł

jazziokolice.com/wydarzenia/dave-douglas-quintet

Tymon Tymański i Krzysztof Trebunia-Tutka: Pieśni Zbójnickie

23 października 2015 godz. 20:00

Teatr Mały w Tychach

ul. ks. kard. Hlonda 1, 43-100 Tychy

Bilety: 40 zł.

jazziokolice.com/wydarzenia/tymon-tymanski-i-krzysztof-trebunia-tutka---piesni-zbojnickie

Oregon 

29 października 2015 godz. 20:00

Kinoteatr Rialto

ul. Św. Jana 24, 40-012 Katowice

Bilety: 45 i 55 zł

jazziokolice.com/wydarzenia/oregon-2

Kazuhisa Uchihashi Altered States feat. Maciej Obara

05 listopada 2015 godz. 19:30

Sala widowiskowo - koncertowa "Muza"

ul. Warszawska 2, 41-200 Sosnowiec

Bilety: 25 zł

jazziokolice.com/wydarzenia/maciej-obara-japanese-quartet

Omar Sosa / Joo Kraus 

08 listopada 2015 godz. 18:00

Hala widowiskowo-sportowa Miejskiego Centrum Kultury i Sportu w Jaworznie

ul. Grunwaldzka 80, Jaworzno

Bilety: 45 i 60 zł

jazziokolice.com/wydarzenia/omar-sosa--joo-kraus

David Krakauer The Big Picture 

12 listopada 2015 godz. 19:00

Filharmonia Częstochowska im. Bronisława Hubermana

ul. Wilsona 16, 42-202 Częstochowa

Bilety: 50, 60 i 70 zł

Więcej: jazziokolice.com/wydarzenia/david-krakauer-the-big-picture

Olo Walicki: Kaszebe 2

OLO WALICKI - KASZEBE 2 21 listopada 2015 godz. 20:00

Chorzowskie Centrum Kultury

Sienkiewicza 3, 41-500 Chorzów

Bilety: 30 zł

jazziokolice.com/wydarzenia/sofia-rei-trio

Peter Evans Quintet

23 listopada 2015 godz. 19:30

Sala widowiskowo - koncertowa "Muza"

Warszawska 2, 41-200 Sosnowiec

Bilety: 40 zł

Więcej: jazziokolice.com/wydarzenia/peter-evans-quintet

Wacław Zimpel: Saagara

03 grudnia 2015 godz. 20:00

Kinoteatr Rialto

ul. Św. Jana 24, 40-012 Katowice

Bilety: 30 zł

Więcej: jazziokolice.com/wydarzenia/zimpel---saagra

Bilety do nabycia w sieciach ticketpro.pl, ticketportal.pl oraz w siedzibie Centrum Kultury Katowice, przy pl. Sejmu Śląskiego 2. Punkt czynny: poniedziałek - piątek w godz. 9.00 - 17.00 

Rezerwacje: Telefon: 32 609 03 21 e-mail: info@ticketportal.pl

Patryk Kraśniewski Trio – Less Is Bless (2015)

Patryk Kraśniewski Trio

Patryk Kraśniewski - piano
Piotr Lewańczyk - bass, synthesizer
Jerzy Markuszewski - drums

Less Is Bless

KARROT KOMMANDO 81



By Adam Baruch

This is the debut album by young Polish keyboardist/composer Patryk Krasniewski, recorded in a trio format with bassist Piotr Lewanczyk (who also plays synthesizer parts) and drummer Jerzy Markuszewski. The album presents seven tunes, six of which are original compositions by Krasniewski and one is by Tomasz Wendt, a fellow student at the Wroclaw Music Academy. There is some confusion as to the album's tracks, as there are seven tracks listed but only six present on the actual CD? Go figure!

Krasniewski seems to be a kind of prodigy according to his CV, which tells about prizes won at piano competitions, composition competitions etc. and involvement with many music genres from Pop to Classical Music from a very early age. This album is also a result of winning the yearly competition for Jazz debut recording offered by the Polish Institute of Music and Dance.

Of course this album tells only the story contained within, which sadly is pretty disappointing. The musicians are very skilled of course but the music seems to be completely lost in between genres. It is only very marginally Jazzy and is rooted somewhere in alternative Pop/Rock more than in Jazz. The classic piano trio parts have an obvious reference to Jazz, but the synthesizer parts manage to break the charm. Apparently Krasniewski is still looking for his true self as a composer and musician, and this album is just a step on the path of discovery.

There are some interesting moments of course, which disclose potential and talent. It's a pity Krasniewski did not stick to the motto chosen for the album's title, which might have saved the day. Without the synthesizer parts and less show off this might have been a much better album perhaps. In any case this is an unusual album, which deserves merit for trying and hopefully is a forerunner of great things to come.

Krzysztof Lenczowski – Internal Melody (2015)

Krzysztof Lenczowski

Krzysztof Lenczowski - cello
Grzech Piotrowski - saxophone
Jan Smoczyński - hammond organ
Tomasz Waldowski - drums

Internal Melody




ALLEGRO 031

By Adam Baruch

This is (finally!) the debut album by Polish cellist/guitarist/composer Krzysztof Lenczowski, one of the most prominent representatives of the young generation of Polish musicians, who is characterized by a total cross-genre approach to music, tipping his fingers in anything from Pop, Rock, Fusion, Jazz and deep into contemporary Classical music, always with grace and sublime talent. The fact that this is his debut album, already preceded by dozens of albums recorded as a group member or sideman, is surprising, but on the other hand nothing about Lenczowski should be really surprising, as he is an Artist of the unexpected.

This album, recorded in a quartet setting with saxophonist Grzech Piotrowski, organist Jan Smoczyński and drummer Tomasz Waldowski, was recorded at the Tokarnia Studios (owned by Smoczyński who also engineered the recording with the usual spectacular sonic results) presents eight original compositions, all by Lenczowski. From the very first tones heard on this album it becomes immediately apparent that this is a piece of music completely unique and incomparable to anything else happening anywhere. Yes, completely unexpected in every aspect: sound, melody, use of instruments, atmosphere and overall feel of this album are all absolutely stunning.

Cello is by far not the most popular instrument outside of the Classical Music idiom and Lenczowski's determination to stick with this instrument despite the obvious difficulty, is commendable. But the entire instrumentation of his music on this album is far from being easy on the ear: Jazzy saxophone playing complex extended solos, organ playing mostly bass lines and very limited melody/chord lines and a Rocky drummer on top – a strange recipe to say the least. And yet against all odds this music works splendidly and extremely effectively.

Lenczowski's cello parts are of course incredible all the way through, which is hardly surprising in his case. Surprisingly (again) Piotrowski plays beautifully and ambitiously as well, and Lenczowski's decision to use him here turned out to be the right one, in spite of Piotrowski's problematic flirts with Smooth muzak in the past. Smoczyński, as always, turns out to be an island of serenity and his somber, church like organ sound, creates a solid layer upon this music solidly rests, or floats above. Waldowski's drums become an integral part of the ensemble and his sensitivity, elegance and coolness are exemplary. As usually the strength of the entire ensemble only works out if all the participants contribute on the same emotional level, which obviously happens in this case.

Lenczowski also deserves praise for his compositions, which are all not only beautifully melodic, but also delightfully lyrical and emotionally deep. The music sounds at times like medieval chant, or charmingly discloses touches Middle Eastern mystique, or brings fond memories of early days of Progressive Rock glory. Regardless of the many associations, it is always inspired and rewarding.

Overall this is a most impressive debut album by an experienced and mature musician, who is still searching and ready for the challenges of the future. It is definitely one of the finest albums released this year on the Polish scene, with very few challengers around. An absolute must for any true music lover!

Paweł Wszołek – Choice (2015)

Paweł Wszołek

Łukasz Kokoszko - guitar
Sebastian Zawadzki - piano
Paweł Wszołek - double bass
Szymon Madej - drums

Choice

FRESH SOUND 478



By Adam Baruch

This is the debut album by young Polish Jazz bassist Paweł Wszołek recorded with his quartet with also includes guitarist Łukasz Kokoszko, pianist Sebastian Zawadzki and drummer Szymon Madej. The album presents nine original compositions, all by Wszołek and was released on the Spanish Fresh Sound label as part of the prestigious New Talent series.

The music is all within the melodic modern mainstream boundaries, solid and well crafted, but not particularly ambitious. It is, however, excellently executed, especially due to the superb piano parts by Zawadzki and sensitive drumming my Madej, who have both already appeared with great success on other Polish Jazz recordings in the last few years. Wszołek also plays well, handling the bass solos with self confidence and playing alongside his cohorts amicably. Of course, although he is the quartet's leader, playing a bass solo on every track of the album is a bit excessive. The guitar, however, I find a bit overbearing, as it is loud in the mix and its sound is slightly harsh (too much echo?), not fitting ideally to the acoustic piano trio setting of the rest of the band. Stylistically the round guitar sounds are definitely way too related to Pat Metheny for my taste.

Nevertheless this is still a very strong debut effort, which should satisfy most mainstream Jazz fans and serve as a sold proof of the talents of these young musicians, who are after all at the very early stages of their career. I look forward to hear more of Wszołek's music in the future, after he matures a bit and gains the experience so much needed when playing Jazz.

Wojciech Staroniewicz - A'Freak-Komeda Project (2015)

Wojciech Staroniewicz

Wojciech Staroniewicz - tenor saxophone
Przemek Dyakowski - tenor saxophone
Darek Herbasz - baritone saxophone
Marcin Janek - soprano saxophone
Dominik Bukowski - marimba, vibraphone, xylosynth
Janusz Mackiewicz - bass
Roman Ślefarski - drums
Larry Okey Ugwu - afrikan percussion, wooden flute

A'Freak-Komeda Project

ALLEGRO 029

By Adam Baruch

This is the second album by veteran Polish Jazz saxophonist/composer Wojciech Staroniewicz and his A'Freak-aN Project ensemble, which consists of a four saxophones front line: Staroniewicz on tenor, Przemek Dyakowski on tenor, Dariusz Herbasz on baritone and Marcin Janek on soprano. The extended rhythm section includes vibraphonist Dominik Bukowski, bassist Janusz Mackiewicz, drummer Roman Ślefarski and percussionist Larry Okey Ugwu. As the title suggests, the album is dedicated to the music of Krzysztof Komeda and four of the six tracks presented here were composed by Komeda, and the remaining two are original composition by Staroniewicz, who also arranged all the music.

The African influences on this album, similarly to its predecessor, are relatively subtle and are wisely intertwined with the Jazz content, being felt primarily on the rhythmic plane and the overall atmosphere of the music. As a result this music is still very much mainstream Jazz, and not overtly a Jazz-World Fusion, although African spirit is present during the entire proceedings.

The arrangements of Komeda's tunes work all very nicely, which on one hand proves that Komeda's music is completely universal, and on the other that Staroniewicz and his colleagues do a great job here, lovingly and respectfully treating the creations of the great composer. The two originals by Staroniewicz ale also first rate tunes, fitting the overall atmosphere of the album.

The four saxophones section plays both superb ensemble arrangements and inspired individual solos, which are a true delight. Bukowski is also excellent, as usual, as is the solid rhythm section, which simply does a perfect job here. The level of instrumental work on this album is highly professional and full of joy and elegance.

Altogether this is a superb mainstream Jazz album, which features great music, intelligent arrangements and perfect execution. The almost impossible task of saying something innovative in relation to Komeda's music was successfully achieved here as well. Therefore hopefully as many Jazz fans as possible will decide to check out this beautiful little gem and share its gift of music. Once again I'd like to say that the graphic design of this album, which continues its predecessor's idea, is among the most elegant and eye-catching album designs on the Polish Jazz market.

Krzysztof Sadowski – Three Thousands Points (2015)

Krzysztof Sadowski

Krzysztof Sadowski - keyboards
Liliana Urbańska - flute, vocals
Wojciech Bruslik - bass guitar
Tomasz Szukalski - saxophone
Winicjusz Chróst - guitar
and others

Three Thousands Points (Polish Jazz Vol.47)


GAD 031

By Adam Baruch

This is a reissue (first time on CD) of the third album by Polish Jazz keyboardist/composer Krzysztof Sadowski recorded with an ensemble called Organ Group, which also included flautist/vocalist Liliana Urbańska, saxophonists Vesselin Nikolov and Tomasz Szukalski, guitarist Winicjusz Chróst, bass guitarist Wojciech Bruslik, drummers Zbigniew Kitliński and Wojciech Morawski and finally percussionists Andrzej Zieliński and Bożena Bruszewska. The reason for the long lineup is the fact that the album was recorded during two separate sessions with two different lineups.

This album was released at the time as part of the legendary "Polish Jazz" series (as Vol.47) and included originally only four tracks, the first of which gave the album its title and was a twenty one minutes long suite originally found on side A of the LP. The three tracks on side B were shorter and spanned between three to nine minutes in duration. Two of the compositions were originals, both composed by Sadowski; one was a Keith Jarrett tune and one was a Classical piece. This remastered reissue adds three bonus tracks recorded at the Polish Radio.

The music on this album shows Sadowski at full swing as a Jazz-Rock Fusion musician, firmly based in the Fusion idiom, which was pretty well established by then both on the Polish scene and abroad. He expands his arsenal and uses electric piano and early synthesizer (ring modulator) gadgets. The flute parts are more daring and the vocalese more developed, clearly following the work of Urszula Dudziak. Nikolov adds a tinge of Balkan spice and Szukalski blows away like only he could, touching upon Free at times. The rhythmic support is very Rock oriented and the overall sound and feel of the music resembles to some extent the best Fusion ensembles active in the West but maintains an East European identity both harmonically and melodically.

In retrospect the album is a great document of the time at which it was recorded, proving that in spite of the relative separation from what was happing beyond the Iron Curtain, Polish Jazz was responding rapidly to the changes in the Jazz idiom, often with ferocity and ingenuity, which were impossible to hold back by the political regime. The grammar mistake in the English version of the title (preserved for historic consistency) is a nice reminder of Socialist bureaucracy (an insider's joke). As usual it is my duty to thank GAD Records for taking care of the Polish Jazz heritage, who is sadly a lonely rider on that trail. This superb music definitely needs to be fondly remembered and discovered by new generations!

Marcin Wądołowski - My Guitar Therapy (2015)

Marcin Wądołowski

Marcin Wądołowski - guitar
Piotr Lemańczyk - double bass, bass guitar
Adam Czerwiński - drums

My Guitar Therapy

ALLEGRO 030



By Adam Baruch

This is the third album by Polish guitarist/composer Marcin Wądołowski, this time recorded in a trio setting with superb bassist (both acoustic and electric) Piotr Lemańczyk and drummer Adam Czerwiński. The album presents nine original compositions, all by Wądołowski.

If the two earlier albums by Wądołowski flirted with Jazz to some extent, this one abandons all Jazz connections and concentrates on Blues or Blues-Rock entirely. Of course the rhythm section comes from the Jazz environment, but they too play along splendidly within the Blues idiom, retaining their superb technique and feeling. Of course Wądołowski improvises extensively during his extended solos, but this is typical Blues-Rock improvisation.

It becomes plainly evident from the early moments of this album that Wądołowski really feels great in this environment and his playing is not only more daring and adventurous but also much gutsier than earlier on. Of course Lemańczyk also adds a few bass solos of his own, which are, as always, absolutely breathtaking, but he easily complies with the Bluesy atmosphere.

Wądołowski writes great melodic tunes, which are ideal vehicles for his guitar pyrotechnics and combine some Funk and Groove on top of the basic Blues-Rock stuff. In short, this music should not be judged by Jazz standards, as it is not Jazz music. It is a down to earth Blues-Rock, excellently played and ideal for the many fans of the genre. It is a great listen and a true fun, without any compromise whatsoever as far as musicianship and integrity are concerned.