Olo Walicki - Trauma Theater (2010)

Olo Walicki is bassist and composer, born in 1974 in Gdansk. He was among those who in early 90ties created yass,  refreshing and rejuvenating movement on Polish jazz scene, taking place in Tri City (Gdańsk, Gdynia, Sopot) which  put more stress on free and improvised element in music than mainstream jazz which up-to-that-date was dominant in Poland. He collaborated with such significant figures of this movement as Jerzy Mazzoll, Jacek Olter (they played together in band called Blue Pilot), Tymon Tymański, Mikołaj Trzaska and Leszek Możdżer - all of them (except Olter who committed suicide) are now creme de creme of Polish jazz. But he never limited himself to only one paradigm, apart from yass he was also present in mainstream playing in Zbigniew Namysłowski Quartet, in free jazz Łoskot (Din) and in alternative pop Szwagierkolaska and Oczi Cziorne. So it comes as no surprise that in 2003 he began to cooperate with Ingmar Villqist, Swedish director, in order to create music for his theater productions. And although I am rather skeptical as far as theater music is concerned to be able to stand alone on itself I must admit that this music has potential to keep jazz listener attention for its own sake. At least this is exactly the story which happened with myself because from the very first notes of this album I could not stop to listen to it and then not to buy it. Strong rhythms, polyphonies, dark and ominous mood of this music captivate me and made puzzled. Whether your reaction shall be similar to mine you can check by listening to some samples of this music from artist's web page:

http://www.olowalicki.com/mp3.php?id=11

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

Brotzmann, Trzaska, Bauer - Goosetalks (2010)

This is a recording from one and only concert of this trio in Poland which took place in Dragon club in Poznań on  22th February 2008. A very special trio consisting of brass instruments: Peter Brotzmann (tenor/alto saxophones, tarogato, clarinet), Mikołaj Trzaska (alto-saxophone, bass-clarinet) and Johannes Bauer (trombone). Brotzmann, born in 1941, is an icon of European free jazz: ucompromised, aggresive and very creative he participated in countless free jazz projects in his career. He also always had an inclination toward Polish jazz and cooperated in 60ties with Tomasz Stańko. His relationship with Mikołaj Trzaska started at the begiining of this century when they created a band called North Quartet with top-rate rhythm section in person of  Peter Friis Nielsen and Peeter Uuskyla. Johannes Bauer is perhaps slightly less prominent figure than Peter Brotzmann but nonetheless he is top avant-garde and free jazz trombonist in Europe. He was born in 1954, was one of few significant jazz players in East Germany and after reunification of this country continued his distinguished carreer playing with such legendary formation in free jazz as Alexanders von Schlippenbach's Globe Unity Orchestra, Barry Guy's New Orchestra, Tony Oxley Orchestra or Cecil Taylor European Orchestra.

As for Mikołaj Trzaska in 90ties he was key figure in Tri-City yass scene with such ground-breaking groups as Miłość (Love) or Łoskot (Din). It is diificult to imagine without his that this revolutionary event as yass ever took place in Poland and tgrough this participation in this event he (among others) changed the history of Polsh jazz. Fortunately he did not stop there and is continously developing his music through cooperation with such foreign top players as Lester Bowie, Jean  Luc Capozzo or Joe McPhee. He also set up 1kilogram records company to forward his music to the lovers of free jazz in Poland and abroad (http://www.kilogram.pl/).

As for music itself it is astonishing and I am sure will be interesting for all fascinated free jazz. It is very energetic, full of improvisations and yet surprisingly melodic. What I also like is that the album has idea: the musicians refer to the different birds' call. It is very inspiring, surprising and jouful attitude toward jazz :-) We have Goosetalk, Ducks Call, Two Birds In A Feather and even Peacock's Nighmare. Apart from those there is also a piece dedicated to Albert Ayler titled The 'Albert Is Missing' Signal which points out whom the musicians playing in this album treat as their main inspiration.  Those interested in samples of this music may found them on this site:

http://wsm.serpent.pl/sklep/albumik.php,alb_id,20717,Goosetalks,Christian-Bauer-Mikolaj-T

Krzysztof Urbański - Urbański (2010)

From time to time one come across the album that would justly deserve two reviews instead of one. And this is exactly the case with this specific record. These two separate reviews might be something like these below:

"Krzysztof Urbański debut recording titled simply Urbański announces the arrival on Polish jazz scene of extremely talented saxophonist. In his playing, technically impeccable, there is present whole tradition of jazz saxophone masters in persons of John Coltrane (Urbański's interpretation of his Giant Steps  is small gem of this record), Sonny Rollins or Joe Henderson. In terms of technical ability, musicality and creativity (he composed majority of the songs present on this album) Urbański may be compared to Joshua Redman. Like Redman Urbański is devoted to traditional jazz, uncompromised by unnecessary additions from musical genres other than this which he loves most. But what is most important this straight-ahead, mainstream and bop climate always sound fresh because the attitude of Urbański and his colleagues towards jazz is joyous, daring and adventorous. This new bunch of pirates arrived on Polish jazz scene that shall bring us many more treasures in following years!"

The other review might be going like that:

"To the music which we ancounter on Krzysztof Urbański debut album one may apply such terms as mainstream, straighthead and post bop. But also conservative, predictable, obvious. Well, perhaps, my  inclination toward free and improvised face of jazz speaks here for itself but although I admire technical capabilities of musicians involved in this project I still must confess that nothing on this record suprised me. I felt like all notes and tempos were perfectly executed but I could also forsee them for ages before and, worst of all, I have a strange feeling I already met them thousands times before. Listening to this excellent musicianship in progress I could not help but see some similarities between Urbański and Joshua Redman who also is technically stellar but sounds to me always secondary to his obvious masters in persons of John Coltrane, Sonny Rollins or Joe Henderson. Whether Urbański (and his cooperatives) will be able to deliver something more challenging over following years remains an open question...".

Strangely to say but I feel like both those positions are to some degree defendable in case of this album. If you want to judge by yourself please visit the site of Krzysztof Urbański and listen to some of his music:

http://www.urbanskimusic.pl/articles/multimedia

Adam Pierończyk Quartet - El Buscador (2010)

Born in Braniewo in Pomerania, living in Cracow, educated in Germany, exceptionally gifted tenor saxophonist Adam Pierończyk with support of American bassist Anthony Cox, Australian trombonist Adrian Mears and Polish drummer Krzysztof Dziedzic explore different places in world in search of musical inspiration. He pick ups what became an important tradition in jazz going back to late John Coltrane of venturing into East in search of spirituality, authencity and candour in music. Rather unsual move in Poland which is often treated as part of East itself but reflecting dramatic changes in country over last years. As we become more and more part of the West we lose gradually contact with the bedrock of our culture. Focused on money, career, status we build all materialistic world while estranging ourself from what is unconsciuos, irrational and childlike.

Certainly this music runs deeper than so many albums I reviewed on this site but it is only possible because it is executed in excellent way by musicians whose style fit one to each other perfectly. Adam Pierończyk deserves highest praise for being able to secure cooperation from artist of such a calibre while special gratitude shall also go to organizers of 2005 Leipziger Jazztage who gave Adam carte blanche to put together a project of his own for this event. Another bow also for Austrian Jazzwerkstatt record company who took on itself the task of printing this record which was accomplished perfectly. My strong recommendation!

Jurek Jagoda Trio -Songs Without Words (2010)

I was very skeptical about this album but only up to the point when I put CD in my Marantz CD player and started to listen to the music itself. Certainly it is not avant-garde or ground-breaking but it is nonetheless unpretentious, communicative and charming. The trio consists of the pianist Jurek Jagoda, Marek Ałaszewski on bass and Paweł Gębicki on drums. I found that it is their second album but I treat it as debut because up to this point nobody I know heard anything about them. This record was attached to March copy of JazzForum magazine so they immadietely got recognized by jazz audience in Poland.

Exactly as title of the album suggests this music is constructed around tunes. It reminds me somehow debut disc of Manu Katche Neighbourgood where melodies also played main role. I must admit that Jurek Jagoda compositional talent is exceptional and all his melodies are colourful and captivating. It is interesting where his road now shall lead him. I would expect from him and his collaborators to focus more on interplay between musicians, on rhythm and improvisation. All in all we welcome with this disc new interesting pianist on Polish jazz scene whose developments I will observe with interest. 

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

Wojtczak, Mazolewski, Gos - Freeyo (2009)

This is one of the best efforts in the field of free and improvised music in Poland last year. And to no surprise as musicians creating this band are still young but not in the least beginners. Wojtek Mazolewski (b) is  leader of famous Pink Freud (check such records as "Alchemia" (2007) or "Monster Of Jazz" (2011),   Irek Wojtczak (s) played in Tymański Yass Ensamble while Michał Gos (dr) in Maszyna Do Mięsa (Meat Machine). They either collaborated with artist such as John Zorn, Time Berne, Dave Douglas or were influenced by the likes of Ornette Coleman, Anthony Braxton, Jimmy Hendrix which is defining quite well what kind of music they intend to pursue.

All this is delivered in impeccable form, not a rhythm, pulse or sound is too obvious or predictable. The soul of this music is to engage the listeners in creative process, to surprise them and allow them to transcendent the boundaries of jazz, music and perhaps life itself. Surely this music is rather difficult and by definition directed to small audience but it also proves that there is enough listeners in Poland to appreciate such a direction in jazz and first of all that we do not lack talented musicians, young and creative, who want to devote their talent to this challenging but noble form of jazz. My strong recommendation to all lovers of what is free and improvised in jazz!

Contemporary Noise Sextet - Unaffected Thought Flow (2008)

I already wrote about this band on occasion of their previous recording Pig in Gentleman. This time they changed format a little adding to the previous quintet of musicians (Kuba Kapsa - p, Tomasz Glazik - sx, Wojtek Jachna -tr, Paweł Urowski - b, Bartek Kapsa - dr) Kamil Pater (g). He already appeared on PIG but now plays CNS on permanent addition. He is excellent player who was part of famous progressive rock band  called Ecstasy Project and recorded Dziki Jazz last year, the album regarded by many as one of the most important ventures in the field of mainstream, avant-garde and free jazz in Poland.

Although many fans of CNS were afraid whether they will be able to keep the standard they attained in their first album this band proves by this issue that they are able to deliver high quality and creative jazz on regular basis. This album not only continues good job they started in PIG but they even pushed the whole further including into their music idiom not only jazz and film music but also rock, drum&bass or trip hop. This is exactly a mixture you would like to hear while being in some good club with nice and intelligent girlfriend on Saturday evening in one of big european cities. Cool and sexy stuff from Poland, definitely not to be missed!!!

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

Obara, Alessi, Waits, Helias - Four (2010)

This is the album I bought after concert that took place on 7th March in Warsaw at Teatr Wytwórnia. It concluded short tournee of only three gigs in Poland, including Wrocław and Katowice, given day by day by these FOUR truly exceptional artists. Ralph Alessi, Nasheet Waits and Mark Helias all work together in School Of Improvisational Music and play important role in New York avant-garde scene playing with musicians of such a renown as John Zorn, Uri Caine, Steve Coleman, Don Byron, Ravi Coltrane, Fred Hersch or Jason Moran to name just a few.

Maciej Obara on the other hand is very promising young Polish altoist who up to this date recorded two albums Message From Ohayo  and I Can Do It  showing consistently over years dedication to free and improvised side of jazz. This recording owes a lot to the key figure on Polish jazz scene that is Tomasz Stańko with whom Obara worked together 2 years ago in his New Balladyna Project. On the recommendation from Stańko he was invited to New York for scholarship where he met above mentioned musicians and so it began.

The music on the album is first class in all possible aspects and I can only cite Tomasz Stańko who commented on it with following words: „As early as I heard first sounds from the newest Maciej Obara album I felt deeply moved and echanted by this music. (...) His music is strong, mature, deep, full of charm and beautiful. It is his own".

Finally let me write few words about the concert who took place in excpetional venue, small post-industrial scene, located on the verge of famous Warsaw factory of vodka and liquers called "Koneser". The audiance was small, of approximately 100 persons, but I think that all of them carefully decided to be present at this specific concert. Famous Polish jazz pianist Marcin Wasilewski emerged, together with Maciej Grabowski and Krzysztof Gradziuk who play in excellent RGG trio and who worked together with Obara in aforementioned Tomasz Stańko New Balladyna Project.

Unfortunately musicians showed up late due to problems with delayed train and from the beginning they seemed a bit disconcerted. The gig had its great but also weak moments, generally speaking it did not match the level of interplay we could find on the CD. Nonetheless it was pure pleasure to listen to this FOUR although they are still in process of becoming ONE team. It would be great if they can continue their work together in future because the potential that lies in their cooperation is obviously immense.

To sum up it is clear that Maciej Obara has tremendous talent and can accomplish great things in future.  I am also sure that his new FOUR album will be seen as one the most importantd recoding in free jazz in 2010 in Poland.

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

To make you feel the touch of Obara style I recommended to see first video:

while second one is an interesting evidence of the collaboration between Obara and Stańko:

Jarosław Śmietana Band - A Tribute To Zbigniew Seifert (2009) by Maciej Nowotny

Zbigniew Seifert, born in 1946, lived only 33 years, but nonetheless he earned himself a reputation of the best polish jazz violinist ever (contended only by Michał Urbaniak). In this short span of time he had fruitous collaboration with Tomasz Stańko and also managed to play with Joachinm Kuhn, Charlie Mariano and Oregon group, which was quite exceptional back in 70ties when communist goverment virtually locked up Polish artist from Western world. His brilliant carrer was interrupted by cancer with which he was figthing for long time. Just 3 months before death he recorded his farewell album titled Passion accompanied by Jack DeJohnette, John Scofield, Eddie Gomes, Richie Beirach and Nana Vasconselos.

Guitarist Jarek Śmietana is no less prominent person in Polish Jazz and he worked together with Seifert on another of his legendary recording called Kilimanjaro. Thirty years after the departure of his friend he decided to venture on this specific project which turn out to be as succesul as it is ambitious. Jarek Śmietana Band consists of excellent pianist Piotr Wyleżoł, legendary bassist Zbigniew Wegehaupt and Janusz Grzywacz (keybord), Adam Czerwiński (drums) and Sławek Berny (percussion). But apart from these top musicians we encounter on this recording ten foreign and polish jazz violinits:

1. Kilimanjaro (with J. Goodman)

2. Where Are You Fron (with M. Smoczyński)

3. Passion (with. D. Lockwood)

4. Quo Vadis (with K. Dębski)

5. City Of Spring (with Ch. Howes)

6. Way To Oasis (with M. Felman)

7. Taniec Garbusa (with M. Strzelczyk)

8. Untitled Song (with A. Bałdych)

All compositions are Seifert's but newly arranged by Śmietana.  Addition of different violinist to each song makes the rehearsal of this album similar to the riding on the rollercoster but the one you really like to be on, in short it is simply pure joy. Great recording for the lovers of jazz violin!

Author: Maciej Nowotny

http://kochamjazz.blox.pl/html

 

Pater, Kamiński, Urowski, Gorzycki - Dziki Jazz (2009)

Dziki Jazz (Wild Jazz) is new project of young but already well recognized musicians. Kamil Pater (guitar), Aleksander Kamiński (saxophone), Rafał Gorzycki (drums) and Paweł Urowski (bass) know each other well bacause they play together in excellent Contemporary Noise Quartet/Quintet/Sextet. This is creme de creme of Polish young jazz, rock, alternative and avant-garde scene. Wherever they move something new and inspiring arises. Dziki Jazz is no exception as they propose again something contradictory do what audience expected from him.

Typically they were associated with rock or even punk rock (Ecstasy Project, Something Like Elvis), further with free jazz (Sing Sing Penelope) energetic and spontaneus, in tradition of Ornette Coleman, Albert Ayler or Archie Shepp but with this recording they go as close as never before toward mainstream. And still they manage to retain in their music this provocative and intriguing feature that was present on their other albums. So contrary to the title of the album the music is definitely less wild but much more communicative and is appealing to emotions they up to this date rather neglected. What are this emotions? This I think you should prefer to discover on your own. I simply recommend this album to you as I feel any sensitive and open-minded jazzman should enjoy it very much.

A small sample of what you may encounter on this cd:

By Maciej Nowotny

http://kochamjazz.blox.pl/html