Various Artists – Przyjaciele Graja Hajduna (2011)

Wanda Staroniewicz - vocals
Wlodzimierz Nahorny - piano
Piotr Nadolski - trumpet
Marcin Wadolowski - guitar
Wojciech Staroniewicz - saxophone
Janusz Mackiewicz - bass
Dominik Bukowski - vibraphone
Darek Herbasz - saxophone
Adam Golicki - percussion
Kuba Hajdun - piano

ALLEGRO 023

By Adam Baruch

This album presents the live recording of a memorial concert dedicated to the Polish pianist / composer Janusz Hajdun, who died a year before this concert took place. Hajdun composed music to more than a hundred films, including the short animated film "Tango", which was the first and so far only Polish film to win the Oscar in 1983, as well as many popular songs. His music was characterized by a distinctive swing and a Jazz spirit, and therefore it is only natural that the Polish Jazz musicians taking part in this concert would pay this loving tribute to the beautiful music composed by Hajdun, hoping to preserve it for posterity.

The album presents thirteen compositions by Hajdun (in two cases co-compositions), all of which were beautifully arranged by the participating musicians and three of which include vocals sung by Wanda Staroniewicz. The instrumentalist are: legendary pianist Wlodzimierz Nahorny, trumpeter Piotr Nadolski, guitarist Marcin Wadolowski, saxophonist Wojciech Staroniewicz, bassist Janusz Mackiewicz, vibraphonist Dominik Bukowski, saxophonist Dariusz Herbasz, percussionist Adam Golicki and pianist Kuba Hajdun (the composer's son).

The music is truly beautiful, full of the typical Polish lyricism, somewhat melancholic and even gloomy, but always absorbing and aesthetically perfect. There is more than a coincidental similarity to Krzysztof Komeda's cinematic work, which indisputably inspired Hajdun, as it did all Polish composers. Hearing all this music collected here makes a great impact as a sum total and emphasizes his incredible value as a composer and contributor to the development of Polish Culture.

The performances are inspired and overall perfect, full of superb solos and excellent team work, kept in relative low-key, as appropriate for a memorial concert. Ranging from solo piano performances to a full-blown Jazz ensemble, things are definitely happening here, which should leave no listener cold. The fact that people pay tribute to their departed colleagues and mentors is heartwarming and commendable and when it is done with such love, dedication and talent, it becomes an unforgettable event.

This is Polish Jazz at its best, and as such it deserves to be listened to with attention and open-mindedness. Taking care of the past and the heritage is every bit as important as taking care of the future, let's not forget it.

Slawomir Jaskulke – Live Gdynia Summer Jazz Days 2001 (2002)

Slawomir Jaskulke - piano
Maciej Sikala - saxophone
Piotr Lemanczyk - bass
Tomasz Sowinski - drums

ALLEGRO 003





By Adam Baruch

This is the debut album by Polish Jazz pianist / composer Slawomir Jaskulke, recorded live in a classic trio / quartet setting with saxophonist Maciej Sikala, bassist Piotr Lemanczyk and drummer Tomasz Sowinski. The album presents five original compositions; three of which are by the leader and two are by Sikala. The first two numbers are performed by the trio and the other three by the quartet.

Jaskulke is considered as one of the most brilliant representatives of the young generation of Polish Jazz pianists and his achievements during the first decade of the 21^st Century are indeed remarkable and include performances around the globe and numerous recordings as leader and sidemen (including those with the veteran Polish Jazz icon Zbigniew Namyslowski). He has also composed music for theatre and cinema.

Anybody listening to this album at the time of its release should have expected great things from Jaskulke, as it is a truly outstanding debut. The trio numbers present Jaskulke as an amazing piano virtuoso, playing in a unique style, which is incredibly percussive and powerful, whereas the quartet numbers present his gentler side as a balladeer, playing beautifully restrained melodic phrases or as an ensemble player of great sensitivity. Such incredible versatility is very rare indeed and when executed with a magic touch like the one he presents here, it is simply marvelous. Considering the fact that Jaskulke was only twenty two years old at the time of the recording one must admit that this is a discovery of an extraordinary talent.

Musically the trio and the quartet are also quite different, with the material written by the leader being much more open and often freely structured, whereas the numbers written by the saxophonist are pretty standard mainstream Jazz compositions, both very good, but not special in any way. In a sense it seems as if these two different settings belong on two separate albums, but what was done can not be undone, so one should enjoy the fact that this marvelous music was captured for posterity and we can listen to it again and again.

The rhythm section performs exactly as expected, changing the volume and presence according to the specific requirements of the moment, always there when one expects them to be, keeping perfect time (which is not always easy here) and modestly displaying another level of virtuosity. Together the ensemble sounds like an unstoppable locomotive, which runs amok, especially in the last tune.

This is definitely an album every Jazz piano lover should listen to, sooner or later, an experience he'll never regret nor forget. Wholeheartedly recommended!

Magnolia Acoustic Quartet feat. Tomasz Dąbrowski - Magnolia Acoustic Quartet (2010)

Magnolia Acoustic Quartet

Magnolia Acoustic Quartet

Szymon Nidzworski - sax
Jakub Sokołowski - piano
Mateusz Dobosz - double bass
Patryk Dobosz - drums

guest: Tomasz Dąbrowski - trumpet

Magnolia Acoustic Quartet (2010)

By Maciej Nowotny

The band has been started in 2009 by saxophonist Szymon Nidzworski. But Magnolia Acoustic Quartet is obviously a team effort. Pianist Jakub Sokołowski composed most of the music while Mateusz Dobosz on double bass and Patryk Dobosz on drums provided it with very modern-sounding rhythm. They all graduated from excellent Musical Academies in Warsaw and Cracow. They picked up some rewards - most notably at Jazz Juniors festival in Cracow - which is even more significant when one knows that most jurors at Polish jazz festivals favor mainstream jazz.

But music of Magnolia Acoustic Quartet (MAQ) though clearly rooted in the tradition of jazz - evidenced by name of the band which refers to the tune played in New Orleans during funeral ceremonies - is by no means limited to its mainstream form. It draws a lot as much from free jazz as from classical music. By those references it might be labeled as "third stream" but I think it is better not to use this old-fashioned cliche to describe something that sounds entirely fresh and is directed toward future of the music.

Apart from regular members of the band this session features also trumpeter Tomasz Dąbrowski. He is a former student of Ostenda Music Academy in Denmark together with such musicians as guitarist Marek Kądziela, saxophonist Tomek Licak or pianist Artur Tuźnik. In recent years they made quite an entry on Polish jazz scene with series of excellent albums among which last year "Tom Trio" by Tomasz Dąbrowski stands out as both mature and distinctive voice of this new "Danish" wave in Polish jazz.

Going back to MAQ: what can I say more? This is simply one of the most spectacular debuts in Polish music in recent years! The music is so rich, so deep, so engaging that it is really difficult to believe this is their first album. Alas this CD is a private edition, available to buy only after concerts. If released and available in commercial circulation, it would definitely be counted among the best albums of the given year. Still the future looks bright for this band as new major player on Polish music publishing market - For Tune Records - has chosen their next project recorded with saxophonist Maciej Obara to be released soon in this year 2013. I am already impatiently waiting for this new record of theirs...

* in writing this text I used info available in this article: http://jazzarium.pl/kalendarz/magnolia-acoustic-quartet

Jachna / Buhl - Tapes (2013)

Jachna/Buhl

Wojtek Jachna - trumpet, flugelhorn, electronics
Jacek Buhl - drums, percussion

Tapes (2013)

By Dirk Blasejezak

2013 already has a gem - although it's actually not really a new one. But this collection of ”old” tapes by Wojtek Jachna and Jacek Buhl comes along so fresh and wild it has to be covered here. (“Old” means the material was recorded between 2009 and 2011.)

Right from the start one gets caught with a song (“Czarny koń Bruce”) that sounds like an homage to the Roaring Twenties. Wojtek Jachna takes the listener back in time without any digression while maintaining contact to the present and to contemporary free jazz. The second song comprises two parts and the first part (“Klub łańcuszka na talerzu”) starts off like a tour de force. This is Jacek Buhl’s no-holds-barred playing - no compromise just hitting (by no means mechanical though).

And this is just how it goes on - the whole album is an experimental site for two free minds. Even though this is only a collection of older material from the rehearsal room you won’t find anything that’s not showing two excellent musicians playing with an overwhelming inspiration. Innovative yet appealing. And again a splendid example of great Polish jazz duos that seem to be more and more in vogue recently. 

The two musicians are known from many projects and bands like Contemporary Noise Sextet, Sing Sing Penelope (Wojtek Jachna) and 4 Syfon, Variete, The Cyklist (Jacek Buhl) - but with this duo it seems that both go beyond their usual borders. And we should be thankful - this is pure pleasure and enjoyment for anybody who likes some ludic drive in free jazz.

Speaking of free it is to say that this album is available at no charge on Bandcamp - so this could be the perfect starting point for anybody who never heard of Jachna/Buhl (you will of course love to get their other two albums too!). This is probably not only a promotional action but also due to the sometimes rather mediocre sound quality. Marcin Dymiter did a good job in recovering the recordings from the tapes but you shouldn’t expect too much. Still this is great music and definitely a recommendation!

Krzysztof Herdzin – Live In Tygmont (2006)

Krzysztof Herdzin - piano
Zbigniew Wegehaupt - bass
Cezary Kondrad - drums

ALLEGRO 011








By Adam Baruch

This album presents a live recording captured at the Warsaw's Tygmont club by pianist / composer Krzysztof Herdzin and his trio, with bassist Zbigniew Wegehaupt and drummer Cezary Konrad. The trio performs six compositions, four of which are originals by the leader and two are standards. The recording has a beautiful realistically captured live sound and an overall superb sound quality.

People familiar with the Polish Jazz scene are surely aware of the fact that Herdzin is one of the busiest and most versatile musicians in the country, who left his mark on a large scale of different musical projects in Contemporary Classical music, Jazz and Popular music. His work as an arranger / orchestrator marks most of the great Pop albums recorded in the last two decades in Poland. Sometimes it seems as if there is hardly anything happening in Polish music, which does not involve Herdzin one way or another. Of course such omnipresence can be dangerous and lead to spreading the talents thin, but one must admit that everything Herdzin touches turns out well, which simply proves his incredible talent, versatility, stamina, perseverance and above all professionalism.

To be fair one must remember that this album presents just one aspect of Herdzin's activity, i.e. his work as a leader of a classic Jazz piano trio. During his career Herdzin recorded several albums in this format, and I must admit this is the favorite one for me. There are several reasons why I feel that way; firstly the material included herein presents a wide emotional range, from up-tempo numbers presenting Herdzin as a virtuoso pianist performing neck-breaking solos and up to deeply contemplative ballads, where the listener can hear Herdzin the atmospheric painter. Secondly the trio work, which is absolutely stunning, is a superb example of creative cooperation in real time, which after all is what Jazz is all about. The dazzling displays of piano bravura are brilliantly supported at all times by the rhythm section, which at the time of the recording was probably the best in the country. My deeply lamented personal friend Zbigniew Wegehaupt, who left us at a ridiculous young age a year ago, was undoubtedly one of the greatest bassists to emerge on the local scene and drummer Cezary Konrad, with whom Herdzin works often, is probably to top drummer of the second Jazz generation in Poland.

This is a classic piano trio album in every respect, which should satisfy even the sternest and most capricious Jazz connoisseurs. Regardless if your champion is Chick Corea, Bill Evans or Herbie Hancock, you will find something here, which is of course first and foremost Herdzin's statement, but sits firmly in the same state of mind that these great Masters bestowed upon us. A timeless jewel!

Wojciech Staroniewicz – Karambola (1999)

Wojciech Staroniewicz - saxophone
Robert Majewski - trumpet
Grzegorz Nagorski - trombone
Cezary Paciorek - piano
Olgierd Walicki - bass
Cezary Konrad - drums
Nippy Noya - perscussion

ALLEGRO 001



By Adam Baruch

This album by veteran Polish Jazz saxophonist / composer Wojciech Staroniewicz was recorded with a septet, which also included trumpeter Robert Majewski, trombonist Grzegorz Nagorski, pianist Cezary Paciorek, bassist Olgierd Walicki, drummer Cezary Konrad and Indonesian (living in Netherlands) percussionist Nippy Noya. It includes seven compositions, five of which are originals by the leader and two are standards.

It was also the first release on his own record label, called Allegro Records, one of the first musician's owned independent record labels in Poland, which just a decade prior to the release date of this album finally managed to shake off the Socialist regime. During that regime's rule, which lasted for forty five years, all recordings in Poland were released only by the state owned record label, which single-handedly dictated which music saw the light of day and which didn't. Of course as a result many great musicians, especially those with avant garde inclinations or anti-Government attitude, never received the opportunity to make an album. After the regime's fall by the end of 1980s, the economic realities replaced the political censorship as a decisive factor as to which music will be released, and an independent, self owned record label is definitely the best solution. In retrospect Allegro Records managed to become one of the leading such labels in Poland, releasing consistently excellent material by the owner, his many friends and other Polish Jazz musicians.

The music on this album presents a change of direction for Staroniewicz, as for the first time his great love for World Music is revealed in full. Strongly influenced by Cuban music and other South American musical accents, the music emerges as a superb amalgam of classic mainstream with these folkloristic elements. Beautifully arranged and perfectly executed, it is a non-stop delight from start to finish, with plenty of great soloing and excellent support by the rhythm section. The presence of Noya adds greatly to the overall sound and enhances the World Music feel. Although to a great extent sophisticated, the music sounds really "easy" and most of all danceable, which is a rare achievement. There is an incredible version of George Gershwin's "Summertime" here, which will make your behind vibrate.

This is definitely an album every true Jazz connoisseur would love to have in his collection. I can't help it but to recommend it wholeheartedly. Superb stuff!

Wojciech Staroniewicz – Quiet City (1995)

Wojciech Staroniewicz - saxophone / composer
Andrzej Jagodzinski - piano
Adam Cegielski - bass
Cezary Konrad - drums

POLONIA 043






By Adam Baruch

This is an early release by veteran Polish Jazz saxophonist / composer Wojciech Staroniewicz, recorded in a classic quartet setting with pianist Andrzej Jagodzinski, bassist Adam Cegielski and drummer Cezary Konrad. The album includes six original compositions, all by Staroniewicz, most of which are ballads.

After listening to just a few opening notes it becomes immediately apparent that this is a Polish Jazz recording, as the music is full of the characteristics, which are unique to Polish Jazz: wonderfully lyrical melodies, folkloristic undertones, unusual meters and those unique harmonies, which only Polish Jazz musicians are able to invent. Also clearly apparent is the virtuosity of the participants, who in spite of their (at the time) young age sound as if they played Jazz for decades. Staroniewicz has a beautiful tone when playing his tenor saxophone, which resembles several of the great American saxophonists, but has more vitality and chutzpah. Jagodzinski is a fantastic player and this early recording already shows him in his full capacity. The rhythm section is also first class, doing a fantastic job supporting the two soloists both during the ensemble parts and solo parts.

Although this is solid mainstream Jazz, it is full of intelligent moments and passionate performances, which take the music well beyond what is usually conceived as mainstream. Partly due to the leader's superb compositions and partly to the musicians growing up absorbing the Polish Jazz heritage, which includes the innovations introduced by Krzysztof Komeda, which were as much influential on Polish Jazz as John Coltrane's legacy was on the global scene, this music is both a classic example of mainstream Jazz as much as an epitome of Polish Jazz.

In retrospect I find myself returning to this album from time to time and although it is rarely considered as a Polish Jazz "classic", it is definitely so for me. Of course the fact that it was recorded almost two decades ago means absolutely nothing except for the fact that is seems to be getting better with time. The fact that Staroniewicz emerged eventually as one of the pillars of the Polish Jazz scene, not only as a player but also as a record label owner, concert organizer, etc. proves that he means business, which is always a great quality in people. So a "classic" for me, and if you get to listen to it – it will be also a "classic" for you!

Oleś Brothers with Theo Jörgensmann & Christopher Dell - Fragment & Moments (2012)

Oleś Brothers with Theo Jörgensmann & Christopher Dell - Fragment & Moments (2012)

Theo Jörgensmann – bassett clarinet
Christopher Dell – vibraphone
Marcin Oleś – double bass
Bartłomiej Brat Oleś – drums


By Ken Shimamoto 

Polish twin brothers Marcin and Bartolmiej Brat Oles (b. 1973) have been recording together since 1999, in various co-led groups which often featured distinguished collaborators such as for example David Murray or  Ken Vandermark. This 2007 session, released early last year, teams them up with a pair of German musicians: Theo Jorgensmann on basset -- not bass -- clarinet (basically a soprano clarinet with an extended lower range, beloved of Mozart) and vibraphonist Christopher Dell.

Opening track “Ornettation” is a conversation between Jorgensmann and Bartolmiej Oles, reminiscent of the ones Coltrane used to conduct with Elvin Jones. The difference is that this one is loose-limbed rather than fervid in tone. Jorgensmann’s sound is reminiscent of the early clarinet masters, but with thoroughly modern ideas, say, like kind of European version of Perry Robinson. Bartlomiej floats the beat on his cymbals while detonating explosions of trap thunder. Vibraphonist Dell sketches the chordal framework and plays Gamelan-like solo lines, vocalizing as the band’s interplay builds intensity.

The brief “I Moment” is a moody ambient soundscape, while the longer “Deep Down” is a contemplative piece on which Marcin Oles’ bass alternately serves as a third melodic voice and provides searching pizzicato lines before Bartolmiej’s drums essay a notable thematic statement. Overall, a work of remarkable subtlety and detail that deserves to be heard.

Randy Brecker / Wlodek Pawlik – Night In Calisia (2012)

Randy Brecker - trumpet
Wlodek Pawlik - piano / composer
Pawel Panta - bass
Cezary Konrad - drums

Kalish Philhamonic Orchestra
Adam Klocek - conductor

LICOMP 014


By Adam Baruch

This is the second album on which the legendary American trumpeter Randy Brecker cooperates with Polish Jazz pianist / composer Wlodek Pawlik, performing a Jazz suite composed by Pawlik. Their previous cooperation resulted in the album "Tykocin Jazz Suite", which was very warmly received by critics and audiences alike. This time they perform the "Night In Calisia" suite, which was commissioned by the Polish City of Kalisz to commemorate its 1850 Anniversary. The music is performed by Brecker, a piano trio led by Pawlik with bassist Pawel Panta and drummer Cezary Konrad and the Kalisz Philharmonic Orchestra conducted by Adam Klocek. The suite is sub-divided into six sections, which together provide a continuous flow of integrated music.

The suite is based on several melodic themes, which reappear throughout the sections, with some passages performed by the orchestra and others featuring the piano trio and the trumpeter. There are several extended solos, all executed perfectly as expected from such high-class musicians. The instrumentation and arrangements balance beautifully between the Jazz undercurrent and the orchestral parts, with naturally tend to sound more Classical in nature. The music is wonderfully lyrical and melodic, tranquil and serene most of the time, simply stroking the listener's attention note by note. Brecker plays simply outstanding, with exceptional clarity and stability, which is extremely difficult. Pawlik fills the space with the melodic motifs, always attentive and gentle. The bassist displays sheer virtuosic qualities and a warm sound of rare beauty and the veteran drummer keeps time, when keeping time is needed and gently strokes the set during the more atmospheric passages. This is pure bliss.

I suppose some listeners and Jazz connoisseurs might find this music to be slightly "sugary" at times. Well, perhaps so, but it certainly does not bother me at all. This is supposed to be a melodic, Jazz oriented amalgam of cross-genre explorations, well framed within the Classical tradition as well as the Jazz heritage. Pawlik is obviously a Master of his trade, which anybody listening to this recording must admit fair and square. There is a plentitude of wonderful Jazz / Classical interplays, which are intelligent, interesting and entertaining. The artistry involved both in the composition as well as the execution of this music is definitely praiseworthy.

This album is highly recommended to listeners, who love the proximity of Jazz and contemporary Classical music, and who will find this work delicious at all times. Pawlik confirms his position as a major force on the Polish Jazz scene and listening to Brecker's trumpet is always a pleasure. Well done!

Szymon Makohin – Tryin' Times (2012)

Szymon Makohin - vocals
Michal Tokaj - piano
Radek Nowicki - saxophone
Michal Jaros - bass
Sebastian Frankiewicz - drums

MUZA 1449




By Adam Baruch

This is the debut album by Polish Jazz vocalist Szymon Makohin, which was recorded in 2008 and waited for four years to finally see the light of day. It presents Makohin performing eleven Pop / Blues / Soul standards, beautifully arranged by pianist Michal Tokaj, who leads the excellent quartet accompanying the singer, which also includes saxophonist Radek Nowicki, bassist Michal Jaros and drummer Sebastian Frankiewicz. On two of the tracks Makohin performs duets with female singers, the incredible Aga Zaryan and Irena Kijewska.

It seems that most Polish Jazz (and not only Jazz) vocalists consistently repeat the fatal mistake of trying to sing in English, which unfortunately in most cases, including this one, simply does not work. It becomes especially apparent in the duet with Zaryan, where the singer's accent and phrasing contrasts with those of Zaryan, who is one of the very few Polish vocalists able to sing properly in English. Therefore, regardless of how good this album is on the instrumental level, the vocals are a priori an obstacle. Makohin has a very nice tone and obvious vocal talents, but his battle is lost the minute he opens his mouth. It's a pity he didn't follow in the steps of other Polish vocalists, like Grzegorz Karnas for example.

The selection of the material is also quite problematic, as all the songs have a strong common bond of sounding "sweet", with very little diversity, and none of them are challenging vocally. All these songs were performed brilliantly by their original authors, and this slightly Jazzed up version has very little added value. The only case of a Jazz standard present here is more a showcase of a brilliant bass accompaniment than vocal ability.

Of course Tokaj and the quartet play spotlessly and brilliantly, as always. The instrumental work keeps this album alive and kicking, which in retrospect is a pity, since this could have been such a great album under different circumstances.

However, considering this is a debut album, it should not be judged too severely; there is a lot of potential here and Makohin has a lot to offer, so I'm looking forward to hear his next album, hopefully in Polish this time. I certainly wish him all the best and keep my fingers crossed.