Tuesday, December 6, 2016

Jazz Dobry Nad Dolinką - koncert formacji Jachna/Tarwid/Karch


By Piotr Wojdat

10.11.2016 Warszawa
Służewski Dom Kultury

Wojciech Jachna - trąbka
Grzegorz Tarwid - instrumenty klawiszowe
Albert Karch - perkusja

Zaledwie nieco ponad miesiąc po premierze "Sundial II", czyli drugiej płyty długogrającej w dorobku tria Jachna/Tarwid/Karch, miałem okazję skonfrontować wrażenia związane z odsłuchem albumu z tym, co grupa ma do zaprezentowania na żywo. Byłem ciekaw, czy muzyka zabrzmi podobnie jak na zarejestrowanych dotychczas wydawnictwach, czy też może będzie rozwinięciem tej i tak już bardzo ciekawej artystycznej idei swobodnej jazzowej kameralistyki. Jak to jednak często w życiu bywa, rzeczywistość okazała się nieco bardziej złożona, a zarazem niezwykle interesująca. Zanim jednak przystąpię do zrelacjonowania tych frapujących wydarzeń, w kilku słowach przedstawię okoliczności związane z samym koncertem.

Trębacz Wojciech Jachna, pianista Grzegorz Tarwid oraz perkusista Albert Karch zawitali ze swoim świeżym materiałem do Służewskiego Domu Kultury w Warszawie. Miejsce to z pewnością pomogło w pełni wybrzmieć muzyce zaprezentowanej przez trio tego listopadowego wieczora. Nowoczesne wnętrza oraz usytuowanie obiektu w pobliżu lubianego przez mieszkańców Mokotowa i Ursynowa Potoku Służewieckiego, umożliwiły pełniejszy odbiór przekazu autorów "Sundial II". Nie zabrakło też rozluźniającego elementu humorystycznego. Jeszcze chwilę przed koncertem okazało się, że pierwsze trzy rzędy są zarezerwowane dla... członków tamtejszej spółdzielni. Informowały o tym karteczki pozostawione na krzesłach. Zwykli słuchacze, jak np. niżej podpisany, musieli się zadowolić miejscami w dalszych rzędach. Bareizmy wiecznie żywe - podszedłem więc do całej sytuacji z przymróżeniem oka. 


Żarty żartami, najważniejsze jednak, że warunki do wysłuchania muzyki były bardzo dobre. Co prawda nie wiem, jak to wyglądało z perspektywy sceny, ale również i artyści zdawali się być w pełni skoncentrowani na tym, co ma się wydarzyć za chwilę. A działo się naprawdę dużo. Dowodem tego stanu rzeczy jest fakt, że trio zaprezentowało zarówno nagrania z debiutanckiej płyty, jak i premierowy materiał. Muzycy podeszli jednak do tematów z otwartymi głowami i zamiast kurczowo trzymać się obranej stylistyki i konceptu, pozwalali sobie na więcej. Szczególnie brylowali tutaj Albert Karch i Grzegorz Tarwid, którzy pomimo młodego wieku, nie tylko pokazali ogromne umiejętności, ale też zaprezentowali się jako w pełni ukształtowani artyści. O ile w grze pianisty i perkusisty była pewna doza szaleństwa i ekwilibrystyki, o tyle Wojciech Jachna zdawał się być tą postacią, która wyznacza kierunek działania całego zespołu. Spełniał funkcję spoiwa, był bardziej powściągliwy od kolegów, ale w partiach solowych również wychodził poza wypracowane motywy.

Koncert tria Jachna/Tarwid/Karch z pewnością mógł się podobać. Muzyka była bardziej dynamiczna od tego, co znamy z płyt, choć też znowu nie tak bardzo odległa od studyjnego konceptu. Był to zatem jazz swobodny, ale też i melodyjny. Coś dla fanów swobodnej kameralistyki, która z każdą niemal minutą nabierała nowego kolorytu i takiego też znaczenia. Sądząc po reakcjach widowni, pomysł artystyczny formacji przypadł do gustu także i postronnym słuchaczom. A tych, jak się okazało w trakcie konferansjerki poprzedzającej koncert, była większość. Skoro zatem okoliczni mieszkańcy docenili występ autorów "Sundial II", tym większe słowa uznania należą się bohaterom tego listopadowego wieczoru.

Sunday, December 4, 2016

Marek Napiórkowski Sextet – Trójka Live (2016)

Marek Napiórkowski Sextet

Marek Napiórkowski - guitars
Henryk Miśkiewicz - alto saxophone, bass clarinet
Adam Pierończyk - tenor & soprano saxophones
Krzysztof Herdzin - piano, flute
Robert Kubiszyn - bass, double bass
Paweł Dobrowolski - drums


Trójka Live

POLSKIE RADIO 1914

By Adam Baruch

This is a live album recorded at the Polish Radio Studio Three by Polish Jazz guitarist/composer Marek Napiórkowski. The recording captures Napiórkowski in a sextet setting with some of the absolute top Polish Jazz payers: saxophonists Adam Pierończyk and Henryk Miśkiewicz (who also plays on bass clarinet), pianist Krzysztof Herdzin (who also plays flute), bassist Robert Kubiszyn and drummer Paweł Dobrowolski. They perform six original compositions, all by Napiórkowski.

The music is a superb example of modern mainstream Jazz, which combines excellent compositions with perfect execution. Based on beautiful and masterly woven melodic themes, full of romanticism, melancholy and typical Polish mystery, the tunes presented here have been masterly arranged for the sextet by Herdzin, who is celebrated for his ability to create wonderful sonic structures, which are elaborate and highly sophisticated but sound remarkably pleasing.

The lineup selected by Napiórkowski ensured a truly marvelous performance, with all the musicians involved having plenty of opportunity to play extended and expressive solos. The leader delivers his usual, slightly Fusion oriented strings of pearls on his electric guitar, which are, as always, dazzling. He also uses the acoustic guitar no less effectively. The saxophonists have plenty of opportunities to play heartwarming solos, the bass clarinet and flute provide nice atmospheric layers, the piano keeps the harmony together and leads the way and the excellent rhythm section takes care of the pulse, always perfectly on time.

However, the individual performances are only pieces of the puzzle, which, when combined together, creates a much stronger and more satisfying whole. This is one of the best mainstream Jazz ensemble albums I came across lately, which proves that mainstream Jazz can be fulfilling and sophisticated, if talented and dedicated musicians are involved. The arrangements and the team work present here are a classic example of contemporary mainstream Jazz perfection.

As if all this wasn't enough, the album is also beautifully recorded and considering the fact that this is a live recording, the quality is even more remarkable. Overall this is a superb modern mainstream album, which offers beautiful compositions and perfect execution, and which should satisfy even the sternest connoisseurs and bring joy to all true Jazz lovers. Hats off!

Saturday, December 3, 2016

Maciej Kądziela feat. Grzech Piotrowski – The Taste Of The World (2016)

Maciej Kądziela feat. Grzech Piotrowski

Maciej Kądziela - alto & soprano saxophones
Grzech Piotrowski - tenor saxophone
Artur Tuźnik - piano
Johannes Vaht - double bass
Olle Dernevik - drums



The Taste Of The World

MULTIKULTI MPJ 014

By Adam Baruch

This is the second album by young Polish Jazz saxophonist Maciej Kądziela, recorded in a quartet setting with pianist Artur Tuźnik and Swedish rhythm section: bassist Johannes Vaht and drummer Olle Dernevik. Polish saxophonist Grzegorz Piotrowski guests on two tracks. The quartet was formed in Copenhagen, where these musicians studied together at the local Music Academy and summarizes Kądziela's experiences during his stay in Denmark. The album presents ten original compositions, all by the leader.

The album immediately strikes the listener as a mature and serious offering, which presents Kądziela playing with remarkable fluidity and confidence, completely uncommon among Jazz musicians of his age group. The rest of the quartet members stand shoulder to shoulder with the leader, supporting him amicably and intelligently all the way through. Beautifully lyrical piano by Tuźnik, solid and virtuosic bass layer keeping the music on solid ground at all times by Vaht and explosive but always at the right measure percussive ornamentation by Dernevik are an excellent examples of what team work is all about.

The music is typical modern European Jazz, dancing elegantly on the verge of mainstream melodic lines and free vistas, creating a wonderful tension and keeping the listener on edge throughout the entire duration of the album. The melodic layer tends to be filled with typical Polish melancholy, but the energetic performances by the musicians save it from being overtly lethargic. Some Scandinavian elements are also clearly audible, which of course makes perfect sense considering the quartet's lineup and common history. Some references to the compositions of Krzysztof Komeda and the playing of John Coltrane are inevitable, but those are subtle and Kądziela will soon find his very own original voice as a composer and saxophonist.

Overall this is a most impressive album, full of wonderful playing, searching and experimenting, as appropriate for Jazz. Definitely one of the best Polish Jazz releases so far in 2016, and beyond. Hopefully more of such splendid music will follow suit in not too distant future. I can't wait already!

Friday, December 2, 2016

The Beat Freaks - Leon (2016)

The Beat Freaks

Michał Starkiewicz - guitar
Tomasz Licak - saxophone, bass clarinet
Paweł Grzesiuk - bass
Radek Wośko - drums

Leon

GATEWAY MUSIC 2016


By Krzysztof Komorek

Lubię odkrywać nowe rzeczy, dostawać coś niespodziewanego, nieoczekiwanego. Takie miłe zaskoczenia od samego początku serwowała mi płyta The Beat Freaks. Nowy zespół? W zasadzie tak. Kiedy jednak spojrzymy na współtworzących go muzyków, będziemy mieli pierwszą niespodziankę. Tomasza Licaka oraz Radka Wośkę znają i poważają fani jazzu, nie tylko w Polsce. Michała Starkiewicza i Pawła Grzesiuka także nietrudno skojarzyć - chociażby z koncertowych występów z artystami z najwyższej półki, choć nie zawsze z tej jazzowej. The Beat Freaks nie są więc składem anonimowym. Skąd natomiast wziął się "Leon"? Album miał być w założeniu hołdem oraz próbą ocalenia twórczości mitycznego barda czasów gwałtownej industrializacji Leona Kokakiewicza. Zafascynowanego maszynami innowatora i wizjonera. Postaci, o której nie poczytamy sobie w przepastnych zasobach internetu, choćby z tego powodu, że nikt taki nigdy nie istniał. 

Dziewięć chwytliwych kompozycji zepołu wyróżnia pierwszoplanowa rola saksofonu i klarnetu Tomasza Licaka, wspomaganego w solowych partiach gitarowymi popisami Michała Starkiewicza - inicjatora powstania projektu. Bas i perkusja nie pchają się na pierwszą linię, ale potrafią zaznaczyć swoją obecność. Chociażby w utworze „Solaris” kapitalnie poprowadzonym przez Radka Wośkę z solówką i fantastyczną zmianą rytmu w okolicach połowy utworu. Czy też w tanecznym "Pod nóżkę" z chwytliwym, rozkołysanym basem urozmaiconym dyskusją gitary i saksofonu. Uwagę przykuwają jeszcze spokojne, balladowe "Bright Eye" i "Ludowo", który po "ludowe" inspiracje sięga niekoniecznie w stronę naszych rodzimych okolic. 

Płyta niespodziewanie raczej lekka – niespodziewanie, bowiem duńskie doświadczenia połowy składu sugerowałyby raczej mocno improwizowany repertuar. Za to wymyślona i zagrana z dużą klasą. Zdecydowanie zachęcająca do sięgania po jazz. Mam nadzieję, że The Beat Freaks znajdą jeszcze kiedyś kolejne ślady działań Leona Kokakiewicza i podzielą się nimi ze światem. 

Wednesday, November 30, 2016

PSM – Lis (2016)

PSM

Łukasz Poprawski - alto saxophone, bassoon
Jan Smoczyński - Arp Odyssey, Roland Jx-3p,
Michał Miśkiewicz - drums, Roland Spd-sx

Lis



TOKARNIA 005

By Adam Baruch

This is the debut album by Polish Jazz trio PSM, which comprises of saxophonist Łukasz Poprawski, keyboardist Jan Smoczyński and drummer Michał Miśkiewicz. It presents eleven original compositions, five of which were co-composed by Poprawski and Smoczyński and six were co-composed/improvised by all three members of the trio. The album was recorded at the Studio Tokarnia, which is owned by Smoczyński, who also engineered the recording.

The music is very difficult to classify, as it elegantly avoids any specific genre, perhaps due to the unique sound of the synthesizers, which dominates it. Smoczyński plays the classic analog synthesizer ARP Odyssey (or perhaps the new Korg reissue) and the vintage Roland JX-3P synthesizer, which were popular in the 1970s and 1980s (respectively), but are rarely used today. Listeners used to Smoczyński playing the piano will find his playing here completely different of course. Large parts of the music seem to be improvised, with the saxophone exploring the usual melodic plane while the synthesizer adds weird mechanical/industrial pulsing background.

Overall the music is completely unique on today's Improvised Music scene, incorporating elements of New Wave, Krautrock and other synthesizer oriented Rock movements from the 1980s transported thirty plus years forward in time towards today and overdubbed with almost Free Jazz saxophone improvisations. Of course my feeble attempt to describe this music verbally should be simply replaced by listening to the music.

The overall result is intriguing and certainly unusual, but is definitely not easy to listen to, except for very open-minded and patient listeners. The synthesizers sound definitely weird and uninviting and their combination with the solo saxophone work on top is challenging. The rhythmic pulse provided by the drums keeps the music on track, and enables the listener not to loose track, but does not ease the effort needed to follow the music. Of course all the individual performances are absolutely top notch.

Personally I admire Jan's and his colleagues' vision to make such a bizarre and challenging album, but I am afraid it will by way overhead of the average listener, even on the advanced and well educated Polish scene. Hopefully at least some people will find this album deserving their attention, as it is definitely worthy. As usual Jan proves he is one of the most interesting musicians/personalities on the Polish scene, who deserves to be followed closely.

Tuesday, November 29, 2016

Light Coorporation – 64:38 Radio Full Liv(f)e (2016)

Light Coorporation

Mariusz Sobański - guitar
Paweł Rogoża - tenor saxophone
Mariusz Gregorowicz - vibraphone
Krzysztof Waśkiewicz - bass
Miłosz Krauz - drums

64:38 Radio Full Liv(f)e


RER LC05

By Adam Baruch

This is the fifth album by the excellent Polish ensemble Light Coorporation, led by guitarist Mariusz Sobański. This lineup of the ensemble features also saxophonist Paweł Rogoża, vibraphonist Mariusz Gregorowicz, bassist Krzysztof Waśkiewicz and drummer Miłosz Krauz. The album was recorded live in the Polish Radio studio in Poznan, which is named Krzysztof Komeda Studio after the Godfather of Polish Jazz, who made his early recordings there. The ensemble performs seven original compositions, all composed by the leader.

The music presents reworked versions of compositions that previously appeared on the ensemble's first and third albums and completely improvised pieces credited to all five members of the ensemble. This album definitely marks a shift towards improvised music, taking the ensemble further away from their initial Progressive Rock and Fusion image. This constant chameleonic ability to change the musical approach has been one of the greatest assets of Light Coorporation since their inception.

Although instrumentally limited only to five instruments, the ensemble creates wide and diverse sound structures. The addition of the vibraphone (Gregorowicz is the only new member of the ensemble who did not appear on any of the previous albums) changed the overall sound significantly, bringing it even closer to traditional Jazz sound. I have no idea if Sobański was influenced by the presence of the vibraphonist Jerzy Milian as a member of the early Komeda combos, when he decided to add vibraphone to this new lineup, but whatever the reason was, it had a major influence on the overall result.

As already stated above this album emphasizes Free improvisation, which constitutes a major part of the music. However, the music is still very coherent and based on composed parts, which enables the listener to follow up the developments without getting lost within the havoc that is often projected by Improvised Music projects. Some basic riffs and electric guitar parts go back to the Fusion idiom, but everything here is more hinted than explicitly stated, which of course makes life interesting for the listener.

Overall this is another superb release by Light Coorporation, which is surely one of the most interesting, unconventional and sadly underrated ensembles active in Europe today. The album was released again on the prestigious British ReR label, which consistently supports the band. I wholeheartedly recommend to open-minded listeners to investigate this album, as well as the previous releases by Light Coorporation, as they all are still completely valid and lost nothing of their original charm. Well done again!

Monday, November 28, 2016

Piotr Domagała/Kwartet Śląski – Chowańce (2016)

Piotr Domagała/Kwartet Śląski

Piotr Domagała - guitars
Szymon Krzeszowiec - violin
Arkadiusz Kubica - violin
Łukasz Syrnicki - viola
Piotr Janosik - cello
Sławek Berny - percussion

Chowańce



GAP 5905669506014

By Adam Baruch

This is the fourth album by Polish Jazz guitarist/composer Piotr Domagała, recorded in an unusual setting with the Kwartet Śląski String Quartet (violinists Szymon Krzeszowiec and Arkadiusz Kubica, violist Łukasz Syrnicki and cellist Piotr Janosik) and percussionist Sławomir Berny. Together they perform eleven original compositions, all by Domagała.

The music is an interesting amalgam of Jazz, Fusion, Classical Music and World Music, a true cross-genre voyage, based on beautiful melodic themes and featuring interesting and unique arrangements. The compositions are full of typical Polish/Slavic melancholy and mysticism, expressed both by the melodic/harmonic setting and the complex arrangements, fabulously executed by the string quartet, which often sounds like layers of synthesizers rather than violins, viola and cello. In that respect this is one of the most unique projects I came across in 2016 not only on the Polish scene, but worldwide.

Domagała is a very accomplished guitarist and plays many breathtaking passages on this album. Most of the guitar work is acoustic and uses a plethora of different guitar techniques. A few electric parts are also present, but those are overall less significant as the album presents mostly a serene, intimate atmosphere, which is best served by the acoustic approach, which of course also corresponds well to the string quartet.

The string quartet, as already mentioned, is absolutely superb, playing completely originally and free of any Classical Music conventions, which often limit classical musicians and cause their cooperation with Jazz musicians to fail miserably. In this case the cooperation works out perfectly and the string quartet contributions are equally important to those of the leader. Berny is an ideal choice for this album, where his great sensitivity and rhythmic proficiency suit the music perfectly. Berny's experience with World Music and Jazz oriented projects is very extensive and his contributions here emphasize the rhythmic qualities of the music gracefully.

Overall this is a striking album, which presents ambitious and innovative music, superbly executed by the participating musicians. It is a wonderful example of intelligent music, which can also be very emotional and aesthetically pleasing. The album, which was recorded in the excellent RecPublica Studios, offers a stunning sound quality, which should satisfy even the sternest Hi-Fi connoisseurs. Wholeheartedly recommended!

Sunday, November 27, 2016

Damięcka/Bertazzo-Hart/Urowski/Allen - Monks's Midnight (2016)

Damięcka/Bertazzo-Hart/Urowski/Allen

Ilona Damięcka - piano, vocals
Francesca Bertazzo-Hart - guitar, vocals
Paweł Urowski - double bass
Eric Allen - drums

Monk's Midnight

HV0128-2-331

By Krzysztof Komorek

Pomyślałem sobie od razu, że to powinna być bardzo fajna płyta. Po pierwsze kompozytor i wybór jego utworów: Thelonious Monk i zbiór powszechnie znanych i lubianych kompozycji z "Well, You Needn’t", "Blue Monk", "Round Midnight" i "Straight No Chaser". Po drugie teksty innego klasyka, poety jazzu Jona Hendricksa, który pisał do muzyki chyba wszystkich gigantów i niemal z każdym z nich je wykonywał. Po trzecie ciekawy zestaw instrumentalny, z fortepianem i gitarą, oraz możliwość skonfrontowania ze sobą dwóch różnych głosów – śpiewają zarówno Ilona Damięcka, jak i Francesca Bertazzo-Hart. Wreszcie wydawca – słowacka Hevhetia, której płyty zawsze gwarantowały wysoki poziom. To wszystko układało się w naprawdę intrygującą i dobrze zapowiadającą się mieszankę. 

Ze sztuką jest jednak jak z pieczeniem ciasta. Wystarczy jeden źle dobrany składnik i efekt końcowy trudno uznać za zadowalający. Nie posunę się co prawda do porównania "Monk’s Midnight" do deseru całkowicie niejadalnego, jednak właśnie jeden składnik zadecydował, że opisywane nagrania trudno ocenić pozytywnie. Gdyby to była płyta instrumentalna, słuchacz otrzymałby może nie wybitną, ale całkiem udaną i fajnie wykonaną składankę monkowskich tematów. 

Wszystko rozbija się jednak o wokal i to wcale nie w kwestii technicznej jakości wykonania. Domyślam się, że wokalistki pragnęły znaleźć jakąś platformę artystycznego porozumienia i możliwości wspólnego śpiewania. Stąd też decyzja o wykonywaniu piosenek w języku angielskim. Decyzja całkowicie chybiona ze względu na, eufemistycznie mówiąc, nienajlepszy akcent śpiewających, nad którym trudno przejść do porządku i który kładzie się cieniem na wartości nagrań. Szkoda zmarnowanej szansy.

Saturday, November 26, 2016

Krystyna Stańko – Novos Anos (2016)

Krystyna Stańko

Krystyna Stańko - vocals
Dominik Bukowski - vibraphone, marimba, kalimba
Piotr Lemańczyk - bass
Marcin Wądołowski - guitar
Marcin Gawdzis - trumpet
Łukasz Żyta - drums
Zé Luis Nascimento - drums, percussion


Novos Anos

FOR TUNE 0113

By Adam Baruch

This is the eighth album by Polish Jazz vocalist Krystyna Stańko, recorded with her regular wonderful Baltic crew which includes vibraphonist Dominik Bukowski, guitarist Marcin Wądołowski, bassist Piotr Lemańczyk and guest Brazilian drummer/percussionist Ze Luis Nascimento. Trumpeter Marcin Gawdzis guests on two tracks and drummer Łukasz Żyta on three tracks. Together they perform eleven songs (one is repeated twice), six of which were composed by Antonio Carlos Jobim, and the rest by different composers like Chick Corea, Mongo Santamaria and others, all with a distinct samba and bossa nova character. All the songs use English lyrics.

This album marks a significant diversion in Stańko's career, which is usually focused on singing original material composed by her or her band members. When I visited her in Gdańsk three months ago, not long after this album was recorded, she told me that this was a conscious decision to create an album which could be enjoyed by a much wider audience than her previous recordings, without compromising the artistic and aesthetic values. There is no doubt that she and her band managed to do just that.

The album includes mostly very well known songs, which have been previously recorded many times by artists all over the world. This album offers however a slightly different approach, with the instrumental arrangements being much more Jazzy than similar efforts. The presence of Bukowski adds another dimension, normally not present on such recordings and the brilliant bass playing by Lemańczyk firmly places these interpretation within the Jazz idiom rather that the usual Pop or easy Jazz genre. Wądołowski adds some beautiful guitar parts, which are also quite different from the standard guitar parts used on samba albums and so does Gawdzis, albeit briefly. Of course having a Brazilian drummer/percussionist on boards ensures that rhythmically everything works perfectly.

Stańko's deep sensual voice is of course ideally suited for these songs, and her vocal theatrics fit the bill perfectly. Although her pronunciation is not exactly "perfect" English, it is not significant as these songs have been sung in English by Jobim himself, Astrud Gilberto and countless other non-native English speaking vocalist and a slightly foreign accent in this case is perhaps an asset rather than a weakness. Stańko of course has the perfect feel needed to perform these songs and does it with obvious passion and love. She uses superb vocalese parts in addition to the lyrics, which are truly delightful. For me the most touching song of the album is the intimate trio which finds Stanko supported just by vibraphone and bass, which is perfection itself. Stańko respectfully leaves a lot of space for instrumental parts, which is most appropriate.

If this album will bring Stańko to a wider public attention, it will serve its purpose ideally. She deserves to be heard and adored by everybody as much as I do adore her, regardless what she does, not because she is my friend, but because she is a true Artist and a wonderful human being. Well done Krystyna, Dear!

Friday, November 25, 2016

Tribute To Andrzej Przybielski – Tribute To Andrzej Przybielski Vol.1 (2016)

Tribute To Andrzej Przybielski

Maciej Fortuna -  trumpet
Marcin Gawdzis - trumpet
Wojciech Jachna - trumpet
Tomasz Kudyk - trumpet
Piotr Schmidt - trumpet
Maurycy Wójciński - trumpet
Jakub Kujawa - guitar
Grzegorz Nadolny - double bass
Grzegorz Daroń - drums


Tribute To Andrzej Przybielski Vol.1

SJP 001

By Adam Baruch

This is a criminally overdue tribute album to the Polish Jazz trumpeter/composer Andrzej Przybielski (born 1944), who died in 2011, recorded by an ensemble which features six Polish Jazz trumpeters: Maciej Fortuna (born 1982), Marcin Gawdzis (1972), Wojciech Jachna (1976), Tomasz Kudyk (1976), Piotr Schmidt (1985) and Maurycy Wójciński (1988), i.e. mostly members of the middle aged and young generation of the Polish Jazz scene. The ensemble also features a rhythm section which comprises of guitarist Jakub Kujawa, bassist Grzegorz Nadolny and drummer Grzegorz Daroń. Together they perform four compositions by Przybielski and three collectively improvised pieces. The album also includes a conversation with Przybielski recorded in 2007 at the legendary Mózg club in Bydgoszcz, Przybielski's home town, which also includes fragments of his performances.

The recording and the release of this album was the initiative of Fortuna, who felt an obligation to document and commemorate Przybielski's contribution to Polish Jazz, which is of course highly praiseworthy. However it is difficult to ignore the fact that Przybielski died a dissolute, lonely, sick, neglected and forgotten man, which left a huge black stain on the Polish Jazz scene. Not less significant is the absence on this album of the top Polish Jazz trumpeters of his generation, which painfully emphasizes the fact that Przybielski never received the recognition he so much deserved from his contemporaries and was mostly adored and respected by musician much younger than himself. His life's story is a classic epos of avant-garde being denied recognition at its peak only to be recognized in the aftermath.

Personally I had the pleasure of knowing Przybielski and working with him on several projects in the 1980s, being immediately convinced that he is the most interesting Polish Jazz trumpeter on the local scene at that time. My admiration for his work never ceased, being only rekindled following the tragic news of his death. With all respect to the actual music present on this album, which is very good, it is only secondary to the very existence of this project. Thanks and salutations are of course due to Fortuna and the many people who made this project possible and which, as the Vol.1 suggests, will be continued in the future.

There are many fascinating moments on this album, some superb trumpet passages and solos, great group improvisations and so on. The musical concept is however a bit unclear, as far as I am concerned. Also the idea of six trumpeters playing together, as potentially interesting as it might appear is less effective in reality in my opinion. Perhaps a collection of pieces featuring prominently just one trumpeter or at most two, playing in turn might have been more effective? But these are just matters of personal taste.

Of course all these trumpeters can play and they do play well, but as far as a tribute is concerned, the music is supposed to be spiritually convergent to the music of the subject to whom the tribute is dedicated, which, as already mentioned above, is not really apparent herein. But all things considered, this is a very important album, not only for its music but primarily for what it symbolizes, for its historical importance and for the example it sets. As such it is undoubtedly a major event and a great success!
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