Record Reviews

EABS ~ SLAVIC SPIRITS (LIMITED EDITION) ASTIGMATIC 009 ~ POLAND ~ Jazz Recorded: 2019 Released: 2019 A couple of years ago (in 2017) a young Polish Jazz ensemble from Wroclaw, called EABSFind albums by this artist, released their debut album "Repetitions (Letters To Krzysztof Komeda)Find albums with this title" which created quite a stir in the local jazz swamp. Subsequently the ensemble released a couple of LPs with material still connected to Krzysztof KomedaFind albums by this artist´s music, which together with the debut they call the "Komeda Triptych". The original septet lineup: keyboardist Marek PedziwiatrFind albums by this artist, drummer Marcin RakFind albums by this artist, guitarist Vojto MonteurFind albums by this artist, bassist Pawel StachowiakFind albums by this artist, trumpeter Jakub KurekFind albums by this artist, saxophonist Olaf WegierFind albums by this artist and percussionist also in charge of sound fx Spisek JednegoFind albums by this artist (a.k.a. Piotr SkorupskiFind albums by this artist) was expanded to an octet with the inclusion of British flautist / saxophonist TenderloniousFind albums by this artist (a.k.a. Edward CawthorneFind albums by this artist), which released their genuine second album. It presents original compositions by the band members, two by Pedziwiatr, one each by Stachowiak and Monteur and three collective compositions; altogether seven tracks lasting just under forty four minutes. More about the music later… Similarly to the debut, the Limited Edition of this album includes an extensive essay by Sebastian JozwiakFind albums by this artist, the executive producer of the album, who is an organic member of the ensemble, their spokesman and sort of spiritual guru. The almost 300 pages long massive essay (in bilingual Polish / English version) printed in a book form is in fact an integral part of the release and presents the intellectual / historic / philosophical aspects of the subject matter, complimenting the musical content of the album, which as the title suggests tries to explore the "Slavic Spirit" in a multi-plane analysis attempt. More about the book later… My reaction to the debut album (which can be read by clicking on the link above) was somewhat reserved but overall encouraging. I clearly stated my subjective pros and cons but I obviously misjudged the hysterical / hyperbolical / fanatical hype that was created around that album at the time of its release by what can be collectively called the Polish Jazz media and beyond. I refused, as always, to follow the crowd and pay allegiance to vox populi that claimed the album was a Godsend and a monumental event on the Polish Jazz scene, which I found overtly exaggerated. The predicted wave of internet hate that followed was a small price to pay for my intellectual liberty. Considering the average level of professionalism in contemporary Polish Jazz musical journalism and criticism, which is sadly inversely proportional to the level of the music itself, and the omnipresent herd mentality which dominates it, I have always proudly maintained an independent point of view, helped by the geographical distance and total lack of dependence on the social / economic / political and even religious constrains acting upon people living in Poland. Therefore I admit that I was quite surprised to find a copy of the album in my daily heap of albums arriving in the mail – which I interpret as a sign of trust in every case when someone asks for my opinion. Whenever I write a review of an album recorded by Polish musicians and / or composed by Polish composers there is a high probability that the phrases "Polish lyricism" or "Polish melancholy" might appear within the text, which is only natural since Polish Music generally across all genres, but especially so within the Polish Jazz idiom, offers a spirituality which is probably indescribable in words (see "Dancing about Architecture"), but is very easily recognizable while listening to it. With this album EABS go on a journey of discovery of this particular musical Polishness, which they expand into musical Slavic Spirituality. Although Poles and the various ethnic Polish minorities are of course part of the Slavic peoples, they are in fact a minority within the Slavic global identity and therefore perhaps this generalization is slightly overstretched. Nevertheless the idea is to define the Slavic Spirituality musically, by the music on this album, as well as by the text which examines its other aspects. The music is diametrically different from what the ensemble offered on their debut. It does not include any vocal parts, no Hip Hop, almost no electronics except for some limited sound effects, in short it makes an almost complete about-face towards mainstream melodic Jazz, which features extended soloing by the keyboards, the saxophones and the trumpet. The three short collective improvisations serve as introductions to the extended main compositions that follow. The four main compositions are developed slowly towards a final climax featuring group improvisation. The melodic themes are undoubtedly lyrical and melancholic, well structured and admittedly beautiful. That said the question arises if this music is an epitome, a classic / archetypical example of Polish Jazz, which defines its Slavic Spirituality? In all fairness I feel that such a lofty ambition would be beyond the true scope of this music. I´d even say that any attempt to define an entire Cultural aesthetics by one piece of music, regardless how ingenious it might be, is a priori futile. The text accompanying the album is however much closer to the goal it sets before the reader. It is by no means a scholarly, academic research, impeccably organized and proposing a deterministic outcome. It is a complete opposite; a collection of personal (or rather collective) reflections on the subject of ethnic spirituality, historic processes, religious believes and myths, Paganism and Christianity and many others. The development of contemporary Polish music and its connection to the Slavic Spirituality is approached via an examination of the key personalities that shaped its fate, most extensively Czeslaw NiemenFind albums by this artist (a deeply spiritual person) in the chapter entitled "Inspirations". The opening track and each of the four main compositions on the album has a chapter dedicated to it, which explains in depth the Slavic believes, cults and deities connected to the names of the tracks. Although reading the entire text is challenging, it is also intellectually rewarding and highly educational, full of facts and ideas which probably never occurred to most people before coming across it. The chapter dealing with the Slavic aspects of Polish music is a must read to all connoisseurs, especially the younger ones who did not experience that music during their lifetime. The most important aspect of the text is that is does not try to indoctrinate or impose any views or ideologies on the reader. It presents an impressive collection of facts and views, but leaves the interpretation of the above to the reader himself. If anybody got finally here, it is time to summarize; this is a very ambitious project, which combines excellent music with well written text related to the subject the music and the text are dedicated to. The music is enjoyable and accessible, superbly performed and offering a rewarding listening experience, which many listeners might enjoy repeatedly. Probably fewer people will have the stamina required to read the entire test attentively, although it is most highly recommended. Overall a splendid piece of dedicated work, which hopefully this time will be appreciated for what it is but not unnecessarily overhyped, which can only case grief and damage in the long term. Well done Gentlemen!

Updated: 01/07/2021Posted: 24/06/2019

BOOK+CD 1 Digipak Box Set Recommend To A Friend

JAUBI ~ NAFS AT PEACE ASTIGMATIC 017 ~ PAKISTAN ~ Jazz-World Fusion Recorded: 2019 Released: 2021 This is an album by Pakistani Jazz-World Fusion quartet JaubiFind albums by this artist, which consists of guitarist Ali Riaz BaqarFind albums by this artist, sarangi player Zohaib Hassan KhanFind albums by this artist, drummer Qammar AbbasFind albums by this artist and tabla player Kashif Ali DhaniFind albums by this artist. The quartet is expanded to a sextet with the addition of Polish Jazz keyboardist Marek PedziwiatrFind albums by this artist (a.k.a. LatarnikFind albums by this artist), a member of Polish ensembles EABSFind albums by this artist and BlotoFind albums by this artist, and British flautist / saxophonist Edward CawthorneFind albums by this artist (a.k.a. TenderloniousFind albums by this artist), who also recorded with EABS. The album presents seven tracks recorded in Lahore, six composed by Baqar and one by Pedziwiatr. Some additional recordings were done in Oslo, involving the Vox Humana Chamber ChoirFind albums by this artist, which appears on the opening track. The music is, as expected, an amalgam of traditional Indian Music elements and Jazz, which of course has its origins back as far as mid-1960s, both in American Jazz (John ColtraneFind albums by this artist of course, but not only) and British Jazz (John MayerFind albums by this artist and others) and European Jazz. The music created by the expanded Jaubi ensemble is similar in some ways to the many earlier attempts, but is also unique, being far more open to listeners, who have little experience with Indian music, as well as younger listeners, who prefer more melodic, accessible, somewhat trance-like auras, which do not involve heavy, complex improvisation, and offers instead a natural melodic flow. This does not mean that the album does not offer splendid soloing, which it certainly does. Both Pedziwiatr and Cawthorne offer some impressive soloing, especially on the final track dedicated to Coltrane and obviously inspired by “A Love Supreme”. Since the original Jaubi quartet involves only two traditional Indian instruments (sarangi and tabla), a priori their sound is not dominated by traditional Indian Music, which can be pretty daunting to Western listeners, and as this album perfectly shows, same like using exotic spices in food, moderation is the wiser solution. The album’s artwork and promo materials offer many references to the spiritual / religious references of this music, namely to the Koran spirituality and the concept of Nafs (from nafas), which became popular in the West with the growing popularity of the New Age in the late 20th Century. Personally I prefer to hide behind my skepticism, as this music is way more appropriate to enjoy and have fun rather than meditation or contemplation of one’s state of their soul. Oh well… Overall this is a wonderful album, extremely listenable and with the delicate smell of mystique and Indian spices, offers a superb musical trip, which is a pleasure to listen to. Well put together and offering some great melodic compositions as well as superb performances, this album is truly addictive. Not to be taken too seriously of course, just relax and flow with the music wherever it takes you – satisfaction guaranteed!

Updated: 01/07/2021Posted: 01/07/2021

CD 1 Digipak Recommend To A Friend