Record Reviews

IRCHA ~ BLACK BONES KILOGRAM 031 (Barcode: 5907577284305) ~ POLAND ~ Jazz-World Fusion Recorded: 2013 Released: 2014 This is the fourth album by the iconic Polish clarinet quartet IrchaFind albums by this artist, led by Mikolaj TrzaskaFind albums by this artist and also including Michal GorczynskiFind albums by this artist, Pawel SzamburskiFind albums by this artist and Waclaw ZimpelFind albums by this artist. These four players are all ensemble leaders on they own right and are among the undisputed leaders of the Avant-Garde Polish Jazz / Improvised Music scene in the last decade. But above all they are superbly talented musicians and creative personalities, who turn Ircha into a supergroup of legendary proportions. This album is in fact a twin album, not a 2CD album, but two separately packaged albums recorded just three months apart, one in a studio and the other one live, presenting almost completely different musical material. The studio album presents thirteen pieces (collected into ten tracks), some traditional Sephardic and Hasidic Jewish songs, others composed by Trzaska and yet others composed by the quartet. The live album presents also thirteen pieces (collected into eight tracks), with just a few of them being the same ones as those on the studio album, also being traditional Jewish songs, others composed by Trzaska or by the quartet. The live album was recorded at the Falenica (a Warsaw suburb) train station, during a concert I had the immense pleasure to attend and meet Mikolaj and the quartet in person for the first time. My warm applause is therefore captured for posterity on that album. Although including only clarinets, Ircha is capable of producing an almost symphonic wall of sound, which can be immensely impressive. The various clarinets cover a wide range of the audible spectrum and compliment each other beautifully. The overall sound produced by Ircha is therefore a completely unique and incomparable sonic experience, which combined with the deeply spiritual music, has an overwhelming impression on the listener, reaching deeply into the soul and completely transfixing the mind. Of course the music of Ircha is also a symbol of the rebirth of Jewish music in Poland, where it originally existed for almost a millennium, before being eradicated by the Holocaust. The fact that Polish musicians, regardless of the fact if they have a Jewish background or not, take traditional Jewish music into the next millennium, and into a new dimension, is truly astounding and uplifting. The entire phenomenon, which involves a surprisingly large group of Polish musicians, many of them from the Jazz idiom, is simply miraculous. There is no doubt that Ircha is amongst the cream of the crop of these musicians / ensembles, and perhaps the most important amongst them aesthetically and artistically. The music of Ircha is a bridge between styles and cultures, freedom and discipline, emotion and intellect. Such a complex arsenal of stimuli is able to reach a diverse public, from many different backgrounds, ages and personal tastes, and this is its true forte. This is why each and every listener of their music receives a different input and generates a different reaction; exactly what great Art is all about.

Updated: 26/08/2020Posted:

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IRCHA ~ WATCHING EDVARD KILOGRAM 022 (Barcode: 5907577284206) ~ POLAND ~ Jazz Recorded: 2011 Released: 2011 This is the second album by Polish clarinet quartet IrchaFind albums by this artist, founded and led by Mikolaj TrzaskaFind albums by this artist, which also includes Waclaw ZimpelFind albums by this artist, Pawel SzamburskiFind albums by this artist and Michal GorczynskiFind albums by this artist. The quartet members play a range of different instruments belonging to the clarinet family and create a completely unique sonic experience, which is unparalleled and completely original. This album consists of sixteen short pieces, which include original compositions by the entire quartet or by individual band members. The pieces vary in length from a minute and a half to over six minutes and could be conceived together as a continuous improvised suite. Although obviously a part of the Polish Improvised Music camp, Ircha is quite unique in many respects. Seemingly limited by the fact that the musicians use only clarinets, an instrument usually not associated with highly developed improvisational environment (with few remarkable exceptions of course), the group proves that limitations are only present in humans, not in the instruments, and with dedication, talent and virtuosic ability all limitations can be simply triumphed over. Together the quartet offers such a depth of sonic layers and emotional vistas, that the listener completely forgets the fact that there are only clarinets involved. The music firmly belongs to the Improvised scene, but there is an element of obvious careful planning involved, which defines the ground rules and the overall order of things. The purely melodic element is of course deeply hidden beneath the improvisational approach, but it is there for those who listen carefully. The level of cooperation between the quartet members is their innermost strength, upon all this music is firmly based. This is not four individuals making music together, but a higher-class group spirit of combined consciousness, which presides herein. Since this is a studio recording, there is no interaction with the audience, which in Improvised Music is often essential. Nevertheless this album, as opposed to many other of its kind, works very well under these circumstances, perhaps because the overall atmosphere of serenity, relaxation and above all mutual respect. There are no attempts to prove who can outplay anybody else, who can play the fastest or the most astounding solo, etc. on the contrary almost all of the music is a dialog, trialog or a quatrolog, and therefore a cooperative effort. Overall this is an excellent piece of Free Jazz / Improvised Music, which should fully satisfy even the sternest connoisseurs of the genre, and yet at the same time be accessible to many open-minded listeners beyond any specific genre classification.

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IRCHA ~ ZIKARON LEFANAI KILOGRAM 024 (Barcode: 5907577284220) ~ POLAND ~ Jazz-World Fusion Recorded: 2011 Released: 2012 This is the third album by Polish clarinet quartet IrchaFind albums by this artist, founded and led by Mikolaj TrzaskaFind albums by this artist, which also includes Waclaw ZimpelFind albums by this artist, Pawel SzamburskiFind albums by this artist and Michal GorczynskiFind albums by this artist. The quartet members play a range of different instruments belonging to the clarinet family and create a completely unique sonic experience, which is unparalleled and completely original. This album was recorded live and consists of seven pieces, which combine original compositions by the entire quartet or individual band members with traditional folkloristic themes from different cultural backgrounds, like Gypsy, Armenian and of course Easter European Jewish music. Ircha is one of several different ensembles that Trzaska leads or participates in, which in the last decade greatly contributed to the so called "New Jewish Music" which is being created in Poland, being also a part of a general Renaissance of the Jewish Culture in Poland. This quite surprising phenomenon seems to sweep the Polish cultural landscape like a tsunami, but a highly productive, rather than destructive one. Many of these attempts to create a new, contemporary face of the Jewish Culture is created by Jazz and Improvised Music Artists, like Trzaska, and many are released by the KilogramFind albums on this label Records label, owned by Trzaska and his charming wife. It is quite difficult to imagine that just four clarinets can create such complex and emotionally overwhelming music. I had the pleasure to attend a concert by Ircha recently and the experience was simply awe-inspiring and spiritually enlightening. Of course Improvised Music is usually easier to absorb live than by listening to records, as the presence of the musicians and the visual element contribute to the immediate contact between the musicians and the audience. A concert recording is, after all, only a "second hand" experience. And yet sometimes the strength of the performance can overcome the barrier of lack of personal contact and reach the listener directly and powerfully, with this album being a perfect example of this. Although mostly improvised, this music is based on very strong melodic elements, as well as atmospheric ventures, which make it much more accessible and immediate to a much wider audience than the usual Improvised Music crowd, which is a priori quite limited. With deeply melancholic and lyrical melodies and delicate, mostly quite low-volume performances, this music embraces the listener and extends a warm welcome, inviting and enchanting. Of course there are many levels by which the listener can relate to this music; it can be enjoyed on the purely emotional level, or the aesthetical level, or the intellectual level or perhaps all the levels simultaneously. The fact that this music is able to work on so many level is what makes it so remarkable, special and unique. This album is a beautiful bridge between many artistic directions undertaken by Jazz and Improvised Music creators. It has a fair amount of many different elements, like melody, collective and individual improvisation, folkloristic influences, spontaneity and premeditation, innovation and tradition. This wonderful amalgam, which only happens quite rarely, is fully achieved here, making it an exceptional piece of High Culture.

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MALERAI / GOLDSTEIN / MASECKI ~ PREPARING TO DANCE – NEW YIDDISH SONGS MULTIKULTI MPT 011 (Barcode: 5907796319567) ~ POLAND ~ World Music & Folklore Recorded: 2013 Released: 2014 This is a live recording of a concert, which presents a cycle of nine songs composed by clarinetist / composer Michal GorczynskiFind albums by this artist with lyrics in Yiddish by the American poet Yermiyahu Ahron TaubFind albums by this artist. The cycle is performed by the MaleraiFind albums by this artist trio, which comprises of Gorczynski, violinist Dagna SadkowskaFind albums by this artist and cellist Mikolaj PaloszFind albums by this artist, vocalist Hanna GoldsteinFind albums by this artist and the enfant terrible of the Polish Avant-Garde Jazz scene, pianist Marcin MaseckiFind albums by this artist. Gorczynski is known to Polish Jazz followers as the member of the clarinet quartet IrchaFind albums by this artist led by Mikolaj TrzaskaFind albums by this artist and also as a member of the PoleFind albums by this artist trio. He cooperated with Masecki as a member of his ProfesjonalizmFind albums by this artist ensemble. The concert was recorded in 2013 during the 4th edition of the New Jewish Music Festival in Warsaw. This album is a very important statement of several realities concerning contemporary Jewish Culture. Firstly it proves that the Yiddish language is alive and kicking, not only as the lingua franca of Ashkenazi orthodox Jewish communities in Israel and the USA, but also as a form of expression of contemporary Jewish Culture, including poetry and literary prose, which are being created as we speak; this contrary to the popular opinion that the Yiddish language is practically dead and represents a wonderful heritage, which sadly is buried in the past. Secondly it once again emphasizes the incredible rebirth / resurgence / renaissance of the Jewish culture in Poland, especially in the Avant-Garde cycles of the young Polish Jazz community. To put things straight this is definitely not a Jazz album or Jazz music per se; the best form of describing it would be drawing a parallel to the glorious days of German cabaret of the decadent era created almost a century ago and best portrayed by the music of Kurt WeilFind albums by this artist. Gorczynski, perhaps subconsciously, uses similar musical / theatrical devices as classic cabaret, but brings them up to date by adding dissonance and free improvised instrumental passages as part of the arrangements of the songs. Masecki, who is the most Avant-Garde prone ingredient of this ensemble, plays the "grown up in charge" part, elegantly accompanying the vocals and displaying maximal restrain almost at all times. Goldstein´s vocals fit the musical setting well and she´s not afraid to "let go" and explore some vocal acrobatics, whenever appropriate. If only her Yiddish accent was a bit more authentic… Therefore, although not really Jazz, this music does have a lot of free spirited expressionism and improvisational elements in it, to become aesthetically related to Jazz. Although Taub comes from a strict orthodox Jewish background, the subject matter of his poetry is completely secular and universal, often full of psychedelic imagery and free associative connections. Gorczynski´s music is a superb vehicle for these poems to cross over into a new dimension, mixing music and words to create a new identity. Gorczynski and his team created an excellent piece of contemporary Art, which adapted heritage, tradition and contemporary artistic resources, amalgamating them into a class of its own. Overall, although this album does not make any revolutionary discoveries, it has enough merit to be called a bold, important step forward towards creating contemporary Jewish Culture as much as enriching the existing heritage. In a reality, in which most music is completely devoid of any ambition or artistic merit, this is a wonderful example of creativity and intellectually challenging spirit. Bravo!

Updated: 12/04/2019Posted:

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POLE ~ RADOM KILOGRAM 029 (Barcode: 5907577284282) ~ POLAND ~ Jazz Recorded: 2012 Released: 2014 This is the debut album by Polish Jazz trio PoleFind albums by this artist, which consists of clarinetists / flautist Michal GorczynskiFind albums by this artist (a member of Mikolaj TrzaskaFind albums by this artist´s quartet IrchaFind albums by this artist), guitarist / bassist / synthesizer player Piotr ZabrodzkiFind albums by this artist and drummer Jan Emil MlynarskiFind albums by this artist. The album presents five original pieces, all credited collectively to the three trio members. The music is mostly spontaneously improvised, with the clarinet stating some minor melodic motifs but most of the time the group improvisation is the name of the game. The clarinet´s sound and the melodic fragments it plays are clearly rooted in Jewish music, albeit more associatively so than deliberately. This of course anchors Pole as one of the ensembles taking part in the contemporary Jewish music renaissance, which is taking place in Poland today. Zabrodzki and Mlynarski are definitely less dominant, playing the role of a rhythm section, which of course in this setting has a completely different meaning than in conventional Jazz. The guitar provides mostly ambient background with no melodic contents, the base pulsations are in charge of the rhythmic progression, and the percussion sits on a separate musical plane, which develops in parallel to what the clarinet and guitar are doing, coming and going seemingly unattached. Overall the trio creates an interesting effect of togetherness, which strangely manages to manifest itself from the disjoined ingredients. It takes a while to get into this music, but in time it emerges as quite interesting amalgam of free improvisation, World Music motifs and rhythms and ambient background, which in most cases works out rather well. The album is rather short, running for just over half an hour, which either means the musicians consider this a complete statement or they ran out of steam. In any case it should be interesting to hear what they have to say next time around.

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PAWEL SZAMBURSKI ~ CERATITIS CAPITATA LADO ABC SB/08 ~ POLAND ~ Jazz-World Fusion Recorded: 2014 Released: 2014 This is the debut solo album by the Polish Jazz clarinetists / composer Pawel SzamburskiFind albums by this artist, one of the pillars of the local Avant-Garde / Improvised Music scene, known from many different projects with a wide range of musicians, including the clarinet quartet IrchaFind albums by this artist led by Mikolaj TrzaskaFind albums by this artist. The album comprises of five tracks, each dedicated to one of the religious movements originating in the Mediterranean. The music was recorded in a church and the solo clarinet sound emphasized and transformed by the church´s natural echo and ambience create a sacred, mystical atmosphere. In complete contrast to what people familiar with Szamburski´s earlier recordings nigh expect, this music is completely and absolutely spiritual, melodic, lyrical and enchantingly beautiful, a total antidote to the Avant-Garde / Free Jazz idiom, associated with his "usual reputation". In many respects this music sounds more like a prayer than an artistic expression, but on the other hand perhaps art is always a form of prayer? Of course listeners familiar with sacred music originating form the Mediterranean region will be able to identify traces of it in this music, but Szamburski manages to turn them into an integral part of his own creation. Listening to the is music, at least in my case, turned out to be a deeply moving experience, and considering the fact that the album lasts only for about half an hour, I listened to it repeatedly several times, wishing to sustain the calm and serenity it inspires. Szamburski deserves to be praised not only for his talents, but also for his integrity and courage to express himself without any inhibitions, showing his innermost feelings and sharing them with his listeners. Free Jazz and freely improvised music often serve, contrary to what some people might think, as paraphernalia to hide the musician´s emotions rather than express them. The music Szamburski brings forward herein is simply so pure and bare, that it hides nothing. This album is undoubtedly one of the best recordings I have heard so far this year and I recommend it wholeheartedly, especially to all the cynics and misanthropes among us; perhaps listening to this music could serve as a wake up call for some of them at least. Since this album was released as a numbered limited edition of 500 copies, grab it ASAP anywhere you can, before it becomes unavailable.

Updated: 12/04/2019Posted:

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