Record Reviews

DRUM FREAKS ~ SMYRNA MILO 106 ~ POLAND ~ Jazz-World Fusion Recorded: 2003 Released: 2003 This is the second album by Polish ensemble Drum FreaksFind albums by this artist founded and led by Milo KurtisFind albums by this artist, a multi-instrumentalist / composer of Greek origin living in Poland. Kurtis is a prominent figure on the local scene, having been involved with many legendary local groups, like OssianFind albums by this artist (a.k.a. OsjanFind albums by this artist), MaanamFind albums by this artist and others. A versatile musician and a charismatic personality, Kurtis performed in such diverse musical fields as Folklore, World Music, Reggae and Free Jazz. On this album the lineup includes, apart from the leader, guitarist Janusz Yanina IwanskiFind albums by this artist, keyboardist Piotr IwickiFind albums by this artist, saxophonist / flautist Mateusz PospieszalskiFind albums by this artist and percussionist Joannis KurtisFind albums by this artist. Ex-JamiroquaiFind albums by this artist player Wallis BuchananFind albums by this artist appears as a guest playing didgeridoo. The album includes eight original compositions by the leader and other members of the band, including Buchanan, all of which were recorded live at the St. John´s Church in the Northern port city of Gdansk. The music is an amalgam of melodic World Music from many different sources, but most significantly from the Mediterranean, ornamented by improvised Jazz oriented solos. As far as the Polish scene is concerned, this is definitely an unusual phenomenon, although Kurtis was involved in somewhat similar projects earlier, albeit in more meditative and experimental form. The overall atmosphere is serene and even lyrical at times, but successfully maintains an element of development and interest, unlike many similar projects, which quickly cross over into mediocre Muzak. Kurtis, who is a deeply spiritual person (I had the pleasure to meet him during my production of "The Book Of JobFind albums with this title" album in which he took part), manages skillfully to avoid the populism often involved with Western musicians performing World Music originating from non-Western sources. The music herein offers an opportunity to the musician to cooperate rather than compete, with little show-off and modern-times rush into the unknown. As Kurtis himself describes it, this is "early morning" music, which sounds best before out minds get clotted by the infernal noise that surrounds us all in today´s world. For me it also sounds great late at night, when I try to wash out (mentally at least) the day´s pressures. But I suppose that every listener will be able to find a proper moment for this music, as suitable to their souls. Listeners, who like Jazz-World Fusion excursions, should definitely try this album out as soon as possible, as it is one of the nicest pieces of that type that I happened to stumble upon. Considering that many Jazz-World Fusion albums are quite kitschy, this one is a gem!

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FREE COOPERATION ~ POLISH RADIO JAZZ ARCHIVES VOL.18 POLSKIE RADIO 1668 (Barcode: 5907812246686) ~ POLAND ~ Jazz Recorded: 1985 Released: 2014 This is the eighteenth installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well. This album is perhaps one of the most important pieces of the Polish Jazz legacy issued so far as a part of this series. It presents the cult Free CooperationFind albums by this artist ensemble, an informal gathering of top young Polish Jazz musicians active in the 1980s, which in retrospect turned out to be the next generation of the local scene, which carried on the tradition into the difficult next decade, after Poland finally received its political independence. The music of Free Cooperation was an eccentric amalgam of cross-genre explorations, moving between Reggae and Jazz-Rock, through the Jazz Big Band tradition and far out into collective improvisation and even some World Music influences. The music was composed by the ensemble´s members, like keyboardist Wojciech KonikiewiczFind albums by this artist, flautist / saxophonist Aleksander KoreckiFind albums by this artist, guitarist Janusz Yanina IwanskiFind albums by this artist and bassist Wojciech CzajkowskiFind albums by this artist. Among the ensemble members we find the legendary trumpeter Andrzej PrzybielskiFind albums by this artist, whose solos on this album are absolutely breathtaking. Other members include trumpeters Antoni GralakFind albums by this artist and Mariusz StopnickiFind albums by this artist, saxophonists Mateusz PospieszalskiFind albums by this artist and Marek KazanaFind albums by this artist, trombonist Bronislaw DuzyFind albums by this artist, electric bassist Marcin PospieszalskiFind albums by this artist, violinist Henryk GembalskiFind albums by this artist and drummers Michal ZduniakFind albums by this artist and Sarandis JuvanudisFind albums by this artist. Piotr BikontFind albums by this artist recited poetry, which accompanied some of the compositions. Listening to the music today, almost three decades after it was recorded, clearly points out how revolutionary and ahead of its time it was, not only as far as the local scene is concerned, but on the entire European Jazz scale. Free Cooperation came to the public attention thanks to their appearance at the 1985 Jazz Jamboree festival, which is documented here on one of the tracks; the other six tracks were recorded at the Polish Radio Studio in Poznan some months earlier. The ensemble was active between 1985 and 1988 and recorded two albums for the PoljazzFind albums on this label label, which are still waiting to be reissued, which is a true shame. In April 2014 the remaining members reactivated Free Cooperation playing a gig in a club in Krakow. The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must. Side Note: In 1985 I returned to Poland for the first time after leaving the country in 1967, in order to record the now legendary "The Book Of JobFind albums with this title" project (follow the link to read the entire story). Andrzej Przybielski was one of the musicians participating in that project and he told me about Free Cooperation, which I than saw in person a few days after the recording was over on the stage of the Sala Kongresowa during the a.m. Jazz Jamboree performance, which of course left me flabbergasted. This album is therefore especially dear to my heart.

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GEMBALSKI / IWANSKI / MAJCHRZAK / ZDUNIAK ~ 1999 HARMOLODIC ODYSSEY MTJ 11977 (Barcode: 5906409119778) ~ POLAND ~ Avant-Garde Jazz-Rock Fusion Recorded: 1999 Released: 2020 This is an archival album by a Polish Jazz quartet comprising of violinist Henryk GembalskiFind albums by this artist, guitarist Janusz Yanina IwanskiFind albums by this artist, bassist Krzysztof MajchrzakFind albums by this artist and drummer Michal ZduniakFind albums by this artist. The album presents five lengthy improvised pieces, co-credited to the participating musicians. The music was recorded live and waited for over twenty years to be finally released. It is dedicated to the memory of Zduniak, who sadly passed in 2006. Polish political martyrology created the “cursed soldiers” idiom to commemorate the lesser known heroes of the struggle for independence, but many Polish Culture champions, who acted over the years on the margins of the Polish post WWII State sanctioned mainstream Culture never won the proper recognition, neither collectively as a movement nor individually as fighters for intellectual freedom. Polish Jazz is of course no different. In parallel to the Jazz activities overseen by the State recognized Polish Jazz Society, which controlled the local scene with an iron fist, many less conformist Jazz musicians managed to create their own, mostly Avant-Garde oriented facet of Polish Jazz, which enjoyed many creative peaks. People like Andrzej MitanFind albums by this artist, Andrzej PrzybielskiFind albums by this artist and many others were almost completely anonymous on the Polish Jazz scene for decades, and even today are known only to a handful of hardcore specialists. The musicians on this album also belong to the league, which operated mostly on the outskirts of the Polish Jazz mainstream, taking part in ensembles like LabiryntFind albums by this artist, Tie BreakFind albums by this artist, Free CooperationFind albums by this artist and others, playing exactly what they wanted to, regardless if it fit any “party line” or not, and often suffering the consequences. The music is a mixture of Fusion and Avant-Garde, or Avant-Garde Jazz-Rock Fusion, which is a wonderful amalgam of the four individual voices, with diverse stylistic accents, which creates a forceful statement, losing nothing of its intensity and innovation over time. Between Gembalski, who represents the Free Jazz approach, Iwanski, who is a Rocker at heart, Majchrzak, who is a Fusion kicks-ass and Zduniak, who is simply a brilliant drummer beyond classification, the music is a highly concentrated exchange of individual soloing and ensemble playing, which although demanding, is unique and superbly uplifting, with energies equaling an erupting volcano. Overall this is excellent document of the lesser travelled path of Polish Jazz, that rightfully deserves to be a part of the documented history of the genre. Good to see it finally available and hopefully more of such hidden gems will float to the surface. It would be a Cultural crime to have this music doomed as forgotten.

Updated: 30/03/2021Posted: 30/03/2021

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JANUSZ YANINA IWANSKI ~ YANINA FREE WAVE MTJ 10934 (Barcode: 5906409109342) ~ POLAND ~ Jazz Recorded: 2011 Released: 2011 This is an excellent album by veteran Polish Rock and Jazz guitarist / composer Janusz Yanina IwanskiFind albums by this artist, recorded with a quintet which also includes saxophonists Lukasz KluczniakFind albums by this artist (alto) and Marek PospieszalskiFind albums by this artist (soprano and tenor), bassist Marcin LamchFind albums by this artist and drummer Przemyslaw PacanFind albums by this artist. The album comprises of six original compositions, five of which were composed by Iwanski and one is a group composition. Three of the compositions are quite extensive and last between eleven and sixteen minutes. The last track on the album is dedicated to the memory of the great Polish trumpeter Andrzej PrzybielskiFind albums by this artist, who died shortly before the album was released and with whom Iwanski played in the past. The music is a unique cross-genre amalgam, which moves between Jazz-Rock Fusion, ambient / atmospheric improvised stretches and quite Free passages with the guitar and both saxophones improvising simultaneously. A strong melodic presence is felt throughout the entire duration, moving between the foreground and the background of whatever is happening in the course of the performance. Overall the album is mostly Free Jazz oriented and most of the time the group improvisation is the focus, although several simpler and more lyrical moments also materialize. Regardless of any attempts to categorize this music, it is quite elusive and listening to it is the only proper way to deal with it. The individual instrumental performances are all quite excellent, as all these musicians are obviously highly talented. Iwanski plays some superb guitar licks, which one expects to find only on albums by the top guitar players around. His tone is fairly unusual and clear and his work will surely make many guitar freaks extremely happy. Both saxophonists play with passion and conviction, both able to play unisono or play against each other like fighters in a ring. The rhythm section does a perfect job, keeping the music right on track. The bass is solid and steady and the drums strongly present and almost as aggressive as the soloists, which is exactly what this music needs. It´s a pity this album found only a limited audience, as it truly deserves to be heard by a lot of people, who listen to the different sub-genres of Jazz, as there is something for everybody herein. As all good music this is not easy-listening by any standard, but will definitely grow on the listener with consecutive listening sessions. Therefore people looking for challenging, innovative and highly absorbing new musical vistas should check this album out as soon as possible and as long as it can be found on the market, before it disappears into the great limbo, where all good music seems to be sucked into these days. Great stuff!

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KAPELA YANINA ~ 2001 SELLES 0115 (Barcode: 5908260401153) ~ POLAND ~ Jazz-Rock Fusion Recorded: 1998 - 1999 Released: 1999 This is the debut recording by the Polish Jazz-Rock Fusion quartet Kapela YaninaFind albums by this artist led by the veteran guitarist / composer Janusz Yanina IwanskiFind albums by this artist with saxophonist Lukasz KluczniakFind albums by this artist, bassist Marcin LamchFind albums by this artist and drummer Przemyslaw PacanFind albums by this artist. They perform 8 compositions, five of which are originals by Iwanski, two are group compositions by Kluczniak / Pacan / Lamch (known together as the Kapela TrioFind albums by this artist) and the remaining one is by John ColtraneFind albums by this artist. By the turn of the Century (and the Millennium as well) Polish Jazz was entering a new and exciting period. The first decade (the 1990s) of the country´s political freedom influenced Jazz potently and led to the development of the Yass phenomenon, which was primarily an expression of rebellion against tradition and destruction of limitations and formulas, which ruled previously for decades. Although aesthetically Yass was rather rough and often limited musically, its main contribution was the openness, especially among the younger Polish Jazz players, which allowed for cross genre / cross Culture exploration and experimentation. Kapela Yanina exemplifies splendidly this new direction. Iwanski, a Blues, Rock and Jazz influenced player, manages to create a perfect new amalgam by inviting a saxophonist, who plays almost completely Free, a bassist, who is the personification of Funk and a drummer, who is steady as a Rock (pun intended). Together they are simply unstoppable and the music they create sweeps everything aside like a bulldozer. Just imagine John Coltrane and Jimmy HendrixFind albums by this artist blowing their chops together. Iwanski has a completely unique approach to his instrument. He plays only occasional solos, where he uses notes, but most of the time he plays chords, which are sustained, distorted and twisted and create complex, almost keyboards-like ambient background, which features the saxophonist as the main soloist. It is exceptional for a leader to give up his ego and allow someone else to play the first fiddle. Kluczniak is simply superb and plays with such confidence and fluidity, that one would never guess his age at the time this music was recorded. The fact that he remains relatively unknown to this very day is a travesty. The rhythm section is simply perfect, playing just what is right, from soft and delicate touches to a hurricane like storm at the climatic moments. Kapela Yanina was one of the most interesting groups, which were active on the Polish Jazz scene at the time. They managed to record one more album, called "The Searchers For Something…Find albums with this title" a couple years later and then after an almost ten years long break they reunited and recorded the excellent "Yanina Free WaveFind albums with this title" album. The fact that all these three albums received little attention is simply beyond comprehension, as they all belong to the canon of Polish Jazz recordings. This is an important piece of the puzzle, which is Polish Jazz, and anybody interested in it should definitely have this album in their collection. Apparently this album is still available and therefore I urge everybody to grab a copy ASAP, as this is definitely too good to be missed. Act now or be repentant later!

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KAPELA YANINA ~ THE SEARCHERS FOR SOMETHING… GOWI 56 (Barcode: 786497356225) ~ POLAND ~ Jazz-Rock Fusion Recorded: 2000 - 2001 Released: 2002 This is the second recording by the Polish Jazz-Rock Fusion quartet Kapela YaninaFind albums by this artist led by the veteran guitarist / composer Janusz Yanina IwanskiFind albums by this artist with saxophonist Lukasz KluczniakFind albums by this artist, bassist Marcin LamchFind albums by this artist and drummer Przemyslaw PacanFind albums by this artist. They perform eight compositions, six of which are originals by Iwanski, one is a group composition by all four players and the remaining one is by Krzysztof KomedaFind albums by this artist. Stylistically and musically this album is a direct continuation of their debut effort called "2001Find albums with this title", which was recorded a couple of years earlier. It uses the same formula of playing long and extended improvisations, with the saxophone being the leading voice, and the guitar setting up the background, playing almost ambient chords and the rhythm section supporting the free / ambient structures with steady Funk / Rock oriented pulsations. The overall effect of this music is truly unique, combining seemingly incompatible elements into one coherent whole. In comparison with the debut, this album is more open and less constrained, but of course looses the element of surprise (or rather shock) which of course every new direction, musical or otherwise, is able to achieve only once. Listeners familiar with Polish Jazz are able to compare the version of Komeda´s "Kattorna" performed here with the original recording by the composer on his legendary "AstigmaticFind albums with this title" album, recorded 35 years earlier. Of course, depending on the listener´s taste and open-mindedness the comparison might result in a verdict anywhere between sacrilegious to genius. Whatever the result, it´s pretty obvious that this is simply excellent music any way one looks at it. Although roughly belonging to the Jazz-Rock Fusion genre, it goes much further beyond what is usually considered as part of that genre, adding elements of Free improvisation, Rock fierceness, Far East meditative moods and a plethora of other, probably mostly subconscious revelations. In retrospect is clear that Kapela Yanina was one of the most interesting groups, which were active on the Polish Jazz scene over time. The two early albums and the additional album they recorded following a ten years long break, "Yanina Free WaveFind albums with this title", all belong to the canon of Polish Jazz recordings. This is an important piece of the puzzle, which is Polish Jazz, and anybody interested in it should definitely have this album in their collection. Apparently this album is still available and therefore I urge everybody to grab a copy ASAP, as this is definitely too good to be missed. Act now or be repentant later!

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TIE BREAK ~ THE END AGORA 5903111494148 (Barcode: 5903111494148) ~ POLAND ~ Avant-Garde Jazz-Rock Fusion Recorded: 2014 - 2018 Released: 2019 This is an album by the legendary Polish ensemble Tie BreakFind albums by this artist, which features four founding members of the ensemble: trumpeter Antoni GralakFind albums by this artist, saxophonist Mateusz PospieszalskiFind albums by this artist, guitarist Janusz Yanina IwanskiFind albums by this artist and bassist Marcin PospieszalskiFind albums by this artist and also American (resident in Poland) drummer Frank ParkerFind albums by this artist. The album presents nine tracks, all co-composed by the ensemble members, five of which also include lyrics which are chanted (rather than sung) by the ensemble in a Greek chorus manner. The music was recorded during three separate sessions between 2014 and 2018. Following the release of the marvelous "Tie Break (Box Set)Find albums with this title" in 2014, which summed up the ensemble´s output recorded between 1984 and 1995, it seemed that the fate of Tie Break was sealed, but apparently the protagonists thought otherwise and continued to make music together, which is collected here. Following this pattern, one might hope that the ominous title of this album is also only temporary, as Tie Break definitely has still more energy and creativity than most young contemporary ensembles. The music is, not surprisingly, completely unique; a zany mixture of Rock, Funk, Punk, World Music and Jazz worthy of epic Frank ZappaFind albums by this artist and his Mothers Of InventionFind albums by this artist proportions. This music is bolder than most contemporary Rock, Funkier that today´s Funk, way Punkish than anything in Punk history and still Free Jazzier than most. The overall sound of the ensemble manages to create a wall of sound effect, which allows every tiny detail of the multi-layered complexity to be heard clearly and distinctly. The music has elements of marching funeral bands, Balkan wedding music, Polish Folklore and countless other relations, which can only be discovered as a result of repeated listening sessions. In short there never was anything in the Polish music history close to Tie Break, and following this album, the gap becomes even deeper. Although the ingredients of which the music of Tie Break is made of is not Avant-Garde as such, the unique combination and the obvious "oppositional" attitude to everything mainstream is still deeply implanted in this music and it is obviously refusing to be tamed. The album pays tribute to all the numerous members of the ensemble over the years and other outside of the mainstream great Polish musicians like the lamented Andrzej PrzybielskiFind albums by this artist, including the founding member Krzysztof MajchrzakFind albums by this artist, whom I had the pleasure to meet a few weeks ago and reminiscence early days of the ensemble and many other things with. In short this is a brilliant piece of music, full of creativity, ingeniousness and pure joy, completely unique and striking, unconventional and as musically anti-establishment as music can be. I refuse to interpret the album´s title literally and already long for the next chapter in Tie Break´s journey! The End of boredom is definitely here!

Updated: 21/12/2019Posted: 20/12/2019

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TIE BREAK ~ TIE BREAK (BOX SET) NOT ON LABEL ~ POLAND ~ Jazz-Rock-World Fusion Recorded: 1984 - 1995 Released: 2014 This incredible Box Set is a long overdue tribute and homage to Tie BreakFind albums by this artist, one of Poland´s most important ensembles in the country´s modern music history, a cult phenomenon known mostly only to insiders and a cradle of the Polish rebellious musical underground, which kept the flame of uncompromised Artistic expression burning for decades, while the rest of the scene was drowning in opportunistic nothingness and anticultural shite. Of course analyzing the importance of Tie Break is impossible without explaining the political, social, economic and historical background of Poland during the period spanning about three decades from the early 1970s to the late 1990s, which is the period when the ensemble was active in one form or another. However, as usual, a scope of a music review is definitely way too limited to even attempt such a challenging task, therefore my references to these subjects will be naturally limited. It is important to remember that these were the most tumultuous years for the Polish People, and amongst them Polish Artists, which saw a gradual but dramatic transformation from the darkest pits of Socialist Regime to a free Democratic society, a process of unparalleled National trauma and Social upheaval. Tie Break hails from Czestochowa, a provincial Polish town (which happens to be the birthplace of my Father), famous as one of Poland´s most important religious centers, with the Pauline Monastery of Jasna Gora and its Black Madonna painting drawing millions of Catholic pilgrims every year from the world over. Even during the darkest times of the Socialist Regime the town kept being flooded by pilgrims, to the dismay of the ruling party officials. In order to change the town´s image a huge steel mill and other industrial enterprises were constructed in the area, which caused a rapid expansion of the town (and of course massive pollution). In retrospect Czestochowa had its share of unholy activities, with dozens of Beat and Rock groups active in the city since the late 1960s, and the early days of Tie Break are largely a result of this background, leading to the formation of the ensemble in the late 1970s. Music was, after all, a most popular method of escapism for young people living at the time on both sides of the Iron Curtain. The need to escape reality was as strong in the case of deep economic depression in the West as it was in the case of oppressive ideology in the East. The group went through many personnel changes during its early days, but eventually the core crystallized around four musicians: trumpeter Antoni GralakFind albums by this artist, saxophonist Mateusz PospieszalskiFind albums by this artist, guitarist Janusz Yanina IwanskiFind albums by this artist and bassist Marcin PospieszalskiFind albums by this artist. The booklet accompanying this Box Set lists twenty three musicians, who cooperated with the ensemble for various periods of time over the years. The music of Tie Break was a completely unique and immediately recognizable amalgam of Rock, Funk, Jazz, Avant-Garde and World Music influences, which was light-years ahead of its time and kept developing constantly during the time of its existence. In parallel to their activities with Tie Break, the ensemble members also took part in other revolutionary enterprises on the local scene, like the legendary Free CooperationFind albums by this artist ensemble or the Young PowerFind albums by this artist ensemble, and appeared under different monikers playing more Rock oriented material, such as the SvoraFind albums by this artist group with vocalist Stanislaw SojkaFind albums by this artist or the WooBooDooFind albums by this artist group. And yet in spite of their obvious talents and brilliant music-making the musicians of Tie Break and the ensemble itself were left to vegetate on the very outskirts of the local scene, with obvious animosity and dislike from almost everybody connected to the music scene: media, record labels, press and even fellow Jazz musicians, especially those mainstream veterans who felt threatened by their innovative and uncompromising approach to music. Tie Break had to wait for over ten years to record their debut album, the eponymous live album recorded in 1988 and released a year later, and recorded only four proper albums altogether during their career. Although their music was mostly instrumental, they used sometimes lyrics in an imaginary gibberish language. Their fourth and last album was an outstanding Jazz & Poetry project, which featured the great vocalist of Greek origin, Jorgos SkoliasFind albums by this artist, singing poems written by the priest / poet Jan TwardowskiFind albums by this artist. Listening to the music of Tie Break brings on in retrospect the obvious influences that shaped the ensemble´s creations: first and foremost the improvisational freedom of John ColtraneFind albums by this artist, which seems to be the most significant ingredient linking the ensemble members, but there are also obvious shades of the late Miles DavisFind albums by this artist bands with their heavy Funk, as well as contemplative Indian music, tribal chants and other folkloristic elements. And of course above all there is the omnipresent spice of craziness, madness, artistic folly and zaniness, which turn the music from being just great into being divine. Some music critics credit Tie Break for being precursors of Yass, but personally I don´t support this line of thought. Yass was motivated mainly by protest and revolt against old ways (of Jazz), whereas Tie Break were simply inventing new Jazz in a most positive way they could think off, in complete disregard of commercialism, opportunism and fads of fashion, as appropriate for true anarchists, and as most anarchist they never achieved fame and fortune, but they managed to expand the borders of our culture more than most others, for which they deserve our eternal gratitude. This Box Set includes remastered versions of the four Tie Break albums and three additional CDs with archive and radio recordings by Tie Break, Svora and WooBooDoo. Beautifully packaged and accompanied by a gorgeous booklet with original artwork and in-depth interviews with Tie Break members, this is obviously a labor of love and finally a much deserved retrospective of one of Poland´s most meaningful musical contributors. This is an absolute must to any serious Polish Jazz or Polish Culture connoisseur.

Updated: 12/04/2019Posted:

CD 7 Digipak Box Set Remastered Bonus Tracks Essential Recommend To A Friend

TRIBUTE TO MILES ORCHESTRA ~ LIVE WARNER MUSIC POLAND 039842388922 (Barcode: 039842388922) ~ POLAND ~ Jazz Recorded: 1998 Released: 1998 This is the only album by Polish Jazz ensemble Tribute To Miles OrchestraFind albums by this artist (a.k.a. TTMOFind albums by this artist), led by keyboardist / composer Wojciech KonikiewiczFind albums by this artist, which also featured trumpeter Andrzej PrzybielskiFind albums by this artist, saxophonist Mariusz MielczarekFind albums by this artist, guitarist Janusz Yanina IwanskiFind albums by this artist, bassist Marcin PospieszalskiFind albums by this artist, drummer Radek MacinskiFind albums by this artist and percussionist (usually keyboardists) Piotr IwickiFind albums by this artist. The album, which was recorded live at the legendary Akwarium club in Warsaw, presents six compositions, five of which are by Miles DavisFind albums by this artist and one is by Konikiewicz (dedicated to Davis). Musically the album presents the style Miles Davis utilized during the last period of his career, when he switched to Warner Bros. and released the world shattering "TutuFind albums with this title", presenting a combination of Funk and electronic music, which at the time was as innovative as every other giant step Davis took during his career. The Polish Jazz musicians handle the Funk rhythmic challenge formidably and paraphrasing on the "white man can´t jump" - white man definitely can Funk! There are plenty of superb solos and passionate moments, as well as interesting arrangements of earlier Davis compositions transcribed into the Funky style. The remarkable bass playing, which is the basis upon which this music is built, is the core element of its success. But all the participants are contributing extraordinarily and the overall result is way beyond what one might expect. The most thrilling and astonishing facet of this album is the presence of trumpeter Andrzej Przybielski, who is ordinarily associated with the Free / Avant-Garde Polish scene. This is surely the most "conventional" recording that Przybielski ever took part in and his sound and imitation of the Miles Davis phrasing are simply marvelous. The invitation of Przybielski to participate on this album was a prophetic and bold move by Konikiewicz, who is therefore credited for showing us a face of the legendary trumpeter that we never knew about and is preserved here for posterity. There is no doubt that the idea behind this album was influenced by the two Miles Davis visits in Poland, in 1983 and in 1988 (I attended that concert), which are generally accepted as life changing experience for the Polish Jazz scene, both collectively as a community and individually as directly influencing the local musicians. The second visit, which happened shortly before Poland was finally released from the grip of the Socialist regime, was a symbol of a changing reality, which at the time was just around the corner (pun intended). The album suffers from some minor sound quality problems due to the recording conditions, but those are completely negligible in view of the musical contents and the historic significance of this album. The fact that this album disappeared from the shelves almost immediately after it was released and was never reissued is a crying shame.

Updated: 12/04/2019Posted:

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