Record Reviews

JAZZ BAND MLYNARSKI - MASECKI ~ NOC W WIELKIM MIESCIE LADO ABC C/26 (Barcode: 9788326826047) ~ POLAND ~ Jazz Recorded: 2017 Released: 2017 This is a phenomenal album by the Polish ensemble called Jazz Band Mlynarski - MaseckiFind albums by this artist, co-led by vocalist / banjola player Jan MlynarskiFind albums by this artist and pianist Marcin MaseckiFind albums by this artist, which also includes three saxophonists / clarinetists: Tomasz DudaFind albums by this artist, Michal FetlerFind albums by this artist and Jaroslaw BothurFind albums by this artist, sousaphone player Piotr WrobelFind albums by this artist and drummer Jerzy RogiewiczFind albums by this artist. The album presents nine Polish songs, popular in the 1930s, predominantly composed and written by Polish Jews who were the core of popular music / cabaret / vaudeville in the swinging Warsaw, which had a large Jewish population at the time. All the songs were masterly arranged for the ensemble by Masecki. The music is a loving tribute to a period and a Culture that was wiped out off the face of the earth by the Holocaust, and later on by forgetfulness and ignorance, and as such it is an extremely important undertaking as far as preservation of the Polish / Jewish Culture is concerned. But of course the album is also a masterpiece of rejuvenation of musical tradition, bringing back to life the essence of early Swing, but also transforming the spirit of the music to contemporary idioms. Masecki´s arrangements, which are all far from being simplistic or trivial, brilliantly combine the tradition with modernism, and experienced Jazz connoisseurs will find plenty of unexpected hooks of his brilliance within the music. Mlynarski brilliantly revives the tradition of the crooners of the time, and his vocal theatrics are a delight, especially in view of the sense of humor his performances display. The rest of the musicians in the band all play brilliantly, bravely overcoming the seemingly simple music made devilishly difficult by the sophisticated arrangements. The use of the sousaphone in place of the bass is another bright idea, which contributes to the "vintage" sound aura. Since this album was released, the ensemble performs it live all over Poland with great success. I had the pleasure to hear one of the concerts and it was simply breathtaking and the reaction of the public was overwhelming. Evidently Culture is not dead yet, and people are still able to recognize it when they see / hear it face to face. Overall this is a superb album in every respect, taking the listener ninety years back into the past, using a musical time machine, into times long gone, but now not longer forgotten. This is a multilayered intellectual and emotional experience of rare quality and dedication. The album comes with extensive liner notes explaining the historical background of this music and a story about each of the nine songs. One can only wish that many such well prepared and devoted releases like this album could be made more often. Radiant stuff!

Updated: 31/03/2018Posted: 31/03/2018

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MARCIN MASECKI / JERZY ROGIEWICZ ~ RAGTIME BMC 256 (Barcode: 5998309302565) ~ POLAND ~ Avant-Garde Jazz Recorded: 2017 Released: 2018 This is the debut album by Polish duo comprising of pianist / composer Marcin MaseckiFind albums by this artist and drummer Jerzy RogiewiczFind albums by this artist (both are members of the Jazz Band Mlynarski - MaseckiFind albums by this artist). The album presents nine pieces, five of which are original compositions by Masecki, two pieces were composed by Polish popular music composers active between the two World Wars and another two pieces were composed by American composers active at the same period, all four with strong Jewish ties. As with everything Masecki touches, the obvious becomes anything but obvious and the reference to the Ragtime music is more symbolic and imaginary than what might be expected. The original compositions and the interpretations of the four "standards" are therefore first and foremost Masecki´s creations, both on the compositional and the performance platforms. In the liner notes of the album Masecki states that hearing Ragtime when he was nine years old was what "got him into music originally". That is hardly surprising considering the fact that Ragtime, although considered the root of Jazz, was a composed music, and served as a bridge between European Classical Music and American syncopation, which reflects Masecki´s musical duality and floating between genres. If anybody is after a typical Ragtime music and expects to hear the popular classic Ragtime hits, this album is definitely not something they should consider listening to. If, however, someone is searching for unconventional and highly challenging new music, which takes hints from the stylistic characteristics of Ragtime and brings them a Century forward in time, with the extremely personal treatment that Masecki delivers, this album is a treasure chest of discovery and hidden marvels. For the many Masecki´s fans, this is of course something they will happily sunk their teeth into, without much ado. For others, less familiar with his word (if that is at all possible) this is a window of opportunity to discover a true original talent, who symbolizes individuality and complete disregard of convention with a smile on his face.

Updated: 10/01/2019Posted: 10/01/2019

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PINK FREUD ~ MONSTER OF JAZZ UNIVERSAL 602527377025 (Barcode: 602527377025) ~ POLAND ~ Jazz Recorded: 2009 Released: 2010 This is the 7th album by Polish ensemble Pink FreudFind albums by this artist, which managed to gain considerable popularity on the local scene, both with Jazz and non-Jazz listeners and critics alike. Formed in 1998 by bassist / composer Wojtek MazolewskiFind albums by this artist, the group changed its lineup several times over the years but succeeded to maintain its popularity and gradually achieved a cult following and a large fan base. Musically the group offers a unique amalgam of genres and musical directions, originating with Jazz and improvisation, but also encompassing elements of Punk Rock, dub, jungle, drum and bass and electronic music. In many respects it is a direct continuation of the Yass movement, which flourished in Poland in the 1990s, and could be referred to as post-Yass. Since Yass was initially intended as an expression of rebellion against the established Jazz canons, which many young musicians felt to be stagnant, post-Yass took the rebellion a bit further out, emphasizing the cross-genre trend, groove and even dance elements, which resulted in the music being much more widely accessible. As opposed to the intellectual image that Jazz is usually associated with, this music is intelligent fun music, with some Jazz associations, and should be treated as such, no more and no less. This album was recorded by an expanded sextet version of the group, which includes, apart from the leader, trumpeters Adam Milwiw-BaronFind albums by this artist (son of the great Polish saxophonist Piotr BaronFind albums by this artist) and Tomasz ZietekFind albums by this artist, saxophonist Tomasz DudaFind albums by this artist, vibraphonist Jerzy RogiewiczFind albums by this artist and drummer Kuba StaruszkiewiczFind albums by this artist. Of all the Pink Freud albums, this is the most "radical" one, with the electronics, dub and jungle elements taking the lead, pushing the Jazz improvisations aside considerably. As a result this album will be probably the least "appealing" to listeners with a strong Jazz background. Of the twelve tracks present on the album, eleven are original compositions by the group members and the remaining one was adopted from a composition by the British electronic duo AutechreFind albums by this artist, a choice which hints as to the general direction of this album. Although there is plenty of inspired blowing by the horns, the overall mood is somewhat hectic and lacks a clear musical direction. There is an apparent absence of well formed melody lines, which characterized the groups´ earlier outings. As much as the group´s intention to continue their restless journey in search of new expressions is commendable and admirable, it often is a treacherous path which could lead to disaster if moderation is not applied. One must hope that they will re-invent themselves anew with their future efforts, leaving this one behind as a document of their quest. Of course there is plenty of music here to be enjoyed and the album is worth listening to, even if one somehow expects something more from such a great group.

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PROFESJONALIZM ~ CHOPIN CHOPIN CHOPIN LADO ABC C/11 (Barcode: 5907709922334) ~ POLAND ~ Jazz Recorded: 2011 Released: 2011 Profesjonalizm is the name of the new sextet created and led by Polish Jazz pianist / composer Marcin MaseckiFind albums by this artist, one of the greatest talents on the local scene in the recent years and the enfant terrible / eccentric artiste spearheading the Jazz anti-establishment, a role that fits him like a glove. During my recent visit in Poland I was lucky to be invited to the concert the band performed in a dinky Warsaw restaurant called Mozaika, which remarkably managed to sustain the atmosphere (and look, not to mention the service) of the 1970s Socrealizm, completely oblivious to the changes around. The concert celebrated the release of this album, so the music was simply a live version of what is included here, in its entirety. I must say that I was completely unaware of what was about to happen musically and therefore the experience was a total culture shock, even though I am a difficult man to surprise in view of the heavy burden of my age upon me. Masecki and his cohorts: trumpeter Kamil SzuszkiewiczFind albums by this artist, saxophonists Michal GorczynskiFind albums by this artist and Tomasz DudaFind albums by this artist, bassist Piotr DomagalskiFind albums by this artist and drummer Jerzy RogiewiczFind albums by this artist played a stunning set of outlandish music (all composed by Masecki), which is so original, unique and devilishly clever that one´s mind is completely boggled. How the hell did they manage to do it at all (live!) is beyond comprehension, but nevertheless they did it with a spectacular result. Listen to the studio version herein and imagine this being played live to get the scope of the task ahead. As to the music itself, I´m not even trying to start describing it, as it is well beyond the scope of words (as most great music is). Suffice to say that it is a suite of sorts, in seven parts, which tells the story of Jazz from its earliest days (Ragtime) to now, flowing like a soundtrack to an imaginary movie, constantly (and unexpectedly) changing rhythms and scales, themes and patterns, but remarkably and completely coherently keeping a brilliant sense of unity. The rhythm section is absolutely dazzling, managing the impossible task of gluing this passionate and untamed music together. Masecki´s piano work is a chapter in itself, which is worth studying separately, but it serves the role of the thematic / melodic beacon pointing the way ahead for of this music. During a short chat before the concert I asked Masecki about his musical influences; he mentioned some usual suspects but emphasized Thelonious MonkFind albums by this artist and Conlon NancarrowFind albums by this artist, two superb examples of total non-conformism, suiting Masecki´s image perfectly. The problem with non-conformism is often that eccentric artists become often self-centered and completely uncommunicative, which luckily enough does not apply to Masecki. In spite of all the lunacy herein, this is (amazingly) quite an easy album to listen to, against all odds. When I asked Masecki as to the nature of his music, he replied: "We are playing entertaining music" – well, he was after all right, in his own crazy way. Now if anybody is wandering about the album´s title, I must assure you that the album has absolutely nothing to do with the great Polish National composer Frederic ChopinFind albums by this artist. This is one more of Masecki´s clever stunts, expressing his disgust and ridicule of the Polish Jazz scene´s exploitation of Chopin´s music in the recent years. Using this tongue in cheek / sarcastic reference Masecki protests against the "One can´t go wrong by playing Chopin" attitude, where in fact one can go wrong and as the plentitude of available recorded evidence proves one does in most cases. So what do we have here: a work of a mad genius, a wizard, a prophet? Who am I to judge? Suffice to say I love this music, every note of it and most of all the chutzpah and complete disregard of convention – exactly the qualities I admire in Artists. Bless you, Marcin Masecki!

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