Record Reviews

MACIEJ FORTUNA ~ AT HOME FM 009 (Barcode: 888174080475) ~ POLAND ~ Jazz Recorded: 2012 Released: 2013 This is the fourth album by the Polish Jazz trumpeter / composer Maciej FortunaFind albums by this artist, who emerges as one of the leaders of the local scene in the second decade of the 21st Century. His prolific activity as a player and recording artist is unprecedented and his rapid development as a musician and composer, as documented by his frequent recordings, is simply astounding. This album is a "home" recording in a trio format, with the same lineup that recorded Fortuna´s previous album "SahjiaFind albums with this title", which features the brilliant and by now veteran bassist Piotr LemanczykFind albums by this artist and the excellent drummer Krzysztof GradziukFind albums by this artist (of RGGFind albums by this artist fame). The material includes eleven original compositions, seven of which are by the leader and the remaining four (which are parts of a four-piece suite, the first of which features vocals by Marta PodulkaFind albums by this artist) are credited to the trio. Following a period of touring together, this trio is a prime example of team cooperation and collective effort, which results in the outcome being much more than a sum of its parts. One should hardly look at this music as a leader with a supporting rhythm section; on the contrary Fortuna puts his ego away in order to construct a unit, which performs as one. Obviously there is also plenty of superb soloing here, as appropriate for a Jazz recording; Lemanczyk plays way beyond a typical role required by a bassist; his lyricism and sublime feel of harmony create a whole layer of background sounds parallel to trumpet lines, Gradziuk hardly ever keeps time per se, using his kit as a melodic environment and less so as a rhythmic tool and Fortuna is of course phenomenal as a soloist, with a beautiful tone and breathtaking arpeggios. His playing is changing over time to become similar to the great Jazz trumpeters of the past, even somewhat similar to early Tomasz StankoFind albums by this artist, but much more polished technically. The most important characteristic of the wonderful music presented here is its minimalism and modesty. There is so much lyricism and melancholy in Fortuna´s compositions that they become probably the most genuine extensions of the Polish Jazz legacy that first started in the 1960s. It´s not a conscious attempt to play "retro" oriented music, au contraire it is completely up to date, and yet, at least for me, it carries on the tradition more than most other Polish Jazz ensembles do at the moment. There is also more freedom here than in Fortuna´s earlier recordings, without loosing any of the coherence and clarity his music is blessed with. This melody based Free Jazz is after all the ideal mixture of everything Jazz is all about: a perfect marriage of discipline and liberty. This is a remarkable album by all standards and it is a pleasure to follow the development of such talented Artists, who are like a tree bearing better and better fruit year after year. There is nothing else one can do but raise one´s hat in salute and hope for the next harvest. God bless you guys for sharing this music with us.

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MACIEJ FORTUNA ~ SAHJIA FM 007 ~ POLAND ~ Jazz Recorded: 2012 Released: 2012 This is the third album as a leader by young Polish Jazz trumpeter Maciej FortunaFind albums by this artist and also his third album as a leader or co-leader released in 2012, which definitely seems to be his breakthrough year. The album was recorded in a trio setting with the excellent rhythm section comprising of bassist Piotr LemanczykFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist (of RGGFind albums by this artist fame), recorded live during several of the trio´s performances at various venues around Poland. Six of the tunes appearing on the album were composed by Fortuna and the remaining two by Lemanczyk. There is also an unlisted bonus track, which features pianist Lukasz OjdanaFind albums by this artist as a guest. The album is obviously a document, capturing the trumpeter at this specific stage of his career, rather that a pre-planned studio recording, which usually is intended as a next stage in any musician´s path of continuous development. As such it is absolutely perfect in what it does, with the natural open sound, no editing and somewhat casual straightforward capture of the music, including the audience´s reaction. Clearly the music is at the center here and everything else is superfluous. The most striking effect of these recordings is the importance of the teamwork, which is absolutely stunning. This is not a leader / sidemen situation, as all three players contribute equally to the overall result at all stages. These players are undoubtedly virtuosi on their respective instruments, as anybody familiar with the Polish Jazz scene already knows, but in this situation the trio is definitely much more powerful than the sum of its respective ingredients. Also the musical ambience prevailing on these recordings is significantly more free and open than on the earlier recordings by Fortuna, which enables him and his cohorts to take off and hover above the earthly plane defined by the basic melody and chord changes. With the support of this specific rhythm section, the possibilities seem to completely unlimited. In addition to the leader´s soloing, which of course is the albums focal point, both the bassist and the drummer solo extensively, turning the music into a spectacular listening experience, full of emotional fireworks and uplifting displays of sheer musical delight. We should be grateful that Fortuna decided to capture this music for posterity, as it would have simply faded out into the past leaving those, who didn´t attend these concerts, without the opportunity to enjoy its glory. Fortuna is definitely a player to be watched closely in the future. With 2012 behind us the future looks decisively very bright for him, and his position at the center of the local scene seems to be ensured. He deserves to be recognized worldwide and hopefully this will be the next stage of his career. In the meantime a big thank you for a wonderful musical 2012 - Well done indeed!

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ANNA GADT ~ BREATHING UNIVERSAL 602537564392 (Barcode: 602537564392) ~ POLAND ~ Jazz Recorded: 2012 - 2013 Released: 2013 This is the third album by Polish Jazz vocalist Anna GadtFind albums by this artist (a.k.a. Ania StepniewskaFind albums by this artist) and her first collaboration with the fabulous RGGFind albums by this artist trio: pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The album consists of eleven original songs, ten of which were composed by Gadt and nine of which feature her lyrics, all in English. The tenth song uses a quote by American poet Ralph Waldo EmersonFind albums by this artist, combined with another quote by American opera singer Beverly SillsFind albums by this artist, with the entire quote credited only to Emerson? The remaining song was composed by Garbowski and features lyrics by Polish poet Miron BialoszewskiFind albums by this artist. The album was recorded at Poland´s finest recording facility, Studio Tokarnia, engineered as usual by the man with a pair of best ears in Poland, the studio owner Jan SmoczynskiFind albums by this artist. At the first glance this album had the potential to achieve the status of one of the best Polish Jazz recording in 2013: the finest Polish Jazz piano trio active on the scene, fascinating music, highly sensitive vocal delivery, superb sound quality, in short a dream come true. Sadly this potential proved to be unfulfilled as a result of committing one single mistake, the same unforgivable mistake which hunts the Polish Jazz vocal scene consistently since decades, namely the unexplainable desire to sing in English. Why on earth would anybody, who is not a natural English speaker, want to sing in that langue is a total mystery to me? It is plainly obvious that the articulation, the pronunciation and the accent will be always against you, so why even try? Time after time all Polish Jazz vocalist fall into the same trap and nobody´s learning; what a pity. This album is no different; the vocals sung in English sound odd, unnatural and even bizarre at times. As if to prove the case, the only song with the Polish lyrics is simply heavenly and untouchable, as are the moments when Gadt is utilizing wordless vocalese. On the bright side, the music composed by Gadt is simply excellent from start to finish. Intelligent, atmospheric, versatile, moving, in short she made no mistakes whatsoever in that department and deserves all the praise. Of course there are plenty of wonderful moments left to be enjoyed. The trio plays delightfully from start to finish and stands up to the challenge of accompanying a singer, which is quite different and in many respects more difficult that playing by themselves. Together with their astounding album "SzymanowskiFind albums with this title" released earlier this year, these two recordings firmly reassure their prime and unchallenged standing, which withstood the ground shaking personnel change they went through. They are simply beyond words. The way the trio improvises "around" the songs Gadt composed is simply a genius at work. In spite of the problem created by singing in English, Gadt is obviously a great vocalist, with exquisite sensibility, musicality and musical intelligence. All these qualities come through against all odds in these circumstances. One can only imagine what a brilliant, superb album this would be if she had decided to use Polish lyrics. All things considered this is an amazing album after all, even magnificent at times. A magnificent failure? Well not quite, simply just another step on the long way which has no beaten tracks and leads to a place worth going. You win some, you lose some, c´est la vie…

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ANNA GADT ~ MYSTERIUM LUNAE HEVHETIA 0170 (Barcode: 8588005258326) ~ POLAND ~ Avant-Garde Jazz Recorded: 2017 - 2018 Released: 2018 This is the fifth album by Polish vocalist / composer Anna GadtFind albums by this artist and her second cooperation with the fabulous Polish piano trio RGGFind albums by this artist, which comprises of pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. Cellist Annemie OsborneFind albums by this artist from Luxembourg is the guest artist. The album presents seventeen pieces some of which incorporate four poems written by the Polish / Jewish poet Boleslaw LesmianFind albums by this artist, but most feature only wordless vocalese. Nine of the pieces were composed by Gadt, one each by Ojdana and Garbowski and the remaining six are improvisations. The album was recorded at the excellent Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, with the usual superb sound quality. From the very onset of the album it is obvious that this is her most ambitious effort so far, mostly improvised and full of complex melodic themes, which last sometimes only for a brief moment before being transformed into another improvised passage. With wordless vocalese dominating the proceedings, this is perhaps the boldest step in Polish vocal Jazz since decades, bridging the void stretching over forty years into the past, when Urszula DudziakFind albums by this artist created her revolutionary vocal experiments in the early 1970s. Gadt is exceedingly fortunate to develop the collaboration with RGG, who are one of the most open minded and technically proficient Polish ensembles able to match her vision, which as a result goes way beyond accompaniment and becomes a fully integrated musical creation. The piano trio also moves consistently over time towards more open formats and Improvised Music, and proves to be a most amicable companion to Gadt, which is fully demonstrated herein. It is also very satisfying to see Gadt embarking upon the ambitious and highly aesthetic Jazz & Poetry idiom, especially in view of the fact that a century old poems are able to become a part of today´s Avant Garde, alive and kicking, timeless and penetrating. Words and sounds combined are able to build highly complex and intricate intellectual structures, which can be, when properly executed like in this case, more potent than simply the sum of their ingredients. Overall this is a brilliant piece of contemporary music, fascinating, exciting and challenging, which is a sublime proof of the fact that music knows no limits and there is always a way to step beyond the horizon. My sincere thanks to the musicians involved, not only for the intellectual pleasure their music bestows upon the listener, but primarily for keeping the ray of hope alight in a word full of mediocre darkness. Hats off Milady and Gents!

Updated: 17/12/2018Posted: 20/03/2018

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ANNA GADT ~ RENAISSANCE HEVHETIA 0143 (Barcode: 8588005258005) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2016 Released: 2017 This is the fourth album by Polish Jazz vocalist Anna GadtFind albums by this artist, which presents her interpretations of Polish Renaissance music by such composers as Waclaw z SzamotulFind albums by this artist, Mikolaj GomolkaFind albums by this artist, Jan z LublinaFind albums by this artist and Mikolaj z KrakowaFind albums by this artist, who all lived and composed music in the 16th Century. The fourteen pieces presented on this album include also three short improvisations and three original compositions by Gadt. On the album Gadt is accompanied by only two musicians: accordionist Zbigniew ChojnackiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist (of RGGFind albums by this artist fame). The music was recorded at the fabulous Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, with the usually spectacular sonic quality. The music features mostly vocalese, with just a few fragments of lyrics, which of course means that Gadt´s voice is the centerpiece of this project. Her control of the vocal range and her improvisational abilities are astounding. The overall musical effect is not easy to be absorbed by the average listener, as it requires patience and understanding of both ancient music and Jazz, which is definitely far from being trivial. Those who can truly appreciate this highly unique undertaking will be rewarded by immense emotional and aesthetic gratifications. The conscious decision to appear with minimal instrumental support is also an extremely courageous one, but luckily Gadt found two most sympathetic cohorts. Chojnacki is a Master accordionist and his instrument is able to create sonic vistas which move between the mighty church pipe organ to a wooden flute. His virtuosity is simply completely exceptional. Gradziuk, who is one of the most versatile and sensitive drummers on the Polish Scene, also contributes formidable support to the vocal parts. Together the three musicians are able to create a much bigger effect than just the sum of their contributions. Overall this is a most ambitious and praiseworthy effort, which combines paying tribute to the Polish Culture from the past and its development in recent times. The obscure Renaissance Music, known only by a few selected scholars, gets an exposure, which hopefully will result in more people discovering it. Gadt´s contribution to the Polish Vocal Jazz School is fully noted and sealed by this release, being fully deserved. Well done Anna! Kudos to Jan SudzinaFind albums by this artist and his HevhetiaFind albums on this label label for supporting Polish Jazz so enthusiastically, which is of course very neighborly of him. Keep it up!

Updated: 23/02/2017Posted: 23/02/2017

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ANNA GADT ~ RENAISSANCE GESUALDO FSR 2021/13 (Barcode: 5905279364998) ~ POLAND ~ Avant-Garde Jazz Recorded: 2018 - 2021 Released: 2021 This is the sixth album by Polish Jazz vocalist Anna GadtFind albums by this artist, recorded in a trio format with accordionist Zbigniew ChojnackiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The 2CD album presents two separate projects, with a new studio recorded music based on her interpretations of the Italian Renaissance composer Carlo GesualdoFind albums by this artist on CD1 and a live recording by the trio from 2018, with a live and much transformed version of the music released on her fourth album called “RenaissanceFind albums with this title” on CD2. The music on CD1 was recorded at the fabulous Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, with the usually spectacular sonic quality. Gadt is the only Polish Jazz vocalist using almost exclusively vocalese and her vocal performances can be considered as “instrumental” in every respect, which makes her a bona fide member of the trio, rather than a vocalist accompanied by instrumentalists. It is truly amazing to see (hear) how a minimalist setting can produce music with such diversity, dynamics and power. It would be quite difficult to find any quotes of the original music by Gesualdo in the pieces inspired by it, which appear here. Gadt used just partial names of the Gesualdo compositions to emphasize that distance, and the proximity is more associative, aesthetical and atmospheric than straightforwardly coloristic. The mysticism that surrounds Gesualdo’s music is taken here even further, into purely imaginary soundscapes, creating a world in itself. But despite this highly spiritual environment, the music is wonderfully embracing or even caressing, going immediately into the listener’s heart, rather than penetrating the cerebral hemispheres. The live recording, on the other hand, is a wonderful illustration of how the music on the studio album gets transformed, both by the live performance and the fact that it was captured a couple of years after it was first recorded, and like a living creature it keeps constantly evolving. The trio’s concerts, which I was fortunate to attend, offer a magical experience, which is faithfully captured herein. All three musicians are incredibly talented Artists, completely individual and unique, and the fact that they are able to create such a symbiotic coexistence musically is a wonderful human experience. Overall, this is an amazing and striking album, which shows how highly ambitious, completely unconventional musical explorations can offer coherent, wonderful aesthetic experience, which has few parallels, both on the local and the entire European scene.

Updated: 02/02/2022Posted: 02/02/2022

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LESZEK KULAKOWSKI ~ CODE NUMBERS MUSIC VOX ~ POLAND ~ Jazz Recorded: 2009 Released: 2010 This is a wonderful piano trio album by Polish Jazz pianist / composer Leszek KulakowskiFind albums by this artist with bassist Piotr KulakowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist (of RGGFind albums by this artist fame). The album presents thirteen original compositions, all by Kulakowski, some quite short, like outlines if a musical idea which is repeated four times, others lengthy and expanded with elaborate improvisations. The album was recorded at the Studio Tokarnia and was engineered and mastered by Jan SmoczynskiFind albums by this artist, as usual with spectacular sonic results. Kulakowski is a musician of many diverse preferences, moving between the pure Jazz idiom and Jazz-Classical Fusion, feeling comfortably in both situations. Although this album presents him in seemingly "pure" Jazziness, both his playing and his compositions always incorporate a certain element of contemporary Classical music, even if not stated openly. He is a master of melody, but also of atmosphere and suspense, which keeps the listener in a state of anticipation. Personally I find this ability quite remarkable as it emerges in Kulakowski´s work with such intensity for the first time since the works of Krzysztof KomedaFind albums by this artist, the Godfather of Polish Jazz, were created in the late 1960s. The music also champions the typical Polish lyricism and intrinsic melancholy, which although omnipresent in Polish Jazz, are rarely revealed with such exquisiteness and compassion, as in the music presented here. The performances are all quite brilliant, with the piano often performing without accompaniment, and when the whole trio is present, the rhythm section often takes a deliberate step back, respectfully keeping the piano in the spotlight. Of course when the rhythm section does step in full swing, the musicians sound like one coherent unit. Gradziuk displays his usual virtuosic, yet reserved ability to keep time in a most inspired way and even is his solo tries not to outshine his colleagues. The bassist also performs wonderfully, providing those magnificent riffs that keep the anticipation in the air. The whole thing is simply brilliant. This music should be heard by every piano trio connoisseur on this planet, as it is definitely has to offer many novel ideas and deeply moving music, which deserves to be discovered and shared. Not to be missed!

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LYYTINEN / GARBOWSKI / GRADZIUK ~ SWORDS FSR 2020/19 (Barcode: 5905279364776) ~ FINLAND ~ Free Jazz / Improvised Music Recorded: 2019 Released: 2020 This is the debut album by the Improvising Music trio comprising of Finnish saxophonist Pauli LyytinenFind albums by this artist and Polish bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The 2CD album was recorded live at one session and presents eleven improvisations (one repeated twice) credited to all three participants. For Garbowski and Gradziuk this is not the first time they cooperate with a Finnish partner, as documented by the recordings they made with Finnish trumpeter Verneri PohjolaFind albums by this artist, which of course could not make happier, since my love of Finnish Jazz is second only to that of Polish Jazz ;) As the music included on this album shows, the cooperation proved to be as fruitful as one might wish for. Lyytinen is a highly experienced improvising musician and a prolific recording Artist, with a most impressive recorded legacy despite his relative young age (born in 1983), which combines his Finnish influences with exposure to World culture and music. Some of his recordings also involve the a.m. Verneri Pohjola, which connects the dots as far as forming of the trio on this album is concerned. Despite the spontaneous improvisation process which produced this music, the result is highly melodic, perhaps not in the traditional meaning of the idiom, but definitely very communicative and inviting, which makes listening to this music a truly pleasurable experience, without compromising the aesthetic depth and artistry involved. The rapport between the musicians is obvious and completely honest, which of course is fully reflected in the music itself, radiating relaxed creative forces rather than tension. For listeners familiar with the work of Garbowski and Gradziuk this album is a natural extension of their earlier recorded legacy and a most welcome addition. Each meeting with brotherly musical souls is a tremendous experience and it is lucky for everybody when such meetings are also documented and available for posterity. It is also worth mentioning the incredible sound quality this album offers, thanks to Grabowski´s recording at the tiny Institute of Music Performance in Katowice, which I know personally of course, and the incredible mix and mastering by Jan SmoczynskiFind albums by this artist at Studio Tokarnia – a magnificent aural experience in addition to the spiritual musical experience, i.e. the best of the two worlds!

Updated: 23/12/2020Posted: 23/12/2020

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OBARA INTERNATIONAL ~ LIVE AT MANGGHA FOR TUNE 0022 ~ POLAND ~ Jazz Recorded: 2013 Released: 2013 This is the second album by the international quartet led by Polish Jazz saxophonist / composer Maciej ObaraFind albums by this artist, called Obara InternationalFind albums by this artist, which also includes the superb Polish pianist Dominik WaniaFind albums by this artist and a Norwegian rhythm section: bassist Ole Morten VaganFind albums by this artist and drummer Gard NilssenFind albums by this artist. The album, which was recorded live, comprises of six pieces, five of which are original compositions by Obara and the remaining one is by Krzysztof KomedaFind albums by this artist, to whom this group dedicated their debut album, simply called "KomedaFind albums with this title". The music is placed somewhere between Free Form and contemporary Modern Jazz of the European variety. Most of the tunes get an expanded treatment, which includes extensive solo and group improvisations, and last around ten minutes each except one tune which is almost twice as long and the closing track which is a brief farewell. Although the melodic content is clearly recognizable, it is kept somewhat in the background, as if on a separate plane, and the improvisations are the focal point of this music, changing in tempi and intensity, but always out there on the forefront. The level of musicianship involved herein is truly admirable and of the highest standing by any standard. This is by far not easy music and the amount of technique, talent and sophistication required in order to play it is simply astounding, not to mention the emotional tension. The entire concert portrays a wonderful flow of energy between the quartet members and of course the combined creative power of the quartet is even greater than the sum of the individual statements. Personally I enjoy the contributions by the pianist most of all. Wania, whom I´ve been watching carefully for a few years now, is definitely one of the greatest promises of Polish Jazz and is destined to get places. His brilliant work on this album, both as a soloist and as an ensemble member, is simply outstanding. Obara is a great player as well, of course, but his melancholy and mellow tone often seem to push the music somewhat backwards into the mainstream conformity. The Norwegian rhythm section is solid and reliable, when needed, and inventive and spontaneous when the music calls for it, in short they play splendidly, as only the Scandinavian rhythm sections can. Overall this is another musical gem that the Polish For Tune label manages to put out for the world to hear and admire. The sound quality, separation and warmth are incredible considering the fact that this is a live recording. European Jazz connoisseurs are expected to lick their fingers upon exposure to this wonderful music. Well done gentlemen! BTW Obara´s Polish quartet uses the excellent RGGFind albums by this artist rhythm section: bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist, which of course is also a dreamy team, so where is their next album I ask?

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OWL ~ IMPROCODE FSR 2020/21 (Barcode: 5905279364790) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2019 Released: 2020 This is the second album by Polish Jazz trio The OwlFind albums by this artist, comprising of violinist / composer Marcin HalatFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. On this album they expanded the lineup to a quartet with the addition of German pianist Pablo HeldFind albums by this artist. The album presents nine original compositions, three of which were composed by Halat and six are group improvisations, credited to all four participants. The music on this album is split between two almost separate environments, the almost "classic" Jazz on the composed pieces and the completely free spirited improvised pieces, which fit together rather well and provide a much more structured listening ambience than most strictly Improvised Music recordings. The addition of Held had a major impact on the overall sound and musical approach of the trio in comparison to their debut album recorded almost three years earlier, all for the good of the music. On the three composed pieces Held is able to weave a wonderful melodic layer and on the freely improvised pieces his contributions become a wonderfully expressive and balancing element, full of self confidence and clear musical vision. Halat made a significant progress since his early days in the Free Jazz realm (i.e. on the debut album) and managed to embrace the freedom of improvisation without clinging to his Classical background as before, which takes this album another step further towards the bona fide Improvised Music idiom. Of course the rhythm section is feeling like a pair of whales in the ocean, which is hardly surprising considering their long-lasting experience in the field. Overall this is a most welcome sophomore outing by the trio and a superb collaboration with the guest pianist, combining the best of what these four wonderful musicians have to offer. Considering the exquisite sound quality of this complex music, which enables every detailed nuance to be perfectly audible, this album is a true feast for the ears and surely one of the best Improvised Music albums released in 2020. One can only hope we won´t have to wait for another three years to hear again from The Owl and hopefully to meeting with Held will lead to further future recordings – a trio by Held and the GG rhythm section sounds salivating. Well done Gentlemen!

Updated: 30/12/2020Posted: 30/12/2020

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OWL ~ ON THE WAY FSR 2017/07 (Barcode: 5905279364219) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2016 Released: 2017 This is the debut album by the Polish trio called The OwlFind albums by this artist, which comprises of violinist / composer Marcin HalatFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist (the last two well known as the rhythm section of the famous RGGFind albums by this artist trio). The double CD album presents fourteen original compositions, nine of which were composed by Halat and five were co-composed by all three members of the trio. On the Polish Jazz violin scene, which is pretty crowded these days, Halat arrives as a newcomer, although he has years of experience of playing Classical Music. His sound is quite unusual and unconventional in many respects, surely not typically Jazzy, with obvious Classical phrasing, fingering, and voicing. But when placed opposite one of the mightiest Polish Jazz rhythm sections Halat is pulled into the Jazz idiom, seemingly almost against his will. His improvisation is also atypical and stays relatively close to the core themes, which after a while gets a bit too uniform. The musical themes are generally simple, folkloristic little ditties, not really fully developed melodies, which are fine as starting points for the mostly improvised pieces, but hardly able to stand on their own. Nevertheless the music flows smoothly and is able to sound coherent mostly thanks to the incredible swinging feel of the rhythm section. Time after time the listener is faced with the dilemma if he is listening to a Jazz recording or a contemporary Classical piece, all relative to the measure of involvement of the rhythm section. There is a lot of freedom and space in this music, which characterizes both modern Jazz and Classical idioms. This allows a lot of different forms of dialogue and trialogue conversations within this music, which becomes the most interesting ingredient of the music, especially when it becomes completely improvised as in the five collective pieces. It seems that Halat was extremely lucky in finding these two partners to record his debut Jazz offering, which probably would have not been possible otherwise. Garbowski and Gradziuk, who have consistently moved towards more open / improvised music in the last few years, prove here that they are able to carry on a full album just on their own, and their contribution here is simply invaluable. As to Halat being the next "thing" on the Polish Jazz violin scene, I´d definitely need to hear more and give it some time. This is a very unusual, surprising and even promising album, but it does suffer from some inhibitions which need to be resolved, before Halat earns his honorable place on the pedestal. Overall this is definitely music that should be investigated and even embraced, as it does offer a novel approach and a lot of courage. Highly recommended!

Updated: 19/01/2018Posted: 28/11/2017

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EVAN PARKER / RGG ~ LIVE @ ALCHEMIA FSR 2017/01 (Barcode: 5905279364172) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2016 Released: 2017 This is a live recording by the legendary British saxophonist Evan ParkerFind albums by this artist performing together with one of the top Polish Jazz trios RGGFind albums by this artist, which comprises of pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. Together the ad hoc quartet performs four spontaneously composed pieces, credited to all four members of the quartet. The music was recorded at the celebrated Krakow´s Alchemia club, which since many years is associated with the Polish and international Improvised Music scene. The courageous experiment of combining forces between Parker and RGG seems, at least in theory, quite unexpected to say the least. Based on their recording history one might contemplate how the music of Parker, which always symbolized the extreme Avant-Garde and total freedom of expression, might be combined with the music of RGG, which although featured some elements of freedom, was always strongly melody based and full of typical Polish lyricism and Romanticism. Apparently, music is able to unite most stylistic gaps and in this particular case simply emerges victorious. As a result we have some of the most "melodic" and relaxed Parker performances ever put on record and the most free oriented music ever recorded by RGG, both wholly amalgamated into a new form of expression. In spite of the age difference between Parker and the RGG members, there seems to be a complete and profound understanding and mutual respect between the musicians, which allows the music to flow and flourish uninhibited and overwhelmingly moving. As usual in such musical circumstances, the music requires attentive and open-minded listening, but its quality assures a most wonderful aesthetic experience. The personal performances are all, as expected, exhilarating and the challenge of playing with a legend mobilized the RGG members to give absolutely everything they had to give that night. There is no doubt that this is one of the most challenging and daring Polish Jazz recording lately and a superb way to start 2017, which promises to be as exciting as the incredibly intense 2016. Maciej KarlowskiFind albums by this artist deserves kudos for putting this experiment together and turning his FSRFind albums on this label label into an important player on the Polish record scene. Thanks also to the man with the biggest ears in Poland, Jan SmoczynskiFind albums by this artist, for the wonderful mix and mastering, which result in a superb sound quality this album offers to the listener. Well done!

Updated: 12/04/2019Posted: 21/02/2017

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POHJOLA / GARBOWSKI / GRADZIUK ~ GEMSTONES FSR 2018/14 (Barcode: 5905279364370) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2017 Released: 2018 The blessed technology that enables us to capture a piece of music for "posterity" and later repeat the process of music creation as many times as we like is miraculous in every respect. For centuries music existed exclusively in the very moment of its performance and as soon as it was born it was immediately lost forever. Today we can capture the music making process and transform it into physical, tangible element, which can later on be replicated continually and transferred with the speed of light into the infinite space that surrounds us. Glorious times indeed. But technology always comes with a moral and aesthetic price tag. In just over a Century, which is but an infinitesimal fracture of human history in general and more specifically just a minuscule part of history of music, we have produced enormous amounts of recorded music, which mostly tragically hardly deserves to exist for "posterity", almost the same way that we, the human race, produced such enormous quantities of garbage that we physically endanger our very existence on this planet. Improvised Music, Free Jazz and other forms of Avant-Garde musical exploration often suffer from the almost intrinsic malady, that they do not survive well the process of transformation between live performance and recording. Only in very rare cases spontaneous music is able to retain the aesthetic quality, the spiritual force and the artistic value that one expects to be exposed to while listening to recorded music. Without the immediate eye contact with the musicians, the ambience of the venue and the excitement of a "live" interaction the captured sound more often than not loses its charm, meaning and becomes banal or in the worst cases simply unlistenable. It is therefore a great and rare pleasure to encounter music, which was spontaneously created and is highly improvised, and yet manages to withstand the transformation between live performance and recording with flying colors. These extraordinary musicians managed to transfer the metaphysical Gems into real Gemstones, which naturally are as close to "posterity" as only Gemstones can be. Music is as much about music as it is about people and therefore behind every manifestation of music one should always bear in mind the human factor behind it, especially so in the case of recorded music, which distances the listener from the immediate human interaction with the creators of the music itself. Verneri PohjolaFind albums by this artist, Maciej GarbowskiFind albums by this artist and Krzysztof GradziukFind albums by this artist are not only extraordinary musicians, but first and foremost beautiful human beings, blessed with talent and armed with consistency and invariable drive to explore and discover. I am proud and grateful to have encountered not only their sublime music, but also their personal charm and friendship. Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 12/04/2019Posted: 04/01/2019

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RGG ~ AURA OKEH 888750176028 (Barcode: 888750176028) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 It is the seventh album by the fabulous Polish Jazz piano trio RGGFind albums by this artist and their second release following the dramatic replacement of their piano player, when the young pianist Lukasz OjdanaFind albums by this artist joined the ranks of the founding members: bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The album presents fourteen pieces, five of which were composed by Ojdana and three by Garbowski. The remaining six pieces are various Jazz, Pop and World Music compositions originating from external sources. The album was recorded again at the excellent Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, with spectacular sonic results. The music of RGG has been, since the very first recording, always in a state of continuous metamorphosis, perhaps more vital and noticeable than similar processes taking place in the works of other Polish Jazz ensembles. This album is no different and marks some giant steps towards creating a new Jazz aesthetic, which combines the tradition with modernism, freedom of expression and above all openness. The crucial factor is the decision to expand the scope of the music beyond the self composed material by the trio members, as well as present a larger number of relatively concise pieces, enabling a much wider scope of musical influences, stylistic variety and diversity. Of course the trio´s ability to perform these pieces in such an exquisite way is their primary achievement. The level of mutual support, respect and common bonding present between these three musicians is almost unprecedented. Reinforced by their individual talents, good taste and aesthetic vision, the overall power of expression demonstrated by the trio is simply overwhelming. With the international release of this album RGG have a chance to demonstrate that they are not only the best Polish Jazz piano trio, but also that they have but a few competitors elsewhere. The most astonishing effect of this music is the fact, that although large parts of it are quite difficult for an average listener, the trio manages to make the music sound inviting and even embracing. This of course means that music does not have to lower its aesthetic or intellectual level and be brutally whored in order to be accessible. This rare ability to remain uncompromisingly aloft musically and yet widely appreciated is precious. There is no doubt that this album immediately deserves the "classic" status, being placed on the pedestal of Polish Jazz recorded achievements. That means that it will sound as good as it does now for decades to come, which just a few albums are able to do, challenged by the passing of time. My wholehearted thanks to you, Gentlemen. Side Note: I am happy to have a tiny personal input in this album´s release. My enthusiastic reviews of the trio´s recorded output were part of the decision making process resulting in signing a contract with a major label and than I helped a bit to untangle some copyright complications, which postponed the release date for a while. All done for a good cause!

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RGG ~ ENDORFINA VOICE MUSIC 1003 ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2019 Released: 2022 This is thirteenth album by the Polish Jazz trio RGGFind albums by this artist, which comprises of pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The album presents just two lengthy tracks (eighteen and thirty-two minutes respectively). The album was released on LP, and the CD was added as a bonus. The wonderful mix and mastering by Jan SmoczynskiFind albums by this artist ensures a superb sound quality, as usual in his case. The music is, not surprisingly, a continuation of the direction set by the album “Mysterious Monuments On The MoonFind albums with this title”, which in fact was recorded later than this album, but released earlier. It presents a shift towards Improvised Music, which leaves the classic concept of composition and improvisation on composed themes, which the trio followed brilliantly in the first two decades of their activity, in favor of spontaneous composition and much more abstract attitude and almost complete lack of melody per se. RGG obviously earned their freedom of exploration, after excelling for many years in the “classic” Jazz piano trio format, and their individual development as composers and performers leads them into new paths. They are leaving behind a significant part of their faithful followers, who are not able to make a similar step towards abstract and Avant-Garde explorations, but they are obviously aware of the price they need to pay in order to pursue what their hearts dictate. Of course listeners who delight in Improvised Music, especially “chamber” Improvised Music, as heard herein, will be delighted to explore this fascinating music. The three musicians lot absolutely nothing of their abilities and their technical proficiency is astounding, as always. It might involve several listening sessions to penetrate the depth of this music in full, delight in its minimalism and get caressed by its delicacy, but as usual in their case, all efforts are richly repaid. Personally I still consider this music as an expression of an interim period in RGG’s creative history, before the next period reaches will be revealed in its full glory. Overall, this is another wonderful album by these highly talented Artists, which deserves an honorable position in their splendid discography, even if it presents a much bigger challenge to most listeners and refuses to compromise. I wouldn’t like to miss it for the world!

Updated: 09/12/2024Posted: 03/10/2023

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RGG ~ MEMENTO (POLISH JAZZ VOL.81) WARBER MUSIC POLAND 190295475932 (Barcode: 190295475932) ~ POLAND ~ Jazz Recorded: 2018 Released: 2019 This is the eleventh album by Polish Jazz classic piano trio RGGFind albums by this artist, which consists of pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The album presents twelve relatively short pieces, with Ojdana and Garbowski each contributing four original compositions, one is a standard by Ornette ColemanFind albums by this artist, two are compositions by contemporary Polish Classical Music composer Henryk GoreckiFind albums by this artist and one is by Polish Liturgical Music composer Jacek GaluszkaFind albums by this artist. The album was recorded at the famed Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, with the expected wonderful sound quality. As someone who followed RGG since their inception, listened and reviewed their every album to date, heard them performing numerous times and even enjoyed their company in person, I am probably the least objective person to write about them again, and yet I feel that this somewhat intimate acquaintance with their music gives me a kind of insight that a casual listener might lack. RGG is not only one of the best European piano trios, which by itself is a momentous achievement, but it also is the most dynamic and ever developing musical unit, which is honestly a pretty rare phenomenon. Piano trios in particular have a tendency to keep a certain level of stability, even the best of them, once they reach a certain level of proficiency, which is definitely something RGG eschew. Each and every one of the eleven albums the trio was involved in presents a separate, often radically different musical universe, which is truly amazing. What is the secret behind this behavioral pattern? Well, in my opinion it is the fact that RGG consists of three diametrically different personalities that are miraculously able to combine their individualisms into a new amalgam that changes constantly like a chameleonic microcosm, captured on each of their albums. Ojdana the romantic warrior, Garbowski the intellectual philosopher and lover of harmony and Avant-Garde as one and Gradziuk the rebellious free spirit with Zen ability to focus have together everything needed to produce an infinite number of intricate meshes, which are "deadly" effective. "Memento" is perhaps the most introvert album by RGG ever. It is deeply melodic and lyrical spanning a large rainbow of influences and reflections and full of poetic and emotional, even spiritual moods. Clearly reflecting Jazz and Classical Music influences, the music is always very subtly and carefully balanced and aesthetically coherent. In fact it is also perhaps the most accessible album the trio ever recorded, although the full appreciation of the depth and richness of the music requires a trained and sensitive ear. RGG are the epitome of Polish / European Jazz at its best and their music is the soundtrack of European Culture, which seeks to unite the known and explore the unknown aspects of human tradition, spirituality and ingenuity. This album stands alone perfectly as a symbol of modern Jazz, but it is also a piece of a puzzle, which stands for something much more substantial. Therefore if this is someone´s first glimpse of the RGG miraculous universe, it will hopefully prompt to explore their older recordings and keep the eyes (ears) open for future ones, and this is barely the beginning of a beautiful journey. The fact that this album was released as part of the "Polish Jazz" series (see below) is not a distinction for RGG, but rather a distinction for the series. Side Note The iconic "Polish Jazz" series of recordings, originally released between 1965 and 1989 by the Polish state owned record company Polskie NagraniaFind albums on this label, which used the MuzaFind albums on this label label as its moniker, consists of seventy six LP albums. It presents the history of Polish Jazz recordings during that period, which includes some of the most important Polish / European modern Jazz milestones and reflects the extraordinary development of Jazz music behind the Iron Curtain. It is one of the most important historic documents of Polish Music and of course Polish Culture in general. The series had an eminent logo designed by Roslaw Szaybo and the albums were numbered sequentially from Vol.1 to Vol.76 accordingly. The album's artwork was wonderfully stylish and modernist, featuring the brilliant photographs and characteristic design by the legendary Polish Artist Marek Karewicz. Stylistically the series presented all Jazz genres, from Traditional Jazz to Avant-Garde / Free Jazz, which was extraordinarily liberal considering the cultural censorship imposed by the Socialist Regime. It suffered from some inconsistency, as far as the musical quality and aesthetics were concerned, as well as the internal "politics" of the Polish Jazz scene at the time, but in retrospect it achieved a spectacular overall result, unparalleled as far as consistently documenting a national Jazz scene is concerned. After the Polskie Nagrania catalogue was bought by Warner Music PolandFind albums on this label, the new owner started a reissue process of the Polish Jazz series, carefully remastered, repackaged and including extensive liner notes, which keeps the artwork as close to the original design as possible. So far forty four volumes of the original series were reissued. In 2016 Warner Music Poland decided to continue the original series by releasing new contemporary Polish Jazz recordings under the same format and even to continue the sequential numbering starting with Vol.77 – a decision I personally consider almost sacrilegious. Some things are simply untouchable, and the "Polish Jazz" series is surely one of those things. If Warner Music Poland wants to produce Jazz albums, which is always more than welcome, they could have started a new series, under a new title, rather than exploiting the reputation of the historic series. As a result, some artist whose albums are released as part of the new series might be led to expect instant gratification, fame and stardom, just for being an artificial part of a prestigious past, which of course is as bogus as it is sad.

Updated: 25/04/2019Posted: 25/04/2019

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RGG ~ MYSTERIOUS MONUMENTS ON THE MOON VOICE MUSIC 1002 (Barcode: 5906489287206) ~ POLAND ~ Avant-Garde Jazz Recorded: 2020 Released: 2021 This is the twelfth album by Polish Jazz trio RGGFind albums by this artist, which celebrates its 20th Anniversary these days, with a remarkable recording legacy to its credit. Pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist present this time fifteen mostly short pieces, nine of which are improvisations, eight called “Monuments” (numbered I to VIII). Three pieces are composed by Ojdana, one is by Eric SatieFind albums by this artist, another one by Artie ShawFind albums by this artist and one remains mysteriously uncredited. The music was recorded at the Studio Tokarnia and was engineered by Jan SmoczynskiFind albums by this artist, offering not surprisingly excellent sound quality. RGG is obviously a very unique music-making setting, a leaderless ensemble of three dominant and very different personalities, which manage to combine their relative talents significantly more efficiently than any of their Polish Jazz colleagues, despite the fact that the Polish scene is blessed with incredible abundance of wonderful musicians. The trio excels in is uncompromised pursue of individuality and eschews commercialism, even if it means to remote itself from the “fame and glory” of the legendary “Polish Jazz” series, where their previous album was released on, an association which ended with a painful divorce. There is no doubt that this album marks a new approach in the trio’s music making, with an emphasis on Free Improvisation. Although their earlier albums included plenty of advanced improvisation, it was never a focus of their recorded statements. The need to search for new forms of expression is not surprising in view of the fact that Polish Jazz scene is experiencing, perhaps to some degree influenced by the Covid-19 pandemic, a period of self-examination. RGG’s path in the last two decades is a reflection of the stellar development of the Polish Jazz during that period, which produced some of the best Jazz music on a world scale, but also seems to experience an identity / aesthetics crisis with the entry into the third decade of the 21st Century. Perhaps playing “more of the same” is simply not enough anymore? Jazz, like most other things, is mostly about balance… How much Free Improvisation is needed to express “freedom” in music is often heatedly discussed. This album does not expel completely melody, harmony and even romanticism from the music, but makes it more difficult for the listener to identify them, which sometimes might prove too difficult for some. Well, too much freedom causes chaos, and too little causes frustration, a question of balance… Personally I see this album as a “transitional experiment” by one of my favorite Jazz ensembles, and love and respect always require slack and acceptance. Their music always makes me want to hear the next album, and this one is no different. Overall, this is a courageous statement by mature Artists, who know what they want to say, obviously much better than anyone can guess. It takes a few listening sessions to get into, but, as usual in RGG’s case, the music becomes irresistible. This was a long and painful birth, well worth waiting for.

Updated: 09/12/2024Posted: 28/10/2021

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RGG ~ OCTOBER SUITE FSR 2022/09 (Barcode: 5904441617108) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2020 Released: 2022 This is a live album by Polish Jazz trio RGGFind albums by this artist, which comprises of pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist, which was expanded to a sexted for the appearance at the 15th Ad Libitum Festival in Warsaw, recorded on October 17, 2020. The additional musicians are vocalist Marta GrzywaczFind albums by this artist, cornet player Artur MajewskiFind albums by this artist and flautist Dominik StrycharskiFind albums by this artist (the last two also use some electronic effects). The album presents a seven-part suite (on seven tracks), which remains uncredited and is assumed to be co-created by all the participants. The music appears to be completely freely improvised, with no melodic threads as such, but is beautifully coordinated between the participating musicians, who perform a group improvisation with great respect towards each other, exactly what such format demands. The music is sparse and most of the time minimalist, but occasionally intensifies into bursts of energetic exchange of common improvisations. The RGG trio leads the proceedings steadily and dominantly, with the excellent rhythm section firmly dictating the tempi and the piano spreading harmonic splashes, which build the fabric for the rest of the team to place their colorful ornaments on. For me, personally, the music creates strong visual associations, in addition to the obvious aural content. The individual contributions by all the participants are superb, and the excellent recording sound quality adds to the total result. Although Free Jazz / Improvised Music is rarely able to create music, which offers a lasting value, beyond the actual moment of being created, this album certainly offers a piece of music, which can be returned to periodically and enjoyed repeatedly. Overall, this is a wonderful example of Free Jazz / Improvised Music, which has a lasting value. Definitely not for casual listeners, but those who enjoy the convoluted minds of musicians, who eschew triviality and conformism, this is definitely a splendid occasion to enjoy themselves.

Updated: 12/01/2025Posted: 12/01/2025

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RGG ~ ONE NOT ON LABEL (Barcode: 5905912559873) ~ POLAND ~ Jazz Recorded: 2010 Released: 2011 This is the 5th album by the excellent Polish Jazz piano trio RGGFind albums by this artist, which comprises of pianist Przemyslaw RaminiakFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. Its release marks the trio´s tenth anniversary and adds a new direction to the remarkable body of music already recorded by the trio. In contrast to its predecessor, that included only spontaneously improvised music, most of the music on this album is composed, either by the trio members or other well known Jazz composers like Carla BleyFind albums by this artist and Richie BeirachFind albums by this artist. Of the thirteen compositions presented here only two are free improvisations, which is unusual for them. All three RGG members are brilliant instrumentalists, but their performances together clearly create an outcome much bigger than the sum of its parts. The level of interplay, cooperation, mutual respect and understanding is truly phenomenal and the resulting music is able to move emotional mountains. To an attentive listener it is quite clear that even when they play relatively close to the original composition, RGG members display a high level of spontaneity, which is present only within the best piano trios in the world, like that of Keith JarrettFind albums by this artist, Gary PeacockFind albums by this artist and Jack DeJohnetteFind albums by this artist. Another rare quality of RGG is the active involvement of the bass player and drummer in the process of music creation. This is definitely not a pianist with a rhythm section, but an organic three-headed body making music together. This album can be a great service to the group as an introduction to their universe; surely anybody listening to it will want to explore their music further. People familiar with the Polish Jazz scene will immediately make the inevitable comparison between RGG and the "other" great Polish piano trio: Simple Acoustic TrioFind albums by this artist (or Marcin WasilewskiFind albums by this artist Trio). Comparisons of this sort are futile and have absolutely no sense, as both these trios play great music, each differently from the other. RGG are definitely closer to the Free / Improvised spirit of the music whereas Wasilewski´s trio is more disciplined and conventional, but both are examples of human talent and ingenuity of the highest ranking, which gives us all the immense pleasure of music. It´s worth to mention that the album was recorded at the Studio Tokarnia, the best sound studio in Poland, and engineered by the studio´s owner (and a gifted musician himself) Jan SmoczynskiFind albums by this artist, which explains the incredible sound quality of this album. This is an absolute must to every Jazz piano trio connoisseur and of course anybody with a right pair of ears to appreciate great music. Not to be missed under any circumstances!

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RGG ~ SCANDINAVIA PRK 050 ~ POLAND ~ Jazz Recorded: 2003 Released: 2003 This is the debut album by the Polish Jazz ensemble RGGFind albums by this artist, which consists of pianist Przemyslaw RaminiakFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The album was recorded live in the Polish Radio Studio in Katowice as a result of the trio winning a competition the preceding year. At the time the trio was not using the RGG moniker and was known simply as Raminiak-Garbowski-Gradziuk Trio. The album includes seven original compositions, four of which are by the pianist and three by the bassist. Although obviously a work of young musicians, this is an incredibly impressive debut recording by any standard. The performances are remarkably mature and the compositions are both beautifully melodic and startlingly complex and excellently crafted. The overall level of this album is a clear indication of the potential this trio would fully develop in the years to come, reaching the status of one of the best Jazz ensembles in Europe today. As usual with RGG, it is all about interplay and cooperation. Although on this recording they perform similarly to the "classic" piano trio, with the piano often in the lead, the amount of solo space given to the rhythm section is higher than normal, expressing the egalitarianism and full sharing of performance duties by all three musicians. The arrangements of the compositions allow for expanded solo improvisations, which results in the individual tracks to be longer (mostly over ten minutes long) than the trio would utilize in future recordings. The drums are slightly too loud and dominant (at times), again something the trio will learn to avoid later on. But in all fairness, all things considered, this is still an astounding debut, way better than many albums recorded by Jazz veterans of international repute. In retrospect one can see that in the span of the decade since RGG got together, their recordings are a wonderful evidence of artistry in the making, getting stronger and above all constantly developing. After all they are still incredibly young and the world is all ahead. I do wish them all the best as they give me so much pleasure in their music. God Bless! This album is only available in a limited edition pressing and I doubt it is available anywhere, so perhaps it´s time to consider a remastered reissue?

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RGG ~ STRAIGHT STORY BCD 07 (Barcode: 5906881885062) ~ POLAND ~ Jazz Recorded: 2004 Released: 2006 This is the 2nd album (and first studio recording) by the Polish Jazz ensemble RGGFind albums by this artist, which consists of pianist Przemyslaw RaminiakFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The album´s title track was inspired by the classic film of the same name, directed by David LynchFind albums by this artist. Of the eleven tracks on the album ten are credited to the trio and one is a standard. Considering the fact that this album is in many respects the artistic debut by three young musicians, the quality of the music and the performances are absolutely phenomenal. All the qualities, which will be fully developed on the RGG trio´s later recordings, are already there: the incredible interplay, the lyricism and unique perception of melody and above all the freedom of expression. It is almost frightening to see anonymous (at the time) musician create such a sophisticated, advanced and complex music, often years ahead of many Jazz veterans, who made little advance during their entire career. It is pretty obvious that these young musicians knew pretty well where they wanted to go musically. Their self-confidence, as demonstrated by their performances here, is remarkable and was about to become a key element in the development of their future careers, both as an ensemble and as individuals. A certain level of naïveté is apparent, but it is charming and in retrospect only emphasizes how good the trio was even at the outset of their musical path. This is a beautiful and almost perfect piano trio album, which should be part of even the most selective record collections. It is a gem, not only among the Polish Jazz albums, but among anything recorded in first decade of the 21st Century. Satisfaction guaranteed!

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RGG ~ SZYMANOWSKI FONOGRAFIKA (Barcode: 5903292104843) ~ POLAND ~ Jazz Recorded: 2013 Released: 2013 This is the sixth album by the exquisite Polish Jazz piano trio RGGFind albums by this artist, and their first release following the changeover of their piano player, with Lukasz OjdanaFind albums by this artist replacing the founding member Przemyslaw RaminiakFind albums by this artist. For a piano trio the replacement of the pianist is equivalent more or less to a heart transplant in a human body, which is of course a tremendous upheaval. The fact that such transition not only is possible, but is eventually successful is nothing short of a miracle. Bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist should be congratulated for going through this experience unspoiled and unshaken in their team spirit. The fact that the trio chose to retain its name (rather than changing it to OGG for example) is a most welcome sign of respect towards their departed colleague and the will to continue the splendid tradition they created so far, a fine and very rare example of camaraderie winning over ego. But the drama surrounding this album does not end with the personnel change; for the first time the trio decided to pay homage to a Classical composer, in this case the Polish early-20th Century pianist / composer Karol SzymanowskiFind albums by this artist. Szymanowski, a brilliant early-modernist / impressionist, who combined Polish Folklore and modernist compositional tools, is a rather neglected figure on the Polish scene, which is a great shame. Therefore the fact that RGG decided to make him the center of their new recording fits perfectly their non-conformist approach towards music. Of the thirteen tracks on this album, nine are interpretations of compositions by Szymanowski, three are composed by the bassist and the remaining one is a group composition. The original compositions are of course "in spiritu" inspired by the great composer. Following decades of Polish Jazz musicians obsessively interpreting the music of Frederic ChopinFind albums by this artist, it´s truly refreshing to hear some musicians turning the attention to other great Polish composers, like Szymanowski in this case. What remains unchanged is the trio´s basic approach to music, full of freedom, beautiful silence between the notes, total dedication and amazing intellectual command, which takes the music to lofty peaks. Ideally, the listener of this music should be familiar, at least to some extent, with the original music by Szymanowski, but being realistic, this will be the case only in reference to very few listeners. But this music is so powerful and stunning, that it completely stands on its own as well. RGG managed again to create a sonic universe of its own, which keeps the tradition of the original music at its core alive a Century later, transforming it to contemporary set if aesthetic values and parameters. Perhaps this recording will inspire new listeners to discover Szymanowski, after listening to this gorgeous music: a double winner after all. It makes no sense to compare Ojdana with Raminiak and additionally it means absolutely nothing as far as the music is concerned; the only thing that matters is the fact that he became an organic part of the trio, fitting ideally with his two partners and cooperating with them symbiotically and creatively. And most importantly the level of talent of virtuosity displayed by RGG was not lessened by an iota, which firmly places them at the very top of Jazz piano trios not only in their native Poland, but worldwide, easily! I´ve already written extensively about the talents of Messrs. Garbowski & Gradziuk, suffice to say they are without a doubt closer to Euterpe then most others I happened to have the pleasure to listen to. The trio maintains the tradition of recording their albums at the now legendary Studio Tokarnia, under the auspices of the resident sound wizard Jan SmoczynskiFind albums by this artist. The result is nothing short of spectacular, which stands its ground to any ECMFind albums on this label recording, again with ease. Therefore for all intents and purposes this album is equivalent to a Keith JarrettFind albums by this artist trio album on ECM; it simply does not get any better than this.

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RGG ~ TRUE STORY – IN TWO ACTS NOT ON LABEL (Barcode: 5905912555738) ~ POLAND ~ Jazz Recorded: 2008 Released: 2009 This is the 4th album by the Polish Jazz ensemble RGGFind albums by this artist, which consists of pianist Przemyslaw RaminiakFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. A monumental undertaking recorded "live" in the studio in just two days and resulting in two CDs, each presenting sixteen pieces, varying in duration from just over a minute to over six minutes, all of which are on the spot improvisations, except for the first introductory piece on each CD. All the music is accredited to all three RGG members. The album was recorded in the legendary Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, the studio owner, a guarantee of superb sonic quality. The album´s title, consistent with the titles of the two albums which preceded this release, includes the word "story", which clearly points out to the fact that the trio members conceive their music-making as a process of storytelling, metaphysically of course, but nevertheless quite significantly. Music is, after all, a reflection of the musician´s personality and his life experience, not just a detached intellectual creation of his mind. The storytelling influences the character of the music dramatically and is responsible for it being wonderfully communicative, even though it is completely free stylistically. RGG manage to create perhaps the most "talkative" form of Free Jazz ever encountered, which enables every Jazz listener, including those with little or even no Free Jazz experience, to absorb and most importantly enjoy this music. Amazingly, the album creates an overall aura of serenity and composure, although it is in fact full of creative tensions and convolutions. As in all piano trio music, and especially in case the music is highly improvised, the key element is the musical bond developed between the trio members, which in the best of cases involves truly telepathic communication. RGG definitely fall in that category, displaying an amazing level of group consciousness, collective improvisation ability and above all enormous mutual respect. The solo spot moves freely between the instruments, as the trio members clearly share the storytelling duties equally, supporting and complimenting each other rather than competing with each other. This incredible level of cooperation is the trio´s most formidable asset. But of course each of the trio members is a great instrumentalist, regardless if he plays solo or is part of the duo and trio format. Perhaps more so that in any other piano trio setting, RGG eschews the concept of a "leader" and presents a concept of a music unit, which is much greater than a sum of its parts. That is why RGG is able to produce such extraordinary music, which has few equals anywhere in the world. Polish Jazz aficionados will of course try the unavoidable comparison between RGG and the "other" great Polish Jazz piano trio, the Simple Acoustic TrioFind albums by this artist. For a true music lover there is no competition here whatsoever, and these two great ensembles compliment each other rather than compete with each other. Polish Jazz is simply lucky to have two such brilliant piano trios creating music in tandem. This is definitely some of the finest Polish Jazz ever recorded, and some of the most wonderful piano trio music ever created. It would be criminal to miss this album, something a true music connoisseur should avoid at all costs. This stuff is essential for the mental health of those, who are lucky to immerse in its splendor.

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RGG ~ UNFINISHED STORY – REMEMBERING KOSZ ECNALUMBA ~ POLAND ~ Jazz Recorded: 2007 Released: 2007 This is the 3rd album by the Polish Jazz ensemble RGGFind albums by this artist, which consists of pianist Przemyslaw RaminiakFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. As the title suggests, it is dedicated to the memory of the great Polish Jazz pianist / composer Mieczyslaw KoszFind albums by this artist, who died tragically at the ridiculous age of 29, leaving behind him just a handful of recordings and a memory of a brilliant musician, who was destined for greatness, but missed the opportunity; an unfinished story indeed. The Polish Jazz scene produced a multitude of tribute albums over the years, most of which commemorate the Godfather of Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist. Many of these albums are excellent and worth listening to, but the decision made by RGG to follow a less obvious path (which seems to me their favorite modus operandi) and create a tribute to a much lesser known figure is truly courageous and admirable, especially in view of the fact that rather than present their interpretation of the music composed by Kosz, they created an "in spiritu" homage. Of the twelve tracks on the album only two are compositions by Kosz and one is a classical piece, which he used as a basis for improvisation (see "ReminiscenceFind albums with this title", his only album released during his lifetime). The rest of the album is all original and was mostly composed by Raminiak, Garbowski or co-composed by these two. Two tracks are group improvisations and are credited to the trio. The members of RGG concentrate on the less obvious side of the Kosz musical heritage. Although mostly portrayed as a romantic and lyrical player in the Bill EvansFind albums by this artist vein, he also displayed an enormous longing for the free form improvisation, keeping the melodic fluidity intact, an element RGG members explore to the max. Therefore, although the album is seemingly almost romantically melodic, this is just a clever illusion masterfully created by the RGG musicians. In fact an attentive listening will reveal that most of the music is full of free elements, amalgamated in a way that emphasizes an "organized and orderly freedom". As usual, RGG members display a phenomenal interplay, switching the spotlight from one instrument to another, changing tempi and melodic hints, all of that with elegance and flair, which keep them apart from most other piano trios in Jazz today. Although not explicitly specified on the album´s cover, it was recorded in the legendary Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, the studio owner, a guarantee of superb sonic quality. The musical quality is of course beyond reproach, and this album joins the other albums by RGG as some of the most important Polish Jazz recordings and superb gems of piano trio Jazz.

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RGG / LYYTINEN / BLASER ~ CITY OF GARDENS VOL. 2 VOICE MUSIC 1011 (Barcode: 5906489287527) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2021 Released: 2024 This is an album by Polish Jazz trio RGGFind albums by this artist (pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist), joined by Finnish saxophonist Pauli LyytinenFind albums by this artist and Swiss trombonist Samuel BlaserFind albums by this artist. The “Vol. 2” refers to the album recorded by a similar quintet, but with Finnish trumpeter Verneri PohjolaFind albums by this artist instead of Lyytinen, released in 2018. The album presents seven tracks, five of which are improvised by the quintet and two are composed by Garbowski. The album offers a stunning sound quality. The music reflects the steady shift of RGG towards Improvised Music, which happened gradually during the twenty plus years of their music making together, and is, in retrospect, one of the most fascinating musical journeys on the Polish Jazz scene. All three members of the trio are brilliant instrumentalists, capable of producing a mesmerizing flow of music, which never loses its coherence and melodic footing, even when it journeys into the Free Improvisation sphere, all of which is wonderfully documented on their impressive recorded legacy, carefully assembled over the last two decades. Another aspect of RGG’s musical journey is the openness towards other musicians from all over the world, which also yielded superb recordings, like the a.m. earlier “City Of GardensFind albums with this title” album or their cooperation with British improvisers, like Trevor WattsFind albums by this artist or Evan ParkerFind albums by this artist. The open-mindedness and empathy required in such circumstances is superbly documented on this album as well, which is a beautiful example of spontaneity and telepathic musical bonding at their best. Overall, this is a deeply moving, elegant and truly inspiring example of Improvised Music at its best, full of elegance and eloquence, coherency and aesthetics, which makes listening to music such a pleasure. An absolute gem!

Updated: 09/12/2024Posted: 09/12/2024

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RGG / POHJOLA / BLASER ~ CITY OF GARDENS FSR 2018/08 (Barcode: 5905279364318) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2017 Released: 2018 This is a live recording by Polish Jazz trio RGGFind albums by this artist (pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist), expanded to a European quintet with the addition of the Finnish trumpeter Verneri PohjolaFind albums by this artist and Swiss trombonist Samuel BlaserFind albums by this artist. The music was recorded during the quintet´s concert at the XII Silesian Jazz Festival in Katowice, with yours truly present in the audience and therefore also, at least spiritually, a part of this recording. The album presents five original compositions, all by Garbowski. Although the Polish Jazz scene always had an abundance of excellent Jazz piano trios, RGG certainly deserve a special mention in every respect. Their quest for musical perfection and constant searching, their openness and uncompromising aesthetics, their ability to survive the change of the pianist and continue safe and sound in a natural progression and above all their personal charm are all truly unique. I have of course followed the trio´s development from day one, collectively and individually, and consider them to be a quintessential paradigm of the young post-Millennium Polish Jazz scene. The trio´s previous live recording, which placed them alongside the veteran British avant-gardist Evan ParkerFind albums by this artist and their recordings with Polish vocalist Anna GadtFind albums by this artist opened another chapter in their approach to music, namely their hunger to develop collaborations with musicians from outside the trio´s closed habitat. This led also to work first with Pohjola and then also Blaser, which we are able to hear on this album. Although credited to Gradziuk, the music is of course mostly improvised and the lengthy, between ten and fifteen minutes long tracks, are an orgy of controlled spontaneity and free fall, which is completely captivating. The quintet goes through all the possible iterations, with musicians playing solo or in duo, trio, quartet and quintet settings, all impulsively forming on the stage. But with all that openness and freedom, which can be heard throughout, there is also a magic coherency and discipline, which sets boundaries and defines the scope and form of the music at any given point. This miraculous ability to play free and at the same time show a clear direction is the most important ingredient, which makes this music what it is. The individual statements are all phenomenal, which is hardly a surprise. Pohjola is definitely stealing a lot of the attention, as his trumpet pyrotechnics are breathtaking, but at the same time his playing is incredibly melodic, lyrical and often purely romantic. Blaser, already a young veteran of the trombone scene, has an incredible technique and no lesser feel, and the sound he is able to produce with his instrument is a ceaseless box of wanders. RGG – oh well they are the locomotive which carries this music along, a stylish carriage full of chic and aesthetic beauty and a red Lamborghini which adds zest and gusto. This is definitely some of the best Jazz music one can listen to these days, and I wish it gets to as many people as possible, as it is unconditionally superb. I am happy to be friends with these guys and proud of their achievements – they are the kind of people that do not let you down – and that is so rare. Thanks for the music!

Updated: 08/06/2018Posted: 08/06/2018

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RGG / TREVOR WATTS ~ RAFA FSR 2018/13 (Barcode: 5905279364363) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2018 Released: 2018 Following the live album recorded with legendary British Jazz saxophonist Evan ParkerFind albums by this artist in 2016, Polish Jazz trio RGGFind albums by this artist – pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist – return this time in the company of another British Jazz Colossus, saxophonist Trevor WattsFind albums by this artist, in a similar setting of live recording, performing spontaneously created Improvised Music. The album presents five pieces, obviously credited to all four musicians, lasting on average about fourteen minutes each. The music was superbly recorded and offers an astounding sound quality. The music is an epitome of everything Improvised Music stands for; sublime interplay between the participants, breathtaking individual expressions, virtuosic instrumental displays and mesmerizing coherence, which together engulf the listener from the very first dramatic cry of the saxophone to the very last overtone seventy minutes later; an orgy of sounds and feelings which is every bit as merciless as it is strikingly uplifting. RGG and Watts sound as if they have been playing together since the beginning of Time and rehearsing this material since forever, which of course happens only to the absolute best among musicians. Both parties are known for their openness and absolute disregard of boundaries, which is obvious herein, resulting in total acceptance of each other on one hand and profound mutual respect on the other. The level of togetherness and telepathic conversation is astounding and the resulting music is a group statement every inch of the way. For Improvised Music cognoscenti, the music on this album is a classic example of European approach towards improvisation; based on balance between freedom and discipline, intellect and emotion, harmonic progression and rhythmic fluidity. Watts, one of the iconic figures of the British Jazz emancipation and pioneer of exploration of the Jazz idiom way beyond its mainstream origins, which he faithfully continues since the 1960s, feels completely at ease with his much younger cohorts, who represent the East European Jazz school characterized by its lyricism and intrinsic melancholy, and manages to combine his typical Britishness with the Slavic approach embodied in RGG´s statements. This aesthetic European Unity (Brexit aside) is a phenomenon that is unique to European Jazz, and sets it completely apart from whatever is happening across the pond. I have been blessed and lucky to follow closely the careers of Watts and RGG since their onset and hearing them performing together is nothing short of bliss for me personally, but I am also convinced that every refined and experienced Jazz and Improvised Music connoisseur will find this music absolutely wonderful in every respect. This is definitely one of the best live albums that arrived on my desk in 2018, and I am profoundly grateful to its creators.

Updated: 16/12/2018Posted: 16/12/2018

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S. E. A. TRIO ~ INFLOW VOICE MUSIC 1010 (Barcode: 5906489287466) ~ POLAND ~ Jazz Recorded: 2023 Released: 2024 This is the debut album by S. E. A. TrioFind albums by this artist, comprising of three prominent Polish Jazz musicians: vibraphonist Dominik BukowskiFind albums by this artist, bassist Piotr LemanczykFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The album presents nine tracks, all of which are original compositions, six by Bukowski and three by Lemanczyk. This is an ultra-rare opportunity to hear a vibraphone trio recording, which is a splendid occasion to explore this wonderful musical setting, with its naked minimalism and crystal clear sound. Bukowski could not have found a better rhythm section, since both Lemanczyk, which whom he records since decades, and Gradziuk, of RGGFind albums by this artist trio fame, are both superb instrumentalists, members of the very top of the Polish Jazz league. Their skills and talents are obviously perfect for this demanding task, as the fragile and intricate music is quite tricky. Stylistically the music lies somewhere between ECMFind albums on this label era Gary BurtonFind albums by this artist and the Third Stream efforts by Polish Jazz vibraphone pioneer Jerzy MilianFind albums by this artist, revisiting the vibe (pun intended) of the “old days”, but without letting the nostalgia to cut any slack. The music is vibrant and fully alive, with all three instrumentalists displaying virtuosic fluency and up to date approach. As already mentioned above, Lemanczyk is a natural choice for this project, but it’s a nice surprise to hear Gradziuk so well behaved and at the same time inventive here, proving again what a great drummer he really is. Naturally, the spotlight is all on Bukowski as the soloist and main composer, but this album is an absolute team effort, as best Jazz albums always are. It is good to hear Bukowski in his natural habitat, doing what he loves, and keeping the smile on the listener’s lips at all time. Overall, this is a splendid, beautiful Jazz album, with vibraphone at the helm, which is sadly a rare outing these days, featuring three of the top Polish Jazz players, which of course guarantees quality and class, felt from the first stroke of the mallets. Wholeheartedly recommended and an absolute must for vibraphone lovers.

Updated: 09/05/2024Posted: 09/05/2024

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PIOTR SCHMIDT ~ DARK FORECAST SJ 052 (Barcode: 5902596066635) ~ POLAND ~ Jazz Recorded: 2020 Released: 2020 Polish trumpeter / composer Piotr SchmidtFind albums by this artist returns, undeterred by the pandemic that is changing the face of our globe, to share with us some joyful moments inspired by the music we love so much. Supported by his regular quartet, which includes top Polish Jazz musicians: pianist Wojciech NiedzielaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist, Schmidt presents a set of nine wonderful original compositions and two arrangements of compositions by the Godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist, which offers a highly aesthetic Jazz experience, superbly amalgamating the mainstream Jazz tradition and more open European attitudes. Two North American players, Canadian guitarist Matthew StevensFind albums by this artist and US saxophonist Walter Smith IIIFind albums by this artist, guest on six of the tracks, transforming the quartet into a quintet and spicing the proceedings with an enhanced instrumental variety. Although the majority of the music is firmly based on the beautifully weaved melodic themes, there is also plenty of space for more freely improvised playing, which characterizes contemporary Polish Jazz tendencies, clearly proving that the quartet is able to operate brilliantly in both idioms with the same ease and elegance. Attentive listening will reveal the incredible level of musicality and creativity displayed by these seasoned musicians. The quartet is by far more than just a trumpeter accompanied by a piano trio; it is an organic body performing music as one, which fully shares the responsibility for the final result. Just close your eyes and listen… The album closes with a tune called "A Place Of Hope…" which clearly reflects the universal human sentiment we all share today. Hope for times when the dark forecast will change into brightness and this and every other kind of music can be shared by thousands of people attending live concerts again… Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 17/01/2021Posted: 17/01/2021

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PIOTR SCHMIDT ~ SAXESFUL SJ 032 (Barcode: 5912596066658) ~ POLAND ~ Jazz Recorded: 2018 Released: 2018 What is this thing called Jazz? This question seems to reverberate for over a Century now among Jazz musicians, connoisseurs of the genre and scholars of the idiom, with the answer intractably remaining as elusive and mysterious, as the very nature of the music itself. Perhaps the splendor of Jazz is characterized by the inability to define or even properly describe it? Jazz keeps evolving and growing as an Art Form, combining its tradition with new discoveries and innovation, which soon after become part of the essence of the same Jazz idiom, in a perpetuum mobile like fashion. Polish Jazz, one of the most vital and ingenious local scenes on the world scale, which started while the country was still isolated from the rest of the world by the Iron Curtain, managed to flourish and explode artistically over the years, against all odds. Today Poland is a Jazz Super Power, leading the European Jazz scene in every aspect, all thanks to the seemingly inexhaustible influx of young and talented musicians, who treat their Jazz as seriously as their life. Piotr SchmidtFind albums by this artist (born 1985) is certainly one of those Polish Jazz mavericks. Not only is he well educated, talented and ambitious, but he is also a restless entrepreneur, record label owner, bandleader and educator who keeps constantly coming up with new ideas, maintaining his Jazz alive and kicking. This album is only one of such ideas, but the scale and audacity required to put such a project into life can be understood only by the cognoscenti of the Jazz scene. This album is a multilayered tribute to the Jazz tradition. It presents seven classic Jazz standards, each performed by the core quartet and featuring a different saxophonist. The list of the saxophonists reads like the who´s who of Polish Jazz and is also an obvious tribute to Polish Jazz itself. With their ages ranging from Jan Ptaszyn WroblewskiFind albums by this artist (born 1936), Zbigniew NamyslowskiFind albums by this artist (born 1939), Henryk MiskiewiczFind albums by this artist (born 1951), Maciej SikalaFind albums by this artist (born 1961), Piotr BaronFind albums by this artist (born 1961), Adam WendtFind albums by this artist (born 1962) and finally Grzech PiotrowskiFind albums by this artist (born 1974), i.e. four generations of Polish Jazz players, they represent the incredible power and stylistic versatility of the scene. The core quartet is by no means less impressive, featuring Schmidt on trumpet, pianist Wojciech NiedzielaFind albums by this artist and Poland´s top rhythm section comprised of bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist, all of which have a most impressive list of achievements under their arms. But tributes and history aside, this album is also a wonderful collection of great tunes, beautifully performed and entertaining, in the most positive meaning of the word. Jazz is, after all, also a source of unadulterated pleasure to those, who love it, and this album is certainly a concentrated dose of such pleasure. Enjoy! Adam Baruch, August 2018 Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 19/09/2018Posted: 19/09/2018

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PIOTR SCHMIDT ~ SAXESFUL VOL II SJ 056 (Barcode: 5902596066703) ~ POLAND ~ Jazz Recorded: 2018 Released: 2021 It’s not a secret that when recording an album, the producer often “thinks ahead” and takes the opportunity of the studio sessions already in place to record much more material than actually needed to complete one album. This is exactly the case with the recording sessions for the album “SaxesfulFind albums with this title”, which took place in 2018, recorded by Polish Jazz trumpeter, composer, bandleader, record label owner and producer Piotr SchmidtFind albums by this artist. Following the hiatus of the COVID-19 pandemic and the recent passing of Piotr’s Father, Prof. Andrzej SchmidtFind albums by this artist, an iconic figure on the Polish Jazz scene, whom I had a great pleasure to meet many a time, Piotr decided to return to the unreleased material from the “Saxesful” sessions and release a follow up album with that material, among other things to commemorate his Father’s memory. The concept of “Saxesful” was to present a series of Polish Jazz saxophonists, each playing on a different track. This second volume does exactly the same, presenting six classic Jazz standards, each performed by the core quartet and featuring a different saxophonist. The list of the saxophonists reads like the who´s who of Polish Jazz and is also an obvious tribute to Polish Jazz itself. With their ages ranging from Jan Ptaszyn WroblewskiFind albums by this artist (born 1936), Zbigniew NamyslowskiFind albums by this artist (born 1939), Henryk MiskiewiczFind albums by this artist (born 1951), Maciej SikalaFind albums by this artist (born 1961), Adam WendtFind albums by this artist (born 1962) and finally Grzech PiotrowskiFind albums by this artist (born 1974), i.e. four generations of Polish Jazz players, they represent the incredible power and stylistic versatility of the scene. The core quartet is by no means less impressive, featuring Schmidt on trumpet, pianist Wojciech NiedzielaFind albums by this artist and Poland´s top rhythm section comprised of bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist, all of which have a most impressive list of achievements under their arms. My Grandmother loved to quote the Polish proverb, which says: ”Those, who eat the leftovers are smooth and beautiful” (In Polish: “Kto zjada ostatki, ten jest piękny i gładki”). The meaning of this proverb is, that leftovers are as good, if not better, than the original food and should not be discarded, which applies exactly to the music on this album in every sense, and it would have been a shame to leave this music unreleased. Once again we have here a feast great classic Jazz music and first rate performances, which is a tribute to the genre itself, Polish Jazz history and tradition and a great listening experience. Enjoy! Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 30/08/2021Posted: 30/08/2021

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PIOTR SCHMIDT ~ TRIBUTE TO TOMASZ STANKO SJ 038 (Barcode: 5912596066696) ~ POLAND ~ Jazz Recorded: 2018 Released: 2018 This is an album by Polish Jazz trumpeter / composer / bandleader / entrepreneur Piotr SchmidtFind albums by this artist, recorded in a quartet setting with pianist Wojciech NiedzielaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The album presents twelve compositions, eight of which are credited to all four members of the quartet, two were composed by Schmidt and one each were composed by Krzysztof KomedaFind albums by this artist and Bartosz PieszkaFind albums by this artist. The death of the Polish / European Jazz icon, trumpeter / composer / bandleader Tomasz StankoFind albums by this artist, in June of 2018, marked an end of a chapter, or rather an end of an era in European Jazz. Although in recent years many of the most prominent representatives of post WWII European Jazz sadly departed, Stanko was in many respects more than most an epitome of modern European Jazz and his life and career exemplified the most important characteristics of the idiom. His relentless search of uncharted territory, complete disregard of fads and fashions, his open-mindedness and chameleonic, often extremely dramatic changes in his stylistic approach to Jazz and above all his aesthetics, with reminded uncompromising till the very end, were all also often characteristic of many other leading European Jazz Masters, who managed to create an entirely new form of the Jazz essence, completely free of the limitations and shackles enslaving the genre in the past. Tributes are a tricky business, especially so in the case of iconic figures, which were active for decades and managed to produce not only a rich legacy of recorded music, but more importantly were constantly groundbreaking and innovative. How can a "tribute" album express a respectful and artistically coherent picture of an icon? It takes a lot of courage and determination to attempt a tribute recording, which will be meaningful and offer some intrinsic value beyond being just a reflection of the light of a Giant, with the possibility of failure always lurking in the background. Considering the fact that Stanko´s legacy was to a large extent involved with Avant-Garde, Improvised Music and Free Jazz, whereas Schmidt consistently dedicates his career to more mainstream manifestations of the Jazz idiom, always emphasizing melody, harmony, ambience and lyricism, the first reaction to the idea of Schmidt recording a Stanko tribute might be that of disbelief and surprise. But Schmidt already proved to be a mastermind of invention in the past and this time he has surely outdone himself, by finding an ingredient of Stanko´s legacy that fits like a glove to his own modus operandi. As a result Schmidt, rather than creating a "general" tribute to Stanko, decided to put the spotlight on the gentler side of the Stanko´s heritage – Stanko the charmer, the balladeer, the weaver of heartbreakingly beautiful melodies, in short Stanko the Gentle Giant. The resulting concept presents an album full of beautiful, melodic, lyrical Jazz, which strongly resembles that gentle side of Stanko that we all love, but at the same time is completely original as far as the music itself is concerned. The atmosphere and ambience of the album are wonderfully coherent and the music flows serenely penetrating directly the very soul of the listener. The decision of not using and specific tunes composed by Stanko, but creating instead music that "might have been composed" by him is of course brilliant in every respect. The quartet performing the music is ideal for the task. Garbowski and Gradziuk played with Stanko in the recent years and know his music intimately, and their position as one of the leading Polish Jazz rhythm sections is fully justified. They add the ingredients of space and freedom to the quartet´s playing, which is exactly what this music needs to make it completely unwavering and related to Stanko´s musical spirit. Niedziela is beautifully romantic and expressive, with each and every note he plays being exactly what is needed to make the overall sound perfect. Schmidt plays delightfully as well, rather sparingly and delicately, again exactly right for what this music needs. At times, with the eyes closed, his trumpet sounds exactly like Stanko´s, but obviously Schmidt is not trying to imitate Stanko´s playing but, as the entire album does, reproduce the very Stankoish ambience and spirituality. Overall this is a wonderfully executed and cleverly planned piece of music, which achieves the ambitious goal assigned to it in full. It is also a textbook example of what "tribute" albums should sound like, as well as a wonderful example of a bridge over a chasm of the infamous generation gap, which enables a smooth transition of the heritage from one generation to another. Polish Jazz at its best!

Updated: 02/10/2022Posted: 23/11/2018

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ANNA SERAFINSKA ~ GADU GADU (SPECIAL EDITION) POMATON 5099944044626 (Barcode: 5099944044626) ~ POLAND ~ Pop & Rock Recorded: 2005 - 2012 Released: 2012 This is the fourth album by Polish Jazz / Pop singer Anna SerafinskaFind albums by this artist. It includes fourteen songs, all of which feature the lyrics by the great Polish poetess and lyricist Agnieszka OsieckaFind albums by this artist. The music was composed mainly by Seweryn KrajewskiFind albums by this artist (ex-Czerwone GitaryFind albums by this artist), one of Poland´s most remarkable songwriters. The other composers include several leading Polish Jazz figures like Zbigniew NamyslowskiFind albums by this artist, Wlodzimierz NahornyFind albums by this artist, Jan Ptaszyn WroblewskiFind albums by this artist and others. The music was arranged by Krzysztof HerdzinFind albums by this artist, who also plays piano and other musicians include bassist Adam KowalewskiFind albums by this artist (who plays some mean fretless bass parts), drummer Krzysztof GradziukFind albums by this artist and many others, as well as a string quartet. The original album was released in 2006 and this special edition, released in 2012, adds two songs newly recorded with Anna´s new group called Groove MachineFind albums by this artist. The album has a great potential and seemingly all the right ingredients: first-class songs, wonderful lyrics, skilful arrangements and excellent musicianship, and yet although it is pleasant and overall enjoyable, it is also quite forgettable. Stylistically it sort of "sits on the fence" between Pop and Jazz, being both too close to Pop to be considered Jazz and too Jazzy to be a straightforward Pop. Herdzin´s arrangements push it consistently towards Latin grooves and mainstream Jazz settings, but the result is all over the place and feels somehow uneasy. I understand that Serafinska has quite a following in Poland, but this is the second album of hers that I listened to and she leaves me stone cold. Fortunately she sticks to Polish lyrics on this album, avoiding the problems of struggling with a foreign language, but her vocals simply don´t do it for me, which of course is completely my fault. In my ears her vocal range is somewhat limited and the emotional expressiveness just doesn´t cut it for me (again), although she does have a good feel for groove, which explains what she does with her new band. Of course there are some superb moments here and the album is a nice listening experience, which can be enjoyed by many listeners across the genre borders. I sort of hoped it would be more than that.

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SONORISMO ~ PERSONAL VOICE VOICE MUSIC 1007 (Barcode: 5906489287329) ~ POLAND ~ Avant-Garde Jazz Recorded: 2022 Released: 2023 This is the debut solo album by Polish Jazz drummer / percussionist / composer Krzysztof GradziukFind albums by this artist, appearing here under the SonorismoFind albums by this artist pseudonym. He is supported by his fellow partner in the RGGFind albums by this artist trio, keyboardist Lukasz OjdanaFind albums by this artist, who plays the Fender Rhodes electric piano, and Finnish saxophonist Pauli LyytinenFind albums by this artist, who is also in charge of electronics. Saxophonist Lukasz Poprawski guests on one track. The album presents fourteen tracks, some of which are composed by Gradziuk, some improvised by him and finally others are credited to all three musicians. Parts of the music was created as an improvised background soundtrack to the 1919 American silent film “The Woman Under Oath”. The album was recorded during a single session at the Tokarnia 2.0 studio and engineered by Jan SmoczynskiFind albums by this artist. The album is dedicated to the memory of Gradziuk’s recently departed Father. Although the music is mostly improvised, it certainly offers many highly melodic themes, which create an intimate, mystical and almost meditative aura to the entire proceedings. The fact that some of the music was intended as a cinematic composition / improvisation, is in fact true to most the music on this album, which is closer to Ambient aesthetics than to Jazz per se on the majority of the tracks. All three instrumentalists perform splendidly, each in his own sphere, and together they manage to create a coherent continuity. Ojdana is in charge of most of the melodic / harmonic content, Lyytinen is the link to the Jazz ambience and Gradziuk supplies the bonding rhythmic, or rather mostly a-rhythmic pulsations, which manage to hold everything together. Despite the fact the drummer is a leader of this session, the music is certainly a combined creation by the participants, with everybody inspiring each other for the entire duration. Overall, this is a very ambitious Avant-Garde project, which should attract many listeners from various sub-genres, as it offers a wide palette of sounds and expressions, well beyond just Improvised Music / Free Jazz. Listeners, who like Jazz-Ambient Fusion should also enjoy this music, as well as Cinematic Music enthusiasts. The music demands attentive listening, in order to explore the intimate details, but can be enjoyed as well under a more relaxed circumstances, just submitting to the wonderful flow. Warmly recommended!

Updated: 03/04/2024Posted: 03/04/2024

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ZAKROCKI / GARBOWSKI / GRADZIUK ~ BALLADS & BLUES FSR 2024/05 (Barcode: 5904441617467) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2022 Released: 2024 This is a 2CD album by Polish Improvising Music trio comprising of guitarist Patryk ZakrockiFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer / percussionist Krzysztof GradziukFind albums by this artist (the last two being 2/3 of the RGGFind albums by this artist trio). The album, recorded during a single studio session, presents seventeen improvised pieces, which remain uncredited and as appropriate in these circumstances are assumed to be co-created spontaneously by the three musicians. As the title suggests, ten of the tracks are entitled “Blues” I to X and seven are entitled “Ballad” I to VII, depending of the musical inspiration prevailing at the time of their creation. The music is hyper-minimalist, which means that both the volume and the density are sparse and although seemingly a lot is happening the result is extremely humble, unassuming and intimate. The flow and development of the music is almost painfully slow and challenges the listener’s patience, almost assuming that the listener is willing to enter a state of trance, which would enable to absorb the music more subconsciously than analytically. One might compare this music to the American Minimalists, like Terry Riley and Steve Reich, but the parallelism is only partly applicable here, as this music is not as cyclic as that variation of minimalism, and there is subtle, but definite sense of development herein, which eases the feel of void and stagnation and points towards coherent goal. Obviously, this is not music for a wide range of listeners, surely not contemporary ones, with an attention span measured in seconds. It does require open-mindedness, patience and musical aesthetics, which usually comes with time and effort. There are almost two hours of music here, of highly inspired, unusual and extremely delicate music, which probably will grasp the hearts of few… sadly the destiny of all exceptional and unconventional musical experiments. Overall, this is a deeply engaging musical message, almost impregnable to a casual listener, but mesmerizing to those, who are able and willing to make the effort required in this case in order to absorb and accept this music for what it is: a ladder to a higher musical consciousness. The tougher the rind, the sweeter the fruit, comes to mind.

Updated: 11/12/2024Posted: 11/12/2024

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