Record Reviews

MACIEJ FORTUNA ~ ZOSKA FM 020 (Barcode: 5903240365166) ~ POLAND ~ Jazz-World Fusion Recorded: 2013 Released: 2015 Polish Jazz trumpeter / composer Maciej FortunaFind albums by this artist is consistently building a reputation for himself both on the artistic and professional level; he releases his own records, he develops international collaborations with other musicians, he is active in social networking and organization and so on. In addition he manages to create some superb music on the way and keeps establishing his position in the top echelon of Polish Jazz trumpeters. For a young musician this is definitely very impressive. Modern Polish Jazz is characterized, among other things, by amalgamation of Polish Folklore motifs with jazz. Such approach enjoyed a lot of popularity in the 1960s and 1970s, when it had its political significance as well, and now, in the second decade of the 21st Century it seems to be in full bloom again. Many top Polish Jazz musicians, like Irek WojtczakFind albums by this artist, Piotr OrzechowskiFind albums by this artist, High Definition QuartetFind albums by this artist (which also features Orzechowski), Marcin MaseckiFind albums by this artist and many others, recorded albums based on this concept Fortuna adds his valuable contribution to this wonderful multicultural puzzle. In this case, similar to what Wojtczak did, Fortuna recorded the music with a quartet which except for him features an all American lineup: saxophonist Mack GoldsburyFind albums by this artist, bassist Erik UnsworthFind albums by this artist and drummer Frank ParkerFind albums by this artist. The album presents ten tracks, six of which are traditional Polish Folklore songs / dances and four are original compositions, all by Fortuna, composed especially for this project. Wojtczak´s album proved that American Jazz musicians can play Polish folklore-based music quite brilliantly and this album does it again. Goldsbury, Unsworth and Parker are all up to the challenge and honestly they play better on this album than on any album I have heard them play earlier on, which of course shows that when seriously challenged, musicians often perform better that usual. As Fortuna says, and I quote: "Following decades of Polish Jazz musicians playing American Jazz, it´s time for American Jazz musicians to play Polish Jazz". I couldn´t agree more. The music is a Jazz-World Fusion project, but only well trained listeners will be able to recognize the exact origins of the tunes used here, both on the melodic and rhythmic layer. Fortuna´s originals fit in excellently to the overall sound and become an organic part of the project. Fortuna is the main soloist of course, but all the members of the quartet have plenty of opportunity to show their chops and the overall level of musicianship is superb. Polish Jazz connoisseurs and enthusiast of Jazz-World Fusion explorations should enjoy this album immensely. All I can do is to urge everybody to give it a try ASAP, as it is definitely worth everybody´s attention. Well done, as usual!

Updated: 07/03/2016Posted: 07/03/2016

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

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

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

Updated: 12/04/2019Posted:

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MARCIN MASECKI ~ JAZZ Z MACV WARSZAWSKA OPERA KAMERALNA 003 (Barcode: 5904316586850) ~ POLAND ~ Jazz-Rock Fusion Recorded: 2021 Released: 2022 This is an album by Polish pianist / composer / bandleader Marcin MaseckiFind albums by this artist, recorded with the Musicae Antiquae Collegium VarsovienseFind albums by this artist (MACVFind albums by this artist), an early music orchestra playing original period instruments. The album presents three harpsichord / piano concertos, one each by Johann Sebastian BachFind albums by this artist, Carl Philipp Emanuel BachFind albums by this artist and Wolfgang Amadeus MozartFind albums by this artist. All works are in three parts and all are performed by Masecki on piano. Masecki received Classical Music education and was recognized early on as an exceptionally gifted pianist. Later on he added Jazz to his milieu and since many years is active in both genres. In Classical Music he is known for his very unique interpretations of Classical pieces, in which he shows incredible originality and innovative approach. In Jazz he seems to be truly ubiquitous, playing everything between Ragtime and Avant-Garde, always brilliantly and with matchless virtuosity. He also presents a highly idiosyncratic stage persona, which offers a fascinating live experience. This album is somewhat puzzling, since Masecki performs the three concerti with remarkable restraint and almost complete reproduction of the original scores. Only a patient and very attentive listening will lead to the discovery of his delicate personal “artifices” utilized herein, all very clever and elegant, as expected, but somewhat too modest to call this entire enterprise as an “interpretation” of the original works. Overall, this is a very nice Classical Music album, which offers excellent performances of well-known keyboard concerti with a bit of “hide & seek” detective aspect, trying to find the subtle personal alterations utilized by Masecki. Calling this album Jazz is a wide stretch, but anything played by Masecki is definitely worth listening to. Personally I’d prefer to hear more of his “wild side”.

Updated: 31/12/2023Posted: 22/02/2023

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MARCIN MASECKI ~ MAZURKI FOR TUNE 0051 (Barcode: 5902768701555) ~ POLAND ~ Jazz-World Fusion Recorded: 2014 Released: 2015 This is a solo piano album by Polish Jazz pianist / composer Marcin MaseckiFind albums by this artist, dedicated, as the title suggests, to the Polish folk dance, the mazurka, which is often used in Polish Classical Music, especially by the Polish National composer Frederic ChopinFind albums by this artist. The album presents ten original compositions, all by Masecki, which are more or less associated with the mazurka. A radio edit of the opening track is added as a bonus track. Masecki, the enfant terrible of Polish Jazz, is one of the most unconventional musical personalities on the local scene. A recognized brilliant Classical pianist, he completely disregards all conventions and does only what he considers is worth pursuing, recording a series of bold, unconventional and often plainly insulting albums, slaughtering holy cows like there is no tomorrow. Obviously his music is often at the epicenter of heated discussions between his fans and supporters and his critics. On this album Masecki continues his interest in Polish musical folklore, having previously recorded an album dedicated to another Polish folk dance, the polonaise. It is also worth to mention that other Polish Jazz pianists, like Piotr OrzechowskiFind albums by this artist, also recorded solo piano albums dedicated to Polish folk dances, like the oberek in Orzechowski´s case. Although I usually like Masecki´s music very much, I find this project less convincing. The ten pieces present here, clearly linked to the mazurka, sound quite mechanical and unnatural to me, simply not connecting the dots. Obviously Masecki had a clear idea behind what he wanted to achieve here, but I fail to see what it might be. There are numerous transformations and variations on the basic mazurka form, but they sound to me as if a computer program was generating these variations given some basic parameters. This is definitely an intellectual exercise, but I fail to find any emotional involvement or the reasoning behind it. Of course it is quite possible that it is only my personal shortcoming being unable to enjoy this music, but so far this is the weakest Masecki´s project as far as I am concerned. Of course he´ll surely surprise us all shortly with another of his brilliant ideas.

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

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

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WOJTEK MAZOLEWSKI ~ GRZYBOBRANIE UNIVERSAL 602517939738 (Barcode: 602517939738) ~ POLAND ~ Jazz Recorded: 2007 Released: 2008 This is the debut solo album by Polish bassist / composer Wojtek MazolewskiFind albums by this artist, well-known as the founder / leader of the legendary Polish Jazz ensemble Pink FreudFind albums by this artist, which managed to achieve considerable success on the local and international scene. He is supported on this album by a group of musicians, who were at the time members of Pink Freud or were associated with the group in one way or another. They are: trumpeters Kamil SzuszkiewiczFind albums by this artist and Tomasz ZietekFind albums by this artist, saxophonists Irek WojtczakFind albums by this artist and Tomasz DudaFind albums by this artist, pianist Marcin MaseckiFind albums by this artist and his wife Candelaria Saenz ValienteFind albums by this artist, who provided the vocal parts, drummer Kuba StaruszkiewiczFind albums by this artist and percussionist Lukasz MoskalFind albums by this artist. The album includes nine tracks, which although not specifically accredited to Mazolewski on the album´s cover, are his compositions. Recorded shortly after the excellent "AlchemiaFind albums with this title" album, which Mazolewski recorded with Pink Freud, this solo album is in many respects a continuation of the musical direction initiated there, i.e. a return to highly improvised Jazz. The music is not completely free and is based on pre-composed motifs, but with a lot of freedom awarded to the individual musicians, leading to lengthy expanded improvisations. Being very atmospheric, it develops slowly from delicate hints and low volume statements, gradually arriving at magnificent crescendos, with all the musicians playing together. There are many World-Music influences, some more obvious than others, like the distinctive Flamenco feel on the pieces featuring the Spanish vocals, which Candelaria delivers with a chilling sensitivity. Although all the performances on this album are truly outstanding, I personally think that the work done by Masecki is the dominant factor, which turns this music from excellent to absolutely brilliant. The piano parts just keep everything together, filling the blanks and hinting towards the possible directions to be taken by the entire ensemble. Although not really up-front most of the time, his contribution is simply invaluable. This is a complex album, which requires several (if not many) listening session in order to truly digest it and to appropriately comprehend its depth as well as appreciate its beauty. Regardless of one´s favorite Jazz sub-genre, there is definitely something for everybody here, without compromising the quality or musical truthfulness herein. This is something no serious Polish Jazz lover should ignore, so if you don´t have it yet, get it as soon as possible. This stuff is timeless and although only a few years old, already feels like a classic.

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ORZECHOWSKI / MASECKI ~ BACH REWRITE DECCA 602537545759 (Barcode: 602537545759) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2013 Released: 2013 This is definitely one of the most intriguing albums released in Poland in 2013; a completely cross-genre innovative project, which should interest a wide range of music connoisseurs. It combines the eternal music of Johann Sebastian BachFind albums by this artist with two Polish enfants terribles: pianist / composer Piotr OrzechowskiFind albums by this artist (a.k.a. PianohooliganFind albums by this artist) and pianist / composer Marcin MaseckiFind albums by this artist, usually associated with Avant-Garde Polish Jazz but also know to have flirted with Classical music, contemporary and otherwise. Orzechowski included a Bach prelude on his debut demo album in 2011 and then shook up the Polish music scene in 2012 with the album presenting his interpretations of the music by the celebrated Polish composer Krzysztof PendereckiFind albums by this artist. Masecki performed and recorded many times his interpretations of Classical music pieces earlier on and even recorded in 2012 a complete album covering Bach´s "Die Kunst Der Fuge". Therefore this meeting is not really as surprising, as it might appear at the first glance. The pianists perform three Bach concerti for harpsichord, strings & continuo; each performs one concerto and together they perform a double concerto for two harpsichords. They are accompanied by the Capella CracoviensisFind albums by this artist Orchestra conducted by Jan Tomasz AdamusFind albums by this artist, which specializes in performing early Classical music played on original instruments of the period. The "catch" is that rather than using the harpsichord as intended, Orzechowski uses the Fender Rhodes electric piano and Masecki uses the Wurlitzer electric piano. Other than the effect of hearing an electric piano accompanied by a Baroque orchestra the album sounds pretty straightforward / "normal" and almost conventional. The big surprises are hidden almost at the very end of each of the concerti, when the pianists perform a "solo" / free improvised section, which of course is not a part of the original concerti (in the double concerto they perform this section together as a duo). This bold and innovative idea is what adds an extra "spark" to what this album offers to its listeners. There is of course also the a.m. disparity between the electric pianos and the orchestra, but after a while it simply vanishes and Bach´s music heals this gap quite naturally. Both pianists and the orchestra perform their roles formidably and the overall effect is pleasing, but not overwhelming. The entire project turns out to be less innovative / challenging that one might expect. The short improvised passages are somewhat alien to the music at large and appear to be more "conceptual" than natural. The orchestra is absolutely perfect and the worm sound of the instruments is a true delight. The sound quality is acceptable, but not sensational. Summa summarum this is a pleasant, interesting album, which tries to bring Bach´s music into contemporary environment, which is always commendable. It is not, however, a major / revolutionary concept / achievement. Side Note: The author of the liner notes accompanying this album keeps rumbling on and on about Wendy CarlosFind albums by this artist´ 1968 album "Switched-On BachFind albums with this title", which was a first of its kind recording of Classical music performed on a Moog synthesizer. I completely fail to see any connection whatsoever between that album and the music included herein. Although innovative, "Switched-On Bach" was after all just a gimmick intended to sell records, which worked very well BTW. Any attempt to uplift its status to a significant masterpiece is simply ridiculous as it connecting it with this album.

Updated: 12/04/2019Posted:

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PINK FREUD ~ ALCHEMIA UNIVERSAL 602517578845 (Barcode: 602517578845) ~ POLAND ~ Jazz Recorded: 2006 Released: 2007 This is the 6th album by Polish ensemble Pink FreudFind albums by this artist, which managed to gain considerable popularity on the local scene, both with Jazz and non-Jazz listeners and critics alike. Formed in 1998 by bassist / composer Wojtek MazolewskiFind albums by this artist, the group changed its lineup several times over the years but succeeded to maintain its popularity and gradually achieved a cult following and a large fan base. Musically the group offers a unique amalgam of genres and musical directions, originating with Jazz and improvisation, but also encompassing elements of Punk Rock, dub, jungle, drum and bass and electronic music. In many respects it is a direct continuation of the Yass movement, which flourished in Poland in the 1990s, and could be referred to as post-Yass. Since Yass was initially intended as an expression of rebellion against the established Jazz canons, which many young musicians felt to be stagnant, post-Yass took the rebellion a bit further out, emphasizing the cross-genre trend, groove and even dance elements, which resulted in the music being much more widely accessible. As opposed to the intellectual image that Jazz is usually associated with, this music is intelligent fun music, with some Jazz associations, and should be treated as such, no more and no less. This album, which was recorded live at the legendary Jazz club "Alchemia" in Krakow, finds Pink Freud in an expanded quintet lineup, with trumpeter Tomasz ZietekFind albums by this artist and drummer Kuba StaruszkiewiczFind albums by this artist supported by saxophonist Tomasz DudaFind albums by this artist (who recorded with the group earlier) and brilliant young keyboardist Marcin MaseckiFind albums by this artist. Five of the six expanded tracks (all over 10 minutes long) on this album are originals by the band members and the remaining one is their interpretation of a Joe ZawinulFind albums by this artist tune. In many respects this album is a "back to the roots" experience for the band, which returns to extensive Jazz improvisation, which although always present at the root of their music, was often subdued on their previous albums. The special atmosphere and ambience of the club and above all the presence of Masecki transform the band into a full-fledged Jazz combo and a great one at that. The trumpet / saxophone front line enables the players to stretch out, supported comfortably by a full rhythm section, with Masecki supplying some breathtaking solo spots as well. The emotional and more importantly musical level of the band heard here surpasses everything they managed to achieve earlier, and is truly exquisite. True to their basic approach, the band emphasizes personal expression and spontaneity rather that elaborate skills or scholarly musical background. For listeners, who can appreciate such approach to music, this is quite an experience. But this music is important enough to be heard by any music connoisseur and definitely should be re-visited for in-depth listening experience. Great stuff!

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

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TAQ ~ LIVE IN MINSK MAZOWIECKI RUBICON 001 ~ POLAND ~ Jazz Recorded: 2005 Released: 2006 TAQFind albums by this artist is a superb international piano trio consisting of Polish virtuoso pianist / composer Marcin MaseckiFind albums by this artist, Canadian bassist / composer Garth StevensonFind albums by this artist and Israeli drummer / composer Ziv RavitzFind albums by this artist. The trio was formed in 2002 when all three were students at the Berklee College of Music in Boston as a result of an unusual rapport that developed between these young and highly talented musicians. Later the trio begun touring and during the 2005 tour in Poland recorded live this, their debut album. In the six years since this album was recorded all three musicians established their careers, which are all pretty unusual and extremely successful, especially in view of the difficult times Jazz is going through. This album clearly points out why: they are all simply different, unique and completely individual in their musical approaches. Masecki is a "crazy" genius, completely ignoring all rules and regulation, re-inventing scales and harmonies, Ravitz revolutionizes Jazz drumming by incorporating Middle-Eastern rhythmic patters and the use of hands rather that sticks or mallets as well as usage of additional percussion instruments. Stevenson is the most "conventional" of the three, which of course is a blessing, as without him the music might have crossed the chaos line easily. In retrospect this is a completely unknown little album, which shines more brightly than most of the other stuff that the promotional apparatus puts on the shelves – a pure gem of an album which should not be ignored under any circumstances!

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ZBIGNIEW WEGEHAUPT ~ TOTA POLSKIE RADIO 1020 ~ POLAND ~ Jazz Recorded: 2007 Released: 2007 Polish bassist / composer Zbigniew WegehauptFind albums by this artist is a late bloomer. Although his phenomenal bass performances have earned him the title of the best and most reliable player on the local scene and a job as sideman in the consistently best ensembles over the years – a status many players would be proud and honored to hold – his career as a leader took a quantum jump only about four years ago with the release of his second solo recording, the eponymous Zbigniew Wegehaupt QuartetFind albums with this title. His debut album SakeFind albums with this title was recorded in 1983 – 21 years earlier. Since his ability as a player is already well established, Wegehaupt now concentrates on his composing duties. Since the last album unearthed some of his work, which was sitting in the drawer for a while, this new album is all about presenting his new compositions. It’s a real pleasure for me to admit that he stands up to the challenge with grace and glory. The album includes a set of great tunes, quite different from each other, but all prime examples of contemporary Jazz at its best. They are interesting on both the melodic and the rhythmic planes, with clever structures, which leave space for solos but emphasize the ensemble unity. The quartet, which performs the music, is a perfect vehicle for this music: Wegehaupt on bass, Jerzy MalekFind albums by this artist on trumpet, Marcin MaseckiFind albums by this artist on piano and the new member, Israeli drummer Ziv RavitzFind albums by this artist. Each of these players excels in his area: Malek has a beautiful tone and deep lyricism, Masecki is a phenomenal pianist with outstanding technique (both play on the previous album as well) and Ravitz is completely unique with his complex polyrhythmic approach, which extends way beyond keeping time. Although Wegehaupt is my friend, I’m confident that my assessment of this album is fairly objective and therefore I can easily – and with a clear conscience – recommend it to every Jazz lover around. Give it a try and see that great music is still being made today. Tota(l) satisfaction guaranteed!

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ZBIGNIEW WEGEHAUPT ~ ZBIGNIEW WEGEHAUPT QUARTET NOT ON LABEL ~ POLAND ~ Jazz Recorded: 2004 Released: 2005 Polish composer / bass player Zbigniew WegehauptFind albums by this artist (or Wege to his friends – born in the same Polish town like myself!) is one of the most distinguished jazz musicians in the country. In the last 20 years he’s been one of the most intelligent and reliable bassists in the country and a member of bands led by top Polish players like Zbigniew NamyslowskiFind albums by this artist, Janusz MuniakFind albums by this artist and many others. His flawless intonation and incredible swing served as a basis for countless recordings and concert performances. Unfortunately his recordings as a leader have been rather sparse and therefore this new album is a most welcome addition to his discography. For this album Wege formed a new quartet with 3 young and incredibly talented Polish Jazz players: Marcin MaseckiFind albums by this artist on piano, Jerzy MalekFind albums by this artist on trumpet and Sebastian FrankiewiczFind albums by this artist on drums. The music is a collection of Wege’s Jazz compositions from the past, which remained previously unrecorded. With the quartet as a vehicle the music is presented in full glory, flowing and swinging straight to the heart. This is modern Jazz at its best, full of beautiful melodies, superb expression and dramatic crescendos. The level of musicianship is truly astounding and it’s very hard to believe that such young musicians are capable of such mature statements. This is a great joy to see that the new generation of Polish Jazz musicians is living up to the expectations left by the glorious Polish Jazz tradition. Absolutely not to be missed!

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KUBA WIECEK ~ MULTITASKING (POLISH JAZZ VOL.82) WARNER MUSIC POLAND 190295475918 (Barcode: 190295475918) ~ POLAND ~ Jazz Recorded: 2019 Released: 2019 This is the second album by the young Polish Jazz saxophonist Kuba WiecekFind albums by this artist recorded with the same trio like the debut released two years earlier, which includes bassist Michal BaranskiFind albums by this artist and drummer Lukasz ZytaFind albums by this artist. Keyboardist Marcin MaseckiFind albums by this artist guests on one track. The album presents ten original compositions, all by Wiecek. Wiecek "exploded" on the local Jazz scene with the release of his debut album, which was released as part of the legendary "Polish Jazz" series, same as this one (see below). Immediately hailed as a wunderkind, youngest ever Jazz prodigy and the "darling" of the local scene and hyped by the media to ridiculous proportions, Wiecek never had a true chance to be seriously analyzed and evaluated as a player and composer. The debut album had its moments, but was recorded way too early before the material had a chance to be polished and mature during live performances and in retrospect was no more than a promise of better things to come in the future. This album is undoubtedly a much more accurate document of Wiecek´s many talents with the emphasis on his compositions, which are obviously unique and innovative. This album is in fact a collection of short ditties, ingenious and full of humor, masterly conceived and consistently fascinating. But the short duration of these ten pieces, lasting together under forty minutes, allows only to present the melodic / rhythmic ideas, but there is not enough time left to allow for any extended improvisations, which after all is expected from a Jazz album. Strangely, although this album was recorded at the best Polish recording studio (Monochrom Studio, with Ignacy GruszeckiFind albums by this artist presiding) it offers a muddy and thin sound, which does not help at all. Happily I have had the opportunity to hear the trio live many times in the last two years and can gladly testify that this material and the trio sound infinitely better on stage than on this album. Wiecek and his cohorts are stage animals and they put up a superb live show, taking this material places hardly imaginable, when listening to the studio album. I have also heard Wiecek play many times in jam sessions, where his adaptability and diversity was tested to the max, and which he always survived like a true knight in shining armor, without any hype miles around. Wiecek is undoubtedly one of the most ingenious, talented and promising upcoming young Polish Jazz musicians in addition to his charming personality. He is definitely destined to go places and the world is at his feet. I am happy to see that the hype around him did not manage to spoil and hurt him as much as it could have done and it was just an episode better left behind. He is still to record his defining album though. 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: 02/01/2020Posted: 02/01/2020

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