Record Reviews

BLOTO ~ EROZJE ASTIGMATIC 013 ~ POLAND ~ Jazz-Funk Fusion Recorded: 2018 Released: 2020 This is the debut album by Polish quartet BlotoFind albums by this artist, which is a classic "Son of Godzilla" type of offshoot of the popular EABSFind albums by this artist ensemble, comprising of keyboardist Marek PedziwiatrFind albums by this artist (a.k.a. LatarnikFind albums by this artist), saxophonist Olaf WegierFind albums by this artist (a.k.a. Ksiaze SaxoniiFind albums by this artist), bassist Pawel StachowiakFind albums by this artist (a.k.a. Wuja HZGFind albums by this artist) and drummer Marcin RakFind albums by this artist (a.k.a. Cancer GFind albums by this artist). The quartet and its music are a result of an incidental gathering of these musicians in a studio, during a short break in the EABS tour, which resulted in a spontaneous recording session undertaken without any preparation whatsoever. The well oiled EABS PR machine as well as the contemporary sound and attitude managed to create a stir on the local market and even the COVID-19 pandemic did not manage to halt the viral reaction. The album presents ten tracks, which were cut from the ninety minutes of music that was recorded, lasting just above forty minutes. The music is indeed fresh, vibrant and a great fun to listen to, but it is not that much different from the improvised passages played during EABS live performances, which of course is not very surprising. Hypnotic groove, synthesizer soundscapes, dynamic rhythms and almost Free Jazz solos on top are a well oiled formula that EABS perfected over time and this session basically offers nihil novi sub sole. The album´s title and the PR material allude to a parallelism between this album and the iconic recording "KorozjeFind albums with this title" by Polish Jazz legends Andrzej KurylewiczFind albums by this artist and Tomasz StankoFind albums by this artist. Personally I find nothing in common between these two albums and the unnecessary references to the Polish Jazz history are more damaging than useful. EABS are not like any of the Polish Jazz past icons, and they don´t need to be. They are an excellent ensemble living in a different era and playing music that has five decades of additional musical influences to absorb, which they indeed do all the time. Overall this album offers many great moments and an ambience that brings young generation of listeners closer to Jazz, which by itself is a great success. It is first and foremost oriented towards the wide circle of the EABS fans base, but being less visceral that the EABS albums, it also appeals to new listeners, which again is a good thing. These guys are excellent musicians and they still have a lot of youthful enthusiasm and creativity, so let´s enjoy them as long as that lasts. Is it Jazz?... Frankly, my dears, I don´t give a damn!

Updated: 20/06/2020Posted: 20/06/2020

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BLOTO ~ GRZYBNIA ASTIGMANTIC 029 ~ POLAND ~ Jazz-Ambient Fusion Recorded: 2023 Released: 2024 This is the 4th album by Polish quartet BlotoFind albums by this artist, which comprises of keyboardist Marek PedziwiatrFind albums by this artist (a.k.a. LatarnikFind albums by this artist), saxophonist Olaf WegierFind albums by this artist (a.k.a. OlafSaxxFind albums by this artist), bassist Pawel StachowiakFind albums by this artist (a.k.a. Wuja HZGFind albums by this artist) and drummer Marcin RakFind albums by this artist (a.k.a. Cancer GFind albums by this artist). The quartet members are all also members of the EABSFind albums by this artist ensemble. The album presents nine tracks, with music not credited and assumed to be co-composed by the quartet members. Following an almost three years long gap between releases, the music of Bloto remains faithful to the ideas presented on their earlier output, which I already described in the review of their previous album, as follows: “the music is completely boundless and shuns classification like a snake avoids a grip. Anything goes, as long as it makes sense to these four musicians, which basically is how things should be anyway”. However, personally I find this music moving away from my personal musical taste, despite the fact that I still very much appreciate the talent and creativity of the four musicians. Somehow the charm is gone and the music mostly sounds chaotic, unfocused and cold. There are some great moments here and there, but as a whole this is probably not an album I’d return to any time soon. The tendency to move away from Jazz, almost as if provocatively, and the murky ambience just aren’t my thing anymore. Of course this is just my very personal outlook and this music might be absolutely delightful to others. But it is also possible Bloto need to find a new formula and introduce new elements in their music to make my heart melt again? They seem to be a bit stuck musically. The future will tell. Overall, this is more or less more of the same by this great quartet, which offers incredible potential, but somehow less restraint and focus. It is still an interesting listening experience, especially if it is the first time one listens to their music. Brokenheartedly, I look forward for the next album.

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

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BLOTO ~ KWASY I ZASADY ASTIGMATIC 016 ~ POLAND ~ Avant-Garde Jazz-Rock Fusion Recorded: 2021 Released: 2021 This is the third album by Polish quartet BlotoFind albums by this artist, which comprises of keyboardist Marek PedziwiatrFind albums by this artist (a.k.a. LatarnikFind albums by this artist), saxophonist Olaf WegierFind albums by this artist (a.k.a. OlafSaxxFind albums by this artist – new pseudonym), bassist Pawel StachowiakFind albums by this artist (a.k.a. Wuja HZGFind albums by this artist) and drummer Marcin RakFind albums by this artist (a.k.a. Cancer GFind albums by this artist). The quartet members are all also members of the EABSFind albums by this artist ensemble. The album presents eleven studio tracks, recorded in one day, with music not credited and assumed to be co-composed by the quartet members, offering a conscious Lo-Fi sound quality. Although seemingly a classic Jazz quartet, Bloto are anything but… their music is completely boundless and shuns classification like a snake avoids a grip. Anything goes, as long as it makes sense to these four musicians, which basically is how things should be anyway. Listening to the album is like taking a night ride with the car radio randomly changing stations every few minutes; Free Jazz, Bass & Drums, Techno, Drone, Jazz again, Punk, Yass; this trip is never over until the music stops. Does it make any sense? Oh well, as usual it depends whom do you ask. I love that shit, but I can understand many people my age seeking a shelter. It is all a question of attitude, I suppose. If the music swings, rocks, grooves or whatever, it is cool with me. Of course in the big scheme of things one has to ask oneself where is this all going? Or better yet, how many times you can get away with it, before the audiences will fall under another spell? This is the third album after all. Watch out guys, you have been warned! Find a freagin concept ;) Overall I like this music a lot, even if it makes sometimes an effort to offend – I have an elephant’s skin. I love the creativity and the talent, the “don’t give a damn” attitude and the youthful naiveté assuming that everything will be forgiven… oh well life is a bitch guys. But as long as you can get away with it, have fun and enjoy life, as it is shockingly short, believe you me… See ya

Updated: 22/06/2021Posted: 22/06/2021

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EABS ~ 2061 ASTIGMATIC 021 ~ POLAND ~ Jazz Recorded: 2021 Released: 2022 This is the fourth album by Polish Jazz ensemble EABSFind albums by this artist, which comprises of keyboardist Marek PedziwiatrFind albums by this artist, drummer Marcin RakFind albums by this artist, bassist Pawel StachowiakFind albums by this artist, saxophonist Olaf WegierFind albums by this artist and trumpeter Jakub KurekFind albums by this artist. One of the Godfathers of Polish Jazz, saxophonist Jan Ptaszyn WroblewskiFind albums by this artist, guests on one track. The album presents nine original compositions, four by Pedziwiatr, three by Stachowiak and one each by Wegier and Kurek. The album was recorded at the Warsaw Jassmine Jazz Club (without the audience) and offers an exceptional sound quality. As usual with all EABS albums so far, the music is accompanied by a conceptual background, this time the Space Odyssey trilogy by Arthur C. ClarkeFind albums by this artist (hence the title), referred to as “the soundtrack of a movie that was not made yet” (obvious to those who follow). Although the music utilizes some contemporary elements, like electronics and rap, the result is pretty conventional and even damn pretty at that. The melodic themes are exquisite, as are the performances, making it the most accessible album so far, and the Jazziest one as well. The Rocky rhythmic pulsations push the music slightly into the Fusion turf, which suits me fine. It seems that maturity has refined the youthful experimentation into a unique style, which happens relatively rarely and the compositional quality of the material has become a major forte. A word of warning is in order however – please don’t let this last for too long, and reinvent your music before it becomes stagnant. Overall, this is another excellent album by one of the most original and inventive Jazz ensembles on the Polish scene, characterized by chameleonic ability to shift the colors of its music and stay always one step ahead of their listeners. Blessed by an exceptional collection of talents and the aptitude to maintain a steady lineup, EABS are rare phenomenon, which deserves to be followed. Well done, again, Gentlemen!

Updated: 04/08/2022Posted: 04/08/2022

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EABS ~ DISCIPLINE OF SUN RA ASTIGMATIC 015 ~ POLAND ~ Jazz-Pop Fusion Recorded: 2020 Released: 2020 The Polish Jazz ensemble EABSFind albums by this artist continues to produce young and bouncy contemporary Jazz, based on the tradition but at the same time sparkling with contemporary Pop culture and universally good taste, which naturally makes them extremely likeable to the young listeners. Following their interpretations of Polish Jazz classics they now move to the international scene taking up on the music of Sun RaFind albums by this artist as the basis of their new album. Keyboardist Marek PedziwiatrFind albums by this artist, bassist Pawel StachowiakFind albums by this artist, drummer Marcin RakFind albums by this artist, saxophonist Olaf WegierFind albums by this artist, trumpeter Jakub KurekFind albums by this artist and percussionist / sound effects man Spisek JednegoFind albums by this artist (a.k.a. Piotr SkorupskiFind albums by this artist) dissect seven original compositions by Sun Ra, the Jazz cosmonaut, created between 1957 and 1979 and give them a kick towards the dancing floor. The interpretations are pretty bold and one might wonder if the composer himself would have recognized his own compositions in most cases, but as far as I am concerned this music is way more acceptable to me than the original compositions, which of course speaks volumes as to my personal appreciation of Ra´s music, which I find exceptionally boring. With the twist added by EABS, it finally does make sense and the lads certainly seem to have a lot of fun with it, which is fine with me. As strange as it might sound, to me this is probably the best studio work by EABS so far, since they finally crystallized their formulas and managed to achieve the ideal mix of melodic riffs, extended soloing, sense of humor and fun, all combined together to perfection. As a result listening to this album is unadulterated fun from start to finish, creating a sort of idiosyncratic sub genre of Jazz, which is purified wonderful weirdness. I mean where else would one come across Free Form soloing, polyrhythmic banging and constantly shifting tempi, rapping and sound effects all making such wonderful sense together? Zappaesque madness at it´s best… And yes, these guys can play… I mean really play, all of them… just listen. Everybody gets his opportunity to show off, and it is all worth waiting for. In short EABS are way more cosmic than the inspiration for this album, believe you me… Well done Gentlemen, regardless what other smartasses might say! Love your stuff!

Updated: 22/12/2020Posted: 22/12/2020

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EABS ~ REFLECTIONS OF PURPLE SUN ASTIGMATIC 028 ~ POLAND ~ Jazz-Funk Fusion Recorded: 2023 Released: 2024 This is the 6th album by Polish Jazz ensemble EABSFind albums by this artist, which comprises of saxophonist Olaf WegierFind albums by this artist, trumpeter Jakub KurekFind albums by this artist, keyboardist Marek PedziwiatrFind albums by this artist, bassist Pawel StachowiakFind albums by this artist and drummer Marcin RakFind albums by this artist. The album presents six tracks, five of which are the ensemble’s interpretation of the tracks included on the legendary album “Purple SunFind albums with this title” by Polish Jazz trumpeter / composer / bandleader Tomasz StankoFind albums by this artist, who died in 2018, and one is a short tribute to Stanko’s drummer Janusz StefanskiFind albums by this artist, who died in 2016, credited to Rak. The album was recorded at Stanko’s flat and includes a booklet with extensive and highly informative liner notes by the ensemble’s manger Sebastian JozwiakFind albums by this artist. The “Purple Sun” album was recorded in Germany in 1973 by the legendary quintet led by Stanko, with included saxophonist / flautist Janusz MuniakFind albums by this artist, who died in 2016, saxophonist / violinist Zbigniew SeifertFind albums by this artist, who died in 1979, bassist Bronislaw SuchanekFind albums by this artist, may he live for many more years, and Stefanski. For various reasons (see the booklet) Suchanek was replaced on this recording by Swiss bassist Hans HartmannFind albums by this artist, who died in 2022. The album presented five compositions (two combined into one track), four composed by Stanko and one by Seifert. Since the album was released only in Germany on an obscure small record label, it remained almost completely unknown to most Polish and international Jazz connoisseurs for many years. The album was never properly reissued / remastered to this very day. Sadly, none of the quintet members, who recorded this album, are with us anymore. The concept of re-recording entire albums is not exactly neither new nor very revolutionary, even when the music is teleported into an entirely different sphere / universe, like in this case. EABS gradually won me over with their consecutive albums, and I learned to accept their Groove and Funky attitude, which, in their case, can result in deeply Artistic music, despite the appearances. I must admit that I had serious doubts in this specific case, as this particular period in Stanko’s musical chronology sets a certain aesthetic peak, as far as my historic perspective of Polish Jazz is concerned, where his highly adventurous searching produced some of the best Improvised Music / Free Jazz on earth at the time. This new interpretation of “Purple Sun” has absolutely nothing of that searching, subversive, groundbreaking charisma that the original album projects. The links between the original album and this offering are left purely to the spiritual / associative levels. I don’t think anybody not informed about the linkage between these two albums would ever guess its existence. So the question is if EABS have jumped the proverbial “one bridge too far” this time? I don’t have a precise answer to be honest. I do love the music, without any reservations: it is well played, it is Groovy and Funky as always, the solos are impressive and everything works just fine, including the urge to get up and dance. They have definitely found their very own style and they are consistent. Only some questions remain: what is the relevance of this music as far as its inspiration is concerned? Does it bring Stanko’s ideas forward by fifty years? Does it play tribute to Stanko’s original music, beyond the conceptual envelope? I honestly don’t know… Overall, this as good EABS album as ever, and people who love their music will enjoy this one as well. They are a talented bunch and it’s always great to hear them play, live or on record. As far as “Purple Sun” is concerned, if this album prompts people to make an effort and listen to the original album, I am more than happy!

Updated: 14/06/2024Posted: 14/06/2024

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EABS ~ REPETITIONS (LETTERS TO KRZYSZTOF KOMEDA) ASTIGMATIC 003 ~ POLAND ~ Smooth Jazz Recorded: 2016 Released: 2017 This is the debut album by young Polish Jazz ensemble EABSFind albums by this artist, a septet consisting of vocalist / keyboardists Marek PedziwiatrFind albums by this artist, who also arranged all but one of the tracks, drummer Marcin RakFind albums by this artist, guitarist Vojto MonteurFind albums by this artist, bassist Pawel StachowiakFind albums by this artist, turntablism performer Spisek JednegoFind albums by this artist, saxophonist Olaf WegierFind albums by this artist and trumpeter Jakub KurekFind albums by this artist. Veteran Polish Jazz violinist Michal UrbaniakFind albums by this artist appears as a guest on one track. As the title suggests, the album consists entirely of music composed by the Godfather of Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist and presents nine pieces of Komeda´s music, written originally mostly for theatre and cinema. The music is accompanied by extensive liner notes, which carefully present the concept and the historic background about the individual compositions, written by Sebastian JozwiakFind albums by this artist, which is a most welcome example of how to treat musical projects seriously. This album faces two potential difficulties common to most Komeda related projects: firstly the Polish Jazz scene is practically overflowed with endless attempts to interpret Komeda´s music accumulating to a plethora of albums varying immensely in quality from total flops to brilliant achievements. Secondly, and more importantly, each new Komeda related project has to offer something never attempted before, which should at least try to expand the Komeda legacy into unchartered territory. EABS take Komeda´s music into the contemporary easy side of Jazz, bordering at times with Smooth Jazz and Pop and incorporating Hip Hop, Soul and Funk, samples, loops and other contemporary Pop paraphernalia. At times this is all highly effective, but the final result varies from track to track. Sadly the treatment of the original music starts to repeat itself and once the listener passes about half of the album, the tension and factor of surprise wear down. But to be fair, the album presents many interesting moments and overall is a great fun to listen to. It is beautifully executed and recorded, and offers a solid aural experience. The Urbaniak solo parts on the track he plays on are a great reminder of his abilities. Does this album stand out from all the other Komeda related projects? I´ll leave this question open to be answered by the album´s listeners. It is definitely worth to be listened to, even repeatedly and if it eventually brings hordes of new young listeners to the music of Komeda, it has fulfilled its higher calling. This is definitely recommended to all young or at least young at heart listeners and offers a commendable debut effort.

Updated: 16/09/2017Posted: 15/09/2017

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EABS ~ SLAVIC SPIRITS (LIMITED EDITION) ASTIGMATIC 009 ~ POLAND ~ Jazz Recorded: 2019 Released: 2019 A couple of years ago (in 2017) a young Polish Jazz ensemble from Wroclaw, called EABSFind albums by this artist, released their debut album "Repetitions (Letters To Krzysztof Komeda)Find albums with this title" which created quite a stir in the local jazz swamp. Subsequently the ensemble released a couple of LPs with material still connected to Krzysztof KomedaFind albums by this artist´s music, which together with the debut they call the "Komeda Triptych". The original septet lineup: keyboardist Marek PedziwiatrFind albums by this artist, drummer Marcin RakFind albums by this artist, guitarist Vojto MonteurFind albums by this artist, bassist Pawel StachowiakFind albums by this artist, trumpeter Jakub KurekFind albums by this artist, saxophonist Olaf WegierFind albums by this artist and percussionist also in charge of sound fx Spisek JednegoFind albums by this artist (a.k.a. Piotr SkorupskiFind albums by this artist) was expanded to an octet with the inclusion of British flautist / saxophonist TenderloniousFind albums by this artist (a.k.a. Edward CawthorneFind albums by this artist), which released their genuine second album. It presents original compositions by the band members, two by Pedziwiatr, one each by Stachowiak and Monteur and three collective compositions; altogether seven tracks lasting just under forty four minutes. More about the music later… Similarly to the debut, the Limited Edition of this album includes an extensive essay by Sebastian JozwiakFind albums by this artist, the executive producer of the album, who is an organic member of the ensemble, their spokesman and sort of spiritual guru. The almost 300 pages long massive essay (in bilingual Polish / English version) printed in a book form is in fact an integral part of the release and presents the intellectual / historic / philosophical aspects of the subject matter, complimenting the musical content of the album, which as the title suggests tries to explore the "Slavic Spirit" in a multi-plane analysis attempt. More about the book later… My reaction to the debut album (which can be read by clicking on the link above) was somewhat reserved but overall encouraging. I clearly stated my subjective pros and cons but I obviously misjudged the hysterical / hyperbolical / fanatical hype that was created around that album at the time of its release by what can be collectively called the Polish Jazz media and beyond. I refused, as always, to follow the crowd and pay allegiance to vox populi that claimed the album was a Godsend and a monumental event on the Polish Jazz scene, which I found overtly exaggerated. The predicted wave of internet hate that followed was a small price to pay for my intellectual liberty. Considering the average level of professionalism in contemporary Polish Jazz musical journalism and criticism, which is sadly inversely proportional to the level of the music itself, and the omnipresent herd mentality which dominates it, I have always proudly maintained an independent point of view, helped by the geographical distance and total lack of dependence on the social / economic / political and even religious constrains acting upon people living in Poland. Therefore I admit that I was quite surprised to find a copy of the album in my daily heap of albums arriving in the mail – which I interpret as a sign of trust in every case when someone asks for my opinion. Whenever I write a review of an album recorded by Polish musicians and / or composed by Polish composers there is a high probability that the phrases "Polish lyricism" or "Polish melancholy" might appear within the text, which is only natural since Polish Music generally across all genres, but especially so within the Polish Jazz idiom, offers a spirituality which is probably indescribable in words (see "Dancing about Architecture"), but is very easily recognizable while listening to it. With this album EABS go on a journey of discovery of this particular musical Polishness, which they expand into musical Slavic Spirituality. Although Poles and the various ethnic Polish minorities are of course part of the Slavic peoples, they are in fact a minority within the Slavic global identity and therefore perhaps this generalization is slightly overstretched. Nevertheless the idea is to define the Slavic Spirituality musically, by the music on this album, as well as by the text which examines its other aspects. The music is diametrically different from what the ensemble offered on their debut. It does not include any vocal parts, no Hip Hop, almost no electronics except for some limited sound effects, in short it makes an almost complete about-face towards mainstream melodic Jazz, which features extended soloing by the keyboards, the saxophones and the trumpet. The three short collective improvisations serve as introductions to the extended main compositions that follow. The four main compositions are developed slowly towards a final climax featuring group improvisation. The melodic themes are undoubtedly lyrical and melancholic, well structured and admittedly beautiful. That said the question arises if this music is an epitome, a classic / archetypical example of Polish Jazz, which defines its Slavic Spirituality? In all fairness I feel that such a lofty ambition would be beyond the true scope of this music. I´d even say that any attempt to define an entire Cultural aesthetics by one piece of music, regardless how ingenious it might be, is a priori futile. The text accompanying the album is however much closer to the goal it sets before the reader. It is by no means a scholarly, academic research, impeccably organized and proposing a deterministic outcome. It is a complete opposite; a collection of personal (or rather collective) reflections on the subject of ethnic spirituality, historic processes, religious believes and myths, Paganism and Christianity and many others. The development of contemporary Polish music and its connection to the Slavic Spirituality is approached via an examination of the key personalities that shaped its fate, most extensively Czeslaw NiemenFind albums by this artist (a deeply spiritual person) in the chapter entitled "Inspirations". The opening track and each of the four main compositions on the album has a chapter dedicated to it, which explains in depth the Slavic believes, cults and deities connected to the names of the tracks. Although reading the entire text is challenging, it is also intellectually rewarding and highly educational, full of facts and ideas which probably never occurred to most people before coming across it. The chapter dealing with the Slavic aspects of Polish music is a must read to all connoisseurs, especially the younger ones who did not experience that music during their lifetime. The most important aspect of the text is that is does not try to indoctrinate or impose any views or ideologies on the reader. It presents an impressive collection of facts and views, but leaves the interpretation of the above to the reader himself. If anybody got finally here, it is time to summarize; this is a very ambitious project, which combines excellent music with well written text related to the subject the music and the text are dedicated to. The music is enjoyable and accessible, superbly performed and offering a rewarding listening experience, which many listeners might enjoy repeatedly. Probably fewer people will have the stamina required to read the entire test attentively, although it is most highly recommended. Overall a splendid piece of dedicated work, which hopefully this time will be appreciated for what it is but not unnecessarily overhyped, which can only case grief and damage in the long term. Well done Gentlemen!

Updated: 01/07/2021Posted: 24/06/2019

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EABS MEETS JAUBI ~ IN SEARCH OF A BETTER TOMORROW ASTIGMATIC 024 ~ POLAND ~ Jazz-World Fusion Recorded: 2022 Released: 2023 This is an album documenting the musical meeting between the Polish Jazz ensemble EABSFind albums by this artist and the Pakistani World Music ensemble JaubiFind albums by this artist, which is not the first encounter between the two, but the first full-fledged common recording as an octet. EABS comprises of keyboardist Marek PedziwiatrFind albums by this artist, trumpeter Jakub KurekFind albums by this artist, saxophonist Olaf WegierFind albums by this artist, bassist Pawel StachowiakFind albums by this artist and drummer Marcin RakFind albums by this artist. Jaubi consists of guitarist Ali Riaz BaqarFind albums by this artist, tabla player Kashif Ali DhaniFind albums by this artist and sarangi player Zohaib Hassan KhanFind albums by this artist. The album presents ten relatively short original compositions, three each by Baqar and Pedziwiatr, two by Stachowiak and one each by Kurek and Khan. The music was recorded at the Monochrom Studio and engineered by the sound wizard Ignacy GruszeckiFind albums by this artist, with the usual spectacular results. The music is nothing short of spectacular, a perfect match of EABS Funky Jazz and the oriental rhythms from thousands of kilometers away, which merge perfectly into a danceable, bottom shaking orgy of sounds and rhythms, which is unstoppable. EABS have perfected their unique amalgam of great melody lines and Groove, spiced with fiery soloing and heartfelt improvisations. The addition of the Pakistani elements spiced up the mixture, but did not change the essence, blending together effortlessly and dreamily. Of course the concept is not entirely new and at times my reaction to this music reminds me my blood pressure rising, when I heard “Indo-Jazz Fusions” for the first time in the late 1960s, which I hope will be taken as a compliment. The true measure of a successful merging of multi-cultural music is the level of inseparability of the various elements, which means that they often cannot be even precisely pointed out / distinguished from each other. Overall, this is another great album by EABS, which by now established itself as a stable (perhaps a bit too stable) creator of highly polished, elegant and still fascinating music, this time even more so with the help of the exotic external contributors. As to the “search of a better tomorrow”, at my age I am a bit doubtful about the outcome… As usual, well done Gentlemen!

Updated: 27/05/2023Posted: 27/05/2023

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JAUBI ~ NAFS AT PEACE ASTIGMATIC 017 ~ PAKISTAN ~ Jazz-World Fusion Recorded: 2019 Released: 2021 This is an album by Pakistani Jazz-World Fusion quartet JaubiFind albums by this artist, which consists of guitarist Ali Riaz BaqarFind albums by this artist, sarangi player Zohaib Hassan KhanFind albums by this artist, drummer Qammar AbbasFind albums by this artist and tabla player Kashif Ali DhaniFind albums by this artist. The quartet is expanded to a sextet with the addition of Polish Jazz keyboardist Marek PedziwiatrFind albums by this artist (a.k.a. LatarnikFind albums by this artist), a member of Polish ensembles EABSFind albums by this artist and BlotoFind albums by this artist, and British flautist / saxophonist Edward CawthorneFind albums by this artist (a.k.a. TenderloniousFind albums by this artist), who also recorded with EABS. The album presents seven tracks recorded in Lahore, six composed by Baqar and one by Pedziwiatr. Some additional recordings were done in Oslo, involving the Vox Humana Chamber ChoirFind albums by this artist, which appears on the opening track. The music is, as expected, an amalgam of traditional Indian Music elements and Jazz, which of course has its origins back as far as mid-1960s, both in American Jazz (John ColtraneFind albums by this artist of course, but not only) and British Jazz (John MayerFind albums by this artist and others) and European Jazz. The music created by the expanded Jaubi ensemble is similar in some ways to the many earlier attempts, but is also unique, being far more open to listeners, who have little experience with Indian music, as well as younger listeners, who prefer more melodic, accessible, somewhat trance-like auras, which do not involve heavy, complex improvisation, and offers instead a natural melodic flow. This does not mean that the album does not offer splendid soloing, which it certainly does. Both Pedziwiatr and Cawthorne offer some impressive soloing, especially on the final track dedicated to Coltrane and obviously inspired by “A Love Supreme”. Since the original Jaubi quartet involves only two traditional Indian instruments (sarangi and tabla), a priori their sound is not dominated by traditional Indian Music, which can be pretty daunting to Western listeners, and as this album perfectly shows, same like using exotic spices in food, moderation is the wiser solution. The album’s artwork and promo materials offer many references to the spiritual / religious references of this music, namely to the Koran spirituality and the concept of Nafs (from nafas), which became popular in the West with the growing popularity of the New Age in the late 20th Century. Personally I prefer to hide behind my skepticism, as this music is way more appropriate to enjoy and have fun rather than meditation or contemplation of one’s state of their soul. Oh well… Overall this is a wonderful album, extremely listenable and with the delicate smell of mystique and Indian spices, offers a superb musical trip, which is a pleasure to listen to. Well put together and offering some great melodic compositions as well as superb performances, this album is truly addictive. Not to be taken too seriously of course, just relax and flow with the music wherever it takes you – satisfaction guaranteed!

Updated: 01/07/2021Posted: 01/07/2021

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LATARNIK ~ MARIANNA ASTIGMATIC 019 ~ POLAND ~ Jazz-Classical Fusion Recorded: 2021 Released: 2022 This is the debut solo album by Polish keyboardist / composer LatarnikFind albums by this artist (a.k.a. Marek PedziwiatrFind albums by this artist), the driving force behind Polish ensembles EABSFind albums by this artist and BlotoFind albums by this artist, which is an acoustic solo piano recording. The album presents nine original compositions by Pedziwiatr, dedicated to the memory of his Great-Grandmother. The music is all melody based, very lyrical and contemplative, quite different from the music Pedziwiatr is associated with, based on his earlier recording legacy. It is a very concise, intimate album, which offers a series of vistas which gently flow from under the keyboards, slowly disappearing into silence and returning in a transformed identity, and so on. The music does not seem to have a beginning to end continuity, but is rather an evolving creative experience, which lets the listener’s mind to connect the dots by himself. The overall sound is of course close to Classical music, but the textures include improvisation, so for a lack of a better point of reference I call it a Jazz-Classical Fusion, but what the heck, it’s just a label… In time I have grown to like Pedziwiatr and his music, initially being afraid that he dealt more in gimmickry than in artistry, but slowly he managed to win me over, especially after I attended several live gigs he played with his groups. This album reveals yet another layer of his musical personality, that of a romantic dreamer; definitely nothing to be ashamed of. This is apparently a limited numbered edition and my number is 245/600. Overall, this is a peaceful, contemplative solo piano album, which offers some beautiful melodies and delicate playing, offering a hazy / dreamy atmosphere. Definitely something worth exploring for listeners who like solo piano music, which is definitely not for everybody but can be highly rewarding. The album is just under forty minutes in duration, which is exactly the right amount of time before most listeners will lose their attention span.

Updated: 03/05/2022Posted: 03/05/2022

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MICHAL URBANIAK ~ FOR WARSAW WITH LOVE AGORA 5903111493684 (Barcode: 5903111493684) ~ POLAND ~ Jazz-Rap Fusion Recorded: 2019 Released: 2019 "Jazz is (*) the music of the oppressed black working class in capitalist America". This is the slogan that enabled Polish Jazz musicians to play and flourish behind the iron curtain, when the above definition was softened following Stalin´s death (1953) from its original form, which also included "the product of the degeneration presented as" in the place of the asterisk above. Expression of solidarity by the Polish working class with the "black working class in capitalist America" was allowed by playing Jazz. Of course Polish Jazz musicians – including our hero saxophonist / violinist Michal UrbaniakFind albums by this artist – were never a part of the working class, but that was the beauty of the whole thing. Polish intelligentsia and the artistic bohemian class in particular, which included filmmakers, Jazz musicians, actors, poets and other undesirable riffraff, were absolute Masters in fooling the system and its censorship apparatus into believing in their legitimacy as representatives of the working class and their conformity with the official Socialist Party policies. Urbaniak and a few of Polish Jazz pioneers visited the US in 1962 and he fell head over heels in love with the "original" American Jazz. From that moment on his primary life´s desire was to move to NY and become part of the local scene, which he consistently pursued and eventually achieved in 1973, together with his wife at the time, vocalist Urszula DudziakFind albums by this artist. His NY residency was crowned by a recording contract with Columbia and release of several brilliant and groundbreaking albums and a brief stint with the legendary Miles DavisFind albums by this artist. His talent and intensive work schedule earned him many friends among the American (and not only) musicians, which explains how he managed to get on this album a string of stars like drummer Lenny WhiteFind albums by this artist, bassist Marcus MillerFind albums by this artist, pianist Herbie HancockFind albums by this artist, guitarist David GilmoreFind albums by this artist, rapper Walter WestFind albums by this artist and others. Eventually Urbaniak, like many other Polish Jazz musicians who tried their luck in the US, returned to Poland, which in the meantime managed to free itself from the shackles of the Socialist regime, and resumed his activity on the local scene, retaining of course his NY ties. His keen senses and sharp ears enabled him to select some of the best Polish Jazz musicians, mostly members of the young generation, and invite them to take part in this project, like pianist Michal TokajFind albums by this artist, keyboardists Jan SmoczynskiFind albums by this artist, Michal WroblewskiFind albums by this artist and Marek PedziwiatrFind albums by this artist and others. Formally this album is a tribute to the city of Warsaw, commemorating the 75th Anniversary of the tragic Warsaw Uprising against the Nazi German occupation and the album was issued by the Warsaw Uprising Museum. To be honest I completely fail to see any connection and for me this is not a tribute to Warsaw but a tribute to NY and contemporary American music scene. It offers a mixture of Rap, Hip-Hop, Groove, Blues and a bit of Jazz, with a distinct Afro-American feel, which to people familiar with Urbaniak´s current activity is hardly surprising. Most of the music is attributed to Urbaniak, but there are also two classic Jazz standards dressed up to fit with the rest of the album. And yes, it offers a lot of superb playing on the way. The album proves that Urbaniak wishes to stay relevant and up to date with contemporary trends, which is certainly more than other musicians of his group age are doing. It has a strong Jazz tinge, but certainly is not meant as a Jazz album per se; and why not? Urbaniak does not have to justify his musical choices to anybody, and his extensive legacy proves that he paid his dues and can do whatever he wants to do. The "critics", who dismissed this album outright, fail to see the point here – it is up to the musician to play what see thinks is right and it is up to the listener to decide if he wishes to listen / buy the album. Urbaniak is simply well beyond scrutiny by self proclaimed "critics" – he has been around for long enough to ignore this bullshit. It was a pleasure to meet Michal again a couple of month ago at the after party of the Singer Festival, where he gave me an autographed copy of this album. Nigel KennedyFind albums by this artist, the star of the final concert and an accomplished musician by all standards, looked at Michal with love and admiration deserved by an older Master… certainly good enough for me. Even if this music is not exactly my glass of vodka, if this is what he wants to play, who am I to tell him otherwise? Respect!

Updated: 11/11/2019Posted: 11/11/2019

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ZIMA STULECIA ~ MINUS 30°C ASTIGMATIC 022 ~ POLAND ~ Electronic & Ambient Recorded: 2021 Released: 2023 This is the debut album by the Polish duo called Zima StuleciaFind albums by this artist, which is yet another offshoot of the EABSFind albums by this artist ensemble, comprising of keyboardist Marek PedziwiatrFind albums by this artist (a.k.a. LatarnikFind albums by this artist) and drummer Marcin RakFind albums by this artist (a.k.a. Cancer GFind albums by this artist). The album presents ten original compositions, which remain uncredited and are assumed to be co-composed by the duo members. For people familiar with the music of EABS and BlotoFind albums by this artist (which also includes these two musicians), the music is not really surprising, considering how unpredictable these young musicians can be, on one hand, and how talented they are, on the other. This time they combine many elements, all of which are somewhat “natural” to their age group, like House, Techno, Ambient and Electronic Music, with a dash of Jazz improvisation, a mishmash of sorts, yet an appealing listening trip, as usual with these guys. Recorded in the midst of the Covid pandemic, the music, at least to me, is laden with somber accents and reflective solemnity, so anybody looking for an easy ride and tuches shakin’ danceable ditty is in for a big surprise. Despite some dangerous proximity to the dreaded New Age schmaltz, the duo manages to arise victorious from this adventure, creating a concise set of musical pieces, that has a storytelling quality and keeps the listener on edge for the duration. And they sure can write a nice melody as well. Overall, this is another piece of music, which the EABS stable releases to the world, which manages to maintain the high Artistic standard they established over time. The change in musical direction or stylistic preferences keeps things interesting and brings new fans of their music aboard, which is always a good thing. In time they managed to convince me that that are what they claim to be: honest, hardworking and heartfelt musicians. So keep on moving on!

Updated: 23/03/2023Posted: 23/03/2023

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