Record Reviews

KOLAKOWSKI / WYKPISZ / KORELUS ~ SCHONBERG FOR TUNE 0119 (Barcode: 5906395808229) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2016 Released: 2016 This is the debut album by Polish Jazz piano trio comprising of pianist Mateusz KolakowskiFind albums by this artist, bassist Alan WykpiszFind albums by this artist and drummer Bartlomiej KorelusFind albums by this artist. The album presents the trio´s interpretation of the famous set of six pieces for solo piano by Jewish Austrian composer Arnold SchonbergFind albums by this artist called "Sechs Kleine Klavierstucke" (Op. 19 from 1911). All the six pieces of the set and an alternate take of the first piece are present herein. Schonberg´s music was as much revolutionary in its nature at the time it was composed, as Free Jazz was some fifty years later, braking with existing tradition of Classical music (or Jazz music later) and paving the way for reinvention of the idiom. The six brilliant miniatures comprising the set influenced an entire generation of young European composers and Classical Music would not be the same from that moment on. Kolakowski, Wykpisz and Korelus take a giant leap into the unknown by attempting to reinterpret this complex and highly sophisticated music and the final result proves that sometimes taking risks pays off big time. The music is indeed reinvented, often quite distant from the origin, and manages to amalgamate perfectly the essence of Jazz with the compositional concept of tonality, which the original pieces introduce. The music is beautifully executed, perfect both technically and emotionally and full of virtuosic phrasing and dazzling arpeggios which should make the listener´s head spin. The elegance which characterizes the trio´s transitions between Classically influenced passages and the Jazzy vistas is mind-bugling and awe inspiring. It is difficult to imagine a more perfect match between Classical Music and Jazz than what this album offers, which simply means that musical genres are really quite meaningless. Overall this is a superb piece of music, which should satisfy the most sophisticated music connoisseurs. Listeners who look for intellectual challenges in what they let into their ears should find this album overwhelmingly satisfying. Hats off!

Updated: 04/02/2017Posted: 04/02/2017

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MATEUSZ KOLAKOWSKI / DAVE LIEBMAN ~ LIVE AT JAZZ STANDARD, NEW YORK FENOMMEDIA 009 (Barcode: 5907604327098) ~ POLAND ~ Jazz Recorded: 2008 Released: 2009 This is a live recording captured at the NY Jazz Standard club by a duo comprising of young Polish Jazz pianist Mateusz KolakowskiFind albums by this artist and legendary American saxophonist Dave LiebmanFind albums by this artist. Although Kolakowski and Liebman were email buddies for quite a while, they actually met in person just a few moments before this music was recorded, which explains why the majority of the material is based on Jazz standards. Of the six pieces on this album, five are standards (one is even repeated twice, taken from two different sets) and the remaining one is a free on the spot improvisation. Kolakowski was at the time a Classical Music student and his Jazz tendencies were all self cultivated, which is quite apparent when listening to the music. He not only quotes Classical music themes but his entire approach to harmony and rhythm is strongly based in Classical music. This dichotomy between Classical music and Improvised music has certain charm, but is also a hindrance, which is hard to ignore. Liebman, on the other hand, is Godly, as always, with every note just in the right place and his virtuosity, taste and spirit of cooperation being impeccable. Since this is a duo album, the decisive factor is the way the two musicians perform together, rather than their individual statements. It seems that the fact this music works out one way or another is due only to the enormous experience and musicality of Liebman, who is able to cope with Kolakowski´s limitations, rather than the duo´s spiritual unity. Nevertheless the overall result is certainly entertaining and worth being listened two, especially in view of its "one of its kind" setting, which can also be educational. The fact that Liebman is always open to work with young and less experienced musicians is truly commendable.

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NATALIA KORDIAK ~ BAJKA HEVHETIA 0194 (Barcode: 8588005258708) ~ POLAND ~ Avant-Garde Jazz Recorded: 2019 Released: 2019 This is the debut album by Polish Jazz vocalist Natalia KordiakFind albums by this artist recorded in a quintet setting with saxophonist Przemyslaw ChmielFind albums by this artist, pianist Mateusz KolakowskiFind albums by this artist, bassist Alan WykpiszFind albums by this artist and drummer Grzegorz PalkaFind albums by this artist. The album presents seven original compositions, all by Kordiak, two of which feature lyrics (one by Polish poetess / playwright Maria Pawlikowska-JasnorzewskaFind albums by this artist and the other by Kordiak) and the rest feature wordless vocalese. The album was recorded at the RecPublica Studios and engineered by Michal WasylFind albums by this artist, and offers a superb sound quality. A couple of weeks ago I had the opportunity to hear Kordiak sing live in Katowice as a member of the First Was The VoiceFind albums by this artist vocal ensemble conducted and directed by my friend the fabulous Anna GadtFind albums by this artist, which should have prepared me for what I was about to hear on this album, but now I have to admit that probably nothing could have really prepared anybody for what this album offers. This is simply the Polish Jazz vocal album I have been dreaming about for the last half a Century, since Urszula DudziakFind albums by this artist appeared on the Polish Jazz scene and revolutionized the approach to vocal Jazz not only in Poland but worldwide. Kordiak treats her voice as an instrument and her vocalese explorations are simply unbounded by any previously set limitations, conventions or boundaries. Her singing is completely intuitive and her sense of melody is so open and free that the music becomes completely boundless and unconventional. Each of the tunes offers a melodic theme, but the vocal and instrumental improvisations move freely beyond the sketched horizons into the unknown and unexpected, which happens extremely rarely and immediately pushes this music into the "high sphere" of Jazz aesthetics. The instrumentalists do a magnificent job on this album, with the most important task always before their eyes: do not disturb the vocals. Each of these players is able to play exquisitely as a soloist but this album sets a textbook example of respect and supportive role by the instrumentalists, who are clearly heard within the delicate fabric of the music, but never overshadow the vocal parts even for one moment. The rhythm section of Wykpisz and Palka, which is certainly phenomenal on its own, offers here a magnificent assistance to the vocals, often just in a trio settings. Kolakowski, who deserves a much wider recognition that he enjoys in Poland at the moment, is a key element which makes this music what it is, playing absolutely stunningly and beautifully free, which is amazing considering his Classical Music upbringing and education. Chmiel, also relatively anonymous, offers some stunning saxophone parts, which immediately put him alongside the most respected names on the Polish scene. In short this is a true dream team and Kordiak was extremely fortunate to record this album with these magnificent musicians at her side. Polish vocal Jazz has been struggling in the last decades to produce anything as artistically and aesthetically valuable as the output it managed to offer time after time in modern instrumental European Jazz, which won it an international acclaim. Sadly Polish vocal Jazz got stuck mostly in imitating rather that inventing, with the ever present obsession of singing English lyrics, more often than not with appalling results. Therefore, although obviously hardly politically correct, the most accurate compliment I can think of under these circumstances is to say that Kordiak emerged here as someone with truly "big-balls", setting everything aside and doing her own thing. I am not surprised that Kordiak comes from under the wings of the above mentioned Anna Gadt, who is a true revolutionary Artist and obviously also and Educator. Considering the fact that Kordiak is still a student, God only knows what she is capable of in the future and I can’t wait to find out. And yes, now I know what my best Polish Jazz album for 2019 will be on my list ;) Thank you for a true fairytale my Dear!

Updated: 13/12/2019Posted: 13/12/2019

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