Record Reviews

BABOOSHKI ~ BEDZIEMY SIE KREZYLI MULTIKULTI MPF 005 (Barcode: 5903068683374) ~ POLAND ~ Jazz-World Fusion Recorded: 2019 Released: 2020 This is the third album by Polish Jazz-World Fusion ensemble BabooshkiFind albums by this artist, formed by Polish vocalist / violinist Karolina BeimcikFind albums by this artist and Ukrainian vocalist / pianist Dana VynnytskaFind albums by this artist, and including top Polish Jazz players: trombonist Michal TomaszczykFind albums by this artist, pianist Jan SmoczynskiFind albums by this artist, guitarist Rafal SarneckiFind albums by this artist, bassist Michal JarosFind albums by this artist and drummer Bogusz WekkaFind albums by this artist. A couple of guest musicians play on selected tracks. The album presents nine traditional songs of Polish / Ukrainian and Byelorussian origins, performed in the original languages, all arranged by the ensemble members. The music was recorded at the excellent Studio Tokarnia, owned by Smoczynski, and offers a splendid sound quality. Musically, the album offers a pretty faithful interpretation of the original Folkloristic material, with the Jazzy arrangements being pretty minimalist and delicate, not disturbing the authenticity of the songs, but enhancing the result and bringing it closer to contemporary listeners. The vocal duets by Beimcik and Vynnytska are the epicenter of the music, beautifully performed and cleverly synchronized, amalgamation two pretty diverse vocal traditions (Polish more Western and Ukrainian more Eastern), which complement each other splendidly. The instrumental work is also brilliant, as expected by the level of the participating musicians. Sarnecki, Smoczynski and Tomaszczyk add a few splendid soli, and Jarosz plays stunning bass parts, but overall this music is all about team work. Listeners interested in the East European vocal tradition should be absolutely delighted by this little gem, as should all Jazz-World Fusion fans, especially since this is one of the best projects on the Polish scene recorded in this sub-genre in the last years. Overall this is a beautiful piece of music, beautifully authentic, highly aesthetic and brilliantly executed from start to finish. Hats off!

Updated: 04/06/2021Posted: 04/06/2021

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KAROLINA BEIMCIK ~ ZORYA MULTIKULTI MPJ 017 (Barcode: 5907529223581) ~ POLAND ~ Jazz-World Fusion Recorded: 2018 Released: 2018 This is an ambitious debut album by Polish vocalist / violinist / composer Karolina BeimcikFind albums by this artist with her new project called "Zorya", which is her interpretation of Polish / Ukrainian Folklore of the ethnic minorities like Boykos, Lemkos and Kurpie people, who maintain their linguistic dialects and traditions. Beimcik is accompanied by four excellent Polish Jazz musicians: guitarist Rafal SarneckiFind albums by this artist, pianist Jan SmoczynskiFind albums by this artist, bassist Michal JarosFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist. The album presents eight tracks (actually the album´s artwork lists eight tracks but credits refer to nine tracks, go figure), six of which are traditional tunes and two were composed by Beimcik. The music was recorded by Smoczynski at his excellent Studio Tokarnia, with excellent sonic quality as usual. In spite of the presence of the Jazz musicians, the music itself has very little to do with the essence of Jazz and is dominated by the Folkloristic themes. The Jazz influences stay mostly in the background and are more ornamentation than the actual quintessence. The basic melodies have, as expected, a strong East European disposition, being all rather melancholic and gloomy, quite similar to each other. The two original compositions, and especially the title track, are much more Jazz oriented and Beimcik performs on them nice wordless vocalese parts in addition to instrumental solos. The instrumental work by the team is all quite excellent, as appropriate from highly talented musicians of this class. Smoczynski takes most of the accompaniment on his shoulders, staying relatively in the background, Sarnecki adds tasteful guitar embellishments and the rhythm section provides a solid basis for the music, with a few exceptional bass solos by Jaros. Overall this is another example of the amalgamation between Folklore and Jazz, which seems to be more popular and successful in Poland than anywhere else in recent years. Preservation of ethnic traditions is of course an obligation of any Cultural people, and projects like this one are all important, but some or more successful musically than others. Personally I´d prefer an entire album of music as represented by the two original compositions.

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

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BOSSA NORKAH ~ NA MOIM BRZEGU MULTIKULTI MPJ 024 (Barcode: 5907529223994) ~ POLAND ~ Jazz-Pop Fusion Recorded: 2016 - 2017 Released: 2018 This is the debut album by Polish Jazz ensemble Bossa NorkahFind albums by this artist, led by vocalist Honorata KozuchowskaFind albums by this artist, which also includes some of the top Polish Jazz instrumentalist: pianist Andrzej JagodzinskiFind albums by this artist, guitarists Rafal SarneckiFind albums by this artist / Piotr AleksandrowiczFind albums by this artist, bassists Wojciech PulcynFind albums by this artist / Michal JarosFind albums by this artist, drummer Krzysztof SzmandaFind albums by this artist and several other guests appearing on selected tracks playing brass and a plethora of percussion instruments. The album presents thirteen songs (two of which appear twice in alternate versions), all of which were written by Polish songwriter / poet Antoni MurackiFind albums by this artist. The music has a distinct Bossa Nova flavor, which is the main climate of all the songs. On the other hand the album is also clearly a Jazz & Poetry project, since Muracki´s songs are all deeply lyrical and evocative. The songs are kept in pretty reticent attire, featuring the vocals clearly in the center of the attention and the instrumental work kept to a bare minimum, with the piano providing the steady accompaniment and the rhythm section keeping the rhythm in check. There are only a few instrumental solos, which is a pity as those might have added a spark to the proceedings. Kozuchowska handles the vocals well, which is not an easy task in this case for many reasons; the lyrics are complex and often difficult to express in rapid succession and admittedly South American rhythms are hardly native to East European singers. The vocals therefore lack the sensual and often plainly erotic sensitivity of Bossa Nova, which are native and natural to Brazilian vocalists. But all things considered, the album works fine and offers a pleasant listening experience with an added value of excellent texts (sadly relevant to Polish-speaking listeners only). Overall this is an album floating between Pop and Easy Jazz, which can be enjoyed by a wide range of listeners, offering both musical and lyrical values combined with highly professional musicianship.

Updated: 21/02/2019Posted: 21/02/2019

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JAROSLAW BOTHUR ~ NIGHT WALKS JAZZ FORUM ~ POLAND ~ Jazz Recorded: 2020 Released: 2020 This is the second album as a leader by Polish Jazz saxophonist / composer Jaroslaw BothurFind albums by this artist recorded in a trio setting with bassist Michal JarosFind albums by this artist and drummer Krzysztof DziedzicFind albums by this artist. The album presents six original compositions, all by Bothur. The total playing time for this album is under thirty minutes, so it is an EP rather than a full CD. The entire approach of the album, stylistically, musically and sound wise is greatly surprising and travels back in time some three decades to the heyday of Polish Yass, characterized by a Punkish straightforwardness, "quick and dirty" sound and relative lack of sophistication, but highly emotional expressionism. Having said all this I find this album really fresh and direct, somewhat like a friendly slap in the face, which is extremely effective. Perhaps this is (as Yass was) a sign of rejection of the over-sophistication some of the contemporary Polish Jazz is suffering from. The music is all well put together and excellently executed, as expected, with focus on Bothur´s soloing. The rhythm section supports him amicably, keeping an energetic flow for the entire duration. Overall this is a surprising, highly emotional piece of music, which is a great listening experience, bringing Jazz to the very basic, almost animalistic elements, which have almost completely disappeared over time. Definitely a fresh breath of air!

Updated: 15/04/2020Posted: 15/04/2020

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KRZYSIA GORNIAK ~ MEMORIES NOT ON LABEL (Barcode: 5903205111203) ~ POLAND ~ Jazz Recorded: 2019 Released: 2020 This is the eighth (sixth as a leader) album by Polish Jazz guitarist / composer Krzysia GorniakFind albums by this artist, recorded in a classic quartet setting with keyboardists Michal WroblewskiFind albums by this artist or Piotr WrombelFind albums by this artist, bassist Michal JarosFind albums by this artist and drummer Marcin JahrFind albums by this artist. The album presents seven original compositions, all by Gorniak. The music is all based on wonderfully melodic themes and kept elegantly within the mainstream Jazz idiom, but the use of synthesizers and contemporary arrangements effectively eschew unnecessary nostalgic tendencies, presenting an up to date sound and ambiance, which are delightfully embracing. Although obviously on the lighter side of the Jazz spectrum, this music is splendidly put together and aesthetically solid. Gorniak manages to keep her guitar playing strictly within the Jazz boundaries, successfully avoiding slipping towards Fusion, which would have ruined the effort. She skillfully combines playing notes and chords with the right balance between them, always with restrain and stylish distance, which results in a highly effective overall outcome. The beautiful guitar sound she manages to achieve also contributes to the result. The participating musicians are all skillful and highly professional musicians, which of course is immediately apparent. They support her amicably and add splendid solo parts of their own on the way. Considering the delicate and often quite intimate nature of this music, the mutual respect and interplay between the quartet members is a crucial element contributing to the successful result. Both keyboardist offer acoustic piano and synthesizer parts perfectly suited to the melodic continuity, Jaros glues everything together with his virtuosic bass parts and Jahr supplies elegant but firm rhythmic backbone. Overall this is a highly pleasurable, beautifully melodic, serene and relaxed guitar album, which can be enjoyed by a wide range of listeners, not only strict Jazz enthusiasts but also connoisseurs of guitar from other genres. This is a wonderful example of less is more, where the Artist uses only what is absolutely necessary to achieve the optimal result and eschews superfluous gimmickry. A wonderful album from start to finish, Milady!

Updated: 12/06/2020Posted: 12/06/2020

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JANCZARSKI & SIDDIK 4TET ~ CONTEMPLATIONS FOR TUNE 0147 (Barcode: 5906395808625) ~ POLAND ~ Jazz Recorded: 2020 Released: 2020 This is a live recording at the Warsaw 12 on 14 Jazz Club by the quartet co-led by Polish Jazz saxophonist Borys JanczarskiFind albums by this artist and veteran American trumpeter Rasul SiddikFind albums by this artist, with Polish bassist Michal JarosFind albums by this artist and veteran drummer Kazimierz JonkiszFind albums by this artist. Together they perform seven pieces, six of which are Jazz standards and one is an original composition by Siddik. The album offers a warm and authentic club atmosphere but the music is all strictly within American mainstream boundaries and is completely predictable. This is a third recorded collaboration between Janczarski and Siddik released on the For Tune label, all of which follow the same well established pattern of Bebop oriented music making, which has hardly changed in the last 70 years or so. As for the performances, despite the fact that Siddik has a well earned reputation of playing with some very important American Jazz names in the past, his playing here (and on the two other a.m. albums) is very shaky and unimpressive, Janczarski is much more vigorous but not really notable and only the excellent rhythm section is up for the job, especially Jaros whose bass parts are the absolute highlights of this album. Overall this music might have been nice to listen to at the club while enjoying a drink, but has no lasting value beyond that. At least the music is well recorded by Tomasz PierchalaFind albums by this artist, the club owner and persistent Warsaw Jazz scene activist.

Updated: 18/11/2020Posted: 18/11/2020

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MICHAL JAROS ~ FLOATING BRIDGES MULTIKULTI MPJ 023 (Barcode: 5907529223727) ~ POLAND ~ Jazz Recorded: 2017 Released: 2018 This is the debut album as a leader by Polish Jazz bassist / composer Michal JarosFind albums by this artist recorded in a quintet setting with trumpeter Piotr DamasiewiczFind albums by this artist, saxophonist Maciej ObaraFind albums by this artist, pianist / organist Jan SmoczynskiFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist. The album presents eight tracks, six of which are original compositions by Jaros (the title track appears in two versions) and one is a contemporary standard. Five of the tracks on this album feature the full quintet (or quartet in one case) and the remaining three feature a piano trio. Although all the music is quite mainstream oriented, with clear melodic themes, the quintet / quartet tracks are more open and less rhythmically restricted, and serve as basis for improvisations by Damasiewicz and / or Obara, but without crossing over into more ambitious Improvised Music vistas, which one might have expected from the presence of these two musicians, who not so long ago were the torch bearers of the young Polish Avant-Garde, roaring like mighty lions, and in time assumed a comfortable role of domesticated pussycats. As a result, the tracks that feature the piano trio with Smoczynski, Jaros and Miskiewicz only are way more coherent and focused than the quintet tracks, showing the wonderful interplay between the trio members, Smoczynski´s virtuosity, which is sadly rarely appreciated by the local "critics", and the rhythm section at its best. Although Jaros´ compositions are all very solid and well structured, in the trio format they receive the most advantageous treatment, even if they are all worthy of prize and respect. Overall this is an uneven album, obviously played by an excellent team but somewhat lacking focus. At times the music flows beautifully, especially when the piano trio is at the helm, and at other times it is sort of dragging on, as if looking for a direction. Of course it is still way better that the average Jazz album with the "Made in the USA" sticker, but Polish Jazz is often way better than this.

Updated: 12/04/2019Posted: 21/03/2019

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KAZIMIERZ JONKISZ QUARTET ~ MONTY & SOUL SJ 078 (Barcode: 5905489720676) ~ POLAND ~ Jazz-Blues Fusion Recorded: 2023 Released: 2024 This is an album by veteran Polish Jazz drummer / bandleader Kazimierz JonkiszFind albums by this artist, recorded in a quartet setting with saxophonist Borys JanczarskiFind albums by this artist, guitarist Mark WaggonerFind albums by this artist and bassist Michal JarosFind albums by this artist. The album is dedicated to the memory of American saxophonist / vocalist / bandleader Monty WatersFind albums by this artist, who died in 2008, with whom Jonkisz often performed. The album presents ten tracks, all composed by Waters. Some archival spoken word and vocal fragments are included on the album as well. The music is all Blues soaked mainstream Jazz, excellently performed by the quartet members, all of which are experienced and talented musicians. As expected, Jonkisz gets to play several drum solos, as appropriate for the occasion. Overall, this is a nice tribute album, well played and highly entertaining to mainstream Jazz fans, who should appreciate the performances by these talented musicians. The pianoless lineup makes the music a tad less expected and guitar fans can enjoy the guitar parts as well.

Updated: 12/08/2024Posted: 12/08/2024

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GRZEGORZ KARNAS ~ KARNAS HEVHETIA 0050 (Barcode: 8588002496776) ~ POLAND ~ Jazz Recorded: 2010 Released: 2011 This is the fourth album by Polish Jazz vocalist / composer / arranger Grzegorz KarnasFind albums by this artist, one of the most unique and talented representatives of the young generation of the local Jazz scene. Separated by five years from its predecessor "Ballady Na Koniec SwiataFind albums with this title", this album is significantly different from his earlier work and presents several novelties as far as his recording career is concerned, for example the inclusion of songs not composed by him, usage of lyrics in several different languages, a new instrumental concept, etc. The singer is accompanied by a splendid quartet, which features pianist Michal TokajFind albums by this artist, cellist Adam OlesFind albums by this artist, bassist Michal JarosFind albums by this artist and drummer Sebastian FrankiewiczFind albums by this artist. Except for the bassist the other three musicians are long time collaborators on his earlier recordings. The presence of a bassist allows Oles to play his cello more in the way it was originally intended, as opposed to the earlier recordings, where it was mostly playing the bass parts. The album comprises of no less than nineteen tracks, some quite short (under a minute) and other fully developed and lasting around seven minutes. One song (Laurie AndersonFind albums by this artist´s "Langue D´Amour") appears four times in different incarnations and two other songs are reprised. Karnas composed or co-composed six of the pieces, four other pieces are credited to the band accompanying him, one is an instrumental composed by Tokaj and three are songs from the canonic Rock repertoire like StingFind albums by this artist´s "Roxanne", Joni MitchellFind albums by this artist´s "Black Crow" and the a.m. song by Laurie Anderson. It is immediately obvious that this is Karnas´ most ambitious album to date. The complexity and versatility of the material is overwhelming and music moving from one theme to another creates a charming flow, which makes the listener whish for it never to stop. Instrumentally this album, with Tokaj taking over the role of the main soloist, is finally perfect and Tokaj´s beautiful tango is the best original piece of music on the album. Oles finally shows what he´s made of and plays some amazing sounds. The vocal performances are also excellent, obviously more mature and relaxed than ever before. This time Karnas is pretty minimalistic, not trying to overemphasize his part and treating the entire project as a whole rather than another solo album. The group effort is definitely what makes this album tick so wonderfully and takes it a few notches up the scale. Overall this is a truly amazing vocal Jazz album, which plainly stands out as an artistic achievement, leaving most other albums of its kind way behind. Suffice to listen to the vocalist´s interpretations of the three well known songs, in order to appreciate his originality. Add to this the strength of his original material and Karnas emerges as an artist worth following and already leaving his mark on the contemporary scene, with very few contenders. An absolute must!

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GRZEGORZ KARNAS ~ VANGA BMC 209 (Barcode: 5998309302091) ~ POLAND ~ Jazz Recorded: 2014 Released: 2014 This is the sixth album by Polish Jazz vocalist Grzegorz KarnasFind albums by this artist, recorded with his trio including bassist Michal JarosFind albums by this artist and drummer Sebastian FrankiewiczFind albums by this artist and Hungarian cimbalom player Miklos LukacsFind albums by this artist, who appears as a guest. The album was recorded live at the Opus Jazz Club in Budapest and presents nine tracks, most of which are original compositions by Karnas. Karnas is a unique phenomenon on the vocal Jazz scene, one of the most original Masters of the trade, who incorporates lyrics and vocalese in his personal style, which is unequalled by anybody else except perhaps Bobby McFerrinFind albums by this artist. He is a brilliant improviser and uses his voice like an instrument and hearing him performing is a life changing experience. His long time collaboration with the rhythm section present here explains why the trio sounds like one organic music making body, with the trio members communicating telepathically, which enables the neck-breaking difficult rhythmic patterns and topsy-turvy melody lines to sound completely natural and coherent. This live recording proves that he is able to re-create his amazing Artistry live without any studio trickery. For some strange reason this album failed to land on my desk until now, so I am happy to bridge the gap now, especially in view of the fact that it’s been five years since Karnas released his last album; definitely way too long! Overall, this is a brilliant album from start to finish, completely different from almost anything one might come across in Jazz in general and vocal Jazz in particular. Lovers of human voice and vocal Jazz will absolutely love this to bits. I really long to hear Karnas live on stage again, but a new album will do in the meantime. This gem is still available, so don’t even think twice.

Updated: 31/03/2022Posted: 31/03/2022

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ERYK KULM ~ PRIVATE THINGS POLSKIE RADIO 2232 (Barcode: 5907812247096) ~ POLAND ~ Jazz Recorded: 2017 Released: 2019 This is an album by veteran Polish Jazz drummer / composer Eryk KulmFind albums by this artist recorded with his QuintessenceFind albums by this artist quintet, which includes American trumpeter Rasul SiddikFind albums by this artist and young Polish Jazz saxophonist Marcin KaletkaFind albums by this artist, pianist Michal SzkilFind albums by this artist and bassist Michal JarosFind albums by this artist. The album presents six pieces, four (one repeated twice with an alternate take) of which are original compositions by Kulm and one is by American pianist / composer Dolph CastellanoFind albums by this artist. The music is surprisingly different from most of the output created on the Polish Jazz scene, completely dominated by American Jazz influences, not only due to the presence of Siddik, a relatively well known AACM member now resident in Europe, who displays his emblematic Post-bop / Avant-Garde mixture which he has been playing for the last fifty years, but also due to Kulm´s rough compositions, which are basically just a base for the improvisations by the quintet members. The music is open enough to allow the musicians to contribute individually significantly more so than in a more structured environment. The true surprise of the album are the three young Polish Jazz musicians, who not only are able to fit into the environment set by the two veterans, but actually to make the most effective contributions musically. Kaletka, Szkil and Jaros sound like true pros and in comparison to their other recorded projects (all three took part in several recordings already), they are able to open up and move into the specific "Chicago school" with ease, elegance and considerable vigor. Of course it is great to see Kulm return to recording after several years of absence and see him in his full creative power. Hopefully this album will be followed shortly by more new projects. For lovers of the more ambitious American Jazz variety this album should be quite interesting, not only because it offers some excellent performances, but mainly because it is composed and performed mostly by Polish Jazz musicians, who once again prove that they can match if not beat their colleagues from across the pond.

Updated: 15/11/2019Posted: 30/04/2019

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SZYMON MAKOHIN ~ TRYIN` TIMES MUZA 1449 (Barcode: 5907783424496) ~ POLAND ~ Jazz Recorded: 2008 Released: 2012 This is the debut album by Polish Jazz vocalist Szymon MakohinFind albums by this artist, which was recorded in 2008 and waited for four years to finally see the light of day. It presents Makohin performing eleven Pop / Blues / Soul standards, beautifully arranged by pianist Michal TokajFind albums by this artist, who leads the excellent quartet accompanying the singer, which also includes saxophonist Radek NowickiFind albums by this artist, bassist Michal JarosFind albums by this artist and drummer Sebastian FrankiewiczFind albums by this artist. On two of the tracks Makohin performs duets with female singers, the incredible Aga ZaryanFind albums by this artist and Irena KijewskaFind albums by this artist. It seems that most Polish Jazz (and not only Jazz) vocalists consistently repeat the fatal mistake of trying to sing in English, which unfortunately in most cases, including this one, simply does not work. It becomes especially apparent in the duet with Zaryan, where the singer´s accent and phrasing contrasts with those of Zaryan, who is one of the very few Polish vocalists able to sing properly in English. Therefore, regardless of how good this album is on the instrumental level, the vocals are a priori an obstacle. Makohin has a very nice tone and obvious vocal talents, but his battle is lost the minute he opens his mouth. It´s a pity he didn´t follow in the steps of other Polish vocalists, like Grzegorz KarnasFind albums by this artist for example. The selection of the material is also quite problematic, as all the songs have a strong common bond of sounding "sweet", with very little diversity, and none of them are challenging vocally. All these songs were performed brilliantly by their original authors, and this slightly Jazzed up version has very little added value. The only case of a Jazz standard present here is more a showcase of a brilliant bass accompaniment than vocal ability. Of course Tokaj and the quartet play spotlessly and brilliantly, as always. The instrumental work keeps this album alive and kicking, which in retrospect is a pity, since this could have been such a great album under different circumstances. However, considering this is a debut album, it should not be judged too severely; there is a lot of potential here and Makohin has a lot to offer, so I´m looking forward to hear his next album, hopefully in Polish this time. I certainly wish him all the best and keep my fingers crossed.

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MODERN BLUES QUARTET ~ BLUES ON BACH REQUIEM / LYDIAN 2020/08 ~ POLAND ~ Jazz-Classical Fusion Recorded: 2020 Released: 2020 This is the debut album by a Polish Jazz quartet called Modern Blues QuartetFind albums by this artist, which comprises of flautist / composer Ryszard BorowskiFind albums by this artist, violinist Mateusz SmoczynskiFind albums by this artist, guitarist Rafal SarneckiFind albums by this artist and bassist Michal JarosFind albums by this artist. The album presents eight original compositions, all by Borowski. As the title suggests, the music is "inspired" by compositions of Johann Sebastian BachFind albums by this artist, and follows many similar Jazz projects mentioned in the album´s liner notes. The liner notes also state that there is very little of Bach´s music as such on this album, and the proximity is mostly associative, which is quite correct. The resulting music is easy on the ear and quite entertaining, obviously meant for wider audiences. The musicians are of course some of Polish Jazz top instrumentalists, as their individual performances attest, providing plenty of excellent solo showcases. The delicate sound of a drumless quartet works very well and the excellent bass parts manage to keep the music swinging, even without percussive support. Smoczynski´s parts take the music into the Gypsy Jazz idiom and are (for me) the highlights of this project. Sarnecki plays some tasty swinging guitar parts, but is less dominant. Overall this is a nice amalgam of Jazz-Classical Fusion and Smooth Jazz, which many listeners on the lighter side of the Jazz idiom can enjoy immensely.

Updated: 09/01/2021Posted: 27/09/2020

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MODERN BLUES QUARTET ~ ELLINGTONIAN SUITE REQUIEM / LYDIAN 2024/37 ~ POLAND ~ Jazz-Classical Fusion Recorded: 2023 Released: 2024 This is the third album by Polish Jazz ensemble called Modern Blues QuartetFind albums by this artist, led by flautist / composer Ryszard BorowskiFind albums by this artist, which features a changeable lineup around the leader, this time featuring violinist Mateusz SmoczynskiFind albums by this artist, guitarist Rafal SarneckiFind albums by this artist and bassist Michal JarosFind albums by this artist. The album presents nine tracks, all credited as compositions by the leader, but as the title suggests, the music was heavily “inspired” by the music of Duke EllingtonFind albums by this artist, including the track titles, which are all puns of titles of well-known pieces by Ellington. The almost completely acoustic sound of the quartet offers a nice, relaxed and almost playful atmosphere, offering a mixture of the hinted Ellingtonian themes with semi-classical arrangements and elegant improvised soli by the four musicians, all of which are true Masters of their trade. This is definitely an “out of the box” approach to the music of the great composer, but the result certainly does not offend or belittle the seriousness of the origin. Borowski has strong ties to Classical music, which are more than evident in all his recordings, but he certainly knows the Jazz idiom well enough to tie the two together skillfully and intelligently, despite the possible criticism of taking the liberties too far. Nevertheless, the music, although somewhat stiff at times, is beautifully performed and both Smoczynski and Sarnecki (both among my favorite Polish Jazz musicians) show their respective virtuosic abilities at all times, with the solid and rhythmic support by Jaros. Overall, this is a very nice, highly entertaining and perhaps even educational exercise in the Jazz aesthetic, probably intentionally meant not be taken too seriously to start with, with a wink of humorous homage to the great Ellingtonian tradition. I had a great time listening to this album, but admittedly the music did not leave a lasting impression.

Updated: 18/05/2024Posted: 18/05/2024

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MICHAL PRZERWA-TETMAJER ~ DOKTOR FILOZOFII NOT ON LABEL 01 (Barcode: 5903240397006) ~ POLAND ~ Jazz Recorded: 2013 Released: 2013 This is the debut solo album by Polish guitarist / composer Michal Przerwa-TetmajerFind albums by this artist, who is familiar to followers of the Polish Jazz scene as the guitarist of the successful group JazzpospolitaFind albums by this artist. The album was recorded in a classis quartet setting with pianist Jan SmoczynskiFind albums by this artist, bassist Michal JarosFind albums by this artist and drummer Hubert ZemlerFind albums by this artist and presents nine original compositions by Przerwa-Tetmajer. It was recorded at the excellent Studio Tokarnia and engineered by Smoczynski, resulting in excellent sound quality, as usual. The music on this album is quite different from what Przerwa-Tetmajer plays with Jazzpospolita and is obviously an attempt to present a different side of his musical personality. The overall concept here is bona fide Jazz, as opposed to the obvious anarchist / rebellious approach used by the group. Surprisingly it is not about straightforward / mainstream melodic Jazz at all, but quite an ambitious open and at times even completely Free Form Jazz, although mostly quite reserved and melancholic. Although the music has a strong melodic content, the melodies are purposely uneven, both harmonically and rhythmically, which means that this music requires attentive listening and is anything but easy on the ear. The depth of these compositions is the biggest surprise of this album. Subtle, delicate, even fragile musical threads are finely presented and then developed by the two main soloists, each doing it his way; Smoczynski, who is a Master of melodic chord progression, pulls the tunes towards subtle melancholy, so typical of Polish Jazz, whereas Przerwa-Tetmajer pushes them into ragged fragmentation. This dichotomy adds an interesting dimension to the entire process of music making, which lifts this album to a higher plane. Przerwa-Tetmajer´s guitar playing is a strange mixture of classic Jazz and Blues guitar and his own liberties, which sometimes fit the music perfectly but on other occasions sounds a bit unnerving, hesitant and plain "strange". He is after all just starting, so his personal style is still in the process of being shaped, but the potential and talent are definitely there. Smoczynski, whose reputation as a brilliant player is mostly well within the mainstream idiom, shows here that he is incredibly flexible and can handle a much more challenging situations. The rhythm section, which consists of much older and experienced musicians, is of course beyond reproach and keeps this music "down to earth", saving it from potential chaos. Overall this is a very impressive debut, which hopefully will lead to future explorations of the infinite musical space. Judging by the compositions on this album Przerwa-Tetmajer has a bright path ahead of him, both as a player and composer. Of course we are all waiting for his next quantum leap of his solo career, in parallel to his work with Jazzpospolita.

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AREK SKOLIK ~ PLAYS MINGUS BLUES&JAZZ 001 (Barcode: 5908254159664) ~ POLAND ~ Jazz Recorded: 2015 Released: 2017 This is an album by veteran Polish Jazz drummer Arek SkolikFind albums by this artist recorded in a trio setting with saxophonist Jaroslaw BothurFind albums by this artist and bassist Michal JarosFind albums by this artist. Vocalist Patrycja ZarychtaFind albums by this artist sings on one track. The album, as the title suggests, presents six compositions by Charles MingusFind albums by this artist, which are interpreted by Skolik and his crew. The music, as described by Skolik in the album´s liner notes, is a spontaneous jam session based on compositions by Mingus, recorded live in the studio. There is not much one can add to this description honestly, as the music is completely straight ahead, except perhaps for the fact that it is performed by a saxophone trio, but that is nothing extraordinary these days. This album might have been recorded five decades earlier, and no one would be able to tell the difference. All three players are highly professional and fluent and the execution is beyond reproach, as good as any American mainstream Jazz combo is able to perform, except that this is a Polish Jazz trio and one really expects to hear something beyond ordinary when Polish musicians are involved. Bothur has a wonderful tone on his tenor saxophone and his improvisations are inspired, Jaros plays excellent support behind the saxophone and Skolik is obviously a very sensitive drummer, playing both rhythm and melody, but there is nothing here that wasn´t heard already. Overall this is a nice mainstream Jazz album, which Bebop lovers should enjoy anywhere in the world, but which does not break any new ground. Recommended to Mingus aficionados!

Updated: 12/04/2024Posted: 08/04/2017

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MICHAL WROBLEWSKI ~ CITY ALBUM ELLITE 5903111529024 (Barcode: 5903111529024) ~ POLAND ~ Jazz Recorded: 2014 Released: 2014 This is the third album by the young and very gifted Polish Jazz pianist / composer Michal WroblewskiFind albums by this artist, which sees him returning to the piano trio format with bassist Michal JarosFind albums by this artist and drummer Pawel DobrowolskiFind albums by this artist. The album presents eight original compositions, all but one by Wroblewski, with the exception being a piece based on the music by Frederic ChopinFind albums by this artist and arranged by Wroblewski. The music was recorded (same as his debut album) at the now legendary Studio Tokarnia, with Jan SmoczynskiFind albums by this artist doing his usual sound magic with spectacular results. The music, as stated by Wroblewski, was influenced by playing a concert tour in 2013 with American superstar trumpeter Terence BlanchardFind albums by this artist, but the experience influenced also the trio´s approach to music, which became much more focused and intense. As a result this album is remarkably stronger and vital than the two earlier efforts, even though those two were already first class achievements, and places Wroblewski just a notch higher on his way to fame and fortune. His compositions, as usual, combine the right amount of melodic substance with lyrical contents and harmonic beauty, very much like many Jazz standards do. Listening to this album is a true delight from start to finish, with time passing by in a breeze. Of course a piano trio is only as strong as all three musicians involved and Wroblewski is extremely lucky to find two partners who fulfill him completely, match his sensibilities, his virtuosity and his elegance. This piano trio is a classic example of what a piano trio should sound like in the mainstream Jazz milieu. Yes, this music does not make any groundbreaking discoveries as far as Jazz is concerned, but we need to keep the legacy alive and this trio is just perfect in that capacity. It is difficult to predict how Wroblewski´s career will develop from this point on, but he certainly already made his mark both as a pianist and a composer. I am certainly keeping my eye, or rather ear, on his moves, as he managed to impress me for the third time in a row. Jazz fans who love the piano trio format will have a field day with this one. Well done indeed!

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MICHAL WROBLEWSKI ~ I REMEMBER ELLITE 5903292101217 (Barcode: 5903292101217) ~ POLAND ~ Jazz Recorded: 2010 - 2011 Released: 2012 This is the debut album by the young Polish Jazz pianist / composer Michal WroblewskiFind albums by this artist, recorded with his trio with bassist Michal JarosFind albums by this artist and drummers Michal BryndalFind albums by this artist and Wojciech RomanowskiFind albums by this artist. The first version of this album was recorded by the trio with Bryndal and released as a promo. This, the final version of the album adds four more tracks recorded by the trio with Romanowski. Since both trios recorded the title track, the album´s nine tracks are in fact only eight distinct compositions, of which five were composed by Wroblewski, one by Jaros, one is an interpretation of a John ColtraneFind albums by this artist tune and the title track is a contemporary house composition, which proves that Wroblewski listens to other music than Jazz as well. Both trio sessions were recorded at the legendary Studio Tokarnia, with Jan SmoczynskiFind albums by this artist behind the knobs, which is always a guarantee of superb sonic quality. The Polish Jazz scene seems to be an endless source of excellent piano players over the years, and the contemporary scene, which hosts both the veterans, the middle aged and the young pianist is simply exploding with talent and activity. Wroblewski is certainly one of the interesting newcomers, who still have to pay the dues and put forward their accomplishments before achieving an honorary position on the pedestal reserved for the Polish Jazz piano giants. Judging by this recording he´s certainly on the right track, as the music presented on this album is quite excellent, both from the point of view of the performance and the compositions. Both trios play elegantly and display individual skills as well as an ensemble spirit, carefully listening to each other. The compositions present a nice balance between the melodic themes, rhythmic progressions and harmonic structures, which are ideal vehicles for the improvised passages. There is a frequent usage of Classical quotes and neo-romantic mannerisms, which are probably mostly sub-conscious and quite understandable considering the pianist´s age. The overall level of performance is quite excellent, turning this album into an ideal type of piano trio experience, which many Jazz connoisseurs greatly enjoy. The album could have been slightly longer and more adventurous musically, but than again many listeners will probably wish to change absolutely nothing. One can only hope that future recordings by Wroblewski will show him striving to achieve an individual voice and unique style, which will surely come to fruition as he gets older and more experienced. Keeping things in the right perspective, this is definitely a most impressive debut, exposing a talent to be watched. This album is highly recommended to piano trio enthusiasts, but basically every Jazz lover should be able to deeply enjoy this music. Great stuff!

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MICHAL WROBLEWSKI ~ JAZZ I ORKIESTRA ELLITE 5903111529017 (Barcode: 5903111529017) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2013 Released: 2013 Following his debut recording with his piano trio, released a year earlier, Polish Jazz pianist / composer Michal WroblewskiFind albums by this artist returns with a new and much bolder project involving a Jazz quartet playing with a symphony orchestra. The album includes eight compositions, all originals composed and arranged by Wroblewski. Seven of the compositions were recorded by a quartet comprising of Wroblewski, saxophonist Maciej ObaraFind albums by this artist, bassist Michal JarosFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist and accompanied by the Polish National Radio Symphony Orchestra in Katowice conducted by Szymon BywalecFind albums by this artist. The eighth track was recorded live at the Polish Radio Three, without Obara and with drummer Pawel DobrowolskiFind albums by this artist replacing Miskiewicz and the Gorzow (Wroblewski´s home town) Philharmonic Orchestra conducted by Krzysztof SwitalskiFind albums by this artist. The amalgam of Jazz and contemporary Classical music is quite a common phenomenon on the Polish Jazz scene, definitely more so than anywhere else in the entire world. There are many reasons contributing to this reality: the classical music education that many young musicians are exposed to during their studies, the openness of classical orchestras and their conductors to cooperate with Jazz musicians, the "higher" status of Classical music, which challenges Jazz musician to prove they can embrace the format and improve their standing in the music community and many others. Regardless of the motivation behind them, such projects are very popular and often result in excellent achievements. This particular project presents the "easier" side of the Jazz-Classical Fusion, with a series of beautifully melodic pieces, excellently performed by the quartet and with the orchestra staying mostly in the background, playing the "second fiddle" (pun intended). One can speculate that this music would have sounded great without the orchestra being present; therefore the role of the orchestration seems a priori to be relatively limited. This is not to say that the overall result suffers from the orchestral arrangements, but on the other hand their contribution remains relatively restricted with little synthesis between the two elements, except perhaps for the last piece on the album, which is the most successful on that front. The individual contributions by the players are all splendid, especially those by Obara, who exhibits a truly magical touch and heartbreakingly beautiful, soulful sound of his alto saxophone. Wroblewski plays also very well, with a both elegant, delicate solos and lively up tempo arpeggios, but concentrating mostly on stating the melodies. The rhythm section drives the music steadily and provides the basis, which holds the music together. Overall the album is great fun to listen to and is accessible to a large audience, including music lovers with little Jazz familiarity or those listening mostly to Classical music.

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