Record Reviews
78 Reviews Found. Use search to find more reviews or follow the links in the review text.
  | ADAM BALDYCH ~ MAGICAL THEATRE
ELITE 001 (Barcode: 885767685468) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 2010 Released: 2011
The violin holds a very special position in the history of modern Polish Jazz, and except for France, no other European country can pride itself in such splendid heritage as far as the use of violin in Jazz is concerned. The first generation of modern Polish Jazz musicians includes three distinguished Jazz violinists: Michal UrbaniakFind albums by this artist (born 1943), Zbigniew SeifertFind albums by this artist (born 1946) and Krzesimir DebskiFind albums by this artist (born 1953). Each of these virtuosi and exceptional composers made his mark not only on Polish Jazz, but also on European Jazz and World Jazz scenes. Of course each of these three musicians offered a unique and very individual approach to violin, all being innovators and pioneers: Urbaniak contributed greatly to the development of Jazz-Fusion and Jazz-Funk, Seifert to modern and Free Jazz and Debski to the amalgam of Jazz and contemporary Classical music.
Adam BaldychFind albums by this artist (born 1986) is of course a member of a different generation; one might even say a child of a very different era. His predecessors lived and created under the Socialist regime, which of course was far from enabling the freedom of expression and the opportunities to study and develop musical talents, and their life was a story of constant struggle with reality. Baldych grew up in a "new" Poland, liberated, democratic and full of opportunities. That does not mean, of curse, that his life and his path to success was an easy one. Considered a child prodigy, Baldych started his performing and then composing careers very early on, which explains his extremely impressive biography at the age of 25. The list of awards, notable performances, composing credits and recordings could easily satisfy a musician twice his age or more. And yet Baldych considers this album a pivotal point of his career and although not his recording debut, this is certainly a new begging, hopefully of an international career.
Recorded with his band called Damage ControlFind albums by this artist, "Magical TheatreFind albums with this title" is certainly an album, which should expose him to the worldwide audiences. Baldych composed six of the eight compositions present here and co-composed one more, with the last being composed by the band´s keyboardist. The band includes gifted young players, who provide him with excellent support and execute his complex compositions with grace and panache. Full of youthful spirit and energy, the album flows beautifully from one track to the next, changing moods and atmospheres, but always remaining fascinating. There are no dull moments here, no boring parts and no fillers – just one continuous flow of entrancing music, which keeps the listener captivated.
Of course regardless of how good the performers might be, the primary strength of this album lies in the music contained herein. Baldych´s compositions are simply spot on and his unique ability to amalgamate the Jazz tradition, the Polish romanticism and the contemporary sound techniques works perfectly. An experienced listener will be able to discover many delicate musical hints and references in this music, especially in Baldych´s solos, but surely anybody able of enjoying good music will find here starlight qualities.
I´m sure that Michal, Zbigniew and Krzesimir would be proud of the continuator of their splendid heritage. What remains is to hope that as many music connoisseurs as possible will eventually discover this gem and hold it dear to their hearts. I certainly hope it does happen, big time, as it is well deserved!
Side Note
The above are my liner notes included on this album's artwork.
I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years.
The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.
| | Updated: 19/09/2018Posted: | CD 1 Digipak Recommend To A Friend |
  | ADAM BALDYCH / BALTIC GANG ~ IMAGINARY ROOM
ACT 9532 (Barcode: 614427953223) ~ POLAND ~ Jazz
Recorded: 2012 Released: 2012
This is the first international release by Polish Jazz violinist / composer Adam BaldychFind albums by this artist. Recorded in Berlin, it features Baldych in a sextet / septet setting with some of the best Scandinavian musicians (hence the Baltic GangFind albums by this artist): trumpeter Verneri PohjolaFind albums by this artist (Finland), saxophonist Marius NesetFind albums by this artist (Norway), trombonist Nils LandgrenFind albums by this artist (Sweden) who plays on two tracks and co-produced the album, pianist Jacob KarlzonFind albums by this artist (Sweden), bassist Lars DanielssonFind albums by this artist (Sweden), and drummer Morten LundFind albums by this artist (Denmark). Baldych composed ten of the album´s twelve tunes and co-composed the remaining two (one with Karlzon and the other with Danielsson). The album was released on the German ACTFind albums on this label label, which already features several Polish Jazz artists on its recording artist roster.
Baldych, just 26 years old at the time this music was recorded, has already a most impressive list of achievements behind him and is often referred to as the new hope of Polish Jazz violin, which has a remarkable tradition indeed, with such outstanding masters as Michal UrbaniakFind albums by this artist, Zbigniew SeifertFind albums by this artist and Krzesimir DebskiFind albums by this artist. With this album Baldych certainly earned his final seal of approval, joining the distinguished club of his predecessors.
The music included on this album is a major step in the development of Baldych as a composer. There is a definite style and a personal signature on all the tunes, which share a remarkable tendency towards melancholy, romanticism and deep lyricism. Most of the music is delicate, low key and slow tempo, with long and winding melody lines, a manner quite typical to the great Polish composers, both Classical and Jazz. The presence of the Scandinavian musicians, who are also known for their specific tone, might have influenced the overall sound and atmosphere of the album, but that would be only marginal. Considering also the fact that the tracks are relatively short and the arrangements do not allow expanded improvisations, it is obvious that the focus of this album is the music (compositions) rather that the performances.
The performances are, of course, stellar, which is not surprising considering the level of the musicians involved. Baldych plays superbly, as expected, but much less flashy and extrovert than on his earlier recordings. It is obvious that he reached a mental maturity, which turns him into a total musician, who does not need to prove his ability to the world, but to present a complete musical work of art, which includes composition, arrangement, performance and ambience as a whole. There are plenty of superb musical moments on this album, which of course will be revealed and discovered with repeated listening sessions.
The album is definitely one of the finest recent Polish Jazz recordings and will become part of the Polish Jazz canon for years to come. Baldych, who is just making his first international steps, is destined for glory, which hopefully will be achieved gradually. In the meantime this music is his gift to us, to be enjoyed to the fullest. Chapeau!
| | | CD 1 Digipak Recommend To A Friend |
  | GORDON BECK ~ JAZZ TRIO
ART OF LIFE 1017 (Barcode: 804640101727) ~ UK ~ Jazz
Recorded: 1972 Released: 2005
Pianist / composer Gordon BeckFind albums by this artist is one of the key figures in the history of British Jazz and this album is a great document of his vital input as one of the pioneers of modern European Jazz. Recorded quite spontaneously during an Italian tour of the last version of the European Rhythm MachineFind albums by this artist, of which Beck and the other two musicians present here: British bassist Ron MathewsonFind albums by this artist and Swiss drummer Daniel HumairFind albums by this artist, were members together with US saxophonist Phil WoodsFind albums by this artist, who was living in France at the time. The entire recording session took just a few short hours and captures Beck and his colleagues performing two extended compositions, each of which occupied an entire side of the original LP. The first, written by Beck, is a Jazz suite in three parts with the opening and closing sections being relatively “straightforward” and the middle section open up to free group improvisation. The second was a completely improvised piece of Free Jazz, co-composed by the trio. The music is simply breathtaking, full if incredible interplay and magic moments, with virtuosi performances. This is Beck’s most advanced venture into Free Jazz (although only partially so), previously attempted only on the fabulous “GyroscopeFind albums with this title” album, and therefore of immense historical importance. Although Beck usually stayed inside a more “conventional” Jazz framework throughout his career, his improvisational power is beyond reproach and his ability to operate in the Free Jazz realm is well proven by this album. Unfortunately this recording was know only to a very limited group of listeners, even the most dedicated Beck’s followers, so the CD reissue is most welcome. I’ve had this album for 36 years now and always regarded it as one of my favorite European Jazz releases, now others can also enjoy it. Brilliant stuff!
Side Note: The original LP was released on a small Italian Jazz label called DireFind albums on this label Records, owned by Tito FontanaFind albums by this artist. Fontana owned a recording studio in Milan, called Studio 7 (or studio Fontana), which was famous for producing soundtracks for the burgeoning Italian film industry. Tito was a dedicated Jazz buff and had a great taste and vision in Jazz. His produced and released some of the most incredible European Jazz albums in the early 1970s, which (as far as I know) were not reissued on CD so far (except this album), which is a great pity and a true tragedy. Italian Jazz fans should note that the legendary pianist Guido ManusardiFind albums by this artist recorded for the label, as did Claudio FasoliFind albums by this artist and other great Italian Jazz musicians. Polish Jazz fans should note that both Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist also made albums for the label. I remember visiting Tito in Milan in 1974 and spending a few lovely days with him, talking Jazz day and night, drinking Italian wines and coffee and eating some incredible food. He was a gentle, highly intelligent person with a rare and boundless love for the music, which we both shared.
| | | CD 1 Oversampling Remastered Recommend To A Friend |
  | BIG BAND MALOPOLSKI ~ LIVE AT MLYN JAZZ FESTIVAL II
HEVHETIA 0176 (Barcode: 8588005258210) ~ POLAND ~ Jazz
Recorded: 2016 Released: 2018
During the recent HevhetiaFind albums on this label Showcase in Kosice I had the opportunity to talk at length to Ryszard KrawczukFind albums by this artist, the leader / conductor of the Big Band MalopolskiFind albums by this artist, one of the very few active Polish Jazz Big Bands. As usual the conversation revolved around the logistic / financial aspects of keeping a Big Band together these days – a complicated and frustrating task by any standard, and more often than not completely underappreciated. But with all hardships set aside, the Big Band Malopolski is a smooth and mean, well oiled music machine, which can easily look straight in the eye of any other European Jazz Big Band.
The lineup of the Big Band, based partly on the students of the Academy of Music in Krakow, includes some of the best young and upcoming Polish Jazz players, like saxophonists Wojciech LichtanskiFind albums by this artist and Slawomir PezdaFind albums by this artist, trombonist Bartosz PernalFind albums by this artist and many others, who play along older and seasoned musicians. Guest artists are often invited to play and record with the Big Band. The current lineup includes also the vocalist / rapper / beat box performer Andy NinvalleFind albums by this artist, who spices up the Big Band´s performances with incredibly energetic and up to date glimmer.
This, the Band´s second album, presents the current repertoire, which is a mixture of compositions by Polish Jazz veterans, like Michal UrbaniakFind albums by this artist, Jan Ptaszyn WroblewskiFind albums by this artist and Marek BalataFind albums by this artist, American Jazz standard and a composition by the Italian saxophonist / composer Rosario GuilianiFind albums by this artist, all together six wonderful pieces of mainstream Jazz, superbly arranged and ideally suited to the Big Band environment. Polish Jazz vocalist Lora SzafranFind albums by this artist guests on one of the tracks. The performances are perfectly executed, with plenty of space for some excellent soloing and the above mentioned tasty beat box ornamentations, which were enthusiastically received by the audience during the concert I was happy to attend.
Overall this is an excellent Jazz Big Band album, which should satisfy connoisseurs all over the world, especially in view of the fact that Big Band albums are a rarity these days, especially those that are able to keep this Art Form up to date. Warmly recommended!
| | Updated: 14/09/2019Posted: 14/09/2019 | CD 1 Mini-Sleeve Recommend To A Friend |
  | MAREK BLIZINSKI ~ WAVE
POLJAZZ / ANEX 327 (Barcode: 5907513047827) ~ POLAND ~ Jazz
Recorded: 1979 - 1980 Released: 2009
This is the only album as a leader recorded by Polish Jazz guitarist Marek BlizinskiFind albums by this artist, who was one of the first Jazz guitar players on the local scene. He was a very in-demand session player and participated in many recordings as well as recording with several groups of which he was a formal member, led by such Polish Jazz luminaries like Michal UrbaniakFind albums by this artist, Wojciech KarolakFind albums by this artist, Zbigniew NamyslowskiFind albums by this artist and Jan Ptaszyn WroblewskiFind albums by this artist. He was a brilliant improviser and had a wonderful tone, which ornamented many important Polish Jazz recordings.
His solo career, however, never really took off and this was the only album he managed to release as a leader, before his untimely and tragic death at the age of 42. The album consists of two radio sessions, with Blizinski playing on both in a trio format, first with bassist Pawel JarzebskiFind albums by this artist and drummer Janusz StefanskiFind albums by this artist and then with bassist Zbigniew WegehauptFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist. Both these rhythm sections are considered to be among the best ones ever active on the local scene. The album includes seven compositions, all of which are standards.
Although well played, both by Blizinski and the rhythm sections, this album does not present his true abilities and sensitivities and in retrospect is unfortunately much less impressive than it could have been. Playing these standards, which present no true intellectual challenge for these experienced musicians, was a poor decision. His numerous recordings with other artists are much more impressive.
Guitar enthusiasts will obviously find here many beautiful moments of mainstream Jazz, with are every bit as good as those recorded across the pond. Definitely worth remembering!
Side Note: The PoljazzFind albums on this label label, which originally released this album, was active for 20 years (between 1972 and 1991) and was owned by the Polish Jazz Society. Considering the fact that the music industry in the Socialist State was centralized and totally controlled, with just one State owned music company producing all the albums, the possibilities to record and release Jazz albums were extremely limited. Poljazz was conceived and founded in order to allow for many more Jazz (and other) albums to be released independently from the State owned Polskie NagraniaFind albums on this label / MuzaFind albums on this label and as such revolutionized the music industry at the time, being the only such enterprise in Eastern Europe. The Polish label AnexFind albums on this label reissued many of the original Poljazz albums on CD, bringing this fabulous music back to life.
| | | CD 1 Digipak Remastered Recommend To A Friend |
  | LARRY CORYELL / MICHAL URBANIAK ~ A QUIET DAY IN SPRING
STEEPLECHASE 31187 (Barcode: 716043118724) ~ USA ~ Jazz
Recorded: 1983 Released: 1992
This is the second album recorded by the duo comprising of American Jazz guitar virtuoso / composer Larry CoryellFind albums by this artist and Polish Jazz violin virtuoso / composer Michal UrbaniakFind albums by this artist. This time the duo is expanded to a trio with the participation of Danish bassist Jasper LundgaardFind albums by this artist. The album presents seven original compositions, five by Coryell and two by Urbaniak.
The previous meeting between Coryell and Urbaniak resulted in the album simply titled "DuoFind albums with this title", released originally in 1982, which featured Polish Jazz vocalist Urszula DudziakFind albums by this artist as guests on two tracks.
The music is an absolutely spectacular collection of great melodies, very diverse stylistically spanning between Gypsy Jazz, Classically influenced themes, Folklore and many more, stunningly performed by these two Masters. The intimate duo setting allows for tight interplay as well as individual soloing, all elegantly supported by the excellent bass playing, which fills the spaces.
Both Coryell and Urbaniak are in absolutely top form and the obvious empathy and respect between them is what makes this music such a delight. Following a period of involvement with Fusion by both these musicians in the early to mid 1970s, this album shows their love of acoustic, intimate formats, which can be as fully expressive as the passionate and innovative form of Fusion they were involved with.
Personally I love the two duo recordings by Coryell and Urbaniak very much and in spite of the fact that I am familiar with dozens of albums recorded by these musicians individually, those two are definitely among my all time favorites. This is absolutely essential listening to all Coryell and Urbaniak fans and with Coryell sadly departed, his legacy deserves to be remembered.
| | Updated: 14/02/2020Posted: 14/02/2020 | CD 1 Recommend To A Friend |
  | BARTOSZ DWORAK ~ LIVE AT RADIO KATOWICE
PRK 0130 ~ POLAND ~ Jazz
Recorded: 2014 Released: 2014
This is the debut album by young Polish Jazz violinist Bartosz DworakFind albums by this artist recorded live with his quartet which also includes pianist Piotr MatusikFind albums by this artist, bassist Jakub DworakFind albums by this artist and drummer Szymon MadejFind albums by this artist. They perform six compositions, two of which are original compositions by Bartosz Dworak, one is by Piotr Matusik, two are by Polish Jazz composers Slawomir KulpowiczFind albums by this artist and Zbigniew SeifertFind albums by this artist and the remaining one is by Joey CalderazzoFind albums by this artist.
Bartosz Dworak is the winner of the 1st International Zbigniew Seifert Jazz Violin Competition, which took place in Poland in 2014 and is considered as one of the top young Polish Jazz violinists who continue the glorious legacy of Jazz violin in Poland established by such luminaries as Michal UrbaniakFind albums by this artist, Zbigniew Seifert, Krzesimir DebskiFind albums by this artist, Adam BaldychFind albums by this artist and others.
From the very first notes of this record it is pretty obvious that Dworak is a Polish violinist, as he has the same unmistakable "Polish sound" that characterizes his predecessors and other contemporary Jazz violinist in the country. In his case this specific sound, which floats somewhere between Slavic folksy fiddle and virtuosic lyricism is clearly identifiable. And of course there is the individualism and the virtuosity, which are obviously in their early stages but already clearly noticeable.
From the strength of the two original compositions it is immediately apparent that Dworak should concentrate on playing his own material. His interpretations of the compositions by other musicians are less impressive, except that of his band mate Piotr Matusik. The entire quartet plays smoothly and dynamically, with the rhythm section supporting the two soloists with taste and elegance. Matusik is one hell of a player and steals a significant part of the show in his favor, deserving every bit of it. I´m waiting anxiously to hear his first solo album.
Considering that this is a debut recording one can simply envy these young musicians their talents and obvious musicality. Hopefully Dworak will develop his skills as a composer and engage in more ambitious / challenging adventures when his career takes off, which will inevitably happen. In the meantime this is definitely a most impressive calling card.
| | | CD 1 Mini-Sleeve Recommend To A Friend |
  | BARTOSZ DWORAK ~ POLISHED
HEVHETIA 0091 (Barcode: 8588005257336) ~ POLAND ~ Jazz
Recorded: 2015 Released: 2015
This is the second album by Polish Jazz violinist / composer Bartosz DworakFind albums by this artist and his quartet, which also includes pianist Piotr MatusikFind albums by this artist, bassist Jakub DworakFind albums by this artist and drummer Szymon MadejFind albums by this artist. The quartet performs nine original compositions, four by Bartosz Dworak and five by Matusik. Several of these compositions already appeared on the quartet´s debut album, which was a live recording, and get here a more polished (tongue-on-cheek) version.
Dworak proudly joins a long list of Polish Jazz violinists, which keeps growing as the years go by, and includes such luminaries as Michal UrbaniakFind albums by this artist, Zbigniew SeifertFind albums by this artist, Krzesimir DebskiFind albums by this artist, Adam BaldychFind albums by this artist and young lions like Mateusz SmoczynskiFind albums by this artist and Dawid LubowiczFind albums by this artist. This wonderful legacy can be of course quite overwhelming and daunting, but Dworak seems to have no inferiority complexes whatsoever and gallantly steps into their shoes, doing his own thing.
Although Dworak is the leader of this quartet, the compositional and soloing duties are split quite equally between him and Matusik, who wrote about half of the music and plays superb piano parts, both supporting the violin parts and soloing himself. The rhythm section plays along with the two soloists supporting them amicably but staying mostly in the background, which in this specific music is probably all for the best.
The music is all pretty straightforward melodic mainstream, although at some moments the quartet ventures, albeit only partly, into a less clearly defined set of parameters. Of course, as usual with Polish Jazz violinists, the music is soaked in melancholy and lyrical folkloristic undertones, which brings fond memories of the material recorded by those musicians listed in the second paragraph. All nine tunes are beautifully melodic, which surely opens this album to a very widespread range of audiences, even those beyond the Jazz idiom.
In many respects this album could be considered as a debut, since the semi-formal live recording released earlier was really just a teaser of things to come. And as a debut it certainly is a very impressive effort, in every respect, which keeps the hopes for a new generation of Polish Jazz musicians in general and violinists in particular at their highest. Personally I simply can´t wait for the next album, which will be the decisive proof of maturity. In the meantime we can all enjoy this gem!
| | | CD 1 Digipak Recommend To A Friend |
  | 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 | CD 1 Digipak Recommend To A Friend |
  | GIL EVANS ORCHESTRA ~ TRIBUTE TO GIL
SOUL NOTE 121209 (Barcode: 02731212092) ~ USA ~ Jazz
Recorded: 1988 Released: 1989
The great American (of Canadian origin) pianist / composer / arranger / bandleader Gil EvansFind albums by this artist was one of the most influential Jazz personalities in the 20th Century. The orchestra he led and conducted, The Gil Evans OrchestraFind albums by this artist, was undoubtedly one of the most important orchestras in Jazz history, for many reasons, the most important of which being the constant innovative approach as far as the arrangements were concerned and the openness to other music genres, especially Rock, which often made the orchestra sound like a Rock Big Band, as well as the presence of young and upcoming Jazz players as members of the orchestra.
In the summer of 1987 the orchestra performed in Italy and was enthusiastically welcomed by the warm Italian audiences. Following Evans´ death in March of 1988 it was decided to repeat the Italian concert series in July of 1988, as a tribute to Evans, which included appearances at the Umbria and Sicilia Jazz Festivals, where the music presented on this album was recorded. The orchestra´s lineup reads like a who´s who of American and European Jazz at the time: trumpeters Lew SoloffFind albums by this artist, Hannibal PetersonFind albums by this artist and Miles EvansFind albums by this artist (Gil´s son), saxophonists Chris HunterFind albums by this artist and Alex FosterFind albums by this artist, pianist Gil GoldsteinFind albums by this artist, guitarist Bireli LagreneFind albums by this artist, bassist Mark EganFind albums by this artist, drummer Danny GottliebFind albums by this artist and many others. For Polish Jazz enthusiasts it is worthy to mention that both vocalist Urszula DudziakFind albums by this artist and violinist Michal UrbaniakFind albums by this artist take part in the proceedings.
The music is a series of vibrant cross-genre oriented arrangements, which use a Funky rhythm section pulsation and layers of Big Band brass sound to create a unique amalgam. Four of the six tracks present music composed by Evans and are a great tribute to his compositional vision. The Dudziak / Goldstein duo is one of the absolute highlights of the album, featuring her idiosyncratic vocal / electronics pyrotechnics.
Overall this is a great tribute to Evans´ contribution to Jazz music and a piece of history well deserved revisiting!
| | Updated: 12/09/2019Posted: 12/09/2019 | CD 1 Recommend To A Friend |
  | FUNK FACTORY ~ FUNK FACTORY
WOUNDED BIRD 0116 (Barcode: 664140011625) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 1975 Released: 2007
1st and only album by a one-time recording project organized by the brilliant Polish Jazz musician Michal UrbaniakFind albums by this artist and his wife Urszula DudziakFind albums by this artist, following their move to the USA and after recording of several exquisite albums for the Columbia label. The album is to a large extent a cheek-in-tongue joke by Urbaniak in response to the "accusations" by his fellow American colleagues, that Eastern European musicians are not "funky". Here we have a proof that Urbaniak and his cohorts can play Funk as well as any American musician, and perhaps even better, as his Funk is so much more sophisticated and multilayered than anything else recorded in that style.
Together with Urbaniak and Dudziak a couple of two other talented Polish musicians also take part in this project: virtuoso keyboardist Wlodek GulgowskiFind albums by this artist and singer Bernard KafkaFind albums by this artist, founder and leader of the superb Polish vocal group NOVIFind albums by this artist. In addition to the four Poles, a sensational American rhythm section was assembled, with bassists Anthony JacksonFind albums by this artist and Tony LevinFind albums by this artist, drummers Steve GaddFind albums by this artist and Gerald BrownFind albums by this artist and guitarists Barry FinnertyFind albums by this artist and John AbercrombieFind albums by this artist. Urbaniak burns his electric violin with the usual passion and virtuosity and Dudziak performs magic with her voice. The music was all written by Urbaniak, Gulgowski and Kafka, so here we have Polish Funk, which funks away all that´s funky. Although completely obscure, this is a great album, which hopefully can now be discovered by a wider audience after being reissued on CD. A must for all Polish Jazz enthusiasts!
| | | CD 1 Recommend To A Friend |
  | DON SUGARCANE HARRIS ~ SUGAR CANE`S GOT THE BLUES
PROMISING MUSIC 44102 (Barcode: 602517545731) ~ USA ~ Jazz-Rock Fusion
Recorded: 1971 Released: 2008
American violinist Don Sugarcane HarrisFind albums by this artist was one of the very few great Blues / Rock / Fusion artists playing the fiddle. He came to prominence as a member of the revolutionary John MayallFind albums by this artist’s BluesbreakersFind albums by this artist group and later as a member of Frank ZappaFind albums by this artist’s groups. This album, recorded live during the Berliner Jazztage Festival, presents Harris both as a leader and a participant in the legendary “Violin Summit” super-group, assembled by producer Joachim BerendtFind albums by this artist. The solo appearance is in fact an offshoot project of the “Violin Summit”, which was a series of recordings on the legendary MPSFind albums on this label label, which celebrated the role of the violin in Jazz, Blues, Jazz-Rock Fusion and Rock and produced probably the most interesting document of music by violinists in the late 1960s / 1970s. The “Violin Summit” projects were based on a concept of a rhythm section and a series of violinist playing solo and in various combinations. The 1971 version of “Violin Summit”, which produced the “New Violin SummitFind albums with this title” double album, included also such great violin players as Jean-Luc PontyFind albums by this artist (France), Michal UrbaniakFind albums by this artist (Poland) and Nipso BrantnerFind albums by this artist (Germany) – none of them is heard here – and a fantastic rhythm section consisting of the Norwegian guitarist Terje RypdalFind albums by this artist, German keyboardist Wolfgang DaunerFind albums by this artist, New Zealander (resident in UK at the time) bassist Neville WhiteheadFind albums by this artist and British drummer Robert WyattFind albums by this artist. On the solo night Rypdal is replaced by German guitarist Volker KriegelFind albums by this artist. Surrounded by such illustrious musicians, Harris plays his heart out, improvising more daringly than ever before, no doubt inspired by the incredible performances by his European partners, who were musically much more advanced that Harris’ usual American companions. Overall the album presents a great event captured for posterity, with some amazing musical moments documenting the formation of the European Jazz-Rock Fusion, which bridges between such distant genres as the Blues and Free Jazz with elegance and vision. Beautifully remastered and packaged, this album is definitely worth investigation and attentive listening.
| | | CD 1 Mini-Sleeve Oversampling Remastered Recommend To A Friend |
  | KAROLAK / URBANIAK / BARTKOWSKI ~ MOVING SOUTH
POLJAZZ / ANEX 314 (Barcode: 5907513047698) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 1973 Released: 2009
This is the only album recorded by the fabulous Polish Jazz trio, comprising of keyboardist / composer Wojciech KarolakFind albums by this artist, violinist / saxophonist / composer Michal UrbaniakFind albums by this artist and legendary drummer Czeslaw BartkowskiFind albums by this artist. In many respects this is a companion album to the groundbreaking album by the Michal Urbaniak ConstellationFind albums by this artist, which was released as part of the Polish Jazz series ("In ConcertFind albums with this title", Vol.36) and recorded the same year as this album. Both Karolak and Bartkowski were members of Constellation and therefore it´s hardly surprising that stylistically the music is very similar.
The album includes five compositions (one is a three-part suite), four by Karolak and one by Urbaniak, which can be roughly categorized as Jazz-Rock Fusion, but they are so unique and eons ahead of their time that simplistic labeling is not doing them justice. This is truly visionary music, capturing all three musicians at the peak of their creative powers. Although Karolak composed most of the music on this album, Urbaniak´s concept of Fusion / Funk are the primary forces at work here. His use of electronics to enhance the sound of his violin is simply brilliant and completely innovative. Karolak plays also brilliantly, with his Hammond ripping the sound-space to shreds. Bartkowski is driving the music forward like mad, being the Jazziest element of the music, busy but not intrusive, with fantastic polyrhythmic feel and incredible technique.
In retrospect this is one of the most important Polish Fusion albums, which sadly remains mostly unknown even to the local fans and especially so abroad. This reissue creates another chance for this album to be re-discovered, and I recommend to all the Fusion diehard fans to start looking for this gem ASAP!
Side Note: The PoljazzFind albums on this label label, which originally released this album, was active for 20 years (between 1972 and 1991) and was owned by the Polish Jazz Society. Considering the fact that the music industry in the Socialist State was centralized and totally controlled, with just one State owned music company producing all the albums, the possibilities to record and release Jazz albums were extremely limited. Poljazz was conceived and founded in order to allow for many more Jazz (and other) albums to be released independently from the State owned Polskie NagraniaFind albums on this label / MuzaFind albums on this label and as such revolutionized the music industry at the time, being the only such enterprise in Eastern Europe. The Polish label AnexFind albums on this label reissued many of the original Poljazz albums on CD, bringing this fabulous music back to life.
| | | CD 1 Digipak Remastered Recommend To A Friend |
  | WOJCIECH KAROLAK ~ EASY! (POLISH JAZZ VOL.81 DELUXE)
MUZA 1081 (Barcode: 5907783420818) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 1974 Released: 2005
This relatively little known but excellent album presents Polish Jazz keyboardist / composer / arranger / bandleader Wojciech KarolakFind albums by this artist in a relaxed atmosphere and in company of the crème de la crème of the Polish Jazz musicians of the period that he cooperated with on many occasions before. The idea was to present a less complex / sophisticated music performed by top Jazz players, but in retrospect the result surely surpassed all the intensions and expectations and this is definitely some of the best of his work. Recorded at a time when the Jazz-Rock Fusion in Poland was rapidly developing and achieving the peak of its creativity, spearheaded by Michal UrbaniakFind albums by this artist and his group, of which Karolak was a member. It is hardly surprising therefore that this album includes many of the characteristics of the early 1970s Polish Fusion, which of course in term was strongly influenced by the pioneering and groundbreaking work done by Miles DavisFind albums by this artist at the time, which served as a model to the entire worldwide music community. Although perhaps more melodic than the Urbaniak´s recordings, this album has plenty of innovative moves, like the usage of early synthesizers, electric piano and of course his organ, excellent brass arrangements on some tunes and superb soloing by the musicians involved, which include trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist, Janusz MuniakFind albums by this artist and Tomasz SzukalskiFind albums by this artist, drummer Czeslaw BartkowskiFind albums by this artist and many others. Karolak composed seven of the eight tracks on this album with one track being contributed by the great Jan Ptaszyn WroblewskiFind albums by this artist. Lovers of Polish Jazz should be rejoiced by the fact that this album was reissued as part of the extended legendary Polish Jazz series. A must!
| | | CD 1 Digipak Remastered Recommend To A Friend |
  | BOGNA KICINSKA ~ THE MAZE
SURCA 002 (Barcode: 5907796319574) ~ POLAND ~ Jazz
Recorded: 2013 Released: 2014
This is the debut album by the Polish (resident in NY) Jazz vocalist Bogna KicinskaFind albums by this artist, recorded with a core quartet comprised of violinist Mateusz SmoczynskiFind albums by this artist, pianist Kuba CichockiFind albums by this artist, bassist Edward PerezFind albums by this artist and drummer Colin StranahanFind albums by this artist. Electric bass player John BenitezFind albums by this artist plays on two tracks replacing the regular bassist, and a string quartet is utilized on two other tracks. The album includes nine tracks, five of which are originals by Kicinska (only one of those includes lyrics) and the remaining four are standards.
I approach albums by Polish vocalists with an almost pathological fear of the dreaded "English vocals sung by non-native English speakers" syndrome, which for many years time after time consistently proves to be a failure, sometimes of catastrophic proportions. The exceptions are few and far between, and luckily this album manages to slip into the class of exceptions, which does not mean that the English vocals work – they simply don´t. But there is enough merit on this album to make it interesting and the English vocals are after all the less significant ingredient of the entire package.
What does work wonderfully is the fact that Kicinska uses her vocals as an instrument, singing scat and vocalese, which combined with the excellent instrumental backing, works out wonders. She emerges as a very interesting composer and arranger, with her original compositions being the highlight of this album musically and her arrangements of the standards being very original, non-trivial and intricate. She combines wonderfully her Polish roots by using folkloristic themes and mixing them with other elements, most importantly Jazz improvisation. With the violin behind her, these originals bring fond recollections of the work done by Michal UrbaniakFind albums by this artist and Urszula DudziakFind albums by this artist four decades earlier. Considering the fact that four of her five original compositions do not involve lyrics at all and concentrate on vocal explorations is very promising and hopefully shows the way towards the future.
The two Polish players on this album: Smoczynski, who is a violin virtuoso and swings like hell and Cichocki, who is a delicate poetic player yet also swings magnificently, both support the vocalist intelligently and elegantly. The rhythm section is accommodating and handles the sometimes complex tempi changes well, but remains in the background without leaving a very strong impression.
Overall this is a very promising debut, full of potential and holding many promising developments in the future. Just skip the lyrics (and the standards) next time and you will get far girl. Thanks for the thrills and keep doing your thing!
| | | CD 1 Digipak Recommend To A Friend |
  | ALEX KOLOSOV & BIG SKY ~ 3 DAYS
SOLITON 706 (Barcode: 5901571097060) ~ RUSSIA ~ Jazz-Rock Fusion
Recorded: 2012 Released: 2017
This is the debut album by Russian guitarist / composer Alex KolosovFind albums by this artist and his group Big SkyFind albums by this artist, which also includes clarinetist Lev LebedevFind albums by this artist, keyboardist Vladimir IvanovFind albums by this artist and drummer Andrey RazdobudovFind albums by this artist. Veteran Polish violinist Michal UrbaniakFind albums by this artist guests on five tracks. The album presents eight original compositions, all by Kolosov, and was recorded at the legendary Rainbow Studio in Oslo with Jan Erik KongshaugFind albums by this artist in charge of the knobs.
The music is a Blues soaked Jazz-Rock Fusion, with rather simplistic melodies and straightforward arrangements that do not challenge the listener. Kolosov uses a distorted guitar sound, which he does not change for the entire duration of the album. Lebedev is kept in the background, although his clarinet parts are the most interesting contributions on the album. The keyboards contribute some background ornamentation and the violin solos are sadly not able to save the day, as they are more or less on the same musical level as the rest of the music, although Urbaniak´s virtuosity can still be heard between the notes.
Overall the album offers little satisfaction to Fusion connoisseurs, with the only point of interest being the fact that it was recorded by Russian players, who are rarely heard beyond their country. Based on what they show here, it is perhaps all for the better.
| | Updated: 17/06/2018Posted: 16/06/2018 | CD 1 Digipak Recommend To A Friend |
  | ALEX KOLOSOV & BIG SKY ~ 3 DAYS
BCD 31 (Barcode: 5906881885314) ~ RUSSIA ~ Jazz-Rock Fusion
Recorded: 2012 Released: 2012
This is the debut album by Russian guitarist / composer Alex KolosovFind albums by this artist and his group Big SkyFind albums by this artist, which also includes clarinetist Lev LebedevFind albums by this artist, keyboardist Vladimir IvanovFind albums by this artist and drummer Andrey RazdobudovFind albums by this artist. Veteran Polish violinist Michal UrbaniakFind albums by this artist guests on five tracks. The album presents eight original compositions, all by Kolosov, and was recorded at the legendary Rainbow Studio in Oslo with Jan Erik KongshaugFind albums by this artist in charge of the knobs.
The music is a Blues soaked Jazz-Rock Fusion, with rather simplistic melodies and straightforward arrangements that do not challenge the listener. Kolosov uses a distorted guitar sound, which he does not change for the entire duration of the album. Lebedev is kept in the background, although his clarinet parts are the most interesting contributions on the album. The keyboards contribute some background ornamentation and the violin solos are sadly not able to save the day, as they are more or less on the same musical level as the rest of the music, although Urbaniak´s virtuosity can still be heard between the notes.
Overall the album offers little satisfaction to Fusion connoisseurs, with the only point of interest being the fact that it was recorded by Russian players, who are rarely heard beyond their country. Based on what they show here, it is perhaps all for the better.
| | Updated: 17/06/2018Posted: | CD 1 Digipak Recommend To A Friend |
  | KRZYSZTOF KOMEDA ~ BARIERA – SOUNDTRACKS FROM JERZY SKOLIMOWSKI / JANUSZ NASFETER MOVIES
POWER BROS 00199 (Barcode: 5906295856429) ~ POLAND ~ Jazz
Recorded: 1965 - 1966 Released: 2009
Although primarily identified as the soundtrack composer of the movies directed by Roman PolanskiFind albums by this artist, Polish pianist / composer Krzysztof KomedaFind albums by this artist cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country´s intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. Komeda´s soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. All the albums with Komeda´s soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda´s tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtrack of the movie "Bariera (Barrier)" by the director Jerzy SkolimowskiFind albums by this artist and the soundtrack of the movie "Niekochana (Unloved)Find albums by this artist" by director Janusz Nasfeter. Brilliant stuff!
| | | CD 1 Remastered Recommend To A Friend |
  | KRZYSZTOF KOMEDA ~ JUTRO PREMIERA – SOUNDTRACKS FROM JANUSZ MORGENSTERN / EDWARD ETLER MOVIES
POWER BROS 00201 (Barcode: 5906295856436) ~ POLAND ~ Jazz
Recorded: 1962 - 1964 Released: 2009
Although primarily identified as the soundtrack composer of the movies directed by Roman PolanskiFind albums by this artist, Polish pianist / composer Krzysztof KomedaFind albums by this artist cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country´s intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. Komeda´s soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. All the albums with Komeda´s soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda´s tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtrack of the movie "Jutro Premiera (Opening Tomorrow)" by director Janusz MorgensternFind albums by this artist and two soundtracks to documentaries "Kraksa (Crash)" / "Okolice Peronow (Near The Station)" by director Edward EtlerFind albums by this artist. Brilliant stuff!
| | | CD 1 Remastered Recommend To A Friend |
  | KRZYSZTOF KOMEDA ~ KATTORNA – SOUNDTRACKS FROM HENNING CARLSEN MOVIES
POWER BROS 00189 (Barcode: 5906295856375) ~ POLAND ~ Jazz
Recorded: 1964 - 1967 Released: 2009
Although primarily identified as the soundtrack composer of the movies directed by Roman PolanskiFind albums by this artist, Polish pianist / composer Krzysztof KomedaFind albums by this artist cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country´s intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. Komeda´s soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. All the albums with Komeda´s soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda´s tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtracks of three movies: "Kattorna (Kittens)", "Sult (Hunger)" and "People Meet And Sweet Music Fills The Heart" by Danish director Henning CarlsenFind albums by this artist. Komeda´s incredible talent as a film composer was discovered by the Scandinavian film makers and other intellectuals and Komeda spent considerable periods of time in Scandinavia in the mid-1960s, which was unprecedented for any Polish musician. Unfortunately the music for the first film directed by Carlsen, which Komeda composed the music for: "Hvad Med Os (What About Us)" is not included on this album and was not released to date. Komeda was also supposed to compose the music for a fifth film by Carlson, but his tragic death prevented this from happening. The music from "Kattorna", in a different version, can be also found on the legendary "AstigmaticFind albums with this title" album by Komeda. Brilliant stuff!
| | | CD 1 Remastered Recommend To A Friend |
  | KRZYSZTOF KOMEDA ~ KRAKSA
GAD 301 (Barcode: 5903068125607) ~ POLAND ~ Jazz
Recorded: 1956 - 1965 Released: 2024
This is an archival album by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist, which presents soundtracks that he composed to three films by Polish Jewish director of documentary movies Edward EtlerFind albums by this artist: “Kraksa” (1963), “Okolice Peronow” (1964) and “Twarz Wroga” (1965) and finally music to a nature documentary from 1956, performed by his sextet. The first two of these were previously released on the Power BrosFind albums on this label label in 2009. The names of the musicians, who recorded the music, are unknown, but obviously they were members of his ensembles active at the time and include trumpeter Tomasz StankoFind albums by this artist and saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist.
The music offers fragments of themes and their variations, as usual in cinematic albums, but the genius of Komeda is immediately obvious, and like everything he ever composed, it is pure magic. Of course the full power of this music can only be experienced by watching the movies accompanied by the music, but it is strong enough to stand on its own, as this album proves.
Overall, this is an important document of Komeda’s work and although adds only a relatively little portion of previously unreleased material, for Komeda enthusiasts and completists it is a must have item.
| | Updated: 27/01/2025Posted: 27/01/2025 | CD 1 Recommend To A Friend |
  | KRZYSZTOF KOMEDA ~ KRZYSZTOF KOMEDA W POLSKIM RADIU VOL.02 – MUZYKA BALETOWA I FILMOWA – CZESC PIERWSZA
POLSKIE RADIO 1862 (Barcode: 5907812248628) ~ POLAND ~ Jazz
Recorded: 1959 - 1963 Released: 2014
This is the second installment in a new series of albums launched by the Polish Radio, which presents radio recordings by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist. Komeda is of course the most familiar name associated with Polish Jazz and his legacy is of crucial importance to Polish and European Jazz. Considering the fact that Komeda´s studio recordings are relatively scarce, the radio recordings are in fact the main source of his recorded legacy, as they include among others the Jazz Jamboree festival appearances by Komeda and his various ensembles over the years.
Recorded between 1959 and 1963 this volume collects only original music that Komeda composed for ballet and cinema and performed with his groups during the 1961 edition of the Jazz Jamboree festival in Warsaw (one track), the 1962 edition (four tracks) and 1963 edition (one track). The remaining two tracks are radio studio recordings. The music includes the following compositions: "Ballet Etudes", written by Komeda to be performed by a Jazz ensemble accompanying ballet dancers, which had its premiere during the 1962 Jazz Jamboree with dancers from the Warsaw Opera, theme from the film "Innocent Sorcerers" directed by Andrzej WajdaFind albums by this artist and the monumental music from the debut full length film "Knife In The Water" directed by Roman PolanskiFind albums by this artist. As any Polish Jazz enthusiast knows, this is the cradle of modern Polish Jazz and includes some of its most defining moments, as well as the essence of Komeda, the composer.
The list of the musicians participating in these recordings reads like the who´s who of early modern Polish Jazz: vocalist Wanda WarskaFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist, trumpeter Tomasz StankoFind albums by this artist, bassists Roman DylagFind albums by this artist, Adam SkorupkaFind albums by this artist, Jan ByrczekFind albums by this artist and Maciej SuzinFind albums by this artist, drummers Leszek DudziakFind albums by this artist, Czeslaw BartkowskiFind albums by this artist and Tadeusz FederowskiFind albums by this artist and percussionist Jozef GawrychFind albums by this artist. Three Swedish musicians also participate: saxophonist Bernt RosengrenFind albums by this artist, trombonist Eje ThelinFind albums by this artist and drummer Rune CarlssonFind albums by this artist.
Overall this is a collection of brilliant music, superbly performed, which is an absolute revelation to anybody who loves Jazz. It is a fundamental piece of every decent Jazz record collection.
The recordings are splendidly restored and remastered and nicely packaged in an elegant digipak / slipcase. Dates, places and lineups are faithfully included and even personal liner notes by young Polish Jazz critics are present, but there is no in-depth background material about Komeda and his music, however considering the plentitude of published material and several excellent books on the subject, an intelligent listener can easily bridge the knowledge gap. The only small reservation one might have is the fact that these recordings have been already released many times, more or less legally on the somewhat untamed Polish music market, which means they is already owned by the serious Polish Jazz collectors, probably more than once.
| | | CD 1 Digipak Slipcase Remastered Recommend To A Friend |
  | KRZYSZTOF KOMEDA ~ KRZYSZTOF KOMEDA W POLSKIM RADIU VOL.04 – SOPHIA`S TUNE
POLSKIE RADIO 1864 (Barcode: 5907812248642) ~ POLAND ~ Jazz
Recorded: 1963 - 1964 Released: 2014
This is the fourth installment in a new series of albums launched by the Polish Radio, which presents radio recordings by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist. Komeda is of course the most familiar name associated with Polish Jazz and his legacy is of crucial importance to Polish and European Jazz. Considering the fact that Komeda´s studio recordings are relatively scarce, the radio recordings are in fact the main source of his recorded legacy, as they include among others the Jazz Jamboree festival appearances by Komeda and his various ensembles over the years.
Recorded in 1963 and 1964 during the sixth and seventh edition of the seminal Jazz Jamboree Festival in Warsaw, this collection showcases the legendary Komeda Quintet, which in many respects was the quintessential vehicle, which presented Komeda´s music at its pinnacle. The quintet included, besides Komeda of course, trumpeter Tomasz StankoFind albums by this artist, saxophonist Michal UrbaniakFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist, who play on both dates, and bassist Maciej SuzinFind albums by this artist who plays on the 1963 date and Janusz KozlowskiFind albums by this artist who plays on the 1964 date. The album includes only five compositions, all originals by Komeda, which get an extended treatment which stretches around seventeen minutes for three of the tunes, twelve minutes for the fourth and six minutes for the tune which gives the album its titles, dedicated to Komeda´s wife Zofia.
This is obviously some of the most important Jazz music recorded in Poland during the early days of modern Polish Jazz, but also some of the most important European Jazz, which was shaping out at the time as a new wave of independent thinking, based on American Jazz tradition, but expanding the known realm with new ideas and European legacy, melancholy, folklore and other prominent factors, which eventually were to create a completely new genre altogether. Komeda´s outstanding ability to weave beautiful melodies, combined with the virtuosity of his quintet´s members, reach unprecedented emotional and aesthetic levels, which to this day can hardly be matched.
This music is a cradle of modern European Jazz, ultra modern and even Avant-Garde at the time, which almost completely rebels against American mainstream Jazz, simply doing whatever feels right, in complete disregard of conventions and stylistic limitations. The tunes develop almost spontaneously, often from a riff or a chord sequence, which hints of the melodic theme, which is often developed later on and sometimes remains hidden behind the chord changes and is never actually stated in full. The rhythmic patterns change several times during each tune, often without warning. Such dramatically novel approach is amazingly bold even today, almost fifty years later.
Overall this is a collection of excellent Jazz music, superbly performed, which is an absolute delight to anybody who loves Jazz. It is a fundamental piece of every decent Polish Jazz record collection, especially in the case of the younger generation of listeners, which is just getting acquainted with the enormous legacy of Polish Jazz.
The recordings are splendidly restored and remastered and nicely packaged in an elegant digipak / slipcase. Dates, places and lineups are faithfully included and even personal liner notes by Polish Jazz critic Maciej NowotnyFind albums by this artist are present, but there is no in-depth background material about Komeda and his music, however considering the plentitude of published material and several excellent books on the subject, an intelligent listener can easily bridge the knowledge gap. The only small reservation one might have is the fact that these recordings have been already released many times, more or less legally on the somewhat untamed Polish music market, which means they is already owned by the serious Polish Jazz collectors, probably more than once.
| | Updated: 12/04/2019Posted: | CD 1 Digipak Slipcase Remastered Recommend To A Friend |
  | KRZYSZTOF KOMEDA ~ KRZYSZTOF KOMEDA W POLSKIM RADIU VOL.05 – MUZYKA BALETOWA I FILMOWA - CZESC DRUGA
POLSKIE RADIO 1865 (Barcode: 5907812248659) ~ POLAND ~ Jazz
Recorded: 1961 - 1964 Released: 2015
This is the fifth installment in a new series of albums launched by the Polish Radio, which presents radio recordings by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist. Komeda is of course the most familiar name associated with Polish Jazz and his legacy is of crucial importance to Polish and European Jazz. Considering the fact that Komeda´s studio recordings are relatively scarce, the radio recordings are in fact the main source of his recorded legacy, as they include among others the Jazz Jamboree festival appearances by Komeda and his various ensembles over the years.
Eight of the ten tracks on this album were recorded between 1961 and 1964 during the forth to seventh edition of the seminal Jazz Jamboree Festival in Warsaw, this collection showcases legendary Komeda ensembles (quintet / trio), which in many respects were the quintessential vehicles, which presented Komeda´s music at its pinnacle. Two additional tracks were recorded in the Polish Radio Studio, both featuring vocals, the second of which is especially interesting as it presents an early recording by vocalist Urszula DudziakFind albums by this artist.
The musicians, besides Komeda of course, include top Polish Jazz musicians at the time: trumpeter Tomasz StankoFind albums by this artist, saxophonist Michal UrbaniakFind albums by this artist, bassists Maciej SuzinFind albums by this artist and Roman DylagFind albums by this artist, drummer Czeslaw BartkowskiFind albums by this artist, vocalist Wanda WarskaFind albums by this artist and others, as well as Swedish musicians: saxophonist Bernt RosengrenFind albums by this artist and drummer Rune CarlssonFind albums by this artist.
The music is of course selected to reflect Komeda´s involvement with composing music for cinema, theatre and ballet. A few bonus tracks are also added, which are not connected with the above, but present rarely heard Komeda´s recording. Overall this is a collection of excellent Jazz music, superbly performed, which is an absolute delight to anybody who loves Jazz. It is a fundamental piece of every decent Polish Jazz record collection, especially in the case of the younger generation of listeners, which is just getting acquainted with the enormous legacy of Polish Jazz.
The recordings are splendidly restored and remastered and nicely packaged in an elegant digipak / slipcase. Dates, places and lineups are faithfully included and even personal liner notes by Polish Jazz critic Filip KosinskiFind albums by this artist are present, but there is no in-depth background material about Komeda and his music, however considering the plentitude of published material and several excellent books on the subject, an intelligent listener can easily bridge the knowledge gap. The only small reservation one might have is the fact that these recordings have been already released many times, more or less legally on the somewhat untamed Polish music market, which means they is already owned by the serious Polish Jazz collectors, probably more than once.
| | | CD 1 Digipak Slipcase Remastered Recommend To A Friend |
  | KRZYSZTOF KOMEDA ~ PRAWO I PIESC – SOUNDTRACKS FROM JERZY HOFFMAN / EDWARD SKORZEWSKI MOVIES
POWER BROS 00203 (Barcode: 5906295856443) ~ POLAND ~ Jazz
Recorded: 1964 - 1965 Released: 2009
Although primarily identified as the soundtrack composer of the movies directed by Roman PolanskiFind albums by this artist, Polish pianist / composer Krzysztof KomedaFind albums by this artist cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country´s intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. Komeda´s soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. All the albums with Komeda´s soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda´s tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtrack of the movie "Prawo I Piesc (The Law And The Fist)" by directors Jerzy HoffmanFind albums by this artist / Edward SkorzewskiFind albums by this artist, two soundtracks to animated movies "Sztandar (Standard)" / "Rondo (Roundabout)" by director Miroslaw KijowiczFind albums by this artist and the soundtrack to the movie "Pingwin (The Penguin)" by director Jerzy Stefan StawinskiFind albums by this artist. Brilliant stuff!
| | | CD 1 Remastered Recommend To A Friend |
  | KRZYSZTOF KOMEDA ~ PRZERWANY LOT – SOUNDTRACKS FROM LEONARD BUCZKOWSKI MOVIES
POWER BROS 00205 (Barcode: 5906295856450) ~ POLAND ~ Jazz
Recorded: 1963 - 1964 Released: 2009
Although primarily identified as the soundtrack composer of the movies directed by Roman PolanskiFind albums by this artist, Polish pianist / composer Krzysztof KomedaFind albums by this artist cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country´s intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. Komeda´s soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. All the albums with Komeda´s soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda´s tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtracks of two movies "Smarkula (Chit Of A Girl)" and "Przerwany Lot (The Broken Flight)" by director Leonard BuczkowskiFind albums by this artist. Brilliant stuff!
| | | CD 1 Remastered Recommend To A Friend |
  | KRZYSZTOF KOMEDA ~ SOPHIA`S TUNE
POWER BROS 00167 (Barcode: 4011550716729) ~ POLAND ~ Jazz
Recorded: 1965 Released: 1998
This album presents a live recording by a quintet led by Polish pianist / composer Krzysztof KomedaFind albums by this artist, the legendary Godfather of Polish Jazz, recorded live at the Copenhagen Montmartre Jazz club. At that time Montmartre was one of the most important European Jazz venues and had the privilege of hosting the crème de la crème of worldwide Jazz performers, which testifies as to Komeda´s reputation in Scandinavia. The quintet also includes trumpeter Tomasz StankoFind albums by this artist, saxophonist Michal UrbaniakFind albums by this artist, Danish bassist Bo StiefFind albums by this artist and drummer Simon KopelFind albums by this artist. They perform three original Komeda compositions, one of which ("Svantetic") gets an expanded treatment of over 20 minutes. The same composition was recorded later the same year as part of the legendary "AstigmaticFind albums with this title" album. The remaining two compositions are: "Repetition", which was recorded a couple of years later on the also legendary "Meine Susse Europaische Heimat" album of Jazz and Polish poetry (produced by Joachim BerendtFind albums by this artist) and "Sophia´s Tune" dedicated to Komeda´s wife Zofia. The performances are absolutely stunning as this is European Jazz at its absolute peak, eons ahead of its time and light-years ahead of anything else played at the time. Stanko´s trumpet, already at that time, prophesizes the fact that he will have no competitors, as we can witness now, almost 50 years later. Komeda´s music is so completely enthralling and engulfing that is remains completely untouched by time, resistant to fads and fashions and intrinsically timeless. This time capsule, which we are lucky to be able to listen to, is a Godsend. Absolutely essential!
Enhanced CD with CD-ROM contents!
| | | CD 1 Remastered Recommend To A Friend |
  | KRZYSZTOF KOMEDA ~ WYROK – SOUNDTRACK FROM JERZY PASSENDORFER MOVIE
POWER BROS 00197 (Barcode: 5906295856412) ~ POLAND ~ Jazz
Recorded: 1962 Released: 2009
Although primarily identified as the soundtrack composer of the movies directed by Roman PolanskiFind albums by this artist, Polish pianist / composer Krzysztof KomedaFind albums by this artist cooperated with the entire Polish film industry during the revolutionary days of the 1960s New Wave of Polish Cinema, producing a long list of incredible cinematic scores. The post-WWII Polish cinema, struggling with the destruction of the country´s intellectual fabric, the Socialist regime and the economic hardships, managed to produce some of the most outstanding works of modern cinematography, equal in their power of expression and revolutionary approach to cinema as a modern cultural media to the achievement of the great British, Scandinavian, French and Italian film makers at the same time. Komeda´s soundtracks to the Polish (and Scandinavian) films in the mid-1960s and later Hollywood movies by the end of the 1960s are all absolute masterpieces of style, expression and sheer genius in creating a story-telling, often nerve-wrecking melody lines and wonderful themes, which expanded the visual content of the films and added another emotional dimension. The music is of course strongly influenced by the Jazz idioms, often even being pure Jazz. It is performed mostly by Komeda himself, accompanied by the members of his Jazz combos at the time, like trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist and others. Sometimes larger instrumentation is also used, especially in the later scores. What is especially surprising and magical about this music is the fact that is stands alone as well as it functions as a part of the cinematic experience. All the albums with Komeda´s soundtracks are simply superb pieces of music and in retrospect constitute an incredible body of work of rarely equaled magnitude and importance. Komeda´s tragic and painfully premature death ended a career, which in many respects was at its early stage. This album includes the soundtrack of the movie "Wyrok (The Sentence)" by the director Jerzy PassendorferFind albums by this artist. Brilliant stuff!
| | | CD 1 Remastered Recommend To A Friend |
  | ROLF KUHN ~ SOLARIUS
EDEL CONTENT 4029759080473 (Barcode: 4029759080473) ~ GERMANY ~ Jazz
Recorded: 1964 Released: 2012
This is a reissue (first time on CD) of the seminal album by legendary German clarinetist / composer Rolf KuhnFind albums by this artist (born 1929), recorded with a quintet, which also included his younger brother pianist / composer Joachim KuhnFind albums by this artist (born 1944) and bassist Klaus KochFind albums by this artist and two Polish Jazz legends: saxophonist Michal UrbaniakFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist. The album presents six pieces: three original compositions by Rolf Kuhn, two original compositions by Joachim Kuhn and one arrangement of a folk tune.
Over the years this album achieved a legendary status and became a highly sought after collector´s item, because of its political implications, as well as being one of the earliest East European Jazz recordings and an important cornerstone of European Jazz in general. The album was recorded three years after the Berlin Wall, which divided the city until 1989, was constructed and served during that period not only as a symbol of division of Germany into two separate States living in a constant state of political tension, but in fact also as a symbol of the imaginary Iron Curtain, which divided the European Continent into two opposing political camps, engaged in the Cold War, which periodically threatened to become "hot".
Rolf Kuhn left East Germany (or DDR as it was called at the time) in 1950, shortly after Germany was split into two separate states, and moved to West Germany. For several years he lived and performed in the USA, establishing his position as one of the top clarinet players in the world. Upon his return to West Germany he continued his prolific career. Meanwhile his younger brother Joachim Kuhn lived in DDR and led his own trio, which was a pioneering Free Jazz outfit at the time.
The fact that the meeting of the Kuhn brothers captured on this album happened is one of those "against all odds" situations that often happened in East Europe. This was by all means a meeting of the Giants of East European modern Jazz, with Urbaniak arriving from the legendary Krzysztof KomedaFind albums by this artist quintet, Bartkowski from the no less legendary Zbigniew NamyslowskiFind albums by this artist quartet, Koch who played in the Joachim Kuhn trio and finally the two brothers, who despite the age difference are true musical twins.
Together the quintet plays some of the best modern European Jazz ever captured on record, with great melodies expanded into lengthy solos played perfectly by all the musicians involved. Listeners familiar with the Polish Jazz scene will find this music quite similar to the Komeda and Namyslowski albums receded around that time, which present the same formula and even sound very similar to this album. Rolf Kuhn plays some of the best Jazz clarinet ever and no true Jazz connoisseur can honestly afford not to have this album in his collection.
The rapport and incredible telepathic communication between these musicians, as well as the incredibly tight musical environment that pushed the players to their limits resulted in one of the all time best Jazz albums recorded in East Europe, which lost absolutely nothing of its beauty and incredible power in the five decades that passed since.
They don´t make music like that any more, which means this is an absolute must and an essential piece of music history!
Side Note: As all the East European countries under the Socialist regime, East Germany, or DDR as it was known at the time, had only one state owned and controlled Music Company, which released most of its productions on the AmigaFind albums on this label label. Among the many Amiga releases the legendary "orange J" series was dedicated to Jazz recordings, many of which were licenses from the West, but others were original productions, mostly of Jazz made in DDR. Some of these releases, like the one described above, were absolute gems.
Following the unification of Germany, the Amiga albums disappeared from the face of the earth and only in 2012 a German label reissued 15 Amiga Jazz albums on CD. They are all worth checking out!
| | Updated: 11/05/2016Posted: 22/03/2016 | CD 1 Essential Recommend To A Friend |
  | ALEKSANDRA KUTRZEPA ~ IMPRESSIONS
NOT ON LABEL ~ POLAND ~ Avant-Garde Jazz-Rock Fusion
Recorded: 2018 Released: 2018
This is the debut album by Polish Jazz violinist / composer Aleksandra KutrzepaFind albums by this artist recorded in a quartet setting with guitarist Bartlomiej GarczynskiFind albums by this artist, bassist Michal StudniarekFind albums by this artist and drummer Robert KutrzepaFind albums by this artist. Vocalist Anna GadtFind albums by this artist and pianist Patryk CzyzewskiFind albums by this artist appear as guests on selected tracks. The album presents eight original compositions, all by Alexandra Kutrzepa.
The music offers a series of contemporary Polish Jazz compositions, full of lyricism, melancholy and even romanticism, all developing slowly and based on solid melodic themes. Stylistically the music displays a strong touch of Fusion, especially when the guitar is featured up front, but also due to the unique sound and manner of playing the violin that Kutrzepa utilizes, which has strong ties with the French Fusion violin school (Jean-Luc PontyFind albums by this artist / Didier LockwoodFind albums by this artist) rather than with the Polish Jazz violin school (Zbigniew SeifertFind albums by this artist / Michal UrbaniakFind albums by this artist).
As already mentioned above, Kutrzepa manages to achieve a unique and very personal violin sound and mannerism, which is quite different from the numerous other young generation Polish Jazz violin players, and which is quite remarkable by itself. She is very aloof, minimalist and reserved creating incredible tension and anticipation, which is extremely effective.
The rest of the players on the album are all highly professional and talented. Garczynski serves as a contrast to Kutrzepa´s laid-back phrasing with his energetic and expressive solos, like a musical cold-hot or yin-yang seesaw. The rhythm section supports the soloists amicably and displays inventive and fully responsible ensemble playing, always solid and reliable. The guests add spice and panache to the proceedings, as expected, with Gadt taking the music slightly towards more imaginary ground on the last track with her beautiful vocal contributions. Personally this is my favorite piece on the album and perhaps points towards the direction the music might take in the future.
Overall this is an excellent debut offering, obviously well planned and rehearsed, original and ambitious, and most importantly offering elements previously unheard and exploring uncharted territory, which after all happens quite rarely. For lovers of intelligent Fusion this album is a true gem and should not be missed, and judging by the potential it displays, Kutrzepa is definitely a Lady to keep a close watch on, both as a composer and a player, which I definitely intend to do in the future, wishing her all the best on the way.
| | Updated: 18/12/2018Posted: 18/12/2018 | CD 1 Digipak Recommend To A Friend |
  | ADAM MAKOWICZ ~ UNIT (POLISH JAZZ VOL. 35)
WARNER MUSIC POLAND 190296509773 (Barcode: 190296509773) ~ POLAND ~ Jazz
Recorded: 1973 Released: 2022
This is a reissue / remaster of the debut album as a leader by the Polish Jazz pianist / composer Adam MakowiczFind albums by this artist. The album was recorded in a duo setting with drummer Czeslaw BartkowskiFind albums by this artist and presents ten tracks, eight of which are original compositions by Makowicz, one is co-composed with Bartkowski and one is a standard.
At the time the album was recorded both Makowicz and Bartkowski were members of the group led by Polish Jazz violinist / composer Michal UrbaniakFind albums by this artist, which also included Urbaniak’s wife, vocalist Urszula DudziakFind albums by this artist. Makowicz and Dudziak recorded, just four months before this album was recorded, the legendary duo album “Newborn LightFind albums with this title”, which was later also released in the US by ColumbiaFind albums on this label, paving Makowicz career across the pond, where he moved in 1977, first to NY and later to Toronto. Makowicz is the only Polish Jazz musician, who managed to establish a significant career in the US, although many others tried to do so over the years.
Makowicz was always deeply rooted in the American Jazz tradition and his music stayed mostly within the mainstream idiom, emphasizing the melodic approach. His stint with Urbaniak was, in retrospect, the most adventurous period of his career. A piano / drums duo was quite an innovative and daring idea at the time, and remains a rare bird to this very days, with just a few recordings capturing such a cooperation. There is no doubt that in this case the stars were smiling upon these two musicians, and the music they recorded still sounds innovative and interesting, despite the five decades that passed since. With Bartkowski celebrating his 80th Birthday just a couple of days ago and both of them still alive and playing music, this reissue is a nice reminder of their early work.
Overall, as all the albums in the Polish Jazz series, this is an important document of the development of the genre against all odds. A great example of the “Art of the Duo” idiom and definitely an album worthy of honorable position in every serious Jazz collection, certainly a must for Polish Jazz enthusiasts.
Side Note
The iconic "Polish Jazz" series of recordings, originally released between 1965 and 1989 by the Polish state owned record company Polskie NagraniaFind albums on this label, which used the MuzaFind albums on this label label as its moniker, consists of seventy six LP albums. It presents the history of Polish Jazz recordings during that period, which includes some of the most important Polish / European modern Jazz milestones and reflects the extraordinary development of Jazz music behind the Iron Curtain. It is one of the most important historic documents of Polish Music and of course Polish Culture in general.
The series had an eminent logo designed by Roslaw Szaybo and the albums were numbered sequentially from Vol.1 to Vol.76 accordingly. The album's artwork was wonderfully stylish and modernist, featuring the brilliant photographs and characteristic design by the legendary Polish Artist Marek Karewicz.
Stylistically the series presented all Jazz genres, from Traditional Jazz to Avant-Garde / Free Jazz, which was extraordinarily liberal considering the cultural censorship imposed by the Socialist Regime. It suffered from some inconsistency, as far as the musical quality and aesthetics were concerned, as well as the internal "politics" of the Polish Jazz scene at the time, but in retrospect it achieved a spectacular overall result, unparalleled as far as consistently documenting a national Jazz scene is concerned.
After the Polskie Nagrania catalogue was bought by Warner Music PolandFind albums on this label, the new owner started a reissue process of the Polish Jazz series, carefully remastered, repackaged and including extensive liner notes, which keeps the artwork as close to the original design as possible. So far forty four volumes of the original series were reissued.
In 2016 Warner Music Poland decided to continue the original series by releasing new contemporary Polish Jazz recordings under the same format and even to continue the sequential numbering starting with Vol.77 – a decision I personally consider almost sacrilegious. Some things are simply untouchable, and the "Polish Jazz" series is surely one of those things. If Warner Music Poland wants to produce Jazz albums, which is always more than welcome, they could have started a new series, under a new title, rather than exploiting the reputation of the historic series.
As a result, some artist whose albums are released as part of the new series might be led to expect instant gratification, fame and stardom, just for being an artificial part of a prestigious past, which of course is as bogus as it is sad.
| | Updated: 23/04/2023Posted: 21/04/2023 | CD 1 Digipak Remastered Recommend To A Friend |
  | ZBIGNIEW NAMYSLOWSKI ~ NAMYSLOVSKI
INNER CITY 1048 (Barcode: 077712710480) ~ POLAND ~ Jazz-Funk Fusion
Recorded: 1977 Released: 2010
This is a reissue of the first of the two albums by the Polish Jazz saxophonist / composer / bandleader Zbigniew NamyslowskiFind albums by this artist released by the American Inner CityFind albums on this label label. He is accompanied by Polish Jazz musicians: pianist Slawomir KulpowiczFind albums by this artist, bassist Pawel JarzebskiFind albums by this artist and drummer Janusz StefanskiFind albums by this artist. The album presents eight original compositions, all by Namyslowski.
Namyslowski, who was one of the Godfathers of the modern Polish Jazz scene and remained one of its prominent leaders for decades, was a musical pioneer, who introduced into Polish Jazz innovations such as Jazz-World Fusion and other attempts to fuse Jazz with different musical genres. He was a prolific composer and an educator, and his groups were one of the most important “stables’, producing generation after generation of young Polish Jazz musicians.
The music on this album presents some of his cross-genre explorations, and of course the incredibly high level of the Polish Jazz musicians, which was a complete surprise for American Jazz listeners, who mostly completely dismissed Jazz originating from outside of the US. Namyslowski was brought to the attention of the Inner City label by Michal UrbaniakFind albums by this artist, who recorded an album for the label a short time before this album was released.
Overall, this is a brilliant album, which withstands the test of time without any problem. It documents the attempt of Polish Jazz musicians to develop a career in the USA, which in retrospect achieved a very limited success, and led to almost all of them returning to Poland, leaving no impact whatsoever on the American Jazz scene, which of course is hardly surprising. However, it produced some memorable recordings, this being one of them. For Polish Jazz fans this is a gem worth visiting!
| | Updated: 23/05/2022Posted: 23/05/2022 | CD 1 Recommend To A Friend |
  | NEW TRIO ~ SIMULTANEOUS ABSTRACTIONS
TMP 003 (Barcode: 5905912558340) ~ POLAND ~ Jazz
Recorded: 2009 Released: 2010
This is one of those unexpected albums, which fall on your head like a sledgehammer… The album was recorded by a Polish trio, which calls itself rather ambiguously New TrioFind albums by this artist, and consists of brothers: Mateusz SmoczynskiFind albums by this artist – violin and Jan SmoczynskiFind albums by this artist – Hammond organ and drummer Alex ZingerFind albums by this artist. I admit being a little puzzled by the "new" part of their name, but a couple of minutes into the music made everything abundantly clear; they are a new / updated version of the fabulous 1960s French trio, which included violinist Jean-Luc PontyFind albums by this artist, organist Eddy LouissFind albums by this artist and drummer Daniel HumairFind albums by this artist. That revolutionary trio, one of the great precursors of European Jazz, which combined the art of improvisation with the great European music tradition, serves as a model for New Trio, not only in its instrumental lineup, but also stylistically and sonically, as the album presents a wonderful "retro" sound, typical of the great 1960s recordings.
Of course the music is all new and almost entirely original, composed mostly by the organist, with a couple of tracks being co-composed by all three members and one standard – a breathtaking redemption of John ColtraneFind albums by this artist´s "Naima". The music is absolutely brilliant, admittedly not very adventurous, but with great melody lines, well developed themes and interesting rhythmic variations.
The performances are excellent as well, with all three musicians being obvious virtuosi on their respective instruments and the trio being blessed with great rapport and telepathic mind-reading between its members. Of course the sound of violin is capable of melting even the iciest of hearts, and is used here with passion but also with great taste, not "overdoing it" on the sentimental side. The Hammond, one of my most beloved instruments, is the basis of all this music and with slightly enhanced sonic capabilities proves its vitality and enormous rage of possibilities, which should be envied by any of the modern / electronic keyboard super-machines. The drums bear an enormous responsibility in this music, providing both the rhythmic backbone and the wonderful ornamentation, without being overzealous.
In short, this music is just perfect the way it is, which happens unfortunately quite rarely. Of course there is also the "Polish connection" in the background, especially the Polish Jazz violin tradition, which must have had its influence here. Therefore an attentive listener will be able to catch glimpses of Michal UrbaniakFind albums by this artist and Zbigniew SeifertFind albums by this artist in this music, but only symbolically and never used overtly as plagiarisms. I urge every Jazz lover to get hold of this wonderful album pronto, especially those of you who love violin and / or the Hammond organ. This is an invigorating, intelligent and beautiful piece of music, which should be enjoyed by as many music lovers as possible. A must!
| | Updated: 24/05/2017Posted: | CD 1 Digipak Recommend To A Friend |
  | NIEMEN ~ ENIGMATIC
MUZA 356 ~ POLAND ~ Progressive Rock
4th album from 1969. After 3 enormously successful albums with his group (Akwarele), Niemen decided to disband the group and start a new venture. He turned to his buddies in the Polish Jazz circles and soon recruited a stellar cast including the cream of the Polish Jazz players, such as Czeslaw BartkowskiFind albums by this artist (drums), Zbigniew NamyslowskiFind albums by this artist (sax) and even Michal UrbaniakFind albums by this artist (sax & flute). Strangely enough the resulting album is not a fusion album but a fully developed Prog album of rare beauty, complexity and awe-inspiring power. This time Niemen uses only poetry as his texts and each of the 4 long suites is designed to complement the lyrics perfectly. For non-Polish speaking public the lyrical part is sadly lost, but even so this is some of the most powerful Prog music ever recorded.
| | Updated: 19/09/2018Posted: | CD 1 Remastered Recommend To A Friend |
  | NIEMEN ~ MOURNER`S RHAPSODY
GREEN TREE 120 (Barcode: 4015689001206) ~ POLAND ~ Progressive Rock
Recorded: 1974 Released: 2003
This is the 4th and last album recorded by Polish singer / keyboardist / composer / lyricist / poet Czeslaw NiemenFind albums by this artist as part of his 4 albums deal with CBSFind albums on this label. Following the recording and release of the first three albums in Germany, CBS decided to pass the torch to the parent company in US, ColumbiaFind albums on this label Records, and this album was recorded in New York. Produced by one of Columbia’s resident producers Sol RabinowitzFind albums by this artist, who had a lot of experience with Jazz-Rock, and surrounded by some of the best US players at the time, the album had all the potential to become a monster hit, but alas things turned out differently. The music world was obviously not ready to accept a non-English speaking artist to the hall of fame, regardless of how good he really was. The players on the album include (among others) Jan HammerFind albums by this artist (drums), Rick LairdFind albums by this artist (bass), Steve KhanFind albums by this artist (guitar), John AbercrombieFind albums by this artist (guitar), Don GrolnickFind albums by this artist (keyboards) and another great Polish musician, violinist Michal UrbaniakFind albums by this artist. Niemen wrote all the music for this album, some of it new and some taken from his Polish releases. The sound quality and production are the best he ever had up to that point and the album is perfect in every respect, except perhaps for the producer’s effort to “Americanize” the final result in order to make it more accessible. This affected the slick sound the album (similar to many other Columbia albums at the time), but overall the album is an absolute knockout. Niemen’s complex, but beautiful melodies and his unique vocal delivery are completely unrivalled. The album’s title track (taken from the Polish album “EnigmaticFind albums with this title”) gets here an absolutely stunning new arrangement, using a choir to deepen the already profoundly dramatic atmosphere of the suite. In short, this is a monster album, sadly overlooked at the time by Western music community, but a momentous achievement for one of the most unique Artists on this planet. One can not even imagine what one is missing not ever listening to this album. Essential listening!
| | | CD 1 Remastered Essential Recommend To A Friend |
  | NIEMEN ~ ON STAGE 1970 / 1972
GREEN TREE 170 (Barcode: 4015689001701) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 1970 - 1972 Released: 2018
This is an archival album, which presents live recordings by the greatest Polish Rock / Fusion musician of all times, vocalist / keyboardist / songwriter Czeslaw NiemenFind albums by this artist. Two of the tracks were recorded during the 1970 Jazz Jamboree Festival in Warsaw and three other at the 1972 National Festival of Polish Song in Opole. Niemen was at the time at the absolute peak of his artistic creativity as well as at the top of his immense popularity. Four of the tracks time at about ten minutes and one at almost twenty minutes, and all offer extended instrumental improvisations by some of the best Polish Rock and Jazz musicians active at the time.
The 1970 tracks feature organist Jacek MikulaFind albums by this artist, guitarist Tomasz JaskiewiczFind albums by this artist, bassist Janusz ZielinskiFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist as well as a vocal trio and an ensemble comprising of top Polish Jazz musicians: saxophonists Zbigniew NamyslowskiFind albums by this artist, Janusz MuniakFind albums by this artist and Tomasz SzukalskiFind albums by this artist, violinists Michal UrbaniakFind albums by this artist and Zbigniew SeifertFind albums by this artist, trumpeter Tomasz StankoFind albums by this artist, bassist Bronislaw SuchanekFind albums by this artist and drummer Janusz StefanskiFind albums by this artist.
The 1972 tracks feature the core of what was to become the most famous Polish Fusion band SBBFind albums by this artist: bassist / keyboardist Jozef SkrzekFind albums by this artist, guitarists Apostolis AnthimosFind albums by this artist and drummer Jerzy PiotrowskiFind albums by this artist and two great Polish Avant-Garde Jazz musicians: bassist Helmut NadolskiFind albums by this artist and trumpeter Andrzej PrzybielskiFind albums by this artist.
The music is absolutely stunning, as expected, and even the dubious sound quality of these recordings is not able to spoil the unadulterated pleasure this music is still able to generate almost fifty years after it was initially performed. Niemen was always light years ahead of his contemporaries on both sides of the Iron Curtain, and the fact that he remains still relatively anonymous beyond Eastern Europe, despite his revolutionary contributions and pioneering spirit, is a crying shame.
It is a great pity that the entire legacy of Niemen´s recordings made outside of Poland and many of his live recordings remain unreleased and are available only unofficially, like all the Green TreeFind albums on this label titles. His third Box Set, which was to include all these treasures, remains sadly an unfulfilled dream.
For all Polish Rock / Fusion enthusiasts as well as for the numerous Niemen fans this is an essential piece of his discography, which is definitely worth having, despite its technical flaws.
| | Updated: 07/09/2019Posted: 07/09/2019 | CD 1 Recommend To A Friend |
  | NOVI ~ FIVE, FOUR, THREE
GAD 025 (Barcode: 5901549197310) ~ POLAND ~ Jazz
Recorded: 1974 - 1975 Released: 2015
This is a reissue of the fifth album by the Polish Jazz vocal ensemble NOVIFind albums by this artist, recorded after the ensemble´s founder / leader / primary composer / arranger Bernard KawkaFind albums by this artist left Poland for the greener pastures of the Big Apple, following a whole wave of his compatriots, like Michal UrbaniakFind albums by this artist, Urszula DudziakFind albums by this artist, Adam MakowiczFind albums by this artist and others. Kawka´s departure seemed to have little impact on the remaining three members of the ensemble: Ewa WanatFind albums by this artist, Janusz MychFind albums by this artist and Waldemar ParzynskiFind albums by this artist. They immediately embarked upon the recording of this album, which as usual included original material, composed by Parzynski (seven of the nine compositions on this album) and Mych (the other two compositions). Three of the compositions included also lyrics (in English).
The ensemble was accompanied by an instrumental combo, which featured top Polish Jazz musicians: keyboardist Wojciech KarolakFind albums by this artist, guitarist Marek BlizinskiFind albums by this artist, bassist Pawel JarzebskiFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist, and the Polish Radio Jazz Studio OrchestraFind albums by this artist conducted by Jan Ptaszyn WroblewskiFind albums by this artist. In addition to the original album, this remastered edition includes four bonus tracks, two of which feature the vocalist Tomasz OchalskiFind albums by this artist, who expanded the ensemble to the original quartet lineup for a brief period. The original album was released only three years after it was recorded, which was an example of how political bureaucracy dictated the fate of musicians behind the Iron Curtain.
Musically this album was a continuation of the fantastic work they did on the previous releases, but the stress of loosing their leader and the confusion that followed is pretty obvious. The selection of material and inclusion of songs is obviously a step towards commercialism, but the album still presents several top-notch numbers, beautifully and skillfully executed, which stand up to par with their earlier work. But overall the glory days of NOVI were over and although they would record a couple of additional albums, they were moving further away from the revolutionary and innovative vocal achievements of their early days.
Considering the fact that this music has been unavailable for such a long time this is definitely another project by GADFind albums on this label Records, which deserves to be praised. NOVI fans will find this an indispensable part of their collection and hopefully we will get a complete set of NOVI reissues sometime in the future.
| | Updated: 13/10/2016Posted: | CD 1 Remastered Bonus Tracks Recommend To A Friend |
  | POLISH RADIO JAZZ ORCHESTRA / ANDRZEJ KURYLEWICZ ~ POLISH RADIO JAZZ ARCHIVES VOL.23
POLSKIE RADIO 1875 (Barcode: 5907812248758) ~ POLAND ~ Jazz
Recorded: 1964 Released: 2015
This is the twenty-third installment in the series of releases initiated by the Polish Radio, which presents archive Jazz recordings from the radio vaults. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well.
The nineteen tracks collected here were recorded in 1964 by the Polish Radio Jazz OrchestraFind albums by this artist conducted by pianist / trumpeter / trombonist / composer Andrzej KurylewiczFind albums by this artist. Sixteen tracks were recorded by the Polish Radio Studio during various sessions and three were recorded live during the seventh Jazz Jamboree Festival. The orchestra included at the time several well known musicians, like saxophonists Michal UrbaniakFind albums by this artist and Zbigniew NamyslowskiFind albums by this artist, vibraphonist Jerzy MilianFind albums by this artist and others. The material is a mixture of Jazz standards (five tracks) and original compositions by Polish Jazz composers: Jan Ptaszyn WroblewskiFind albums by this artist (six tracks), Jerzy Milian (three tracks), Andrzej Trzaskowski (two tracks), Edward DylagFind albums by this artist (two tracks) and Michal Urbaniak (one track).
The arrangements and orchestrations are firmly based in the American Big Band tradition, but the overall sound of the orchestra already shows the European approach and the majority of original compositions reflects the tendency to find a new path, which will take big format Jazz another step forward in the years to follow. Of course the individual performances, soloing and orchestral harmonization are all top-notch. In the historic perspective this is a superb document of the transition between the American influenced Jazz and the emancipated European Jazz that is about to erupt, including the big format Jazz environment. Trzaskowski, of course, was definitely one of the pioneers of this new movement, and his influence was crucial as far as the Polish Jazz is concerned, prompting and leading it to make the shift.
The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must.
| | | CD 1 Digipak Remastered Recommend To A Friend |
  | KRZYSZTOF SADOWSKI ~ NA KOSMODROMIE
GAD 030 (Barcode: 5901549197389) ~ POLAND ~ Jazz
Recorded: 1972 Released: 2015
This is a reissue (first time on CD) of the second album by Polish Jazz keyboardist / composer Krzysztof SadowskiFind albums by this artist recorded with an ensemble called Organ GroupFind albums by this artist, which also included flautist / vocalist Liliana UrbanskaFind albums by this artist, Dutch trumpeter Eddie EngelsFind albums by this artist, saxophonist Wlodzimierz NahornyFind albums by this artist, bass guitarist Pawel DabrowskiFind albums by this artist, drummer Tomasz ButowttFind albums by this artist and congas player Jozef GawrychFind albums by this artist.
This album was not released at the time as part of the legendary "Polish Jazz" series, for reasons that are way beyond the scope of this text. The original album included only six tracks, the first of which gave the album its title and was a twenty minutes long six parts suite originally found on side A of the LP. The five tracks on side B were all much shorter. All the compositions were originals, four composed by Sadowski and one each by Nahorny and Engels. This remastered reissue adds three bonus tracks recorded at the Polish Radio.
By the time this album was released the Polish Jazz scene was in a state of upheaval, torn between two extremes: Free Jazz on one side and Jazz-Rock Fusion on the other. Strangely this album presents a bit of both, since although conceptually belonging to the Jazz-Rock Fusion genre it features a few Free Form solos. Obviously Sadowski was shifting his organ playing stylistics from the traditional influences (Jimmy SmithFind albums by this artist) towards (then) contemporary keyboard approach represented by Herbie HancockFind albums by this artist or Weather ReportFind albums by this artist´s Joe ZawinulFind albums by this artist. The use of vocalese, which was one of the trademarks of Polish Jazz at the time, utilized extensively by Urszula DudziakFind albums by this artist in Michal UrbaniakFind albums by this artist´s ensemble, is only one of the parallels between these two pioneering Fusion bands active at the time.
The space exploration, which seems a bit strange as a subject matter of a Jazz album, was at the time one of the main pillars of the Socialist propaganda, which excitedly participated in the space race between USSR and USA, with an obvious winning side. Picking such a subject increased of course significantly the possibility to have one´s music released by the State controlled solitary record company in existence at the time in Poland (Polskie Nagrania).
In retrospect the albums is a great document of the time at which it was recorded, proving that in spite of the relative separation from what was happing beyond the Iron Curtain, Polish Jazz was responding rapidly to the changes in the Jazz idiom, often with ferocity and ingenuity, which were impossible to hold back by the political regime.
As usual it is my duty to thank GADFind albums on this label Records for taking care of the Polish Jazz heritage, who is sadly a lonely rider on that trail. This superb music definitely needs to be fondly remembered and discovered by new generations!
| | | CD 1 Remastered Bonus Tracks Recommend To A Friend |
  | SBB ~ SBB & MICHAL URBANIAK
POLSKIE RADIO 1982 (Barcode: 5907812249823) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 2015 Released: 2015
This is a live recording at Polish Radio Studio Three by the legendary Polish trio SBBFind albums by this artist (keyboardist / bassist / composer Jozef SkrzekFind albums by this artist, guitarist Apostolis AnthimosFind albums by this artist and drummer Jerzy PiotrowskiFind albums by this artist), who are joined on four tracks by no less legendary Polish violinist / composer Michal UrbaniakFind albums by this artist. The album presents nine compositions, most of them by Skrzek, which originate mostly from their early albums, which are now about forty years old.
I have attended a similar live gig by SBB at about the same time at the underground concert hall located in the "Guido" coal mine in Zabrze (Silesia) and my reflections are quite similar in both cases. SBB are a living legend and absolutely masterly musicians, who changed the face of Polish Music and even Polish Culture, but they continue to play the same material for far too long to be attractive any more. Of course the music is great and the atmosphere is electric, but every SBB fan has heard this music many times before. Even Urbaniak´s contributions, as electrifying as they are, make to impact whatsoever as to the basic feeling of déjà vu.
One very positive factor about this specific recording is the fact that this is the best sounding recording by SBB ever, which is perhaps good enough reason to buy this album. Other than that, nihil novi sub sole…
| | | CD 1 Digipak Recommend To A Friend |
  | MATEUSZ SMOCZYNSKI ~ EXPRESSIONS
TMP 002 (Barcode: 5905912553239) ~ POLAND ~ Jazz
Recorded: 2007 Released: 2008
This is the second album as a leader by the young Polish Jazz violinist / composer Mateusz SmoczynskiFind albums by this artist. Recorded with a superb quintet, which includes his brother Jan SmoczynskiFind albums by this artist on piano, guitarist Konrad ZemlerFind albums by this artist, bassist Wojciech PulcynFind albums by this artist and drummer Lukasz ZytaFind albums by this artist, the album presents his talent and obvious virtuosity to the fullest extent. Of the ten compositions included on the album Jan contributed four, Mateusz one, Wojciech another four and the last is credited to all quintet members.
The music is modern Jazz, which has solid roots in Jazz mainstream, but is open to glimpses of Free, which is not surprising since Mateusz points out John ColtraneFind albums by this artist as a major influence. Of course he also continues the Polish Jazz violin tradition, naming Zbigniew SeifertFind albums by this artist (who in turn was also strongly influenced by Coltrane) as another direct influence. However, attentive listening to his brilliant solos brings also memories of the other great Polish violinist, like Michal UrbaniakFind albums by this artist and Krzesimir DebskiFind albums by this artist and of course the French giant Jean-Luc PontyFind albums by this artist. Since recording this album, Mateusz recorded another superb album (again with his brother Jan) in a trio setting ("Simultaneous AbstractionsFind albums with this title"), participated in a Zbigniew Seifert tribute album ("A Tribute To Zbigniew SeifertFind albums with this title") and recorded with the Atom String QuartetFind albums by this artist. All these projects are impeccable pieces of intelligent, rewarding and highly aesthetic music and it seems that Mateusz is heading to the very top of the local (and perhaps also international) scene.
The album was recorded in the Studio Tokarnia owned by the Smoczynski brothers, and engineered and mastered by Jan. From several other Polish Jazz recordings I´ve heard, which were recorded there, one can hear that this is probably the best recording studio in the country and Jan (in addition to his musical abilities) as a great sound engineer. Well, it´s always a pleasure to give credit, where credit is due, as in this case. Altogether this is brilliant piece of music, which any Jazz connoisseur anywhere should cherish. Most warmly recommended!
| | | CD 1 Digipak Recommend To A Friend |
  | STANKO – MAKOWICZ UNIT ~ STANKO – MAKOWICZ UNIT FEATURING CZESLAW BARTKOWSKI
B.FREE 6097 ~ POLAND ~ Free Jazz / Improvised Music
Recorded: 1975 Released: 2016
This is a reissue of the little known album by the Polish Jazz ensemble Stanko – Makowicz UnitFind albums by this artist, released originally by a small independent German label JGFind albums on this label Records. It is one of the two albums this ensemble recorded, the other one being the eponymous album released by the legendary Polish label PoljazzFind albums on this label, which to this day was not reissued on CD. On this album the ensemble is a trio with Tomasz StankoFind albums by this artist on trumpet, Adam MakowiczFind albums by this artist on electric piano and Czeslaw BartkowskiFind albums by this artist on drums, whereas the Poljazz album was recorded by a quartet with Pawel JarzebskiFind albums by this artist on bass. Both albums have a completely different set of tunes on them. On this album the ensemble performs seven tunes, two each by Stanko and Makowicz, one credited to all three members of the ensemble and the remaining two being standards one each by John ColtraneFind albums by this artist and Miles DavisFind albums by this artist. The album´s artwork does not specify the date or place of the recording, except for stating that it was recorded in 1975, same as the Poljazz album. Since there is no applause one can assume it is a studio recording. Chronologically this album was recorded shortly before Stanko recorded his first album for ECMFind albums on this label ("BalladynaFind albums with this title" recorded December 1975), which was the jumpstart of his international career.
The music is typical of Stanko´s mid 1970s period, which marked his beautiful amalgamation of melody and Free Jazz excursions, dominated by his "dirty" hoarse sound, which was his trademark for many years. Makowicz, who was one of the leading pianists on the Polish scene at the time, before he left for the US, was an ideal partner for Stanko in this particular setup, using the electric piano he embraced while being a member of the Michal UrbaniakFind albums by this artist´s Fusion groups. Bartkowski, also a leading figure on the Polish scene, was a Master drummer and felt perfectly comfortable in any stylistic setting, supports the duo amicably.
Although the recording quality and the overall sound of this album is not as good as one might have hoped for, it is definitely perfectly acceptable, in contrast to what some "critics" wrote about this album over time. The same, or even more strongly, is valid as far as the musical contents and the playing are concerned, which are absolutely superb. This is one of the most intimate Stanko recordings ever, and his trumpet playing is leading the music boldly and authoritatively.
In retrospect this is a tremendous piece of history of the Polish / European Jazz and of course of Stanko´s contribution to the genre, as the leading Free Jazz trumpeter of the period. For Polish Jazz connoisseurs and Stanko followers this album is an absolute must have of course.
| | Updated: 28/04/2018Posted: 28/04/2018 | CD 1 Digipak Recommend To A Friend |
  | TOMASZ STANKO ~ TWET (POLISH JAZZ VOL.39)
MUZA 0939 ~ POLAND ~ Jazz
Recorded: 1974 Released: 2004
This monumental album by Polish Jazz trumpeter / composer Tomasz StankoFind albums by this artist in one of the most important releases on the legendary Polish Jazz series, which means it´s a truly stellar performance. It captures perfectly the soul of Stanko´s 1970s Free Jazz period, which culminated just a year later with the recording of the legendary "BalladynaFind albums with this title" album for ECMFind albums on this label, in almost identical lineup. Similarly to his Mentor, Krzysztof KomedaFind albums by this artist, Stanko always tried to work with musicians from other countries, even when the bureaucracy of the Socialist regime made it quite difficult. Like Komeda before him, he worked with musicians from the neighbor Scandinavian countries, finding a close friend and partner in the free-spirited Finnish legendary drummer Edward VesalaFind albums by this artist. Young Polish saxophonist Tomasz SzukalskiFind albums by this artist was given the position previously held by such giant musicians as Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist, which testifies to Stanko´s high confidence in him. The quartet was completed by the great American bassist Peter WarrenFind albums by this artist, who lived at the time in Europe and participated actively in the incredible European Jazz scene of that period. The album includes five pieces, credited to all four musicians and obviously largely improvised, with some limited preconceived melody lines barely audible under the surface. The unedited, "live in the studio" recording perfectly reflects the atmosphere of the session, with Free blowing and intense interplays, enthusiastically encouraged by Vesala´s howls and cries in the background. This is definitely a magic moment, captured for posterity on this recording, which has very few parallels, and therefore is so incredibly important. Stanko´s fans will of course find plenty of his superb trumpet performances here, which are second to none. Any European Jazz connoisseur, Polish Jazz enthusiast or Stanko aficionado must absolutely have this album!
| | | CD 1 Digipak Oversampling Remastered Essential Recommend To A Friend |
  | TOMASZ STANKO ~ TWET (POLISH JAZZ VOL.39)
POWER BROS 33860 ~ POLAND ~ Jazz
Recorded: 1974 Released: 1986
This monumental album by Polish Jazz trumpeter / composer Tomasz StankoFind albums by this artist in one of the most important releases on the legendary Polish Jazz series, which means it´s a truly stellar performance. It captures perfectly the soul of Stanko´s 1970s Free Jazz period, which culminated just a year later with the recording of the legendary "BalladynaFind albums with this title" album for ECMFind albums on this label, in almost identical lineup. Similarly to his Mentor, Krzysztof KomedaFind albums by this artist, Stanko always tried to work with musicians from other countries, even when the bureaucracy of the Socialist regime made it quite difficult. Like Komeda before him, he worked with musicians from the neighbor Scandinavian countries, finding a close friend and partner in the free-spirited Finnish legendary drummer Edward VesalaFind albums by this artist. Young Polish saxophonist Tomasz SzukalskiFind albums by this artist was given the position previously held by such giant musicians as Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist, which testifies to Stanko´s high confidence in him. The quartet was completed by the great American bassist Peter WarrenFind albums by this artist, who lived at the time in Europe and participated actively in the incredible European Jazz scene of that period. The album includes five pieces, credited to all four musicians and obviously largely improvised, with some limited preconceived melody lines barely audible under the surface. The unedited, "live in the studio" recording perfectly reflects the atmosphere of the session, with Free blowing and intense interplays, enthusiastically encouraged by Vesala´s howls and cries in the background. This is definitely a magic moment, captured for posterity on this recording, which has very few parallels, and therefore is so incredibly important. Stanko´s fans will of course find plenty of his superb trumpet performances here, which are second to none. Any European Jazz connoisseur, Polish Jazz enthusiast or Stanko aficionado must absolutely have this album!
| | | CD 1 Remastered Essential Recommend To A Friend |
  | ANDRZEJ TRZASKOWSKI ~ POLISH RADIO JAZZ ARCHIVES VOL.05
POLSKIE RADIO 1609 (Barcode: 5907812246099) ~ POLAND ~ Jazz
Recorded: 1962 Released: 2013
This is the fifth installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venue, the annual Jazz Jamboree Festival and many other festivals as well.
The material presented here presents the iconic figure of the post WWII Polish Jazz pioneer, pianist / composer Andrzej TrzaskowskiFind albums by this artist. Of the twelve tracks on this album, first five are live recordings from the 1962 Jazz Jamboree Festival and the remaining seven are studio radio recordings from the same year. The material was recorded by three different lineups: The WreckersFind albums by this artist quintet (which alternated bass players), which included saxophonists Zbigniew NamyslowskiFind albums by this artist and Michal UrbaniakFind albums by this artist, bassists Roman DylagFind albums by this artist or Juliusz SandeckiFind albums by this artist and drummer Adam JedrzejowskiFind albums by this artist, the Andrzej Trzaskowski Quintet, which had the same lineup as The Wreckers, except for drummer Andrzej DabrowskiFind albums by this artist and the Andrzej Trzaskowski Trio, which included bassist Roman Dylag and drummer Adam Jedrzejowski. The material includes both original compositions by Trzaskowski (four of the five live tracks) and modern Jazz standards.
Listeners familiar with the Polish Jazz history will of course notice immediately that the core of Trzaskowski´s group (Namyslowski and Urbaniak) was also the core of the soon to be formed revolutionary ensemble led by Krzysztof KomedaFind albums by this artist, and Dylag already played with Komeda as a member of his trio at the very same Jazz Jamboree 1962 Festival. This brings on the issue of the buried controversy as to who was in fact the pivotal Godfather figure of the Polish Jazz, Andrzej Trzaskowski or Krzysztof Komeda. Komeda (born 1931), who was a couple of years older from Trzaskowski (born 1933) but they both definitely belonged to the same generation, both dominated the scene in the late 1950s and early to mid 1960s and both were breaking new ground with their music, as performers and composers. Of course Komeda will go down in history as the overall winner of this little debated contest, due to his enormous international success as composer of film music, which Trzaskowski also dealt with but with a much lesser success.
Considering the fact that Trzaskowski´s recorded legacy is lamentably limited, this album is a superb addition to his heritage, especially in view of the top-form performances and fantastic remastering work, which makes the music herein sound fresh, clear and vibrant. Namyslowski and Urbaniak fans will also have a field day with this music, which documents the early days of their illustrious careers. This album is therefore a "must have" for any Polish Jazz fan, old and young alike, as this music is ageless and its historic significance is priceless.
| | | CD 1 Digipak Remastered Recommend To A Friend |
  | TURNING POINT ~ CREATURES OF THE NIGHT / SILENT PROMISE
VOCALION 8448 (Barcode: 765387844820) ~ UK ~ Jazz-Rock Fusion
Recorded: 1977 - 1978 Released: 2009
1st and 2nd albums by the great British Jazz-Rock Fusin ensemble Turning PointFind albums by this artist, one of the most interesting and unique phenomena of the late 1970s, formed by great bassist Jeff ClyneFind albums by this artist and vocalist Pepi LemerFind albums by this artist with saxophonist Dave TidballFind albums by this artist, pianist Brian MillerFind albums by this artist and drummer Paul RobinsonFind albums by this artist. The two albums represent the entire recorded output of the group, which disbanded following the recording of the second album as the musical scene at the time could no longer sustain ambitious music. The group´s music is a wonderful, typical British version of Jazz-Rock Fusion, which is based on clever compositions and virtuosic performances. The band had all that and more, as Lemer´s vocalese was quite unusual and the integration of the human voice as another instrument was rarely used, with the exception of Polish musicians Michal UrbaniakFind albums by this artist and Urszula DudziakFind albums by this artist in their bands. Therefore I´ve always kept a worm spot for this band in my heart and the fact that this music was unavailable for so many years was a crying shame, now corrected by the wonderful Vocalion label. This is a must for any true lover of the British Jazz and Jazz-Rock Fusion followers, but Canterbury fans will also find this music fascinating. Most warmly recommended!
| | | CD 2 Remastered Recommend To A Friend |
  | MICHAL URBANIAK ~ ATMA
UBX 1022 (Barcode: 884502405217) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 1974 Released: 2014
This is a reissue of the second US album by Polish Jazz violinist / composer Michal UrbaniakFind albums by this artist, released originally on the ColumbiaFind albums on this label label in 1974. It was recorded by the same group of Polish musicians, who played with Urbaniak since several years: his wife at the time, vocalist Urszula DudziakFind albums by this artist, keyboardist Wojciech KarolakFind albums by this artist, bassist Pawel JarzebskiFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist. American percussionist Ray MantillaFind albums by this artist also took part in the recording. The album presents ten tracks, all composed by Urbaniak, including the three parts suite that gave the album its title.
The music continues the development that Urbaniak presented on his recordings since the early 1970s, creating a unique Fusion of Jazz and Ethnic elements, mostly sourced from Polish Folklore. The distinctive instrumentation and the use of the idiosyncratic explosive vocals by Dudziak resulted in one of the most advanced Fusion albums of all times, which remains completely original and groundbreaking to this very day.
Although Urbaniak authored all the music there is no doubt that Dudziak added a crucial element to the final result. Her vocal pyrotechnics are absolutely stunning and without those the music would have never reached the expressive power it offers. Her solo vocals / electronics track reveals her imaginative abilities, which were fully exposed on her solo album "Newborn LightFind albums with this title" recorded in 1972 and later also released in US on Columbia.
There is no doubt that this music was light years ahead of its time, and being deeply based in European Jazz experimentation, which at the time of its release was almost completely misunderstood in the US, resulted in commercial failure on the US market, despite its superb musical achievement. In retrospect this album was undoubtedly the absolute peak of Urbaniak´s career, especially as a composer and pioneer of innovative music exploration. All three of the Urbaniak´s Columbia albums ("FusionFind albums with this title", "AtmaFind albums with this title" and "Fusion IIIFind albums with this title") can be combined as one of the most artistically successful album triptychs in Jazz / Fusion history.
This is an absolute must to all Fusion fans the world over, now more than ever, as the genre proved to run out of steam decades ago and absolutely nothing comes even close to the quality and the electrifying powers of the music included here. Grab it as long as you can get hold of a copy! Beyond essential!
| | Updated: 08/09/2019Posted: 08/09/2019 | CD 1 Digipak Remastered Essential Recommend To A Friend |
  | MICHAL URBANIAK ~ BODY ENGLISH
UBX 1017 (Barcode: 5099902839325) ~ POLAND ~ Jazz-Rock-World Fusion
Recorded: 1976 Released: 2014
This is a reissue of the only album by Polish Jazz violinist / composer Michal UrbaniakFind albums by this artist released originally on the AristaFind albums on this label label in 1976. Following Urbaniak´s departure from ColumbiaFind albums on this label after recording three albums for the label, he released just one album on the AtlanticFind albums on this label label in 1975 with a group called Funk FactoryFind albums by this artist (not bearing his name for contractual reasons) and moved on to Arista. The team that recorded the album included also his wife at the time, vocalist Urszula DudziakFind albums by this artist and excellent young American players: keyboardist Harold WilliamsFind albums by this artist, guitarist Joe CaroFind albums by this artist, bassist Basil FearringtonFind albums by this artist and drummer Steve JordanFind albums by this artist and a few guests. The album presents nine original compositions, all by Urbaniak.
Musically the album continues the direction of the Columbia and Atlantic albums, offering a unique blend of Jazz-Rock Fusion, which includes strong Polish Folklore influences in its melodic motifs. The sound is much more influenced by synthesizers than on any of the previous albums and Dudziak´s voice is much less prominent, but the stylistic similarity is consistent and easily recognizable. Urbaniak´s ability to combine Funk, Groove, Fusion and World Music influences set him apart from his contemporaries and in retrospect this album still sounds refreshing and fascinating.
The most intriguing aspect of this and the earlier albums mentioned above is the fact that Urbaniak, who arrived in the US just a short while ago, is more genuinely Funky, Groovy and Swinging than any of his US contemporaries, paving the way for Jazz-World Fusion more boldly than the "natives". As such he surely deserves the credit and appreciation for his innovative spirit.
For Funk and Fusion fans, this is an absolute must, a timeless album that keeps kicking the butt as forcefully as it at the time of its release over four decades ago.
| | Updated: 13/09/2019Posted: 11/09/2019 | CD 1 Digipak Recommend To A Friend |
  | 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 | CD 1 Digipak Recommend To A Friend |
  | MICHAL URBANIAK ~ FUSION
COLUMBIA 5099706552529 (Barcode: 5099706552529) ~ POLAND ~ Jazz-World Fusion
Recorded: 1973 - 1974 Released: 1998
This is a reissue of the first US album by Polish Jazz violinist / composer Michal UrbaniakFind albums by this artist, released originally on the ColumbiaFind albums on this label label in 1974. The album was actually recorded in Germany in June of 1973 and released that year by CBSFind albums on this label on the European market under the title "Super ConstellationFind albums with this title", since the group was called Michal Urbaniak ConstellationFind albums by this artist. The US release added one track recorded in the US by Urbaniak with American musicians, which was used as the title track of that edition. The Constellation was a quintet which included also Urbaniak´s wife at the time, vocalist Urszula DudziakFind albums by this artist, two keyboardists: Adam MakowiczFind albums by this artist and Wojciech KarolakFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist, all top Polish Jazz musicians at the time. Constellation recorded also a live album in May of 1973, called "In ConcertFind albums with this title", which was released in Poland as Vol. 36 of the legendary Polish Jazz series, and included mostly live versions of the same material that is included on this album. The album presents seven original compositions, six by Urbaniak and one by Karolak.
The album is one of the most unique Fusion albums of all time, presenting a sensational amalgam of Fusion and Polish Folklore, pioneering the Jazz-World Fusion idiom light years ahead of anybody else. Dudziak´s vocalese pyrotechnics were completely innovative at the time and the double keyboards lineup, which allowed usage of early electronic wizardry, topped with Urbaniak´s idiosyncratic violin sound created a tapestry of sound unmatched by any other group on both sides of the pond.
The fact that Columbia released the album was truly surprising, as this music is completely European at its very core, which usually was way above the heads of American music industry executives. It took a Jewish Columbia executive Sol RabinowitzFind albums by this artist and his visionary openness to give Urbaniak a chance on the US scene, which sadly did not last for very long. Urbaniak recorded two more albums for Columbia: "AtmaFind albums with this title" (1974) and "Fusion IIIFind albums with this title" (1975) before the label gave him the boot.
In retrospect this album remains to this very day as one of the best Fusion albums ever recorded and is an essential chapter in Fusion history. It is also one of the best Polish Jazz albums of all time. Sadly Urbaniak did not manage to repeat the Artistic peak he reached on the Columbia recordings and although he is still active today, his triumphant days are long gone.
| | Updated: 08/09/2019Posted: 30/07/2019 | CD 1 Remastered Essential Recommend To A Friend |
  | MICHAL URBANIAK ~ FUSION III
WOUNDED BIRD 3542 (Barcode: 664140354227) ~ POLAND ~ Jazz-Rock-World Fusion
Recorded: 1975 Released: 2012
This is a reissue of the third (and last) US album by Polish Jazz violinist / composer Michal UrbaniakFind albums by this artist, released originally on the ColumbiaFind albums on this label label in 1975. In retrospect it is also one of the best Fusion albums ever recorded on this planet. Urbaniak, a veteran of the Polish Jazz scene, first came to prominence as the member of the legendary groups led by the Godfather of Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist. While with Komeda, Urbaniak played the saxophone and switched to violin only after founding his own group in the late 1960s, when he also changed his musical direction from Modern / Free Jazz to Fusion, inspired by the groundbreaking innovations created at the time by Miles DavisFind albums by this artist.
In his group he included his wife, the extraordinary singer Urszula DudziakFind albums by this artist and together they quickly developed a completely unique type of Fusion, which was light years ahead of anything else happening in that genre at the time anywhere in the world. Mixing Jazz, Rock, Folklore and Avant-Garde vocals, they established a completely new approach to composition and multilayered complexity, as documented on the two albums the group recorded as part of the legendary "Polish Jazz" series of albums, which was simply brilliant.
Frustrated by the state of affairs in his country, which suffered under a Socialist Regime and harsh economic conditions, Urbaniak, like most of his colleagues, constantly looked for an opportunity to leave Poland and establish a career behind the Iron Curtain. He managed initially to record a couple of albums in West Germany for the SpiegeleiFind albums on this label label, but the real break came when Columbia offered him a recording deal. He and his wife left Poland and settled in the USA, as did several other Polish Jazz musicians at the time, like his ex group member pianist / composer Adam MakowiczFind albums by this artist for example.
The three albums Urbaniak recorded for Columbia (and several more for other US labels, especially the dazzling "Funk FactoryFind albums with this title" album recorded shortly after this one and also reissued on Wounded BirdFind albums on this label) were outstanding and simply much better than anything the local scene could muster, but unfortunately Urbaniak´s US career never really took off, same as the careers of all other Polish Jazz musicians who tried to make it there, in spite of their immense talents. The reason was simply the narrow-mindedness of the US Jazz community (listeners and critics alike), which considered Jazz to be exclusively an American Art Form and failed to recognize anything originating outside of the US as artistically valid and meaningful, even if it hit them in the face.
On this album Urbaniak is accompanied by top US Fusion players like guitarist John AbercrombieFind albums by this artist, bassist Anthony JacksonFind albums by this artist and drummer Steve GaddFind albums by this artist, as well as Polish compatriot keyboardist Wlodek GulgowskiFind albums by this artist. Guitarist Larry CoryellFind albums by this artist guests on one track, guitarist Joe CaroFind albums by this artist guests on another and Polish vocalist Bernard KafkaFind albums by this artist guests on yet another track. Drummer Gerald BrownFind albums by this artist replaces Gadd on two tracks. Dudziak´s vocals are simply out of this world and alone are worth listening to this album repeatedly.
Urbaniak wrote almost all the dazzling music except for three tracks: a Dudziak improvisation, a superb composition by Polish saxophonist Zbigniew NamyslowskiFind albums by this artist, which fits this album´s mood like a glove and one tune by Gulgowski.
As already said, this is timeless, heavenly, unparalleled music, which I´ve been listening to in the last almost 40 years without any trace of getting tired by it any time soon. This is an absolutely essential Fusion music, and anybody who has not heard this music does not know the true meaning of Fusion. God bless Wounded Bird for finally releasing this divine album on CD!
| | Updated: 11/09/2019Posted: | CD 1 Essential Recommend To A Friend |
  | MICHAL URBANIAK ~ INACTIN
UBX 1020 (Barcode: 888174593128) ~ POLAND ~ Jazz-Rock-World Fusion
Recorded: 1973 Released: 2014
This is a reissue of the second album recorded for the small German label SpiegeleiFind albums on this label by the ensemble headed by Polish Jazz saxophonist / violinist / composer Michal UrbaniakFind albums by this artist. The ensemble included also Urbaniak´s wife at the time, vocalist Urszula DudziakFind albums by this artist, keyboardist Adam MakowiczFind albums by this artist, bassist Roman DylagFind albums by this artist, drummer Czeslaw BartkowskiFind albums by this artist and Yugoslav percussionist Branislav KovacevFind albums by this artist. The album includes seven tracks, all composed by Urbaniak.
This album has several similarities to the live album Urbaniak and his ensemble recorded in 1973 in Poland, released as part of the legendary Polish Jazz series (Vol. 36) and entitled "In ConcertFind albums with this title", which in retrospect was one of Polish Jazz most significant and pivotal recordings and a giant milestone towards the discovery of Jazz-Rock Fusion on the local scene. Those two albums share several of the compositions and almost identical core lineup and most importantly the unique stylistic approach, which mixed Jazz, Rock, Electronics and Free Jazz in a way never previously attempted.
The Spiegelei contact, which also produced the album "Paratyphus BFind albums with this title" recorded a year earlier with the same lineup except for Pawel JarzebskFind albums by this artisti on bass, happened as a result of the success Urbaniak achieved in Europe touring there extensively in the early 1970s, which culminated with his appearance at the Montreux Jazz Festival in 1971 and winning there a first prize as instrumentalist, at the time still playing the saxophone. The switch to violin, which was Urbaniak´s original instrument, changed his career dramatically and marked the new period in his career. The entire period marks a turbulent time for Urbaniak and Dudziak, with their dramatic emigration to USA soon after.
The music Urbaniak´s group created was definitely one of the most innovative and adventurous experiments done at the time, surely by any musicians originating from behind the Iron Curtain. The freedom of expression, which originated in the Free Jazz, mixed with the use of electric instruments and electronic voice enhancements, emerged as some of the most exciting sounds then, and to same extent even today, almost four decades later. Urbaniak used Polish folk motifs and uneven meters to make things even more exciting and Dudziak´s visionary usage of the human voice was eons ahead of its time.
In retrospect the two Spiegelei albums and the three albums Urbaniak recorded for ColumbiaFind albums on this label in the USA during the years immediately after his arrival there remain to this very day as his strongest statements, with the body of work created by him and his groups in the early 1970s being unsurpassed.
The sonic quality of this album is rather Lo-Fi in today´s standards and it’s a pity that a proper remastering effort was not attempted. The album´s liner notes are pretty sketchy and such significant reissue surely deserves much better. Nevertheless this is an iconic piece of music and as such deserves to be listened to today, after being unavailable for a scandalously long period of time.
| | Updated: 01/06/2018Posted: | CD 1 Digipak Recommend To A Friend |
  | MICHAL URBANIAK ~ JAZZ LEGENDS 1
UBX 1013 (Barcode: 5905912551907) ~ POLAND ~ Jazz-Rap Fusion
Recorded: 1980 Released: 2014
This is a reissue of the album by Polish Jazz violin virtuoso / composer / bandleader Michal UrbaniakFind albums by this artist, originally released in the US in 1981 as "Music For Violin & Jazz QuartetFind albums with this title" and credited to the one time ensemble called NY5Find albums by this artist, which included Urbaniak and four distinguished American Jazz musicians: guitarist Ted DunbarFind albums by this artist, pianist Kenny BarronFind albums by this artist, bassist Buster WilliamsFind albums by this artist and drummer Roy HaynesFind albums by this artist. The album was released on the short-lived JAMFind albums on this label (Jazz America Marketing) label, founded by Richard SpringFind albums by this artist, and was the label´s first release with catalogue number 001. The album was produced by the legendary Jazz producer Michael CuscunaFind albums by this artist.
The album was recorded on December 17 & 18, 1980 following a week´s residency by the quintet at the renowned NY Village Vanguard club, where the music was polished live and readied to be recoded. The album presents eight tracks, three of which are original compositions by Urbaniak and five are standards
For Urbaniak, who arrived in NY from Poland in 1973, this album was an important milestone in his life-long quest to be recognized as a bona fide Jazz musician by his American idols and playing and recording with such luminaries was definitely a seal of approval. Although he recorded a stream of revolutionary albums earlier on, both in Poland and in the US, he was playing a unique Jazz-World Fusion / Funk, which was brilliant but not exactly recognized as "pure" American mainstream Jazz as such. Therefore this album was practically his first mainstream Jazz recording, symbolizing Urbaniak becoming a part of the "pack", or at least his hope to achieve that status, which in retrospect proved to be an impossible dream.
Listening to this album from a forty years perspective proves a few interesting aspects. Urbaniak was at his peak an absolutely amazing violin player, way better that any other violinist on the US scene at the time. His technique, impeccable aesthetics, superb groove and Swiss clock precision timing, combined with a natural feel for Jazz, improvisation and harmony set him apart from other Jazz musicians on the NY scene. He was also an absolutely brilliant composer, which is why his original compositions on this album are way more interesting than the rest of the material.
As for the contributions by the quartet; well they are exactly what one would expect from highly experienced and professional players – they do their job. They keep time, they solo adequately and they play the same way they have been playing always, regardless what gig was on, in short they play American Jazz.
Despite the effort, Urbaniak, even on this album, stays faithful to his basic instincts. The Polish melancholy, the childhood melodies and the European aesthetics are all still there for all see (and hear). Thank God for that!
Not surprisingly the original album sold poorly and was ignored by American media, soon to be deleted from the market. It is great to see it reissued by Urbaniak on his own UBXFind albums on this label label, as it surely deserves to be remembered and enjoyed!
| | Updated: 14/06/2020Posted: 14/06/2020 | CD 1 Digipak Recommend To A Friend |
  | MICHAL URBANIAK ~ SMILES AHEAD
UBX 1018 (Barcode: 5099901531725) ~ POLAND ~ Jazz-Rock-World Fusion
Recorded: 1976 - 1977 Released: 2012
This is a reissue of the first (of two) album by Polish Jazz violinist / composer Michal UrbaniakFind albums by this artist released on the legendary German MPSFind albums on this label label, which was produced by my Friend and Mentor Joachim BerendtFind albums by this artist, who had a deep understanding and love for Polish Jazz and who was instrumental in spreading the fame of Polish Jazz beyond the Iron Curtain. Of the eight tracks on this album, six were recorded at the famous Zuckerfabrik studio in Stuttgart / Germany in November of 1976 with vocalist (and Urbaniak´s wife at the time) Urszula DudziakFind albums by this artist, keyboardist Harold WilliamsFind albums by this artist, bassist Robert BunnFind albums by this artist and drummer Woody TheusFind albums by this artist (a.k.a. Transcending SonshipFind albums by this artist). Two additional tracks were recorded in NY in January of 1977, one of which was a duo with Urbaniak and Emmet ChapmanFind albums by this artist, the inventor of the Chapman stick, and the other was recorded by the same team that recorded the "Body EnglishFind albums with this title" album (i.e. Urbaniak, Dudziak, Williams, guitarist Joe CaroFind albums by this artist, bassist Basil FearringtonFind albums by this artist and drummer Steve JordanFind albums by this artist). Urbaniak composed or co-composed four of the pieces, Dudziak two and Williams and Bunn one each.
Under Berendt´s supervision, the album moves back into the most experimental and musically advanced aura of Urbaniak´s exploration of Jazz-Rock Fusion, Electronic and World Music influences, leaving somewhat aside the American Funk and Groove influences, which stylistically resembles the early recordings with ConstellationFind albums by this artist and the three ColumbiaFind albums on this label albums. Berendt, who was a great admirer of Urbaniak´s vocal wizardry, managed to bring back her contribution to the music, giving her an equally prominent role in the proceedings, with two superb unaccompanied solo pieces, a duo with Urbaniak and a strong vocal presence on the rest of the tracks, which overall played a decisive part in the album´s final result. The duo track with Chapman proves Urbaniak´s deep interest in innovation and electronic music development.
In retrospect this is surely one of the strongest Urbaniak´s recordings and a quintessential piece of Fusion history, which still remains unparalleled four decades later. The unique amalgam of musical influences combined with virtuosi performances and a freedom of expression rarely found in today´s music.
For Urbaniak and Polish Jazz fans this is an absolute must of course, but Fusion connoisseurs the world over should be aware of the fact that their record collection is truly incomplete without this album in their possession.
| | Updated: 29/12/2023Posted: 13/09/2019 | CD 1 Digipak Remastered Essential Recommend To A Friend |
  | MICHAL URBANIAK ~ SOUND PIECES
MOOSICUS 1223 (Barcode: 885513122322) ~ POLAND ~ Avant-Garde Jazz-Rock Fusion
Recorded: 1972 - 1973 Released: 2023
This is an expanded 3CD reissue / remaster of the two albums, “Paratyphus BFind albums with this title” and “InactinFind albums with this title”, recorded for the small German label SpiegeleiFind albums on this label by the ensemble headed by Polish Jazz saxophonist / violinist / composer / bandleader Michal UrbaniakFind albums by this artist. The ensemble included also Urbaniak´s wife at the time, vocalist Urszula DudziakFind albums by this artist, keyboardist Adam MakowiczFind albums by this artist, bassists Pawel JarzebskiFind albums by this artist (on the 1st album) and Roman DylagFind albums by this artist (on the 2nd album), drummer Czeslaw BartkowskiFind albums by this artist and Yugoslav percussionist Branislav KovacevFind albums by this artist. The 1st album included five tracks, four by Urbaniak and one by Makowicz, and the 2nd album included seven tracks, all composed by Urbaniak. Both albums are now combined as the twelve tracks of CD1.
CD2 and CD3 of this album present three tracks each, recorded live by Radio Bremen during a club performance on January 21, 1972, a few months before the two studio albums were recorded, and later released in 1973. The material covers the same material that was later recorded in the studio. The lineup playing live is the same as on “Paratyphus B”, except for Kovacev, who is not present.
“Inactin” has several similarities to the live album Urbaniak and his ensemble recorded in 1973 in Poland, released as part of the legendary Polish Jazz series (Vol. 36) and entitled "In ConcertFind albums with this title", which in retrospect was one of Polish Jazz most significant and pivotal recordings and a giant milestone towards the discovery of Jazz-Rock Fusion on the local scene. Those two albums share several of the compositions and almost identical core lineup and most importantly the unique stylistic approach, which mixed Jazz, Rock, Electronics and Free Jazz in a way never previously attempted.
The Spiegelei contact, which produced the two albums, happened as a result of the success Urbaniak achieved in Europe touring there extensively in the early 1970s, which culminated with his appearance at the Montreux Jazz Festival in 1971 and winning there a first prize as instrumentalist, at the time still playing the saxophone. The switch to violin, which was Urbaniak´s original instrument, changed his career dramatically and marked the new period in his career. The entire period marks a turbulent time for Urbaniak and Dudziak, with their dramatic emigration to USA soon after.
The music Urbaniak´s group created was definitely one of the most innovative and adventurous experiments done at the time, surely by any musicians originating from behind the Iron Curtain. The freedom of expression, which originated in the Free Jazz, mixed with the use of electric instruments and electronic voice enhancements, emerged as some of the most exciting sounds then, and to same extent even today, almost five decades later. Urbaniak used Polish folk motifs and uneven meters to make things even more exciting and Dudziak´s visionary usage of the human voice was eons ahead of its time. In retrospect her performances on this album remain unmatched to this very day, again five decades later.
In retrospect the two Spiegelei albums and the three albums Urbaniak recorded for ColumbiaFind albums on this label in the USA during the years immediately after his arrival there remain to this very day as his strongest statements, with the body of work created by him and his groups in the early 1970s being unsurpassed.
The album´s liner notes are pretty sketchy and such significant reissue surely deserves much better. Nevertheless, this is an iconic piece of music and as such deserves to be listened to today, after being unavailable for a scandalously long period of time.
Overall, this album is a dramatic statement in Jazz history, serving as a beacon to the fact that by the time it was recorded, Jazz development moved from America to Europe, never to return again. This music is so much advanced over anything happening beyond the pond, already at that time, and the fact that it originates from Easter Europe, from behind the Iron Curtain, proves that it has been finally liberated from American supremacy, or even perhaps enslavement. Any Jazz lover, who is not aware of this music, and sadly a vast majority is in that position, has very little understanding as what Jazz Music is all about.
| | Updated: 16/02/2024Posted: 16/02/2024 | CD 3 Mini-Sleeve Remastered Bonus Tracks Essential Recommend To A Friend |
  | MICHAL URBANIAK ~ URBANIAK
INNER CITY 1036 (Barcode: 077712710367) ~ POLAND ~ Jazz-Funk Fusion
Recorded: 1977 Released: 2008
This is a reissue of the only album recorded by the Polish Jazz violinist / saxophonist / composer / bandleader Michal UrbaniakFind albums by this artist for the American Inner CityFind albums on this label label, which followed his stint with ColumbiaFind albums on this label. He is accompanied by his wife at the time, vocalist Urszula DudziakFind albums by this artist and Polish saxophonist / composer Zbigniew NamyslowskiFind albums by this artist. The rest of the band comprised of American musicians: keyboardist Kenny KirklandFind albums by this artist, bassist Tony BunnFind albums by this artist and drummer Lurenda FeatherstoneFind albums by this artist. Both Dudziak and Namyslowski also released albums on Inner City. The album presents seven original compositions, three by Urbaniak and four by Namyslowski.
The music is a direct continuation of the innovative music Urbaniak recorded at the time, which combined Jazz, Funk and Polish Folklore. All the compositions are absolutely brilliant, since Namyslowski was also an excellent / prolific composer and followed a similar musical path at that time. The performances are also excellent, blending superb violin, vocalese and saxophone parts with the rest of the instrumental work. The rhythm section adds a Funky beat and both Urbaniak and Namyslowski play excellent solo parts throughout.
Overall, this is a brilliant album, which withstands the test of time without any problem. It documents the attempt of Polish Jazz musicians to develop a career in the USA, which in retrospect achieved a very limited success, and led to almost all of them returning to Poland, leaving no impact whatsoever on the American Jazz scene, which of course is hardly surprising. However, it produced some memorable recordings, this being one of them. For Polish Jazz fans this is a gem worth visiting!
| | Updated: 02/06/2022Posted: 21/05/2022 | CD 1 Recommend To A Friend |
  | MICHAL URBANIAK / CONSTELLATION ~ IN CONCERT (POLISH JAZZ VOL.36)
MUZA 1036 ~ POLAND ~ Jazz-Rock-World Fusion
Recorded: 1973 Released: 2005
This is a reissue of the second album on the legendary "Polish Jazz" series by the Polish saxophonist / violinist / composer / bandleader Michal UrbaniakFind albums by this artist. A veteran Polish Jazz musician, Urbaniak was a member of the legendary ensembles led by Krzysztof KomedaFind albums by this artist, where he played the saxophone, but by the early 1970 he switched to the violin and plunged into Jazz-Rock Fusion, rapidly becoming one of the most inventive and creative pioneers of the genre.
This album and the albums recorded in Germany and later in the USA are absolute Fusion milestones, but also stand out as completely unique in their approach to the genre. Urbaniak combined the marvelous abilities of his wife Urszula DudziakFind albums by this artist and her extraordinary and experimental vocalese technique with his common usage of Polish Folklore motifs, creating a superb and completely unparalleled Fusion music.
This live recording captures his baseless / double keyboard ensemble, which also includes organist Wojciech KarolakFind albums by this artist, pianist Adam MakowiczFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist. The music, all composed by Urbaniak, is simply out of this world, brilliant and fresh, absolutely resistant to the tides of time and fashion. In retrospect one can only regret that Fusion followed mostly the direction of flashy virtuosic display of neck-breaking guitar races rather than the direction proposed by Urbaniak´s Fusion, but it´s unfortunately too late now. At least we can savor this music, 40 years after it was recorded, well aged and beautifully eternal. A must!
| | Updated: 08/09/2019Posted: | CD 1 Digipak Remastered Essential Recommend To A Friend |
  | MICHAL URBANIAK / CONSTELLATION ~ IN CONCERT (POLISH JAZZ VOL.36)
POWER BROS 00119 ~ POLAND ~ Jazz-Rock Fusion
Recorded: 1973 Released: 1993
This is a reissue of the second album on the legendary "Polish Jazz" series by the Polish saxophonist / violinist / composer / bandleader Michal UrbaniakFind albums by this artist. A veteran Polish Jazz musician, Urbaniak was a member of the legendary ensembles led by Krzysztof KomedaFind albums by this artist, where he played the saxophone, but by the early 1970 he switched to the violin and plunged into Jazz-Rock Fusion, rapidly becoming one of the most inventive and creative pioneers of the genre.
This album and the albums recorded in Germany and later in the USA are absolute Fusion milestones, but also stand out as completely unique in their approach to the genre. Urbaniak combined the marvelous abilities of his wife Urszula DudziakFind albums by this artist and her extraordinary and experimental vocalese technique with his common usage of Polish Folklore motifs, creating a superb and completely unparalleled Fusion music.
This live recording captures his baseless / double keyboard ensemble, which also includes organist Wojciech KarolakFind albums by this artist, pianist Adam MakowiczFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist. The music, all composed by Urbaniak, is simply out of this world, brilliant and fresh, absolutely resistant to the tides of time and fashion. In retrospect one can only regret that Fusion followed mostly the direction of flashy virtuosic display of neck-breaking guitar races rather than the direction proposed by Urbaniak´s Fusion, but it´s unfortunately too late now. At least we can savor this music, 40 years after it was recorded, well aged and beautifully eternal. A must!
| | Updated: 08/09/2019Posted: | CD 1 Essential Recommend To A Friend |
  | MICHAL URBANIAK / GROUP ~ LIVE RECORDING (POLISH JAZZ VOL. 24)
MUZA 924 ~ POLAND ~ Jazz-Rock Fusion
Recorded: 1971 Released: 2004
This is a reissue of the first album on the legendary "Polish Jazz" series by the Polish saxophonist / violinist / composer / bandleader Michal UrbaniakFind albums by this artist. This live recording presents this phenomenal Polish Jazz artist in the state of transition. Not only is his music moving away from the modern Jazz into early electric Fusion, but he also changes his primary instrument from saxophone to violin. His quartet includes the great pianist Adam MakowiczFind albums by this artist, who was the first to introduce electric keyboards in the Polish Jazz. In many respects this music is as revolutionary on the Polish jazz scene as the things Miles DavisFind albums by this artist did on the global one. A superb document and a visionary creation.
| | Updated: 08/09/2019Posted: | CD 1 Digipak Oversampling Remastered Recommend To A Friend |
  | MICHAL URBANIAK ORGANATOR ~ D-DAY IN TOMASZOW
FOR TUNE 0171 (Barcode: 5906395808878) ~ POLAND ~ Jazz
Recorded: 2019 Released: 2024
This is a live album by Polish Jazz saxophonist / violinist / composer / bandleader Michal UrbaniakFind albums by this artist, one of the Godfathers of the modern Polish Jazz scene and one of a few Polish Jazz musicians, who managed to develop a career in the US, including even a short stint with Miles DavisFind albums by this artist. The music was a recorded by a quintet, which includes another Polish Jazz legend and Urbaniak’s collaborator for many years, pianist / organist Wojciech KarolakFind albums by this artist, which sadly marks one of Karolak’s last live appearances before his untimely death in 2021. The rest of the quintet comprises of trumpeter Piotr WojtasikFind albums by this artist, guitarist Gabriel NiedzielaFind albums by this artist and American, resident in Poland, drummer Frank ParkerFind albums by this artist. The album presents six tracks, three of which are original compositions by Urbaniak and three are standards. Karolak’s presence hints as to the quintet’s moniker chosen for this quartet.
As appropriate for a live album, the tracks are extended, all bar one lasting for over twelve minutes, which of course offers a splendid opportunity for musicians to solo at length, and which is highly enjoyed by the audience. Urbaniak displays his incredible virtuosity on the violin, which actually was his second instrument, as his early career was devoted to the saxophone. During this concert he plays the saxophone on three tracks. Karolak’s Hammond playing is absolutely delightful, and he was always a completely reliable player of great imagination and most importantly superb taste. The rest of the team also performs splendidly, supporting the two veterans amicably and with obvious respect.
Urbaniak’s compositions are obviously the more interesting material, especially his reference to the fusion of Polish Folklore elements with Jazz, which brought him fame in the 1970s, when he recorded the series of three such Fusion albums (“FusionFind albums with this title”, “AtmaFind albums with this title” and “Fusion IIIFind albums with this title” for ColumbiaFind albums on this label Records in the US), which were revolutionary and visionary at the time and still remain as some of the most rewarding example of this genre. Karolak played on the first two of these albums.
Overall, this is a wonderful snapshot of two Polish Jazz greats in action, which captures them at full swing, to the delight of the concert audience, and now also available as a lasting reminder of their talent. For Polish Jazz lovers this is obviously a must have item, and as usual kudos to the For TuneFind albums on this label label for keeping these memories alive.
| | Updated: 13/02/2025Posted: 13/02/2025 | CD 1 Digipak Recommend To A Friend |
  | VARIOUS ARTISTS ~ POLISH RADIO JAZZ ARCHIVES VOL.08
POLSKIE RADIO 1627 (Barcode: 5907812246273) ~ POLAND ~ Jazz
Recorded: 1961 - 1962 Released: 2013
This is the eighth installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venue, the annual Jazz Jamboree Festival and many other festivals as well.
The material collected here presents recordings made during 1961 and 1962 by the top Polish Jazz musicians active at the time, exhibiting a wonderful panorama of the local scene at the time. All the thirteen tracks are Jazz standards performed by Jazz musicians all over the world and therefore the album is a superb opportunity to compare the level of musicianship of the first post WWII generation of Polish Jazz to their American and European counterparts. Listening to the album immediately shows that technically these players were as gifted and skilled as any other Jazz performers at the time, despite the disadvantage of living and playing behind the Iron Curtain and being almost completely isolated from the current developments. Stylistically Polish Jazz at the time was still very much under the American mainstream influence, and although Free Jazz was already making a rapid progress and breaking all the established boundaries in the US, it would take a few years until it bloomed in Poland as well.
The material was recorded by four iconic figures of the early Polish Jazz and their respective ensembles: pianist / composer Andrzej TrzaskowskiFind albums by this artist and his quintet, saxophonist / composer Zbigniew NamyslowskiFind albums by this artist and his quintet called Jazz RockersFind albums by this artist, vibraphonist / composer Jerzy MilianFind albums by this artist and his quintet and trumpeter / composer Andrzej KurylewiczFind albums by this artist and his group. The most renowned sidemen include saxophonist Michal UrbaniakFind albums by this artist, pianist Wojciech KarolakFind albums by this artist, bassist Roman DylagFind albums by this artist and many others.
The performances are all excellent and their invaluable historical significance is beyond reproach. Beautifully restored sound quality and a warm ambience of the analog recording is a true joy.
As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Polish Jazz. Nevertheless this is an essential piece of history which every European Jazz fan will surely consider an absolute must.
| | | CD 1 Digipak Remastered Recommend To A Friend |
  | VARIOUS ARTISTS ~ POLISH RADIO JAZZ ARCHIVES VOL.12
POLSKIE RADIO 1632 (Barcode: 5907812246327) ~ POLAND ~ Jazz
Recorded: 1963 Released: 2014
This is the twelfth installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well.
The material collected here presents recordings made in 1963 during the sixth Jazz Jamboree festival in Warsaw. The majority of the material, i.e. thirteen of the seventeen tracks, is performed by Dutch vocalist Rita ReysFind albums by this artist (who died a few months ago in July 2013) accompanied by a trio led by her husband pianist Pim JacobsFind albums by this artist with guitarist Wim OvergaauwFind albums by this artist and Pim´s brother bassist Ruud JacobsFind albums by this artist. In addition one instrumental track by the trio is also included. The remaining three tracks are performed by the top Polish Jazz musicians at the time: two by vibraphonist / composer Jerzy MilianFind albums by this artist accompanied by the Krzysztof KomedaFind albums by this artist trio with bassist Maciej SuzinFind albums by this artist and drummer Leszek DudziakFind albums by this artist; the last track is by the Komeda quintet, with saxophonist Michal UrbaniakFind albums by this artist, trumpeter Tomasz StankoFind albums by this artist, bassist Maciej Suzin and drummer Czeslaw BartkowskiFind albums by this artist. All the tracks are Jazz standards except for the last one, which is a Komeda composition.
Reys performs a set of classic vocal material, comprising of popular songs known to all Jazz listeners. Her singing is beautifully expressive, but not virtuosic and copying mannerisms from American vocal Jazz stars. She also has a slight foreign accent, but definitely passable. The accompaniment is elegant and supportive, with Pim´s piano playing being truly exceptional. The guitar plays sadly only a few solo spots, and when not soloing it is mostly hidden in the recording balance; as a result is seems Reys is accompanied mostly by a piano / bass duo only. Overall this is a fine presentation of mainstream Jazz vocals, nothing spectacular but a nice document of the moment in time.
The Milian tracks are also rather pale, well performed and all, but again nothing special. Komeda plays some great piano phrases, which are always delightful and the rhythm section is doing its job as expected. The Komeda quintet is obviously the most interesting track herein with a typical beautiful melody line only he could weave and the quintet playing along splendidly. One may wonder why these three tracks were selected as the "filler" for this album, as both ensembles (Milian´s and Komeda´s) played full sets, which would be very interesting in their entirety.
The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must.
| | | CD 1 Digipak Recommend To A Friend |
  | VARIOUS ARTISTS ~ POLISH RADIO JAZZ ARCHIVES VOL.14
POLSKIE RADIO 1664 (Barcode: 5907812246648) ~ POLAND ~ Jazz
Recorded: 1963 Released: 2014
This is the fourteenth installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well.
The material collected here presents the third volume of recordings made in 1963 during the sixth Jazz Jamboree festival in Warsaw. In contrast to the two earlier volumes, this one presents only Polish Jazz musicians, and therefore is by far the most interesting and enlightening of the three. In many respects this album is a comprehensive review of the Polish Jazz scene at the time and presents the early days of the modern Polish Jazz at its pivotal stage of forming its own identity, as far as sound, atmosphere, character and unique stylistic aesthetics are concerned.
The album includes just six tracks, by four different ensembles, playing expanded compositions, three of which cross the fifteen minutes duration time, a clear signal of creativity and improvisational freedom typical of modern Jazz. The ensembles are: Zbigniew NamyslowskiFind albums by this artist (saxophone) quartet with pianist Wlodek GulgowskiFind albums by this artist, bassist Tadeusz WojcikFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist (one track), Andrzej TrzaskowskiFind albums by this artist (piano) quintet with saxophonists Zbigniew Namyslowski and Michal UrbaniakFind albums by this artist, bassist Juliusz SandeckiFind albums by this artist (here misspelled as Julian) and drummer Adam JedrzejowskiFind albums by this artist (two tracks), Alek MusialFind albums by this artist (trumpet) quintet with vibraphonist Ryszard KruzaFind albums by this artist, pianist Wlodzimierz NahornyFind albums by this artist, bassist Wieslaw DamieckiFind albums by this artist and drummer Bogdan JopekFind albums by this artist (one track) and finally Krzysztof KomedaFind albums by this artist (piano) quintet with trumpeter Tomasz StankoFind albums by this artist, saxophonist Michal Urbaniak, bassist Maciej SuzinFind albums by this artist and drummer Czeslaw Bartkowski (two tracks). Of the six compositions three are standards and three are originals, one by Trzaskowski and two by Komeda.
Stylistically the music is quite similar, ranging from more traditionally based modern Jazz in case of the Namyslowski and Musial tracks to more advanced characteristic Polish Jazz material in case in of the music by Trzaskowski and finally most dramatically in the music by Komeda, which is already eons ahead of its time. The two Komeda tracks are the epitome of modern Polish / European Jazz, which clearly show a mature approach free of the restrictions imposed by the American Jazz tradition. These tracks are alone worth the price of the entire album, but of course the rest of the material is also quite excellent.
The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must.
| | Updated: 02/12/2016Posted: | CD 1 Digipak Remastered Recommend To A Friend |
  | VARIOUS ARTISTS ~ POLISH RADIO JAZZ ARCHIVES VOL.15
POSKIE RADIO 1665 (Barcode: 5907812246655) ~ POLAND ~ Jazz
Recorded: 1961 - 1962 Released: 2014
This is the fifteenth installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well.
The material collected here presents the second volume of recordings made in 1961 and 1962 by Polish Radio in several Polish cities, presenting Polish Jazz ensembles performing American Jazz standards. Although played well, this music presents very few challenges as far as Jazz development is concerned, but from a historical perspective that stage of development was an important step towards a the creation of a new voice in modern Polish Jazz, which was just around the corner. Playing standards prepared these musicians for the challenges that were in store for them when the music made a decisive leap forward towards the new Polish / European Jazz.
The album includes sixteen tracks, by two ensembles, playing as mentioned earlier standards, in a manner still very similar to their American models. The ensembles are: Zbigniew NamyslowskiFind albums by this artist (saxophone) Jazz RockersFind albums by this artist with saxophonist Michal UrbaniakFind albums by this artist, pianist Krzysztof SadowskiFind albums by this artist, bassist Adam SkorupkaFind albums by this artist and drummer Andrzej ZielinskiFind albums by this artist (thirteen tracks) and Andrzej KurylewiczFind albums by this artist (piano / trumpet) quintet with saxophonists Jan Ptaszyn WroblewskiFind albums by this artist, pianist Wojciech KarolakFind albums by this artist, bassist Roman DylagFind albums by this artist (bassist Jan ByrczekFind albums by this artist plays on one track) and drummer Andrzej DabrowskiFind albums by this artist (three tracks).
Stylistically the music is based on mostly Bee Bop and Hard Bop standards, played with obvious talent and affinity, but lacking any originality. Of course this is still an important document of the era and fans of mainstream Jazz and Polish Jazz history should be happy with it.
The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must.
| | Updated: 12/06/2018Posted: | CD 1 Digipak Remastered Recommend To A Friend |
  | VARIOUS ARTISTS ~ POLISH RADIO JAZZ ARCHIVES VOL.22
POLSKIE RADIO 1874 (Barcode: 5907812248741) ~ POLAND ~ Jazz
Recorded: 1964 Released: 2015
This is the twenty-second installment in the series of releases initiated by the Polish Radio, which presents archive Jazz recordings from the radio vaults. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well.
The ten tracks collected here were recorded during the seventh Jazz Jamboree Festival, which took place between October 24 and 26 1964 in Warsaw. This is the third part of the Jazz Jamboree 1964 recordings. The music was performed by four different ensembles, which are: the Italian Flavio Ambrosetti All StarsFind albums by this artist (five tracks), led by saxophonist Flavio AmbrosettiFind albums by this artist with trumpeter Franco AmbrosettiFind albums by this artist, Swiss pianist George GruntzFind albums by this artist, Polish bassist Tadeusz WojcikFind albums by this artist and Swiss drummer Pierre FavreFind albums by this artist and three Polish Jazz ensembles, Krzysztof KomedaFind albums by this artist Quintet (one track) with trumpeter Tomasz StankoFind albums by this artist, saxophonist Michal UrbaniakFind albums by this artist, bassist Janusz KozlowskiFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist, Polish Jazz QuartetFind albums by this artist (two tracks) led by saxophonist Jan Ptaszyn WroblewskiFind albums by this artist with pianist Wojciech KarolakFind albums by this artist, bassist Juliusz SandeckiFind albums by this artist and drummer Andrzej DabrowskiFind albums by this artist and Zbigniew NamyslowskiFind albums by this artist Quartet (two tracks) with pianist Wlodek GulgowskiFind albums by this artist, bassist Tadeusz Wojcik and drummer Czeslaw Bartkowski.
This is by far the most interesting of the three volumes of the Jazz Jamboree 1964 recordings, as it presents the modern Polish Jazz about to explode into modernism, which will shape its destiny for generations to come. Stanko, Urbaniak, Wroblewski, Bartkowski are still active on the Polish scene, fifty years latter, carrying the fire which was first sparkled around the time these recordings were made. The Ambrosetti set is also interesting, as it allows a glance at two legendary Jazz figures: Gruntz and Favre, at their early days. Most of the music performed on this album is original.
The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must.
| | Updated: 08/07/2020Posted: | CD 1 Digipak Remastered Recommend To A Friend |
  | JAN PTASZYN WROBLEWSKI ~ SPRZEDAWCY GLONOW (POLISH JAZZ VOL.90 DELUXE)
MUZA 1090 ~ POLAND ~ Jazz
Recorded: 1971 - 1973 Released: 2006
This relatively little known brilliant album presents Polish Jazz saxophonist / composer / arranger / bandleader Jan Ptaszyn WroblewskiFind albums by this artist mainly in the capacity as the director of the Polish Radio Jazz OrchestraFind albums by this artist, a superb collection of top musicians, which functioned as a catalyst and incubator to generations of Polish Jazz musicians as well as a first rate workshop and recording platform. Wroblewski, one of Polish Jazz veterans and Godfathers, led the orchestra for many years with great success and these recordings prove how great it really was. He also composed three of the six extended compositions included here with the other three composed by Tomasz StankoFind albums by this artist, Zbigniew NamyslowskiFind albums by this artist and Andrzej TrzaskowskiFind albums by this artist each contributing one composition. The arrangements are absolutely brilliant as are the performances, with the orchestra fronted as such first rate soloists like Stanko, Namyslowski, Michal UrbaniakFind albums by this artist (playing sax on one track and violin on another), Tomasz SzukalskiFind albums by this artist, Adam MakowiczFind albums by this artist, Marek BlizinskiFind albums by this artist, Wojciech KarolakFind albums by this artist, Zbigniew SeifertFind albums by this artist and of course Wroblewski himself, in short the crème de la crème of the Polish Jazz scene at the time. The music is very modern and even borders on Free at times, presenting very rare examples of Jazz orchestra accompanying a freely improvising soloist. This album is an absolute must to all Polish Jazz lovers and in retrospect is of the best Polish Jazz albums ever recorded. Grab it!
| | | CD 1 Digipak Remastered Recommend To A Friend |
  | MARTA ZALEWSKA ~ JAZZ.PL VOL.2
POLSKIE RADIO 2408-2409 (Barcode: 5907812243869) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 2021 Released: 2022
This is an album by Polish Jazz vocalist / bass guitarist / violinist Marta ZalewskaFind albums by this artist, recorded in a septet setting (Orchestra is a bit overboard) with trumpeter Jerzy MalekFind albums by this artist, saxophonist Lukasz PoprawskiFind albums by this artist, keyboardist Piotr WylezolFind albums by this artist, guitarist Krzysztof ZagajewskiFind albums by this artist, drummer Michal PiotrowskiFind albums by this artist and percussionist Jose Manuel Alban JuarezFind albums by this artist. Violist Michal ZaborskiFind albums by this artist appears as special guest, and two backing vocalists are also present. The album presents Fusion arrangements of ten songs by the Polish Rock group DzambleFind albums by this artist, nine of which are taken from their only album entitled “Wolanie O Slonce Nad SwiatemFind albums with this title” released originally in 1971, and one is a non-album single. The album was recorded live by Polish Radio during a series of concerts entitled Jazz.pl, hence the title. The album also includes a bonus CD with radio recordings by the original group, captured between 1969 and 1971.
The idea of reanimating this particular cult album in a Jazz / Fusiony setting is not farfetched, considering that on the original album Dzamble had top Polish Jazz musicians of that time: Tomasz StankoFind albums by this artist, Zbigniew SeifertFind albums by this artist, Michal UrbaniakFind albums by this artist and Janusz MuniakFind albums by this artist, playing as guests.
The music on this album suffers from a number of problems. The arrangements are rather trivial, the Funky / Brass Rock approach is a bit crude, the vocals are limited and the sound quality of the recording is somewhat muddy. But there are some bright points, like the brilliant solos by Wylezol, who never fails, and trumpet solos by Malek, who is a real pro. The biggest obstacle for me is that the new approach completely does not connect to the concept (musical and ideological) of the original. Altogether, I’d rather stick to the original album than listen to this, but of course each to his own.
The bonus CD with the archival recordings is of course perfect, and emphasizes the gap between the source and the replica.
Overall, this an attempt to revive a legendary classic Rock / Fusion album, which basically misses the target, but offers some nice performances by the musicians involved, but the 2CD package is worth its price just for the bonus CD with the archival material.
| | Updated: 28/02/2023Posted: 28/02/2023 | CD 2 Digipak Recommend To A Friend |
|
