Record Reviews

AQUAVOICE ~ FLOW AUDIO CAVE 2024/008 (Barcode: 5908298549889) ~ POLAND ~ Jazz-Ambient Fusion Recorded: 2023 Released: 2024 This is an album by Polish Ambient composer / arranger Tadeusz LuczejkoFind albums by this artist, who uses the AquavoiceFind albums by this artist moniker. He invited several prominent Polish Jazz / Avant-Garde musicians to participate in this project: vocalist / keyboardist / flautist India CzajkowskaFind albums by this artist, electronics wizard Tadeusz SudnikFind albums by this artist, trumpeter Wojciech JachnaFind albums by this artist, bass clarinetist Mikolaj TrzaskaFind albums by this artist and author Andrzej StasiukFind albums by this artist, who recites some of his texts. The album presents sixteen short tracks, all composed by the leader. This album is a second part of the album “WavesFind albums with this title”, recorded by the same participants and sessions and released a year earlier on the Requiem label. The album is a typical Ambient outing, spiced by some Jazz / Avant-Garde improvised soloing, almost completely lacking any distinct melodic continuity, which of course makes it rather specifically oriented to hard-core Ambient listeners. The invited guests are all excellent musicians of course, but their role here is quite limited, so Jazz listeners looking to hear their favorite artists will be disappointed. Although I usually don’t have enough patience for Ambient music, unless it is used as background for film or theatre, I found this album quite interesting, not only thanks to the improvised parts, which are more or less decorative, rather than substantially integrated, but because it makes sense as an aural experience, engaging the listener to fill in the blanks. Perhaps it is a form of escapism in these trying times, but I listened to the album a couple of times in a row and enjoyed it without reservations. Overall, this is an interesting Ambient album, which should make enthusiasts of the genre quite happy. The Jazzy elements are marginal and limited, buy offer some spicing to the proceedings. Definitely worth investigating!

Updated: 25/09/2024Posted: 25/09/2024

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OLA BILINSKA ~ BERJOZKELE NOT ON LABEL ~ POLAND ~ Jazz-World Fusion Recorded: 2014 Released: 2014 This is the debut solo album by Polish vocalist / multi-instrumentalist / composer Ola BilinskaFind albums by this artist, who also leads the group BabadagFind albums by this artist, which released a debut album in 2012. On this album she is accompanied by bassist Michal MoniuszkoFind albums by this artist, trumpeter Kacper SzroederFind albums by this artist and two veterans of the Polish Jewish revival: clarinetist Mikolaj TrzaskaFind albums by this artist and guitarist Raphael RoginskiFind albums by this artist. The album presents ten renewed and rearranged Yiddish lullabies, which were created by Jewish poets and composers or are of unknown traditional Jewish origins. Bilinska presents a fresh and unconventional approach to this material, which usually is treated in a very traditional way. She delivers these songs in the Yiddish language, as originally created, but her clearly non-Yiddish accent, the strong and clear timbre of her voice and the ambient instrumental arrangements take these songs to a completely new platform, which is fresh and surprisingly invigorated. The overall effect of this approach gives a new life to these songs, transforming them, as if in a time machine, a century or so forward in time. Of course the Yiddish language is not exactly thriving today, but an effort is made to preserve its cultural treasures, which are vast indeed, and this project is one of such noteworthy efforts. This album is just one of the many manifestations of the renaissance of the Jewish culture in Poland, which is enjoying an immense popularity. Since Bilinska managed to create a valid contemporary interpretation of these songs, which have been a part of the pre-WWII Jewish reality, which is sadly no longer with us, she deserves our appreciation and gratitude, both for her talent and her courage to undertake such difficult task. This is definitely worth investigation!

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OLIE BRICE ~ IMMUNE TO CLOCKWORK MULTIKULTI MPI 026 (Barcode: 5907796319529) ~ UK ~ Jazz Recorded: 2013 Released: 2014 This is the debut album by a quintet led by British Jazz bassist / composer Olie BriceFind albums by this artist, which also includes saxophonist Mark HanslipFind albums by this artist, trumpeter Alex BonneyFind albums by this artist, drummer Jeff WilliamsFind albums by this artist and leading Polish clarinetist Waclaw ZimpelFind albums by this artist. The album presents seven original compositions, all by Brice. Brice has been active on the British (mostly London based) Improvised Music scene since a few years and is involved with several ensembles in parallel, some as a leader and others as a band member. He also cooperated with the Polish Jazz saxophonist / clarinetists / composer Mikolaj TrzaskaFind albums by this artist in the past, expanding the British / Polish Improvised Music interaction, which often produces excellent results. The music is surprising, and contrary to the accepted image of Improvised Music, beautifully lyrical and melody based. The three soloists are featured extensively, playing long and well constructed solo improvisations and collective improvisations. Most notably Zimpel, who plays here more explicitly and vividly than on the Polish albums he lately recorded as a leader, those being more contemplative and less Jazz oriented than this recording. Therefore Zimpel followers can hear some of his the best moments captured in a long time. Brice, apart from being the composer, also sets the overall direction of the album with his solid bass lines, which are the backbone of this music. He sets the tempo variations and the passage between the unisono theme statements, the solos and the group improvisation parts. Therefore he fulfills his role as a leader in full in addition to being part of the ensemble. Williams also deserves praise for following Brice´s moves closely and applying his rhythmic layer with grace and obvious sympathy. Although he does anything but keeping time, the result is well in check, with him keeping time without actually keeping time, a rare gift which only the best drummers can handle really well. In many respects this album sounds a bit retrograde, and I mean it in the most positive sense, bringing back fond memories of the wonderful British Jazz recordings by early Free Jazz / Improvised Music ensembles in the late 1960s. There was the same level of serenity and non-aggressiveness present than, which was almost completely lost over the years with Improvised Music musicians often trying to outshout each other rather than integrate. Overall this album is a beautiful and pleasing listening experience, which serves well the image of Improvised Music at its best. Congrats Olie for doing your thing and selecting the right folk to do it with. Well done indeed!

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IRCHA ~ BLACK BONES KILOGRAM 031 (Barcode: 5907577284305) ~ POLAND ~ Jazz-World Fusion Recorded: 2013 Released: 2014 This is the fourth album by the iconic Polish clarinet quartet IrchaFind albums by this artist, led by Mikolaj TrzaskaFind albums by this artist and also including Michal GorczynskiFind albums by this artist, Pawel SzamburskiFind albums by this artist and Waclaw ZimpelFind albums by this artist. These four players are all ensemble leaders on they own right and are among the undisputed leaders of the Avant-Garde Polish Jazz / Improvised Music scene in the last decade. But above all they are superbly talented musicians and creative personalities, who turn Ircha into a supergroup of legendary proportions. This album is in fact a twin album, not a 2CD album, but two separately packaged albums recorded just three months apart, one in a studio and the other one live, presenting almost completely different musical material. The studio album presents thirteen pieces (collected into ten tracks), some traditional Sephardic and Hasidic Jewish songs, others composed by Trzaska and yet others composed by the quartet. The live album presents also thirteen pieces (collected into eight tracks), with just a few of them being the same ones as those on the studio album, also being traditional Jewish songs, others composed by Trzaska or by the quartet. The live album was recorded at the Falenica (a Warsaw suburb) train station, during a concert I had the immense pleasure to attend and meet Mikolaj and the quartet in person for the first time. My warm applause is therefore captured for posterity on that album. Although including only clarinets, Ircha is capable of producing an almost symphonic wall of sound, which can be immensely impressive. The various clarinets cover a wide range of the audible spectrum and compliment each other beautifully. The overall sound produced by Ircha is therefore a completely unique and incomparable sonic experience, which combined with the deeply spiritual music, has an overwhelming impression on the listener, reaching deeply into the soul and completely transfixing the mind. Of course the music of Ircha is also a symbol of the rebirth of Jewish music in Poland, where it originally existed for almost a millennium, before being eradicated by the Holocaust. The fact that Polish musicians, regardless of the fact if they have a Jewish background or not, take traditional Jewish music into the next millennium, and into a new dimension, is truly astounding and uplifting. The entire phenomenon, which involves a surprisingly large group of Polish musicians, many of them from the Jazz idiom, is simply miraculous. There is no doubt that Ircha is amongst the cream of the crop of these musicians / ensembles, and perhaps the most important amongst them aesthetically and artistically. The music of Ircha is a bridge between styles and cultures, freedom and discipline, emotion and intellect. Such a complex arsenal of stimuli is able to reach a diverse public, from many different backgrounds, ages and personal tastes, and this is its true forte. This is why each and every listener of their music receives a different input and generates a different reaction; exactly what great Art is all about.

Updated: 26/08/2020Posted:

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IRCHA ~ WATCHING EDVARD KILOGRAM 022 (Barcode: 5907577284206) ~ POLAND ~ Jazz Recorded: 2011 Released: 2011 This is the second album by Polish clarinet quartet IrchaFind albums by this artist, founded and led by Mikolaj TrzaskaFind albums by this artist, which also includes Waclaw ZimpelFind albums by this artist, Pawel SzamburskiFind albums by this artist and Michal GorczynskiFind albums by this artist. The quartet members play a range of different instruments belonging to the clarinet family and create a completely unique sonic experience, which is unparalleled and completely original. This album consists of sixteen short pieces, which include original compositions by the entire quartet or by individual band members. The pieces vary in length from a minute and a half to over six minutes and could be conceived together as a continuous improvised suite. Although obviously a part of the Polish Improvised Music camp, Ircha is quite unique in many respects. Seemingly limited by the fact that the musicians use only clarinets, an instrument usually not associated with highly developed improvisational environment (with few remarkable exceptions of course), the group proves that limitations are only present in humans, not in the instruments, and with dedication, talent and virtuosic ability all limitations can be simply triumphed over. Together the quartet offers such a depth of sonic layers and emotional vistas, that the listener completely forgets the fact that there are only clarinets involved. The music firmly belongs to the Improvised scene, but there is an element of obvious careful planning involved, which defines the ground rules and the overall order of things. The purely melodic element is of course deeply hidden beneath the improvisational approach, but it is there for those who listen carefully. The level of cooperation between the quartet members is their innermost strength, upon all this music is firmly based. This is not four individuals making music together, but a higher-class group spirit of combined consciousness, which presides herein. Since this is a studio recording, there is no interaction with the audience, which in Improvised Music is often essential. Nevertheless this album, as opposed to many other of its kind, works very well under these circumstances, perhaps because the overall atmosphere of serenity, relaxation and above all mutual respect. There are no attempts to prove who can outplay anybody else, who can play the fastest or the most astounding solo, etc. on the contrary almost all of the music is a dialog, trialog or a quatrolog, and therefore a cooperative effort. Overall this is an excellent piece of Free Jazz / Improvised Music, which should fully satisfy even the sternest connoisseurs of the genre, and yet at the same time be accessible to many open-minded listeners beyond any specific genre classification.

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IRCHA ~ ZIKARON LEFANAI KILOGRAM 024 (Barcode: 5907577284220) ~ POLAND ~ Jazz-World Fusion Recorded: 2011 Released: 2012 This is the third album by Polish clarinet quartet IrchaFind albums by this artist, founded and led by Mikolaj TrzaskaFind albums by this artist, which also includes Waclaw ZimpelFind albums by this artist, Pawel SzamburskiFind albums by this artist and Michal GorczynskiFind albums by this artist. The quartet members play a range of different instruments belonging to the clarinet family and create a completely unique sonic experience, which is unparalleled and completely original. This album was recorded live and consists of seven pieces, which combine original compositions by the entire quartet or individual band members with traditional folkloristic themes from different cultural backgrounds, like Gypsy, Armenian and of course Easter European Jewish music. Ircha is one of several different ensembles that Trzaska leads or participates in, which in the last decade greatly contributed to the so called "New Jewish Music" which is being created in Poland, being also a part of a general Renaissance of the Jewish Culture in Poland. This quite surprising phenomenon seems to sweep the Polish cultural landscape like a tsunami, but a highly productive, rather than destructive one. Many of these attempts to create a new, contemporary face of the Jewish Culture is created by Jazz and Improvised Music Artists, like Trzaska, and many are released by the KilogramFind albums on this label Records label, owned by Trzaska and his charming wife. It is quite difficult to imagine that just four clarinets can create such complex and emotionally overwhelming music. I had the pleasure to attend a concert by Ircha recently and the experience was simply awe-inspiring and spiritually enlightening. Of course Improvised Music is usually easier to absorb live than by listening to records, as the presence of the musicians and the visual element contribute to the immediate contact between the musicians and the audience. A concert recording is, after all, only a "second hand" experience. And yet sometimes the strength of the performance can overcome the barrier of lack of personal contact and reach the listener directly and powerfully, with this album being a perfect example of this. Although mostly improvised, this music is based on very strong melodic elements, as well as atmospheric ventures, which make it much more accessible and immediate to a much wider audience than the usual Improvised Music crowd, which is a priori quite limited. With deeply melancholic and lyrical melodies and delicate, mostly quite low-volume performances, this music embraces the listener and extends a warm welcome, inviting and enchanting. Of course there are many levels by which the listener can relate to this music; it can be enjoyed on the purely emotional level, or the aesthetical level, or the intellectual level or perhaps all the levels simultaneously. The fact that this music is able to work on so many level is what makes it so remarkable, special and unique. This album is a beautiful bridge between many artistic directions undertaken by Jazz and Improvised Music creators. It has a fair amount of many different elements, like melody, collective and individual improvisation, folkloristic influences, spontaneity and premeditation, innovation and tradition. This wonderful amalgam, which only happens quite rarely, is fully achieved here, making it an exceptional piece of High Culture.

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ALEKSANDRA KUTRZEPA ~ NO ONE KNOWS WHERE… NOT ON LABEL ~ POLAND ~ Avant-Garde Jazz-Rock Fusion Recorded: 2021 Released: 2021 This is the third album by Polish Jazz violinist / vocalist / composer Aleksandra KutrzepaFind albums by this artist and her quartet, 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 guest on one track and saxophonist / bass clarinetist Mikolaj TrzaskaFind albums by this artist guests on three tracks. The album presents six original compositions, all by the leader. This album offers a significant departure from the formula dominating the first two albums, and almost completely leaves the melodic / lyrical tendencies and Jazz-Rock Fusion stylistic in favor of almost completely Avant-Garde / Free Improvised music, which of course is a welcomed development testifying as to the need of searching for new paths. The choice of the two guest musicians complies with this new direction, as both are associated with the Polish Jazz Avant-Garde scene. Kutrzepa also expands her role in the music making by using her vocals extensively, in addition to her violin playing, which obviously shows new aspects of her musical personality. Her vocalese, which is used more as a background rather than main feature of the music, but adds a most appropriate element to the result and works our splendidly. The soloing is now mostly performed by the leader and the guests, with the guitar playing a more restricted role on this album in comparison to the earlier work, and remains a clear link to the past, still sounding rather Fusion like. The rhythm section follows the new direction without a hitch, but tends to remain somewhat subdued, which altogether serves the new ambience rather well. Overall this is an excellent and fascinating album, which proves Kutrzepa is here to stay and slowly structures her individual voice and position on the local scene. Due to the fact that her approach to violin is completely different from the traditional Polish Jazz violin school, her work deserves to be noticed and surely watched in the years to come. Perhaps not the easiest album to listen to, it is definitely an eye (ear) opener. Well done!

Updated: 24/12/2022Posted: 23/08/2021

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

Updated: 12/04/2019Posted:

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MILOSC ~ MILOSC AGORA 9788326812972 (Barcode: 9788326812972) ~ POLAND ~ Jazz Recorded: 2008 - 2012 Released: 2012 This is the DVD version of the film "Milosc" by Polish director Filip DzierzawskiFind albums by this artist, which is a documentary about the Polish Jazz ensemble MiloscFind albums by this artist, which was the most influential group on the Polish Jazz scene in the 1990, revolutionizing the approach to Jazz in the country, establishing the Yass sub-genre and most importantly waking up the local scene from the mainstream lethargy, which was overwhelmingly dominating the scene for almost two decades that preceded the 1990s. Milosc was formally founded in April 1988, when the group which included bassist Tymon TymanskiFind albums by this artist and saxophonist Mikolaj TrzaskaFind albums by this artist changed its name to Milosc. Soon after the group was joined by clarinetist Jerzy MazzollFind albums by this artist, who left after a brief stay and then the drummer Jacek OlterFind albums by this artist and pianist Leszek MozdzerFind albums by this artist joined the group creating the core quartet of Tymanski / Trzaska / Olter / Mozdzer, which recorded the group´s debut album. A year later the quartet expanded into the full stable lineup when saxophonist Maciej SikalaFind albums by this artist joined them to create the quintet version of Milosc. After several fruitful years and a series of brilliant albums, two with legendary American trumpeter Lester BowieFind albums by this artist, the group started to disintegrate, when Mozdzer left in 1998 to pursue a solo career, Olter died tragically after a long mental illness and Trzaska left the group in 2001. A year later the group played its last gig and formally announced the end of its activity in July 2002, after fourteen years of existence. The documentary, which was filmed during a four years period (2008-2012) pays tribute to the group´s history and to the individual personalities, focusing on the meeting of the Milosc members organized in order to prepare for a concert by the legendary original lineup, less Olter of course who was replaced by drummer Kuba StaruszkiewiczFind albums by this artist. The documentary moves between the scenes captured during these rehearsals, historic footage and interviews with individual members, speaking their minds out. The director wisely avoids any external commentary, simply presenting the reality portrayed by the camera, leaving the spectator free to reach his own conclusions. Although not a typical documentary by any standard, the film presents a cohesive and intelligent document, which highlights several profound observations about people, music and culture. Milosc was all about freedom. Considering the fact that the group was established at the crucial point of modern Polish political history, when the oppressive Socialistic Regime was about to collapse and Poland was finally to achieve its new political Freedom, Milosc expressed the same feeling of upheaval, but on an artistic plane. Polish Jazz, which exploded with incredible vitality and freedom of expression in the 1960s, slowly ran out of steam as a result of economic and social hardships and by the late 1970s and 1980s it was almost completely devoid of any truly spirited, adventurous, inspired activity and completely immersed into ambitionless mainstream. The young generation of Polish Jazz musicians and fans was about to rebel against this stagnant state of affairs and Milosc was one of the first and most successful demonstrations of this rebellion. Although initially associated with Free Jazz, Milosc never actually played Free Jazz, surely not close to its American origins established by Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist. The group was an amalgam of many musical influences and created a unique and new approach and stylistic expression, which eventually was christened Yass. And Yass was more clear about what it didn´t want to be rather than about what it wanted to be, a rebellion against "pretty" melodic, carefully planned, well defined by harmonic conventions music. No more of that old-fashioned bullshit! Yass was "dirty", imperfect, spontaneous, unconventional and constantly changing, but it did not exclude the element of melody and standard meters. Free? Yes by all means, but definitely not Free Jazz. From the very start Milosc was an impossible combination of conflicting strong personalities and diametrically different musical approaches. Why it managed to exists for such a long time is a mystery and a miracle. But musical miracles do happen and when they do, the listeners are the ones to collect the crops. The musicians, initially euphoric, start to suffer at some point and then simply can´t take it any more. The key conflict inside Milosc was always the clash between Trzaska and Mozdzer: a rebel and visionary and a classically trained hipster. This fundamental conflict was what brought Milosc to its knees, but it wasn´t of course the only factor. Poland and its cultural environment went through a dramatic change following the fall of the Socialist Regime, and a new reality emerged; politically, socially and of course culturally. This new reality opened up new possibilities and closed the lid on many others, which existed earlier. Such dramatic environmental changes have a profound impact on people, and musicians are people after all. The 2008 meeting between the Milosc members, which is the focal theme of this film, shows how profound these changes are, so profound that although they are able to play together, they are unable to communicate as human beings. Separated by an unbreachable chasm Trzaska and Mozdzer are further apart that ever, the former representing the Polish Avant-Garde scene still being its non-formal leader in every sense and the latter representing the absolutely opposite ad-nauseam commercialism; a clash of Titans, which simply has no peaceful solutions. So is this a film about failure? About ideas and values that get outdated? Personally I don´t think so. Yes, sometimes not everything works as planned, but that does not necessarily mean a failure and in some rare occasions failures can be magnificent. I still very much believe that the same values that stood behind Milosc: freedom, pioneering search for artistic truth, personal integrity and the courage to do your own thing, are as much valid today as they have always been. Opportunism and conformism have always been and still are the root of evil. This film is a wonderful piece of musical history, which sheds some light on a much neglected period in the history of Polish Culture. Although perhaps unintended, it also spotlights some profound artistic and ethic dilemmas, leaving the resolutions to the spectators. An absolute must to all Polish Jazz connoisseurs, wherever they might by!

Updated: 12/04/2019Posted:

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OLES BROTHERS / MIKOLAJ TRZASKA / JEAN-LUC CAPPOZZO ~ SUITE FOR TRIO + FENOMMEDIA 001 (Barcode: 5907604327012) ~ POLAND ~ Jazz Recorded: 2003 Released: 2005 This is the first album released on the FenommediaFind albums on this label label, owned by Polish Jazz musicians: bassist Marcin OlesFind albums by this artist and drummer Bartlomiej OlesFind albums by this artist, collectively known as Oles BrothersFind albums by this artist. It also features the iconic Polish Jazz saxophonist / clarinetist Mikolaj TrzaskaFind albums by this artist, who was a member of a trio with the Oles Brothers at the time and the excellent French trumpeter Jean-Luc CappozzoFind albums by this artist. Together, as a quartet, they perform eight original compositions, five of which were composed by Bartlomiej Oles, one by Trzaska, another one by Marcin Oles and Trzaska and the remaining one is credited to all four musicians. The music is a wonderful strain of modern Polish Jazz, which flourished again since the beginning of the 21st Century, revitalized by a new generation of excellent and gifted young players, who were not only well schooled but also shared a passion for the music and were completely original and unstoppable. The three Polish Jazz representatives on this album are just a tip of the proverbial iceberg. Although structured and pre-composed, this music displays a tremendous amount of freedom, both in form and content. Trzaska, one of the founders of the Polish Yass a decade earlier, is a born rebel and shuns conventions of any sort. This album presents a rare opportunity to actually hear him play somewhat restrained and well tempered, but always beautifully expressive and emotional. Cappozzo also contributes some wonderful freely improvised passages, always just right for the occasion. It is for the rhythm section to play the role of the musical compass and lead the music to safe shores. Together the quartet performs simply magnificently, in a spirited and intelligent way, which balances perfectly between the written notes and the freedom of expression. These are four excellent musicians, a fact which is apparent immediately, and as an ensemble they function as a cohesive unit, which delivers unusual and interesting music, keeping the listener on his toes from the first note to the last. This music maintains its charm and remains untouched by time, always worth being revisited.

Updated: 02/01/2017Posted:

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PARKER / TRZASKA / EDWARDS / SANDERS ~ CITY FALL FSR 2016/04 (Barcode: 5905279364097) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2014 Released: 2016 This is a live recording by a Free Jazz / Improvising Music quartet, which comprises of three British musicians: legendary saxophonist Evan ParkerFind albums by this artist, bassist John EdwardsFind albums by this artist and drummer Mark SandersFind albums by this artist and Polish saxophonist / clarinetist Mikolaj TrzaskaFind albums by this artist. The quartet performs just three lengthy improvisations, the first of which resides on the first CD and the other two reside on the second CD of this 2CD set. All music is credited, as appropriate in such circumstances, to all four members of the quartet. The music was recorded during a concert in London´s Café OTO. Anybody familiar with the British Free Jazz scene will recognize the names of the British musicians as top representative of the genre and the same applies of course of people familiar with the parallel Polish scene, where Trzaska is considered as a unique phenomenon not only as Free Jazz player / leader but also as one of the most important contemporary composers of cinematic music. The music captured on this album testifies as to the immediate rapport between the players, especially so between Evans (born 1944) and Trzaska (born 1966), who keep exchanging licks, phrases and vast amounts of energy between them for the entire duration of the concert, which often sounds superhuman in its intensity. The age difference seems to be completely inconsequential, which of course does not surprise me at all as my pairing of Trzaska with the Israeli clarinetist Harold RubinFind albums by this artist (born 1932) was similarly successful. In fact the saxophone duets, performed without the rhythm section, are some of the most fascinating moments on this album and I´d love to hear more of those. As far as live albums of Free Jazz / Improvised Music are concerned, my opinion usually is that the music was primarily intended for those people who attended the concert and in recorded form the music loses most of its authenticity, energy and spirit, and becomes significantly less relevant. This album is one of the relatively few exceptions, probably due to the class of the musicians involved and the comradeship between them, and as a result hearing the music in recorded form is still very emotionally involving and aesthetically pleasing. Of course this music is strictly for connoisseurs of this specific idiom and people who seek entertainment in their musical escapades should avoid this music at all cost. Those brave hearted few who enjoy the organized madness should have a most wonderful time while this music lasts, especially since meetings like these are usually a one time only events. Strong stuff!

Updated: 03/01/2017Posted: 03/01/2017

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POLE ~ RADOM KILOGRAM 029 (Barcode: 5907577284282) ~ POLAND ~ Jazz Recorded: 2012 Released: 2014 This is the debut album by Polish Jazz trio PoleFind albums by this artist, which consists of clarinetists / flautist Michal GorczynskiFind albums by this artist (a member of Mikolaj TrzaskaFind albums by this artist´s quartet IrchaFind albums by this artist), guitarist / bassist / synthesizer player Piotr ZabrodzkiFind albums by this artist and drummer Jan Emil MlynarskiFind albums by this artist. The album presents five original pieces, all credited collectively to the three trio members. The music is mostly spontaneously improvised, with the clarinet stating some minor melodic motifs but most of the time the group improvisation is the name of the game. The clarinet´s sound and the melodic fragments it plays are clearly rooted in Jewish music, albeit more associatively so than deliberately. This of course anchors Pole as one of the ensembles taking part in the contemporary Jewish music renaissance, which is taking place in Poland today. Zabrodzki and Mlynarski are definitely less dominant, playing the role of a rhythm section, which of course in this setting has a completely different meaning than in conventional Jazz. The guitar provides mostly ambient background with no melodic contents, the base pulsations are in charge of the rhythmic progression, and the percussion sits on a separate musical plane, which develops in parallel to what the clarinet and guitar are doing, coming and going seemingly unattached. Overall the trio creates an interesting effect of togetherness, which strangely manages to manifest itself from the disjoined ingredients. It takes a while to get into this music, but in time it emerges as quite interesting amalgam of free improvisation, World Music motifs and rhythms and ambient background, which in most cases works out rather well. The album is rather short, running for just over half an hour, which either means the musicians consider this a complete statement or they ran out of steam. In any case it should be interesting to hear what they have to say next time around.

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RESONANCE ENSEMBLE ~ DOUBLE ARC NOT TWO 936 (Barcode: 5901549185980) ~ USA ~ Jazz Recorded: 2013 Released: 2015 This is a live recording by the Resonance EnsembleFind albums by this artist, an international gathering of Free Jazz / Improvised Music players led by American saxophonist / clarinetist / composer Ken VandermarkFind albums by this artist, which in this case comprises of eleven musicians, including two top Polish improvisers: saxophonist / clarinetist Mikolaj TrzaskaFind albums by this artist and clarinetist Waclaw ZimpelFind albums by this artist. The music, all composed by Vandermark, is en extended two-part suite, each of the parts being split into eight and six sub-parts respectively. The music was recorded at the Manggha Culture Center in Krakow, Poland. In his liner notes Vandermark describes this music as a summary of his career and a reflection of the many musical influences he has absorbed over time, which according to him can be heard in the specific sub-parts of the suite. He dedicates this album to the great Polish contemporary Classical composer Witold LutoslawskiFind albums by this artist. Personally I find this music rather cold and unrelated to any specific musical associations, which is a typical American contemporary Free Jazz, which just is there to be there, i.e. has sense only during a live performance but repeated listening of the recorded music has almost zero chance to happen, as the music simply does not make a statement. I must be suffering from a very serious Vandermark overdose, but honestly there is not much revealing music here, which propagates the Free Jazz / Improvised Music (more or less composed), to a new dimension or uncharted territory. Even the usage of the electronic "lloopp" is not interesting enough to save the day. The large ensemble parts present here should be compared to the stuff that British and European composers / bandleaders like Mike WestbrookFind albums by this artist, Trevor WattsFind albums by this artist and others already perfected in the 1960s and 1970s. There are of course brilliant individual statements as these musicians are all well seasoned improvisers and first class composers themselves, but their efforts with their own ensembles are much more impressive IMHO. Overall this album will be definitely of interest to the many Vandermark aficionados and other Free Jazz / Improvised Music fans, but considering how many recordings of similar musical language are being released in the last decade, it will simple blend into the background pretty soon.

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RIVERLOAM TRIO ~ INEM GORTN FMR 374 (Barcode: 700175749833) ~ POLAND ~ Jazz Recorded: 2012 Released: 2014 This is the second album by the Riverloam TrioFind albums by this artist, which consists of Polish Improvised Music legend, saxophonist / clarinetists Mikolaj TrzaskaFind albums by this artist and two British musicians from the same sphere: young bassist Olie BriceFind albums by this artist and drummer Mark SandersFind albums by this artist. The trio´s live debut released a couple of years earlier (as a double LP – no CD release so far) was very warmly received at the time and this studio effort should solidify their reputation. The album consists of seven original compositions, all credited to the trio members. With dozens of albums behind him, it is increasingly difficult to describe each specific new project involving Trzaska and remain open-minded and focused enough to pinpoint the often subtle differences between the various parts of such an immense body of work. However, from the very first notes on this album it becomes perfectly clear that this is one of the most expressive and emotional settings that Trzaska is involved with lately. His playing and improvising is simply overwhelming and it is quite obvious that this happens due to the superb rapport between him and the rhythm section, especially so with Brice, whose arco work is simply stunning (nothing wrong with his pizzicato of course) and their duets are the absolute highlights of this album. Trzaska switches between the saxophone, clarinet and bass clarinet, as he often does these days, to achieve a different mood and power of expression. The rhythm section follows his lead amicably, adjusting the volume and intensity of their performances to the lead instrument, which is a sign of mutual respect and solidarity, which are unfortunately often forgotten in the Improvised Music environment. Sanders, who is a seasoned improviser, always finds just the proper percussive ambience to support Trzaska and Brice and elegantly takes a step back when they get involved in intimate duos. Personally I think this is an ideal Improvised Music album, which keeps the anarchy well in check, shows the individual expressions of the musicians involved and glues them together to create a whole greater than the sum of its ingredients. Emotionally and artistically this is definitely one of the best albums Trzaska recorded in his long and impressive career. This music is also beautifully recorded, with a perfect balance between the instruments and a wonderful room ambience, which enables the listener to hear every little detail of the entire sonic contents. Improvised Music recording sadly often suffer from poor recording quality and this one is an example of how things should be done and how important it is to be able to hear absolutely everything. All that remains is to thank these wonderful Artists for their gift to us, mere mortals, who have the privilege to enjoy this music. Well done indeed, gentlemen!

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SHOFAR ~ HA-HUNCVOT KILOGRAM 026 (Barcode: 5907577284244) ~ POLAND ~ Jazz-Rock-World Fusion Recorded: 2009 Released: 2013 The Polish ensemble ShofarFind albums by this artist, founded by guitarist Raphael RoginskiFind albums by this artist, who also leads the excellent ensemble CukunftFind albums by this artist, is a trio which also includes the iconic saxophonist / clarinetist Mikolaj TrzaskaFind albums by this artist and drummer Macio MorettiFind albums by this artist. This is their second album, which consists of eleven pieces, eight of which are original compositions co-credited to the trio and three are their unique interpretations of traditional Hasidic melodies. The album was recorded a couple of years following their debut, but was actually released only four years later. Musically it is a logical development of the approach established on the debut, which mixes pre-composed themes and improvisations, with strong influences originating in Eastern European Jewish music. Together with Cukunft and quite a few other ensembles the New Jewish Music emerges as one of the most interesting musical development on the Polish scene. Shofar creates a very distinct sound, with the electric guitar sounding seemingly in conflict with the delicate clarinet, but strangely they somehow complete each other, and together with the percussive ornamentation create a wonderful amalgam, which proposes a new aesthetic. The various pieces represent many different moods, like anger, aggression, despair, peace, love and meditation, always playing just what is necessary and avoiding any meaningless excess. Overall the music is deeply engaging and has a direct impact, regardless if the listener has any Jewish roots or not. This is the real strength of this music. There are, of course, also the individual talents of these musicians to be considered, in addition to their group performances, which deserve the listener´s attention. Roginski, deeply rooted in rocky riffs, expands his vocabulary with ambient accompaniments and wall-of-sound strumming in the most intense moments. Trzaska, relatively restrained, sounds wonderfully mellow and melodic, but underneath his volcanic explosions simply wait for an opportunity to erupt. Moretti keeps a relatively low profile, although his contributions are quite essential to keep the entire creation together and are all performed with great fluency and confidence. This music is truly beyond category and has little parallels in Poland or in the entire world for that matter. Although firmly clinging to the Improvised Music formulas, this music has a "soul" ("neshume" in Yiddish), which is simply absent in most improvised environments. This is perhaps New Jewish Music, but it also is a bridge between the past and the future in all musical areas for people who are willing to listen.

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SHOFAR ~ SHOFAR KILOGRAM 014 (Barcode: 5907577284121) ~ POLAND ~ Jazz-Rock-World Fusion Recorded: 2007 Released: 2007 Shofar is an ancient Jewish instrument, usually made of ram´s horn, which has been part of the Jewish tradition since its origins. It is mentioned in the Bible frequently and was used to announce holidays and other special events, but later on the sound of the shofar has been also associated with Jewish mourning for the destruction of the Temple and the Diaspora. Hearing the intense and deeply moving sound of the shofar is a mitzvah for any Jewish person. In the contemporary Hebrew language the word Shofar has an additional meaning, referring to a means of communication spreading ideology, bearing news and expressing the opinion of a group of people. It can be a person (announcer, spokesman, representative) or a medium (newspaper, radio station, etc.). Regardless of the motivation, which stood behind naming the Polish ensemble ShofarFind albums by this artist, in retrospect it somehow encompasses both of the meanings of the idiom. Founded by guitarist Raphael RoginskiFind albums by this artist, who also leads the excellent ensemble CukunftFind albums by this artist, the trio also includes the iconic musician Mikolaj TrzaskaFind albums by this artist and drummer Marcio MorettiFind albums by this artist. This is their debut recording, which consists of their unique interpretations of six pieces taken from the enormous collection of the great Jewish ethnomusicologist Moshe BeregovskyFind albums by this artist and two famous Jewish liturgical pieces. The sound of the trio amalgamates several quite diverse backgrounds: Roginski´s guitar and Moretti´s drums have a distinct Rocky feel whereas Trzaska is deeply embedded in Jazz and Improvised Music. However, there is no clash whatsoever here and the musicians manage to create a unique and quite specific ambience, which transforms the traditional Jewish music into contemporary world of musical expression, without trivializing it in the process, which is often done by the numerous Polish so called Klezmer ensembles, which often never go anywhere beyond being a chaltura (i.e. a worthless and artistically insignificant enterprise). The onset of Shofar, which followed in the footsteps of Cukunft, announced (like a shofar does) the Renaissance of the contemporary Jewish music in Poland, that in retrospect turned out to be a most fruitful and fascinating development on the local scene, which is exploding with activity in many other musical areas as well. Is spite of the fact that there are practically only very few Jews living in Poland these days, the Jewish Culture, which bloomed on the Polish soil for almost a thousand years, has been apparently implanted into the local cultural fabric so deeply that even the Holocaust didn´t manage to destroy it. The seeds planed in that soil are now breaking out with an astonishing vitality. Both Roginski and Trzaska were about to create many other Jewish-related projects later on, including a second album together. But beyond the historical significance of this album, this is also superb music. The vitality and intrinsic joy of the Eastern European music passes over with full glory to the world of sound created by Shofar, which is also full of reflection, mystery and melancholy, mixed with the humor and ecstasy eminently present in Jewish music. The individual statements by these three musicians are of course first-rate but their magic exists primarily as members of the collective ensemble. This album, although recorded only less than a decade ago, is already a part of a classic statement made on the Polish Jazz scene, opening a new chapter of the convoluted Jewish-Polish cultural (and otherwise) relationships, made in memory of the countless shofar blasts that reverberated over the Polish soil in the past Millennium.

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PAWEL SZAMBURSKI ~ CERATITIS CAPITATA LADO ABC SB/08 ~ POLAND ~ Jazz-World Fusion Recorded: 2014 Released: 2014 This is the debut solo album by the Polish Jazz clarinetists / composer Pawel SzamburskiFind albums by this artist, one of the pillars of the local Avant-Garde / Improvised Music scene, known from many different projects with a wide range of musicians, including the clarinet quartet IrchaFind albums by this artist led by Mikolaj TrzaskaFind albums by this artist. The album comprises of five tracks, each dedicated to one of the religious movements originating in the Mediterranean. The music was recorded in a church and the solo clarinet sound emphasized and transformed by the church´s natural echo and ambience create a sacred, mystical atmosphere. In complete contrast to what people familiar with Szamburski´s earlier recordings nigh expect, this music is completely and absolutely spiritual, melodic, lyrical and enchantingly beautiful, a total antidote to the Avant-Garde / Free Jazz idiom, associated with his "usual reputation". In many respects this music sounds more like a prayer than an artistic expression, but on the other hand perhaps art is always a form of prayer? Of course listeners familiar with sacred music originating form the Mediterranean region will be able to identify traces of it in this music, but Szamburski manages to turn them into an integral part of his own creation. Listening to the is music, at least in my case, turned out to be a deeply moving experience, and considering the fact that the album lasts only for about half an hour, I listened to it repeatedly several times, wishing to sustain the calm and serenity it inspires. Szamburski deserves to be praised not only for his talents, but also for his integrity and courage to express himself without any inhibitions, showing his innermost feelings and sharing them with his listeners. Free Jazz and freely improvised music often serve, contrary to what some people might think, as paraphernalia to hide the musician´s emotions rather than express them. The music Szamburski brings forward herein is simply so pure and bare, that it hides nothing. This album is undoubtedly one of the best recordings I have heard so far this year and I recommend it wholeheartedly, especially to all the cynics and misanthropes among us; perhaps listening to this music could serve as a wake up call for some of them at least. Since this album was released as a numbered limited edition of 500 copies, grab it ASAP anywhere you can, before it becomes unavailable.

Updated: 12/04/2019Posted:

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TRZASKA / MAZUR / PANDI ~ TAR & FEATHERS GUSSTAFF 1402 (Barcode: 5050580617261) ~ POLAND ~ Jazz Recorded: 2012 Released: 2014 This is a live recording of an exciting meeting between two Polish Improvised Music players: saxophonist Mikolaj TrzaskaFind albums by this artist and bassist Rafal MazurFind albums by this artist with Hungarian drummer Balazs PandiFind albums by this artist associated with European Avant-Garde / alternative / improvised Rock. The concert was captured at the A38 Club in Budapest, which is in fact a ship anchored to a pier on the Danube River. The album includes six original improvised pieces, all credited to the three performers. In many respects the music captured here is more "conventional" that most of other projects, which Trzaska is usually associated with. Probably the solid rhythmic drumming by Pandi and fairly melodic bass lines by Mazur influenced Trzaska´s performance, moderating his untamed instincts. As a result the overall flow of the mostly up-tempo material is quite accessible to open-minded Jazz listeners, who usually don´t plunge into Improvised Music. As usual in such situations, the level of cooperation between the musicians is what makes the resulting music cohesive and focused. Trzaska is usually directed by a fine taste when choosing his partners and this encounter is no different. The dynamic and powerful rhythm section certainly pushes his playing into areas, which go back to his days with the legendary ensemble MiloscFind albums by this artist. Another aspect of this recording is the contact between the burgeoning Improvised Music scene in Poland and the relatively smaller but very interesting scene developing lately in Hungary, which deserves to be discovered. Hopefully this album could serve as a trigger to more such collaborations.

Updated: 12/04/2019Posted:

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TRZASKA / MAZURKIEWICZ ~ NIGHTLY FORESTER MULTIKULTI MPI 033 (Barcode: 5907796319895) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2016 Released: 2016 This is an album by Polish Improvising Music duo comprising of clarinetist / saxophonist Mikolaj TrzaskaFind albums by this artist and bassist Jacek MazurkiewiczFind albums by this artist. They perform nine original compositions / improvisations co-credited their names. The unique aspect of this album is the fact that the music is a "field recording", capturing the two musicians performing in deep forest, away from any urban influences and studio technology. The sound quality of this recording is absolutely sensational. The music is very intimate and mostly quite introvert, emphasizing the close dialogue Trzaska and Mazurkiewicz are able to create between them. The natural and clean sound of the instruments suits the overall nature of this music perfectly and creates a beautiful sonic ambience, rarely captured in a studio. Trzaska manages to stay relaxed and low key, which shows his lyrical side more expressively than on most of his other numerous recordings. His clarinet work is stunning and full of Hassidic influences, lamentations and howls characterizing serious Klezmer music. Mazurkiewicz utilizes the arco and plucking techniques with great effectives. But most importantly they manage to maintain a coherent dialogue, which results in music being much stronger than just a sum of its ingredients. Although Improvised Music is often estranged and unfriendly towards the listeners, this music is remarkably accessible and "strangely pleasant", of course in the most positive meaning of the phrase. Over several listening sessions it really gets under the listener´s skin and becomes an extension of his inner self, which happens of course very rarely. Personally I find Trzaska´s return to the exploration of the Jewish Music motifs extremely satisfying, especially after a period of time when he was busy with other musical paths. Whatever the motivation might be, the end result is what counts, and it is most welcome. Music like this is the epitome of the "Art of the Duo", in its most refined and purified form. Superb stuff!

Updated: 06/02/2017Posted: 06/02/2017

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TRZASKA / MAZURKIEWICZ / SZPURA ~ NORTH MERIDIAN PLANK-TONE 1 ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2018 Released: 2019 This is an album by a trio of Polish Free Jazz / Improvised Music musicians: veteran saxophonist / clarinetist Mikolaj TrzaskaFind albums by this artist and two younger but already established representatives of the genre, bassist Jacek MazurkiewiczFind albums by this artist and drummer Pawel SzpuraFind albums by this artist. The album presents six original compositions, all co-composed by the members of the trio. The music is everything the listeners familiar with the Polish Improvised Music scene would expect: an excellent example of a trialogue between highly expressive and imaginative players, which demonstrates a high level of mutual respect and telepathic exchange of ideas, which makes the music sound as if it was carefully researched, in spite of the fact that it is completely spontaneous. There is a wonderful balance of responsibilities and role sharing between the musicians and ability to play together without overshadowing each other´s contributions. The music is excellently recorded, with perfectly isolated sound of each of the instruments, which enables the listener to hear absolutely every delicate nuance, even when Mazurkiewicz employs heavy electronic sounds in addition to the acoustic instruments. The music varies in intensity and atmosphere, moving between delicate and soft passages and "wall of sound" vistas, being perfectly cohesive and focused at all times. In spite of the fact that this music offers no straightforward melody contents as such, it has a melodic streak of sorts, making the music accessible to a relatively wide circle of listeners, not necessarily originating only from within the Improvised Music circle. Trzaska seems to be in a meditative mood on this album and his performances are tamer and more relaxed than usual, which is a real treat. He is apparently still developing his palette and able to surprise even his most devoted followers, like yours truly. But Mazurkiewicz and Szpura both contribute excellently as well, perhaps better than at any earlier recording. Overall this is a beautiful piece of Improvised Music, which manages to be transformed into an experience worth listening to repeatedly, something that happens very rarely within the genre. This album is the first release on the new Plank-ToneFind albums on this label Records label founded by Mazurkiewicz, and of course greetings and salutations are in order!

Updated: 25/12/2019Posted: 25/12/2019

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MIKOLAJ TRZASKA ~ CZESC, CZESC, CZESC… GOWI 37 (Barcode: 786497165322) ~ POLAND ~ Jazz Recorded: 1995 Released: 1996 This is the debut album by legendary Polish saxophonist / clarinetist / composer / bandleader Mikolaj TrzaskaFind albums by this artist, recorded while Trzaska was still a member of the no less legendary Yass ensemble MiloscFind albums by this artist, which revolutionized the Polish Jazz scene in the 1990s. The album was recorded in a quartet setting with keyboardist Jowita CieslikiewiczFind albums by this artist (from the legendary all female ensemble Oczi CziorneFind albums by this artist) and two Milosc related musicians: bassist Tomasz HesseFind albums by this artist and drummer Jacek OlterFind albums by this artist. Didgeridoo player Szymon RoginskiFind albums by this artist appears as a guest musician. The album presents nine tracks, seven of which are original compositions by Trzaska, one is a traditional song and one was co-composed by Hesse and Tomasz GwincinskiFind albums by this artist (a legendary representative of the Bydgoszcz music scene and considered as one of the creators of the Yass idiom). From a twenty years long retrospect this album sounds today even more poignant than when I heard it for the first time at the time it was originally released. After closely following the musical path and development of Trzaska during that period, it becomes clearly evident that this album was not only revolutionary, but even more importantly so it was completely prophetic as far as Trzaska´s future was about to reveal itself. It includes all the elements in his music, which were about to burst out later on: a superb sense of melody, always full of tension and suspense, which would become Trzaska´s trademark in his remarkable career as a creator of some of Poland´s most important soundtracks to no less important movies. It also includes the element of cyclic, almost trans-like, hypnotic repetition, which was to characterize Trzaska´s music in the ensembles he led during those twenty years. And last but not least it also features his obvious search of his musical roots, which was about to blossom when Trzaska discovered Jewish music. Musically this album lost absolutely nothing of its charm and strength over time and as already mentioned above is an absolutely marvelous statement, which not only depicts the essence of the Yass era, with its nonchalance, daring and open-mindedness on one hand and the total commitment to doing your own thing on the other, but also captures in an embryonic stage one of Poland´s most creative and significant musical minds. Sadly this album never really achieved the iconic status it truly deserves, which complies with the ancient saying: "No Prophet is welcome in his hometown", which tragically is more often true than not. Since it seems to be still available, I can´t think of a Polish Jazz album that deserves to be in every serious Polish Jazz collection than this one, not only for its historic significance but simply because it contains so much great music. Don´t even think twice!

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MIKOLAJ TRZASKA ~ DOM ZLY (SOUNDTRACK) KILOGRAM 018 (Barcode: 5907577284169) ~ POLAND ~ Soundtracks Recorded: 2009 Released: 2010 Polish musician / composer Mikolaj TrzaskaFind albums by this artist is an iconic figure on the local scene and one of the most influential trend setters in the last two decades. Starting with the pioneering ensemble MiloscFind albums by this artist, which defined the concept / genre called Yass, shaking the local scene profoundly and making many musician to re-examine their paths and return to experimentation and exploration, which was always associated with the Jazz idiom. In time Trzaska became one of the leaders of the Polish musical Avant-Garde / Free Jazz / Improvised Music movement and by mid-2000s he shifted his attention again discovering the Jewish musical tradition and incorporating it in his milieu. The music included on this album was created as a soundtrack of the sinister thriller directed by Wojciech SmarzowskiFind albums by this artist and called "Dom Zly" or "The Dark House" in English. Therefore listening to the music separated from its cinematic reference is a priori problematic or at least should be judged by completely different set of parameters. The album includes ten tracks most of which are sub-divided into several sub-motifs, which together create a collage of short themes following each other rapidly. The music was created by a quintet with Trzaska playing saxophones, clarinets and keyboards, with cellist Clementine GasserFind albums by this artist, pianist Tomasz SzwelnikFind albums by this artist, bassist Clayton ThomasFind albums by this artist and drummer Michael ZerangFind albums by this artist. Not all the players participate on all the tracks and Trzaska is the primary performer as well as the composer of all the pieces. Stylistically the album covers a wide range of diverse sub-genres, like Musique concrète, Ambient, Free Jazz, Experimental, Industrial and other Avant-Garde soundscapes. There is very little melodic content per se or conventional soloing or playing for that matter. Like with abstract painting, where the Artists uses patches of shapes and colors combining them on a canvas and playing with their aesthetic relationships on a two-dimensional plane, Trzaska plays with sounds and tones and time, to create a sonic "picture" in the listener´s brain, which either works of doesn´t, depending on the listener, his momentarily moods and reflections. It works for me, but it might not work for others. This music is obviously not for everybody, not even for most people who listen to music on a regular basis. Many listeners might enjoy this as part of a cinematic experience, heard in the background, but might find this extremely difficult on its own. This does not mean, of course, that Trzaska is not entitled to experiment and do his own thing – au contraire he should be praised for doing just that. A healthy Culture has always space for being different and the ability to embrace those who are different. Life would be simply unbearable if everybody would just play the same music.

Updated: 19/02/2020Posted:

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MIKOLAJ TRZASKA ~ KLER (SOUNDTRACK) KILOGRAM 039 ~ POLAND ~ Soundtracks Recorded: 2017 - 2018 Released: 2019 The close cooperation between a film director and a cinematic music composer, which last for many years, is quite a common phenomenon in the Film industry, and of course has its long tradition in Polish cinema as well. Such famous couplings include Roman PolanskiFind albums by this artist – Krzysztof KomedaFind albums by this artist, Krzysztof KieslowskiFind albums by this artist – Zbigniew PreisnerFind albums by this artist and of course also Wojciech SmarzowskiFind albums by this artist – Mikolaj TrzaskaFind albums by this artist. Trzaska wrote the music for all the films by Smarzowski ("Dom Zly", "Roza", "Drogowka", "Pod Mocnym Aniolem", "Wolyn" and "Kler"), except for his debut film ("Wesele"). Trzaska, one of the leaders of Polish Free Jazz / Avant-Garde / Improvised Music scene, seems to find himself at ease with writing music for films, which of course works quite differently than his usual modus operandi on stage or in the studio, surrounded by other improvisers. The magic that happens when Smarzowski´s often harsh, shocking and deeply troubling visual expressionism gets combined with Trzaska´s music, and the two fit together perfectly, as if created in one mind. Trzaska, who plays saxophones and clarinets, involved in creating this music the "usual suspects", i.e. artists he worked with earlier, like clarinetist Pawel SzamburskiFind albums by this artist, Danish vibraphonist / drummer Peter Ole JorgensenFind albums by this artist, multimedia Artist / musician Marek RogulskiFind albums by this artist and The Sejny Theater Klezmer OrchestraFind albums by this artist. The album presents nine original compositions, all by Trzaska, which last together for almost thirty seven minutes, and served as a source of the incidental music incorporated within the film. As usual in the case of film soundtracks released as stand alone albums the crucial test is if the music is able to hold its ground on its own, without the presence of the visual element being involved. Trzaska managed to achieve this with his previous cinematic projects and he does not disappoint here as well. The album delivers a coherent, quite diverse series of atmospheric / ambient pieces, which are a fascinating journey, and the listener is able to create his own scenography and plot on the fly or simple accept the music on a purely emotional plane. Although not involved directly with Jazz per se, the spirit of improvisation is an integral part of this music, as appropriate for Trzaska and his usual sound environment. It takes a while to enter this enigmatic world of sounds, but the more one listens to this music the more addictive it becomes. I have but to agree with Smarzowski (who writes so on the album´s cover) that this album is very much different from the film, which of course is pretty obvious, but the overall effect of Trzaska´s music is absolutely phenomenal on its own. I am grateful to be able to call this great Artist a Friend!

Updated: 19/02/2020Posted: 19/02/2020

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MIKOLAJ TRZASKA ~ WOLYN (SOUNDTRACK) POLSKIE RADIO 2056 (Barcode: 5907812246853) ~ POLAND ~ Soundtracks Recorded: 2015 Released: 2016 This is the soundtrack album with music from the film "Wolyn", directed by the cult Polish screenwriter / director Wojciech SmarzowskiFind albums by this artist, composed by Polish saxophonist / clarinetist / composer Mikolaj TrzaskaFind albums by this artist and recorded by Trzaska, bassist Jacek MazurkiewiczFind albums by this artist and an orchestra called The Klezmer Orchestra of Pogranicze TheaterFind albums by this artist, which is located in a small town of Sejny close to the borders between Poland, Lithuania and Belarus. Trzaska wrote the music for all the films by Smarzowski ("Dom Zly", "Roza", "Drogowka", "Pod Mocnym Aniolem" and "Wolyn"), except for his debut film ("Wesele"). The most important aspect of cinematographic music is of course its relevance to the film, of which it is an integral part. The question if the music is able to be relevant as an auditory experience, unrelated to the visual dimension, is very complex. In most cases soundtracks lose their relevance completely, when placed on an audio record. In some relatively rare cases, the music assumes an independent identity from the film and proposes a relevant and coherent audible experience. In extremely rare cases the music is not only able to stand alone but constitutes a musical masterpiece if its own right. This is definitely one of those extraordinary events. The music combines a multitude of sources originating in the extremely rich Polish Music tradition, which over a thousand of years amalgamated dozens of Slavic Folkloristic styles, Jewish Klezmer music, European Classical Music and of course also Jazz, which in Polish Culture has probably a more direct influence than anywhere else in Europe or the entire world for that matter. Trzaska, who is one of the pioneers of contemporary Jewish Music renaissance in Poland, is of course one of the most successful sorcerers where it comes to updating and transforming Jewish rooted music into modernist stylistic amalgams, which include a variety of Jazz sub-genres with an emphasis on Free Jazz and Improvised Music. These Jazz influences are perhaps less noticeable in this music, especially for listeners not familiar with them in depth, but it is there at all times, at the deep foundations of the music. The overall somber and grave atmosphere of this music is of course related directly to the film´s heartbreaking subject matter, but might be also related to more contemporary aspects of life, which influence us all. Trzaska, a deeply sensitive human being, projects his personality into his music, as all great Artists do, and yet his music becomes more universal because of it, rather than self-centered, as might be expected. This is a very unique music, which could have only been created by a unique composer and the unique circumstances that influenced it: the convoluted history of the Polish People, their rich and complex Cultural background and the immense depth of their catastrophic experiences as a Nation. The decision the release this music on an album is very commendable. Wholeheartedly recommended!

Updated: 17/01/2017Posted: 17/01/2017

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WILD MANS BAND ~ FREDENSBORG NINTH WORLD 050 (Barcode: 5709498212524) ~ GERMANY ~ Jazz Recorded: 2013 Released: 2015 This is the sixth album by The Wild Mans BandFind albums by this artist, a conceptual trio, which invites other musicians to join them one at a time in turn, to create an ad hoc quartet. The trio consists of veteran European Free Jazz / Improvised Music musicians: German saxophonist / clarinetist Peter BrotzmannFind albums by this artist, Danish bassist Peter Friis NielsenFind albums by this artist and Danish drummer Peter Ole JorgensenFind albums by this artist. On this album they are joined by the great Polish saxophonist / clarinetist Mikolaj TrzaskaFind albums by this artist, who completes the quartet lineup. The quartet performs five original compositions, all co-composed by all the quartet members. The music is a fantastic explosion of raw energy and collective improvisation of the highest caliber, which hardly leaves a moment to gather one´s thoughts, simply taking the listener on a wild and reckless journey of imagination and emotional treasure hunt. The level of interplay and individual virtuosi statements is staggering and this music has something new to offer with every listening session. Brotzmann and Trzaska cooperate superbly together and the age and background differences seem to have no influence whatsoever on their incredible dialogues. With both of them having a very strong and unique personalities, their interplay is even more intense and eventually also more fruitful than other meetings of this kind. The rhythm section is also absolutely brilliant, standing shoulder to shoulder with the intense foreground action. Nielsen has an incredible flexibility and speed and his pulsation keeps the entire musical environment in check, saving it from chaos and anarchy. Jorgensen is very skillful in not barraging the proceedings with his drumming, which would have annihilated the overall sound, keeping his wonderful drum parts just at the right level to be audible but not dominating. On the more serene parts his drumming is very musical and even melodic, adding a new dimension to the entire outcome. In short this is a great example of Free Jazz / Improvised Music that is creative, surprising, emotional and engaging, which unfortunately does not happen too often in that idiom. Completely lacking any ego trips and the need to prove something, this music simply flows naturally, which makes it stronger and more influential than music that is trying to impress. This is a must have for all lovers of Free Jazz / Improvised Music, as recordings of such class, masterly execution and aesthetic beauty are rare indeed.

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IGNACY JAN WISNIEWSKI ~ DUOS HEVHETIA 0221 (Barcode: 8588005259026) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2020 Released: 2021 This is an album by Polish Jazz pianist / composer Ignacy Jan WisniewskiFind albums by this artist, which presents a series of duos recorded with other Polish Jazz musicians: bassist Olo WalickiFind albums by this artist (a.k.a. Olgierd WalickiFind albums by this artist), saxophonist Mikolaj TrzaskaFind albums by this artist, drummer Michal BryndalFind albums by this artist and vocalist Marcin JanuszkiewiczFind albums by this artist. The album presents ten original pieces, all of which are freely improvised. For “freely improvised music”, the music on this album is at times remarkably melodic and returns to the formats used by Wisniewski in his earlier recordings, which amalgamate elements of Jazz and Classical music with Avant-Garde vistas, being this time perhaps somewhat more radical, since the earlier music was definitely largely pre-composed. In any case, if all Improvised Music was as coherent, sensible and aesthetically pleasing as what can be heard here, my general cautiousness about the genre would have been way less intensive. This music is simply beautifully expressive and inviting, in complete contrast to most contemporary Improvised Music, with constant challenges, strange twists and turns and quite unexpected performances by the participants, like almost romantic saxophone parts by Trzaska and Cecil TaylorFind albums by this artist staccatos by the leader. The biggest surprise for me are the vocal performances by Januszkiewicz, whose earlier work I admit to not being familiar with. Due to his contacts with the theatre circles, as composer of music for spectacles, Wisniewski uses actors rather that Jazz vocalist in his projects (see / hear Kamil DominiakFind albums by this artist in “Kantata JazzowaFind albums with this title”), proving his perfect instinct as far as making such decisions. Januszkiewicz is absolutely stunning in his unconventional vocal approach and his parts are, for me, absolutely climatic. But to be fair all the participants contribute heartfelt roles in the entire project. Overall, this is one of the absolutely most wonderful Polish Free Jazz / Improvised Music recordings lately, which is rather unusual in its tameness, which perhaps is the source of its success. Presenting great musicianship, firmly managed by the leader, it proves that Improvised Music can be lasting and still innovate, which is happening very rarely lately. An absolute must to listeners, who are ready to be challenged. Hats off to all participants!

Updated: 01/10/2021Posted: 01/10/2021

CD 1 Digipak Recommend To A Friend