Record Reviews

ARTRA ~ KRONIKI MIEJSKIE STUDIO METROPOLIS 002 ~ POLAND ~ Avant-Garde Jazz Recorded: 2018 Released: 2018 This is the debut album by the Polish Avant-Garde Jazz trio ArtraFind albums by this artist which comprises of trumpeter / clarinetist Witold PopielFind albums by this artist, percussionist Leszek GapskiFind albums by this artist and vocalist Joanna SwirskaFind albums by this artist. The music, recorded live, is a continuous improvised piece later divided into six tracks, with the vocal parts overdubbed later on in the studio. No compositional credits are stated on the album´s artwork (created by Popiel, who is also a renowned graphic Artist and painter) and therefore are assumed to belong to the musicians involved. Popiel´s involvement with the Polish Avant-Garde Jazz goes back to 1972, when he was active with the legendary ensemble Grupa W SkladzieFind albums by this artist (with Milo KurtisFind albums by this artist, Andrzej PrzybielskiFind albums by this artist and others) and in 1973 he formed Artra with Gapski, which was re-activated over forty years later, leading to the recording of this album. The music presents two distinct layers: the improvised conversation between Popiel and Gapski, and the overdubbed vocals, which come from the Polish folklore tradition, both musically and stylistically. The amalgam of these two layers creates a new musical landscape, which intends to reflect the City Chronicles ("Kroniki Miejskie" in Polish) of the Warsaw urban space. The overall effect of the music is very powerful and striking, full of emotions and intricate exchanges, enhanced by electronics and sound effects and elevated to a higher level with the vocal parts. The album proves that Avant-Garde Jazz is still alive and kicking in Poland, although mostly hidden from the public eyes. It is quite different from the Free Jazz / Improvised Music scene, which is pretty strong in Poland since the turn of the Millennium, as it moves beyond purely musical concepts into interaction with other Art Forms, philosophy and social awareness, as it always did, since it was initiated by the Hippie generation in the early 1970s. The album offers a generous dose of deep musical experiences, virtuosic performances and bold Artistic statements, which hit the listener right between his ears. Not for everybody, but open-minded listeners should have a field day with this music, which deserves repeated listening sessions. Thank God that music like this is still being made today!

Updated: 12/04/2019Posted: 15/09/2018

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DRUM FREAKS ~ SMYRNA MILO 106 ~ POLAND ~ Jazz-World Fusion Recorded: 2003 Released: 2003 This is the second album by Polish ensemble Drum FreaksFind albums by this artist founded and led by Milo KurtisFind albums by this artist, a multi-instrumentalist / composer of Greek origin living in Poland. Kurtis is a prominent figure on the local scene, having been involved with many legendary local groups, like OssianFind albums by this artist (a.k.a. OsjanFind albums by this artist), MaanamFind albums by this artist and others. A versatile musician and a charismatic personality, Kurtis performed in such diverse musical fields as Folklore, World Music, Reggae and Free Jazz. On this album the lineup includes, apart from the leader, guitarist Janusz Yanina IwanskiFind albums by this artist, keyboardist Piotr IwickiFind albums by this artist, saxophonist / flautist Mateusz PospieszalskiFind albums by this artist and percussionist Joannis KurtisFind albums by this artist. Ex-JamiroquaiFind albums by this artist player Wallis BuchananFind albums by this artist appears as a guest playing didgeridoo. The album includes eight original compositions by the leader and other members of the band, including Buchanan, all of which were recorded live at the St. John´s Church in the Northern port city of Gdansk. The music is an amalgam of melodic World Music from many different sources, but most significantly from the Mediterranean, ornamented by improvised Jazz oriented solos. As far as the Polish scene is concerned, this is definitely an unusual phenomenon, although Kurtis was involved in somewhat similar projects earlier, albeit in more meditative and experimental form. The overall atmosphere is serene and even lyrical at times, but successfully maintains an element of development and interest, unlike many similar projects, which quickly cross over into mediocre Muzak. Kurtis, who is a deeply spiritual person (I had the pleasure to meet him during my production of "The Book Of JobFind albums with this title" album in which he took part), manages skillfully to avoid the populism often involved with Western musicians performing World Music originating from non-Western sources. The music herein offers an opportunity to the musician to cooperate rather than compete, with little show-off and modern-times rush into the unknown. As Kurtis himself describes it, this is "early morning" music, which sounds best before out minds get clotted by the infernal noise that surrounds us all in today´s world. For me it also sounds great late at night, when I try to wash out (mentally at least) the day´s pressures. But I suppose that every listener will be able to find a proper moment for this music, as suitable to their souls. Listeners, who like Jazz-World Fusion excursions, should definitely try this album out as soon as possible, as it is one of the nicest pieces of that type that I happened to stumble upon. Considering that many Jazz-World Fusion albums are quite kitschy, this one is a gem!

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GRUPA W SKLADZIE ~ GRUPA W SKLADZIE TRZECIA FALA 002 ~ POLAND ~ Jazz Recorded: 1972 - 2012 Released: 2013 This is the second installment in a new series of archival releases / reissues, initiated and piloted by Lukasz StrzelczykFind albums by this artist under the Trzecia FalaFind albums on this label moniker. The purpose of this series is to expose, showcase and most importantly document for posterity the early Polish Avant-Garde music movement, which rests almost completely buried by the tides of time, mostly forgotten and criminally neglected. The fact that this music was created at all is a miracle, considering the circumstances surrounding its birth. The Socialist Regime was naturally quite suspicious and often outright offensive towards "antisocial elements", as artists not following the regime directives were often referred to. The importance of having this music available is a momentous achievement and a vital effort to preserve the Polish cultural heritage, which unfortunately suffers from chronic neglect. Therefore it is encouraging to see that the Polish Ministry of Culture and National Heritage supports this wonderful effort. The albums in this series are pressed in very limited volumes, so an immediate purchase is highly recommended. This album presents, for the first time on record (as hard as it is to believe), music recorded by the pioneering ensemble Grupa W SkladzieFind albums by this artist, which was active in the early 1970s and most recently reactivated in 2012. Over time the accidental / fortuitous lineups of the group included a long list of participants. The founding members: vocalist / multi-instrumentalist Milo KurtisFind albums by this artist, saxophonist / flautist Andrzej KasprzykFind albums by this artist and guitarist / painter / photographer Jacek MalickiFind albums by this artist, were later supplemented by some of Poland´s legendary Jazz musicians, such as pianist Andrzej BiezanFind albums by this artist, bassist Helmut NadolskiFind albums by this artist, trumpeter Andrzej PrzybielskiFind albums by this artist, drummer Wladyslaw JagielloFind albums by this artist and many others. The wonderfully researched booklet accompanying this album presents the history of the group, which of course has missing parts due to some facts being lost in the mist of oblivion over time (unfortunately the text is in Polish and has only a brief synopsis in English). The interconnections between Avant-Garde music and other Art Forms, which are of course inseparable, are also well reflected in the text. There are also many wonderful photographs and a plethora of biographical information, which constitutes a first-class document of great importance. The salvaged music, which consists of six tracks, presents mostly recordings from the 1970s, with one exception (on the last track) which was recorded by a reunion lineup of the group in 2012. The recording dates and exact personnel are all rather vague, but the music certainly makes a point on its own right, showing the early / pioneering efforts by Polish Avant-Garde / improvised music scene, which will reach its first artistic peak about a decade later (by the mid 1980s). Stylistically the music utilizes many of the devices characterizing early Avant-Garde, such as sound collages, accidental noise, usage of sound producing objects and novel approach to vocal techniques. The intuitive expression seems to be a guiding force, which of course can be associated with the need to transfer the lack of freedom of speech into a freedom of nonverbal expression, a transference often used by Artists operating under oppressive regimes. In retrospect the boldness and far-reaching artistic vision of the people involved with creating this music is truly astounding. Considering the relative isolation of the Polish scene from developments taking place across the Iron Curtain, its achievements are in every respect equally revolutionary and daring. There is no doubt that the currently flourishing Polish Avant-Garde scene, which is obviously a leading contender on a world scale, has its roots in these underground acts of wonderful "madness", performed decades earlier by these pioneers. For serious fans of Polish Culture this album is an iconic event, closing one of the many gaps still existing in the beautiful tapestry, which is Polish Music. Hopefully many such events will follow in the future!

Updated: 12/04/2019Posted:

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GRUPA W SKLADZIE ~ PLANETARIUM MILO 304 ~ POLAND ~ Jazz-Ambient Fusion Recorded: 2018 Released: 2019 This is an album by the legendary 1970s Polish Avant-Garde ensemble Grupa W SkladzieFind albums by this artist, which was reactivated a few years ago and performs from time to time in different lineup configurations. This live recording was made by a trio lineup of the ensemble, which includes the founding member multi-instrumentalist Milo KurtisFind albums by this artist, veteran Jazz clarinetist Jerzy MazzollFind albums by this artist and a representative of the young generation keyboardist Milosz OlenieckiFind albums by this artist. The album presents six original compositions, one composed by Kurtis and five composed collectively by the ensemble members. The music is a meditative journey, which amalgamates elements of Jazz, World Music and Ambient explorations. It requires patience and open-mindedness to be wholly appreciated, but once the listener fully submits to the flow of the music, the experience is truly magical. The personal performances are all excellent, especially the superb clarinet improvisations by Mazzoll, but the music is created by all three musicians together and its magic is mostly a result of their close cooperation. Overall this is a beautiful album of meditative / improvised music, which enchants the listen by its calmness and tranquility, but also offers rich layers of Jazzy improvisations. Twenty years ago this might have been classified as New Age Music, but the hype of New Age is long gone, and great music stays forever.

Updated: 11/01/2020Posted: 11/01/2020

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MILO ENSEMBLE ~ D`EN DIA EN DIA MILO 306 ~ POLAND ~ Jazz-World Fusion Recorded: 2022 Released: 2022 Poland’s almost one thousand years of Jewish Culture, severed and annihilated by the Holocaust, enjoys a miraculous revival in the last two decades or so on the Polish Cultural scene, with music being just one of its many facets. Jewish Culture festivals and concerts of Jewish music are a pretty common phenomenon in Poland these days, but sadly all those reflect primarily just a part of the Jewish Cultural tradition, namely the Ashkenazi Jewry heritage. Its counterpart, the Sephardic Jewish Culture, is consistently absent on the Polish scene, sadly almost always intentionally. Polish Jews were of course predominantly Ashkenazi, and Sephardic Jews (like myself) were a tiny minority, with their Cultural heritage regarded as inferior and systematically ignored by the Polish Jewish establishment in the past, as well as today. Of course Sephardic music has its roots in the Mediterranean Cultures, which often sound strange to East European Ashkenazi ears, and therefore it is hardly surprising that it took someone like Milo KurtisFind albums by this artist, a Polish Greek, to undertake the ambitious project of presenting a collection of Sephardic songs by his Milo EnsembleFind albums by this artist, one of the most colorful music gatherings on the Polish scene. This album, which is a live recording, presents eight Sephardic Jewish songs, sung in the Ladino language, and two versions of an original composition, which open and close the performance. The ensemble consists of Kurtis, who plays clarinet and other instruments, vocalist Masha NatansonFind albums by this artist, saxophonists Misza KinsnerFind albums by this artist and Bartosz SmoragiewiczFind albums by this artist, oud player Mateusz SzemrajFind albums by this artist and percussionist Adeb ChamounFind albums by this artist, as well as guest artist, American trumpeter Dave DouglasFind albums by this artist. Several other guests take part on selected tracks, like vocalist KayahFind albums by this artist, electronics wizard Tadeusz SudnikFind albums by this artist and others. The music follows the Jazz-World Fusion pattern, with each of the songs presented in its basic form and followed by extensive instrumental improvisations. The rhythmic background is predominantly close to Arabic / Greek patterns and the Sephardic originality is often stretched beyond recognition, but the concept holds water and offers an exciting glimpse of Jewish Music, which is rarely heard on the Polish stages. Listeners, who enjoy virtuosic instrumental improvisations and exotic atmosphere, full of Middle Eastern spirit, should enjoy this wonderful music to the max. Overall, this is an ambitious, original and exciting musical adventure, which adds some new color to the Jewish Culture and its presence in the Polish soil. Kurtis stays, as always, true to his roots and his capacity as a leader, who knows what he wants, is what keeps him afloat for all these years on this ever-changing seesaw ride of playing ambitious music. Thank you, my fellow Mediterranean soul Brother, for being what you are.

Updated: 23/11/2022Posted: 23/11/2022

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MILO ENSEMBLE ~ LIVE MILO 305 ~ POLAND ~ Jazz-World Fusion Recorded: 2019 Released: 2019 This is a live recording by the ensemble led by Polish (of Greek origin) multi-instrumentalist / composer / band leader Milo KurtisFind albums by this artist, which includes some of the top World Music musicians active in Poland, all of whom are multi-instrumentalists playing authentic acoustic instruments originating from many different corners of the world. They are: saxophonists Misza KinsnerFind albums by this artist and Bartosz SmoragiewiczFind albums by this artist, percussionist Adeb ChamounFind albums by this artist, multi-instrumentalist / vocalist Bart PalygaFind albums by this artist and oud player Mateusz SzemrajFind albums by this artist. The album presents eleven original compositions, eight of which were composed by Kurtis, one was co-composed by him and Smoragiewicz and one each were composed by Smoragiewicz and Palyga. I had the pleasure not only to be present at the Polish Radio Agnieszka Osiecka Studio, where this album was recorded, but even introduced the ensemble to the public before the concert started. The album faithfully captures the music that was played during that evening, which was mostly improvised on the basis of the pre-composed themes, completely acoustic and deeply spiritual, with Kurtis directing the ensemble but allowing the individual players to venture into extensive improvisations, and eventually bringing them back into the structured framework. Amazingly everything worked out beautifully together and the superb sound quality and separation allows the listener to hear every tiny detail within the complex wall of sound created by the six musicians. In comparison to the earlier recordings by Kurtis, the music on this album is less Jazz oriented per se and is much more atmospheric, venturing into Improvised Music idiom, but more form the World music direction rather than from the Jazz direction. As a result this album emerges as one of the most successful achievements in his substantial recording legacy. Of course this is not only due to the compositions and direction setting done by the leader but also thanks to the amazing talents of the participation musicians, who offer a vast kaleidoscope of sounds, instruments and influences, more extensive than what Kurtis ever managed to collect within one ensemble. Overall this is probably the most impressive Jazz-World Fusion album released in Poland in 2019 and a most significant addition to the important recorded legacy of Milo Kurtis, who remains, after many years of activity, to be at the vortex of creativity and activity of the Polish musical scene, hopefully for many years to come. Se efcharistó file mou!

Updated: 01/01/2020Posted: 01/01/2020

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MILO ENSEMBLE ~ LIVE AT PROM KULTURY MILO 303 ~ POLAND ~ Jazz-World Fusion Recorded: 2018 Released: 2018 This is a live recording by an ensemble led by Polish multi-instrumentalist / composer / band leader Milo KurtisFind albums by this artist, which comprises of some of the top Jazz-World Music Fusion Polish or resident in Poland musicians: vocalist Rasm Al-MashanFind albums by this artist, oud player Mateusz SzemrajFind albums by this artist, kora player and vocalist Buba Badjie KuyatehFind albums by this artist, saxophonist Mariusz KozlowskiFind albums by this artist and percussionist Adeb ChamounFind albums by this artist. The album presents eight original compositions, five of which were composed by Kurtis, one was co-composed by him and Al-Mashan and one each composed by Kuyateh and Kozlowski. Kurtis, in addition to being a charismatic bandleader and a colorful personality has also a rare talent of gathering around him excellent musicians, amalgamating their often diverse backgrounds into a stylistic blend, which is simply much more than just a sum of its ingredients. This happened with the NaxosFind albums by this artist ensemble, in which some of these musicians were members, as well as in his earlier ensembles, and it applies to this one with the exact same efficiency. The music on this album combines many seemingly dissimilar World Music elements from Africa, Middle East and other sources, wonderfully weaving them together with Jazz improvisation, producing an irresistible and enchanted musical flying carpet ride. Each of the ensemble members represents a different aspect of the music and their cooperation, despite the short lived period of preparation, works like magic. Al-Mashan is a soulful vocalist, bringing to life the great tradition of female vocalists from the Arab World, like the diva Umm Kulthum, updating it to the contemporary World Music idiom. Szemraj is an oud virtuoso and he can easily stand shoulder to shoulder with Middle Eastern Masters of the oud. Kuyateh adds a wonderful color and tonal harmony to the proceedings, Kozlowski is the Jazz element and Chamoun superbly creates a polyrhythmic foundation, which keeps the music flowing. Kurtis, as usual, is in charge of the atmosphere and leads the ensemble firmly on track. Although Jazz-World Fusion music is quite popular in Poland and produces some excellent recordings, only a very few of those come close to the level of this album, which is full of spontaneity, happiness of making music and unpretentious but highly effective and honest music. Hopefully this ensemble will record a studio album sometime in the future, but in the meantime let´s feast on this little gem of an album, which proves that music is one and universal, that borders are meaningless and that good music goes directly to the heart of people! Don´t miss that one!

Updated: 28/07/2018Posted: 28/07/2018

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MILO ENSEMBLE & NILS PETTER MOLVAER ~ LIVE MILO 307 ~ POLAND ~ Jazz-World Fusion Recorded: 2023 Released: 2023 This is a live album by the Polish Jazz-World Fusion Milo EnsembleFind albums by this artist, led by clarinetist / composer Milo KurtisFind albums by this artist, with guest Norwegian trumpeter / composer Nils Petter MolvaerFind albums by this artist. The ensemble includes reeds player / flautist Bartosz SmoragiewiczFind albums by this artist, vocalist Masha NatansonFind albums by this artist, bass saxophonist Misza KinsnerFind albums by this artist, oud player Mateusz SzemrajFind albums by this artist and percussionist Adeb ChamounFind albums by this artist. The album presents ten tracks, six composed by Kurtis, and two each by Molvaer and Smoragiewicz. The music was excellently recorded and offers a splendid sound quality and separation, which enables the listener to hear all the intricate nuances. Kurtis follows the same formula he devised for the ensemble since its establishment in 2015, as well as the tradition of recording his albums live, which has proven to be highly effective so far. The brilliant chemistry he manages to create, while leading his ensemble during live performances, is second to none and works perfectly to achieve the multiculti amalgam, with the music embracing Mediterranean, Middle-Eastern, Indian and African traditions. The ensemble’s members are all accomplished musicians, with intimate knowledge of their respective instruments, and considering the fact that they all play several different instruments, the result is very colorful, diverse and exciting for the entire duration. The presence of Molvaer does not have a dramatic impact on the music, and his melancholic Nordic tendencies, which are usually way more meditative and minimalist on his recordings as a leader, do not take over the general mood here, but integrate well with the rest of the ensemble. However, his trumpet and electronics dominate the two pieces he contributed, with the ensemble carefully taking a step back, which means that his pieces serve as a kind of interludes between the rest of the pieces. The more Jazz oriented listeners should be delighted by the extensive instrumental improvisations, and in in one case vocal improvisation, which are intensely present on the longer pieces. Overall, this is another highly successful recording my Kurtis and his ensemble, and although not innovative, it continues the established path faithfully, to the delight of his fans and followers. I am still hoping to hear a studio album by Kurtis and his cohorts, but perhaps sticking to a formula is the best solution. Time will tell…

Updated: 14/04/2024Posted: 14/04/2024

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NAXOS ~ COEXIST – LIVE AT POLIN MILO 302 ~ POLAND ~ Jazz-Rock-World Fusion Recorded: 2015 Released: 2015 This is the second album by Polish World Music ensemble NaxosFind albums by this artist, led by the charismatic musician of Greek origin Milo KurtisFind albums by this artist. Other musicians in the ensemble include vocalist Rasm Al-MashanFind albums by this artist, keyboardists and vocalist Konstanty JoriadisFind albums by this artist, guitarist Apostolis AnthimosFind albums by this artist, saxophonist Lena RomulFind albums by this artist, bassist Piotr OlszewskiFind albums by this artist, drummer Kamil SiciakFind albums by this artist and percussionists Adeb ChamounFind albums by this artist and Anna PatynekFind albums by this artist. The album presents ten original pieces, four of which were written by Kurtis, another four by Joriadis, one by Anthimos and the final one co-composed by Joriadis and Al-Mashan. Following the ten tracks recorded live at Polin Museum of the History of Polish Jews, the album includes a lengthy bonus track by another ensemble led by Kurtis, called Drum Freaks, originally released on the album "SmyrnaFind albums with this title". The music of Naxos is a perfect amalgamation of the beautiful Mediterranean music sources: Greek, Turkish, Arabic and Jewish, spiced with Rock and Jazz delicacies. Spectacularly performed by these highly talented musicians and fronted by the incredible vocal abilities of Al-Mashan, who not only sings beautifully but also is able to improvise with her vocals like al great Arabic singers, this music is a delightful musical trip to the heart of the Middle East. Of course reading about this music is not a substitute for listening to it and therefore I wholeheartedly recommend attending a Naxos concert anywhere possible, with a guaranteed satisfaction, and in the meantime getting a copy of this wonderful album and enjoying it to the max. Hopefully Kurtis and his cohorts will soon surprise us all again with some new music they so beautifully weave. In the meantime efharistó, shukraan and dziękuję my friends for the fabulous work and hope to see you all soon.

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NAXOS ~ THE TRIP AROUND THE BRAIN WARNER MUSIC POLAND 0825646292103 (Barcode: 0825646292103) ~ POLAND ~ Jazz-Rock-World Fusion Recorded: 2014 Released: 2014 This is the debut album by the Polish ensemble NaxosFind albums by this artist, led by the celebrated musician / personality Milo KurtisFind albums by this artist, one of the pioneers of World Music and World-Jazz Fusion in Poland, who was a member of the legendary ensemble OssianFind albums by this artist in the 1970s and many other groups over the years. It was delightful to meet Milo in person just a few weeks ago in Warsaw and talk about the old times and the future, which for him is always full of bright things. I remember him taking part in my production of "The Book Of JobFind albums with this title" in 1985, under insane circumstances, and his worm personality didn´t change one iota over the years, which is truly remarkable Kurtis is one of several Polish musicians of Greek origin, same as guitarist Apostolis AnthimosFind albums by this artist of SBBFind albums by this artist fame, who also participates in this recording. Other members of the ensemble include keyboardist Konstanty JoriadisFind albums by this artist (also of Greek origin), female vocalist Rasm Al-MashanFind albums by this artist (of Yemenite origin), percussionist Adeb ChamounFind albums by this artist, saxophonist Marcin KajperFind albums by this artist and bassist Marcin PendowskiFind albums by this artist. Several guest musicians participate on selected tracks. The album presents thirteen tracks, most of which are credited to Kurtis and Joriadis, either separately or as co-composers. The music has a distinctive Mediterranean flavor, mixing Greek and Middle Eastern influences, rhythms and melodies into a lively and fascinating amalgam of cultures. On the Polish scene that kind of music is definitely quite unusual and exotic, but where I live this is basically a part of our everyday milieu and this kind of music can be heard all day long on the radio or on stage in music venues, big and small. This kind of synthesis has been the most distinctive characteristic of Israeli music over the last few decades, and it´s really heartwarming to hear it happening in Poland as well. Kurtis is doing his pioneering work again, and deserves to be encouraged and praised for it, especially in view of the impressive outcome, not to mention the popularization the idea that diverse cultures can work together for a common goal, as much aesthetic as practical. This music has no boundaries and should appeal to every open-minded fun loving person on this globe. The streets of Athens, or Beirut or Tel-Aviv swarm with fun loving people and their music reflects their love of life and the ability to live life in full, if only allowed to do so. This album could be a perfect soundtrack of that desire to simply enjoy life. Of course a glass of ouzo, arak or raki (preferably all three) definitely makes listening to this music even more enjoyable. So ευχαριστώ πολύ, my dear friend, I am looking forward to many more such great musical gifts in the future.

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OSSIAN ~ KSIEGA CHMUR MILO 110 (Barcode: 5907513047247) ~ POLAND ~ Progressive Rock Recorded: 1979 Released: 2006 3rd album by the great Polish Prog group OssianFind albums by this artist (a.k.a. OsjanFind albums by this artist), which was one of the first East European groups to embrace World Music influences and incorporate them into their highly improvised music. Founded in 1971 by multi-instrumentalists Jacek OstaszewskiFind albums by this artist (flutes and percussion) and Tomasz HolujFind albums by this artist (tabla and percussion), the band was later expanded to include Milo KurtisFind albums by this artist (trombita and percussion, who is of Greek origin), creating some of the most adventurous and mind-blowing music, which of course at the time was truly pioneering and eons before its time. Later incarnations of the group were further expended to include additional musicians. The group´s music consists of long (usually well over 10 minutes) contemplative and largely improvised pieces, performed solely on acoustic instruments. Deeply emotional and drawing its inspiration from the Far East, Middle East, India and Polish Folklore, this is definitely one of the most wonderfully strange musical experiences one can get exposed to. This album was recorded with a quintet lineup with the addition of violinist Zygmunt KaczmarskiFind albums by this artist and percussionist Radoslaw NowakowskiFind albums by this artist, as well as several guest musicians, including the great Polish Jazz bassist Pawel JarzebskiFind albums by this artist, and is definitely the most consistent and coherent recording the group ever made, with the entire album dedicated to a five-piece suite which gives the album its title. A must to all brave-hearted music lovers!

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OSSIAN ~ OSSIAN MILO 111 (Barcode: 5907513047254) ~ POLAND ~ Progressive Rock Recorded: 1975 Released: 2006 1st album by the great Polish Prog group OssianFind albums by this artist (a.k.a. OsjanFind albums by this artist), which was one of the first East European groups to embrace World Music influences and incorporate them into their highly improvised music. Founded in 1971 by multi-instrumentalists Jacek OstaszewskiFind albums by this artist (flutes and percussion) and Tomasz HolujFind albums by this artist (tabla and percussion), the band was later expanded to include Milo KurtisFind albums by this artist (trombita and percussion, who is of Greek origin), creating some of the most adventurous and mind-blowing music, which of course at the time was truly pioneering and eons before its time. Later incarnations of the group were further expended to include additional musicians. The group´s music consists of long (usually well over 10 minutes) contemplative and largely improvised pieces, performed solely on acoustic instruments. Deeply emotional and drawing its inspiration from the Far East, Middle East, India and Polish Folklore, this is definitely one of the most wonderfully strange musical experiences one can get exposed to. This debut album was recorded before Kurtis joined the band and features guitarist Marek JackowskiFind albums by this artist. By the time of this recording the group had already years of experience playing together live, which is apparent from the incredible level of the interplay between the musicians. A must to all brave-hearted music lovers!

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OSSIAN ~ OSSIAN (FEATURING TOMASZ STANKO) MILO 109 (Barcode: 5907513047223) ~ POLAND ~ Progressive Rock Recorded: 1978 Released: 2006 2nd album by the great Polish Prog group OssianFind albums by this artist (a.k.a. OsjanFind albums by this artist), which was one of the first East European groups to embrace World Music influences and incorporate them into their highly improvised music. Founded in 1971 by multi-instrumentalists Jacek OstaszewskiFind albums by this artist (flutes and percussion) and Tomasz HolujFind albums by this artist (tabla and percussion), the band was later expanded to include Milo KurtisFind albums by this artist (trombita and percussion, who is of Greek origin), creating some of the most adventurous and mind-blowing music, which of course at the time was truly pioneering and eons before its time. Later incarnations of the group were further expended to include additional musicians. The group´s music consists of long (usually well over 10 minutes) contemplative and largely improvised pieces, performed solely on acoustic instruments. Deeply emotional and drawing its inspiration from the Far East, Middle East, India and Polish Folklore, this is definitely one of the most wonderfully strange musical experiences one can get exposed to. This album was recorded with the trio including Kurtis and features the great Polish Jazz trumpeter Tomasz StankoFind albums by this artist (who plays on side B of the original LP), who invited the group to record an impromptu session for the Polish Radio, sharing with them his love of improvisation and mysterious music. A must to all brave-hearted music lovers!

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OSSIAN ~ ROOTS MILO 101 ~ POLAND ~ Progressive Rock Recorded: 1982 Released: 2005 4th album by the great Polish Prog group OssianFind albums by this artist (a.k.a. OsjanFind albums by this artist), which was one of the first East European groups to embrace World Music influences and incorporate them into their highly improvised music. Founded in 1971 by multi-instrumentalists Jacek OstaszewskiFind albums by this artist (flutes and percussion) and Tomasz HolujFind albums by this artist (tabla and percussion), the band was later expanded to include Milo KurtisFind albums by this artist (trombita and percussion, who is of Greek origin), creating some of the most adventurous and mind-blowing music, which of course at the time was truly pioneering and eons before its time. Later incarnations of the group were further expended to include additional musicians. The group´s music consists of long (usually well over 10 minutes) contemplative and largely improvised pieces, performed solely on acoustic instruments. Deeply emotional and drawing its inspiration from the Far East, Middle East, India and Polish Folklore, this is definitely one of the most wonderfully strange musical experiences one can get exposed to. This album was recorded with a quartet lineup with guitarist Wojciech WaglewskiFind albums by this artist and percussionist Radoslaw NowakowskiFind albums by this artist (who replaced Holuj), and is definitely one of the most consistent and coherent recordings the group ever made, with the entire album dedicated to two extended improvised pieces. A must to all brave-hearted music lovers!

Updated: 01/01/2016Posted:

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JORGOS SKOLIAS / ANTONIS SKOLIAS ~ KOLOS HEVHETIA 0101 (Barcode: 8588005257428) ~ POLAND ~ Jazz-Rock-World Fusion Recorded: 2015 Released: 2016 This is a wonderful duo album by Polish vocalist / composer Jorgos SkoliasFind albums by this artist and his son Antonis SkoliasFind albums by this artist, who sings and plays drums and percussions. Together they perform nine original songs, all co-composed by the father / son team, which feature lyrics in the Greek language. Three of the songs have lyrics by the Greek poet Konstantinos Petrou KavafisFind albums by this artist, who lived in Alexandria, Egypt, and who is now recognized as one of the finest Modern Greek poets. Another four songs originate in songs Jorgos remembers from his childhood. Jorgos Skolias is one of several musicians active on the Polish scene, who belong to the Polish Greek community, members of which arrived in Poland as political refugees escaping the persecutions following the end of the civil unrest in Greece after WWII and the defeat of the communists in 1949. Poland, a "young" socialist country at the time, opened its doors to the Greek exiles and they became integrated within the Polish society, producing such great musicians as Apostolis AnthimosFind albums by this artist, Milo KurtisFind albums by this artist, Konstanty JoriadisFind albums by this artist and others. The album is a bold statement of originality; featuring just vocals and percussion where the limitations seem insurmountable, and yet the duo manages to create a fully fledged bona fide magical musical environment, which seems completely natural and misses nothing. Of course Jorgos Skolias is a phenomenal vocalist, a fact known to all his followers since many years, who is able to use his vocal chords in ways nobody else tried before. His ability to create wordless vocalese is a class in itself and he is able to carry a melody like an entire set of instrumentalists. In some ways this album is another facet of his work with the Oles Brothers and their trio called Sefardix, which features vocals supported solely by a rhythm section, which also works out fabulously. It is quite impossible to label this music stylistically, and perhaps this quality is one of its strengths. There are Folkloristic elements here, but also improvisation, Rocky rhythms, Jazz & Poetry manifestations and a whole bunch of other elements, all beautifully amalgamated into a musical experience, which is fascinating from start to finish. Skolias manages to create aesthetic tension and his deep throaty voice has simply no parallels. Kudos to Jan SudzinaFind albums by this artist and his fabulous HevhetiaFind albums on this label label for releasing this music, which has no chance in a commercial environment in spite of its intrinsic values; this tribute to the Greek and in fact the entire Mediterranean group of cultures shows the diversity of the European Culture and the magnificent ingenuity of musicians, who are able to completely ignore imaginary boundaries. This is definitely a unique gem, which will award its listeners a stunning experience, full of surprises and delightful thrills.

Updated: 12/04/2016Posted: 12/04/2016

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VARIOUS ARTISTS ~ THE BOOK OF JOB NOT ON LABEL ~ POLAND ~ Jazz Recorded: 1985 Released: 2007 The tale of "The Book Of JobFind albums with this title" project originates in 1981, when a group of Polish jazz musicians, actors and other intellectuals decided to stage a production based on one of the most dramatic biblical stories – the story of the sufferings God decided to put on Job to test his faith. To understand the context, one has to remember that at that time Poland was being torn apart by political and social upheaval, led by the Solidarnosc movement, in protest against the socialist regime. The political struggle included many strikes and demonstrations, some of which led to violent clashes with the police and people being shot or beaten to death. The biblical story of Job’s suffering seemed to many Poles as an allegory reflecting their situation. The project involved a musical suite written especially for the project and performed by top Polish jazz musicians, with fragments of text from the Book of Job being recited by actors. The premiere performance was presented during the 1981 Jazz Jamboree Festival in Warsaw, with further performances scheduled all over Poland. However, on December 13, 1981 the Martial Law was announced in Poland as a last resort to save the regime from crumbling and all art activities were put on hold, with tanks occupying the streets of Warsaw. It seemed that the project was dead after just one performance. The Martial Law was finally lifted in 1983 and it was only a question of time when the Soviet Block was about to disintegrate, but the socialist government stayed in power till the end of the decade. In 1985 I received a call from some musician friends in Warsaw, inviting me to come over and co-produce a recording of "The Book Of Job" as well as take part in the expanded multi-lingual version of the project, by reciting the text in Hebrew (in addition to Polish, German and English). As much as I understood the Polish background and circumstances surrounding the project, my interior motives to take part in the project were quite different. I always considered the Book of Job as the closest biblical allegory to the fate of the Jewish People with the Holocaust symbolizing Job’s sufferings and the birth of the State of Israel as the outcome. Therefore realizing this project in Poland, where most of the Holocaust took place seemed more that appropriate to me. I was very excited by the prospect, but the possibility to actually undertake the venture seemed utterly impossible. I left Poland in 1967 and never visited the country since. My Polish citizenship was taken away when I left Poland, and at the time (1985) Poland and Israel had no diplomatic relationships. Poland and all other Socialist countries severed they diplomatic ties with Israel following the 1967 Six Days War, which meant there was no Polish Embassy in Israel, where I could get a Polish visa. In general no Polish visas were issued to Israeli citizens, especially those of Polish origin. My Polish friends started to thread the winding path of Polish bureaucracy and for some strange and completely incomprehensive reasons the Polish Ministry of Foreign Affairs decided to grant me a visa for a few days, which I had to collect in Germany, something that was completely unheard off at the time. Finally in the bitterly cold late autumn (October) of 1985 I made the trip to Warsaw via Frankfurt and stepped on Polish soil for the first time in 18 years. I still remember the face of the Polish border police officer when I presented my Israeli passport at the Warsaw airport. I was of course a total nerve wreck, considering the fact that Poland was still very much a police state at that time, and constantly imagined that I could get arrested under any pretext at any given moment. For a few days I never stopped looking around trying to figure out if I’m being followed. Eventually the nervousness disappeared, mostly due to the warm reception I received from my friends, old and new alike. I flew to Krakow, where the production team and the musicians and actors assembled and we started rehearsing and then recording the music and the recitations. The recordings were done in a well-equipped studio, which was located behind the stage of the Teatr Stu. Everything went pretty smoothly and I stayed on for a couple of days to mix the tapes for the final master. After the production was over I went for a few days to visit Silesia, the southern, coal-mining part of Poland were I was born, and later on returned to Warsaw. I couldn’t take the master tapes with me, as these would surely be confiscated as illegal political unauthorized contraband, but I was promised they would be sent to me, as I planned to release them on my own JazzisFind albums on this label label, which I planned to start soon after. The producers also promised to release the album in Poland. A few days later I was back home in Israel and although I visited Poland many times later, I never heard about the project again. I lost contact with my Polish co-producers and although the tapes did land in my lap many years later, I left them untouched. Imagine my surprise when upon my recent visit to Poland a friend told me that the album was finally released just a few days before I arrived and even some reviews appeared in Polish papers (mentioning me) on the day I arrived. I was flabbergasted, angry for about 10 seconds (for not being consulted about this) and of course ecstatically happy to see this baby finally being born, after a 22 years long pregnancy. Especially so when I saw that the album was beautifully packaged in book format with splendid historical photographs (mine included, looking much younger of course). So much about the background of this album, and as to the contents, listening to it for the first time in so many years I must admit I’m more than proud to be associated with its creation. The music, performed by a wonderful septet of Polish jazz musicians, including Krzysztof ZgrajaFind albums by this artist – flute and piano, Andrzej PrzybielskiFind albums by this artist – trumpet, Zbigniew WegehauptFind albums by this artist – bass, Janusz TrzcinskiFind albums by this artist – drums, Mieczyslaw LitwinskiFind albums by this artist – sitar, Milo KurtisFind albums by this artist – percussion, Jew’s harp and trombita and Andrzej MitanFind albums by this artist – vocals, resembles in spirit the Miles DavisFind albums by this artist’ Bitches BrewFind albums with this title sessions, with plenty of space for solos performed over spacey / funky rhythmic patterns. The recitations are used as overlays, switching between the various languages, creating a dramatic collage effect over the music. Quite ambitious and far reaching in any respect and considering the fact that it was done 22 years ago, I’d say it was well ahead of its time. I suppose not everybody can enjoy this kind of creation as much as I do, but nevertheless it is a momentous piece of intellectual significance, cutting deeply into the listener’s soul, if listened to carefully and attentively.

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