Record Reviews

BASTARDA ~ ARS MORIENDI LADO ABC C/31 ~ POLAND ~ Jazz-Classical Fusion Recorded: 2019 Released: 2019 This is the 2nd album by Polish trio BastardaFind albums by this artist comprising of clarinetist Pawel SzamburskiFind albums by this artist, cellist Tomasz PokrzywinskiFind albums by this artist and contrabass clarinetist Michal GorczynskiFind albums by this artist. Vocalist Olga MyslowskaFind albums by this artist appears on one track. The album presents ten tracks, which are the group’s interpretation of Medieval music connected with death rituals. Some of the tracks are by unknown authors and others are by Spanish composer Cristobal de MoralesFind albums by this artist, French composer Guillaime Du FayFind albums by this artist, Dutch composer Josquin des PrezFind albums by this artist and Italian composer Constanzo FestaFind albums by this artist. The music and the trio arrangements are absolutely brilliant from start to end, and although appropriately somber, the music is full of beautiful melodic lines and poignant atmosphere. Although seemingly minimalist in scope, the three instrumentalists are able to create a wide scale of emotions and profound harmony, due to their virtuosity and incredible sensitivity. Already at that early stage in the recording career of the trio it was obvious that Bastarda are a completely unique and original musical unit, which was further proved by their extraordinary recordings, which followed. After the first two albums, which dealt with Medieval music, Bastarda extended their activities into Jewish, Portuguese, Slavic and other World Music traditions, always with great thoughtfulness and sublime aesthetics. Overall, this is an absolutely astounding album, which brings Medieval music up to date, sounding as fresh as humanly possible. Everything recorded by Bastarda is a true treat, but this album is especially wonderful, with the trio members often sounding like an entire Heavenly orchestra. A true treasure! Side Note: I have been looking for a copy of this album since the day it was released, i.e. for almost five years, finally managing to find a copy courtesy of my Friend Magda WiklinskaFind albums by this artist, the lady behind the Polish For TuneFind albums on this label Records label, whom I thank for her detective skills and dedication.

Updated: 07/05/2024Posted: 07/05/2024

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BASTARDA ~ NIGUNIM MULTIKULTI MPT 016 ~ POLAND ~ World Music & Folklore Recorded: 2019 Released: 2020 This is the 3rd album by the Polish trio BastardaFind albums by this artist comprising of clarinetist Pawel SzamburskiFind albums by this artist, cellist Tomasz PokrzywinskiFind albums by this artist and contrabass clarinetist Michal GorczynskiFind albums by this artist. A choir participates on one track. The music was recorded live and the sound quality is a bit iffy at times. The album presents nine tracks, all traditional melodies arranged by the trio. Following the pattern established by the two earlier albums, the trio re-examines music originating a few Centuries earlier, this time Jewish Hasidic music created by members of the Hasidic movement established in the 18th Century. Deeply rooted in Jewish mysticism the Nigunim (from Heb. "lenagen" to play) are pieces based on simple melodic themes sung and / or played repeatedly with varying intensity and prompt the performing participants to enter an ecstatic state of mind, seeking contact with the omnipresent God. Each of the many Hasidic "courts" had its specific collection of Nigunim and some of the ones interpreted here originate from the Modzitzer "court" founded in the Polish village of Modzitz (Pol. Modrzyce) and headed by the generations of Taub family Rebbes. Bastarda interpret the Hasidic music very closely to its original source and spirit, and except for the instrumentation, which of course is very unique and beautiful, very little improvisation or other "foreign" musical elements are used. The emphasis is on a more melancholic melodies and minimalist approach, highly respectful of the original. Overall this ´"solid" and faithful modus operandi is highly effective and avoids the disastrous "Klezmer" attitude, which might have turned this, almost sacred music, into a pastiche. I am not sure if this specific treatment of the Nigunim is able to convey in full the actual spirit of the music, as initially intended, but using the Biblical proverb "The work of the righteous is done by others´", I can assume that the beauty of this music ant its universality will find new audiences thanks to this album, which is always a positive thing. Overall this is, as usual with Bastarda, a highly aesthetic and spiritual experience and the fabulous performances overcame any minor reservations. The album is highly recommended to serious music lovers not familiar with Jewish music, as this might serve as a wonderful introduction, albeit not on the trivial route.

Updated: 15/05/2024Posted: 22/07/2020

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BASTARDA ~ NIZOZOT AUDIO CAVE 2023/003 (Barcode: 5908298549612) ~ POLAND ~ Jazz-World Fusion Recorded: 2023 Released: 2023 This is the 8th album by Polish Jazz-World Fusion trio BastardaFind albums by this artist, which comprises of clarinetist Pawel SzamburskiFind albums by this artist, cellist Tomasz PokrzywinskiFind albums by this artist and contrabass clarinetist Michal GorczynskiFind albums by this artist. In this album Bastarda returns to the Jewish / Hassidic music, which was always one of the central motifs of the ensemble’s source of inspiration. The 3CD album explores the traditional Nigunim (wordless melodic themes), with each CD presenting the specific tunes associated with one of the many Polish Hassidic houses / clans, in this case Modrzyc, Szapiro and Koznic. The CDs present nine, seven and six tracks respectively. It is quite obvious by now, that Bastarda is the most original interpreter of the Hassidic music tradition in Poland, not only because of its ingenuity and highly aesthetic approach, but first and foremost due to the heartfelt interest in that music, the deep level of understanding of its spiritual and emotional sense and the respectful treatment of that tradition. It is often not enough to be a highly skillful and talented musician in order to interpret musical sources on the proper level of emotional involvement and intellectual depth, as is evident in the music present herein. Despite the fact that Bastarda play just three instruments, their music manages to sound way beyond the capabilities of just those instruments, laden with unconventional usage of their sonic characteristics, harmonies and resonance. Aided by the superb sound recording quality, depth and resolution, the music becomes much more voluminous and resounding, which results in a highly unusual and overwhelming sonic experience. It is truly uplifting to hear that Bastarda not only keeps the Hasidic music tradition alive, but in fact manages to insert a completely new life into it, taking it intro contemporary music environment and expanding it into new spiritual spheres, which is especially felt on the third CD. Overall, this is a magical, thrilling musical experience, which is way beyond any attempt to be described verbally and must be experienced sonically, and then spiritually, in order to be fully appreciated. Bastarda manage again to create a treasure trove of musical beauty, that is unconventional and exquisite, standing highly above most other attempts to interpret Hassidic music, and in fact most other music making as well. Chapeau bas!

Updated: 15/05/2024Posted: 28/04/2023

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BASTARDA / ALEKSIC / PODRUMAC ~ LILITH ABI AUDIO CAVE 2023/014 (Barcode: 5908298549759) ~ POLAND ~ Jazz-World Fusion Recorded: 2023 Released: 2023 This is the 9th album by Polish trio BastardaFind albums by this artist, which comprises of clarinetists Pawel SzamburskiFind albums by this artist, cellist Tomasz PokrzywinskiFind albums by this artist and contrabass clarinetist Michal GorczynskiFind albums by this artist, this time recorded with two female Serbian musicians: violinist Katarina AleksicFind albums by this artist and vocalist Branislava PodrumacFind albums by this artist. The album presents nine tracks, all of which are arrangements of traditional lullabies, each originating from a different global location. As usual with Bastarda projects, the music is exquisitely put together, with great care and aesthetic values at the epicenter, and brilliantly performed by the trio members and their guests. The theme of the mythological female figure of Lilith, a night she-demon, marks the common denominator of the lullabies, which originally were intended to protect the children from evil during their sleep. The serenity and tranquility of lullabies are of course their common characteristic, regardless of geographical location, as is plainly evident herein. Bastarda, yet again, prove their extraordinary chameleonic ability to find an ideal application of their instrumental approach to the central theme of the project, and although they are not the composers, the music becomes entirely theirs, ideally suiting their idiosyncratic approach, the individual instrumental contributions and above all the resulting outcome, which is entirely fascinating. The two guests are seamlessly integrated with the trio and add even more depth and beauty to the project as a whole. The violin parts and above all the vocals spice the atmosphere with worldly scents and Folkloristic nuances, all with balance and good taste not to disturb the delicate atmosphere of the entire project. The music is of course complex, multilayered and sophisticated, blending influences form many Cultures, creating an incredible musical / ethnic tapestry of great beauty and depth. It might require several listening sessions to appreciate and comprehend all the elements, but ultimately offers a deeply rewarding listening experience. Overall, this is another Masterpiece by Bastarda and their guests, which is an absolute must for connoisseurs of profound music, which combines a multitude of elements and demands an ability to amalgamate many threads in parallel, in order to create a magnificent fabric of sounds and emotions. It seems that Bastarda are simply unstoppable in their commendable task to keep their listeners astounded time and time again. Thank you my Friends!

Updated: 15/05/2024Posted: 29/02/2024

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BASTARDA & CHOR UNIWERSYTETU SWPS ~ KOLOWROT AUDIO CAVE 2021/011 (Barcode: 5908298549421) ~ POLAND ~ Jazz-World Fusion Recorded: 2021 Released: 2021 This is the 5th (second this year) album by the Polish trio BastardaFind albums by this artist comprising of clarinetist Pawel SzamburskiFind albums by this artist, cellist Tomasz PokrzywinskiFind albums by this artist and contrabass clarinetist Michal GorczynskiFind albums by this artist. This time they cooperate with the SWPS University ChoirFind albums by this artist, conducted by Ewa MackiewiczFind albums by this artist. The album presents just four lengthy compositions, named after the four seasons, composed by the members of the trio and based on Polish Folk songs related to the seasons as well as some medieval musical sources. The music is deeply spiritual, embossed with Folkloristic sources and East European mysticism, Jewish, Christian and Pagan, with only slight touches of Jazzy improvisations. Bastarda managed to develop over time its own musical language, which despite the minimalism dictated by just three instruments, seems to be completely unlimited in its power of expression. This album is more focused and therefore also more striking than their earlier recordings, and with the presence of the choir enables to create much greater dynamics and diversity than ever before. The resulting music offers an explosive emotional statement, which easily competes with symphonic pieces, both in richness and expressionism, which is truly astounding in view of the fact that is created by three acoustic instruments and human voices. The superb recording quality of this album is also an important factor in the entire equation. Bastarda seems to be unstoppable in their path to create one of the most unique musical landscapes in Europe, with constantly changing subject matter on one hand and new ways of squeezing the minimalist instrumental lemon to the max. It often seems that they already reached to peak of their creativity, but every new album proves the audiences wrong. The cooperation with the choir is a wonderful example of putting human resources together in a way where the instruments and the human voices coexist as one, without dominating or disturbing each other, in perfect harmony, both tonally and spiritually. Overall this is an absolutely brilliant album, definitely one of the best Polish albums released in 2021, completely unique and fulfilling. It stays beyond any stylistic classification or genre association and excels in its simplicity, directness and power of expressions like only very few other albums can. Perfect music to be listened to with the snow falling outside and the fireplace ablaze. Marvelous, simply marvelous!

Updated: 15/05/2024Posted: 19/12/2021

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BASTARDA & JOAO DE SOUSA ~ FADO AUDIO CAVE 2021/006 (Barcode: 5908298549292) ~ POLAND ~ Jazz-World Fusion Recorded: 2021 Released: 2021 This is the 4th album by the Polish trio BastardaFind albums by this artist, founded by clarinetist / composer Pawel SzamburskiFind albums by this artist with cellist Tomasz PokrzywinskiFind albums by this artist and contrabass clarinetist Michal GorczynskiFind albums by this artist. The trio is joined on this album by Portuguese (living in Poland) vocalist / guitarist Joao de SousaFind albums by this artist. Together they perform eight classic Fado songs arranged in a most unusual setting. Fado, often jokingly called “Portuguese Blues”, is undoubtedly one of the most beautiful distinctive European urban subcultural music genres, like the Greek Rebetiko, which combine deeply melancholic, often heartbreakingly so, themes with lyrics describing harsh personal or social realities. These genres developed in parallel to the massive urbanization of Europe, starting in the 19th Century, and were revived, gradually crossing from urban Folklore to an Art Form, with highly poetic lyrics and more complex musical themes, from the mid-20th Century. At first I was a bit hesitant about this album, since Fado is so deeply “Portuguese”, that it usually stays within the sphere of Portuguese performers, with rather few exceptions. However, I am happy to say that after listening to the album all my fears were proven wrong. The combination of de Sousa’s vocals (in Portuguese language of course) and the surprising and highly unusual instrumental accompaniment by the members of Bastarda works like a charm. The vocals are highly restrained and deeply melancholic, as expected in a Fado idiom, and with the originality of the language preserved (I’d really have a hard time to listen to Fado in Polish!) the proximity of the vocal layer was faithfully preserved. The instrumental arrangements are absolutely charming and stunning, completely abandoning the traditional Fado tradition as far as the instruments are concerned by paying tribute to the role of the usual guitar accompaniment, splendidly using the entire scope of tonal possibilities from the deep lows of the contrabass clarinet to the highs of the clarinet. Bastarda are true magicians as far as creating a kaleidoscope of sound layers, which harmonize perfectly. As such they are definitely one of the most unique musical outfits of the Polish scene in the last few years. Of course the most surprising element is the amalgamation of instrumental improvisation into the Fado idiom, which although subtle and cleverly concealed, adds superbly to the overall effect, taking the album under the wings of Jazz-World Fusion, albeit just marginally. Overall this is a magnificent album, full of wonderful musical melancholy and superb instrumental performances, which should fill the heart of all true music lovers with pure joy. Brilliant stuff!

Updated: 15/05/2024Posted: 31/07/2021

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BASTARDA & SUTARI ~ TAMOJ AUDIO CAVE 2022/008 (Barcode: 5908298549537) ~ POLAND ~ Jazz-World Fusion Recorded: 2022 Released: 2022 A short while ago I had the immense pleasure to guest the BastardaFind albums by this artist trio – clarinetist Pawel SzamburskiFind albums by this artist, cellist Tomasz PokrzywinskiFind albums by this artist and contrabass clarinetist Michal GorczynskiFind albums by this artist – as part of my Singer Jazz Festival in Warsaw. Their phenomenal performance at the Norzyk Synagogue was, as expected, immensely successful, followed by a standing ovation, which reflects the incredible talent of these musicians and their unusual ability to reach audiences, despite their music being highly sophisticated and often quite complex. This is already the 7th album by Bastarda, and their sixth release in a rapid succession of just six years. It is also their third subsequent collaboration project, which emphasizes their willingness to constantly expand their horizons into different musical territories. Following an adventure with Fado and Medieval Music, this time they cooperate with the female SutariFind albums by this artist duo – Basia SonginFind albums by this artist and Kasia KapelaFind albums by this artist – both vocalists and instrumentalist, and together explore the traditional music from the eastern Polish regions bordering with Belarus and Lithuania. The resulting music is, as usual, astounding in every respect. It reaches far beyond the folkloristic themes, on which it is based, and the sublime arrangements expand the overall sound into incredible vistas, completely unexpected and as expected (pun intended) breathtakingly penetrating. It seems that the instrumental contributions by Bastarda are somewhat in a background of the vocal parts, but in fact it is the collective effect of the vocals and instrumental improvisations, which create the powerful and effective totality, which benefits from both and is way beyond just the sum of its ingredients. Overall, this is another masterpiece in Bastarda’s recorded output, which puts them in a class of their own, not only on the Polish scene, but far beyond. The incredibly lucky combination of talent and the openness to music, in complete disregard of fads and fashions, marks them as an act worth following closely. God only knows what these guys are capable of on their next projects, and honestly I really don’t care, as it is a sure bet the result will be outstanding. Thank you, my Friends, for the music!

Updated: 15/05/2024Posted: 17/09/2022

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CUKUNFT ~ WILDE BLUMEN LADO ABC C/18 (Barcode: 5907709922457) ~ POLAND ~ Jazz-World Fusion Recorded: 2011 Released: 2013 This is the third album by Polish ensemble CukunftFind albums by this artist, led by guitarist Raphael RoginskiFind albums by this artist with clarinetists Pawel SzamburskiFind albums by this artist and Michal GorczynskiFind albums by this artist and drummer Pawel SzpuraFind albums by this artist. The album presents eight compositions, six of which are originals by Roginski, one is an ensemble composition and one is by the great Polish / Jewish poet / songwriter Mordechai GebirtigFind albums by this artist. The usage of the Yiddish language to name the ensemble and its songs does not leave any doubts as to the cultural affinity of this music. Cukunft is one of several Polish ensembles, which create the so called "new Jewish music" in Poland during the last decade or so, contributing to the overall renaissance of the Jewish culture in Poland, a phenomenon which is completely unique and difficult to explain in any logical way due to the fact that there are almost no more Jews living currently in Poland and the tiny Jewish community certainly does not have a critical mass to produce any significant cultural output. And yet against all odds the Jewish culture is thriving in Poland, both in a reconstructed version, i.e. performing cultural output created during the period between the two World Wars as well as in a completely innovative version, which creates new, vibrant and ambitious works of Jewish culture, like Cukunft does. The musicians who form the ensemble belong to the new generation of Polish Jazz / Avant-Garde players, who are the most active and creative force in contemporary Polish Jazz. The music of Cukunft is an amalgam of Jewishness and contemporary music genres, based on Improvisation and cross genre explorations. The music is mostly composed, with distinctive melody lines, which clearly adopt the melancholic feel of traditional Jewish music, but differ in the way the music is expressed and performed. The dialog between the electric guitar, which can hardly be associated with Jewish tradition, and the clarinets, which are the epitome of Jewishness, builds up a completely new musical form. The entire album is a wonderful experience to every music lover, regardless of their proximity to the Jewish culture. These wonderful melodies and the superb way the music is performed should be able to melt any cultural / religious barriers. This music goes directly to the listener´s heart and transcends the intellectual need to analyze and classify. All one need in order to enjoy this music is "a bisele glik" to put one´s hand on a copy of this album, and the rest is simply a no brainer. This is definitely one of the best examples of the new Jewish music made in Poland. Enjoy!

Updated: 12/04/2019Posted:

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HOLLAND BAROQUE / BASTARDA ~ MINNE PENTATONE 8717306260022 (Barcode: 8717306260022) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2022 Released: 2022 This is the 6th album by Polish trio BastardaFind albums by this artist comprising of clarinetist Pawel SzamburskiFind albums by this artist, cellist Tomasz PokrzywinskiFind albums by this artist and contrabass clarinetist Michal GorczynskiFind albums by this artist, recorded with the Holland BaroqueFind albums by this artist orchestra under the artistic leadership of Judith SteenbrinkFind albums by this artist (violin) and Tineke SteenbrinkFind albums by this artist (keyboards), which comprises (on this album) of nine violinists, a keyboardist and a guest reciter. The album presents nine tracks, two of which are credited to Bastarda, four to Judith Steenbrink, one is a Georgian chant and two are by early music composers. The album’s concept was inspired by the texts of the 13th Century female poet HadewijchFind albums by this artist, who lived as a Flemish beguine in Brabant. Her exceptionally expressive love poems are a unique Medieval literary phenomenon. The music offers a superb amalgam of cross-genre aspirations, combining ideally improvisation, Medieval and Baroque musical traditions and above all reflecting a spiritual connection between the seemingly separate worlds Bastarda and the orchestra belong to, but as usual in the case of the trio’s legacy, their chameleonic ability to adopt and integrate their music with the music of other musicians / ensembles, works like a dream. The Holland Baroque orchestra manifests a remarkable open-mindedness in this collaboration, especially as far as improvisation in concerned, since this project is largely improvised in many respects, both conceptual and musical. This praiseworthy flexibility enabled the wonderful symbiosis, which characterizes this beautiful piece of music, without any artistic compromises. Overall, this is a remarkable album, full of enchanting music, which bridges effortlessly across Centuries of music and Culture, preserving respectfully the original compositions and contemporary musical approaches, all perfectly performed with elegance and a wink of stylish aesthetics. Not surprisingly, the album offers also sublime sound quality and SACD audio. Bravo!

Updated: 31/05/2024Posted: 31/05/2024

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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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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:

CD 1 Mini-Sleeve Recommend To A Friend

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

CD 1 Mini-Sleeve Recommend To A Friend