Record Reviews

AN ON BAST / MACIEJ FORTUNA ~ ELECTROACOUSTIC TRANSFORMATION OF FILM MUSIC BY KRZYSZTOF PENDERECKI FM 013 (Barcode: 888174357317) ~ POLAND ~ Jazz Recorded: 2013 Released: 2013 This is the third album by the Polish duo, which consists of ambient / electronic music artists An On BastFind albums by this artist (a.k.a. Anna SudaFind albums by this artist) and Jazz trumpeter / composer Maciej FortunaFind albums by this artist. The album includes thirteen tracks, which were composed and conceived by the duo, all inspired by music composed by the Polish Classical composer Maestro Krzysztof PendereckiFind albums by this artist, which was either composed as soundtrack music for cinematographic productions or used in such capacity. The album also includes a DVD, which presents six short videos by visual artist Pawel WypychFind albums by this artist, based on six tracks present on the CD, which visualize the music using black & white animations and collages. Penderecki´s involvement with film music is relatively less acknowledged in comparison to his large scale symphonic works, but it has always been some of the most impressive and dramatic of its kind and accompanied some of the best films by some of the most important directors, like David LynchFind albums by this artist, Stanley KubrickFind albums by this artist, Martin ScorseseFind albums by this artist, Andrzej WajdaFind albums by this artist and others. This is by far the most complex and advanced project realized to date by the duo, which shows another perspective as well as another depth of their music. The personal and artistic courage to undertake a project like this one is to be admired and encouraged. After generations of Polish Jazz repeatedly dealing with the music of Frederic ChopinFind albums by this artist, often ad nauseam, the young and bold Polish Jazz lions discover contemporary Polish Classical music as the source of their inspiration. In 2012 the pianist Piotr OrzechowskiFind albums by this artist released a sensational album with his interpretation of music by Maestro Penderecki ("Experiment: PendereckiFind albums with this title") and now this album does it again, no less boldly one may add. Other Jazz albums, for example with music by Wojciech KilarFind albums by this artist, were also released lately. This is definitely a refreshing trend. The music included herein is truly overwhelming. Listeners with little or no experience with electronic music or the usage of electronic effects might find it initially strange and a bit difficult, but a couple of listening sessions should break the ice. An On Bast uses an array of different sound effects to create a rich and diverse background upon which Fortuna adds his incredible trumpet passages. These two elements: the electronic and the acoustic, work perfectly together to create a deeply atmospheric musical creation, floating in the infinite sonoric space. Album after album and step after step Fortuna builds up a body of work that is most impressive and simply can not be ignored. His immense talent and versatility, as demonstrated herein in the collaboration with contemporary musical vocabulary, is awe-inspiring. The level of intellectual and emotional dialogue between these two young artists is a ray of hope in this dark age where most things seem to be simply fading out. Thank you!

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ATOM STRING QUARTET ~ PENDERECKI FILHARMONIA SZCZECIN 008 (Barcode: 602508182679) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2019 Released: 2019 Despite the fact that the Atom String QuartetFind albums by this artist is one of the most household names on the Polish music scene in the last decade since their inception in 2010, this is surprisingly only the 6th album released under the quartet´s moniker. However, the still relatively young members of the quartet: violinists Dawid LubowiczFind albums by this artist and Mateusz SmoczynskiFind albums by this artist, violist Michal ZaborskiFind albums by this artist and cellist Krzysztof LenczowskiFind albums by this artist, already amassed a most impressive recording legacy of over thirty albums, covering a broad stylistic range, in which they participated either individually or collectively, and which is a most impressive achievement for just one decade by any standard. The essence of the Atoms (as the quartet is fondly referred to by the locals) is perhaps mostly characterized by the dichotomy (imaginary of not) between their Classical roots and other musical idioms, Jazz in particular, in which they were involved with so far. This album is not their first encounter with contemporary Polish Classical Music of course and followers of the Atoms are already familiar with their treatments of works by Witold LutoslawskiFind albums by this artist, but at the same time also with their interpretations of music by Polish Jazz Giants such as Krzysztof KomedaFind albums by this artist or Zbigniew SeifertFind albums by this artist, not ignoring the original compositions by the quartet members, which often dance on the thin wire stretched over the chasm dividing "serious" music from the rest of the world. Polish Jazz and the musicians involved with the genre display an obvious obsession with Polish Classical Music, by far more evident and noticeable than any other local European Jazz scene. One might speculate if this is a result of the inferiority complex, which many Jazz musicians suffer from, cultivated by the music education establishment ruled by Classical Music fanatics, or by the love of Polish musical tradition (your guess is as good as mine), but the fact is that the amount of Polish Jazz albums dealing with music of Frederic ChopinFind albums by this artist (just as an example) is staggering if not to say ridiculous. Maestro Krzysztof PendereckiFind albums by this artist is of course quite a different pair of galoshes; his brilliant music is always challenging and intricate, and the fact that some of the Polish Jazz musicians are willing to tackle this difficult subject is a proof not only of their phenomenal technical / virtuosic skills but more importantly their intellectual faculties. The first serious and a most passionate treatment of Penderecki´s work was undertaken in the recordings by Polish Jazz pianist Piotr OrzechowskiFind albums by this artist (a.k.a. PianohooliganFind albums by this artist), such as "Experiment: PendereckiFind albums with this title" or "24 Preludes & ImprovisationsFind albums with this title", and this album is a most welcome follow up on the same ambitious path. The music selected for this album concentrates mostly on early works (from 1950s and 1960s but also more recent compositions), chamber and solo pieces for wind instruments and the lovely music composed for the 1965 Polish movie "The Saragossa Manuscript" (which I remember seeing in the cinema accompanied by the leading actor Zbigniew CybulskiFind albums by this artist, who smuggled me in – I was under aged then). All the string arrangements were done by the quartet members of course. The decision to concentrate on the early works, which obviously are less Avant-Garde oriented than the Maestro´s later compositions, and also less grandiose, is one of factors contributing to success of the project. Obviously the huge scale orchestral works would have been almost impossible to transcribe onto the string quartet format, or perhaps the Atoms plan further explorations of Penderecki´s music, which will cover later works. The future will tell. One might ponder if this music has any relationship to Jazz? Well, on the face of it, there is very little, if anything, that might strike a Jazz fan as "familiar". The arrangements are kept well within the Classical Music idiom, staying authentic and close to the source, with no obvious improvisation element, which is considered crucial for Jazz. But when examined more closely the music is definitely Jazzy in spirit even if less so in body, which means that this music crosses the genre boundaries in the listener´s head rather than within the recorded notes. Confused? Great! Overall, this is definitely a beautiful piece of Art, divinely conceived and executed by Masters of the trade. Sublime music and musicianship of the highest class and above all uncompromising and challenging and yet accessible to any open minded music lover. Of course one expects nothing less from the Atoms these days, which is the price to be paid for Fame and Glory. As somebody who stood behind these wonderful musicians from day one and every step of the way, it is enormously satisfying to see them being able to grow continuously and stay forever restless. God speed!

Updated: 27/06/2024Posted: 21/09/2019

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MACIEJ FORTUNA ~ ZOSKA FM 020 (Barcode: 5903240365166) ~ POLAND ~ Jazz-World Fusion Recorded: 2013 Released: 2015 Polish Jazz trumpeter / composer Maciej FortunaFind albums by this artist is consistently building a reputation for himself both on the artistic and professional level; he releases his own records, he develops international collaborations with other musicians, he is active in social networking and organization and so on. In addition he manages to create some superb music on the way and keeps establishing his position in the top echelon of Polish Jazz trumpeters. For a young musician this is definitely very impressive. Modern Polish Jazz is characterized, among other things, by amalgamation of Polish Folklore motifs with jazz. Such approach enjoyed a lot of popularity in the 1960s and 1970s, when it had its political significance as well, and now, in the second decade of the 21st Century it seems to be in full bloom again. Many top Polish Jazz musicians, like Irek WojtczakFind albums by this artist, Piotr OrzechowskiFind albums by this artist, High Definition QuartetFind albums by this artist (which also features Orzechowski), Marcin MaseckiFind albums by this artist and many others, recorded albums based on this concept Fortuna adds his valuable contribution to this wonderful multicultural puzzle. In this case, similar to what Wojtczak did, Fortuna recorded the music with a quartet which except for him features an all American lineup: saxophonist Mack GoldsburyFind albums by this artist, bassist Erik UnsworthFind albums by this artist and drummer Frank ParkerFind albums by this artist. The album presents ten tracks, six of which are traditional Polish Folklore songs / dances and four are original compositions, all by Fortuna, composed especially for this project. Wojtczak´s album proved that American Jazz musicians can play Polish folklore-based music quite brilliantly and this album does it again. Goldsbury, Unsworth and Parker are all up to the challenge and honestly they play better on this album than on any album I have heard them play earlier on, which of course shows that when seriously challenged, musicians often perform better that usual. As Fortuna says, and I quote: "Following decades of Polish Jazz musicians playing American Jazz, it´s time for American Jazz musicians to play Polish Jazz". I couldn´t agree more. The music is a Jazz-World Fusion project, but only well trained listeners will be able to recognize the exact origins of the tunes used here, both on the melodic and rhythmic layer. Fortuna´s originals fit in excellently to the overall sound and become an organic part of the project. Fortuna is the main soloist of course, but all the members of the quartet have plenty of opportunity to show their chops and the overall level of musicianship is superb. Polish Jazz connoisseurs and enthusiast of Jazz-World Fusion explorations should enjoy this album immensely. All I can do is to urge everybody to give it a try ASAP, as it is definitely worth everybody´s attention. Well done, as usual!

Updated: 07/03/2016Posted: 07/03/2016

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HIGH DEFINITION ~ HOPASA EMARCY 602537434725 (Barcode: 602537434725) ~ POLAND ~ Jazz Recorded: 2012 Released: 2013 This is the debut album by High Definition QuartetFind albums by this artist, a young Polish Jazz outfit comprising of saxophonist Mateusz SliwaFind albums by this artist, pianist Piotr OrzechowskiFind albums by this artist, bassist Alan WykpiszFind albums by this artist and drummer Patryk DoboszFind albums by this artist. Polish Jazz connoisseurs are of course familiar with Orzechowski (a.k.a. PianohooliganFind albums by this artist), who made a meteoric entrance on the scene as a solo performer and recorded one of the most interesting Polish Jazz albums a year earlier, which presented his interpretations of music written by Maestro Krzysztof PendereckiFind albums by this artist. Here we have the occasion to hear him finally as a part of an ensemble, which of course is quite different than performing solo. Dobosz is also somewhat familiar as a member of the phenomenal Magnolia Acoustic QuartetFind albums by this artist, which released a brilliant live album shortly before this album was released. The quartet performs six pieces (well, five actually, as the first one is just a brief intro), four of which were composed by Orzechowski and one is a Wayne ShorterFind albums by this artist composition. The album offers a sublime sound quality and ambiance, which not surprisingly is a result of it being recorded at the Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist. Musically High Definition is a quintessence of Modern Jazz in every respect. The musicians are all masters of their trade, which is absolutely amazing considering their tender ages, who perform with virtuosic sophistication, superb intelligence and brilliant feel; and yet these strong individuals are able to collaborate seamlessly to create a whole, which is stronger than the sum of its parts. The music they play is completely contemporary and yet it plays a loving tribute to all the traditional Jazz sub-genres, with humorous hints of Swing, Bebop, Hard Bop, Cool Jazz and of course Free Form, switching from one to another like a butterfly hopping from flower to flower. All that Magic is being performed completely effortless, elegantly and almost nonchalantly, which of course is a sign of true Artistry. They are able to switch tempi, keys and approach several times within a very short span of time, doing it in perfect harmony and unison, which is nothing short of stunning. There is no doubt the Orzechowski is the most dominant personality behind this album, both as a composer and a player. This is not as much a question of solo exposure, but the overall feeling one gets listening to the music, with the piano chord obviously leading the way and stating (or emphasizing) the melodic content. There is absolutely nothing wrong with that of course, as Orzechowski is very charismatic and his musical personality is obviously very extrovert. On this album he is exposed, both as a composer and a player, showing his deep lyricism and even romanticism without any attempt to hide it behind false facades. Here it is, all in the open and in its full glory for us to enjoy. Overall this is undoubtedly one of the strongest releases on the Polish Jazz scene this year, which is even more astounding as this has been a truly amazing year for Polish Jazz. And again, being a debut it is absolutely a miracle. Even more of a miracle is the fact, that it was released on a Major label, which usually releases less ambitious music. Perhaps even they can be converted? Heaven on earth!

Updated: 12/06/2018Posted:

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HIGH DEFINITION QUARTET ~ BUKOLIKI FOR TUNE 0074 (Barcode: 5902768701760) ~ POLAND ~ Jazz Recorded: 2015 Released: 2015 This is the second album by the Polish Jazz outfit called High Definition QuartetFind albums by this artist, which comprises of saxophonist Mateusz SliwaFind albums by this artist, pianist Piotr OrzechowskiFind albums by this artist (a.k.a. PianohooliganFind albums by this artist), bassist Alan WykpiszFind albums by this artist and drummer Dawid FortunaFind albums by this artist (who replaced Patryk DoboszFind albums by this artist). The album presents five pieces related to the five piano miniatures by contemporary Polish Classical composer Witold LutoslawskiFind albums by this artist based on Polish Folklore tunes from the Kurpian region and called "Bukoliki". Orzechowski, rather than using the pieces by Lutoslawski, found the original Folk tunes that Lutoslawski used as his inspiration and rearranged them into his own version of "Bukoliki", later transforming it into the Jazz quartet version heard here. As the year 2015 swiftly approaches its ending it becomes apparent that the Polish Jazz scene this year was dominated by two parallel trends: the re-discovery of Polish Folklore and the re-discovery of Polish contemporary Classical Music by Polish Jazz musicians / composers. The most impressive releases by Polish Jazz artists in 2015 are either related to one or another of these trends and in some cases, like this album, to both of them simultaneously. Orzechowski, who is obviously the most dominating personality in this team, has already a rich history of tackling with Folklore ("15 Studies For The OberekFind albums with this title") or Classical Music ("Experiment: PendereckiFind albums with this title") and this album is a natural development as far as his musical path is concerned. What is less natural and much closer to "supernatural" is of course his immense talent to transpose pieces of music between genres or rather to transform them into his own universe, which is completely unique and unparalleled by anybody else. But it takes a team work, like the one presented here, to make this transformation complete. Sliwa, Wykpisz and Fortuna, all brilliant representatives of the young generation of Polish Jazz musicians, play along Orzechowski completely free of any inferiority complexes and sound like young semi-Gods performing in Pieria at the foot of the Olympus Mountain with Zeus and the rest of the Godly pack grinning madly and the Muses dancing along as if possessed by the sounds floating in the air. From the very first notes heard on this album it becomes immediately apparent that this is one of the best pieces of music produced in the Jazz sphere this year, not only in Poland, but worldwide. The intensity, elegance, flair and above all European aesthetic is omnipresent here, creating a true artistic masterpiece. I am not going to name it the "best" album of 2015, not because it does not deserve the title, but simply because I don´t believe art is a competition. It is brilliant and deserves to be heard by every music connoisseur on this planet, before the barbarians take the world over or our idea of Culture implodes upon itself. Absolutely essential!

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HIGH DEFINITION QUARTET ~ DZIADY ANAKLASIS 007 (Barcode: 5907795208732) ~ POLAND ~ Jazz-Ambient Fusion Recorded: 2018 Released: 2019 This is the third album by Polish Jazz ensemble High Definition QuartetFind albums by this artist, which comprises of saxophonist Mateusz SliwaFind albums by this artist, pianist / composer Piotr OrzechowskiFind albums by this artist (a.k.a. PianohooliganFind albums by this artist), bassist Alan WykpiszFind albums by this artist and drummer Grzegorz PalkaFind albums by this artist (each of the three albums features a different drummer). On this album the ensemble collaborates with five electronic music composers: Polish veteran / pioneer of the idiom Krzysztof KnittelFind albums by this artist, Igor BoxxFind albums by this artist (a.k.a. Igor PudloFind albums by this artist), Americans William BasinskiFind albums by this artist and Robert RichFind albums by this artist and Austrian Christian FenneszFind albums by this artist. The album presents ten original compositions, five of which are performed by the ensemble and were composed by Orzechowski and five shorter pieces, each composed and performed by one of the above listed electronic music composers (except for the Knittel piece which was co-composed with Orzechowski and co-executed with the ensemble), which are sandwiched between the ensemble pieces. The album´s title "Dziady" ("Forefathers´ Eve") refers of course to the epic poetic drama by the Polish national poet Adam MickiewiczFind albums by this artist, considered as one of the greatest works of European Romanticism and a source of controversial interpretations throughout the convoluted Polish political history, famous for its role in the 1968 Polish Political crisis, but retaining its prophetic actuality to this very day. The drama was staged many times over the years of course and one could speculate that this music could be considered as a possible soundtrack / stage music to an imaginary / future spectacle. Combining Jazz with electronic / ambient music is of course quite fashionable these days and this year´s (2019) Polish Jazz recording harvest offers several such outings. In most cases the electronic / ambient music is closely amalgamated with the Jazzy content, whereas on this album, with the exception of the opening Knittel / Orzechowski track, the rest of the electronic / ambient tracks stand on their own musically, which raises a basic speculation as to their integration within the album´s musical fabric and its continuity. Personally I feel that their absence would not have changed the album´s overall effect dramatically. The Jazz part of the album is however absolutely brilliant, as one might expect. Orzechowski´s dramatic music, rich in texture and full of imagination, is delightful from start to finish. The five seemingly separate themes constitute a coherent whole, which is perfectly executed by the quartet. Orzechowski´s piano playing is radiant as always, and he proves to be on top of the heap, in spite of the fact that his recording output is sadly way too infrequent for my liking. Sliwa manages to keep his unique personal style, which sets him apart from most contemporary young Polish Jazz saxophonists, and who sadly also does not record frequently enough. Big Bear Wykpisz is amazing as always, a monster bass player in every bone and muscle of his body – he does play constantly and is omnipresent on the local scene, being probably the most sought after bassist around these days. Palka integrated with the three founding members without a hitch, which is completely natural in view of his achievements lately. Together they are able to carry a tune as well as open up and improvise, supporting each other amicably and offer a superb listening experience. The album was released by a new record label on the Polish market called AnaklasisFind albums on this label Records. I must admit that I was quite taken aback by the primitive / simplistic cover design; perhaps this is some kind of new sophisticated graphic aesthetics, but it looks plain ugly to me. This music surely deserves a better packaging. The album includes an extensive booklet, which offers a bilingual version of an essay by Polish music journalist Jaroslaw SzubrychtFind albums by this artist. Overall this is a brilliant piece of music, ambitious and searching, which stands up to the highest echelon of contemporary European Jazz and which is consistent with the earlier work by High Definition. Hopefully the listeners won´t be discouraged by the cover and reach out to embrace this exquisite music, as it truly deserves it. Well done Gentlemen!

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

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MARCIN MASECKI ~ MAZURKI FOR TUNE 0051 (Barcode: 5902768701555) ~ POLAND ~ Jazz-World Fusion Recorded: 2014 Released: 2015 This is a solo piano album by Polish Jazz pianist / composer Marcin MaseckiFind albums by this artist, dedicated, as the title suggests, to the Polish folk dance, the mazurka, which is often used in Polish Classical Music, especially by the Polish National composer Frederic ChopinFind albums by this artist. The album presents ten original compositions, all by Masecki, which are more or less associated with the mazurka. A radio edit of the opening track is added as a bonus track. Masecki, the enfant terrible of Polish Jazz, is one of the most unconventional musical personalities on the local scene. A recognized brilliant Classical pianist, he completely disregards all conventions and does only what he considers is worth pursuing, recording a series of bold, unconventional and often plainly insulting albums, slaughtering holy cows like there is no tomorrow. Obviously his music is often at the epicenter of heated discussions between his fans and supporters and his critics. On this album Masecki continues his interest in Polish musical folklore, having previously recorded an album dedicated to another Polish folk dance, the polonaise. It is also worth to mention that other Polish Jazz pianists, like Piotr OrzechowskiFind albums by this artist, also recorded solo piano albums dedicated to Polish folk dances, like the oberek in Orzechowski´s case. Although I usually like Masecki´s music very much, I find this project less convincing. The ten pieces present here, clearly linked to the mazurka, sound quite mechanical and unnatural to me, simply not connecting the dots. Obviously Masecki had a clear idea behind what he wanted to achieve here, but I fail to see what it might be. There are numerous transformations and variations on the basic mazurka form, but they sound to me as if a computer program was generating these variations given some basic parameters. This is definitely an intellectual exercise, but I fail to find any emotional involvement or the reasoning behind it. Of course it is quite possible that it is only my personal shortcoming being unable to enjoy this music, but so far this is the weakest Masecki´s project as far as I am concerned. Of course he´ll surely surprise us all shortly with another of his brilliant ideas.

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STEPHEN MCHALE ~ WEIRD GLITCHES NOT ON LABEL (Barcode: 5391524028102) ~ IRELAND ~ Jazz Recorded: 2014 Released: 2014 This is the debut album by Irish guitarist / composer Stephen McHaleFind albums by this artist, currently residing in Valencia, like many other young European Jazz musicians who study and / or teach at the local branch of the Berklee School of Music. The album was recorded with fellow Berklee cohorts, like Polish keyboardist Piotr OrzechowskiFind albums by this artist, Spanish keyboardist Ricardo CurtoFind albums by this artist, Ecuadorian bassist Daniel ToledoFind albums by this artist, British drummer Joshua WheatleyFind albums by this artist and several others. The album presets eight tracks, seven of which are original compositions by McHale and one is a standard by Wayne ShorterFind albums by this artist, arranged by Toledo. From the very first note of this album it becomes immediately apparent that McHale is a "different" guitarist, with a superb individual sound and attitude, which supported by his outstanding compositions create a rare musical experience in a world filled by hordes of wannabe guitar stars. Throughout the album McHale demonstrates an astounding diversity and versatility, which spans everything from melodic lyricism, to Avant-Garde distortion, a truly unusual phenomenon. The seven original pieces are all fabulously crafted and fondly remind me of the compositions by John McLaughlinFind albums by this artist, who is my favorite guitar composer (and player of course), because he is "thinking" about guitar and its myriad of sounds when he composes music. This is about the highest compliment I can pay to the young McHale, hoping to hear more of his creations in the not too distant future. It is difficult to define this music stylistically; the electric guitar, keyboards and bass immediately suggest Jazz-Rock Fusion, but on the other hand there are not that many classic Fusion elements present here, so perhaps Electric Jazz is more appropriate. Regardless of the genre associations, this is simply some of the best music I have heard in quite a while in that particular aesthetic proximity and it is a blast to listen to from start to finish. It must be said that McHale gets a truly outstanding support by the team of musicians, who play on this album, many of which are already stars of their own, like Orzechowski, who is taking the Polish Jazz scene by storm and who gets my unvarying support for his work since his first steps. But all the other players herein are simply a dream team in every respect, and without them this album would not be as perfect as it is. To summarize, this is a most impressive and exhilarating debut release that deserves all the attention it can get, and one that surely will make many guitar enthusiasts extremely happy, if not immediately than surely in time, as it takes a while to absorb and appreciate the Artistry involved. Hats off!

Updated: 12/04/2019Posted:

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DOROTA MISKIEWICZ ~ PIANO.PL UNIVERSAL MUSIC POLSKA 602557206852 (Barcode: 602557206852) ~ POLAND ~ Jazz Recorded: 2015 Released: 2016 This is a live recording of a gigantically ambitious project conceived by Polish Jazz vocalist Dorota MiskiewiczFind albums by this artist, which pays tribute to the Polish Jazz piano school, which spans several generations and is a sublime example of Polish / European Jazz tradition. The album presents twelve songs, one original by Miskiewicz and eleven "Polish standards" composed and written by the best Polish composers and lyricists, each performed by Miskiewicz accompanied by a different pianist and on eight of them also accompanied by the renowned Atom String QuartetFind albums by this artist. The list of the pianists reads like the who´s who of Polish Jazz: Michal TokajFind albums by this artist, Andrzej JagodzinskiFind albums by this artist, Lutoslawski Piano DuoFind albums by this artist, Bogdan HolowniaFind albums by this artist, Leszek MozdzerFind albums by this artist, Piotr OrzechowskiFind albums by this artist, Tomasz KalwakFind albums by this artist, Marcin WasilewskiFind albums by this artist, Krzysztof HerdzinFind albums by this artist, Dominik WaniaFind albums by this artist, Grzegorz TurnauFind albums by this artist (who also briefly sings) and Wlodzimierz NahornyFind albums by this artist. Saxophonist Henryk MiskiewiczFind albums by this artist (Dorota´s Father) guests on one song. The DVD (filmed during the concert), included in the package, adds the concert´s intro, outro and a couple of songs not included on the CD. I am happy to say that I managed to have a more modest (with just three pianists) version of this project perform at the 2018 Singer Jazz Festival, which was extremely successful. As expected, all the performances are absolutely wonderful, a typical example of European haute Culture, where music, words and stage performance are combined to deliver an overall experience, which is more than just a sum of its ingredients. The album moves between Jazz & Poetry and highly lyrical popular music, all expertly arranged and brilliantly executed, especially in view of the fact that it was captured live. This album delivers exactly what it promises: an extraordinary panorama of Polish Jazz piano, full of elegance, virtuosity and flair. Miskiewicz moves with ease from one song to another, with a chameleonic change of moods and emotions, as appropriate for a great performer. For lovers of Polish Jazz in general and Polish Jazz piano in particular, this album is a superb introduction to the subject. Even for listeners beyond the Polish language sphere, this music easily penetrates and language barriers and should be completely accessible to every music lover.

Updated: 14/09/2018Posted: 14/09/2018

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DOROTA MISKIEWICZ / HENRYK MISKIEWICZ ~ NASZA MILOSC AGORA 5903111495572 (Barcode: 5903111495572) ~ POLAND ~ Jazz & Poetry Recorded: 2021 Released: 2021 This is an album by Polish Jazz vocalist (and violinist) Dorota MiskiewiczFind albums by this artist and her Father, saxophonist / composer Henryk MiskiewiczFind albums by this artist, recorded with an excellent team which includes pianist Piotr OrzechowskiFind albums by this artist (a.k.a. PianohooliganFind albums by this artist), bassist Slawomir KurkiewiczFind albums by this artist and another member of the Miskiewicz clan (often fondly referred to as the “Polish Jazz Royal Family”), Dorota’s brother Michal MiskiewiczFind albums by this artist. Kurkiewicz and Miskiewicz are the rhythm section of the Marcin WasilewskiFind albums by this artist Trio (previously Simple Acoustic TrioFind albums by this artist). The album presents eight original compositions, all composed by Henryk Miskiewicz or co-composed with his two offspring. Seven of the compositions feature lyrics by Polish Poets and one features Dorota singing wordless vocalese. The music is absolutely beautiful, kept well within the Classic Jazz convention and presenting superb melodies and spotless aesthetics, as well as perfect and truly virtuosic performances. All the five musicians, each in his own specific field, contributes to the final result, which emerges as more than just a sum of its parts. Dorota masterfully utilizes her velvety voice and her sensitivity to the lyrics, which she interprets splendidly. Henryk ideally emphasizes the romantic atmosphere and proves to be both a great accompanist and a soloist. Piotr adds the spark and fantasy, with his virtuosic piano parts, proving that he can be as imaginative and inventive in mainstream Jazz as he is in more complex Jazz idioms. And the rhythm section is a dream come true, supporting the music firmly and elegantly. Overall this is a superb vocal Jazz experience, which combines lofty compositions, intelligent and elegant lyrics and classy Jazz, that is an absolute marvel from start to finish. Although perhaps not a classic Jazz & Poetry project per se, it has many common characteristics with my beloved High Art idiom, shedding some light on the romantic side of the poetry of Ewa LipskaFind albums by this artist, and returns to the splendid work of Bogdan LoeblFind albums by this artist, Wojciech MlynarskiFind albums by this artist, Grzegorz TurnauFind albums by this artist and Andrzej PoniedzielskiFind albums by this artist, all being true wizards of words. Absolutely delightful!

Updated: 20/10/2021Posted: 20/10/2021

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OLES BROTHERS & PIOTR ORZECHOWSKI ~ WATERFALL AUDIO CAVE 2020/011 (Barcode: 5908298549094) ~ POLAND ~ Jazz Recorded: 2019 Released: 2020 This is the debut album by a "dream come true" Polish Jazz piano trio, which combines the forces of the brilliant rhythm section comprising of twin brothers Marcin OlesFind albums by this artist on bass and Bartlomiej OlesFind albums by this artist on drums (collectively known as Oles BrothersFind albums by this artist) with one of Poland´s most idiosyncratic, expressive and open-minded pianists Piotr OrzechowskiFind albums by this artist. It is therefore not surprising that the expectations from the music produced by this trio reach the zenith as far as Polish Jazz scene is concerned. As the subtitle of this album ("Music Of Joe Zawinul") discloses, the subject of the album is the music composed by Austrian composer / keyboardist Josef Joe ZawinulFind albums by this artist, who left Austria in 1959 and moved to where Jazz "was happening", soon to become one of the most prominent musicians on the American scene, playing with Cannonball AdderleyFind albums by this artist and then Miles DavisFind albums by this artist, before forming the revolutionary ensemble Weather ReportFind albums by this artist and later Zawinul SyndicateFind albums by this artist. Despite his success in America, Zawinul was in many respects a tragic figure as his European background and musical tradition never truly allowed him to integrate within American Jazz. Over the years he composed a superb body of music that attested to his European foundations, which was never fully understood by his fellow musicians at the time. Therefore the recognition of the European spirit in the music of Zawinul, which is fully recognized and openly stated by the creators of this album, offers an important historical and intellectual testimonial beyond the musical layer. This approach leads of course to a completely novel and unprecedented interpretation of Zawinul´s music, dominant to such extent that most music listeners familiar with these compositions in their original recorded form will probably not recognize these compositions easily (if at all) on this album. As a result, the listeners are exposed to a completely new depth and beauty of Zawinul´s compositions, a presentation which deserves a highest respect for its ingenuity and boldness, qualities that are not surprising in case of Oles Brothers and Orzechowski. The performances are of course absolutely stellar, with every single note and sound perfectly placed within the musical kaleidoscope. The clarity of the sound and the total involvement of these three musicians is absolutely phenomenal, standing apart from almost everything else one can find on record elsewhere. It seems that the magic touch of Oles Brothers and Orzechowski combined becomes not only a sum of their sublime qualities but rather their product A word of warning for listener´s expecting anything like what Zawinul´s music sounded originally – this album demands a completely different level of involvement, concentration and open-mindedness. Of course this is an immediate favorite as far as I am concerned, and as the year (dreadful 2020) nears its most welcome ending, this album jumps straight into the small heap of top albums of the year. It is a true revelation and I feel proud to be able to call the makers of this magnificent music my Friends. Thank you, as always!

Updated: 19/12/2020Posted: 19/12/2020

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ORZECHOWSKI / MASECKI ~ BACH REWRITE DECCA 602537545759 (Barcode: 602537545759) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2013 Released: 2013 This is definitely one of the most intriguing albums released in Poland in 2013; a completely cross-genre innovative project, which should interest a wide range of music connoisseurs. It combines the eternal music of Johann Sebastian BachFind albums by this artist with two Polish enfants terribles: pianist / composer Piotr OrzechowskiFind albums by this artist (a.k.a. PianohooliganFind albums by this artist) and pianist / composer Marcin MaseckiFind albums by this artist, usually associated with Avant-Garde Polish Jazz but also know to have flirted with Classical music, contemporary and otherwise. Orzechowski included a Bach prelude on his debut demo album in 2011 and then shook up the Polish music scene in 2012 with the album presenting his interpretations of the music by the celebrated Polish composer Krzysztof PendereckiFind albums by this artist. Masecki performed and recorded many times his interpretations of Classical music pieces earlier on and even recorded in 2012 a complete album covering Bach´s "Die Kunst Der Fuge". Therefore this meeting is not really as surprising, as it might appear at the first glance. The pianists perform three Bach concerti for harpsichord, strings & continuo; each performs one concerto and together they perform a double concerto for two harpsichords. They are accompanied by the Capella CracoviensisFind albums by this artist Orchestra conducted by Jan Tomasz AdamusFind albums by this artist, which specializes in performing early Classical music played on original instruments of the period. The "catch" is that rather than using the harpsichord as intended, Orzechowski uses the Fender Rhodes electric piano and Masecki uses the Wurlitzer electric piano. Other than the effect of hearing an electric piano accompanied by a Baroque orchestra the album sounds pretty straightforward / "normal" and almost conventional. The big surprises are hidden almost at the very end of each of the concerti, when the pianists perform a "solo" / free improvised section, which of course is not a part of the original concerti (in the double concerto they perform this section together as a duo). This bold and innovative idea is what adds an extra "spark" to what this album offers to its listeners. There is of course also the a.m. disparity between the electric pianos and the orchestra, but after a while it simply vanishes and Bach´s music heals this gap quite naturally. Both pianists and the orchestra perform their roles formidably and the overall effect is pleasing, but not overwhelming. The entire project turns out to be less innovative / challenging that one might expect. The short improvised passages are somewhat alien to the music at large and appear to be more "conceptual" than natural. The orchestra is absolutely perfect and the worm sound of the instruments is a true delight. The sound quality is acceptable, but not sensational. Summa summarum this is a pleasant, interesting album, which tries to bring Bach´s music into contemporary environment, which is always commendable. It is not, however, a major / revolutionary concept / achievement. Side Note: The author of the liner notes accompanying this album keeps rumbling on and on about Wendy CarlosFind albums by this artist´ 1968 album "Switched-On BachFind albums with this title", which was a first of its kind recording of Classical music performed on a Moog synthesizer. I completely fail to see any connection whatsoever between that album and the music included herein. Although innovative, "Switched-On Bach" was after all just a gimmick intended to sell records, which worked very well BTW. Any attempt to uplift its status to a significant masterpiece is simply ridiculous as it connecting it with this album.

Updated: 12/04/2019Posted:

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PIOTR ORZECHOWSKI ~ 15 STUDIES FOR THE OBEREK DECCA 602547119124 (Barcode: 602547119124) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2014 Released: 2014 Polish pianist / composer Piotr OrzechowskiFind albums by this artist (a.k.a. PianohooliganFind albums by this artist) returns with the annual (third time in a row) display of his musical vision, which hovers above the usual genre definitions, practically ignoring all conventions and boundaries and creates his own unique musical universe. This time the theme of his explorations is the Polish folk dance called oberek, which is the most lively and least restricted of the Polish folk dances and therefore also the most open to interpretation or even improvisation. The album presents fifteen relatively short solo piano pieces, called "studies" organized into five series of three pieces each. Each of the series has its own subtitle and focuses on a different aspect of the dance. The music is magnificently recorded at the Polish Radio´s Concert Studio in Warsaw with Ewa Guziolek-TubelewiczFind albums by this artist presiding at the console. Of course in this case, the oberek is more of an inspiration or a point of reference, rather than an actual source, as usual with Orzechowski, whose multi-dimensional compositional concept expands well beyond the actual structure of the dance. Listeners not familiar with the oberek might of course never recognize the subtle references, but that should not diminish in any way the aesthetic elegance of this music in any way, as it obviously has a life of its own regardless of its inspiration. It would be superfluous to sing the paeans about Orzechowski´s talents both as a composer and performer, which have already seen the light of day both in my previous reviews of his work and countless other critiques. In his case, which is very rare indeed, the general acceptance of his virtues is not a sign of blind public hysteria but a true admiration of his qualities. With this album he manages, yet again, to surprise, excite and move the listener, which is probably the greatest gift an Artist is blessed with. All we can do is to express our gratitude. For the third time in a row an album by Orzechowski is one of the best albums released in Poland in a particular year (2014 in this case), which is simply unprecedented. Chapeau Maestro!

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PIOTR ORZECHOWSKI ~ 24 PRELUDES & IMPROVISATIONS DECCA 028948164011 (Barcode: 028948164011) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2016 Released: 2017 This is a monumental solo piano album (2 CDs) by the Polish pianist / composer Piotr OrzechowskiFind albums by this artist (a.k.a. PianohooliganFind albums by this artist), which presents twenty four preludes composed by him, each of them followed by an improvisation connected to the prelude; altogether forty eight short pieces of music, sequenced in the order of the chromatic scale from C major to B minor. This is Orzechowski´s fourth album for the Classical DeccaFind albums on this label label, which consistently and faithfully supports his career. The music beautifully portrays the two faces of Orzechowski´s musical personality, rooted on one side in Classical Music ranging between Johann Sebastian BachFind albums by this artist and Krzysztof PendereckiFind albums by this artist and on the opposite side in Jazz and Improvisation. Although perfectly capable to stand on its own, this music is much better understood when seen (or rather heard) in the full scope of Orzechowski´s recordings, as presented on the abovementioned Decca albums. But even for a person completely unaware of Orzechowski´s background and recording legacy, it should be immediately apparent that this is a great Artist at work, both as a composer and as a performer. The scope of his imagination, intelligence, musical depth and aesthetic perfection is evident in every one of these forty eight miniatures. Listening to this music is a deep, almost spiritual experience, which should leave no music lover indifferent. In spite of the seemingly serious and complex exterior of this music it is wondrously accessible to every open-minded listener, way beyond hard core Classical or Jazz listeners. The beauty of this music wins the listener over almost immediately and the fact that these pieces are short and diverse completely excludes any chance of boredom or tiredness. Personally I found this music so fascinating that the entire double album seemed to last but a few short moments to me. This music is immensely multilayered. It can be experiences on its exterior layer, but it can also be probed into the inner layers, which reveal intricate complexities in both the composed preludes and the improvised pieces. As such this music should require repeated listening sessions to be explored in depth. Overall this is a masterpiece of contemporary Polish music, which proudly represents the incredibly high level of musical creativity and talent, which many young Polish composers and musicians are blessed with. For people unfamiliar with the treasures of Polish Music, this album could be a wonderful window into what is happening in Poland today. Brilliant stuff!

Updated: 26/08/2020Posted: 01/12/2017

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PIOTR ORZECHOWSKI ~ CRITIQUE OF SWING IN TWO PARTS WARNER MUSIC POLAND 5021732270276 (Barcode: 5021732270276) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2021 Released: 2024 This is the long awaited fourth (not counting a self-released demo album) solo piano album by Polish Jazz pianist / composer Piotr OrzechowskiFind albums by this artist (a.k.a. PianohooliganFind albums by this artist), recorded at the peak of the Pandemic in 2021 and released only now, three years later. It presents two tracks, selected from many original pieces recorded in an empty concert hall, which are the two most “strongly opposed” to each other. Since his recording debut in 2011, Orzechowski established his presence on the Polish Jazz scene as an exceptionally gifted performer and composer, in fact to such a degree that one could easily consider his work as a class of its own. His brilliant approach to composition, as well as his interpretations of music composed by others, are simply outstanding, even in their most minimalist external appearance, completely free of show off decadence and intellectual shortcuts. As the album’s title suggests, Orzechowski offers a contemplation of the meaning of “swing”, which of course is naturally associated with Jazz, but exists basically in all forms and shapes of music, even when entirely hidden to the naked eye (or ear). The two pieces are indeed quite contrasting, with the slow and seemingly completely non-swinging first part and obviously and ostentatiously strongly swinging second part. But, of course, both parts swing, simply in a very different manner. The music is a wonderful verification of the “expect the unexpected” principle, characteristic of the Jazz aesthetic, which here receives a truly magnificent application, and as such is a true intellectual delight to all open-minded music lovers. Overall, this is another superb piece of music by one of the most original, creative and challenging Polish Artists, who creates music, which is absolutely beyond genre classification, ageless and deeply moving, all this at an astonishing young age. I hope to be able to enjoy drinking from his musical cornucopia in the years to come, being as always grateful for his talent and creativity.

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

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PIOTR ORZECHOWSKI ~ EXPERIMENT: PENDERECKI DECCA 028948101023 (Barcode: 028948101023) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2012 Released: 2012 This is a stunning debut album by Polish Jazz pianist Piotr OrzechowskiFind albums by this artist (a.k.a. PianohooliganFind albums by this artist), a twenty two years old prodigy, who managed to take the local scene by storm and win respect and admiration even from the top echelons of the "serious" classical Masters, like the celebrated Polish composer Krzysztof PendereckiFind albums by this artist, one of the world´s greatest contemporary classical composers. Orzechowski recorded and privately released a demo album a year earlier, which featured his solo piano performances of his compositions, as well as his interpretations of several classical compositions. He took this idea even further with this project, his formal debut release, by presenting a series of solo piano interpretations of music composed by Penderecki, after approaching the Maestro and receiving his blessing and cooperation. The resulting music is a triumphant amalgamation of Penderecki´s lofty music and Orzechowski´s earthy improvisations, mixing elements of romanticism, Jazz, Avant-Garde and classical modernism. There is an element of youthful rebellion and attitude in Orzechowski approach, as evident by the amount of freedom he allows himself while interpreting Penderecki´s music, which although modernist and even Avant-Garde, is after all formalized by being composed in a most precise manner. I´m especially glad to see the Maestro approving this approach, which shows his open-mindedness and love of musical diversity. This music is way beyond virtuosity, although of course the artist is a bona fide virtuoso; it is first and foremost about creating art, using whatever gift that was bestowed upon you, and Orzechowski is indeed blessed by many gifts. There is his vision and imagination, which made him to conceive such project in the first place, an incredible courage to deal with an iconic figure like Penderecki, the commitment to carry the project out and the aptitude to actually pull it through. All this, mind you, by a twenty two years old human being in a world where others of his age spend their lives twiddling cell phones. Personally this album is a beacon of hope for people like me, who see what they consider as Culture disappearing into a black void. This is not only culture, but an artistic "haute couture" which deserves to be admired and almost religiously followed. Performed on acoustic and electric (Rhodes) piano, the music was beautifully recorded in Switzerland and eventually released on the prestigious classical Decca label, owned by Universal, a clear sign of recognition of Orzechowski´s incredible talents. I´d guess he is one of the youngest, if not the youngest artists ever, who recorded for the label. I have been lucky and honored to be privy to this music from the moment it was created a few months ago when it was sent to me by the artists, asking for my opinion. I forwarded him my warmest support and encouraged him to seek the proper home for his music, which he eventually found. Hopefully this release will trigger international attention and recognition, which this album and its creator so much deserve. A masterpiece!

Updated: 12/04/2019Posted:

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PIOTR ORZECHOWSKI ~ PIANOHOOLIGAN NOT ON LABEL ~ POLAND ~ Jazz-Classical Fusion Recorded: 2011 Released: 2011 Polish pianist / composer Piotr OrzechowskiFind albums by this artist (a.k.a. PianohooliganFind albums by this artist) is at the moment the youngest Polish Jazz piano star. Tenderly aged 21 he already has an impressive CV, which many much older musicians could envy, which includes winning several competitions both as instrumentalist and composer. Classically trained, he discovered Jazz as a teenager and has been active on the Jazz scene since. His nickname "Pianohooligan" is quite appropriate for his disregard of music conventions, which he does not hesitate to break at every possible occasion. This incredible debut demo recording, presents him both as a pianist and composer, in the most difficult setting as a solo performer. The music included starts with a prelude by Johann Sebastian BachFind albums by this artist, continues with an eight-part scherzo composed by Orzechowski, followed by a Keith JarrettFind albums by this artist tune and finally concludes with a fugue by Dmitri ShostakovichFind albums by this artist. This strange collage of musical pieces makes perfect sense when performed by Orzechowski, even though at the first glance one might wonder what all this music has in common. His incredible virtuosity and individuality, as well as his great sense of melody, harmony and rhythm manage to produce a coherent musical experience, which brigs the listener many moments of bliss and supreme musical joy. The attempt to fuse Classical music and Jazz in this case works beautifully, proving yet again that great music is cross-genre and universally aesthetically perfect. The treatment of the Classical pieces is genuinely sublime and the original music is masterfully crafted. Overall it is a great album from start to finish and honestly quite scary, considering the age of its creator. For people of such talent sky is the only limit!

Updated: 18/10/2022Posted:

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PIOTR ORZECHOWSKI / KUBA WIECEK ~ THEMES OF DRACULA ANAKLASIS 021 (Barcode: 5907795211893) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2021 Released: 2022 This is a duo album by two of the most prominent representatives of the young contemporary Polish Jazz scene: pianist / composer Piotr OrzechowskiFind albums by this artist (a.k.a. PianohooliganFind albums by this artist) (born 1990) and saxophonist / composer Kuba WiecekFind albums by this artist (born 1994). The duo performs their take on the music composed by the Polish Classical Music / Cinematic Music composer Wojciech KilarFind albums by this artist, which served as the soundtrack of Francis Ford CoppolaFind albums by this artist film “Bram Stoker’s Dracula”, hence the title. The album was released by the prestigious Polish AnaklasisFind albums on this label label as part of its “Revisions” series. The music was recorded at the excellent Monochrom Studio and engineered by Ignacy GruszeckiFind albums by this artist, with the usual subline sound quality. Although Kilar’s music received already quite a few Jazz readings over time, this album goes far beyond just interpreting the original notes, and offers an entirely new musical universe, way beyond the source. Both Orzechowski and Wiecek are able to add their very personal and highly unusual / unique vistas, both as composers of the newly created music and performers, often applying novel / innovative techniques utilized on their relative instruments. The level of the performances by both musicians is absolutely phenomenal. The resulting music is completely fascinating and totally unexpected, even for listeners familiar with earlier recording by these two musicians. It becomes a wonderful example of the “Art of the Duo”, not only on the physical / audible plane and even more importantly on the metaphysical plane, which drives them to play they was they do. Although the music is complex and demands total submission from the listener, it rewards the audience by inspiring the intellectual processes it manages to invoke and the aesthetic pleasures generated it stimulates. Overall, this is another excellent addition to the “Revisions” series and an important step forward in the recording legacy of both these young and highly talented musicians, who are open to new vistas and don’t shun difficult challenges. This is not stress-free music, but a highly rewarding visit to new musical worlds, which does not happen that often these days. Beautifully done – hats off my young Friends!

Updated: 02/02/2023Posted: 02/02/2023

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KUBA STANKIEWICZ ~ KILAR V 001 (Barcode: 5903111377007) ~ POLAND ~ Jazz Recorded: 2013 Released: 2013 This is finally the full album (preceded by a teaser EP), which presents one of the best Polish Jazz pianists Kuba StankiewiczFind albums by this artist playing his interpretations of music written by the great Polish contemporary Classical and Cinematic music composer Wojciech KilarFind albums by this artist. The music is performed on solo piano, the most "naked" of all formats but also the most unlimited one. Kilar, who is unfortunately less know outside of Poland than his contemporaries like Krzysztof PendereckiFind albums by this artist, Henryk GoreckiFind albums by this artist or Witold LutoslawskiFind albums by this artist, is by no means less important and neither is his wonderful musical legacy. His work as a composer of film scores is truly legendary and his music accompanies over 100 films by all major Polish directors, like Roman PolanskiFind albums by this artist and Andrzej WajdaFind albums by this artist, and also those beyond Poland, both in Europe and the US (for example Francis Ford CoppolaFind albums by this artist). Although a modernist, Kilar´s music is full of romanticism and lyricism, and his sublime sense of melody is second to none. This album includes twelve compositions by Kilar, ten of which are from film scores and the remaining two from TV serials. Stankiewicz treats Kilar´s music with a lot of respect and obvious love. The relaxed and delicate interpretations are full of charming moments, where the improvisations move out and return to the melodic theme. Stankiewicz has a wonderful touch on the piano, which sounds full-bodied and expressive even at a low volume. The overall effect is simply delightful. I especially admire the pianist´s humility and modesty which are the predominant features of his approach to the music. He firmly leaves the focus on the amazing compositions, taking only very limited liberties with the original notes and making his personal input subtly concealed, exposed only to the sensitive listener. Contrary to many other Jazz pianists, who often like to dominate their interpretations of other composers´ music with their own statements, Stankiewicz simply serves as a vessel bringing Kilar´s music to a new audience. Following decades of Polish Jazz musicians obsessively interpreting the music of Frederic ChopinFind albums by this artist and Krzysztof KomedaFind albums by this artist, it´s truly refreshing to hear some musicians turning the attention to other great Polish composers, like the sensational "Experiment: PendereckiFind albums with this title" released recently by pianist Piotr OrzechowskiFind albums by this artist or the new album by the superb RGGFind albums by this artist trio performing the music of Karol SzymanowskiFind albums by this artist. This music is very different, but also very interesting and no less challenging intellectually. An absolute must to all piano, solo piano and Jazz-Classical Fusion listeners everywhere. This is a heartwarming piece of music, which is a balsam to the ears, weary from the noise that surrounds us all. This album was released on a new Polish Jazz record label, called VFind albums on this label Records, steered by the producer Adam DomagalaFind albums by this artist. I look forward impatiently to hear the future releases by this label and in the meantime wish the best of luck with this admirable project to both maestro Stankiewicz and his producer.

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KUBA STANKIEWICZ ~ STANKIEWICZ PLAYS KILAR (EP) V ~ POLAND ~ Jazz-Classical Fusion Recorded: 2013 Released: 2013 This EP is a brief glimpse at a work in progress, which hopefully will be completed very soon, which presents one of the best Polish Jazz pianists Kuba StankiewiczFind albums by this artist playing his interpretations of music written by the great Polish contemporary Classical and Cinematic music composer Wojciech KilarFind albums by this artist. The music is performed on solo piano, the most "naked" of all formats but also the most unlimited one. Kilar, who is unfortunately less know outside of Poland than his contemporaries like Krzysztof PendereckiFind albums by this artist, Henryk GoreckiFind albums by this artist or Witold LutoslawskiFind albums by this artist, is by no means less important and neither is his wonderful musical legacy. His work as a composer of film scores is truly legendary and his music accompanies over 100 films by all major Polish directors, like Roman PolanskiFind albums by this artist and Andrzej WajdaFind albums by this artist, and also those beyond Poland, both in Europe and the US (for example Francis Ford CoppolaFind albums by this artist). Although a modernist, Kilar´s music is full of romanticism and lyricism, and his sublime sense of melody is second to none. Stankiewicz treats Kilar´s music with a lot of respect and obvious love. The relaxed and delicate interpretations are full of charming moments, where the improvisations move out and return to the melodic theme. Stankiewicz has a wonderful touch on the piano, which sounds full-bodied and expressive even at a low volume. The overall effect is simply delightful. Following decades of Polish Jazz musicians obsessively interpreting the music of Frederic ChopinFind albums by this artist, it´s truly refreshing to hear some musicians turning the attention to other great Polish composers, like the sensational "Experiment: PendereckiFind albums with this title" released recently by pianist Piotr OrzechowskiFind albums by this artist. This music is very different, but also very interesting and no less challenging intellectually. I look forward impatiently to hear the complete album soon and with Stankiewicz a priori the best of luck with this admirable project.

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DANIEL TOLEDO ~ ATRIUM FOR TUNE 0121 (Barcode: 5906395808175) ~ ECUADOR ~ Jazz Recorded: 2016 Released: 2017 In times where separatism, nationalism and xenophobia seem to be taking over the world we live in, it often seems to me that Art in general and our beloved Jazz Music in particular is more often that not the last frontier where values like tolerance, cooperation and unison are still flourishing with truly amazing results. Take this album as an example: Polish pianist Piotr OrzechowskiFind albums by this artist (born 1990), Ecuadorian bassist Daniel ToledoFind albums by this artist (born 1991) and Swedish drummer Paul SvanbergFind albums by this artist (born 1984) get together to form a classic Jazz piano trio, which is a very intimate musical partnership requiring total cooperation, in order to achieve its goal of creating music together. The fact that these musicians come from different and distant countries and cultural backgrounds not only does not stand in the way of them becoming one body and mind when playing this music, but actually reinforces their ability to create music on a higher Artistic and Intellectual planes. This is the second album by Daniel Toledo, again recorded in the piano trio setting, which consistently continues the path and the direction set by the debut. The focus is again split between two layers: the compositions, all originals by Toledo, and the performance, which strives towards finesse, elegance and flair. Toledo, the composer, emerges as a masterful weaver of beautiful melodies, stretched over a complex rhythmic framework, which are versatile, both harmonically and rhythmically and constitute a mature and solid body of first-rate music. Toledo, the bassist, proves his ability to lead the trio safely over the troubled waters of this challenging music, emerging victorious again. Of course the fact that both his partners are dreamy musicians of the highest rank has a tremendous influence on the end result. Orzechowski, one of the absolute top pianists of the new generation of Polish Jazz, who feels equally confident playing Classical Music and Jazz, keeps amazing with his inventive touches of the keyboard, floating on the complex harmonic structures with seemingly effortless panache. Svanberg nails it all down with his assertive, but wonderfully sensitive drumming, playing forcefully but not overpoweringly, creating a rhythmic layer which is stylistically atypical for a Jazz recording. Nothing short of brilliant, this album proves that melodic modern Jazz can still be rewarding and fascinating, when executed sincerely and passionately. Listen and learn! Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 19/09/2018Posted: 10/04/2017

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DANIEL TOLEDO ~ ELAPSE NOT ON LABEL (Barcode: 889211081240) ~ ECUADOR ~ Jazz Recorded: 2014 Released: 2014 This is the debut album by Ecuadorian bassist / composer Daniel ToledoFind albums by this artist, recorded in a classic piano trio setting with excellent Polish Jazz pianist Piotr OrzechowskiFind albums by this artist and British drummer Joshua WheatleyFind albums by this artist. The album presents five original compositions by Toledo and one standard composed by Miles DavisFind albums by this artist. Orzechowski is of course one of the top young Jazz pianist in his country and in the last few years his activities have been documented mainly in the role of a solo piano player, therefore this recording should be of great interest to all Polish Jazz fans. Toledo emerges on this debut recording as an excellent bassist of a highly personal style, which is characterized by groovy pulsations, which are usually produced by electric bass guitar rather than by the upright bass, and a danceable attitude, which most probably has its roots in his South American roots. But he is definitely also a highly talented composer and his tunes serve as ideal vehicles for the trio to explore and develop the basic melody lines into lengthy improvisations. Naturally the pianist draws most of the listener´s attention, as he is the main soloist here. Toledo made a wise choice combining forces with Orzechowski, as there are very few such versatile and skillful pianists as him. It´s a pleasure to hear Orzechowski keep the groove and funky feel of this album alive, even on the slow pieces, which display a more lyrical approach. Wheatley fits the bill perfectly, supporting the bass with his steady rhythmic patterns, keeping time and at the same time allowing for a lot of rhythmic fluidity, which makes the music much more interesting. This approach is strongly felt on the trio´s interpretation of the Miles Davis composition, which is given a highly unusual treatment. Overall this is definitely a superb debut effort, as well as one of the most personal / unique albums that I happened to listen to in 2014. Hopefully this trio will produce more of such gems in the future. I can´t wait to see where it will all lead to. Nice work Gentlemen!

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DANIEL TOLEDO ~ FLETCH AUDIO CAVE 2020/002 (Barcode: 5908298549018) ~ ECUADOR ~ Avant-Garde Jazz Recorded: 2018 Released: 2020 This is the third album by Ecuadorian bassist / composer Daniel ToledoFind albums by this artist, recorded in a classic quartet setting with all Polish team consisting of saxophonist Kuba WiecekFind albums by this artist, pianist Piotr OrzechowskiFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist. The album presents seven original compositions, all composed by Toledo. The music was recorded at the excellent Monochrom Studio and engineered by Ignacy GruszeckiFind albums by this artist. Toledo´s steady output of albums, starting in 2014 and offering a new recording every couple of years (I had the pleasure of writing the liner notes for his second album "AtriumFind albums with this title"), as well as his cooperation with Orzechowski, follow a steady course of development as a composer and player. The music on this album significantly departs from the earlier melody based conventional modern Jazz into a way more spacey, free spirited ventures and complex odd meters based rhythmic background. The metamorphosis is quite dramatic and presents Toledo in a completely new perception. Orzechowski, who plays both acoustic and electric piano, and who is the focal soloist, takes upon himself a major role in voicing this new approach, playing of course as brilliantly as always, but again quite differently from his usual environment, and listeners familiar with his impressive output as instrumentalist will have an opportunity to hear him from a different point of view. Wiecek steps in boldly and this music seems to suit his stylistic preferences ideally. Although his statements are relatively limited they are all right on the money. Miskiewicz, one of Poland´s most versatile and experienced drummers, handles the difficult rhythmic challenges without a hitch, as expected. Toledo´s solid bass parts are of course the spinal chord which connects all the ingredients together. Overall this is a difficult, serious piece of music, which although demanding, can be a source of great musical enjoyment, as long as the listener allows it the required attention and time needed to penetrate the external crust. Full of great ideas and superb performances, this is definitely something worthy of serious investigation.

Updated: 19/03/2020Posted: 19/03/2020

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