Record Reviews
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  | JACK DEJOHNETTE ~ MADE IN CHICAGO
ECM 2392 (Barcode: 602537809356) ~ USA ~ Jazz
Recorded: 2013 Released: 2015
Although born, raised and musically educated in Chicago, pianist / Master drummer / composer / bandleader Jack DeJohnetteFind albums by this artist left the Windy City and moved on to the Big Apple in 1966, leaving behind his schoolmates and bandmates from the Chicago loft scene. He soon got involved with such pivotal Jazz figures like Charles LloydFind albums by this artist, Bill EvansFind albums by this artist, Stan GetzFind albums by this artist, Miles DavisFind albums by this artist and Keith JarrettFind albums by this artist, and later on led many of his own ensembles, living one of the most fulfilling and artistically creative lives in American Jazz history.
In the meantime his Chicago cohorts: pianist Muhal Richard AbramsFind albums by this artist and saxophonists Roscoe MitchellFind albums by this artist and Henry ThreadgillFind albums by this artist became the core of the AACM, one of the most important American Jazz platforms, which gave birth to countless revolutionary recordings and kept the American Jazz developing and expanding the boundaries set by the stale mainstream traditionalism.
The celebrations of DeJohnette´s seventieth birthday created the opportunity to bring DeJohnette together again with Abrams, Mitchell and Threadgill. The specially formed quintet was formed by adding the Chicago born and based bassist Larry GrayFind albums by this artist and the quintet recorded the music presented here live. They perform six original compositions, two of which are by Mitchell, one each by Abrams, DeJohnette and Threadgill and one is credited to all five quintet members.
People familiar with the recordings by the Chicago scene musicians will find this music pretty familiar stylistically and the AACM aesthetic prevails throughout, with long, slowly developing themes and extended improvisations setting the tone. The melodic threads, stated usually after a moody preamble, are then extensively improvised upon, only to be repeated by the end of each track. There is a lot of space and freedom in this music, which allows all the musicians to state their own ides as well as exchange ideas with the other members of the quintet.
This is definitely not the kind of music that DeJohnette usually plays outside of this specific project and his ability not only to blend in but also contribute significantly to the overall result is truly remarkable. His incredible sensitivity, elegance and technical brilliance are here right in the open, for the listener to enjoy.
As much as this album celebrates DeJohnette´s lifetime achievements, even more so it celebrates the Chicago Jazz scene, which is undoubtedly the most creative and adventurous center of ambitious music in the USA, burgeoning with inventiveness and passion, not only amongst the older generation but also involving many your Jazz and Improvising Music artists. Should this album prompt more listeners to plunge deeper into Jazz Made in Chicago, DeJohnette added another milestone to his magnificent career.
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  | DON ELLIS / WOJCIECH KAROLAK TRIO ~ POLISH RADIO JAZZ ARCHIVES VOL.02
POLSKIE RADIO 1590 (Barcode: 5907812245900) ~ USA ~ Jazz
Recorded: 1962 Released: 2013
This is the second installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venue, the annual Jazz Jamboree Festival and many other festivals as well.
The material presented here was recorded in 1962 during the 5th Jazz Jamboree and features American trumpeter Don EllisFind albums by this artist, accompanied by a Polish rhythm section consisting of pianist Wojciech KarolakFind albums by this artist, bassist Roman DylagFind albums by this artist and drummer Andrzej DabrowskiFind albums by this artist. All the six tracks were recorded live during the Festival, the last of which is an extended suite composed by Polish pianist / composer Andrzej TrzaskowskiFind albums by this artist presented as part of a concert dedicated to the Third Stream (early Jazz-Classical Fusion initiated by American composer Gunther SchullerFind albums by this artist in the late 1950s). On that track the quartet is accompanied by the Polish National Philharmonic Chamber Orchestra. Of the five shorter Jazz pieces, two are original compositions by Ellis and the remaining three are standards.
Ellis was the second US musician who opted to play with a local rhythm section, following Stan GetzFind albums by this artist who did so two years earlier (as captured on the first volume of this series). Although he was just 28 years old at the time, he already had a lot of experience and quite a reputation as a result of playing with many top American Jazz acts in the late 1950s and early 1960s. His Polish partners: Karolak (aged 23), Dylag (aged 24) and Dabrowski (aged 24) sound like veterans, obviously ready and able for the occasion. Ellis was the ideal choice as a performer of the orchestral piece by Trzaskowski, as he was one of the musicians / composers involved in this genre from its early stage.
There is a clear division between the first part of this album, which includes the five Jazz pieces and the orchestral suite, which is quite Avant-Garde and geared more towards Classical music listeners. Both parts are excellent, each presenting different merits of course. The fact that Trzaskowski composed the orchestral suite at that time is quite astonishing, considering the limited information about contemporary musical trends and developments that managed to cross over from behind the iron curtain. Obviously he was a man of great vision beyond his obvious talents as a player and composer.
The wonderful ambience of the hall and the remastered sound quality are spectacular, worm and natural, leaving many contemporary recordings way behind, even though they were done 51 years ago using quite primitive equipment.
The only note of criticism about this new edition is the lack of a proper booklet with proper liner notes, photographs and other well deserved details, which this monumental music truly deserves. Polish Radio really should have made an effort there. A pity!
In retrospect this is a great document of the era and an integral part of the Polish Jazz saga, which deserves to be told and studied. The presence of the orchestral suite makes this an absolute must for collectors of Polish Jazz albums and Third Stream followers.
| | Updated: 12/04/2019Posted: | CD 1 Digipak Remastered Recommend To A Friend |
  | STAN GETZ ~ THE BOSSA NOVA ALBUMS
VERVE 754969 (Barcode: 602517549692) ~ USA ~ Jazz-World Fusion
Recorded: 1962 - 1963 Released: 2008
The Brazilian musical gift to the world – the Bossa Nova – is celebrating its 50th Anniversary, so it’s only natural to take a look at some classic recordings, which popularized the genre outside of its birthplace, namely the legendary Stan GetzFind albums by this artist recordings, which created a Bossa Nova craze in the US. Saxophonist Stan Getz was already an established Jazz player at the time these timeless albums were recorded, but his pioneering work with Brazilian musicians was a bold step, very unusual for the conservative US Jazz community. Although accused of commercialism and “selling out” by many of his peers and music critics, the fact that this music became so immensely popular with Jazz fans and even many non-Jazz listeners, has everything to do with the quality of the music, rather than the its accessibility. After all the Bossa Nova’s inherent beauty and mesmerizing rhythm are addictive and quite irresistible and the way Getz immersed himself totally in the music, creating a perfect amalgam of Jazz and the Brazilian music (a superb early example of Jazz-World Fusion) was phenomenal. Add to this the incredible tone of his saxophone, lush and clear, sweet as honey and yet highly intelligent and often innovative musically, and you get some classic music, which sounds forever fresh and moving, even if you heard some if it countless times before. This beautiful Box Set includes the five Bossa Nova albums Getz recorded for Verve in 1962 and 1963: “Jazz SambaFind albums with this title”, “Big Band Bossa NovaFind albums with this title”, “Jazz Samba Encore!Find albums with this title”, “Getz / GilbertoFind albums with this title” and “Getz / AlmeidaFind albums with this title”. Of these five albums, four are small combo recordings, where Getz plays opposite a guitarist: Charlie ByrdFind albums by this artist, Luiz BonfaFind albums by this artist, Joao GilbertoFind albums by this artist and Laurindo AlmeidaFind albums by this artist, respectively. The big band album features a large orchestra (with some of the best Jazz players of the time), conducted by Gary McFarlandFind albums by this artist, who also arranged the music. The legendary producer Creed TaylorFind albums by this artist produced all the albums. A few vocal tracks appear here, including the everlasting Astrud GilbertoFind albums by this artist‘s “The Girl From Ipanema”. In the 45 years that passed since these sessions were recorded, the music lost absolutely nothing of its charm and beauty and I still very much a source of great musical pleasure. Don’t get fooled by people, who label this music commercial or “sentimental”, this is essential stuff, which will outlast its critics.
| | Updated: 26/01/2019Posted: | CD 5 Digipak Box Set Remastered Essential Recommend To A Friend |
  | STAN GETZ ~ THE COMPLETE COLUMBIA ALBUMS COLLECTION
SONY 886978805829 (Barcode: 886978805829) ~ USA ~ Jazz
Recorded: 1972 - 1979 Released: 2011
With a career spanning half a century American saxophonist Stan GetzFind albums by this artist became one of the undying Jazz icons, making many milestone contributions to the development of the Jazz art form. He was probably one of the most versatile Jazz figures, associated with such diverse Jazz genres as Bebop, Cool, Bossa Nova and Jazz-Rock Fusion. His extensive recorded legacy includes many classic Jazz albums, which are considered timeless and are listened to today.
Getz´s most popular albums are those recorded during his stint with the VerveFind albums on this label label (1951–1972), but his albums recorded for and released on ColumbiaFind albums on this label in the 1970s, although criminally less known, are in fact some of his best ever and surely constitute the most diverse output created by one artist in a period of just several years, probably due to the complete artistic freedom and self-production rights he was awarded by Columbia. A total of seven albums were released on Columbia, spanning a wide artistic spectrum and all absolutely brilliant.
The set opens with the marvelous "Captain MarvelFind albums with this title" album, recorded with pianist Chick CoreaFind albums by this artist (who wrote almost all the music on that album), bassist Stanley ClarkeFind albums by this artist, drummer Tony WilliamsFind albums by this artist and percussionist Airto MoreiraFind albums by this artist. This album was recorded just a month after the recording of the debut eponymous album by the newly founded Return To ForeverFind albums by this artist. It included some of the music already recorded on that debut album and other music included later on the second Return To Forever album called "Light As A FeatherFind albums with this title". This is definitely one of the most memorable early Fusion recordings.
Next comes the reunion between Getz and the Brazilian guitarist / composer Joao GilbertoFind albums by this artist ("The Best Of Two WorldsFind albums with this title"), returning to the Jazz / Bossa Nova style, which a decade earlier pushed Getz to the center of fame and popularity as a result of the commercial and artistic success of legendary early Getz / Gilberto albums.
Then there is the beautiful collaboration with the legendary vocalist / pianist / composer Jimmie RowlesFind albums by this artist ("The PeacocksFind albums with this title"), a straight-forward quartet date ("The MasterFind albums with this title"), another great Fusion album ("Another WorldFind albums with this title") with keyboardist Andy LaverneFind albums by this artist, an album of Lalo ShifrinFind albums by this artist´s compositions ("Children Of The WorldFind albums with this title") and finally a soundtrack album ("Forest EyesFind albums with this title") recorded in Holland with excellent Dutch musicians.
The Box Set also includes a bonus CD comprising of live recordings by Getz, compiled from different albums and informative liner notes. All albums are remastered and include bonus tracks. Together this is one of the most fascinating collections of music, simply exploding with musical genius and incredible performances. It is an essential document of what intelligent and open minded music is all about and an essential part of the Jazz legacy. Not to be missed under any circumstances!
| | Updated: 26/01/2019Posted: | CD 8 Mini-Sleeve Box Set Remastered Bonus Tracks Essential Recommend To A Friend |
  | STAN GETZ / ANDRZEJ TRZASKOWSKI TRIO ~ POLISH RADIO JAZZ ARCHIVES VOL.01
POLSKIE RADIO 1567 (Barcode: 5907812245672) ~ USA ~ Jazz
Recorded: 1960 Released: 2013
This is the first installment in the new series of releases initiated by the Polish Radio, which presents archive Jazz recordings. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venue, the annual Jazz Jamboree Festival and many other festivals as well.
The material presented here was recorded in 1960 during the 3rd Jazz Jamboree and features American saxophone Giant Stan GetzFind albums by this artist, accompanied by a Polish rhythm section consisting of pianist Andrzej TrzaskowskiFind albums by this artist, bassist Roman DylagFind albums by this artist and drummer Andrzej DabrowskiFind albums by this artist. Nine of the twelve tracks included here were recorded live during the Festival and the additional three tracks were recorded in the same hall but late at night, without any spectators being presents. All the music comprises of Jazz standards. This recording was made before Getz reached the superstar popularity as a result of his Bossa Nova recordings a couple of years later, but he was already a much respected saxophonist with a very impressive record behind him, although he was just 33 years old at the time.
The story about why Getz opted to play with a local rhythm section has many versions. Most Polish sources quote some vague statements indicating this as being a conscious decision made "in recognition of the talent of the young Polish Jazz musicians". That version has very little support in reality. One should bear in mind that Getz was living at the time in Scandinavia and did not have a steady group he performed with in Scandinavia, where he actually arrived from to play at the Jazz Jamboree (not from the USA). When I talked to Getz about his first visit in Poland (he was there again in 1974 and 1980), he told me that he heard just a little about Jazz in Poland before he arrived there, thanks to the early relationships between the Polish and the Scandinavian scenes, which was about to be expanded in the years to come. His willingness to play with the young Poles should be rather credited to his open-mindedness and general good nature, with always characterized him as a person. Also let us not forget that the logistics and costs involved with bringing an entire quartet from the USA at that time were quite beyond the capabilities of the festival´s organizers.
As to the music, there is actually no need to say much about it. Getz plays divinely, as usual, with his unique tone and virtuosity and the sweetest saxophone sound ever. Obviously enjoying himself enormously, he allows the rhythm section to stretch out, playing relatively long solos. The young Poles: Trzaskowski (aged 27), Dylag (aged 22) and Dabrowski (aged 22) sound like veterans, obviously uplifted spiritually by the event. The music is simply perfect, from start to finish. The wonderful ambience of the hall and the remastered sound quality are spectacular, worm and natural, leaving many contemporary recordings way behind, even though they were done 53 years ago using quite primitive equipment. In short everything about this album is simply miraculous.
The only note of criticism about this new edition is the lack of a proper booklet with proper liner notes, photographs and other well deserved details, which this monumental music truly deserves. Polish Radio really should have made an effort there. A pity!
No wander that this material (in one form or another) was bootlegged countless times and the original vinyl release ("Stan Getz W PolsceFind albums with this title") reached outrageous sums on the collectors´ market all over the world. Now they are available in the best sounding quality ever for the price of a regular CD, so don´t even dare to think about this twice. This is an absolute must!
| | | CD 1 Digipak Remastered Bonus Tracks Recommend To A Friend |
  | BILLY HART ~ ALL OUR REASONS
ECM 2248 (Barcode: 602527866314) ~ USA ~ Jazz
Recorded: 2011 Released: 2012
This is the debut album on the legendary ECMFind albums on this label label by veteran American drummer / composer Billy HartFind albums by this artist, who is one of the greatest drummers in Jazz history, although he is rarely mentioned by critics. He was a part of many pivotal Jazz recordings over the years with such great musicians as Wes MontgomeryFind albums by this artist, Herbie HancockFind albums by this artist, Stan GetzFind albums by this artist and of course Miles DavisFind albums by this artist. Unfortunately his recordings as a leader are relatively rare. This is the second album by his recent quartet, which includes saxophonist Mark TurnerFind albums by this artist, pianist Ethan IversonFind albums by this artist and bassist Ben StreetFind albums by this artist. Hart, Iverson and Turner all contribute compositions on this album and the quartet performs them with elegance and flair, which is usually identified with European Jazz, which is probably the reason behind ECM´s decision to include this music in their catalogue. This is modern Jazz at its best, firmly based in the tradition and expanding it towards new territory. Beautiful stuff!
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  | CESAR JOANIQUET / BRICE SONIANO / KASPER TOM ~ SONGBOOK
ASTROPI 1502 (Barcode: 5707471041512) ~ SPAIN ~ Jazz
Recorded: 2014 Released: 2015
This is the debut album by the international trio comprising of Spanish saxophonist Cesar JoaniquetFind albums by this artist, French bassist Brice SonianoFind albums by this artist and Danish drummer Kasper Tom ChristiansenFind albums by this artist. The album presents nine compositions, six of which are standards and three are originals co-composed by the trio members.
The music is a subtle tribute to Billie HolidayFind albums by this artist, as the six standards are associated with her heartbreaking performances of these tunes. Of course the trio treats the standards only as a very loosely melodic / harmonic structure, while they improvise extensively and intensely.
These three young players have all already established quite a record in the last few years, which puts them in the top echelons of the European Jazz scene in spite of their age. Anybody listening to this album should immediately understand why, as their performances are simply stellar.
Joaniquet, when playing the melody lines, sounds remarkably close to Stan GetzFind albums by this artist, which is probably the highest compliment I personally could give any saxophone player, as I was sure until now that nobody will ever come close to Stan´s phrasing and sensitivity. Well, I have been proven wrong. When he improvises freely, he is of course in a different musical universe, so the similarity to Getz does not apply, but he still is a brilliant player.
Soniano is one of the most imaginative and expressive bassist I happened to came across lately and his work on this album is a superb example of the role of the bass in contemporary music; no longer a background support but a soloist of equal standing and importance to the other band members. His tone, technique and ability to converse with his cohorts is nothing short of miraculous.
Kasper Tom, an old acquaintance, has already captured my attention many times before and his highly unique approach to drumming, or rather playing the drums, has been a pleasure to follow through his diverse and always courageous and groundbreaking recordings.
This album is an instant classic, a case study of the "Art of the Trio" variety in the Jazz idiom; in which telepathic group improvisation and lofty inspiration take the music straight to the top of human gratification hubs. This is definitely some of the finest music that landed on my player this year, full of immense aesthetic pleasure as well as intellectual contentment. Way to go!
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  | ANDRZEJ OLEJNICZAK ~ NEW SAX CONCERTOS
POLSKIE RADIO 1855-1856 (Barcode: 5907812248550) ~ POLAND ~ Jazz-Classical Fusion
Recorded: 2013 Released: 2014
This is a wonderful album by Polish (living in Spain) Jazz saxophonist Andrzej OlejniczakFind albums by this artist, who performs three "borderline" pieces bridging Jazz and Classical music, which feature the saxophone as the leading instrument. The album was recorded live with Olejniczak performing the music with the Polish Radio OrchestraFind albums by this artist conducted by Krzesimir DebskiFind albums by this artist. Drummer Lukasz ZytaFind albums by this artist is featured as co-soloist on one track.
The first piece, entitled "Focus Suite", was written by American composer Eddie SauterFind albums by this artist specifically for saxophonist Stan GetzFind albums by this artist, who recorded the suite in 1961 on the album entitled "FocusFind albums with this title", which to this day remains as one of the most revered Jazz recordings of all times. The original recording features Getz supported by a Jazz piano trio (pianist Steve KuhnFind albums by this artist, bassist John NevesFind albums by this artist and drummer Roy HaynesFind albums by this artist) and a small string ensemble, with the music beautifully arranged by Sauter.
The second piece, entitled "Sax Concerto For Soprano Saxophone And Symphony Orchestra, was written by American composer Mark KussFind albums by this artist in 2006.
The third piece, entitled "Jazz Concerto For Saxophone And Orchestra", was written by Polish violinist / composer / conductor Krzesimir Debski in 2008. Debski and Olejniczak were both members of the legendary Polish Jazz ensemble String ConnectionFind albums by this artist, which was active in the 1980s. The concerto was written for Olejniczak and incorporates many of the themes that appeared on the albums String Connection recorded at the time and the solo saxophone parts are based on transcriptions of the violin solos played by Debski at the time. In many respects this concerto symbolizes the closing of a time loop bringing the two great musicians together again.
The music is excellently performed by Olejniczak, who has a beautiful tone and superb technique. Although most of the music here is composed, there are plenty of opportunities for Olejniczak to express his own improvised passages, making this entire performance a once in a lifetime event. The orchestra is also top notch, supporting the soloist with elegance and obvious sympathy.
Fans of Jazz-Classical fusion will find this music right up their alley, but listeners of both Classical Music and Jazz should find this music worth their attention, especially in view of its aesthetic merits. Warmly recommended!
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  | STAN TRACEY ~ LAUGHIN` AND SCRATCHIN`
JAZZ HOUSE 608 (Barcode: 751848670824) ~ UK ~ Jazz
Recorded: 1965 Released: 1997
This is an album which presents archival / informal recordings by the Godfather of modern British Jazz, pianist / composer Stan TraceyFind albums by this artist, recorded live in a trio format at the famous Ronnie Scott´s Club in London, featuring bassist Rick LairdFind albums by this artist (later of Mahavishnu OrchestraFind albums by this artist fame) and drummers Ronnie StephensonFind albums by this artist or Bill EydenFind albums by this artist. The trio performs seven pieces, two of which are originals by Tracey and five are standards.
Between 1959 and 1965 Tracey and his trio served as the house band at the Ronnie Scott´s Club (the original one at Gerrard Street) and accompanied scores of visiting musicians, mostly from the US, such as Johnny GriffinFind albums by this artist, Sonny RollinsFind albums by this artist, Ben WebsterFind albums by this artist, Stan GetzFind albums by this artist, Wes MontgomeryFind albums by this artist, Roland KirkFind albums by this artist and many, many more. Playing with these Giants obviously served as a wonderful opportunity for Tracey to polish his chops, but more importantly to develop his own style as a player and composer, which differed from the standard American Bebop approach.
The selections included on this album are all pretty long in duration and as such are wonderful documents of Tracey´s idiosyncrasies as a piano player, with his quite unique approach to the instrument, similar in some ways to what Thelonious MonkFind albums by this artist was doing. Tracey plays mostly chords, vamping and boogieing all over the keyboard, only occasionally playing out the melody notes. His interpretation of the Monk tune present here is simply amazing.
The rhythm section bravely keeps up with the governor, standing with him shoulder to shoulder even during the unexpected twists and turns he takes along the way. Although the sound quality of this album is far from ideal, the music is absolutely stunning and more than compensates for the technical limitations.
Albums like this are precious pieces of Jazz history captured for eternity, which are still valid today and are definitely worth listening to, especially by the young generation, which missed it in real time. Great stuff!
| | Updated: 24/03/2016Posted: 24/03/2016 | CD 1 Recommend To A Friend |
  | KRZYSZTOF URBANSKI ~ URBANSKI
NOT ON LABEL ~ POLAND ~ Jazz
Recorded: 2009 Released: 2010
This is a brilliant debut album by the young Polish Saxophonist / composer Krzysztof UrbanskiFind albums by this artist and his quartet, with pianist Pawel TomaszewskiFind albums by this artist, bassist Michal BaranskiFind albums by this artist and drummer Tomasz TorresFind albums by this artist. The album presents seven compositions, five of which are his originals and two are standards.
From the fist note it is quite apparent that Urbanski is not just one more upcoming saxophonist on a scene overflowing with young talent; he has star quality which is unmistakable. Although the music on this album fits well within the classical Jazz convention (and I´m purposely avoiding the term "mainstream", which unfortunately over the years becomes more often than not associated with mediocrity), Urbanski manages to find very early in his career a very individual tone and approach, which happens very rarely with young players. It is obvious he is capable of reaching beyond the obvious and daring without apprehension, as evident herein for example on his treatment of the two standards, especially the John ColtraneFind albums by this artist´s "Giant Steps", which he in a transfixing way manages to turn upside down rhythmically.
Urbanski the saxophonist is truly something else; his beautiful tone, which in its gentle and sweet manifestation is somewhat similar to Stan GetzFind albums by this artist and on the more energetic side to the young Wayne ShorterFind albums by this artist. Anybody in doubt should simply listen to the solo saxophone track on this album to comprehend Urbanski´s qualities. The five original compositions also prove a maturity one hardly expects to find in young Jazz composers. His melodic, harmonic and rhythmic vocabulary spans the Jazz tradition and presents elegant, intelligent and highly aesthetic listening experience, which simply grows with each listening session.
Very worm words of praise also go to the superb rhythm section, which enables his to spread his wings but also contributes some excellent moments on its own right, with interesting solos and fabulous team work throughout this album. Tomasz Torres, the son of the legendary Polish (of Cuban origin) percussionist Jose TorresFind albums by this artist, pushes the quartet with beautiful polyrhythmic and Afro-Cuban influenced drive. Michal Baranski is already a household name on the Polish scene, known as one of the best new generation bassist in the country and his beautiful work on this album reflects his amazing talent. Pawel Tomaszewski also managed to establish quite a reputation despite his young age, with numerous recordings behind him. His solos on this album are simply top class, and his support of the leader is simply perfect.
This is definitely one of the strongest debut albums released on the Polish Jazz scene in recent years, deserving a much stronger applause then it received in actuality. Urbanski is definitely someone to keep an eye on. Wholeheartedly recommended!
Visitors' Comments
Krzysztof Urbanski
I have never before read such a constructive review of my music. I´m happy and wish to thank you again, Adam!
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  | CLAUS WAIDTLOW ~ NEW BEGINNING
GATEWAY 5707471056806 (Barcode: 5707471056806) ~ DENMARK ~ Jazz
Recorded: 2018 Released: 2018
This is an album by Danish saxophonist / composer Claus WaidtlowFind albums by this artist recorded in a quartet setting with pianist Jacob ChristoffersenFind albums by this artist, bassist Jesper BodilsenFind albums by this artist and drummer Morten LundFind albums by this artist. On three tracks the quartet is expanded to a septet with additional horns. The album presents nine original compositions, all by Waidtlow.
The music is kept well within melodic mainstream Jazz, but the compositions are fresh and coherent, typical of contemporary European Jazz, based on nontrivial harmonic approach and delicate refined aesthetics. The three septet tracks are superbly arranged for the larger ensemble, retaining the subtlety and delicacy of the quartet.
Waidtlow plays with fluency and confidence, but always with elegance and restrain, with a wonderful tone blissfully reminiscent of Stan GetzFind albums by this artist. The rhythm section is simply perfect in every way, always closely supportive behind the leader, with superb harmonic accompaniment by the piano and fluent precise rhythmic drive by the bass and drums, who are always present but remain unobtrusive.
Overall this is a classic example of contemporary mainstream European Jazz, which is simply perfect from start to finish and a great fun to listen to proving that mainstream melody based jazz can be creative, sophisticated and delightful at the same time. As a matter of fact this is one of the best albums in that specific idiom that have come across my desk lately. Hats off!
Although mainstream oriented, this album should be of interest to all Jazz connoisseurs the world over. The special European flavor, elegance and grace simple place it ahead of most other mainstream recordings originating from across the pond. A delightful gem!
| | Updated: 10/10/2018Posted: 10/10/2018 | CD 1 Digipak Recommend To A Friend |
  | WEATHER REPORT ~ WEATHER REPORT
COLUMBIA 468212 (Barcode: 5099746821227) ~ USA ~ Jazz-Rock Fusion
Recorded: 1971 Released: 1991
1st album by Weather ReportFind albums by this artist, the greatest Fusion band ever, and a pivotal recording, which would change the face of music for generations to come. The core members of Weather Report were Joe ZawinulFind albums by this artist (keyboards) and Wayne ShorterFind albums by this artist (saxophones), two prominent members of the 1960s Miles DavisFind albums by this artist ensembles, and a young Czech bass player Miroslav VitousFind albums by this artist (who played with Davis for a brief period of time only). Vitous arrived in the US in 1966 on a Berklee scholarship (like Zawinul almost a decade earlier) but soon after left the school to explore the soaring jazz scene in NY, where he played with Chick CoreaFind albums by this artist, Herbie MannFind albums by this artist, Stan GetzFind albums by this artist and many others. After meeting Zawinul and Shorter the decision was made to start a new group, which would continue the direction set by Davis on his historic In A Silent WayFind albums with this title / Bitches BrewFind albums with this title sessions, based on a collaborative / group improvisation (Davis was moving in the meantime into a more funk oriented period). To complete the group they drafted another ex-Davis musician, the Brazilian percussionist Airto MoreiraFind albums by this artist and a young drummer Alphonse MouzonFind albums by this artist. The debut album, recorded soon after the band was formed, reveals with full force the extraordinary rapport the members of the group established immediately, transcending their individual personalities. The music is mostly atmospheric, free form and with subtle melody lines, mostly concealed beneath the improvisations. Thus began a journey, which lasted for over 15 years, which would place Weather Report on the forefront on contemporary music and create a model followed by countless jazz and fusion musicians all over the world to this very day. Although the group would undergo multiple personnel changes and stylistic swings, their innovative, groundbreaking and often prophetic leadership would remain unchallenged. In retrospect it’s interesting to see that something, which is considered a core of American culture, was in fact created by a group in which American born musicians were in fact a minority, with Zawinul and Vitous coming from Europe and Moreira from Brazil. It can be also considered as foretelling, since future Weather Report would be one of the first bands to include World Music elements into fusion. This is monumental stuff, absolutely essential listening and a historical document of great importance.
| | | CD 1 Remastered Essential Recommend To A Friend |
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