Record Reviews

OLES BROTHERS / CHRISTOPHER DELL ~ KOMEDA AHEAD FSR 2014/01 ~ POLAND ~ Jazz Recorded: 2013 Released: 2014 It is extremely difficult to communicate anything truly innovative about Krzysztof KomedaFind albums by this artist´s music. Since the tragic death of the Godfather of modern Polish Jazz over four decades ago, his enigmatic compositions have been the subject of a vast number of recordings in Poland as well as other countries, where his music was discovered. These recordings cover every Komeda compositions in every possible instrumental settings and stylistic sub-genre, ranging from works of pure genius to unspeakable pastiches. Therefore one should not be surprised by the fact that Jazz connoisseurs approach every new recording of Komeda´s music with extreme caution. Bassist Marcin OlesFind albums by this artist and his twin brother drummer Bartlomiej OlesFind albums by this artist have paid their dues on the European Jazz scene since the onset of the 21st Century, slowly climbing to the well earned position of one of the top European Jazz rhythm sections. But they are also both formidable composers and activist, spinning a web of international contacts and collaborations, many of which resulted in recording of a succession of fabulous albums over the time. One of such meetings was with the German vibraphonist / composer Christopher DellFind albums by this artist, which led to this Komeda project to be commissioned by the Berliner Jazzfest in 2011, where it was debuted in November of that year. The concept behind this project was to show Komeda as a composer of complex, expanded musical forms, as reflected by the four long tracks on this album, as well as a weaver of concise magical melodic miniatures, as those presented by the four short tracks. These two facets of Komeda´s work have never been presented earlier as complimenting each other. The actual performance of the music is also completely unique and innovative. First there is the overall low key, low volume, completely acoustic approach, with each and every note being a crucial piece of the complete puzzle. Secondly there is the minimalism, a reserved approach stating that "less is more" and emphasized by the intrinsic inner calmness of the vibraphone, probably the most delicate and intimate instrument at our disposal. There is not a single note here that sounds redundant or unnecessary. And lastly there is a gorgeous freedom of expression, which is the predominant factor of this music, unrestricted by melody, harmony or rhythm. The Komeda fans will have no trouble to hear the familiar themes in this music, but at the same time they will be able to hear those themes stretched and expanded into previously untraveled territories. It seems that Oles Brothers & Christopher Dell managed to achieve the goal of discovering and exposing more of the eternal beauty and charm hidden in Komeda´s music, and we, the listeners should be grateful for such discoveries. This music, with its elegance and eloquence, is a superb example of what Culture is all about. Side Note: The above are the original liner notes, which were supposed to accompany the music as initially intended. However, as it often happens, the somewhat convoluted fate of this album´s release resulted in selecting different liner notes sometime along the line. Since I deeply love the music, as evident in my writing above, I feel that publishing them here is appropriate.

Updated: 02/01/2017Posted:

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DOMINIK STRYCHARSKI & RAFAL MAZUR ~ MYRIAD DUO FSR 2015/02 (Barcode: 5905279364011) ~ POLAND ~ Jazz Recorded: 2013 Released: 2015 This is a live recording of spontaneously composed Improvised Music performed by two prominent Polish representatives of the genre: flautist Dominik StrycharskiFind albums by this artist and bass guitarist Rafal MazurFind albums by this artist. The performance is edited into five separate tracks, but of course such division exists only for convenience sake and does not disrupt the natural flow of the music. I have often stated that Improvised Music finds itself at the disadvantage of being mostly a live / real time experience and very rarely transforms itself into a lasting experience, when recorded and later released on record, with rare exceptions of course. This, fortunately, is one of those rare exceptions, where the music, or whatever one might want to call this encounter between two artists, remains completely relevant on record and deserves repeated listening. For people familiar with the Polish Improvised Music scene with both these innovative musicians since years. Born four years apart in the 1970s, they are both active since the 1990s with increasing frenzy, producing over time dozens of recordings and leading numerous projects, both in Poland and abroad. This is their first encounter as a duo, and luckily that live concert was also captured for posterity and released on this album. The flute / recorder, one of the ancient human instruments, is sadly neglected in Jazz and Improvised Music and therefore Strycharski´s virtuosity as a flautist is especially appreciated, especially in these circumstances. His beautiful tone poems and quirky improvisations are a delightful trip in space / time and a rare example of concentrated minimalism as an Art form. The melodic stream and the myriad of tiny notes merge into a wonderful soundscape. Mazur, who is a virtuoso bassist, is also a musician with a truly chameleonic ability to adjust his playing to any environment, as already documented on his various recordings. His playing here is therefore accordingly more delicate and low key without of course cutting down anything from its subtlety, sophistication or creativity. As a duo these two musicians function as if their minds amalgamated for the duration of the concert, way beyond just attentive listening and much closer to telepathic communication. In short if anything deserves the title "Art of the Duo", this is it, here and now!

Updated: 27/10/2016Posted:

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WOJCIECH JACHNA & KSAWERY WOJCINSKI ~ NIGHT TALKS FSR 2015/03 (Barcode: 5905279364028) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This is a "live in a studio" recording of spontaneously composed Improvised Music performed by two prominent Polish Jazz musicians: trumpeter Wojciech JachnaFind albums by this artist and bassist Ksawery WojcinskiFind albums by this artist. The album presents eleven pieces "carved out" from the music recorded during a night session, hence the album´s title. I have been following the development of Wojciech Jachna for over a decade now, closely watching his recordings and inviting him to play at the concerts I organize simply for the reason that he is a symbol of the new generation of the Polish Jazz scene and a wonderful person: immensely talented, always searching, unconventional, open minded and above all modest and unpretentious. Such qualities are very rarely found in one individual, which makes Jachna a true phenomenon. Jachna can be a bit timid when playing with musicians he is not familiar with, and therefore it is very constructive that he and Wojcinski played together before this session was recorded. Consequently there is no timidity or hesitation here whatsoever and these two musicians play as if they played together for ages. Wojcinski is a wonderful bassist and even if I criticized severely his solo album a while ago it does not mean that I don´t admire his talent and virtuosity. On this album he not only serves as a part of the duo but assumes the role of "master of ceremonies", gently pushing the music forward and suggesting the next move, with Jachna responding swiftly and amicably. His arco work is absolutely stunning here. The music is lyrical and melancholic, developing slowly and delicately moment after moment. Obviously nobody is in a rush to just make a statement, and the long lasting tones little by little evolve spontaneously. Although Jachna is obviously the "leading" voice here, it is nevertheless a duo album from beginning to end and the contributions are simply inseparable. After listening to the album a few times it definitely emerges as one of the best Polish Jazz albums released so far this year. Another "Art of the Duo" masterpiece of international scale!

Updated: 27/10/2016Posted:

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GARBOWSKI / DAMASIEWICZ / SOOVIK ~ SESTO ELEMENTO FSR 2015/04 (Barcode: 5905279364042) ~ POLAND ~ Jazz Recorded: 2013 Released: 2015 This is a live recording, captured during the Ad Libitum Festival in Warsaw, by an Improvised Music trio comprising of Polish bassist Maciej GarbowskiFind albums by this artist, Polish trumpeter Piotr DamasiewiczFind albums by this artist and Swedish drummer William SoovikFind albums by this artist. The album presents nine tracks of freely improvised music, with the composition rights not credited on the album´s packaging, therefore by default assumed to be co-created by the trio members. The album was mixed and mastered by Jan SmoczynskiFind albums by this artist, owner of the Studio Tokarnia, which guaranties a great sound quality. Garbowski is one of my favorite Polish Jazz bass players, who has a proven record not only in the "conventional" Jazz environment as a member of the fabulous RGGFind albums by this artist trio, but also in much more adventurous experiments, some of them involving also Damasiewicz. This recording is however the most radical environment as far as everything I heard so far by Garbowski. This "total" freedom seems to ill-serve his great talent, mostly because although his playing here is as brilliant as always, it is somewhat detached from his partners, who seem to be exploring their own private avenues. Damasiewicz progressed quite consistently towards freely improvised music in the stretch of the last few years and although I loved his playing a few years ago, when it showed promises of catapulting him to the very top of the Polish Jazz trumpet pedestal, his more recent explorations leave me much less enthusiastic. Soovik plays along agreeably with his Polish cohorts, but his contributions to the trio´s effort are overall almost unnoticed, staying way in the background most of the time. Nothing wrong with that of course, but in a free improvised environment the total input is what counts as the final result. There are many interesting moments on this album, some brief highly inspired flashes of sheer genius, but sadly overall while this music was probably a stimulating listening experience, its weight as recorded document is much less significant. As usual the decision do release a piece of recorded music on record is not an easy one and always a very subjective matter.

Updated: 27/10/2016Posted:

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MARCIN OLAK ~ BESSARABIAN JOURNEY FSR 2016/02 (Barcode: 5905279364073) ~ POLAND ~ Jazz-World Fusion Recorded: 2016 Released: 2016 This is a live recording by a quartet led by guitarist Marcin OlakFind albums by this artist, which also includes violist Patryk ZakrockiFind albums by this artist, bassist Maciej SzczycinskiFind albums by this artist and drummer Krzysztof SzmandaFind albums by this artist. They perform nine pieces, seven of which are traditional Jewish tunes originating from the region of Bessarabia (Moldova today) and arranged by Olak, one is co-composed by Zakrocki and Olak and the final one is composed by Olak. The project was initiated by Miron ZajfertFind albums by this artist, the creator / director of the wonderful New Jewish Music Festival in Warsaw. Bessarabia, which existed as a Governorate for over a hundred years, was home to many Jews, who amalgamated their ancient traditions with Ottoman / Turkish, Romanian / Balkan and Russian / Slavic cultural influences, creating a unique East European Jewish sub-culture, which had its musical facets also combining a wide range of musical influences. This attempt to mix the music originating in Bessarabia with Jazz sadly does not grab me at all. The resulting music loses most of its original spontaneity and the guitar, which simply does not belong organically to that music at all, treats it completely wrong. Bessarabia is definitely not Spain! With the element of improvisation and a lack of steady meters applied here the original music is simply completely lost. But most importantly Bessarabian music is characterized by very specific rhythmic approach, which is mostly based on odd meters, something most musicians not born into those specific realms have a great difficulty to handle. As a result applying simplistic Rock or Jazz rhythms to that music simply does not work well. As much as I appreciate any attempt to create ambitious projects, cross-cultural meetings and new discoveries, this project, as far as I am concerned, simply does not cut it. At some moments listening to the CD was simply unbearable and I even considered stopping it, which happens to me very rarely. Even the hidden track did not manage to save the day. Of course it´s only me and if anybody enjoys this music, my opinion is completely immaterial.

Updated: 27/10/2016Posted: 13/06/2016

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OLES BROTHERS / THEO JORGENSMANN ~ TRANSGRESSION FSR 2016/04 (Barcode: 5905279364103) ~ POLAND ~ Jazz Recorded: 2010 Released: 2016 This is the fifth album by the trio which unites Polish Jazz and Improvised Music twin team of bassist / composer Marcin OlesFind albums by this artist and drummer / composer Bartlomiej OlesFind albums by this artist, collectively known as Oles BrothersFind albums by this artist, and German clarinetist / composer Theo JorgensmannFind albums by this artist. The music included on this album was recorded in 2010 and originally intended for release as their second album on the Swiss Hat HutFind albums on this label Records HatologyFind albums on this label Label, but for a variety of reason was delayed and eventually released on the Polish FSRFind albums on this label label. It includes eleven original compositions, three of which are by Marcin Oles and four each by Bartlomiej Oles and Jorgensmann. The album marks a culmination of a ten years period during which the trio recorded and performed together intensively. As a result their work here is remarkably coherent and organic and the musical unity they demonstrate is truly marvelous. The music flows flawlessly between solo, duo and trio statements, with the rhythm section being elevated to a status of frontline performers. The telepathic conversation between all three musicians is staggering, as usual, and the trio becomes a complete, undividable unit. The album also marks a path towards more composed and less freely improvised music, which has characterized the trio´s progression over time. That does not mean of course that the music is restrained in any way, but the composed structures are plainly hearable and strictly adhered to, notwithstanding the enormous degree of freedom applied in the performances themselves. In retrospect this is definitely a brilliant closing chapter to the trio´s activity, which was certainly one of the most interesting European Jazz units at the time. Of course for Oles Brothers this was definitely a period of establishing their position as one of the most talented leading European rhythm sections in parallel to their ever growing career as composers. It is great to have this album finally available, thanks to the persistence of the Oles Brothers and of course Maciej KarlowskiFind albums by this artist of FSR, who finally managed to bring this saga to a happy end. The album includes the liner notes by American critic Art Lange, which were written for the intended release on Hatology in 2011, so even that piece of the puzzle was saved. Enjoy!

Updated: 02/01/2017Posted: 02/01/2017

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

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

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ZAKROCKI / OLAK / WIELECKI ~ SPONTANEOUS CHAMBER MUSIC FSR 2016/05 (Barcode: 5905279364059) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2015 Released: 2016 This is the debut album by Polish Improvised Music trio comprising of violinist Patryk ZakrockiFind albums by this artist, guitarist Marcin OlakFind albums by this artist and percussionist Mikolaj WieleckiFind albums by this artist. Together they perform eight pieces, all of which are spontaneously improvised and the album is an exact presentation of the music as it was created during the recording session. The title seems to describe the music pretty accurately, as the intimate mostly acoustic ambience and the melodic proximity certainly belongs to what is considered as Chamber Music. Of course in this case the music is entirely improvised, as opposed to the Classical Chamber idiom, but music is moving ahead and definitions and borders of our musical terminology are changing on the fly. The pieces are also Chamber in their very nature, due to the fact that they have a relatively short duration and are based on intimate relationships between the three performers, who are "changing positions", i.e. constantly changing the focus of the music from one instrument to another. The level of interplay and telepathic communication between the musicians is truly astounding and this is immediately reflected in the music itself, which remains calm and non-aggressive / non-competitive at all times. Improvised Music does exist really only at the very moment it is creation and in the vast majority of cases completely loses its meaning and purpose the moment its over, which of course means that recording Improvised Music is an oxymoron of sorts. In some very rare cases however, Improvised Music is able to create a lasting, coherent, meaningful piece of music, which still makes sense after being recorded and then consequently played back. This is definitely one of such magical moments. It is important to know, however, that contrary to the brand Improvised Music is often trying to "sell" to the listener, there is nothing really revolutionary or innovative in this music, to be honest, regardless of how good it is. Improvised Music exists both in the Classical Music and Jazz idioms for many decades and experimentation and border crossing much bolder than the music recorded here have been achieved many times before. In fact in many respects this music is pretty conservative in most respects and for that reason it is more accessible to a much wider audience than most Improvised Music recordings. Overall this is a beautiful musical moment captured for posterity on this album, which many open-minded listeners should be able to enjoy. I encourage the people who usually avoid Improvising Music to try this one and perhaps discover an entire universe of music they have been missing earlier.

Updated: 27/10/2016Posted: 01/10/2016

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WOJCINSKI / SZMANDA QUARTET ~ DELUSIONS FSR 2016/06 (Barcode: 5905279364066) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2014 Released: 2016 This is a debut album by the Wojcinski / Szmanda QuartetFind albums by this artist, which comprises of trumpeter Maurycy WojcinskiFind albums by this artist, pianist Szymon WojcinskiFind albums by this artist, bassist Ksawery WojcinskiFind albums by this artist and drummer Krzysztof SzmandaFind albums by this artist. It presents eight original compositions, which are not credited on the album´s cover and are therefore assumed to be co-composed by all the quartet members. The Wojcinski brothers are quite known on the Polish scene, each of them active in a separate setting, and this more or less spontaneous meeting of their respective talents is quite a surprise. They claim that the participation of Szmanda was the decisive factor, which turned the four individuals into a bona fide Jazz quartet. The music, which is very difficult to describe as it eschews most of the Jazz conventions, is a form of conversation, which allows space and freedom for the individual players, but is coherent enough to create an aesthetic whole, which also makes a musical sense, although definitely does not try to make it easy to be absorbed. It develops slowly, often from an individual sound, changing into a duet and then being joined by the others, to eventually reach an ensemble form, with all four musicians contributing with equal intensity. Although all four musicians are obvious masters of their personal instruments, the true hero of this album is beyond the doubt Ksawery Wojcinski, who serves as the binding, driving and steering element, without which this music would have simply fallen apart. His virtuosity and self-confidence construct the spine on which the other performances relay for balance and guidance. Nevertheless the other musicians contribute formidably, with Maurycy producing several scorching solos and Szymon playing many brilliant phrases and laying the harmonic base for the improvisations. Szmanda brilliantly does not attempt to play any straightforward rhythms and turns his contributions into Baroque ornamentations, which simply emphasize the basic beauty of the musical structures created by the brothers. Overall this is a brilliant Free Jazz / Improvised music album, bold, adventurous and interesting, which should make the participants proud of their work. There are endless little gems in this music that are worth being discovered and as such turn this album into a potentially repeated listening experience. It is also a superb example of music, which in spite of the strong element of freedom it is based on, does not venture into chaos and introvert expression that limits communication with the listener. This is definitely one of the strongest statements on the Polish Free Jazz / Improvised Music scene in 2016 (although recorded two years earlier) and another excellent release on the Fundacja Sluchaj Records (FSRFind albums on this label).

Updated: 29/10/2016Posted: 29/10/2016

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DOMINIK BUKOWSKI ~ SUFIA FSR 2016/07 (Barcode: 5905279364110) ~ POLAND ~ Jazz-World Fusion Recorded: 2016 Released: 2016 This is the fifth album as a leader by the Polish Jazz vibraphonist / composer Dominik BukowskiFind albums by this artist, one of the most respected and prolific figures on the Polish Jazz scene. The album was recorded live in a quartet setting, with American trumpeter Amir ElSaffarFind albums by this artist, Polish bassist Adam ZuchowskiFind albums by this artist and drummer Patryk DoboszFind albums by this artist. Together they perform eight tunes (one split into two parts), five of which are arrangements of traditional melodies and three are original compositions by Bukowski. The music is a Jazz-World Fusion project, which amalgamates the Folklore roots of Polish and Middle Eastern music, or more specifically the Arabic maqam system, which lately has been discovered by many Jazz improvisers all over the world. The maqam is remarkably open system and as such an ideal basis for improvisation, which is clearly demonstrated on this album. Both the traditional pieces and the original compositions get a similar treatment, which creates a remarkable coherency and consistency, which this album manages to uphold for its entire duration. The involvement of ElSaffar is of course the decisive factor, which makes this album tick. His knowledge of Arabic musical forms makes him an ideal partner side by side with Bukowski, who after all is originally rooted in different musical environment. Without him this project might have proven to be too ambitious for the Polish musicians working on their own. Of course ElSaffar´s virtuosic trumpet performances based in the Jazz idiom are another strong virtue of this project. His santur solos are also some of the highlights of the album. Bukowski wisely lets ElSaffar to take upon himself most of the soloing and in general the leading of the music, as he is the bridge between the two worlds. Bukowski and the rhythm section take a step back and play along the trumpeter, contributing amicable support, both harmonically and rhythmically, which is especially impressive considering how difficult the odd and irregular Arabic rhythms usually are for people living outside the region. Zuchowski and Dobosz wisely take the rhythmic level of the music into a free form and less regular rhythmic environment, skillfully avoiding the traps of the tricky Arabic patterns as such. Their contributions are excellent all the way through and truly admirable. Bukowski, as usual, contributes some superb vibraphone vistas, somewhat subdued and modest, but always elegant and highly aesthetical. His original compositions fit the concept of the album ideally and the vibraphone / trumpet collaboration is tasteful and unique. This album, diametrically different from the other projects he is involved in, proves his diversity and open-mindedness. Overall this is definitely one of the most interesting Jazz-World Fusion albums recorded by Polish Jazz musicians in a long time and deserves all the compliments bestowed upon it already, which I fully support. Bukowski has been a sure "bet" ever since he arrived on the scene and this album places him also in the "full of surprises" category, which is pretty rare. Hats off, Dominik!

Updated: 16/12/2016Posted: 16/12/2016

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WARSAW IMPROVISERS ORCHESTRA ~ CSW 14_03_2015 FSR 2016/08 (Barcode: 5905279364127) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2015 Released: 2016 This is the debut album by Warsaw Improvisers OrchestraFind albums by this artist, a loose gathering of about fifty musicians living in or around Warsaw, twenty nine of which (I count thirty names) participate in this live recording, which resulted in three long freely improvised pieces. The orchestra was conducted on two of these pieces by British, resident in Warsaw, saxophonist Ray DickatyFind albums by this artist and on the third one by violinist Patryk ZakrockiFind albums by this artist, and the compositions are credited to all the participants. The music is quite predictable, as similar attempts to create music by large improvising ensembles were already tried in the past many times. If fact the term "music" is principally applicable here only due to the fact that the participants are using musical instruments (or human voice), but otherwise does not describe what most people recognize as music. Improvised music is complex enough when created by an intimate solo / duo / trio format, but when attempted by such a large gathering, even when not all the musicians are plying at once, is simply too much. However, listeners interested in sound experimentation and imaginary soundscapes would probably be able to listen to this album with interest. There are moments of tension and buildup, intense climaxes and long quiet passages, so there is at least dynamics and evolution, which defuses boredom. But ultimately this all does not add to a musical statement, as such. As much as I love experimentation, this particular album seems to be an attempt to create quality by quantity, which simply fails. As usual in such cases, it was probably great fun to record this music and perhaps also listening to it while being recorded, but sadly after it was transferred to a piece of plastic, it lost all of its charm and wind. I can hardly imagine anybody listening to this at home more than once. Of course this is, as always, only me…

Updated: 19/12/2016Posted: 19/12/2016

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EVAN PARKER / RGG ~ LIVE @ ALCHEMIA FSR 2017/01 (Barcode: 5905279364172) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2016 Released: 2017 This is a live recording by the legendary British saxophonist Evan ParkerFind albums by this artist performing together with one of the top Polish Jazz trios RGGFind albums by this artist, which comprises of pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. Together the ad hoc quartet performs four spontaneously composed pieces, credited to all four members of the quartet. The music was recorded at the celebrated Krakow´s Alchemia club, which since many years is associated with the Polish and international Improvised Music scene. The courageous experiment of combining forces between Parker and RGG seems, at least in theory, quite unexpected to say the least. Based on their recording history one might contemplate how the music of Parker, which always symbolized the extreme Avant-Garde and total freedom of expression, might be combined with the music of RGG, which although featured some elements of freedom, was always strongly melody based and full of typical Polish lyricism and Romanticism. Apparently, music is able to unite most stylistic gaps and in this particular case simply emerges victorious. As a result we have some of the most "melodic" and relaxed Parker performances ever put on record and the most free oriented music ever recorded by RGG, both wholly amalgamated into a new form of expression. In spite of the age difference between Parker and the RGG members, there seems to be a complete and profound understanding and mutual respect between the musicians, which allows the music to flow and flourish uninhibited and overwhelmingly moving. As usual in such musical circumstances, the music requires attentive and open-minded listening, but its quality assures a most wonderful aesthetic experience. The personal performances are all, as expected, exhilarating and the challenge of playing with a legend mobilized the RGG members to give absolutely everything they had to give that night. There is no doubt that this is one of the most challenging and daring Polish Jazz recording lately and a superb way to start 2017, which promises to be as exciting as the incredibly intense 2016. Maciej KarlowskiFind albums by this artist deserves kudos for putting this experiment together and turning his FSRFind albums on this label label into an important player on the Polish record scene. Thanks also to the man with the biggest ears in Poland, Jan SmoczynskiFind albums by this artist, for the wonderful mix and mastering, which result in a superb sound quality this album offers to the listener. Well done!

Updated: 12/04/2019Posted: 21/02/2017

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DOMINIK STRYCHARSKI ~ FLAUTO DOLPHY FSR 2017/03 (Barcode: 5905279364189) ~ POLAND ~ Avant-Garde Jazz Recorded: 2015 Released: 2017 This is a solo album by Polish Avant-Garde / Jazz recorder player and composer Dominik StrycharskiFind albums by this artist. Recorded live in the legendary and now sadly demolished Pardon To Tu club in Warsaw, Strycharski performs eight pieces, five of which are compositions by Eric DolphyFind albums by this artist, two are original compositions by Strycharski and one is a Mal WaldronFind albums by this artist composition. The recording has a crisp and clear sound quality, which adds significantly to the overall ambience. Performing music composed by Dolphy is always a supreme challenge and doing so on a most unconventional instrument, like the recorder, and playing solo on top of everything is a staggering undertaking. Against all odds Strycharski manages to come out victorious from this adventure, although not entirely unscathed. Strycharski uses a very unconventional method while playing the recorders, quite different from what listeners familiar with the instrument might expect. His playing involves not only the sound produced from the instrument, but also a sound produced by his mouth and throat, which, when combined, with the sound of the recorder produce very striking and surprising results. Of course it´s impossible to describe this phenomenon verbally and only listening to this music will disclose the nature of the beast. This combined human / recorder sound dominates this recording and therefore the listener´s reaction depends first and foremost on his ability to accept this sonic aura, which is by far not obvious. Having crossed the sound barrier so to speak, the listener is exposed to Strycharski´s virtuosity and complete command of the music he creates. By using several different recorders and changing his breathing and phrasing, he manages to produce a plethora of different sounds, which keep surprising the listener time after time. Considering that the music is only occasionally completely free form and most of the time is based on some melodic content, it is relatively accessible beyond the strict Avant-Garde circle of listeners. The most important question is of course what happens once one removes the novelty, sensationalism, pioneering spirit and element of surprise and examines the pure musical content of this recording. Personally I don´t have a clear answer to this wringer. I suppose Dolphy would be the ideal judge of that. Overall this is an unusual, daring and challenging album, which should be of interest to open-minded listeners, who are not afraid to be confronted by a highly individual musical personality, which Strycharski certainly embodies. Definitely worth investigating!

Updated: 12/04/2019Posted: 26/07/2017

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OWL ~ ON THE WAY FSR 2017/07 (Barcode: 5905279364219) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2016 Released: 2017 This is the debut album by the Polish trio called The OwlFind albums by this artist, which comprises of violinist / composer Marcin HalatFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist (the last two well known as the rhythm section of the famous RGGFind albums by this artist trio). The double CD album presents fourteen original compositions, nine of which were composed by Halat and five were co-composed by all three members of the trio. On the Polish Jazz violin scene, which is pretty crowded these days, Halat arrives as a newcomer, although he has years of experience of playing Classical Music. His sound is quite unusual and unconventional in many respects, surely not typically Jazzy, with obvious Classical phrasing, fingering, and voicing. But when placed opposite one of the mightiest Polish Jazz rhythm sections Halat is pulled into the Jazz idiom, seemingly almost against his will. His improvisation is also atypical and stays relatively close to the core themes, which after a while gets a bit too uniform. The musical themes are generally simple, folkloristic little ditties, not really fully developed melodies, which are fine as starting points for the mostly improvised pieces, but hardly able to stand on their own. Nevertheless the music flows smoothly and is able to sound coherent mostly thanks to the incredible swinging feel of the rhythm section. Time after time the listener is faced with the dilemma if he is listening to a Jazz recording or a contemporary Classical piece, all relative to the measure of involvement of the rhythm section. There is a lot of freedom and space in this music, which characterizes both modern Jazz and Classical idioms. This allows a lot of different forms of dialogue and trialogue conversations within this music, which becomes the most interesting ingredient of the music, especially when it becomes completely improvised as in the five collective pieces. It seems that Halat was extremely lucky in finding these two partners to record his debut Jazz offering, which probably would have not been possible otherwise. Garbowski and Gradziuk, who have consistently moved towards more open / improvised music in the last few years, prove here that they are able to carry on a full album just on their own, and their contribution here is simply invaluable. As to Halat being the next "thing" on the Polish Jazz violin scene, I´d definitely need to hear more and give it some time. This is a very unusual, surprising and even promising album, but it does suffer from some inhibitions which need to be resolved, before Halat earns his honorable place on the pedestal. Overall this is definitely music that should be investigated and even embraced, as it does offer a novel approach and a lot of courage. Highly recommended!

Updated: 19/01/2018Posted: 28/11/2017

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WATTS / WESTON / BLUNT / MARSHALL ~ DIALOGUES WITH STRINGS FSR 2017/09 (Barcode: 5905279364226) ~ UK ~ Free Jazz / Improvised Music Recorded: 2017 Released: 2017 This is a live album by the British duo comprising of saxophonist Trevor WattsFind albums by this artist and pianist Veryan WestonFind albums by this artist, expanded to a quartet with the addition of violinist Alison BluntFind albums by this artist and cellist Hannah MarshallFind albums by this artist. Recorded at London´s Café Oto, which has become the Mecca of Improvised Music in the UK Capital, the music includes three extended improvisations by the quartet, two of which are well over twenty minutes in duration and one almost ten minutes long. The compositions, as always in such cases, are credited to all four quartet members. The Watts / Weston duo already released an album in Poland in 2015 on the For TuneFind albums on this label label and this release is also on a Polish label (FSRFind albums on this label), which proves that Poland is a fertile ground for contemporary Improvised Music, both for the local musicians and guests from the world over, with several active record labels dedicated entirely to or seriously involved in Improvised Music. These performances prove that music knows no gender or age barriers and the quartet sounds as organic as humanly possible. The presence of the string instruments obviously calls for a gentler sound of the saxophone and piano, which clearly benefits the music. The double dialogue, or quadrilogue, achieved by the four participants is highly conversational and coherent, with the four individual voices working in tandem in order to achieve a result greater than just a sum of its parts. There is a heartwarming mutual respect and sympathy within the music, which amalgamates the ingredients into a powerful statement. Obviously this is a very demanding music, not to be treated lightly or casually. The listener needs to concentrate and literally open up to the flow of the notes, in order to let them take over his consciousness and tickle the pleasure buds inside the brain. But the overall effect is pretty overwhelming and should make all Improvised Music connoisseurs entirely happy. It is always a pleasure to see Trevor Watts blooming and vital as he always was since I´ve first met him well over fifty years ago. I wish for many more years of him being as productive and artistically challenging, as he still is today. British Jazz would have never be what it is today without his contribution. Respect!

Updated: 19/01/2018Posted: 19/01/2018

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ZAKROCKI / OLAK / FERNANDEZ ~ SPONTANEOUS CHAMBER MUSIC VOL.2 FSR 2018/03 (Barcode: 5905279364158) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2017 Released: 2018 This is the second album by the Polish Improvised Music duo comprising of violinist Patryk ZakrockiFind albums by this artist and guitarist Marcin OlakFind albums by this artist, expanded to a trio with the participation of the Spanish pianist Agusti FernandezFind albums by this artist. The album presents sixteen, mostly quite short, completely improvised pieces, which are not specifically credited on the album´s cover art and therefore are assumed to be collective compositions. The music is a continuation of the ideas first explored on the previous album, which are an attempt to create what the title precisely describes – Chamber Improvised Music – chamber meaning minimalistic, limited by the scope of instruments and intimate. As such, this music is not very similar to the typical Avant-Garde / Improvised Music outings, which are usually extremely intense and extrovert, with the participants mostly interested in saying as much as possible within the time limitations. This music is much more relaxed, reflexive and modest, based on the intense togetherness and listening to each other by the participating musicians. Fernandez displays a remarkable self control on this album, playing delicately and sparingly, in complete contrast to other recordings he takes part in, where he is usually quite dominant and outright aggressive. His contributions on this album are all tasteful and wonderfully cooperative. Zakrocki and Olak seem to have a symbiotic relationship, which is reflected in their telepathic conversations as a duo. Their non-conformist approach to improvisation is fresh and inspiring. Overall this is a very interesting and rich album, full of exciting moments and relaxed interludes, keeping the listener on his toes for the entire duration. This music is unique and shows a completely different Avant-Garde concept, which allows for calmness and contemplation to replace anger and aggression, which often turns Avant-Garde music into and unlistenable cacophony. This album is highly recommended for Improvised Music connoisseurs, who are a tiny, but highly loyal crowd.

Updated: 02/09/2020Posted: 25/06/2018

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WOJCIECH JACHNA & KSAWERY WOJCINSKI ~ CONVERSATION WITH SPACE FSR 2018/04 (Barcode: 5905279364271) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2017 Released: 2018 This is the second duo album by Polish Jazz duo: trumpeter / composer Wojciech JachnaFind albums by this artist and bassist / composer Ksawery WojcinskiFind albums by this artist. Saxophonist Tomasz GlazikFind albums by this artist guests on one track. The album was recorded in two Warsaw locations (Ladom / Mozg) associated with Free Jazz / Improvised Music and presents eleven original compositions co-credited to the duo members and one traditional tune arranged by the duo members. Some people following the Polish Avant-Garde music scene might be quite surprised by the music presented on this album, since it is overall remarkably melodic and tame, and as such accessible to a wide scope of Jazz listeners. The short pieces, averaging about three minutes each, are based on a clear melodic line and the improvisations are kept within the scope of the basic melody, both harmonically and rhythmically. The traditional / religious hymn is perhaps the most surprising piece of the entire album and a brilliantly executed amalgam of improvisation and medieval music. Both musicians display tremendous skills and imagination, which is evident every step of the way. Jachna continuously develops his trumpet chops and watching his progress over the last two decades was an uplifting experience. Wojcinski is able to create a cascade of sounds from his bass and his plucking technique is ferocious. But even more important than their individual abilities is their cooperation, which fully belongs in the "Art of the Duo" idiom. Despite the limitations imposed by just two instruments in action, this music is complete and full and needs nothing to make it better. The trio on the single track where the saxophone is added is also excellent, but definitely not superior to the rest of the tracks. Overall this is a beautiful example of highly spirited Improvised Music at its best, which should make all connoisseurs of the genre perfectly happy. Hopefully listeners from other spheres of interest will also take a while and listen, as this music is definitely too good to be ignored. The Polish FSRFind albums on this label label continues to document the Polish / European Improvising Music scene with dedication and passion, for which it and the people running it deserve our gratitude and praise. Wholeheartedly recommended!

Updated: 12/04/2019Posted: 23/06/2018

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IREK WOJTCZAK ~ PLAY IT AGAIN FSR 2018/06 (Barcode: 5905279364295) ~ POLAND ~ Jazz-World Fusion Recorded: 2015 Released: 2018 This is a live recording by a quintet led by Polish Jazz saxophonist / composer Irek WojtczakFind albums by this artist, which also includes trumpeter Tomasz DabrowskiFind albums by this artist, pianist Piotr ManiaFind albums by this artist, bassist Adam ZuchowskiFind albums by this artist and drummer Kuba StaruszkiewiczFind albums by this artist. The quintet plays music that was recorded by the "American" quintet led by Wojtczak, which recorded the splendid "Folk FiveFind albums with this title" album for the For TuneFind albums on this label label slightly over a year before this music was recorded. As the title suggests, this recording is another attempt to play almost the same music that was recorded for the "Folk Five" album, but this time by an all-Polish quintet. The album presents eight tunes, all originating in Polish Folklore and arranged by Wojtczak, six of which were already recorded on "Folk Five" and two are new tunes used here for the first time. The musical concept is of course quite clear: Jazz-World Fusion which transfers some of the treasures of Polish Folklore into the Jazz idiom, an idea that is quite common in Polish Jazz since its Genesis. As usual, some efforts dealing with this concept worked out better than others, but overall the seven or so decades of Polish Jazz produced a sizable and highly original amount of superb music created under this moniker. The aforementioned "Folk Five" album was definitely one of the highlights of that idiom and the attempt to try and repeat the magic that happened on that album was a bold and audacious undertaking. I am happy to say that Wojtczak and his cohorts not only managed to recreate the magic, but also managed to take the music to a higher plane. There is of course no doubt as to the quality of the music or the level of the execution, they are both simply extraordinary. Therefore the comparison between the two versions of the music must touch upon the fundamental differences between American and European Jazz, of which these two albums are a textbook example or even a paradigm. One might of course say that such comparison is a priori unfair, as the Polish Jazz musicians are way more familiar and culturally accustomed to the Polish Folklore element of the music than their American counterparts. But such argument is simply irrelevant, as these two albums clearly show. These albums are different not because the lack of familiarity with Polish Folklore by the American musicians, but by the intrinsic attitude towards improvisation and even more broadly towards music making, between the American and the European Jazz musicians. As a result of these fundamental differences "Folk Five" remains an excellent, very well played album, whereas "Play It Again" shows where the same music can get to, when played without the restrictions the American Jazz tradition imposes even on the best musicians. The flair, elegance, imagination, feeling and openness present on this album takes it to a completely new level of awareness and creativity. But comparisons aside, this is above all a masterpiece of modern Polish / European Jazz, which takes the Jazz-World Fusion idiom light years ahead in comparison to its rather humble beginnings, clearly showing that Polish Jazz is a stronghold of originality, imagination and musical ingenuity. This is an absolute must to every Polish Jazz fan and a supreme gem of an album for all seasons. Hats off!

Updated: 20/09/2018Posted: 20/09/2018

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RGG / POHJOLA / BLASER ~ CITY OF GARDENS FSR 2018/08 (Barcode: 5905279364318) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2017 Released: 2018 This is a live recording by Polish Jazz trio RGGFind albums by this artist (pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist), expanded to a European quintet with the addition of the Finnish trumpeter Verneri PohjolaFind albums by this artist and Swiss trombonist Samuel BlaserFind albums by this artist. The music was recorded during the quintet´s concert at the XII Silesian Jazz Festival in Katowice, with yours truly present in the audience and therefore also, at least spiritually, a part of this recording. The album presents five original compositions, all by Garbowski. Although the Polish Jazz scene always had an abundance of excellent Jazz piano trios, RGG certainly deserve a special mention in every respect. Their quest for musical perfection and constant searching, their openness and uncompromising aesthetics, their ability to survive the change of the pianist and continue safe and sound in a natural progression and above all their personal charm are all truly unique. I have of course followed the trio´s development from day one, collectively and individually, and consider them to be a quintessential paradigm of the young post-Millennium Polish Jazz scene. The trio´s previous live recording, which placed them alongside the veteran British avant-gardist Evan ParkerFind albums by this artist and their recordings with Polish vocalist Anna GadtFind albums by this artist opened another chapter in their approach to music, namely their hunger to develop collaborations with musicians from outside the trio´s closed habitat. This led also to work first with Pohjola and then also Blaser, which we are able to hear on this album. Although credited to Gradziuk, the music is of course mostly improvised and the lengthy, between ten and fifteen minutes long tracks, are an orgy of controlled spontaneity and free fall, which is completely captivating. The quintet goes through all the possible iterations, with musicians playing solo or in duo, trio, quartet and quintet settings, all impulsively forming on the stage. But with all that openness and freedom, which can be heard throughout, there is also a magic coherency and discipline, which sets boundaries and defines the scope and form of the music at any given point. This miraculous ability to play free and at the same time show a clear direction is the most important ingredient, which makes this music what it is. The individual statements are all phenomenal, which is hardly a surprise. Pohjola is definitely stealing a lot of the attention, as his trumpet pyrotechnics are breathtaking, but at the same time his playing is incredibly melodic, lyrical and often purely romantic. Blaser, already a young veteran of the trombone scene, has an incredible technique and no lesser feel, and the sound he is able to produce with his instrument is a ceaseless box of wanders. RGG – oh well they are the locomotive which carries this music along, a stylish carriage full of chic and aesthetic beauty and a red Lamborghini which adds zest and gusto. This is definitely some of the best Jazz music one can listen to these days, and I wish it gets to as many people as possible, as it is unconditionally superb. I am happy to be friends with these guys and proud of their achievements – they are the kind of people that do not let you down – and that is so rare. Thanks for the music!

Updated: 08/06/2018Posted: 08/06/2018

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GREGORIO / MAZUR / LOPEZ ~ WANDERING THE SOUNDS FSR 2018/09 (Barcode: 5905279364325) ~ ARGENTINA ~ Free Jazz / Improvised Music Recorded: 2018 Released: 2018 This is an album by international Improvised Music trio comprising of Argentinean (resident in NY) clarinetist Guillermo GregorioFind albums by this artist, Polish acoustic bass guitarist Rafal MazurFind albums by this artist and Spanish (resident in France) drummer Ramon LopezFind albums by this artist. The album presents nine improvised tracks recorded in studio, all co-credited to the three musicians. The music is a wonderfully introvert trialogue between Master musicians, calm and relaxed and yet full of energy and expression. All three musicians perform with great respect towards each other, displaying virtuosity but eschewing unnecessary showing off of their individual abilities and creating a coherent trio statement. Although fully Improvised, the music is unusually (for the idiom) embraceable and accessible to a relatively wide range of listeners, not necessarily form the strict Avant-Garde circles, but also "straightforward" Jazz enthusiasts with a tolerance towards complex improvised explorations. Gregorio is a superb clarinetist, with a simple, natural sound and fabulous technique, which makes his playing instantly lovable. His playing immediately brings a wave of heartache in view of the death of the legendary Israeli clarinetist Harold RubinFind albums by this artist, who left us just a few days ago, and with whom I worked closely for decades producing many albums together. Mazur is a unique phenomenon with hardly any competition, both because of his unusual instrument and the way he plays it. The sound and the pulsations he manages to create is a trademark of the Improvised Music idiom and his level of understanding and telepathic communication with his partners is nothing short of miraculous. He has already an impressive recorded legacy behind him, which of course is a must to follow by every Improvised Music connoisseur. Lopez is another trademark name on the Improvised Music scene and his playing here fully justifies the reputation he earned over the years. His ability to play the drums as delicately and yet with full power, as this trio´s music demands is absolutely brilliant. Overall this is a superb Improvising Music album which proves that this kind of music can be communicative, coherent and lasting, even to people from outside of the genre. I had a wonderful time listening to it and it is one of rather few albums of this kind I could listen to repeatedly. Wholeheartedly recommended!

Updated: 07/04/2020Posted: 07/04/2020

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RGG / TREVOR WATTS ~ RAFA FSR 2018/13 (Barcode: 5905279364363) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2018 Released: 2018 Following the live album recorded with legendary British Jazz saxophonist Evan ParkerFind albums by this artist in 2016, Polish Jazz trio RGGFind albums by this artist – pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist – return this time in the company of another British Jazz Colossus, saxophonist Trevor WattsFind albums by this artist, in a similar setting of live recording, performing spontaneously created Improvised Music. The album presents five pieces, obviously credited to all four musicians, lasting on average about fourteen minutes each. The music was superbly recorded and offers an astounding sound quality. The music is an epitome of everything Improvised Music stands for; sublime interplay between the participants, breathtaking individual expressions, virtuosic instrumental displays and mesmerizing coherence, which together engulf the listener from the very first dramatic cry of the saxophone to the very last overtone seventy minutes later; an orgy of sounds and feelings which is every bit as merciless as it is strikingly uplifting. RGG and Watts sound as if they have been playing together since the beginning of Time and rehearsing this material since forever, which of course happens only to the absolute best among musicians. Both parties are known for their openness and absolute disregard of boundaries, which is obvious herein, resulting in total acceptance of each other on one hand and profound mutual respect on the other. The level of togetherness and telepathic conversation is astounding and the resulting music is a group statement every inch of the way. For Improvised Music cognoscenti, the music on this album is a classic example of European approach towards improvisation; based on balance between freedom and discipline, intellect and emotion, harmonic progression and rhythmic fluidity. Watts, one of the iconic figures of the British Jazz emancipation and pioneer of exploration of the Jazz idiom way beyond its mainstream origins, which he faithfully continues since the 1960s, feels completely at ease with his much younger cohorts, who represent the East European Jazz school characterized by its lyricism and intrinsic melancholy, and manages to combine his typical Britishness with the Slavic approach embodied in RGG´s statements. This aesthetic European Unity (Brexit aside) is a phenomenon that is unique to European Jazz, and sets it completely apart from whatever is happening across the pond. I have been blessed and lucky to follow closely the careers of Watts and RGG since their onset and hearing them performing together is nothing short of bliss for me personally, but I am also convinced that every refined and experienced Jazz and Improvised Music connoisseur will find this music absolutely wonderful in every respect. This is definitely one of the best live albums that arrived on my desk in 2018, and I am profoundly grateful to its creators.

Updated: 16/12/2018Posted: 16/12/2018

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POHJOLA / GARBOWSKI / GRADZIUK ~ GEMSTONES FSR 2018/14 (Barcode: 5905279364370) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2017 Released: 2018 The blessed technology that enables us to capture a piece of music for "posterity" and later repeat the process of music creation as many times as we like is miraculous in every respect. For centuries music existed exclusively in the very moment of its performance and as soon as it was born it was immediately lost forever. Today we can capture the music making process and transform it into physical, tangible element, which can later on be replicated continually and transferred with the speed of light into the infinite space that surrounds us. Glorious times indeed. But technology always comes with a moral and aesthetic price tag. In just over a Century, which is but an infinitesimal fracture of human history in general and more specifically just a minuscule part of history of music, we have produced enormous amounts of recorded music, which mostly tragically hardly deserves to exist for "posterity", almost the same way that we, the human race, produced such enormous quantities of garbage that we physically endanger our very existence on this planet. Improvised Music, Free Jazz and other forms of Avant-Garde musical exploration often suffer from the almost intrinsic malady, that they do not survive well the process of transformation between live performance and recording. Only in very rare cases spontaneous music is able to retain the aesthetic quality, the spiritual force and the artistic value that one expects to be exposed to while listening to recorded music. Without the immediate eye contact with the musicians, the ambience of the venue and the excitement of a "live" interaction the captured sound more often than not loses its charm, meaning and becomes banal or in the worst cases simply unlistenable. It is therefore a great and rare pleasure to encounter music, which was spontaneously created and is highly improvised, and yet manages to withstand the transformation between live performance and recording with flying colors. These extraordinary musicians managed to transfer the metaphysical Gems into real Gemstones, which naturally are as close to "posterity" as only Gemstones can be. Music is as much about music as it is about people and therefore behind every manifestation of music one should always bear in mind the human factor behind it, especially so in the case of recorded music, which distances the listener from the immediate human interaction with the creators of the music itself. Verneri PohjolaFind albums by this artist, Maciej GarbowskiFind albums by this artist and Krzysztof GradziukFind albums by this artist are not only extraordinary musicians, but first and foremost beautiful human beings, blessed with talent and armed with consistency and invariable drive to explore and discover. I am proud and grateful to have encountered not only their sublime music, but also their personal charm and friendship. 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: 12/04/2019Posted: 04/01/2019

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AWATAIR ~ PLAYS COLTRANE FSR 2019/16 (Barcode: 5905279364547) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2019 Released: 2019 This is a debut album by the AwatairFind albums by this artist Jazz trio consisting of Polish saxophonist Tomasz GadeckiFind albums by this artist, Ukrainian bassist Mark TokarFind albums by this artist and Polish drummer Michal GosFind albums by this artist. The album, recorded live, presents four tracks, three of which are compositions by John ColtraneFind albums by this artist and one is an original improvisation credited to the trio members. For most Jazz listeners the late John Coltrane period, when his music moved into "interstellar space", remains well beyond their grasp to this very day, over half a century later. Coltrane´s visionary approach to music in general, and his output closely preceding his untimely death is even more unapproachable to musicians, trying to produce anything similar to his unearthly accomplishments. In view of the above this album is threading a thin line between homage and a self parody, which characterizes most similar projects. Gadecki, who undoubtedly is one of the most interesting Jazz personalities on the Polish Jazz scene, has a fabulous record of creating some of the most ambitious and consistently excellent Polish Free Jazz projects, takes a great risk here, and I am relieved to say that he and his colleagues manage to produce a homage rather than a pastiche. Gadecki´s playing on this album is nothing short of phenomenal. He is able to produce a range of sounds from his instruments, which can be surprising even to veterans of the genre. His explorations are diverse, original and heartfelt all the way and his technique and stamina are extraordinary. He is amicably supported by the rhythm section, which is supportive and sensitive, but less impressive. Overall this is a fascinating listening experience, which manages to keep the listener on his toes for the entire duration. Having said all that I still think Coltrane and his late period music is a holy grail that should rather be left alone as a symbol of human Genius.

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

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LIQUID QUINTET ~ FLUX FSR 2019/17 (Barcode: 5905279364561) ~ SPAIN ~ Free Jazz / Improvised Music Recorded: 2017 Released: 2019 This is a live recording, captured during the 12th Ad Libitum Festival in Warsaw, by the Liquid QuintetFind albums by this artist, one of several Improvising Music ensembles under the "Liquid" moniker, led by Spanish pianist Agusti FernandezFind albums by this artist. The other members of the quintet are Spanish saxophonist Albert CireraFind albums by this artist and drummer Ramon PratsFind albums by this artist, who together with Fernandez constitute the Liquid TrioFind albums by this artist, and Polish trumpeter Artur MajewskiFind albums by this artist and bassist Rafal MazurFind albums by this artist. The album presents five tracks, all co-credited to the five musicians taking part in the music-making process, as appropriate for the idiom. Fernandez, who is undoubtedly the most internationally recognized representative of the Spanish musical Avant-Garde, is a most prolific artist with a huge number (around 100) of recordings as a leader and sideman, probably more than any other European Improvised Music activist. There is nothing wrong with this fact per se, but it does create certain "cautiousness" upon approaching his recordings. The connection between him and the Polish Avant-Garde is quite natural and produced several earlier fruitful meetings, including the participation of Mazur on several occasions. The music is exactly what one would expect from such spontaneous performance; a continuous barrage of notes exchanged between the quintet members, which vary in intensity from hardly audible to overwhelming, creating, as the title suggests, a prolonged flux of energy and sound. There us an obvious affinity and musical conversation between the quintet members, but with a complete lack of melody, harmony and structure, this music can be considered as "digestible" only by the very innate circle of hardcore Improvised Music / Avant-Garde connoisseurs, which of course is perfectly fine. All five musicians are excellent instrumentalist, which can be heard by a trained-ear listener. Although the concept of soloing is nonexistent in a group improvisation idiom as such, there are many moments where just one musician is left "up front" by his cohorts and is able to articulate his statement more recognizably on top of the quiet background improvisations. But of course the telepathic communication between the musicians is the essence. Improvised music is very similar to nonfigurative visual arts; the combination of colors and shapes either convinces the person looking at it or doesn´t, which is often mood dependent. This music is offered to the listener on the exact same principle: take it or leave it. Count me in :)

Updated: 02/09/2020Posted: 02/09/2020

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PRZEMYSLAW CHMIEL ~ WITCHCRAFT FSR 2020/16 (Barcode: 5905279364745) ~ POLAND ~ Jazz Recorded: 2019 Released: 2020 This is the debut album by Polish Jazz saxophonist / composer Przemyslaw ChmielFind albums by this artist, recorded in a quartet format with pianist Mateusz GramburgFind albums by this artist, bassist Piotr NarajowskiFind albums by this artist and drummer Michal SzeligowskiFind albums by this artist. The album presents eight original compositions, all by Chmiel. The music is modern Jazz, very open and yet firmly based on melodic themes, which are clearly stated and returned to throughout each of the tracks. The music is well behaved despite being highly spirited, often pretty minimalist and charmingly hesitant, creating a feeling of anticipation and searching. Each of the tunes offers a process of dynamic development, changing in intensity and volume, sometimes more than once within one tune, which makes things certainly interesting and blissfully different. The most interesting facet of the music is the fact that it certainly does not sound like typical Polish Jazz, successfully avoiding the melancholic / sentimental traps, but also not succumbing to the dreaded American Jazz derivatives, which in itself is a major success. The album is dominated by the performances by the leader, which is hardly surprising under the circumstances, but all the members of the quartet get ample opportunity to show their chops. Chmiel´s youthful energy and courage is immediately obvious and his improvisational skills shine throughout the album´s duration. Perhaps not yet fully achieving a personal / identifiable voice, he is definitely a highly interesting and already unique player, with considerable potential. Gramburg manages also to show some highly unusual approach and his contributions add a massive spicing to the proceedings, which would have probably been much less successful without him. His wonderful sensitivity and ability to play around with the dynamics and intensity of his touches on the keyboards make me immediately want to hear more of his playing, hopefully soon. Narajowski, who is an excellent bassist and a pillar of stability and precision, is in charge of the quartet´s "swinging" stability. Szeligowski plays over zealously at some points, which might have been corrected by lowering the drums in the mix, but overall does a splendid job and shows that drums can be as fascinating as any other instrument. Considering that these are young and relatively little experienced players, the fact that they manage to create such a sophisticated and complex music together is awe inspiring. Kudos to the FSRFind albums on this label label, which usually releases live recordings by much more prominent names, for issuing this debut album, which of course is well deserved. The recording quality of the music could have been better, but all things considered this is surely one of the most interesting Polish Jazz debut albums released in 2020 and a nice whiff of fresh air. Well done!

Updated: 06/11/2020Posted: 06/11/2020

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GADT / OSBORNE / ZAKROCKI / OLAK ~ SPONTANEOUS CHAMBER MUSIC VOL.3 FSR 2020/17 (Barcode: 5905279364752) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2018 Released: 2020 This is the third album in the "Spontaneous Chamber Music" series, created by the Polish improvising duo comprising of violinist Patryk ZakrockiFind albums by this artist and guitarist Marcin OlakFind albums by this artist, this time expanded to a quartet with participation of Polish vocalist Anna GadtFind albums by this artist and Luxembourgian cellist Annemie OsborneFind albums by this artist. The album presents fourteen relatively short spontaneous performances, recorded in a studio, which are assumingly credited to the participating musicians. Although continuing the ideas and modus operandi behind the two previous albums, the music presented here is even more "chamber" than before, in the "intimate" meaning of the chamber idiom. The presence of the two female musicians must have deeply influenced the proceedings, which is hardly surprising after all. Gadt treats her voice as an instrument, which she uses skillfully both to improvise in tandem with the others and to create a background tonal layer behind the others while they improvise. Her brilliant ideas and technical abilities easily place her on top of the list of Polish female improvising vocalists. Considering the fact that she in parallel to her performing career also teaches vocals, the next generation of Polish Jazz vocalist is certainly in good hands. She is the first Polish vocalist to take Polish Jazz / Improvised Music vocals a significant step forward for the first time in decades. Her cooperation with Olak can be heard on the wonderful album "GombrowiczFind albums with this title" they recorded as a duo and Osborne appeared as guest on the recording of her beautiful solo album "Mysterium LunaeFind albums with this title". Although Gadt´s contributions on this album are the most striking, all four musicians contributed wonderfully to its creation. Olak plays some superb guitar lines, Zakrocki adds atmospheric viola choruses and Osborne weaves complex cello structures, all of which combined with Gadt´s vocals create some of the finest improvising music I came across lately, which is perhaps also accessible to relatively wider audiences than such music usually is able to attract, due to the highly melodic approach used by the musicians. Overall this is a splendid album, which proves that Improvised Music can by way more than just an expression of musical freedom and cooperation but also an opportunity to innovate and produce music that is able to reach audience beyond the close circle of sympathizers, which sadly is the case in most Improvised Music recordings. For enthusiasts if Avant-Garde vocals this album is an absolute must.

Updated: 10/10/2020Posted: 10/10/2020

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LYYTINEN / GARBOWSKI / GRADZIUK ~ SWORDS FSR 2020/19 (Barcode: 5905279364776) ~ FINLAND ~ Free Jazz / Improvised Music Recorded: 2019 Released: 2020 This is the debut album by the Improvising Music trio comprising of Finnish saxophonist Pauli LyytinenFind albums by this artist and Polish bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The 2CD album was recorded live at one session and presents eleven improvisations (one repeated twice) credited to all three participants. For Garbowski and Gradziuk this is not the first time they cooperate with a Finnish partner, as documented by the recordings they made with Finnish trumpeter Verneri PohjolaFind albums by this artist, which of course could not make happier, since my love of Finnish Jazz is second only to that of Polish Jazz ;) As the music included on this album shows, the cooperation proved to be as fruitful as one might wish for. Lyytinen is a highly experienced improvising musician and a prolific recording Artist, with a most impressive recorded legacy despite his relative young age (born in 1983), which combines his Finnish influences with exposure to World culture and music. Some of his recordings also involve the a.m. Verneri Pohjola, which connects the dots as far as forming of the trio on this album is concerned. Despite the spontaneous improvisation process which produced this music, the result is highly melodic, perhaps not in the traditional meaning of the idiom, but definitely very communicative and inviting, which makes listening to this music a truly pleasurable experience, without compromising the aesthetic depth and artistry involved. The rapport between the musicians is obvious and completely honest, which of course is fully reflected in the music itself, radiating relaxed creative forces rather than tension. For listeners familiar with the work of Garbowski and Gradziuk this album is a natural extension of their earlier recorded legacy and a most welcome addition. Each meeting with brotherly musical souls is a tremendous experience and it is lucky for everybody when such meetings are also documented and available for posterity. It is also worth mentioning the incredible sound quality this album offers, thanks to Grabowski´s recording at the tiny Institute of Music Performance in Katowice, which I know personally of course, and the incredible mix and mastering by Jan SmoczynskiFind albums by this artist at Studio Tokarnia – a magnificent aural experience in addition to the spiritual musical experience, i.e. the best of the two worlds!

Updated: 23/12/2020Posted: 23/12/2020

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OWL ~ IMPROCODE FSR 2020/21 (Barcode: 5905279364790) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2019 Released: 2020 This is the second album by Polish Jazz trio The OwlFind albums by this artist, comprising of violinist / composer Marcin HalatFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. On this album they expanded the lineup to a quartet with the addition of German pianist Pablo HeldFind albums by this artist. The album presents nine original compositions, three of which were composed by Halat and six are group improvisations, credited to all four participants. The music on this album is split between two almost separate environments, the almost "classic" Jazz on the composed pieces and the completely free spirited improvised pieces, which fit together rather well and provide a much more structured listening ambience than most strictly Improvised Music recordings. The addition of Held had a major impact on the overall sound and musical approach of the trio in comparison to their debut album recorded almost three years earlier, all for the good of the music. On the three composed pieces Held is able to weave a wonderful melodic layer and on the freely improvised pieces his contributions become a wonderfully expressive and balancing element, full of self confidence and clear musical vision. Halat made a significant progress since his early days in the Free Jazz realm (i.e. on the debut album) and managed to embrace the freedom of improvisation without clinging to his Classical background as before, which takes this album another step further towards the bona fide Improvised Music idiom. Of course the rhythm section is feeling like a pair of whales in the ocean, which is hardly surprising considering their long-lasting experience in the field. Overall this is a most welcome sophomore outing by the trio and a superb collaboration with the guest pianist, combining the best of what these four wonderful musicians have to offer. Considering the exquisite sound quality of this complex music, which enables every detailed nuance to be perfectly audible, this album is a true feast for the ears and surely one of the best Improvised Music albums released in 2020. One can only hope we won´t have to wait for another three years to hear again from The Owl and hopefully to meeting with Held will lead to further future recordings – a trio by Held and the GG rhythm section sounds salivating. Well done Gentlemen!

Updated: 30/12/2020Posted: 30/12/2020

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SCRATCHING FORK ~ SCRATCHING FORK FSR 2021/04 (Barcode: 5905279364875) ~ POLAND ~ Jazz-Rock Fusion Recorded: 2017 Released: 2021 This is the debut album by Polish Jazz trio Scratching ForkFind albums by this artist, comprising of guitarist / composer Marek MalinowskiFind albums by this artist, bassist Robert Rychlicki-GasowskiFind albums by this artist and drummer Wojciech ZadruzynskiFind albums by this artist. The album presents seven original compositions, all by Malinowski and was recorded over three years before it was finally released. The music, although based on melodic themes, is very open and offers plenty of space for improvisation. The sound of the guitar, which although amplified, eschews heavy electronic effects and appears to be almost completely acoustic, dominates the overall atmosphere, creating a minimalistic effect. The rhythm section provides steady riffs, which keep the music flowing through the consecutive pieces, with occasional soli by the bassist. Malinowski has a very idiosyncratic style, almost completely different from most other guitarists in the Polish scene, which takes some time to get into, but eventually proves very satisfactory and effective. The excellent support from the rhythm section is also a major factor contributing to the music’s overall success. It is very difficult to classify this music stylistically, as it moves constantly between Fusion and more Jazz oriented improvisations, as well as contemplative ambient moods. But regardless of the label one wishes to put on the music, it is certainly interesting and worth investigating to a wide range of listeners ranging from Rock to Improvised Music. It would be interesting to hear how this music developed during the time that passed since it was recorded, as the sounds on this album leave all the options quite open.

Updated: 25/02/2021Posted: 25/02/2021

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ANNA GADT ~ RENAISSANCE GESUALDO FSR 2021/13 (Barcode: 5905279364998) ~ POLAND ~ Avant-Garde Jazz Recorded: 2018 - 2021 Released: 2021 This is the sixth album by Polish Jazz vocalist Anna GadtFind albums by this artist, recorded in a trio format with accordionist Zbigniew ChojnackiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The 2CD album presents two separate projects, with a new studio recorded music based on her interpretations of the Italian Renaissance composer Carlo GesualdoFind albums by this artist on CD1 and a live recording by the trio from 2018, with a live and much transformed version of the music released on her fourth album called “RenaissanceFind albums with this title” on CD2. The music on CD1 was recorded at the fabulous Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, with the usually spectacular sonic quality. Gadt is the only Polish Jazz vocalist using almost exclusively vocalese and her vocal performances can be considered as “instrumental” in every respect, which makes her a bona fide member of the trio, rather than a vocalist accompanied by instrumentalists. It is truly amazing to see (hear) how a minimalist setting can produce music with such diversity, dynamics and power. It would be quite difficult to find any quotes of the original music by Gesualdo in the pieces inspired by it, which appear here. Gadt used just partial names of the Gesualdo compositions to emphasize that distance, and the proximity is more associative, aesthetical and atmospheric than straightforwardly coloristic. The mysticism that surrounds Gesualdo’s music is taken here even further, into purely imaginary soundscapes, creating a world in itself. But despite this highly spiritual environment, the music is wonderfully embracing or even caressing, going immediately into the listener’s heart, rather than penetrating the cerebral hemispheres. The live recording, on the other hand, is a wonderful illustration of how the music on the studio album gets transformed, both by the live performance and the fact that it was captured a couple of years after it was first recorded, and like a living creature it keeps constantly evolving. The trio’s concerts, which I was fortunate to attend, offer a magical experience, which is faithfully captured herein. All three musicians are incredibly talented Artists, completely individual and unique, and the fact that they are able to create such a symbiotic coexistence musically is a wonderful human experience. Overall, this is an amazing and striking album, which shows how highly ambitious, completely unconventional musical explorations can offer coherent, wonderful aesthetic experience, which has few parallels, both on the local and the entire European scene.

Updated: 02/02/2022Posted: 02/02/2022

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CECIL TAYLOR ~ MUSIC FROM TWO CONTINENTS FSR 2021/16 (Barcode: 5904441617009) ~ USA ~ Free Jazz / Improvised Music Recorded: 1984 Released: 2021 This is archival album recorded live in 1984 at the annual Jazz Jamboree festival in Warsaw. It presents an international ensemble led by American pianist / composer Cecil TaylorFind albums by this artist and ten additional players, both Americans and Europeans (hence the title), which includes Polish trumpeter Tomasz StankoFind albums by this artist, Italian trumpeter Enrico RavaFind albums by this artist, German trombonist Conrad BauerFind albums by this artist, American saxophonists Jimmy LyonsFind albums by this artist and Frank Wright Jr.Find albums by this artist, Danish saxophonist John TchicaiFind albums by this artist, American bassoonist Karen LyonsFind albums by this artist, German bass clarinetist / vibraphonist Gunter HampelFind albums by this artist, American bassist William ParkerFind albums by this artist and drummer Henry MartinezFind albums by this artist. The album presents one continuous track lasting for almost sixty-two minutes. The music is spontaneously improvised by the eleven members of the ensemble, based on directions / ideas put forward by the leader. It has little variation in tempo and intensity and offers a brilliant example of group improvisation, which in this case is performed by some of the leaders of the genre, all assembled on one stage at the same time. There are many extensive solo fragments performed by individual musicians, supported in the background by the ensemble members, as well as solos played concurrently by several musicians, with Taylor and the rhythm section playing continuously. For listeners not familiar with Free Jazz / Improvised Music all this might of course sound like a complete chaos, which has no meaning whatsoever, but a trained ear is able to hear both the group dynamics and the individual contributions, which are often stellar. Improvised Music requires certain “brainwaves” activity, which only some humans are equipped with. The fact that this music was recorded in Warsaw and that Stanko was invited to take part in the concert speaks volumes about how highly Poland and Polish musicians were regarded at the time by the international scene, despite the fact that it was still deeply behind the Iron Curtain. Stanko of course proves that he is able to stand shoulder to shoulder both with the other Europeans and the Americans. Overall, this is an important document of the genre and the Polish Jazz scene at the time. The music was of course recorded by the Polish Radio, which recorded all Jazz Jamboree concerts, and the fact that it was dug out and released by the FSRFind albums on this label label, means that those radio archives are terribly neglected.

Updated: 31/01/2022Posted: 31/01/2022

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IREK WOJTCZAK ~ ROM TOM DADA FSR 2021/17 (Barcode: 5904441617016) ~ POLAND ~ Avant-Garde Jazz-World Fusion Recorded: 2021 Released: 2021 This is an album by veteran Polish Jazz saxophonist / composer Irek WojtczakFind albums by this artist recorded with a quartet, which also includes trumpeter Tomasz DabrowskiFind albums by this artist, bassist Max MuchaFind albums by this artist and drummer Jan MlynarskiFind albums by this artist. The album presents nine tracks, all of which are Polish Folk tunes from the Leczyca region, collected by the Polish ethnographer Oskar KolbergFind albums by this artist, arranged by Wojtczak. Wojtczak continues here his fascination with Polish Folk music, transforming it into contemporary Jazz / Avant-Garde setting, creating a truly fascinating amalgam, as already documented on his earlier recordings: “Folk FiveFind albums with this title” and “Play It AgainFind albums with this title”. This new quartet setting is much more focused and moves brilliantly between the original tunes and the improvisations. The saxophone and trumpet create beautiful duet dynamics and the rhythm section, with its dense / quirky intensity, drives the music strongly atop the odd rhythms and tempi changes. All the personal performances are absolutely top notch and Mlynarski surprises with his highly unusual drumming, feeling obviously at ease alongside these top Jazz instrumentalists, despite the fact that he usually operates in completely different musical environments. It is great to discover his alter ego here. Overall, this is an excellent album, which continues a highly interesting path of cross-genre creativity, as well as obvious love of Polish musical tradition, which obviously deserves to be cherished and remembered. Although clicking at only slightly over half hour in duration, this music is so intense and fulfilling that the timing has little significance. Brilliantly done, as always!

Updated: 31/01/2022Posted: 31/01/2022

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RGG ~ OCTOBER SUITE FSR 2022/09 (Barcode: 5904441617108) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2020 Released: 2022 This is a live album by Polish Jazz trio RGGFind albums by this artist, which comprises of pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist, which was expanded to a sexted for the appearance at the 15th Ad Libitum Festival in Warsaw, recorded on October 17, 2020. The additional musicians are vocalist Marta GrzywaczFind albums by this artist, cornet player Artur MajewskiFind albums by this artist and flautist Dominik StrycharskiFind albums by this artist (the last two also use some electronic effects). The album presents a seven-part suite (on seven tracks), which remains uncredited and is assumed to be co-created by all the participants. The music appears to be completely freely improvised, with no melodic threads as such, but is beautifully coordinated between the participating musicians, who perform a group improvisation with great respect towards each other, exactly what such format demands. The music is sparse and most of the time minimalist, but occasionally intensifies into bursts of energetic exchange of common improvisations. The RGG trio leads the proceedings steadily and dominantly, with the excellent rhythm section firmly dictating the tempi and the piano spreading harmonic splashes, which build the fabric for the rest of the team to place their colorful ornaments on. For me, personally, the music creates strong visual associations, in addition to the obvious aural content. The individual contributions by all the participants are superb, and the excellent recording sound quality adds to the total result. Although Free Jazz / Improvised Music is rarely able to create music, which offers a lasting value, beyond the actual moment of being created, this album certainly offers a piece of music, which can be returned to periodically and enjoyed repeatedly. Overall, this is a wonderful example of Free Jazz / Improvised Music, which has a lasting value. Definitely not for casual listeners, but those who enjoy the convoluted minds of musicians, who eschew triviality and conformism, this is definitely a splendid occasion to enjoy themselves.

Updated: 12/01/2025Posted: 12/01/2025

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ZAKROCKI / GARBOWSKI / GRADZIUK ~ BALLADS & BLUES FSR 2024/05 (Barcode: 5904441617467) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2022 Released: 2024 This is a 2CD album by Polish Improvising Music trio comprising of guitarist Patryk ZakrockiFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer / percussionist Krzysztof GradziukFind albums by this artist (the last two being 2/3 of the RGGFind albums by this artist trio). The album, recorded during a single studio session, presents seventeen improvised pieces, which remain uncredited and as appropriate in these circumstances are assumed to be co-created spontaneously by the three musicians. As the title suggests, ten of the tracks are entitled “Blues” I to X and seven are entitled “Ballad” I to VII, depending of the musical inspiration prevailing at the time of their creation. The music is hyper-minimalist, which means that both the volume and the density are sparse and although seemingly a lot is happening the result is extremely humble, unassuming and intimate. The flow and development of the music is almost painfully slow and challenges the listener’s patience, almost assuming that the listener is willing to enter a state of trance, which would enable to absorb the music more subconsciously than analytically. One might compare this music to the American Minimalists, like Terry Riley and Steve Reich, but the parallelism is only partly applicable here, as this music is not as cyclic as that variation of minimalism, and there is subtle, but definite sense of development herein, which eases the feel of void and stagnation and points towards coherent goal. Obviously, this is not music for a wide range of listeners, surely not contemporary ones, with an attention span measured in seconds. It does require open-mindedness, patience and musical aesthetics, which usually comes with time and effort. There are almost two hours of music here, of highly inspired, unusual and extremely delicate music, which probably will grasp the hearts of few… sadly the destiny of all exceptional and unconventional musical experiments. Overall, this is a deeply engaging musical message, almost impregnable to a casual listener, but mesmerizing to those, who are able and willing to make the effort required in this case in order to absorb and accept this music for what it is: a ladder to a higher musical consciousness. The tougher the rind, the sweeter the fruit, comes to mind.

Updated: 11/12/2024Posted: 11/12/2024

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ANNA GADT / MARCIN OLAK ~ GOMBROWICZ HEVHETIA 0196 (Barcode: 8588005258746) ~ POLAND ~ Jazz & Poetry Recorded: 2019 Released: 2020 This is a wonderful debut album by the Polish Avant-Garde Jazz duo comprising of vocalist Anna GadtFind albums by this artist and guitarist Marcin OlakFind albums by this artist, which offers their interpretations of the writings by Polish author Witold GombrowiczFind albums by this artist, one of the most idiosyncratic and controversial literary figures in Polish Cultural heritage. Although based on prose fragments, this album firmly belongs to the Jazz & Poetry idiom, both conceptually and aesthetically. The album presents twelve tracks of improvised voice / guitar pieces, which include recitation, singing and vocalese, each of them based on a different fragment taken from texts by Gombrowicz Listeners familiar with the Polish Avant-Garde / Improvised Music scene are probably familiar with Marcin Olak´s recordings on the FSRFind albums on this label label, which are all worth checking out. Gadt is of course one of the brightest stars on the Polish Jazz vocal scene, with a substantial recording legacy, but most importantly characterized by her chameleonic quality of constant transformation of her vocal style, which over the years developed from mainstream to highly personal Improvising Music environment, which is still evolving. She is also a respected and devoted teacher of the vocal Art and her students are beginning to shape the next generation of the Polish Jazz vocal scene. During my recent visit in Warsaw I had the opportunity to attend the debut performance of this music in a small club, which offered an intimate opportunity to celebrate the release of this album. I watched the audience to see how effectively this highly demanding music will be able to penetrate the walls of indifference and cerebral demand this music requires, but to my surprise the audience was absolutely mesmerized by what was happening on the small stage. Obviously this music is stronger and more communicative than what one might expect, in spite of its farfetched aim towards intellectual brain functionality, acting on the purely emotional, raw instinct level as well, in retrospect somewhat similar to Gombrowicz´s writing. Connoisseur of the human voice Art will be of course delighted by Gadt´s performances on this album, which include probably many of the things "you always wanted to do with your voice but were afraid to try" list. She is simply fearless and completely uninhibited in the way she uses her voice, which often expands the known boundaries of vocal expression. Although using texts in Polish language, this kind of vocal expression transcends any language barriers completely, making them meaningless. In some cases Gadt´s vocal construction are so distinctive, that she seems to construct a completely new vocal "language" of her own design. It is pretty rare when an album labeled as Avant-Garde is truly Avant-Gardist in its nature, since the label is used way too lightly these days. Anything that is unusual / unconventional often gets labeled as Avant-Garde, whereas in fact despite being different, it does not offer anything that is done for the first time and is a pillar of fire showing the way to whoever is following. This album, however, is genuinely Avant-Gardist in every bit of its existence and its ingredients as much as a whole – a rare and beautiful thing indeed – and an absolute treasure! Thank you Anna and Marcin!

Updated: 22/02/2020Posted: 22/02/2020

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