Record Reviews

PIOTR DAMASIEWICZ / POWER OF THE HORNS ~ POLSKA ASTIGMATIC 011 (Barcode: 5902860142300) ~ POLAND ~ Jazz Recorded: 2018 Released: 2019 This is the second album by Polish trumpeter / composer Piotr DamasiewiczFind albums by this artist and his Power Of The HornsFind albums by this artist ensemble and their first studio recording. It features a nonet version of the ensemble which also includes saxophonists Maciej ObaraFind albums by this artist, Adam PindurFind albums by this artist and Gerard LebikFind albums by this artist, trombonist Pawel NiewiadomskiFind albums by this artist, pianist Dominik WaniaFind albums by this artist, bassists Ksawery WojcinskiFind albums by this artist and Jakub CywinskiFind albums by this artist and Australian born drummer Samuel HallFind albums by this artist. The album presents four (one in two parts) original compositions, all by Damasiewicz. The debut album "AlamanFind albums with this title", recorded live in 2012 (i.e. six years earlier), was the first release of the now legendary For TuneFind albums on this label Records label, and created quite a stir at the time. It was recorded by an eleven-piece version of the ensemble, which included only five of the musicians present on this new recording and presented just three expanded tracks, characterized by extensive improvisations. The raw power of the horns and super-sized rhythm section combined with the youthful excitement associated with the occasion managed to create some magic moments, which the recording certainly reflected, but which did not prove to have a long-lasting value. In retrospect the status of "…one of the most captivating albums in the history of Polish jazz…" is certainly a hype rather that an objective statement. The new album is a complete about face and presents perfectly well-behaved, modern mainstream Jazz, with smooth performances but limited level of enthusiasm. Of course this is a perfectly legitimate approach; considering the time that passed since the debut; maturity, age and experience certainly have their influence. Yet Damasiewicz seems to cling to the past by including on this album older material, like the title tune which originates from 2014 and even one composition already presented on the debut, which perhaps indicates a shortage of new material. But regardless of the past connections, the music on this album is based on rather basic melodic elements, repeated continuously with little variations, except for the ensemble dynamics. The "wall of sound" approach of the debut is now replaced by a more chamber like approach typical of Polish Jazz from the 1960s, and a retro sound and ambience. Damasiewicz dedicates the compositions on the album to the Godfathers of Polish Jazz: Krzysztof KomedaFind albums by this artist, Tomasz StankoFind albums by this artist and Tomasz SzukalskiFind albums by this artist and to his teacher Piotr WojtasikFind albums by this artist, all of whom obviously influenced his musical path, which is well reflected within the music on this album, and which, as already stated, often ventures into the climates invented and developed by his Mentors and which characterize Polish Jazz or at least its early days. The album´s title seems to suggest that the music on this album is the continuation of that magic "Polishness" that Polish Jazz offers at its core; a daring statement by all means, which will be judged by history alone. The individual performances by the leader and the ensemble members are, as expected, highly professional, but if not for the excellent, as always, contributions by Wania, who in the period separating these two recordings made one giant step after another, the music would have became almost banal, a déjà vu of sorts. Considering the astonishing level of the musicianship on the Polish Jazz scene, something more spectacular would have been needed in this music to become "…sublime and unique…". The album´s liner notes, from which all the above quotes are taken, is fascinating, full of hints, allegories and references – definitely worth reading!

Updated: 22/12/2019Posted: 22/12/2019

CD 1 Digipak Recommend To A Friend

MACIEJ OBARA ~ UNLOVED ECM 2573 (Barcode: 602557645620) ~ POLAND ~ Jazz Recorded: 2017 Released: 2017 This is the fourth album by the Polish Jazz saxophonist / composer Maciej ObaraFind albums by this artist and his international quartet, which also features Polish pianist Dominik WaniaFind albums by this artist and Norwegian rhythm section: bassist Ole Morten VaganFind albums by this artist and drummer Gard NilssenFind albums by this artist. It is the first studio recording by the quartet, as the three previous albums, all released on the Polish For TuneFind albums on this label label, were live recordings. It is of course also the first album by the quartet released on the German ECMFind albums on this label label. The album presents seven tracks, six of which are original compositions by Obara and one (the title track) is a relatively infrequently recorded composition by the Godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist. The music was recorded at the legendary Rainbow Studio in Oslo with Jan Erik KongshaugFind albums by this artist in charge of the sonic quality. Obara´s numerous earlier recordings, including the three albums with the quartet present here, established his position on the Polish Jazz scene as a restless explorer, a rebel and a fearless avant-gardist, who constantly pushed the borders of contemporary Polish / European Jazz. These recordings were uncompromising, adventurous, soaked in free-form and Avant-Garde expressionism, and yet deeply rooted in the Jazz idiom´s tradition. The fact that this is a studio recording, as already mentioned above, and taking into account the decisive role of Manfred EicherFind albums by this artist, ECM´s supreme boss, who assumed the role of "musical producer" on this album, were obviously bound to have an effect on the outcome, but probably nobody could have imagined how dramatic the transformation was about to become. The album is clearly divided into two sections (sort of A / B sides of an LP), with the first section (first four tunes) presenting deeply melancholic and introvert music, nicely rounded melodically and harmonically, but alas somewhat pale and monotonous, and the second part (last three tunes) being more ambitious and vibrant, but still not up to par with Obara´s earlier recordings. Gone is the fire and brimstone and the Obara heard on this album is all gentleness and sweetness, delicately uttering lovable notes, who seems to have lost completely the identity he worked for years to establish. Is this the next stage of development for Obara and his quartet? Quite possibly, but his old identity will be sadly missed. But not everything is lost as far as this album is concerned. Wania manages to escape unspoiled and his work here is as brilliant as always, pure genius in fact. When he solos the music suddenly comes alive and sparks are flying. His brief interludes move elegantly into free-form, albeit briefly, finding the way back within a few bars. In many respects this album is as much Wania´s triumph as it is Obara´s underachievement. Sadly Wania´s brilliant work is not enough to save the album from the lethargic flow of "nice notes". The rhythm section is also excellent proving that playing in a much more relaxed environment is still within their capability and can be done intelligently and excitingly. And of course the sound quality is as heavenly as one might expect. I am deeply saddened by the fact that this, obviously flagship recording by Obara, turned out to be less than I´d have hoped for. I can only hope that everything will turn for the better in the future. Side Note: I have to admit that I was completely and utterly flabbergasted by the mass hysteria on the Polish Jazz scene surrounding the fact that this album was released on ECM. It is true that Obara is only the third Polish Jazz leader to have his album released by ECM (preceded by Tomasz StankoFind albums by this artist and Marcin WasilewskiFind albums by this artist), but what does it really mean? Firstly it means that Manfred Eicher is simply not familiar enough with the burgeoning Polish Jazz scene and its world class talented musicians. If he was familiar with them, he would have surely invited some of them to record for his label, especially in view of the fact that dozens of Polish Jazz albums released by small independent Polish labels are way more interesting and meaningful than most of ECM releases in the last couple of decades. Secondly it means that ECM is still considered by many people as a leading recording label, whereas in fact it lost its legendary status and influence many years ago. As pioneering and groundbreaking as the label was in the first couple of decades of its existence, bringing up scores of Jazz musicians to the attention of music connoisseurs, the label´s impact and leadership vastly diminished in time. Just ask yourself how many albums in the ECM catalogue do you know / own that were recorded in the 1970s / 1980s and how many albums you know / own that were recorded since 2000? Do the same with a list of recording artists who released albums on ECM in these two periods? The statistics are abundantly clear. And lastly it means that Polish Jazz scene is completely consumed with the inferiority complex that has always haunted it, looking somewhere else for excellence and example rather than paying tribute to its own Artists and showing them the appreciation they really deserve. Many Polish Jazz fans are still convinced that only Afro-American musicians can play Jazz and everything happening at home is secondary and meaningless, whereas in fact that is completely contrary to the truth.

Updated: 12/04/2019Posted: 30/11/2017

CD 1 Slipcase Recommend To A Friend

MAGNOLIA ACOUSTIC QUARTET ~ BOOZER FOR TUNE 0003 (Barcode: 5902768701029) ~ POLAND ~ Jazz Recorded: 2011 Released: 2013 This is a (formal) debut album by Polish Jazz ensemble Magnolia Acoustic QuartetFind albums by this artist, which comprises of saxophonist Szymon NidzworskiFind albums by this artist, pianist Kuba SokolowskiFind albums by this artist, bassist Mateusz DoboszFind albums by this artist and drummer Patryk DoboszFind albums by this artist. The album presents a live recording of an extended lineup of the ensemble, which adds two slightly older and better known Polish Jazz musicians: trumpeter Tomasz DabrowskiFind albums by this artist and saxophonist Maciej ObaraFind albums by this artist. The music includes seven pieces, six of which are originals (three by Sokolowski, two by Obara and one by Dabrowski) and one is by the contemporary Polish Classical Music composer Witold LutoslawskiFind albums by this artist. The music played by these incredible musicians covers the areas of modern European Jazz, Avant Garde and Free Jazz, firmly embracing the past and clearly pointing out the future. Based on pre-composed themes, the group´s music develops into lengthy collective and individual improvisations, which are achieved through mutual respect and collaboration, but also reflect the incredible individual talents. The overall effect is simply stunning and the fact that this music is created by such young musicians is simply unreal. The ensemble portrays the ideal balance between the soloists and the rhythm section. The pair of the Dobosz BrothersFind albums by this artist is quite likely to become the new brotherly Polish rhythm section following in the steps of the legendary Oles BrothersFind albums by this artist. Quite naturally the most impressive solo spots are reserved for the two guests, especially Dabrowski, whose contributions here are simply stellar and again clearly point out his path to stardom and his position as the future top Polish Jazz trumpet player. One of the most exciting moments of this album is the trumpet / drums duet, which is simply divine, and which should come as no surprise in view of the fact that Dabrowski recorded an entire trumpet / drums album recently with American drummer Tyshawn SoreyFind albums by this artist, also released on the For TuneFind albums on this label label. Considering the fact that this music was recorded live, which eliminates any studio trickery and results in "what was played is what you hear", all that was stated above is even more impressive. After listening to the album several times the music keeps getting better and better and Magnolia Acoustic Quartet simply emerges as one of the best new arrivals on the Polish Jazz scene in the last few years. This album presents the young Polish Jazz scene at its best: vigorous, daring, original, inventive and hellishly talented. These are the musicians that will lead the scene in decades to come, when the older generation retires or sadly is no longer with us. Judging by this album and many others that pop up recently like mushrooms after rain, we have absolutely nothing to worry about the shape of things to come!

Updated: 17/12/2018Posted:

CD 1 Recommend To A Friend

TOMASZ DABROWSKI / TYSHAWN SOREY DUO ~ STEPS FOR TUNE 0005 (Barcode: 5902768701050) ~ POLAND ~ Jazz Recorded: 2012 Released: 2013 The trumpet / drums duos have been a source of several milestone Jazz collaborations and recordings in the past and this challenging format stimulated the duo members to reach new musical heights and discover previously untraveled paths. This album is another example of this format, this time by two young musicians originating seemingly from two different cultures and born thousands of miles apart: the Polish trumpeter / composer Tomasz DabrowskiFind albums by this artist (age 28) and the American drummer / composer Tyshawn SoreyFind albums by this artist (age 32). The album was recorded in New York and comprises of ten original compositions, all by Dabrowski. The music is all about freedom, but remains beautifully confined within defined structures, both melodically and rhythmically. The themes and improvisations stated by the trumpet go perfectly hand in hand with the rhythmic patterns and polyrhythmic excursions produced by the drum set. The duo format is, a priori, extremely difficult as far as managing a balance between the two participants, especially for the entire duration of an album, but this is one of the most well balanced duo albums ever recorded. Dabrowski and Sorey simply float along each other like a pair of lovers in perfect emotional harmony. It is difficult to estimate how much of this was pre-arranged and rehearsed and how much is spontaneous, but considering that it was all recorded in one session, the unity and cooperation are simply stunning. The individual statements by the two players are also first rate. Dabrowski is steadily climbing to the very top of Polish Jazz trumpet player´s league, being incredibly prolific as a composer and polishing his virtuosity as a player. His versatility is also quite incredible, considering the different settings and stylistic areas he was involved with in the relatively short span of his career. Sorey, who already established his position as one of the most interesting young generation players in the US, displays his masterly technique but above all his wonderful musicality and sense of melody. These two lions are definitely part of the Jazz future, proving again that geography and nationality have absolutely no meaning when artistry prevails. Music connoisseurs around the world should find this album worthy their attention for many reasons: the rarity of the setting, the excellence of the performances and the honesty and elegance that this project radiates to the listener. Hopefully this meeting of souls will take place again sometime in the future with similar results. The album was released by the excellent new Polish For TuneFind albums on this label label, which presents not only specific aesthetics as far as musical choices are concerned, but also a unified graphic design, all in the best tradition of European Jazz labels. This album also features liner notes by my friend and colleague Maciej NowotnyFind albums by this artist, which are informative and well written. A true gem!

CD 1 Recommend To A Friend

PIOTR DAMASIEWICZ PROJECT ~ IMPROGRAPHIC 1 FOR TUNE 0006 ~ POLAND ~ Jazz Recorded: 2012 Released: 2013 This double CD album captures live performances by the quartet called Piotr Damasiewicz ProjectFind albums by this artist, led by Polish Jazz trumpeter Piotr DamasiewiczFind albums by this artist, with saxophonist Gerard LebikFind albums by this artist, bassist Jakub MielcarekFind albums by this artist (both members of the Polish ensemble EraseFind albums by this artist) and Portuguese drummer Gabriel FerrandiniFind albums by this artist. The music was recorded over a short period of just six days during the quartet´s performances in three clubs, each in a different Polish city. All the music is spontaneously improvised and is credited to all the quartet members. Stylistically the music belongs to the gray area between spontaneous Improvised Music, Free Jazz and contemporary Avant-Garde. The concept of using graphic notations instead of notes, as the basic directions upon which the improvisations are based, is of course quite old and was pioneered decades ago by such Jazz icons as Anthony Braxton as well as several contemporary Classical composers. Although Damasiewicz and his colleagues are obviously very talented musicians, this music leaves me stone cold. Having been listening to this kind of music for the last fifty years, I don´t find any substance here, which justifies listening to this music for over two hours; there is no real innovation, no fire that I can feel, no concept except for total freedom. Even the collective improvisation is quite limited, as the two soloists rarely play together and the rhythm section contributes very little to the overall result. Of course there are some great moments, but overall this is not going anywhere as far as I can hear. There are some differences between the music on the first and on the second CD of this set, with the latter being definitely more engaging to the listener, but still it was mostly a déjà vu of music heard many times before. Although the liner notes hint towards such legendary sources of influence as the British Spontaneous Music EnsembleFind albums by this artist, or Peter BrötzmannFind albums by this artist´s Machine GunFind albums by this artist and other European improvising ensembles, honestly I fail to see the parallels here. Of course this kind of music deserves to be documented and kudos to the For TuneFind albums on this label label for including it in its catalogue. Hardcore Avant-Garde fans will definitely find this interesting, as this kind of music is certainly quite rare these days.

Updated: 12/04/2019Posted:

CD 2 Recommend To A Friend

HUNGER PANGS ~ MEET MEAT FOR TUNE 0008 (Barcode: 5902768701081) ~ POLAND ~ Jazz Recorded: 2010 - 2011 Released: 2013 This is the debut album by the Hunger PangsFind albums by this artist trio, which was formed in 2006 by students of the Music Academy in Odense, Denmark. It comprises of two Polish musicians: guitarist Marek KadzielaFind albums by this artist, who is also the trio´s main composer, and the upcoming excellent trumpeter Tomasz DabrowskiFind albums by this artist, together with Danish drummer Kasper Tom ChristiansenFind albums by this artist. The album includes nine compositions, which were recorded over a period of two years in Germany and Denmark, six of which were composed by Kadziela, one each by Dabrowski and Christiansen and the remaining one being credited to the trio. The album´s liner notes, entitled "A Vacation From Bebop", seem to point out the musical direction undertaken by the trio, which proves once again that the development of Jazz did not stop with Bebop and continues to this very day way beyond the established ground rules. The essence of this music is all about freedom of expression limited only by the artists´ abilities and talents. Stylistically the trio moves between diametrically different environments like Jazz-Rock Fusion and Improvised Music, but the music remains coherent and beautifully expressive at all points. The absence of bass, which usually glues the music together and adds tremendously to the overall atmosphere of most Jazz recordings, is not a major hindrance here and is hardly even felt. As usual is such circumstances, the musical cooperation of the trio members is more important than the individual contributions, notwithstanding the fact that all trio members present plenty of talent and professionalism. Personally the focus of my attention converges on the absolutely stunning performances by the trumpeter Tomasz Dabrowski, who is firmly emerging as one of the most promising trumpet players of the young Polish Jazz scene, which can be easily verified by listening to a series of recordings he made recently, including his excellent debut album released a year earlier. Both the guitarist and the drummer play very well but have not reached a point of clear-cut personal identity, which usually comes in time. The years spent in Denmark by the two Poles as well as the presence of a Danish drummer contribute to the specific Scandinavian sound / spirit present on this album, perhaps more subconsciously than intended. This recording is one of the multiple steps taken by the young generation of Polish (in particular) and European (in general) young Jazz musicians on the way to establish a new Renaissance of the Jazz artistry, which seems to overflow the continent with a Tsunami like wave of new talent. Considering the level of maturity and power of expression present here, usually associated with musicians at the peak of their artistic powers, it´s truly scary to realize that these are players at the early stage of their career. Released by the excellent new Polish For TuneFind albums on this label label, this album deserves to be heard by all European Jazz fans, as it heralds the shape of things to come.

CD 1 Recommend To A Friend

WACLAW ZIMPEL ~ STONE FOG FOR TUNE 0009 (Barcode: 5902768701098) ~ POLAND ~ Jazz Recorded: 2012 Released: 2013 This is the debut recording by the quartet led by Polish Jazz clarinetist / composer Waclaw ZimpelFind albums by this artist with his countryman pianist Krzysztof DysFind albums by this artist and two German musicians: bassist Christian RamondFind albums by this artist and drummer Klaus KugelFind albums by this artist. The album presents eight compositions named using lines from poems by the US poetess Laura Winter. Three of the compositions are credited to Zimpel and the remaining five are group compositions. Despite his young age (he was 29 years old when this music was recorded) Zimpel is already considered as one of the most important upcoming Free Jazz / Improvised Music figures on the European scene. In the scope of the last decade he managed to cooperate with many first-class musicians from Poland and abroad, play many concerts and record quite a few albums as a leader and as sideman, most of which were received enthusiastically by the critics. The clarinet, Zimpel´s "weapon of choice", is sadly a much neglected instrument in contemporary music, Avant-Garde and Improvised Music included, and therefore his contributions are especially important, keeping the clarinet tradition alive. Except for the older generation clarinet Giants, like American Perry RobinsonFind albums by this artist, Israeli Harold RubinFind albums by this artist, French Louis SclavisFind albums by this artist, Italian Gianluigi TrovesiFind albums by this artist and a handful of others, Zimpel´s young voice is a fresh breath of air in this particular niche. As to the music on this album, I find it slightly less exciting personally in comparison to his earlier recordings with ensembles like UndividedFind albums by this artist or HeraFind albums by this artist. Not that this album lacks anything in quality and power of expression, but perhaps it is less based on incorporating World Music motifs, which Zimpel excels at. This album firmly belongs to the "traditional" Free Jazz / Improvised Music milieu, if the word "traditional" applies at all in such cases. But regardless of my personal preferences, this is excellent music from start to finish, performed with passion and masterly ability, by all four musicians involved. The rhythm section provides exceptional backing, moving swiftly between almost swing to free form, Dys on piano spreads layers of twisted harmonic structures and Zimpel, as usual, plays the role of the of Hamelin´s Pied Piper, snake charmer and a Hassidic Klezmer, all in one. Most connoisseurs of Free Jazz will find this music very interesting and aesthetically enchanting. The album was released by a new Polish label called For TuneFind albums on this label, which seems to be specializing in "unconventional" musical projects, like this one. All the releases on the label have a distinct graphic design, which appears to be copying the early ECMFind albums on this label, Hat HutFind albums on this label and other Avant-Garde labels following this path. Polish Avant-Garde Jazz fans know that this label is of course not the first of its kind, but the more the merrier. There is always place for good music and I wish the label a lot of success.

Updated: 12/10/2024Posted:

CD 1 Recommend To A Friend

BESTER QUARTET ~ KRAKOFF FOR TUNE 0011 ~ POLAND ~ Jazz-World Fusion Recorded: 2013 Released: 2013 Rising like a Phoenix from the ashes of the Holocaust, Jewish Culture in Poland, which flourished for almost a millennium before being abruptly and mercilessly eradicated from the face of the earth, enjoys today a tremendous renewed Renaissance. Jewish Culture Festival in Krakow, Warsaw´s Singer Festival and the New Jewish Music Festival are only the main events celebrating the Jewish Culture, which should have disappeared into thin air like the smoke from the chimneys of the crematoriums. However, a cautious examination of this phenomenon reveals several fundamental differences between the pre-Holocaust Polish Jewish Culture and its renewed manifestation: Firstly Jewish Culture was created by Jews for Jews, rarely, if at all, escaping the closed Jewish environment almost completely separated from their Polish neighbors. Jewish music was performed during Jewish celebrations and Holidays, in Jewish shtetls, where gentiles (goyim) were seldom present. Even in the major towns, like Warsaw itself, Jews had their own entertainment centers, again rarely frequented by gentiles. Since there is no sizeable Jewish population in Poland, today´s Jewish Culture is of course presented to the non-Jewish Poles, most of which were born after WWII, most of them with little or no knowledge whatsoever about Jews and their Culture. And yet for some inexplicable reason this Culture fascinates these audiences, a sort of nostalgia to something they know existed once but is no more. Secondly, and perhaps more importantly from the Artistic standpoint, the reborn Jewish Culture in Poland is in fact only slightly associated with the original Jewish Culture per se, often referring to the tradition as a source of inspiration rather that an attempt to revive it as it was. Even when the new culture uses the "old" terminology, like the idiom "Klezmer" for example, there is no direct similarity to what is considered or called Klezmer music today to what it was in the past. And yet a continuum was definitely achieved, which is wondrous indeed. Bester QuartetFind albums by this artist is a classic example of the case at hand. Formed in 1997 by accordionist / composer Jaroslaw BesterFind albums by this artist, the ensemble was initially called The Cracow Klezmer BandFind albums by this artist and under that moniker released six albums on the highly respected TzadikFind albums on this label label owned by John ZornFind albums by this artist. The quartet played ambitious original music, brilliantly performed by its virtuosi members, but quite honestly calling this music Klezmer or even Jewish was definitely farfetched. At some stage Bester probably realized that dichotomy and by 2012 changed the name of the ensemble to Bester Quartet (and also changed the bass player) and since released two more albums on Tzadik, the latest of which, called "The Golden LandFind albums with this title" features music written entirely by Mordechai GebirtigFind albums by this artist and seems to be the closest to Jewish roots. This, their ninth album, is a live recording at the National Philharmonic Hall in Warsaw, captures the band before "The Golden Land" album was released and features mostly music from their previous album "MetamorphosesFind albums by this artist", a couple of pieces from earlier albums and one sneak preview of a Gebirtig tune. The quartet includes Bester, violinist Jaroslaw TyralaFind albums by this artist, multi-instrumentalist Oleg DyyakFind albums by this artist and the new young bass player Mikolaj PospieszalskiFind albums by this artist. They all perform elegantly, spotlessly and obviously are highly spirited. Of course as a band they are perfectly together and they respect each other´s space, allowing for extended improvised passages. The music, which is always superbly melodic, is unfortunately somewhat unfocused stylistically. Although the arrangements try to present a "unified" musical coherence, the musical influences run freely between Gypsy folklore, Argentinean tango, Eastern-European melodic lines, Balkan rhythmic patters, in short "around the world in 70 minutes". Jewish? Not really. But of course, since there is no "Klezmer" anywhere on the cover, I have no problem with this. Overall this is music which can be enjoyed by connoisseurs all over the world and people who like to hear diversity and sophistication in the music they enjoy. The music is beautifully recorded with superb sound quality, especially so in the case of a live recording. The album comes bundled with a DVD of the same concert, which has no additional musical content, but is a nice document of the event. This is the first album by the quartet released on a Polish label and kudos to For Tune for finally putting the record straight, which they do repeatedly time after time.

CD+DVD 2 Recommend To A Friend

OLES BROTHERS & JORGOS SKOLIAS ~ SEFARDIX FOR TUNE 0013 (Barcode: 5902768701135) ~ POLAND ~ Jazz-World Fusion Recorded: 2011 Released: 2013 The Sephardic Jewish Culture, with its heavenly beautiful music, poetry and above all personal warmth must be one of world´s best kept and deepest secrets, especially so in Eastern Europe, which was dominated for centuries by the Ashkenazi Jewish way of life and of course Ashkenazi Jewish Culture. In Poland, which was the center of Eastern European Jewish life in pre-Holocaust period, Sephardic Jews (like my Family) were an oddity and in most cases lost their roots along the way, adopting the Yiddish language and the Ashkenazi customs and forgetting the Ladino language and the Sephardic traditions. But of course Sephardic Jews and their Culture continued to thrive in Greece, Turkey, North Africa and in the Holy Land. For centuries Jews lived in two parallel universes with almost no contact between these two cultural spheres. But absurdly the monsters, who brought the Holocaust on the Jewish People, managed to pay no attention to any such cultural differences; the Greek Jewish community, mostly from the ancient town of Salonika, found themselves in cattle wagons on their way to Auschwitz before the horror was over. Apparently Ashkenazi and Sephardic Jews burned much in the same way. This album, created by Poland´s most revered Jazz rhythm section: bassist Marcin OlesFind albums by this artist and drummer Bartlomiej OlesFind albums by this artist, collectively known as Oles BrothersFind albums by this artist, with vocalist Jorgos SkoliasFind albums by this artist, obviously of Greek origin, pays homage to the Sephardic Culture, based on traditional Ladino and Greek songs, except for one piece which is an original composition by Bartlomiej Oles, adopted and re-invented by the trio. All the texts were translated / transformed into the Greek language and Skolias performs them mixing many vocal techniques, from declamation, vocalese, chanting, whistling, murmuring and up to almost straightforward singing, always marvelously. The album creates a wonderful atmosphere of intimacy and minimalism, which engulfs the listener slowly but insistently, breaking cultural barriers by its immediacy and intrinsic charm. I have no idea if this charm works as well on people who have never been exposed to this kind of music, and I hope it does, since the overall effect is simply magical. Skolias takes this music into further areas, like Greek Rebetiko, mainly due to his idiosyncratic expressionism, which emphasizes the affinity of all Middle Eastern cultures. Oles Brothers prove again their outstanding ability to keep their open-minded approach, regardless of the stylistic circumstances. Marcin plays some heartbreaking bow passages and amazing plucking solos and Bartlomiej plays percussion as if he was born on the desert planes of North Africa. By all means this is one of the most original albums recorded in Poland since many years, a bold statement which is not afraid to take risks and break new ground. The idea for this project was initiated by Miron ZajfertFind albums by this artist, the artistic director of the New Jewish Music Festival in Warsaw, who deserves much credit, as does the For Tune label for recording and releasing this music, saving it for posterity. Jewish Culture connoisseurs are definitely grateful!

Updated: 02/01/2017Posted:

CD 1 Recommend To A Friend

ERASE ~ NEW AND OLD DREAMS FOR TUNE 0014 ~ POLAND ~ Jazz Recorded: 2012 Released: 2013 This is the debut album by Polish Jazz quartet EraseFind albums by this artist, which consists of saxophonist Gerard LebikFind albums by this artist, bassists Max MuchaFind albums by this artist and Jakub MielcarekFind albums by this artist and drummer Michal TrelaFind albums by this artist. The album presents a live recording at Warsaw´s Pardon To Tu club, which in the last few years managed to establish an honorary position as the home of the Avant-Garde scene in the country´s Capital. The quartet performs five completely improvised pieces attributed to all the four musicians. The quartet presents music, which is naturally associated with the mid 1960s, when Free Jazz was at its artistic peak and musicians like Albert AylerFind albums by this artist, John ColtraneFind albums by this artist, Eric DolphyFind albums by this artist and others bravely broke the ties with Jazz conventions and stepped into uncharted territory to expand the Art Form beyond the known boundaries. However, keeping in mind that all this happened fifty years ago, playing Free Jazz today lost much of its originality, especially in view of the fact that its true pioneers are all dead by now. On the other hand, bands like Erase are needed today to shake up the somewhat stagnant Jazz scene, which often gravitates towards the dreaded retrograde mainstream. Therefore this total and uncompromising music is a welcome wake up call in that respect. Of course Erase has a lot to say on its own account, with the drenched saxophone wall-of-sound effect and the double bass lines and intensive drumming. It is a brutal encounter, which can leave no listener indifferent. Free Jazz is mostly an essence of a live performance and Free Jazz recordings suffer from the same problem that food suffers from, i.e. eating it is quite different than seeing pictures of it. Hearing this concert was probably a momentous experience for those lucky to be there at the time. The recording is only a secondary experience. That does not mean of course that the music is not worth being recorded, on the contrary For Tune made exactly the right decision to include it in their catalogue, simply for what it is: unadulterated explosion of musical energy, which pays tribute to the glorious past. And since nobody else is doing anything remotely similar, even more so! I don´t know if the album´s title is a tribute to the fabulous Old And New DreamsFind albums by this artist ensemble, which by itself was a tribute to Ornette ColemanFind albums by this artist; regardless if this is intentional or not, it is certainly most appropriate.

Updated: 12/04/2019Posted:

CD 1 Recommend To A Friend

GORZYCKI & GRUCHOT ~ EXPERIMENTAL PSYCHOLOGY FOR TUNE 0021 (Barcode: 5902768701210) ~ POLAND ~ Jazz Recorded: 2013 Released: 2013 This is the debut album by a new duo, in which two Polish musicians combine forces to create new, experimental, adventurous music: drummer / percussionist / composer Rafal GorzyckiFind albums by this artist and violinist / composer Sebastian GruchotFind albums by this artist (resident since many years in Norway). Gorzycki is one of Poland´s most prolific and fascinating activist known to listeners of contemporary Polish music from his activities as a member of such ensembles as Sing Sing PenelopeFind albums by this artist, Ecstasy ProjectFind albums by this artist and other collaborations. Gruchot also participated on several Sing Sing Penelope albums, but most of his work is in the sphere of contemporary Classical, Avant-Garde and electronic music. The album presents eight original pieces, seven of which were co-composed by the duo and the last one is by Gorzycki. The music is a wonderful glimpse into a new musical universe, which is intimate and often minimalistic, but extremely expressive and captivating. As difficult as it is to come up with something truly innovative these days, the duo manages to do it brilliantly. The seemingly endless array of percussive sounds, rhythms and patterns that Gorzycki manages to produce is simply awe-inspiring. He is one of the very few drummers, who actually play on their instrument, rather than beat the hell out of it. Gruchot is an ideal partner in this process, as his idiosyncratic contribution on strings or electronics are also very "percussive" and compliment the sounds produced by Gorzycki. There is very little melody here in the conventional sense, and it is up to the listener to discover and possibly to weave his own melodic content around the ambient vistas produced by the duo. Perhaps this is an opening of a new Art Form, where the listener actually participates with the musicians in the process of creation on an imaginary plane, or perhaps it´s just my feverish imagination. In any case this music is definitely something else in every sense. In his liner notes Gorzycki says that he wanted to move away from the familiar Jazz patterns he operated within for many years. He surely managed to do it here, but rather than abandoning them he transformed them into new tools of expression. True, this is not straightforward Jazz in any sense, but why should it be. The path of constant progress, discovery and exploration is the only true path of every Artist, and we, the audience in this case, should be grateful for the gift bestowed upon us as a result. This is definitely one of the best experimental albums recorded in Poland in 2013 and hopefully will be discovered by open-minded listeners. I ca only salute Gorzycki & Gruchot for being honest to themselves and doing their own thing. Chapeau!

Updated: 12/04/2019Posted:

CD 1 Recommend To A Friend

OBARA INTERNATIONAL ~ LIVE AT MANGGHA FOR TUNE 0022 ~ POLAND ~ Jazz Recorded: 2013 Released: 2013 This is the second album by the international quartet led by Polish Jazz saxophonist / composer Maciej ObaraFind albums by this artist, called Obara InternationalFind albums by this artist, which also includes the superb Polish pianist Dominik WaniaFind albums by this artist and a Norwegian rhythm section: bassist Ole Morten VaganFind albums by this artist and drummer Gard NilssenFind albums by this artist. The album, which was recorded live, comprises of six pieces, five of which are original compositions by Obara and the remaining one is by Krzysztof KomedaFind albums by this artist, to whom this group dedicated their debut album, simply called "KomedaFind albums with this title". The music is placed somewhere between Free Form and contemporary Modern Jazz of the European variety. Most of the tunes get an expanded treatment, which includes extensive solo and group improvisations, and last around ten minutes each except one tune which is almost twice as long and the closing track which is a brief farewell. Although the melodic content is clearly recognizable, it is kept somewhat in the background, as if on a separate plane, and the improvisations are the focal point of this music, changing in tempi and intensity, but always out there on the forefront. The level of musicianship involved herein is truly admirable and of the highest standing by any standard. This is by far not easy music and the amount of technique, talent and sophistication required in order to play it is simply astounding, not to mention the emotional tension. The entire concert portrays a wonderful flow of energy between the quartet members and of course the combined creative power of the quartet is even greater than the sum of the individual statements. Personally I enjoy the contributions by the pianist most of all. Wania, whom I´ve been watching carefully for a few years now, is definitely one of the greatest promises of Polish Jazz and is destined to get places. His brilliant work on this album, both as a soloist and as an ensemble member, is simply outstanding. Obara is a great player as well, of course, but his melancholy and mellow tone often seem to push the music somewhat backwards into the mainstream conformity. The Norwegian rhythm section is solid and reliable, when needed, and inventive and spontaneous when the music calls for it, in short they play splendidly, as only the Scandinavian rhythm sections can. Overall this is another musical gem that the Polish For Tune label manages to put out for the world to hear and admire. The sound quality, separation and warmth are incredible considering the fact that this is a live recording. European Jazz connoisseurs are expected to lick their fingers upon exposure to this wonderful music. Well done gentlemen! BTW Obara´s Polish quartet uses the excellent RGGFind albums by this artist rhythm section: bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist, which of course is also a dreamy team, so where is their next album I ask?

CD 1 Recommend To A Friend

PIOTR DAMASIEWICZ ~ MNEMOTAKSJA FOR TUNE 0028 ~ POLAND ~ Jazz Recorded: 2009 Released: 2014 This is the debut album by the Polish Jazz quartet led by trumpeter / composer Piotr DamasiewiczFind albums by this artist, which also includes saxophonist Gerard LebikFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Wojciech RomanowskiFind albums by this artist. The music was conceived and created around 2008 / 2009, when the quartet played and rehearsed inside the Baptist Church in the center of Wroclaw, and where it was also eventually recorded live but without audience. It was available as an obscure private edition in a CD-R version and finally got its long overdue formal release, after a careful remix and sonic improvement by the excellent For Tune label. The album consists of ten original compositions, nine of which are by Damasiewicz and one by Garbowski. There is no doubt that Damasiewicz manages to establish a well deserved position as one of the top young Polish Jazz trumpeters on the contemporary scene, which is not by any means self-understandable considering the truly fierce competition and incredible flow of talent in that area. It is worth to compare this album with the trio recording Garbowski and Damasiewicz made at about the same time, called "ElementsFind albums with this title", which to some extent has a similar atmosphere. Stylistically the album sounds quite "retro", resembling the glorious moments when modern Polish Jazz was at the first peak of its aesthetic and artistic development, led by the Godfathers of the genre like Krzysztof KomedaFind albums by this artist, Tomasz StankoFind albums by this artist and others. The compositions are very much in the same mood as the music played then: romantic, minimalistic, delicate and full of lyricism and intrinsic melancholy. The same elements that made that music created half a Century ago completely eternal and outside of the time scale, are at work here as well. This music might have been made any time between the 1960s and now and would have fitted perfectly, being simply aloof from fads and fashions. The performances are also exceptional in every respect, both individually and collectively. Everything is kept in a relaxed, but disciplined mode, with conversation between the musicians being kept at the epicenter. The solos are inconspicuous, emerging slowly from the melodic heads, gently prompted by the superb rhythm section, which demonstrates an incredible affinity towards the music at all times, being as much creative as the two horns every step of the way. Garbowski has already an established record as one of the leading Polish Jazz bassists, but Romanowski, who also cooperates with another superb Polish Jazz trumpeter, Artur MajewskiFind albums by this artist, is a true discovery herein. Overall this is definitely one of the strongest and most significant statements on the Polish Jazz scene in the last decade, even though Damasiewicz has moved on in the meantime towards more improvised music beyond any stylistic conventions. Even if this album should remain as his only contribution to modern Polish Jazz in the true sense of the Jazz tradition, it will still be a remarkable achievement. This is also one of the most remarkable albums in the fast growing catalogue of the For Tune label, certainly from a historic perspective. Undoubtedly this is an album every true connoisseur of Jazz will cherish in his collection and return to repeatedly.

CD 1 Mini-Sleeve Recommend To A Friend

INFANT JOY QUINTET ~ NEW GHOSTS FOR TUNE 0029 (Barcode: 5902768701319) ~ POLAND ~ Jazz Recorded: 2013 Released: 2014 This is the debut recording by the Polish Improvised Music ensemble Infant Joy QuintetFind albums by this artist, which consists of British (resident in Warsaw) saxophonist Ray DickatyFind albums by this artist, and Polish musicians: saxophonist Jan MalkowskiFind albums by this artist, bassist Ksawery WojcinskiFind albums by this artist and drummers Michal KasperekFind albums by this artist and Dominik MokrzewskiFind albums by this artist. Harmonica player Laura WaniekFind albums by this artist appears as a guest artist. The album presents three extensive improvisations, one of which is almost half an hour in duration, all credited to all the quintet members. With a double saxophone / double drums lineup the quintet presents a solid showcase of concentrated group improvisation, which keeps a pretty steady level of intensity from the very first seconds the music starts to play till the very end, leaving almost no place for individual expression. The "wall of sound" effect hints (in addition to the album´s title) as to the intention of the musicians to pay tribute to the legendary Albert AylerFind albums by this artist, which is only partly successful. Wojcinski, who is left alone in the "center" of this music, manages to keep the havoc in check, and his energetic, but well structured bass pulsations save the entire proceedings from disintegration. Collective improvisation is of course based primarily not on the ability of the musicians to play but rather on their ability to listen to what the other ensemble members play. On this album it often appears as if the mutual listening is secondary. Overall this is a typical Improvised Music meeting, all a spur of the moment, completely unique and unrepeatable. As such it has its merits and is worth listening to, but there is hardly any groundbreaking, innovative or extraordinary statement being made here. It is important to listen to such music live but on record it loses its charm considerably.

CD 1 Recommend To A Friend

3D: DABROWSKI DAVIS DRURY ~ VERMILION TREE FOR TUNE 0030 (Barcode: 5902768701302) ~ POLAND ~ Jazz Recorded: 2012 Released: 2014 This is the debut album by a trio comprised of Polish Jazz trumpeter Tomasz DabrowskiFind albums by this artist with American (Canadian born) female pianist Kris DavisFind albums by this artist and drummer Andrew DruryFind albums by this artist. All three are considered as some of the most gifted young generation Jazz performers / composers today. The album includes fourteen relatively short pieces, eight of which are co-credited to the entire trio; five are composed by Dabrowski and one by Drury. The music is mostly entirely freely improvised, devoid of any melodic or harmonic structure and tends to develop almost accidentally, sometimes at a painfully slow paste. Not all three musicians play along at all times, which results in solo, duo and trio passages being played interchangeably. Dambrowski´s playing, which dominates these proceedings, tends occasionally to produce melodic lines, especially in the tunes he is credited for as composer, but those moments are definitely less frequent. Improvised Music´s most important quality is the level of cooperation, interplay and telepathic understanding between the participants, which in my opinion this album sadly lacks most of the time. I have been following Dambrowski´s career and his recordings for several years and it seems to me that he is not entirely comfortable musically in this setting. He is after all a melodic player, even when he allows a lot freedom and space in his performances, and a completely free / improvised environment is limiting is abilities. This is the reason why he sounds absolutely best when the plays melodic themes, which are the true pinnacle of this session. During the freely improvised accidental passages the trio sounds disjoined and aesthetically barren. As much as I love Free Jazz / Improvised Music, this album somehow leaves me mostly cold, in spite of my continuous support for Dabrowski´s efforts. His other recordings flirting with improvised music were all superb, so perhaps it´s a result of his partners on this particular session, or juts a matter of circumstance. After all, this particular album is just one of many recordings by Dabrowski, most of which are absolutely splendid efforts, and many others will surely follow, so I´ll let bygones be bygones.

CD 1 Recommend To A Friend

ORANGE THE JUICE ~ THE DRUG OF CHOICE FOR TUNE 0031 (Barcode: 5902768701333) ~ POLAND ~ Pop & Rock Recorded: 2012 Released: 2014 This is a live recording by Polish alternative Rock group Orange The JuiceFind albums by this artist, which appears here both in audio and video formats with almost identical contents. The band comprises of vocalist Konrad ZawadzkiFind albums by this artist, guitarist Dawid LewandowskiFind albums by this artist, saxophonist Mariusz GodzinaFind albums by this artist, keyboardist / cornetist Marcin Albert SteczkowskiFind albums by this artist, bassist Marcin JadachFind albums by this artist and drummer Jan KiedrzynskiFind albums by this artist. Guest musicians include vocalist Ida ZalewskaFind albums by this artist and an extended brass section. The album presents fourteen original songs, all but one composed by the entire group with lyrics written by Zawadzki. As appropriate for a Polish alternative / Avant-Garde Rock ensemble, Orange The Juice stretch the borders of the genre by expanding into such extremely disassociated idioms as Death Metal and Free Jazz. Strangely enough and against all odds this bizarre amalgam works very well overall and this is definitely a challenging, but superbly executed and highly interesting piece of contemporary music. The ensemble freely ignores all conventions and limitations, jumping within one tune from hysteric Death Metal screams, via melodic ballad into an improvised Jazz section, somehow managing to connect the dots very effectively. Of course such daring approach is only justified if it is based on real music, which of course is true in this case. Judging by the group´s success on the local scene in the time following this live recording, which (at the time of writing these notes) is already three years old, it seems that the potential they show here was fully realized. It is recommended to lend the listener´s ear to this, now archival, recording in order to follow their development and see the roots of their music. Satisfaction guaranteed!

Updated: 28/10/2019Posted:

CD+DVD 2 Recommend To A Friend

MAZUR NEURINGER DUO ~ THE KRAKOW LETTERS FOR TUNE 0032 ~ POLAND ~ Jazz Recorded: 2012 Released: 2014 This is the fourth release that documents the music of the duo comprising of Polish Avant-Garde / Jazz acoustic bass guitarist Rafal MazurFind albums by this artist and American saxophonist and interdisciplinary Artist Keir NeuringerFind albums by this artist. The duo has been active since 1999 after meeting in Krakow. The album presents four lengthy improvised pieces, recorded live, all credited to both partners. There is no doubt that these two musicians communicate on a telepathic level and their virtuosity is simply stunning. However, listening to this music might prove to be way beyond even most adventurous listener because of its incredible intensity and total dedication. The music is completely devoid of melodic element and the staccato lines lasting for quarter of an hour are a challenge. But on purely artistic level and for diehard Free / Improvised fans this music is simply phenomenal. The sheer "impossibility" to actually play it already makes it fascinating and considering the rapport and dialogue present herein at every moment simply nail it completely. There is an intrinsic intellectual beauty to this music, even if the totally emotional form might exclude intellectualism by definition. Nevertheless this fascinating contrast keeps the listener on his toes for the entire duration of the album. Since I´m not familiar with their previous adventures, I´ll definitely have to investigate those now, after listening to this album. The other enigma is of course the ability of Neuringer to play in an uninterruptable stream lasting for many minutes. Is he using circular breathing? Perhaps this music is primarily meant to be heard live, and a recording transfers the listening experience with some, if not a significant loss of the overall effect. If this album is a "muffled" experience, the real deal must have been totally scary. Ye brave hearted free spirits unite!

Updated: 12/04/2019Posted:

CD 1 Mini-Sleeve Recommend To A Friend

CHES SMITH / THESE ARCHES ~ INTERNATIONAL HOOHAH FOR TUNE 0033 (Barcode: 5902768701326) ~ USA ~ Jazz Recorded: 2012 Released: 2014 This is a live recording of the American quintet These ArchesFind albums by this artist, led by drummer / composer Ches SmithFind albums by this artist and also including guitarist Mary HalvorsonFind albums by this artist, accordionist Andrea ParkinsFind albums by this artist and saxophonists Tim BerneFind albums by this artist and Tony MalabyFind albums by this artist. The album was recorded during the quintet´s performance at the Warsaw Summer Jazz Days Festival at the Soho Factory neighborhood. The album presents six original compositions, all by Smith. The leader is a familiar face on the contemporary American music scene, as a performer with a variety of different groups and environments, including Rock. The two female players are considered as some of the most interesting players on the scene since the turn of the Century with extensive recorded legacy and the two saxophonists have a well established reputation going way back. The combined talents of these musicians have a huge potential, but sadly it does not materialize here. The music is typical American modern Jazz with some tendencies towards Free and Avant-Garde, but mostly within the accepted boundaries of ambitious modernist mainstream. The compositions, although marginally interesting, are unimpressive and present no innovation or conceptual discovery. The performances are all highly professional, but seem to lack any enthusiasm or human emotion, even when the participants are interacting seemingly on a visceral plane. There is quite a lot happening on the stage, but if it is going anywhere remains an unresolved issue, at least in my case. By the time one gets to the last moments of this album there is a sadness and a deep feel if disappointment, as to what might have happened as opposed to what did happen. Regardless of how great these musicians are technically, the main issue after all remains if they have anything to say to the listener. In this case one would need to presume that perhaps they simply didn´t? Of course I suppose that many modern Jazz enthusiasts will find this album interesting enough, even if only as a result of the respect we all have for the musicians involved. But judged purely by its musical merits, however, this album is a poor statement.

Updated: 12/04/2019Posted:

CD 1 Recommend To A Friend

TRZY DNI POZNIEJ ~ POKOJ JEJ CIENIOM FOR TUNE 0034 (Barcode: 5902768701364) ~ POLAND ~ World Music & Folklore Recorded: 2014 Released: 2014 This is the third album by the Polish female vocal trio Trzy Dni PozniejFind albums by this artist, which comprises of Marta Groffik-PerchelFind albums by this artist, Marta PiwowarFind albums by this artist and Joanna Piwowar-AntosiewiczFind albums by this artist. On this album the trio is accompanied by violist Pawel OdorowiczFind albums by this artist and electronic sound devices operated by Joanna and Pawel are also employed. The album presents eleven pieces, eight of which were composed by Joanna and three are Polish folk melodies arranged by the ensemble. Joanna also wrote all the lyrics except for one piece which uses a poem by Rainer Maria RilkeFind albums by this artist. The concept of this song cycle can be describes as "for women by women", as it is dedicated to the singers´ grandmothers and is inspired by works of two extraordinary Lower Silesian women: the writings by poetess Anna Louisa KarshFind albums by this artist, who lived in 18th Century Prussia, which ruled parts of Lower Silesia at the time and the memoirs and poems by Ester GolanFind albums by this artist (born Ester Dobkowsky), who survived the Holocaust as a child in England while her Jewish family perished, and who lives in Israel since 1945, famous for her interfaith dialogue activities. The musical content is a completely cross-genre amalgam of a myriad of different references, including Polish folklore but also ambient / electronic music, minimalism, contemporary choral music, alternative Pop, Jazz improvisation, grunge Rock and so on. The melodic scope is mostly melancholic and introvert, which fits the overall contemplative nature of this project. The lyrics are all quite poetic, inspired by folkloristic motifs but using a modern free form verse, often ignoring rhyming rules and full of other linguistic peculiarities. The most striking effect of this music is of course the exquisite usage of unisono parts performed by the three vocalists. I admit the fact that I have a soft spot for the human voice, but the sheer beauty of these three voices combined is almost superhuman. Joined by the eerie electronics and other background sounds the vocal parts are so effective, that they become irresistible. Of course one has to appreciate, on the intellectual level, the attention that went into combining all these elements together to create this astonishing effect. The contrasting viola parts are also wonderful ingredients of the entire soundscape. There is no doubt that this is one of the most intriguing and fascinating albums released in Poland in 2014. Different and separate from any form of mainstream music, intelligent, passionate and uncompromising, this should be model for others to follow. This is a music for all seasons, which combines the respect for the past with the burning desire to innovate and create; music which escapes all genre limitations and is simply universal. My wholehearted gratitude goes to the brave women behind this music and to For Tune for bringing it to the attention of the world. God bless!

CD 1 Recommend To A Friend

MAGNOLIA ACOUSTIC QUARTET ~ CINDERELLA FOR TUNE 0035 (Barcode: 5902768701357) ~ POLAND ~ Jazz Recorded: 2012 Released: 2014 This is the second album by Polish Jazz ensemble Magnolia Acoustic QuartetFind albums by this artist, which comprises of saxophonist Szymon NidzworskiFind albums by this artist, pianist Kuba SokolowskiFind albums by this artist and the brotherly rhythm section: bassist Mateusz DoboszFind albums by this artist and drummer Patryk DoboszFind albums by this artist. They perform six original compositions, all by Sokolowski (with one of the tunes inspired by a Yoko OnoFind albums by this artist piece). This album faces a series of obstacles: the "second album" syndrome, the fact that the guest musicians on their debut album are not present here, the fact that the music is entirely "home made", and so on. The only thing in common is the fact that this album was also recorded live. In comparison to its predecessor, musically this album is characterized by a much spacey, less melodic and freer approach, sometimes almost minimalistic. Most importantly the music is much more open and allows for delicate and intimate conversations between the quartet members. Although recorded just a short time apart, the quartet seems to be much mature, with the youthful energy and vivacity being replaced by elegant thoughtfulness. Of course this might result for some listeners / critics to evaluate this album as less impressive and immediate, but personally I happen to think that is simply different, but still very impressive. I have already mentioned the Dobosz BrothersFind albums by this artist as potential candidates to the title of upcoming sibling rhythm section in Polish Jazz. Their performances here are no less convincing and they are definitely worth of close attention. Sokolowski plays a much more extensive role on this album that previously, which allows us to discover his subtle lyricism. Nidzworski is the true free spirit, pushing the boundaries of the quartet constantly towards terra incognita. Overall this is another impressive achievement of a very promising young ensemble, which managed to overcome the a.m. obstacles with flying colors. Yes, this album is more challenging and less immediately likeable that the excellent debut, but patience has its rewards, which in this case are truly worth waiting for. Well done!

CD 1 Recommend To A Friend

WACLAW ZIMPEL TO TU ORCHESTRA ~ NATURE MOVES FOR TUNE 0036 (Barcode: 5902768701340) ~ POLAND ~ Jazz-World Fusion Recorded: 2013 Released: 2014 This is the debut album by Polish Jazz clarinetist / composer / bandleader Waclaw ZimpelFind albums by this artist and his nonet called To Tu OrchestraFind albums by this artist (the name is probably a wink in the direction of the legendary Warsaw club Pardon, To Tu), which includes saxophonist Pawel PostaremczakFind albums by this artist, flautist Dominik StrycharskiFind albums by this artist, hurdy-gurdy player Maciej CierlinskiFind albums by this artist, pianist Jacek KitaFind albums by this artist, bassists Wojciech TraczykFind albums by this artist and Mike MajkowskiFind albums by this artist and drummers Pawel SzpuraFind albums by this artist and Hubert ZemlerFind albums by this artist. The album includes six original compositions, arranged into three mini suites, of one, three and two parts respectively. The music is in many respects a continuation of Zimpel´s earlier work with the group Hera, which combines elements of Avant-Garde, Jazz and contemporary Classical music with World Music from all over the world. The strongest influence on this album is minimal music pioneered decades earlier by Philip GlassFind albums by this artist, Steve ReichFind albums by this artist, Terry RileyFind albums by this artist and others, which Zimpel embraces, most evidently in the first of the three mini suites but in fact throughout the entire album. The repeated structures returning cyclically, typical in minimal music, which are normally produced by electronic or acoustic orchestral patterns, are created here by World Music patterns, like Balinese gamelan music, slowly changing and intensifying until they reach a massive sound, but do not reach an expected crescendo. Minimalism continues to be present in the rest of the compositions, simply changing the geographic colorization, using Japanese, Middle Eastern and other folkloristic influences. Zimpel is undoubtedly a master of atmosphere and building tension, which accompany his earlier work as well, but come to a fruition and perfection on this album. The large ensemble allows him to "paint" much denser multilayered vistas, which move freely in the World Music universe. The music does not actually get into Jazzy improvisation until the very last piece on the album, so listeners anticipating that facet of Zimpel´s music are in for a disappointment. What emerges here is a new type of minimal music which amalgamates the earlier forms of minimalism with World Music, creating a World Minimal Music. Zimpel evidently had a great fun creating this music and it is also very listenable, but the fundamental question as to what Zimpel wanted to achieve remains open, at least in my case. I have not been overwhelmed neither by the aesthetics nor by the musical result, which after all simply states nihil novi sub sole. But it is very well done for sure!

Updated: 12/04/2019Posted:

CD 1 Recommend To A Friend

LUKASZ BOROWICKI ~ PEOPLE, CATS & OBSTACLES FOR TUNE 0037 (Barcode: 5902768701371) ~ POLAND ~ Jazz Recorded: 2013 Released: 2014 This is the debut album by young Polish Jazz guitarist / composer Lukasz BorowickiFind albums by this artist, recorded in a trio format with Polish bassist Mariusz PrasniewskiFind albums by this artist and Danish drummer and frequent collaborator with Polish musicians Kasper Tom ChristiansenFind albums by this artist. Both Borowicki and Prasniewski studied at the Academy of Music in Odense (Denmark), as did many of Poland´s young Jazz musicians in recent years. The album presents nine original compositions recorded by the trio and a bonus track which is a solo guitar piece, all composed by Borowicki. The music is a surprising amalgam of many different elements, which create a unique musical perception, fascinating and absorbing right from the onset. Borowicki has a distinctive guitar sound, which is raw and distorted, somewhat similar to early John McLaughlinFind albums by this artist´s efforts. The melodies, or rather melodic fragments, are quirky and unstable, changing rapidly and continuously, and yet producing an overall coherent compositional whole. The same applies to the frequent tempo changes and improvisational approaches, which move within one piece between tightly knit interplay and completely free form, spacey improvisation. The overall effect of this unusual music is definitely fascinating and completely fresh. Considering the fact that guitar is the most popular instrument on this planet, it takes a truly ingenious musician to create something new with it, such as Borowicki manages to do in this case. The leader gets a most sympathetic support from his cohorts; Prasniewski is a wonderfully melodic player, who against all odds manages to keep the surreal paste of change this music demands, supporting the guitar every inch of the way. Christiansen, who is already a well seasoned musician and a superb composer on his own, is an ideal partner completing the trio. He plays sparingly and unobtrusively, but is right where he is needed at all times. In conclusion, this is a first class debut effort, which shows an enormous potential and talent that Borowicki represents which hopefully will mature and develop further in time. As a result of this album, he immediately becomes a worthy candidate to become one of the top Jazz guitar players in his country, a position which at the moment is rather sparingly populated.

CD 1 Recommend To A Friend

MYRCZEK & TOMASZEWSKI ~ LOVE REVISITED FOR TUNE 0038 (Barcode: 5902768701432) ~ POLAND ~ Jazz Recorded: 2013 Released: 2014 This is the debut album by the Polish Jazz duo: vocalist Wojciech MyrczekFind albums by this artist and pianist Pawel TomaszewskiFind albums by this artist. Myrczek recorded his debut album three years earlier while he was still a student at the Katowice Academy of Music, where he is now a member of the faculty. Tomaszewski, a graduate of the same Academy, is a seasoned and much respected pianist with an impressive recorded legacy, mostly as a sideman. The album presents ten classic vocal standards performed by the duo, recorded in a Swiss studio with astounding sonic quality. In many respects this is the most surprising album released on the Polish Jazz scene in 2014. I mean the sheer chutzpah of these two guys fooling around with the holy grail of Jazz vocals? Who do they think they are? The trifling comparison often quoted in the duo´s PR material and other reviews referencing this album to the archetypal Tony BennettFind albums by this artist & Bill EvansFind albums by this artist albums from 1975 & 1977 is completely counterproductive in this case. This music sounds nothing like the referenced albums, which of course is all for the good, since letting the bygones be bygones is the only way to get anywhere. Initially the album has everything working against it. The Polish Jazz male vocalists are few and far between, and with rare exceptions are all quite insignificant. The standards all feature lyrics in English and Polish vocalist singing in English usually simply stink (again with very few exceptions). But most importantly: the concept of this duo, which places a vocalist, who uses conventional (well mostly) techniques against a pianist who plays completely unconventionally, often pretty wildly and freely, is absolutely atypical for a vocals / piano setting. And yet, against all odds, this album is simply a gem from start to finish. Myrczek arises as a gifted vocal magician, able to use a wide vocabulary of possibilities, from crooning sweetness to improvised scat, vocalese and imitating bass lines vocally. It is obvious that he is having a great time and there is no tension (other that creative tension of course) limiting his performances. Although there is not much innovation as far as Jazz singing is concerned, with obvious references ranging from Kurt EllingFind albums by this artist to Bobby McFerrinFind albums by this artist, the overall effect of his singing is simply irresistible. There is also an obvious pinch of humor omnipresent herein, most evident when Myrczek recites a fragment of a book in the Polish language in the middle of one of the songs. Even his English accent and pronunciation are only very slightly off, which can be considered as charming, rather than disturbing. Tomaszewski, in complete contrast to Myrczek, treats the music completely on his own terms, playing anything but what would normally be expected of him and taking liberties with the melodies, the chords and even the time, which although must have been very difficult for Myrczek to sing along with, is wonderfully effective, creating a much more expressive result than the usual vocals / piano setting. Comparing his work on his earlier recordings, including those featuring vocalists, his playing here is the more adventurous and daring than ever. His work on this album definitely marks him as one of the Polish Jazz pianists who deserve a much wider exposure than what he enjoys currently. So here we are again; the Polish Jazz scene is able to come up with another pleasant surprise, which is pretty astonishing, considering the overly excellent level of music released in Poland. The music this album offers is nothing but pure joy, elegance, class and panache, all of the highest caliber. It is definitely one of the nicest releases of 2014, which should stay with the listeners for many years to come. Another surprising element is the fact that this album was released by the For TuneFind albums on this label label, which is usually associated with Avant-Garde and other alternative music forms. It is heartwarming to see that the label recognized the fact that seemingly conventional music can also be challenging and adventurous. The album is the label´s debut on the new "pink" series (the exact meaning of the various colors of their releases is kept in deep secret), and regardless of the "pinkness", will be very had to beat.

Updated: 12/04/2019Posted:

CD 1 Recommend To A Friend

JACHNA / TARWID / KARCH ~ SUNDIAL FOR TUNE 0039 (Barcode: 5902768701418) ~ POLAND ~ Jazz Recorded: 2013 - 2014 Released: 2014 This is the debut album by Polish Jazz trio fronted by trumpeter / composer Wojciech JachnaFind albums by this artist with two very young newcomers to the scene, pianist Grzegorz TarwidFind albums by this artist and drummer Albert KarchFind albums by this artist. The album presents seven original compositions, one of which is repeated twice and another three times, producing ten tracks all together. The music includes individually composed pieces, others which are co-composed by Jachna and Tarwid and still others co-composed by all three members of the trio. In the last decade Jachna has been slowly, but firmly establishing his position as one of the top Polish Jazz trumpet players. His work with the Sing Sing PenelopeFind albums by this artist ensemble and his duets with drummer Jacek BuhlFind albums by this artist belong to some of the most impressive achievements of Polish Jazz during the last decade, which after all is densely populated in the trumpet department. In time he developed a unique voicing on both trumpet and flugelhorn, which for old people like me constantly bring fond reminiscences of the early days of Tomasz StankoFind albums by this artist. Jachna is not imitating Stanko nor is he trying consciously to sound like him, but his way of phrasing and the "dirty", coarse tone are simply so characteristic, that the immediate resemblance is unavoidable. The two youngsters share common music studies in Denmark, where hordes of young and talented Polish Jazz players go to polish their knowledge and chops, but most importantly they evidently share their talents and passion for music. Tarwid, who has been called a musical prodigy after winning several piano competitions at a ridiculous young age, proves that he is no gimmick and his piano work certainly fills the heart with hope for days to come. Karch, who studied with Polish Jazz drumming icon Czeslaw BartkowskiFind albums by this artist, is also quite a hot potato, as the music herein firmly confirms. Together the trio is definitely one of the freshest and most impressive new ensembles on the Polish Jazz scene and this debut emerges as one of the most striking recordings released in Poland this year. Everything that makes Polish Jazz so unique and outstanding is reflected on this album: a search for new ways to express emotions, a complete freedom from conventions, a disregard towards obvious and boring musical methodology and at the same time a deep respect towards the music´s profound tradition and aesthetics. As always, the fact that music of such magnitude can be produced by musicians of such remarkably young age is nothing short of astounding. The true depth of this music can be fully appreciated only if one takes a much broader view of it, beyond the Jazz conventions. It is no less relevant as a component of improvised chamber music, an imaginary ambient soundtrack or any other open minded musical exploration, which is genre free and at the same time cross-genre. Over the last decade I have invested a lot of emotions and hopes into Jachna´s music and it makes me extremely happy that he was able to come up with this culminating work, which was unquestionably worth waiting for. His choice of partners and his persistency finally came into fruition, which should make him and his companions tremendously proud. Chapeau to all the Young Lions!

CD 1 Recommend To A Friend

ADAM PIERONCZYK ~ A-TRANE NIGHTS FOR TUNE 0040 (Barcode: 5902768701395) ~ POLAND ~ Jazz Recorded: 2008 Released: 2014 This is an "archival" album by the veteran Polish Jazz saxophonist / composer Adam PieronczykFind albums by this artist and his quartet, which also includes Australian (living in Germany) trombonist / didgeridoo player Adrian MearsFind albums by this artist, American bassist Anthony CoxFind albums by this artist and Polish drummer Krzysztof DziedzicFind albums by this artist. The music was recorded live at the Berlin A-Trane International Jazz Club (hence the title) in 2008, immediately following the studio recording of the same material, which was released a couple of years later as "El BuscadorFind albums with this title" on the German JazzwerkstattFind albums on this label label, on which Pieronczyk releases his albums in the last few years. The album presents eight original compositions, seven of which were composed by Pieronczyk and one which was co-composed by Pieronczyk and Mears, exactly the same as the studio album and in almost identical sequence. Naturally these live versions are expanded and provide a much broader basis both for individual explorations and ensemble interplay. Three of the pieces have a duration of over fifteen minutes and two others of over ten minutes, which obviously emphasizes the relaxed atmosphere and creative frame of mind of the quartet members at the time. The music is quite deceiving, as it does sound a bit simplistic at first, but careful listening reveals a depth much beyond the exterior layer of the melodic themes in each of the pieces. There is an intrinsic dimension of freedom in this music, which never actually crosses over to the Avant-Garde or even free form, but is sufficiently removed from straightforward mainstream to be both aesthetically elegant and intellectually intriguing. As I have already said on previous occasions, Pieronczyk seems to have developed a niche of his own within modern Jazz, which came to full fruition on his recent solo saxophone album "The Planet Of Eternal LifeFind albums with this title". The sound of the quartet is another challenge; a pianoless saxophone and trombone / didgeridoo fronted ensemble is obviously significantly less "user friendly" than a traditional harmonically supported lineup. But whatever is lost from the absence of the piano is gained by the sonic space stretched between the brass instruments. The "air" or empty space plays a significant role in the overall effect the quartet members achieve collectively as a group. Of course the individual performances are all quite splendid. Pieronczyk has a superbly mellow tone, which contrasts nicely with the somewhat rough trombone and didgeridoo sound. The soloists are supported admirably by the rhythm section, which of course is solid like a rock and flexible like a breeze. Big kudos is due to For Tune for putting this music out and saving it from getting stale and lost in the tunnels of history, as it surely deserves to see the light of day and make the music lovers happy!

Updated: 12/04/2019Posted:

CD 2 Recommend To A Friend

KSAWERY WOJCINSKI ~ THE SOUL FOR TUNE 0041 (Barcode: 5902768701401) ~ POLAND ~ Jazz Recorded: 2013 Released: 2014 This is the debut solo album by the Polish Jazz bassist / composer Ksawery WojcinskiFind albums by this artist, best known for his work on the vibrant Polish Avant-Garde scene and his role in the HeraFind albums by this artist ensemble, led by Waclaw ZimpelFind albums by this artist. On this album Wojcinski plays bass, piano, guitar, drums and sings. The album comprises of thirteen tunes, eleven of which were composed by Wojcinski, one was co-composed by him and the sound engineer Michal KupiczFind albums by this artist and the remaining one is a traditional song. As much as I like musical experimentation and unconventional excursions, the music on this album leaves me completely cold. Although the album´s liner notes speak about a dialogue between the musician and the listener, personally I hear just a bunch of self indulgent ditties, which lack any consistence, don´t convey any musical message and make no aesthetic sense whatsoever. There is no doubt that Wojcinski is an excellent bassist, which he had plenty of opportunities to prove, and a sensitive musician. Somehow this music simply does not make any sense to me nor is it satisfactory on any of the planes I relate to music, like melody, harmony, improvisation, compositional depth and virtuosic performances. None of the above is present here as far as I am concerned. Of course solo albums are particularly difficult and perhaps Wojcinski is simply not ready yet to take such a heroic plunge? Or perhaps it is only me not getting it? I have no idea, but this is not something I´ll consider listening to again in the foreseeable future.

Updated: 12/04/2019Posted:

CD 1 Recommend To A Friend

NIKOLA KOLODZIEJCZYK ORCHESTRA ~ CHORD NATION FOR TUNE 0042 (Barcode: 5902768701487) ~ POLAND ~ Jazz Recorded: 2011 Released: 2014 This is the debut album by young Polish Jazz pianist / composer / bandleader Nikola KolodziejczykFind albums by this artist, recorded by a twenty five piece orchestra, with members who originate from three different countries, which presents a five-part suite, which in turn is a hybrid of contemporary Classical music, classic mainstream Big Band and Free Jazz / Improvised music. There is no doubt that this is a very ambitious project, brought into reality against all odds and one that refuses to compromise and takes no prisoners. Although highly motivated and certainly ingenious, this project is not quite as revolutionary or innovative as one might imagine. In fact it continues the European orchestral Jazz tradition, which followed a different path from the American orchestral Jazz tradition, which flourished in the US in the early 20th Century and was than imported into Europe and mimicked for a few decades until the emancipation of the European Jazz in the 1960s. Since than a long line of superb European Jazz orchestras carried the torch towards new horizons, starting with the British orchestras led by Neil ArdleyFind albums by this artist, Michael GibbsFind albums by this artist, Mike WestbrookFind albums by this artist and many others and than gradually spread across Europe and even behind the Iron Curtain, with such notable bandleaders as Gunter HampelFind albums by this artist, Hans KollerFind albums by this artist, Martial SolalFind albums by this artist, Gustav BromFind albums by this artist and such distinguished ensembles as the NDR Big BandFind albums by this artist, the Vienna Art OrchestraFind albums by this artist and so many others. Many of these European Jazz orchestras often use similar characteristic devices to those used in the process of making the music heard on this album: switching between melodic mainstream Big Band parts and freely improvised passages, using string arrangements and wordless human vocalese, in short the typical palette of contemporary European Jazz orchestral music. Considering Kolodziejczyk´s age, limited experience, restricted resources and all the obstacles that he had to confront in order to record this album, one must admit that this is a remarkable achievement, not only from the aesthetic perspective but also from the pure organizational one. But of course most listeners are not really interested in the behind the scenes of music making and judge it by what they hear. As far as the music is concerned, Kolodziejczyk presents a collection of sonic plateaus, which intertwine and develop slowly, and are best listened to in the sequence dictated by the album´s tracks and as a whole. The separate parts of the suite do not really stand on their own, as the melodic content of the entire proceedings is relatively limited. To use a metaphor from a different media, the suite makes sense the same way a complete canvas of a painting makes sense, and wouldn´t do so if looked at when sliced into several pieces. At times one might get the impression that this music is more about "how" than about "what". Kolodziejczyk is obviously enamored with the bag of tricks that are at his disposal as a composer / orchestrator, and with the sound of the orchestra, much more than with the actual compositions, and as a result we get a complex baroque musical structure, supported by quite simple foundations. Sometimes the instinctive urge to show as much of one´s talents as possible, here and now, can prove hazardous. This often happens to young and talented artists and is quite meaningless in a long range, provided that Kolodziejczyk is treating this project as just one of many lessons he has to go through during his long and hopefully very successful career. All in all this is a very impressive, ambitious and unusual debut album by an obviously talented musician / composer, who presents enormous potential, which hopefully will be fully realized in his future projects. Since orchestral Jazz albums are extremely rare, this is even more of a valuable contribution to the Polish Jazz scene. Thanks to For Tune for finally releasing this album, over three years after it was recorded, it´s certainly better off now in the open for all music lovers to enjoy. I am anxiously waiting for the next project.

CD 1 Recommend To A Friend

LESZEK KULAKOWSKI ~ LOOKING AHEAD FOR TUNE 0043 (Barcode: 5902768701524) ~ POLAND ~ Jazz Recorded: 2014 Released: 2014 In the last few years preceding the release of this album celebrated Polish Jazz pianist / composer Leszek KulakowskiFind albums by this artist concentrated on producing large orchestral works, which had either no direct connection to Jazz while pushing the boundaries of contemporary Classical idiom or floated somewhere within the Jazz-Classical Fusion, combining the two genres. Therefore this album comes as most welcome return to his Jazz roots. Recorded in a sextet setting with German trumpeter Christoph TitzFind albums by this artist, saxophonist Tomasz GrzegorskiFind albums by this artist, cellist Krzysztof LenczowskiFind albums by this artist, bassist Piotr KulakowskiFind albums by this artist and drummer Tomasz SowinskiFind albums by this artist, the album presents nine original compositions, all by Leszek Kulakowski. Kulakowski was always first and foremost a superb song-weaver, which is very evident on this album from start to finish. The various melodies are the deepest root of this music, which then gets expanded into the modern mainstream language, floating gently and elegantly from one tune to another, caressed and pampered on its way by the musicians, who add their individual touches. There is plenty of freedom and breathing space within this music to inspire a relaxed, moderate approach by the players, which proves to be ideal in this context. Of course certain traces of Classical compositional tricks and arrangement devices can be picked up by the experienced listeners. The overall atmosphere of this recording is reminiscent of the Scandinavian sound, more so than to the usual Polish Jazz recordings. A certain ECM-ism can also be detected. The individual contributions by its participants are another forte of this album; everybody´s playing sounds truly inspired here. Titz is a wonderful trumpeter, who somehow never really gets the credit for his work that he usually deserves. His performances on this albums rank among his best work done on record, and although his phrasing derives from other great European trumpet Masters, his deep lyricism and feel are uniquely his own. The most surprising and at the same time impressive soloist on this album is the young cellist Krzysztof Lenczowski, whose name pops up on the local scene with a feverish frequency and in some most unexpected places, in addition to his regular work with the Atom String QuartetFind albums by this artist. Kulakowski relays on his solo parts in several of the compositions presented here, and his decision to engage Lenczowski in this project pays off splendidly. Grzegorski and Kulakowski also play some excellent solos in the various tunes, which perhaps are less spectacular but no less expressive and supportive in the common effort invested to create this music. The rhythm section is extremely supportive throughout and plays with precision and sensitivity, exactly when and as needed. In many respects this is probably the most "conventional" album released by the For TuneFind albums on this label label so far and it´s good to see that the people running the label have no preconceptions overshadowing their judgment and recognize great music even if it is decently (but not to conservatively) dressed. It´s good to see Kulakowski playing and composing Jazz again, especially when the music is as good as what we can hear on this album. Chapeau bas indeed!

CD 1 Recommend To A Friend

GRAZYNA AUGUSCIK ORCHESTAR ~ INSPIRED BY LUTOSLAWSKI FOR TUNE 0044 (Barcode: 5902768701470) ~ POLAND ~ Jazz-World Fusion Recorded: 2013 Released: 2014 This extraordinary album is a superb example of intelligent contemporary music, which is completely unlimited by the imaginary bounds set up by genres and other labeling concepts. Polish vocalist Grazyna AuguscikFind albums by this artist embarked on this ambitious project with the help of some of the most important musicians on the Polish scene, who cover a wide scope of stylistic spheres including Classical Music, Folklore and Jazz, all of which have been already visited by her during her prolific career. The music combines Polish Folk songs and the work of the esteemed Polish modern Classical composer Witold LutoslawskiFind albums by this artist, which were based on or inspired by Polish Folklore. Lutoslawski, like all the composers living and working behind the Iron Curtain, was forced (directly or indirectly) by the regimes ruling Eastern Europe at the time, to include folkloristic motives in his compositions, often completely artificially and against all aesthetic or compositional reasoning. The refusal to do so would effectively mean an artistic ban by the authorities and in extreme cases political persecution. The compositions included here were created by Lutoslawski in the 1950s, the most oppressive period in the Socialist era, and for many years thereafter were considered as his less important and definitely less appreciated works. However, in retrospect the composer´s genius obviously overcame the obstacles and this music turns out to be a completely relevant component of his grand legacy. Auguscik combined forces with the brilliant keyboardist / composer / arranger Jan SmoczynskiFind albums by this artist, who was entrusted with the enormous task of arranging all the music, both the Classical and Folklore pieces, and than participate in the recording, as well as being the sound engineer, since the recording took place in his now legendary Studio Tokarnia, with spectacular sonic results, as usual in his case. In many respects this album is as much a credit to Auguscik as it is to Jan Smoczynski. The research of the Polish Folklore as well as the leadership of the ensemble performing the folk songs was left in the hands of violinist Janusz PrusinowskiFind albums by this artist. Overall twelve musicians take part in the entire project in addition to Auguscik, who sings the lead vocals: the Jan Smoczynski Trio (with bassist Wojciech PulcynFind albums by this artist, drummer Tomasz WaldowskiFind albums by this artist and vocalist Sylwia SmoczynskaFind albums by this artist), the Janusz Prusinowski Trio (with clarinetist Michal ZakFind albums by this artist, percussionist Piotr PiszczatowskiFind albums by this artist and bassist Piotr ZgorzelskiFind albums by this artist) and Poland´s most celebrated string quartet, the Atom String QuartetFind albums by this artist (violinists Dawid LubowiczFind albums by this artist and Mateusz SmoczynskiFind albums by this artist, violist Michal ZaborskiFind albums by this artist and cellist Krzysztof LenczowskiFind albums by this artist). The album comprises of twelve pieces (and a radio edit bonus), ranging from "pure" folklore songs, which were the original songs upon which Lutoslawski based his compositions, to more arranged pieces of folk songs and Lutoslawski´s pieces performed by the ensemble and finally to a quite Jazzy songs based on folkloristic motifs. In spite of the variety and wealth of the musical material the album creates a coherent and aesthetically pleasing outcome, which is a music connoisseur´s wet dream. The beautiful arrangements, passionate performance and depth of respect for the Polish musical tradition and legacy are all combined herein with truly spectacular results. Auguscik takes a step back from the limelight on this album, preferring to play the role of an integrator rather than the leading person. She sings beautifully, as always, but with less spectacular attitude, almost leaving out completely her Jazzy improvisations and vocalese acrobatics, which are her trademarks. This is a very courageous artistic decision, for which she deserves a lot of respect. There is no doubt that this is definitely one of the most important and beautiful albums released in Poland in 2014, a "complete" multi-layered, multi-faced effort involving the talents of many wonderful musicians and setting a golden standard for future projects, which will be very difficult to match end even more so to rise above. Polish music scene and Polish Culture is glorified by this project, which should make all Poles proud. Being realistic, however, it will probably reach only e very limited scope of listeners, which of course is tragic. My deepest thanks to everybody involved in this project for the pleasure it causes to this humble listener.

CD 1 Recommend To A Friend

TOMASZ DABROWSKI / TOM TRIO ~ RADICAL MOVES FOR TUNE 0045 (Barcode: 5902768701517) ~ POLAND ~ Jazz Recorded: 2013 Released: 2014 This is the second album by the Tom TrioFind albums by this artist, led by Polish (resident in Denmark) Jazz trumpeter Tomasz DabrowskiFind albums by this artist and including Danish bassist Nils Bo DavidsenFind albums by this artist and drummer Anders MogensenFind albums by this artist. The music consists of ten original compositions, all by Dabrowski, and it was recorded at the fabulous Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, with excellent sonic results. Contrary to the album´s ominous title, this album does not offer any radical developments as such, and is consistent with the path Dabrowski follows since a few years to achieve his personal voice as a trumpeter and composer, which has been quite remarkable. There is no doubt that he is today not only one of the top Polish Jazz trumpeters, but also one of top European trumpeters, a position he earned by numerous recordings in stylistically diverse setups, always delivering a top notch contribution. Musically Dabrowski seems to be most comfortable in the "organized Free" environment, when his statements have a solid melodic / harmonic basis underneath, which allows him to stretch his improvisations with flare and passion. The decision to present his music in the intimate trio setting is probably motivated by the fact that the trio allows the most concise ensemble solution enabling the closest interplay possible between the participants. This music is totally dependent on mutual exchange and support and would fail to achieve anything if such complete synthesis did not happen. Fortunately it does happen, from start to finish, elevating the music to a highly aesthetic plane. In spite of the nakedness of the trio setting, the overall effect of the trio is so eventful and intense, that it creates an illusion of a much larger ensemble at work. The role of the rhythm section in this type of music is radically different from the traditional position, which is to support the leader harmonically and rhythmically without getting involved with his solo parts. The music presented here is fully co-created by all three musicians, on equal footing. Dabrowski is naturally the most distinctive voice, playing the lead instrument, but everything that is happening in parallel to his playing as equally important each and very step of the way. People familiar with Dabrowski´s music are used by now to the incredible high standards he sets for himself, pushing them ever forward. This album is another step in the right direction, displaying signs of maturity and reflection rather than youthful enthusiasm. This is perhaps the most contemplative music he ever attempted, offering new vistas of his inner self as composer and performer. Of course music of such complexity and emotional weight requires attentive and often repetitive listening to be fully absorbed and appreciated. Connoisseurs of modern Free Form, but coherent Jazz will find this music fully and beautifully rewarding.

CD 1 Recommend To A Friend

YELLS AT EELS ~ IN QUIET WATERS FOR TUNE 0046 (Barcode: 5902768701463) ~ USA ~ Jazz Recorded: 2013 Released: 2014 This is the sixth album by American (from Dallas, Texas) trio Yells At EelsFind albums by this artist, led by trumpeter Dennis GonzalezFind albums by this artist with his two sons: bassist Aaron GonzalesFind albums by this artist and drummer Stefan GonzalezFind albums by this artist. Each of them plays many additional instruments and therefore the trio could be describes as a multi-instrumental trio. The album presents ten original tracks, composed separately or collectively by the trio members, and recorded at the trio´s home studio or during a live home performance. Dennis Gonzalez is an archetypical example of the American fringe / independent Jazz scene, which operates on the "do it yourself" platform after realizing that the American mainstream establishment and Major record labels are not interested in ambitious music and do not support it or even openly oppose it. Therefore he created his own record label (in cooperation with other independent Jazz artists from his area), called daagnimFind albums by this artist Records, has his own recording studio and takes care of his own concert booking. With the turn of the millennium Gonzalez discovered the European Jazz scene, which of course turned out to be much more receptive to his music than the home turf, and many of his recording appeared on European record labels since that time. His cooperation with the Polish For TuneFind albums on this label label is one of such ventures. The music of Yells At Eels is a strange amalgam of straightforward Bebop, Free and World Music elements. Although well played it is neither innovative nor terrible exciting, mostly fun to listen to but overall quite forgettable. Since this album does not involve any Polish Jazz contribution, I find it difficult to understand why the label would decide to have it as part of their catalogue. On the other hand this music has its merit and is definitely worth to be listened to, so have fun!

CD 1 Recommend To A Friend

MARCO ENEIDI STREAMIN` 4 ~ PANTA REI FOR TUNE 0047 (Barcode: 5902768701531) ~ USA ~ Jazz Recorded: 2013 Released: 2014 This is the debut album by American (resident in Austria) saxophonist Marco EneidiFind albums by this artist and his Streamin` 4Find albums by this artist quartet, which also includes three Polish Free Jazz / Improvised Music musicians: saxophonist Marek PospieszalskiFind albums by this artist, bassist Ksawery WojcinskiFind albums by this artist and drummer Michal TrelaFind albums by this artist. The album, which was recorded live, presents four extended pieces, co-credited to all four participants. As appropriate for an Improvised Music / Avant-Garde Jazz encounter, the music is highly energetic and expressive, with the participants trying to stay coherent and communicative towards each other. The double saxophone lineup allows for separate saxophone solos and a side-by-side dialog, which varies in intensity and tension from one moment to the next. The rhythm section is also allowed space to express its notions, but as usual remains in the background for most of the duration. It becomes pretty obvious that at least some of the themes used as the basis for the improvisation were annotated or rehearsed in advance, but of course, as usual in such circumstances, they are really a marginal issue in these proceedings. As I always emphasize, this kind of music is essentially meant to be a part of a live experience and is received in a completely different way by a live listener sitting in the audience than when listening to the recorded music. With the intimacy and immediacy gone, the listener is left with just one more Improvised Music album, which fails to leave a lasting impression. Of course these are very skilled and talented musicians and the music has its intrinsic value, but considering the vast amount of great new music becoming available on a daily basis, this gets pushed back into the low priority stack.

Updated: 12/04/2019Posted:

CD 1 Recommend To A Friend

FUSK ~ SIEBEN ACHT GUTE NACHT FOR TUNE 0048 (Barcode: 5902768701548) ~ DENMARK ~ Jazz Recorded: 2012 Released: 2014 It´s been a while since Shakespeare pointed out that "Something is rotten in the state of Denmark"; as a matter of fact nothing could be further from the truth as far as the state of Danish Jazz in the second decade of the 21st Century is concerned. The country is enjoying an incredible renaissance of its Jazz scene, which thrived between 1950s and 1970s, when the legendary Copenhagen Jazzhus Montmartre club often seemed like one of the epicenters of European modern Jazz, and a long list of great American expatriates lived in Denmark at the time. The difference is that this time around it is the young generation of incredibly gifted Danish Jazz musicians who are setting the tone. The last few years of the Danish drummer / composer Kasper Tom ChristiansenFind albums by this artist´s career have been definitely good years; a succession of recordings and concerts as a leader of a number of ensembles firmly established his position as one the most prolific and outstanding young European Jazz musicians and his progress and development are continuously in full swing. Kasper Tom is quite an unusual musical figure, firstly being one of relatively few drummers / leaders and secondly and even more extraordinarily being the main composer of the material performed by his ensembles. We all know the jokes told about drummers and Kasper Tom simply shatters all these stereotypes. One of the effects of today´s European reality is the fact that international cooperation is easier and more common today then ever. Kasper Tom definitely seems to be able to explore that degree of freedom to the max, playing with other young musicians not only from his native Denmark, but also those from Poland, Germany and other countries. The quartet FUSKFind albums by this artist is an example of such international collaboration, with joins two Danish (Christiansen and Andreas LangFind albums by this artist) and two German (Philipp GropperFind albums by this artist and Rudi MahallFind albums by this artist) players. This is the quartet´s third album and the first live recording, captured at the legendary Warsaw Pardon, To Tu club, one of the most important alternative Jazz venues in Europe. The music is a wonderful display of Kasper Tom´s talent as a composer. His tunes are always somewhere between a catchy melodic theme and an open structure ideal for improvisation and exploration. Such incredible balance is quite rare and difficult to achieve and yet Kasper Tom manages to create these tunes with astonishing ease and versatility. Handled by the FUSK quartet, these tunes playfully follow one after another effortlessly, although they are anything but trivial or easy on the ear. The incredible strength of this music lies exactly in the fusion of melodic approach and complex execution, which result in aesthetic pleasure experienced by the listener, often unaware of its ingredients. It is quite educational to compare the music captured here with the studio version of the same tunes presented on the previous album, called "Super KasperFind albums with this title", which was recorded almost immediately after the Pardon, To Tu session. The ambience and the audience of the club, which I know personally very well from first hand experience, have a distinctive influence on this performance. In an ideal world we would always have an opportunity to hear the same music recorded live and in the studio; this album is therefore the ideal partner to the studio recording. European Jazz still manages to reinvent itself and push its boundaries ever further away from the stale mainstream tradition. Thanks to the young generation of Jazz players, which fearlessly explores the Jazz aesthetic, often against all odds, shunning from fads and fashions of contemporary non-culture, we are able to see our beloved music alive and kicking, going through another stage of its evolution. Kasper Tom and his colleagues all over Europe are our hope for the survival of what we consider true Culture, even if we need to enjoy it in the catacombs rather than in the amphitheaters. Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 19/09/2018Posted:

CD 1 Recommend To A Friend

ULTRAMARINE ~ NEBOCRY FOR TUNE 0049 (Barcode: 5902768701388) ~ UKRAINE ~ Jazz-World Fusion Recorded: 2012 Released: 2014 This is the debut album by the international Ethnic Jazz quartet UltramarineFind albums by this artist, which consists of Ukrainian vocalist Uliana HorbachevskaFind albums by this artist, veteran Lithuanian saxophonist Petras VysniauskasFind albums by this artist, Ukrainian bassist Mark TokarFind albums by this artist and German drummer Klaus KugelFind albums by this artist, who is the moving force behind this project. The album presents six improvised pieces, all credited to all four quartet members. The music was recorded live at a church in Lviv, Ukraine. The musical concept behind this album is an amalgam of Ukrainian Folk and Free Jazz improvisation, which follows many similar projects of this kind that sprung on the East European scene in the last decade. The vocal parts / songs represent the folkloristic motifs and the three instrumentalists add their improvised parts around these motifs. The formula is pretty basic and therefore also open and spacey, allowing all the quartet members to initiate and respond to what the other musicians are doing. Although the music is free spirited, it is also surprisingly melodic and lyrical, contrary to what one might expect from the lineup. Horbachevska sings in a typical folkloristic manner, using vibrato and dramatic modulation, but also moves away from the basic melody lines using vocalese. She is definitely the anchor of this music, and without her it would simply disintegrate. Vysniauskas weaves beautiful melodies on his soprano saxophone as if charming snakes, showing his incredible talent, sadly seldom appreciated by Western European audiences. Tokar plays empathically, providing the bottom sound needed for the music to lean upon and Kugel as usually ornaments the proceedings with his dynamic rolls and explosions. Overall this is a highly engaging experience, with a very specific aesthetics, which might be a bit bizarre and difficult for some listeners, but is definitely worth getting into. The amalgamation of seemingly incompatible musical elements is often the ultimate challenge and this quartet manages to achieve a true symbiosis, which us definitely praiseworthy. As usual the Polish For Tune label proves to be able to reach beyond any conventions and brings us innovative, challenging musical explorations, which constantly expands our conception of music. Well done indeed!

CD 1 Recommend To A Friend

IREK WOJTCZAK / NYCONNECTION ~ FOLK FIVE FOR TUNE 0050 (Barcode: 5902768701494) ~ POLAND ~ Jazz-World Fusion Recorded: 2014 Released: 2014 This is a superb and highly original album by Polish Jazz saxophonist / composer Irek WojtczakFind albums by this artist, one of my favorite heroes of the Polish scene, recorded with an American quartet, which comprises of pianist Michael StevensFind albums by this artist, trumpeter Herb RobertsonFind albums by this artist, bassist Joe FondaFind albums by this artist and drummer Harvey SorgenFind albums by this artist. The album presents an adventurous Jazz-World Music Fusion project, based on eight folk tunes originating from the region of Wojtczak´s birthplace, arranged and transformed by him into the Jazz idiom. People familiar with the history of Polish Jazz are of course aware of a long tradition of amalgamating Polish Folklore with Jazz, which goes back to the early days of post-WWII modern Polish Jazz. The most notable and successful examples of such Fusion can be found in the recordings of Zbigniew NamyslowskiFind albums by this artist, but the phenomenon was quite omnipresent, mostly in the 1960s and into 1970s. It is a much lesser known fact that the Socialist Regime, which ruled the country at the time, did not know how to deal with the explosion of Jazz popularity, especially in view of the fact that Jazz was highly criticized by the watchful Soviet overseers. The solution to this conundrum was to present Jazz as a form of folklore, originating from the African-American "oppressed society" and domesticated in Socialist Poland by incorporating Polish Folklore. This ingenious and of course bizarrely ridiculous, and yet highly effective deceit kept Polish Jazz alive and eventually highly successful during the times of strict political censorship of all artistic activities, and in retrospect is largely responsible for the remarkable continuous development of the genre in Poland, which did not happen on the same scale in other countries behind the Iron Curtain. Of course this album presents a true amalgam of Jazz and Folklore, which results not form a compulsory mandate, but from deep soul searching and a conscious decision taken by Wojtczak to reexamine the roots of his cultural heritage, which he absorbed during his childhood but suppressed for many years while developing his Jazz skills and vocabulary. Such retrospective journeys are never easy and the fact that he managed to emerge triumphant from this one is truly marvelous. But the greatest surprise of this album is the ability of the American quartet to assimilate those Polish Folklore idiosyncrasies, such as odd meters and bizarre chord changes, and incorporate them into their Jazz legacy as if this was the most natural thing in the world, where in fact it is anything but natural or expected. Most American Jazz musicians hardly ever consider anything happening outside of the US as valuable in the Jazz context, with blind conservatism and acute bigotry being often at the helm. Their brotherly embrace of a Polish Jazz musician and his bizarre music, which results in creating a common statement, is absolutely heartwarming. The music on this album is not only a superb example of cross genre integration, but most importantly an exquisite piece of modern Jazz, which encompasses its many sub-genres, from melodic Bebop, via Free Jazz and into Improvised Music stretches. Marvelously performed and showing an incredible sensitivity, elegance and grace, this is contemporary Jazz of the highest caliber. But individual statements and virtuosity of the participants would mean nothing if not supported by the intense level of interplay and telepathic conversation, which this music is completely soaked in. Mutual respect, support, understanding and most importantly pure love of music turn this music into one of the most passionate and poignant musical statements I had the pleasure to enjoy lately. I always believed that Wojtczak will become at some point one of the most important Polish Jazz Masters. On the liner notes of his previous album, which I was honored to write, I stated the following: "Constantly developing, probing and expanding his milieu, which over time covered such diverse areas as mainstream Jazz, Jazz-World Fusion, Jazz-Rock Fusion and experimental Free Jazz, Wojtczak with his chameleonic ability to fit in any environment and to do it splendidly, is a superb example of a modern Jazz musician." With this album under his arm Wojtczak certainly achieved already more than many of his contemporaries, and he as after all just starting… Kudos are due to the For TuneFind albums on this label label and the people behind it for supporting and releasing this amazing piece of Art, which is one of the crown jewels in their entire catalog. My deepest respects!

CD 1 Recommend To A Friend

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

CD 1 Recommend To A Friend

KADZIELA & WOJCINSKI ~ 10 LITTLE STORIES FOR TUNE 0052 (Barcode: 5902768701579) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This is the debut album by the duo comprising of two Polish Jazz musicians: guitarist Marek KadzielaFind albums by this artist and bassist Ksawery WojcinskiFind albums by this artist. It presents ten original compositions, six of which were composed by Kadziela, one by Wojcinski and three were co-composed by them both. For people familiar with other recordings by these two musicians, this album will be quite a surprise, if not a total shock, as both of them are usually associated with the Free Jazz / Improvised Music scene and their music on this album (at least in part) is melodic, structured and romantic on occasion, with Wojcinski even singing occasionally. Actually this approach is quite refreshing as it shows new facets of their musical personalities and results in the album being diverse and unpredictable. Of course they are both first rate players, which is already a well established fact, but this album emphasizes that they are able to cross genre differences at will, with seemingly no effort. Kadziela keeps his guitar idiosyncrasies to a reasonable minimum, not using the distortion and other devices as much as usually, which enables the listener to hear him play "naked" guitar at last. Wojcinski, as usual, is beyond reproach, always precisely on time and with the appropriate tone, keeping the harmony together. Overall this is a revealing, very personal and delicate album, which perhaps does not break any new ground, but is definitely a display of talent and interesting music making. Since it is more accessible that most other recordings by these artists, perhaps some listeners will be open to listen to their music as a result of hearing this album, which is always a good thing.

CD 1 Recommend To A Friend

PEGAPOFO ~ SWIEZOSC FOR TUNE 0053 (Barcode: 5902768701609) ~ POLAND ~ Jazz Recorded: 2013 Released: 2015 This is the debut album by young Polish Jazz quartet PegapofoFind albums by this artist, which consists of saxophonist Slawomir PezdaFind albums by this artist, pianist Mateusz GawedaFind albums by this artist, bassist Piotr PoludniakFind albums by this artist and drummer Dawid FortunaFind albums by this artist. It presents six original compositions (the title track appears in two versions), five of which were composed by Gaweda and one is a group composition by all quartet members. From the first moment this album starts to play it becomes immediately obvious that this is the direction young Polish Jazz musicians should follow, as it portrays the essence of contemporary modern Polish Jazz at its best. With a miraculous balance of Freedom and discipline, cooperation and individualism, intensity and relaxation, this music simply overwhelms the listener from start to finish, driving hard into the heart of the Jazz idiom. Pegapofo is an unusual conglomerate of talent and visionary, uncompromising approach to music. There are no limitations, no conventions, no boundaries, just a passion to play what is on their minds, and doing it totally. I was lucky to hear these amazing musicians live and the ultimate test of creating on the spur of the moment seems to be completely effortless to them, which is a true wonder. Despite their young age they are all quite experienced already and God only knows where they´ll travel next. The music of Pegapofo is intense and engaging, and yet despite the obvious complexity and intellectual effort engaged in its comprehension, it sound completely "easy" and friendly, in complete contrast to its intrinsic nature. Perhaps they have found the magic formula of creating ambitious music, which is also accessible to the average listener. Whatever the reason, this phenomenal music simply wins the listener over mercilessly. Albums of such quality are extremely rare and even on the Polish Jazz scene, which is completely overrun by talent, a release like that happens once or twice a year. Therefore my recommendation is to get hold of this gem ASAP, as it is like bittersweet chocolate, a taste of which stays in your mind forever. The album´s title means "freshness" in Polish and this is a breath of fresh air indeed. Absolutely brilliant!

CD 1 Recommend To A Friend

QUANTUM TRIO ~ GRAVITY FOR TUNE 0054 (Barcode: 5902768701616) ~ POLAND ~ Jazz Recorded: 2013 Released: 2015 This is the debut album by the Quantum TrioFind albums by this artist, which consists of Polish saxophonist Michal Jan CiesielskiFind albums by this artist and pianist Kamil ZawislakFind albums by this artist and Chilean drummer Luis Mora MatusFind albums by this artist. It presents ten original compositions, three of which were composed by Ciesielski, one by Zawislak, four by Matus and the remaining two by all three members of the trio. The music is mostly serene, intimate and reflexive, with strong and beautiful melodic themes and a distinct Classical influence. The chamber ambience is also emphasized by the lack of bass, which usually supplies the Jazz pulsation, not present here. Nevertheless this is undoubtedly a Jazz album, although the music is very elegant and almost lofty, somewhat similar to the Scandinavian touch. Contrary to what the trio publishes in their promo materials about their music, all of the music herein is perfectly composed and arranged and shows no traces of spontaneous composition / improvisation. The personal contributions by all three trio members are without reproach; Ciesielski plays delicate, long phrases with beautiful intonation and great sensitivity, Zawislak masterly accompanies the saxophone parts and plays elegant solo parts and finally Matus ornaments the music with his rich palette of percussive sounds, showing great imagination and a lot of skill. Overall this is a very enjoyable, delicate and aesthetically pleasing album, and a most impressive debut outing. Hopefully this is a sign of things to come. Definitely recommended!

Updated: 25/05/2017Posted:

CD 1 Recommend To A Friend

MALERAI / UCHIHASHI / MAYA R ~ UTSUROI FOR TUNE 0055 (Barcode: 5902768701586) ~ POLAND ~ Jazz-World Fusion Recorded: 2014 Released: 2015 This album presents a wonderful project created by Polish trio MaleraiFind albums by this artist, formed and led by clarinetists / composer Michal GorczynskiFind albums by this artist with violinist Dagna SadkowskaFind albums by this artist and cellist Mikolaj PaloszFind albums by this artist, and two Japanese musicians: vocalist Maya RFind albums by this artist and guitarist Kazuhisa UchihashiFind albums by this artist. The album presents thirteen songs, which are sung in Japanese. Eleven of these songs were composed by Gorczynski and two by Uchihashi. The lyrics of these songs were written by Japanese poets: Hekigoto KawahigashiFind albums by this artist (the pioneer of modern haiku) and Yoshihiro HaradaFind albums by this artist and by Friedrich NietzscheFind albums by this artist (translated into Japanese). The music is all about the sound and ambience of the Japanese language and reflects its many subtleties. Completely cross-genre, it moves freely between Pop, Rock, Jazz and contemporary Classical, with ease and elegance, always keeping the listener in suspense. Gorczynski emerges here, similarly to his work on earlier Malerai projects, as one of the most interesting Polish contemporary composers and his ability to diversify his palette to suit different environments is quite remarkable. Since this album is about the sound and feel of the Japanese language, it is not necessary for the listener to understand the language as such in order to enjoy this album. The vocals can be easily considered as one of the instruments of the entire ensemble and be accepted as such. The Polish and English translations of the lyrics are present in the album´s booklet, for those who are interested in the actual meaning of the lyrics. Overall this is a beautiful piece of contemporary music, which by its aesthetic potency easily bridges genres and cultures, creating a completely new universe. Superb music, great performances and a true gift for innovation and farsightedness turn this into a first class musical experience, which of course is wholeheartedly recommended!

CD 1 Recommend To A Friend

P.U.R. COLLECTIVE ~ NICHI NICHI KORE KO NICHI FOR TUNE 0056 (Barcode: 5902768701425) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This album presents a recording of Improvised Music created by the P.U.R CollectiveFind albums by this artist, which consists of musicians from Poland, Ukraine and Russia (hence the ensemble´s name): prominent contemporary composer Krzysztof KnittelFind albums by this artist, who is in charge of electronics, saxophonists Yuri YaremchukFind albums by this artist and Alexey KruglowFind albums by this artist, guitarist Maciej StaszewskiFind albums by this artist and drummer Tomek CholoniewskiFind albums by this artist. The album consists of seven spontaneously composed and improvised pieces. The album´s title is a quotation from a lecture by John CageFind albums by this artist. The music is an example of radical musical Avant-Garde, which shuns away everything most people associate with the term music, i.e. melody, harmony and rhythm. To most listeners this album will sound like a collection of random noise, which although made by humans using instruments, makes absolutely no sense whatsoever. Only a tiny fraction of people follows collective music improvisation of the kind presented here, but the fact that there are such people is a good enough reason for such records to be made. Armed with a lot of patience and open-mindedness this music can be actually enjoyed, by following the line of thought (or perhaps intuitive reaction), which stands behind this music. These musicians improvise collectively, i.e. listen carefully to each other and exchange musical ideas between them, even if most people simply can´t hear it. The two saxophonists deliver some first rate improvisations, the rocky distorted guitar takes the music into another direction and the excellent drum parts prove that drums are much more than a time keeping devise. The electronics are kept pretty much in the background and provide mostly an atmospheric element. Overall this kind of music demands total attention and complete freedom of aesthetic definition of the music idiom, expanding the definition considerably. This album is highly recommended to brave hearted and unconventional listeners only.

Updated: 12/04/2019Posted:

CD 1 Recommend To A Friend

TREVOR WATTS & VERYAN WESTON ~ AT AD LIBITUM FOR TUNE 0057 (Barcode: 5902768701593) ~ UK ~ Jazz Recorded: 2013 Released: 2015 This is a live recording by the British duo comprising of saxophonist Trevor WattsFind albums by this artist and pianist Veryan WestonFind albums by this artist, captured during the 2013 edition of Warsaw´s Ad Libitum festival. The album presents five pieces of improvised music, credited to both members of the duo, one of which lasts for over twenty minutes. Watts can be considered as one of the Godfathers of the Free Jazz / Improvised Music scene in Britain and his pivotal and groundbreaking recordings with the Spontaneous Music EnsembleFind albums by this artist, AmalgamFind albums by this artist, London Jazz Composers` OrchestraFind albums by this artist, Moire MusicFind albums by this artist and other ensembles constitute a most significant part of the modern British Jazz legacy. Weston, who is perhaps less prominent outside a closed circle of "insiders", has also an impressive legacy and his activities over the years are worth being discovered. Their performances as a duo are always a thrill and sound youthful and contemporary, as if time stood completely still for them. The music herein is a perfect example of what Improvised Music is all about; the intimate duo format allows both musicians to exchange musical ideas on the fly, probing and responding almost instantly, which often sounds as if the duo was in fact one mind occupying two persons. Playing together for quite a while allows these two Masters to approach their music without any inhibitions or barriers, simply communicating on a telepathic level, and the resulting music sounds perfectly coherent and natural. I have followed Watts every step since the 1960s, attending numerous gigs he played all over Europe and of course listening to all the albums he released over time. There are very few Jazz artists that can match his consistent excellence and his everlasting drive to move forward with his musical ideas. This duo suits his characteristics perfectly and Weston proves a worthy and inspiring partner. Together they create heavenly music!

CD 1 Recommend To A Friend

ESKAUBEI & TOMEK NOWAK QUARTET ~ BEDZIE DOBRZE FOR TUNE 0058 (Barcode: 5902768701456) ~ POLAND ~ Jazz-Rap Fusion Recorded: 2014 Released: 2015 This is a very interesting album, which amalgamates Rap and Jazz; a concept that has been attempted many times before, but rarely turned out to be a success. Polish rapper Bartlomiej SkubiszFind albums by this artist (a.k.a. EskaubeiFind albums by this artist) combines forces with a Jazz quartet led by trumpeter Tomek NowakFind albums by this artist, which also includes keyboardist Kuba PluzekFind albums by this artist, bassist Alan WykpiszFind albums by this artist and drummer Filip MozulFind albums by this artist. A few guests appear on selected tracks. The album presents eleven original songs, all composed by Nowak (with the exception of one tune which includes music composed by Pluzek) and with lyrics by Eskaubei (with the exception of two song lyrics written by the a.m. guests). The album also includes the radio edit of the title song as a bonus track. Rap and Jazz are seemingly two completely contrasting Art Forms. Rap focuses on the spoken word, which attempts to deliver a message, and which uses music as a background stimuli, mostly rhythmically, with the melody part being usually pretty limited, repetitive and ornamental rather than substantial. Jazz on the other hand is all about complex melodic and harmonic structures and unlimited improvisation. The Jazz & Poetry idiom successfully managed to combine spoken word and Jazz music since the 1950s but Rap & Jazz, as already mentioned above, has been much less consistent and successful in trying to present a contemporary artistic attempt of amalgamating spoken word and Jazz. When analyzing a Rap & Jazz project, like the one here, I usually try to separate the contents into two separate planes and than estimate the level of correlation between them. In this case my feelings are as follows: The Rap part, i.e. the strength of the lyrics and their delivery (sadly limited to Polish speaking audiences only) is cohesive, intelligent and moving. The subject matter touches upon many of the problems we all encounter in our lives, like social injustice, personal relationships, morality, hypocrisy of the media and the pitiful state of music industry. The delivery is emotional, clearly understandable and above all classy. The music is also quite excellent: funky, melodic, uplifting and intelligent. The performances are excellent with Nowak´s trumpet delivering many scorching solos and Pluzek playing a beautiful soulful electric piano, like a true pro, also delivering several heartwarming solos. The rhythm section is the backbone of this music, keeping the beat and pushing the groove rolling. This music could have easily stand on its own (without the Rap on top), producing an excellent Funk-Groove-Soul-Jazz album. But of course most importantly these two layers placed upon each other produce the best Polish Rap Jazz effort so far. This result is hardly accidental, in view of one of the album´s songs, in which Eskaubei tells about the deep influence of Miles DavisFind albums by this artist on his artistic creation. Overall this is a most enjoyable, aesthetically pleasing piece of music, which puts a smile on the listener´s face. Warmly recommended!

Updated: 31/01/2017Posted:

CD 1 Recommend To A Friend

GRAAL ~ CZARNE 13 FOR TUNE 0059 (Barcode: 5902768701630) ~ POLAND ~ Jazz-Rock Fusion Recorded: 2011 Released: 2015 This is the sixth album by the cult Polish ensemble GraalFind albums by this artist, founded and led by the legendary trumpeter / composer / bandleader Antoni GralakFind albums by this artist, who is also known for his involvement in such pivotal Polish ensembles as Free CooperationFind albums by this artist, Young PowerFind albums by this artist, Tie BreakFind albums by this artist, Woo Boo DooFind albums by this artist, YesheFind albums by this artist and others. This album, recorded four years before it finally gets to be released, presents ten songs, all composed by Gralak and the ensemble with lyrics by the ensemble´s vocalist Jacek SzymkiewiczFind albums by this artist. Two radio edits of two of the songs on this album are added as bonus tracks. In addition to Gralak, who also plays tuba and Szymkiewicz, who also plays acoustic guitar, the other members of Graal are: trombonist Bronek DuzyFind albums by this artist, trumpeter Klaudiusz KlosekFind albums by this artist, saxophonists Aleksander KoreckiFind albums by this artist and Marek PospieszalskiFind albums by this artist, bass guitarist Locko RichterFind albums by this artist, drummers Ola RzepkaFind albums by this artist and Arek SkolikFind albums by this artist and finally tuba and trombone player Darek SprawkaFind albums by this artist; altogether ten musicians. The music of Graal is a strange amalgam of Rock and Jazz-Rock Fusion, with elements of cabaret and theatrics. The "songs" are often full of dramatic exclamations and theatrical displays of emotion, and the "free" lyrics add to the overall atmosphere of "controlled anarchy". The huge brass section sounds at times like a street marching band, or Balkan brass ensemble, or typical Brass-Rock section, constantly changing its ambiance. The sound is rather muffled and often creates an impression of a live recording. The rhythm section sets a groovy paste, with funky bass guitar in charge of the bottom parts and the drums keeping the mayhem in check. The lead vocals are always up front and the brass is always in the background, which makes the solo parts somewhat less prominent in the overall sound, but those are all well worth being discovered by careful listening. The solitary instrumental piece on this album is perhaps the most powerful glimpse to the essence of this ensemble, with the multilayered brass parts creating a mini-suite which is both beautifully organized and free at the same time; a wonderful example of contemporary music. Gralak has a gift of creating stuff, which is always unique and exists outside of the Polish Jazz / Fusion scenes, being a typical Lone Ranger. This music simply creates a universe of its own, which is incomparable to anything else happing on the local scene or anywhere else for that matter. Since this is a typical ensemble project, there are few displays of Gralak´s virtuosic ability as a trumpeter, but it is his leadership that holds this project together. Whether one loves or hates this music, one thing is sure: it´s impossible to say indifferent to it, which is already a huge achievement in comparison to most of the music created today. Gralak is one of those people who make the Polish music scene worth following and admiring!

CD 1 Recommend To A Friend

ZIELINSKA / FRASZYNSKA / STECIUK / DREZEK ~ SOFIA DE MAGICO FOR TUNE 0060 (Barcode: 5902768701623) ~ POLAND ~ Soundtracks Recorded: 2014 Released: 2015 This album presents a wonderful Polish adaptation of twenty one songs originally recorded by the cult British Avant-Garde / Punk group The Tiger LilliesFind albums by this artist, all written by the group´s leader Martyn JacquesFind albums by this artist. The songs, beautifully translated into Polish by Michal ChludzinskiFind albums by this artist, were arranged by Marcin PartykaFind albums by this artist into a musical show, performed by four vocalists (Katarzyna ZielinskaFind albums by this artist, Jolanta FraszynskaFind albums by this artist, Tomasz SteciukFind albums by this artist and Mariusz DrezekFind albums by this artist) and later on recorded for this album with the vocalists accompanied by a quintet, which includes Partyka on keyboards, Sebastian FeliciakFind albums by this artist on saxophone, Piotr AleksandrowiczFind albums by this artist on guitar, Piotr FilipowiczFind albums by this artist on bass and Kuba SzydloFind albums by this artist on drums. These superbly clever and sophisticated songs are a wonderful continuation of the great tradition of Berlin cabaret perfected by Berthold BrechtFind albums by this artist and Kurt WeillFind albums by this artist. Funny, but serious, often deadly serious, these songs make us laugh and cry almost simultaneously. Of course in this specific case the verbal messages are sadly restricted to the Polish-speaking audience, but of course most true music lovers know them already in their original versions. The instrumental arrangements are all perfectly suitable to the cabaret / vaudeville and even circus atmosphere, being a mixture of popular music and early Jazz. Of course the vocal delivery is the centerpiece of this album and all four vocalists perform wonderfully, convincingly and heartbreakingly. There is actually nothing else left but to listen to this little masterpiece of European music, which is enjoyable, interesting, and clever and sophisticated, all at once. Absolutely delightful!

Updated: 08/08/2022Posted:

CD 1 Recommend To A Friend

ADAM PIERONCZYK WITH ANTHONY JOSEPH ~ MIGRATORY POETS FOR TUNE 0061 (Barcode: 5902768701562) ~ POLAND ~ Jazz & Poetry Recorded: 2014 Released: 2015 This is a live recording by an international ensemble performing a Jazz & Poetry concert. The ensemble, led by veteran Polish Jazz saxophonist / composer Adam PieronczykFind albums by this artist, also includes Brazilian guitarist Nelson VerasFind albums by this artist, Polish bassist Robert KubiszynFind albums by this artist and American drummer John B. ArnoldFind albums by this artist. They are joined by British (of Caribbean roots) poet Anthony JosephFind albums by this artist, who recites his poems accompanied by the quartet. The album consists of seven tracks, six of which are poetry accompanied by music and one is an instrumental piece. All the music is original and was composed by Pieronczyk. The albums brings on fond memories of times (mostly the 1960s) when Jazz & Poetry concerts were a common happening, both in Britain and in Poland, producing some of the most adventurous and aesthetically challenging music at the time. Since the sub-genre is quite a rarity today, this album is a welcome reminder of this magnificent Art form. The overall performances on this album are all very good, with Pieronczyk playing as usual with great fluidity and taste. The rhythm section produces a steady groove as a background to the poetry recitation and the guitar and saxophone solos are intertwined between the stanzas or after the recitation is over. Pieronczyk, although perfectly capable of Free Style improvisation, keeps a very calm profile here, playing mostly very lyrically and melodically, suitable Joseph´s poetry, which is mostly more associative than clear-cut thematically, full of exotic smells, tastes and panoramas. Overall this is a beautiful trip of poetic dreams engulfed in lyrical music, that make the listener forget his whereabouts and take him on a dreamy trip to a far away place. Definitely worth investigating!

Updated: 01/01/2016Posted:

CD 1 Recommend To A Friend

SEARCHING FOR CALM ~ RIGHT TO BE FORGOTTEN FOR TUNE 0062 (Barcode: 5902768701500) ~ POLAND ~ Pop & Rock Recorded: 2014 Released: 2015 This is the third album by Polish Alternative Rock band Searching For CalmFind albums by this artist, which comprises of vocalist / guitarist Michal MaslakFind albums by this artist, guitarist Michal AugustynFind albums by this artist, bassist Kuba BasekFind albums by this artist and drummer Bartosz LicholapFind albums by this artist. A brass section comprising of trombonist Arkadiusz KwiatkowskiFind albums by this artist, trumpeter Robert NiepostynFind albums by this artist and saxophonist Wojciech KaminskiFind albums by this artist guest on some tracks. The album presents fourteen original songs, all credited to all four ensemble members with lyrics by Maslak and Augustyn. The album´s title sums it up for me perfectly, as this music has absolutely nothing worth remembering. As harsh as it sounds, I simply can´t find anything good to say about this music; it´s derivative, unoriginal, mediocre and lacking any ambition. Of course I might be getting terribly old and my hearing might be getting weak, but since I grew up listening to Led Zeppelin, The Who and Cream, today´s rock is simply ridiculous in its plainness and primitivism. The songs have lyrics in English, which of course means that they are sung with a non-native accent. I even made the effort to read the lyrics and believe you me – poetry it ain´t. In short, this is definitely not my cup of tea, although I still love good Rock when I can get it.

CD 1 Recommend To A Friend

CHARLES GAYLE TRIO ~ CHRIST EVERLASTING FOR TUNE 0063 (Barcode: 5902768701647) ~ USA ~ Jazz Recorded: 2014 Released: 2015 This is a live recording at Poznan´s club Dragon of a trio led by American saxophonist / pianist / composer Charles GayleFind albums by this artist with Polish bassist Ksawery WojcinskiFind albums by this artist and German drummer Klaus KugelFind albums by this artist. The trio performs nine tunes, four of which are standards and the other five are group compositions / improvisations credited to all trio members. Gayle arrived on the US scene as "the new discovery / profit" of Free Jazz in the late 1980, after years of performing as a homeless street musician. I have followed his recordings over the years and I must admit that somehow Gayle has failed to convince me to be anything more than a curiosity. His extreme political and religious views aside, his "music´ is a raw collection of sounds uttered with great intensity and emotion, but it does not "compute" as music in my brain – my bad of course – despite my passionate love for that kind of music. In retrospect Gayle´s recordings hardly advanced the Free Jazz / Improvised Music idiom in a global sense and everything he does was already done in the 1960s, much more effectively as far as I can see. That does not mean of course that his concerts are not worth attending and his albums not worth being heard, at least as far as one does not expect to be "enlightened". This particular gig caught on this album is pretty typical of Gayle´s concerts but has a wonderful added value of the excellent rhythm section, which literally saves the day. Wojcinski and Kugel, both experienced and talented Improvised Music figures, add the missing musical element to Gayle´s music, the depth and the interface, which enables a player / audience communication. Overall this is an interesting amalgam of free spirited, almost anarchist improvisation with solid and often virtuosic "sensible" rhythm section, which prevents the anarchy to take over completely. The Free Jazz fans will definitely enjoy this music, if not immediately than after a few attempts; more conventionally oriented listeners beware, you have been warned.

CD 1 Recommend To A Friend

ED CHERRY SPECIAL TRIO ~ SZOSTA PO POLUDNIU FOR TUNE 0064 (Barcode: 5902768701661) ~ USA ~ Jazz Recorded: 2014 Released: 2015 This is a live recording at Warsaw´s club Szosta Po Poludniu (hence the album´s title) of a trio led by veteran American guitarist Ed CherryFind albums by this artist with a Polish rhythm section: bassist Adam KowalewskiFind albums by this artist and drummer Arek SkolikFind albums by this artist. The trio performs six tunes, five of which are standards and one is a Pop song. The music is a standard mainstream, completely unimaginative, uninspiring and honestly boring to tears. Although Cherry has an impressive musical history, his contributions in the last decades are not very impressive or noteworthy and his playing here unfortunately sounds like a third rate imitation of Wes MontgomeryFind albums by this artist and is sadly embarrassing. The rhythm section, although quite professional, is not able to save this gig from disaster. This kind of music is still played in clubs all over the US, but on the European scene it is utterly out of place in view of the creativity and excellence displayed by musicians in any European country today. One can only wonder why this gig was recorded and released in the first place and speculate about the inferiority complex some Europeans still suffer from, based on the assumption that anything in Jazz done by Afro-Americans is superior to European Jazz, which is simply not true for at least half a Century. The usually excellent Polish For TuneFind albums on this label label, which released dozens of superb albums in the last few years, made a real blunder with this album. Hopefully this is not a sign of things to come.

CD 1 Recommend To A Friend

NIKA LUBOWICZ ~ NIKA`S DREAM FOR TUNE 0065 (Barcode: 5902768701654) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This is the debut album by Polish Jazz vocalist / composer Nika LubowiczFind albums by this artist, who is accompanied by a very impressive group of musicians, which includes her siblings: violinist Dawid LubowiczFind albums by this artist (Atom String QuartetFind albums by this artist) and keyboardist Jakub LubowiczFind albums by this artist, cellist Krzysztof LenczowskiFind albums by this artist (also Atom String Quartet), bassist Marcin MurawskiFind albums by this artist, drummer Marcin UlanowskiFind albums by this artist, percussionist Bogusz WekkaFind albums by this artist, guitarist Artur GierczakFind albums by this artist and trumpeter Piotr SchmidtFind albums by this artist. Veteran pianist Andrzej JagodzinskiFind albums by this artist guests on a couple of tracks. The album presents nine tracks, three of which are standards, two are by Dawid Lubowicz, another two by Krzysztof Lenczowski and yet another two by Nika Lubowicz herself. All songs feature English lyrics except for the last track which has lyrics in Polish. From the very first notes of this album it´s plainly evident that this is no ordinary vocal Jazz album. The arrangements, which in most cases feature either the violin or the cello up front alongside the vocal parts, replace the usual "vocals with piano trio" setting. The arrangements also include other unusual lineups, keeping the listener on his toes at all times. The overall atmosphere of this album is all about the essence of music, freely crossing genre boundaries, comfortably and elegantly touching upon mainstream Jazz, ethnic music, Pop and Soul with the same artistically predetermined frivolity. I even have to agree with all the compliments listed in the album´s liner notes authored by Krzysztof HerdzinFind albums by this artist, which happens extremely rarely. Nika Lubowicz uses her vocal abilities wisely and intelligently, switching between lyrics and vocalese with grace. Her vocalese parts are in fact way more impressive than her actual singing lyrics, which as always in such cases suffer from the English pronunciation, being far from ideal. The closing track sung in Polish is a sore proof of this. Luckily her singing lyrics are altogether just a minor part of the entire endeavor. I have not timed the album but about half of the album´s duration is instrumental, which is highly unusual for albums involving vocals, and which is a very courageous and in this case extremely tasteful decision. This is the second album in the "pink" (Jazz vocals) series by For TuneFind albums on this label Records, and it is again a big time winner. Albums of such quality and obvious aesthetic approach are extremely rare and the fact that at least once a year they do materialize makes life worth living, at least for people who love music. This is definitely a most impressive debut and so far the best vocal Jazz album released this year on the Polish Jazz scene. Well done girl!

CD 1 Recommend To A Friend

FRANCISZEK RACZKOWSKI TRIO ~ APPRENTICE FOR TUNE 0066 (Barcode: 5902768701722) ~ POLAND ~ Jazz Recorded: 2015 Released: 2015 This is the debut album by Polish Jazz pianist / composer Franciszek RaczkowskiFind albums by this artist, recorded in a classic piano trio setting with bassist Pawel WszolekFind albums by this artist and drummer Piotr BudniakFind albums by this artist. It presents seven original compositions, all by Raczkowski. As the title suggests, Raczkowski is still at the very early stage of his career and is searching for his personal language, both as a player and a composer. His music is floating somewhere between mainstream Jazz and more ambitious explorations of the melodic and harmonic spheres, quite diverse and obviously still uncertain as to the final outcome. As a result the album is somewhat uneven, with some of the pieces being very interesting and others significantly less so. Although the music sounds very melodic, there are but a few clear melodic themes to which the listener can cling to or follow. The rest sounds just as fragmented statements, hold together by the framework of a tune, but not really making sense musically. The music is very well performed, although Raczkowski does not display a wide dynamic range in his performances, which is splendidly picked up by the rhythm section, which does a wonderful job here. Wszolek keeps the tunes together bravely, even when the music seems to disintegrate, and Budniak keeps it alive with his delicate but masterly strokes. After repeated listening to this album I could not honestly make up my mind if it presents a pianist / composer of great hope, as some of the statements I read about it claim. The comparisons to Keith JarrettFind albums by this artist are pretty far fetched and might prove more damaging than constructive. I´ll have to wait patiently for the next album to see if Raczkowski is the "next" big thing on the Polish scene. In the meantime this album surely deserves to be listened to and as a debut it is altogether quite nice.

CD 1 Recommend To A Friend

PURUSHA ~ COSMIC FRICTION FOR TUNE 0067 (Barcode: 5902768701685) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This is the debut album by Polish Jazz trio PurushaFind albums by this artist, which comprises of saxophonist Pawel PostaremczakFind albums by this artist, bassist Wojciech TraczykFind albums by this artist and drummer Pawel SzpuraFind albums by this artist, all three known to Polish Jazz followers as members of the large ensembles led by Waclaw ZimpelFind albums by this artist (HeraFind albums by this artist and others). The album presents six original pieces, four of which were composed by Traczyk and two are co-credited to all three members of the trio. The music of Purusha is a "classic" Free Jazz venture, which is its biggest drawback. Free Jazz exploded in the mid 1960s and this music sounds almost exactly as if recorded at that time, i.e. about 50 years ago. With all due respect to the cradle of Free Jazz, Albert AylerFind albums by this artist and everything else, the clock keeps ticking. This of course might bring on reflections as to the possible path of Free Jazz in general, which may lead to a conclusion that Free Jazz only truly existed for a brief moment in the 1960s and everything done in that idiom since is simply ripples of that Big Bang? But aside from the basic problem of being sort of "outdated", the music of Purusha is quite excellent within the boundaries of the Free Jazz idiom. Dominated by the saxophone, as usual in saxophone trios, it explores the various stages of expression between fury and tranquility, exemplifies the group interplay and allows for personal displays of instrumental ability, which are all top notch. Postaremczak is obviously a highly talented soloist and his approach to the tenor saxophone is very personal and unique. In his hands the saxophone turns into many different instruments, often sounding exotic, weird and wonderful, which of course is very unusual. The rhythm section stands shoulder to shoulder with Postaremczak, both expanding and complimenting his journeys with obvious empathy and spirit of shared goal. Overall this is a very good Free Jazz album for diehard fans of the genre, which although does not innovate, keeps the tradition and legacy alive and kicking. Definitely worth investigation!

CD 1 Recommend To A Friend

GANELIN TRIO PRIORITY ~ SOLUTION FOR TUNE 0068 (Barcode: 5902768701678) ~ ISRAEL ~ Jazz Recorded: 2010 Released: 2015 This is a live recording by the Ganelin Trio PriorityFind albums by this artist, led by Israeli (of Lithuanian roots) pianist / composer Vyacheslav GanelinFind albums by this artist with Lithuanian saxophonist Petras VysniauskasFind albums by this artist and German drummer Klaus KugelFind albums by this artist. It presents an Improvised Music piece, divided into eight sections, all co-composed by the trio members. The recording, which was done a few years before it was released, is available here for the first time. Ganelin´s legendary status as one of the world´s leading Free Jazz / Improvised Music pioneers was established already in the 1970s, while he was still residing in Lithuania, which at the time was a part of the USSR. His stunningly original and prophetic music, which under bizarre circumstances was released by the solitary Soviet State owned record label MelodiaFind albums on this label, struck the listeners (albeit only a few at the time) as completely innovative and original, way ahead of most that was happening in that area anywhere else in the world. Ganelin continues to create wonderfully innovative music since and his recorded legacy is a symbol of excellence and ingenuity. He founded the Ganelin Trio Priority as a working and touring ensemble, which plays concerts and festivals around the world. He also composes music for theatre and cinema and teaches composition as the Jerusalem Academy of Music. This wonderful album is an exquisite example of the trio at work, performing Improvised Music which sonically sounds like a Symphony Orchestra and musically keeps the listener on his toes at all times. Ganelin uses piano and synthesizers to create the sound layers while Vysniauskas improvises melodically on top and Kugel charges the music with incredible rhythmic tension. Together they sound like a three-headed Apollo uttering Godly sounds to charm the humans. It is almost impossible to think of this music as a collective improvisation, as it sounds more "composed" than most composed contemporary Classical music, thanks to Ganelin´s extraordinary intrinsic sense of melody and the great talent of Vysniauskas to weave the musical threads into a spectacular colorful canvas. Kugel complements the trio perfectly with his respectful and highly attentive attitude, filling the missing pieces which require rhythmic elements of simply adding supplementary ornamentation. Overall this is a brilliant album from start to finish, almost a "book" example of Improvised Music and its true vocation, and should serve as an example and a beacon to all other Improvising Musicians. Of the numerous Free Jazz and Improvised Music albums released on the For TuneFind albums on this label label, this is definitely one of the absolute best ones so far. An essential listening experience!

CD 1 Essential Recommend To A Friend

MARIA POMIANOWSKA & GROUPE GAINDE ~ WARSZAWA - DAKAR FOR TUNE 0069 (Barcode: 5902768701715) ~ POLAND ~ World Music & Folklore Recorded: 2014 Released: 2015 This is an album by Polish multi-instrumentalist / vocalist / composer Maria PomianowskaFind albums by this artist, who is a leading figure on the local Ethno / Folklore / World Music scene, on which she cooperates with a Senegalese ensemble called Groupe GaindeFind albums by this artist and a couple of Polish World Music multi-instrumentalist: Pawel BetleyFind albums by this artist and Gwidon CybulskiFind albums by this artist. Together the collective ensemble performs eleven pieces, most of which are Polish or Senegalese traditional songs and three are originals by Pomianowska. The idea behind such multiculti projects is of course a process of amalgamation of the separate cultural ingredients into a new entity, which is supposed to be different from the original sources of influence. In this respect this album fails its objective, as the resulting music remains very closely connected with Polish Folklore and the African vocals, instruments and rhythms serve only as ornamentation and are unable to have any profound musical influence. Even the traditional Moroccan or Senegalese tunes sound more Polish than their true place of origin. This happens due to the arrangements by Pomianowska, who is the driving force of this project, and who has a very dominant influence on these proceedings. Nevertheless the music is still a fine example of Folklore / World Music, very well executed both vocally and instrumentally, and a nice listen to all fans of the genre. Polish lyrics might be a hurdle for non-Polish listeners, but these days it is of little significance. The beautiful melancholic Polish Folklore songs are all true gems, with the only problem being that they are all very similar melodically and harmonically, and after a while start to sound a bit tiresome. Overall this album is certainly worth exploring by World Music fans, although it offers a much "localized" perspective of the genre.

CD 1 Recommend To A Friend

KAZIMIERZ JONKISZ ENERGY ~ 6 HOURS WITH RONNIE FOR TUNE 0070 (Barcode: 5902768701739) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This album documents the meeting between veteran Polish Jazz drummer Kazimierz JonkiszFind albums by this artist and his ensemble EnergyFind albums by this artist with legendary American baritone saxophonist Ronnie CuberFind albums by this artist. The following musicians also take part in the recording: saxophonists Borys JanczarskiFind albums by this artist and Tomasz GrzegorskiFind albums by this artist, trumpeter Robert MurakowskiFind albums by this artist, pianist Jan SmoczynskiFind albums by this artist and bassist Wojciech PulcynFind albums by this artist. The album was recorded at the fabulous Studio Tokarnia, owned by Smoczynski, who also engineered and mastered the album, with the usual spectacular sonic result. The music includes six compositions, two of which are originals by Pulcyn, one is by Cuber and the remaining three are standards. The music is, as expected, straightforward mainstream Jazz, with the two Pulcyn tunes being by far the most refreshing pieces on this album. It is executed without a flaw by all the participants, although the session seems to be lacking any high energy or particular joy of life, which is typically present on the best Jazz recordings. Overall this is a nice, well played and well recorded mainstream Jazz album, which is no different from thousands of similar albums recorded before. As such it contributes nothing to the Jazz milieu and with all due respect is simply banal. Smoczynski plays some great introvert piano parts and Pulcyn, as always, keeps time beautifully, but other than that it´s all déjà vu. Of course since baritone saxophone is not heard very often, this is a good opportunity to enjoy this beautiful instrument being played well.

CD 1 Recommend To A Friend

INTUITION ORCHESTRA ~ CASE OF SURPRISE FOR TUNE 0071 (Barcode: 5902768701753) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This is the second album released on For TuneFind albums on this label Records and their fourth consecutive release by the Polish Improvised Music ensemble The Intuition OrchestraFind albums by this artist. On the previous album, entitled "To The InsideFind albums with this title", they created a bridge between the origins of their activities by including archival material of early recordings going back as far as 1993, and their (then, 2011) current material. Listeners interested in the genesis of the ensemble (and the fascinating Polish Avant-Garde in general) should check out the fabulous Legendarne ZabkiFind albums with this title album as well as the Grupa W SkladzieFind albums with this title album, which are both related to Intuition Orchestra. On this album the ensemble is down to a trio lineup with saxophonist / clarinetist Ryszard WojciulFind albums by this artist, keyboardist / cellist Boleslaw BlaszczykFind albums by this artist and drummer Jacek AlkaFind albums by this artist. They are joined by three guests: vocalists Marta GrzywaczFind albums by this artist and Basia BlaszczykFind albums by this artist and recorders player Dominik StrycharskiFind albums by this artist. Together they perform twenty one short (averaging around two minutes) collectively improvised pieces. The titles of all the pieces are in fact lines from a poem by Grzywacz. The music on this album can be treated as a continuous flow from start to finish, since the separation into the individual pieces is pretty arbitrary. It includes a wide variety of sounds produced by the instruments, voices and electronics, all combined into an unusual, bubbling amalgam, which is unpredictable and keeps the listener at his toes at all times. There is very limited melodic content here, and when present it lasts just for a brief moment, before it is picked up by the improvisers and taken into another dimension. As such, this music is obviously much more difficult and challenging, but of course provides a much stronger emotional as well as intellectual interaction. Avant garde music is not supposed to be measured by its likeability, but rather by its ability to absorb the listener´s attention and take him unconditionally on a timeless, completely subconscious journey into sound aesthetics. To an untrained ear this music can sound chaotic and even cacophonic, and yet it does make perfect "sense" and "intelligibility" to the cognoscenti. The trick is simply to let the flow of the sound engulf you and carry you on. This music seems to be able to serve as a vehicle to reach "higher planes", a rare and precious quality, which should be cherished. Overall this is superb contemporary music, which still tries to expand the realm of what we consider as being sonic Art. Regardless of the current trend of music imploding into itself, people who are pushing outward at least try to slow the process. This album is warmly recommended to open minded listeners, who have no Avant-Garde phobias!

Updated: 17/12/2021Posted:

CD 1 Recommend To A Friend

DOMINIK STRYCHARSKI CORE 6 ~ CZOCZKO FOR TUNE 0072 (Barcode: 5902768701708) ~ POLAND ~ Jazz-World Fusion Recorded: 2014 Released: 2015 In the last couple of years the burgeoning Polish Jazz / Improvised Music scene re-discovered Polish Folklore and a long series of albums, which amalgamates these two genres into contemporary Jazz-World Fusion, have been recorded. As usual in such circumstances some of these albums are truly phenomenal and others are distinctly less so. On this album Polish flautist / recorder player Dominik StrycharskiFind albums by this artist presents a series of nine compositions inspired by Kashubian folk songs, arranged and transformed into the Jazz / Improvised Music environment. Three of these pieces are performed by a duo comprising of Strycharski and clarinetist Waclaw ZimpelFind albums by this artist and the remaining six pieces are performed by a sextet which features a double rhythm section: bassists Zbigniew KozeraFind albums by this artist and Ksawery WojcinskiFind albums by this artist and drummers Hubert ZemlerFind albums by this artist and Krzysztof SzmandaFind albums by this artist; all of them are top representatives of the Polish Improvised Music milieu. As much as I respect all these musicians, it is completely beyond me why they would invest time and energy into this project, which honestly is simply completely banal and meaningless in my opinion. None of the aims expected form the amalgamation of World Music and Jazz are achieved here; the folkloristic themes remain bare and simple and the Jazz additions plainly don´t stick to them. The double rhythm section is bombastic and overbearing, being mostly contra productive and the overall proceedings are simply pointless and boring. Polish Folklore and Jazz have a proven record of working together wonderfully, both in the early Polish Jazz history in the 1960s and 1970s and currently with brilliant projects, many of which were released by For TuneFind albums on this label Records. This one is sadly a miss. Of course this is only my personal view and others might disagree with me, as usual. The musicians will probably not like these words either, but hey this is what I hear…

CD 1 Recommend To A Friend

KWARTET PALUCKI ~ NA SKRZYZOWANIU RZEK FOR TUNE 0073 (Barcode: 5902768701777) ~ POLAND ~ Jazz-World Fusion Recorded: 2014 Released: 2015 This is a live recording by the Polish ensemble Kwartet PaluckiFind albums by this artist, a quartet dedicated to playing music that originates in the Paluki region, combined with Jazz improvisations. It comprises of zither and harmonica player Grzegorz TomaszewskiFind albums by this artist, saxophonist / flautist Michal KulentyFind albums by this artist, vibraphonist Karol SzymanowskiFind albums by this artist and bassist Krzysztof SamelaFind albums by this artist. They are joined by four guest musicians: vocalist Zbigniew ZaranekFind albums by this artist, knee fiddle player Maria PomianowskaFind albums by this artist, accordionist Lukasz MirekFind albums by this artist and percussionist Julia RauhutFind albums by this artist. Together they perform six traditional tunes / songs arranged in a Jazz-World Fusion fashion. The music is a well rounded, melodic, straightforward mainstream Jazz combined (gently) with the folkloristic themes. Everything is well performed and there are plenty of nice solos by the participants. The vocal parts are also quite excellent. Generally this is a very pleasant listen and although the song´s lyrics are in Polish, the album should be accessible to most Jazz-World Fusion fans. On the other hand this album is not really very ambitious or innovating, and therefore does not belong to the list of groundbreaking Polish Jazz albums amalgamating Polish Folklore, which have been recorded on the local scene since the 1960s and are still being created today, some of which were released by For TuneFind albums on this label Records. Overall this album is worth checking out for people who appreciate the diversity of the Polish Jazz scene.

CD 1 Recommend To A Friend

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

CD 1 Essential Recommend To A Friend

GADABIT ~ DRZEWA FOR TUNE 0075 (Barcode: 5902768701845) ~ POLAND ~ Pop & Rock Recorded: 2012 - 2015 Released: 2015 This is the second album by Polish mega-ensemble GadabitFind albums by this artist comprising of twenty two vocalists and musicians. It presents twenty relatively short Rap songs, most of which were composed by Przemek KawaFind albums by this artist and have lyrics mostly written by Lukasz IndykFind albums by this artist. Pianist Kuba PluzekFind albums by this artist appears on three tracks probably drafted after his participation on the excellent EskaubeiFind albums by this artist album "Bedzie DobrzeFind albums with this title" and the Classical mezzo-soprano singer Magda NiedbalaFind albums by this artist sings on three others. The tracks were recorded over a period of several years. The themes that serve as the background to the Rap lyrics cover a diverse ground of musical genres, from Alternative Rock, Pop, Blues, Jazz and Electronic Ambient, all quite solid and some of them even excellent. The Rap is overall very well done, using even multi-layered vocals parts. The lyrics are, as usual in Rap´s case mostly "against" everything, highly critical of the everyday reality of our life. Some of Rap music today serves the function of "protest songs" of the 1960s, which tried (in vain) to change the reality. Sadly it probably will be even less successful as a tool of social or political change. Personally I´m not a great fan of Rap, to put it very mildly, but this album has its intrinsic values, both musically and textually. The music is much more diverse and most albums in that genre, certainly those recorded across the Atlantic. The lyrics are intelligent and expressive, well written and using actual vocabulary rather than a string of vulgar swear and curse words. Overall this album deserves to be heard by people beyond the die-hard Rap sphere and many listeners who would never come near a Rap record might find it quite fascinating.

CD 1 Recommend To A Friend

ZBIGNIEW CHOJNACKI ~ ELEKTROTROPIZM FOR TUNE 0076 (Barcode: 5902768701784) ~ POLAND ~ Jazz-World Fusion Recorded: 2015 Released: 2015 This is the debut album by Polish accordionist / composer Zbigniew ChojnackiFind albums by this artist, which presents him playing solo accordion with some use of electronics. The album comprises of six tracks, all composed by Chojnacki, four of which are part of a suite and the other two are unrelated. From the very first moments of this album it becomes immediately apparent that Chojnacki presents a completely unconventional and novel approach to accordion as far as playing the instrument is concerned, as well as making music in general. The fascinating sounds he is able to produce are absolutely stunning, but even more so is the music, which takes the listener on a transcendental journey toward new and unchartered sound vistas. This music is so different and so engulfing that when listening to it for the first time the listener is completely left to his own frame of reference, as nothing is able to prepare him to what this music has to offer. A deeper analysis and later reflection allows one to understand the path this music takes, from the traditional role of the accordion in European music towards its influence in World Music, Jazz and other areas, via such notable accordion and bandoneón players like Astor PiazzollaFind albums by this artist, Dino SaluzziFind albums by this artist, Art Van DammeFind albums by this artist and others. We use the terms "groundbreaking" and "innovative" way too often, but his music truly deserves to be described in these terms. It presents a completely new frame of reference as far as accordion is concerned and by the time this music reaches the audience the meaning of this term will be completely transferred. Breakthroughs of this magnitude are way too far apart and it is a privilege to witness one of them in real time. The way Chojnacki plays his instrument brings fond associations of the 1960s, when the great Jazz pioneers were taking bold steps like those taken on this album. Sadly, half a Century later, musicians are ready to push the boundaries of known universe only very rarely. This album is one of such rare occasions.

CD 1 Recommend To A Friend

SEBASTIAN ZAWADZKI TRIO & STRINGS ~ EUPHONY FOR TUNE 0077 (Barcode: 5902768701814) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2014 Released: 2015 This is the second album released on For TuneFind albums on this label Records by the Polish Jazz pianist / composer Sebastian ZawadzkiFind albums by this artist, who in spite of his young age has already quite an impressive portfolio of achievements to his credit, which includes several albums and notable soundtracks of Polish movies. Zawadzki, who currently resides in Copenhagen, like numerous other young Polish Jazz musicians, who studied there and decided to settle in Denmark, recorded this album at the Danish Royal Academy of Music with an international team of musicians. It features his piano trio with Swedish bassist Johannes VahtFind albums by this artist and Danish drummer Morten LundFind albums by this artist and a string quartet comprising of musicians from different countries. The album presents twelve original compositions, all by Zawadzki, which encompass solo piano, trio, string quartet and septet (trio & strings) lineups. The music is beautifully melodic, romantic and lyrical, smoothly amalgamating Jazz and Classical elements with taste and elegance. Although this kind of music often borders on muzak or schmaltz, Zawadzki manages to avoid crossing the line and keeps the music ambitious and accessible at the same time. The idea of using different instrumental lineups saves this album from sounding somewhat monotonous, which is always a danger. Of course some listeners might find it too "pretty", but honestly serene, harmonious, well composed and beautifully played music is always a blissful aesthetic experience. It is interesting to compare this album with his previous For Tune release ("LuminescenceFind albums with this title"), which was a solo piano outing recorded over two years earlier. Zawadzki made quite a leap forward with his music, as evident on this new album, and learned to avoid many of the tribulations present on the earlier recording, which is commendable. This album is of course a complete anomaly in the For Tune catalog, a proof of the label´s continuous search for new areas where good music thrives, which is greatly appreciated.

CD 1 Recommend To A Friend

VEHEMENCE QUARTET ~ ANOMALIA FOR TUNE 0078 (Barcode: 5902768701791) ~ POLAND ~ Jazz Recorded: 2015 Released: 2015 This is the debut album by a Polish Jazz ensemble called Vehemence QuartetFind albums by this artist, which recently managed to draw a lot of attention on the local scene by winning a couple of prestigious competitions. The ensemble comprises of young and highly talented musicians, who have been active in the last few years and recorded assorted albums over time: saxophonists Wojciech LichtanskiFind albums by this artist and Mateusz SliwaFind albums by this artist, bassist Alan WykpiszFind albums by this artist and drummer Szymon MadejFind albums by this artist. I had the privilege of hearing the group live just a few weeks ago. The album presents six compositions, five of which are originals (three by Lichtanski and two by Sliwa) and the remaining one is a Wayne ShorterFind albums by this artist standard. The unusual double-saxophone front line of the quartet creates immediately an unusual sound effect, which turns out to be working in their favor. The wonderful harmonies achieved by the alto and tenor saxophones are a true revelation. In reality the quartet works shifting between a double saxophone trio and a quartet, which offers a much wider range of possibilities. Both the individual performances and the collective interplays work like a dream, being evidently highly professional and inspired. The original compositions are all first-rate modern Jazz pieces, which combine the Polish Jazz "streak" of melancholy and lyricism with well developed rhythmic layers, resulting in a most enjoyable and at the same intellectually challenging feast for the ears. Even the interpretation of the standard is original and innovative, which happens rather rarely these days. Vehemence Quartet is a "classic" example of the young Polish Jazz scene, which boasts with talent and creativity, combining the modern Jazz tradition with contemporary developments, freedom of expression and the drive to push the music forward into terra incognita, a drive that is rarely present these days anywhere else beyond the borders of Poland. Overall this is a very strong debut effort, worth of respect and admiration, and heartwarming considering the future possibilities it holds. Wholeheartedly recommended!

CD 1 Recommend To A Friend

MAREK KADZIELA ADHD ~ IN BLOOM FOR TUNE 0079 (Barcode: 5902768701807) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This is the debut album by an international Jazz quartet ADHDFind albums by this artist, led by Polish Guitarist Marek KadzielaFind albums by this artist with German bass clarinetist Rudi MahallFind albums by this artist and a Danish rhythm section: bassist Andreas LangFind albums by this artist and drummer Kasper Tom ChristiansenFind albums by this artist – the latter three being all members of the excellent FUSKFind albums by this artist quartet. Two distinguished Polish Jazz musicians participate as guests: saxophonist Maciej ObaraFind albums by this artist and trumpeter Piotr DamasiewiczFind albums by this artist. The album presents ten original compositions (one appears in two versions), all by Kadziela and one standard by Thelonious MonkFind albums by this artist. Although free spirited and unconventional, the music is perfectly well rounded and aesthetically pleasing, flirting with Free Jazz and Improvising Music but also presenting melodic motifs and straight forward progressions. Across the board this music is quite accessible even to listeners who are embedded within modern mainstream Jazz. Kadziela´s guitar playing on this album is quite different from his earlier recordings, and most of the time it is pretty straight forward, almost acoustic, and avoids the usage of electronics and heavy sound effects. He manages to completely keep away from the dreaded Fusionist banalities that most modern guitar players suffer from, which is truly praiseworthy. Therefore it is perhaps the first time the listener can truly appreciate his ability to play melody and complex improvisations, which sound perfectly clear and vivid. The solo guitar piece on this album is definitely one of its absolute highlights. The contributions by the other members of the quartet, as well as those by the guests, are all excellent as well. I have already written much about the FUSK quartet and these are some of my favorite European musicians, so their performances here are hardly surprising. The Lang / Christiansen rhythm section in one of the top of its kind at the moment and Mahall´s legendary status is already well established. Kadziela couldn´t have found better partners for his musical explorations anywhere else to be honest. The two Polish guests are also masters of their trade and the tracks that feature their contributions add generously to the diversity of this album. I admit to having digestion problems with some of Kadziela´s earlier recordings, but I completely love this one, and I am very happy to say so. This music makes perfect sense to me, worms up my brain cells and keeps me smiling. For me it definitely is the best piece of music I have heard, that he produced. But of course the future is ahead of us…

CD 1 Recommend To A Friend

OBARA INTERNATIONAL ~ LIVE IN MINSK MAZOWIECKI FOR TUNE 0080 (Barcode: 5902768701883) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This is the third album by the international ensemble led by Polish Jazz saxophonist / composer / bandleader Maciej ObaraFind albums by this artist, which includes also Polish pianist Dominik WaniaFind albums by this artist and the Norwegian rhythm section comprising of bassist Ole Morten VaganFind albums by this artist and drummer Gard NilssenFind albums by this artist, and which was expanded to a quintet with the addition of British trumpeter Tom ArthursFind albums by this artist. The album was recorded live and presents seven original pieces, five of which were composed by Obara and one each by Vagan and Arthurs. The accompanying DVD is a straight-ahead documentation of the concert and offers no additional material. Listeners familiar with Obara´s extensive recording legacy are of course familiar with his extraordinary qualities, but his work with this ensemble surely finds him at his artistic pinnacle. The music, which ideally balances the concept of composed music with the idiom of Free Jazz and extended improvisation, is a wonderful example of what contemporary European Jazz is all about. With the addition of Arthurs to its ranks, the ensemble, in its classic Jazz Quintet setting, finally reaches the full power of expression, which enables it to present the full scale of solo and group improvisation. The musical approach if completely open, allowing the musicians to make lengthy individual statements, but also to create internal subset ensembles, like duets or trios, which are spontaneously created jus for a relatively brief duration. This fluctuating lineup and constant mutations are both fascinating musically and demanding intellectually, which of course is the best possible combination of stimuli. The individual contributions by the ensemble members are all stellar. Arthurs is perhaps the best partner that Obara had so far, matching his powers of creativity and his virtuosic skills. Their work together, exchanging licks and playing unisono, is simply breathtaking. Wania consistently makes his way to the very top of European piano players and his brilliant work as soloist and accompanist is unprecedented. The rhythm section supports the soloists with flair and obvious camaraderie, but keeps a distinct identity and contributes solo statements as well. Overall this is a classic example of European modern Jazz at its best, which is imaginative, creative and highly advanced. Based on the Jazz tradition, it expands the idiom towards new frontiers, keeping it alive and relevant. This is a one-hour concentrated capsule of Jazz at its best, which should keep every connoisseur of good music happy for a very long time. Brilliant from start to finish, this is a nectar we, Jazz enthusiasts, are always thirsty for.

Updated: 22/02/2016Posted: 22/02/2016

CD+DVD 2 Recommend To A Friend

JANCZARSKI & MCCRAVEN QUINTET ~ TRAVELLING EAST WEST FOR TUNE 0081 (Barcode: 5902768701876) ~ POLAND ~ Jazz Recorded: 2015 Released: 2015 This is an album by the Polish / American quintet co-led by Polish saxophonist Borys JanczarskiFind albums by this artist and American drummer Stephen McCravenFind albums by this artist, with Polish pianist Joanna GajdaFind albums by this artist and bassist Adam KowalewskiFind albums by this artist and American trumpeter Rasul SiddikFind albums by this artist. Together they perform eight tunes, seven of which are originals (three by Janczarski, two by Gajda and one each by McCraven and Siddik) and one is a standard by Woody ShawFind albums by this artist. The music is standard mainstream Jazz, with nice compositions and eloquent execution, but sadly not remarkable in any way. Except for the singular Siddik´s tune, which has an interesting World Music motif, the rest of the material is well within the Bebop or even Swing tradition, which has been already exploited to death decades ago. The musicians are all professionals, but one can find hardly anything out of ordinary by any of them on this album. Siddik´s presence in these proceedings seems completely accidental, considering his past musical path. Of course many Jazz enthusiasts still like this kind of music, especially in America, where it still rules, but honestly it contributes nothing to the development of Jazz nowadays and recording such music, especially in Poland, as good as it might be, does not make much sense. Overall it is a pleasant, well played mainstream album, which surely will please many mainstream listeners, but is definitely not something I´d play again after enjoying it once.

Updated: 22/02/2016Posted: 22/02/2016

CD 1 Recommend To A Friend

JOLANTA SOSNOWSKA & FRIENDS ~ BAROCK & VIENNA FOR TUNE 0082 (Barcode: 5902768701746) ~ POLAND ~ Classical Recorded: 2012 Released: 2015 This is the first album in a new "silver" series of releases by the distinguished Polish record label For TuneFind albums on this label, which is dedicated to Old Music, i.e. music written during the Medieval, Renaissance and Baroque periods. Polish violinist Jolanta SosnowskaFind albums by this artist performs seven Baroque compositions, six of which originate in the last quarter of the 17th Century, and only the Antonio VivaldiFind albums by this artist´s Violin Sonata in D major dates from 1716 / 1717. Four of these pieces were created in Vienna but all have a Viennese connection (hence the album´s title), and three of them are world premiere recordings. Sosnowska, who plays a baroque violin, is accompanied by Magdalena MalecFind albums by this artist (harpsichord and organ), Mirko ArnoneFind albums by this artist (theorbo and baroque guitar) and Tore EketorpFind albums by this artist (G violone). The background information about the music is eloquently described in the album´s liner notes in German, Polish and English. Old Music is a niche territory which often suffers from neglect and prejudice. The snob Classical Music connoisseurs who discredit anything before Wolfgang Amadeus MozartFind albums by this artist and after Ludwig van BeethovenFind albums by this artist have little interest in it and therefore it is relatively rarely recorded. This important album shows that Old Music can be both a lot of fun and a serious aesthetic experience. This is definitely worth checking out and opening the horizons or thinking outside of the box we so often close ourselves in. Well done!

Updated: 08/09/2021Posted: 24/02/2016

CD 1 Recommend To A Friend

TROMBASTIC ~ TUTTI VIRTUOSI FOR TUNE 0083 (Barcode: 5902768701838) ~ POLAND ~ Classical Recorded: 2015 Released: 2015 This is the second album in a new "silver" series of releases by the distinguished Polish record label For TuneFind albums on this label, which is dedicated to Old Music, i.e. music written during the Medieval, Renaissance and Baroque periods. Polish ensemble TrombasticFind albums by this artist, a trombone octet led by Piotr WawreniukFind albums by this artist, is expanded with ten additional musicians playing a myriad of instruments and creating a wonderful orchestral sound, taking the listener hundreds of years back to the European royal courts, churches and town squares where such music was performed. The expanded ensemble performs twenty one mostly short pieces, all composed in the 16th and 17th Centuries. The music was recorded in one o Warsaw´s churches and the sound quality and ambience is superb. The original orchestration of these pieces is of course mostly unknown, and Trombastic arranged them for this special orchestral setting with skill, good taste and sensitivity. The music varies in its mood from joyful and merry dances to lyrical love songs and solemn sacred hymns, but the album sounds wonderfully balanced in spite of its diversity. Although Old Music is a niche idiom, I hope people will discover this little gem, as it hides countless musical treasures. It´s been a while since I enjoyed that kind of music so intensely and I can only hope it will be shared by many. Kudos is due to Trombastic and For Tune for creating this beautiful piece of Culture, which pays tribute to our musical ancestry. Wholeheartedly recommended!

Updated: 25/02/2016Posted: 25/02/2016

CD 1 Recommend To A Friend

ADAM PIERONCZYK & MIROSLAV VITOUS ~ WINGS FOR TUNE 0084 (Barcode: 5902768701890) ~ POLAND ~ Jazz Recorded: 2015 Released: 2015 This is a duo album by Polish saxophonist / composer Adam PieronczykFind albums by this artist and Czech virtuoso bassist / composer Miroslav VitousFind albums by this artist. Together they perform ten pieces, seven of which were composed by Pieronczyk, two were co-composed by Pieronczyk and Vitous and one was composed by Vitous. The music is obviously only partly pre-composed and emphasizes the improvised dialogue between these two players, which is the most vital element presented on this album, which in turn definitely belongs to the "Art of the Duo" category. The duo format, although obviously perilous in its nakedness and exposure, is also ideal in many aspects; it enables a conversation, which solo format often lacks, it enables the listener to concentrate on just two musicians, which is easier to do than to follow a whole group of them, and finally it is intimate enough to bring out the best in its participants. Listeners familiar with the recording legacy of Pieronczyk won´t be surprised by his superb performances on this album. He has produced consistently excellent output since the mid-1990s and is definitely one of Poland´s top Jazz figures, which considering how crowded that scene is, is already a great distinction. He obviously prefers small formats and already was engaged in the duo format with Polish pianist Leszek MozdzerFind albums by this artist and recorded a solo saxophone album. His music always borders between contemporary modern Jazz and Free Form improvisation, amalgamating the Jazz legacy and the need to expand its horizons. Vitous doesn´t need any introductions, but surprisingly on this album he plays much more openly and freely than usual, obviously inspired by the circumstances and his partner. His statements, both when playing alongside Pieronczyk and when soloing, are all extraordinary beautiful, elegant and expressive. Although living in the US since the late 1960s, his aesthetics is still very European, full of romanticism and Eastern European melancholy, and as such he fits the role of Pieronczyk´s partner ideally. There are no weak moments on this album. From the starting notes and well after the music is all over, the feeling of a cohesive, continuous spiritual experience prevails. Although, as all improvised music, the music on this album is often challenging and engaging, it is remarkably accessible and keeps the listener in a relaxed state of mind, which is very rare in such circumstances. This is definitely one of the best albums released on the Polish market in 2015 and proudly matches any album released anywhere else in the world. Polish Jazz enthusiasts will obviously find it as an essential ingredient of their listening milieu.

Updated: 26/02/2016Posted: 26/02/2016

CD 1 Recommend To A Friend

PAWEL NIEWIADOMSKI ~ INTRODUCTION FOR TUNE 0085 (Barcode: 5902768701906) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This is the debut album by Polish trombonist / composer Pawel NiewiadomskiFind albums by this artist recorded in a quartet setting with saxophonist Jakub SkowronskiFind albums by this artist, bassist Ksawery WojcinskiFind albums by this artist and drummer Wojciech RomanowskiFind albums by this artist. The album presents six original compositions, all by Niewiadomski. Trombone-led Jazz ensembles are relatively rare and therefore every time one of those lands on my lap it receives special attention. In this case the attention turned out to we well justified, as this album is definitely a surprising gem. The music, although based on melodic themes stated at the beginning, develops into a Free Form group improvisation, which are full of passion and imaginative approach to the expanded Jazz idiom. Although still relatively young, these musicians are all experienced improvisers and excellent instrumentalists, with skills, technique and evident talent. These qualities, combined with the obvious camaraderie and mutual respect between the quartet members enables a creative atmosphere which results in very effective musical achievements. The resulting music is cohesive, highly passionate and aesthetically just right, which is a pleasure to listen to. The individual statements by the quartet members are all top notch: Niewiadomski pushes the limited trombone possibilities into the realm of physically impossible, Skowronski adds his convoluted saxophone statements, Wojcinski holds the entire album together with his superb bass pulsations, which are nothing short of sheer virtuosity and finally Romanowski adds fire and brimstone to the proceedings, topping the overall sound with condensed rhythmic ornaments. The trombone / saxophone unisono parts, which later develop into fiery exchanges, are the highlights of this album, but the overall level of performances is incredibly high. This is definitely a most impressive debut, introducing another player on the Polish Improvised Music scene, which is worth being followed, expecting only the best to come. This album will be very hard to beat, so I´m already waiting to hear the follow up, but in the meantime this is something the trombone connoisseurs and Polish Jazz fans will definitely not want to miss. Magnificent playing!

Updated: 26/02/2016Posted: 26/02/2016

CD 1 Recommend To A Friend

DYS / JORGENSMANN / MARCUS ~ ELEMENTS IN CANDOR FOR TUNE 0086 (Barcode: 5902768701869) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2014 Released: 2015 This is an album by a Jazz quintet fronted by Polish pianist Krzysztof DysFind albums by this artist, German clarinetist Theo JorgensmannFind albums by this artist and American clarinetist Michael MarcusFind albums by this artist, with a Polish rhythm section: bassist Andrzej SwiesFind albums by this artist and drummer Krzysztof SzmandaFind albums by this artist. Together they perform thirteen original pieces, four composed by Marcus, three by Jorgensmann and one by Dys and the remaining five were co-composed by various combinations of the quintet members. Although based on some pre-composed phrases, the music is predominantly freely improvised and belongs to the radical Improvised Music idiom, which of curse is loved by a tiny group of enthusiasts but fails to reach a wider audience. Although the double clarinet front line has a wonderful potential of interplay between these two players, that potential is not realized herein and the music simply makes little if any aesthetic impact. As already stated many times, Improvised Music might make sense when listened to live, due to the emotional involvement and interaction between the players and the listeners, but only very rarely it is able to carry over that interaction into a recorded document, like an album. This album is a typical case where the music simply fails to communicate and remains remote and cold, as if the musicians were playing to each other, leaving the rest of the world outside. Even the fact that the clarinet is an instrument I truly love and the musicians involved have all made formidable recordings earlier on, this album simply does not cut it for me. Of course this is only my opinion and others might be able to enjoy this music. Dys, who is one of the most talented and important young Jazz musicians on the Polish scene plays very little on this album, which is another reason why this is a missed opportunity. If the whole album was anything like the last track, the story would have been completely different. Oh well, you can´t win them all.

Updated: 10/05/2016Posted: 10/05/2016

CD 1 Recommend To A Friend

RAFAL GORZYCKI ~ PLAYING FOR TUNE 0088 (Barcode: 5902768701951) ~ POLAND ~ Jazz-Rock Fusion Recorded: 2015 Released: 2016 This is an album by Polish Jazz drummer / composer / bandleader Rafal GorzyckiFind albums by this artist, one of the most prolific, diverse and always unpredictable figures on the local scene. This time he presents a trio, which also includes guitarist Marek MalinowskiFind albums by this artist and electric bassist Wojciech WozniakFind albums by this artist, and which performs ten tracks entitled simply "Playing" part 1 to part 10, two of which were composed by Gorzycki, four were co-composed by all three trio members and four more were co-composed by the previous lineup of the trio which included bassist Patryk WeclawekFind albums by this artist. The sound on an electric guitar trio immediately invokes associations with Jazz-Rock Fusion, and indeed this music has very close ties with Fusion, but encompasses a much wider stylistic variety than simply Fusion, including Improvised Music, Ambient and contemporary Chamber Music. With Gorzycki at the helm, this is hardly surprising, as his extensive recording legacy is characterized by its diversity and cross-genre explorations. Although pre-composed and melody based to some extent, this music includes a lot of space and freedom, which allows for very creative playing by the trio members, which they use liberally; but in spite of all that freedom, the music remains quite "well behaved" most of the time, which makes it accessible to a wide range of listeners. Creating music of such intrinsic beauty and highly aesthetic value and yet making it sound "simple" is a real artistry, and Gorzycki deserves praise for managing to achieving such result. Malinowski, who released his debut album as a leader ("AloneFind albums with this title") a year earlier, emerges as one of the most interesting new hopes of the Polish Jazz guitar players. His open and clean sound, which uses (almost) no electronic trickery, is very impressive and quite unique today in its straightforwardness. In many respects it brings back fond memories of the early Fusion days, when players like John McLaughlinFind albums by this artist were using a very similar sonic approach. Wozniak, who has some past Fusion ties as well, plays very skillfully and precisely, which is exactly what is expected of him in this setting. He plays a cool "walking" pulsations when the music swings and atmospheric prolonged phrases when it moves into a more ambient environment. This modesty and respect towards ones partners is a most formidable quality in a musician. Gorzycki is of course a Master drummer, a fact which requires no reinforcements, and indeed he plays very sparingly, cooperatively and relatively straightforwardly on this album, which is a very wise decision. When the music requires his input, he is always there and always at his best, but overall his playing on this album is primarily a part of the collective effort rather than claiming the role of a leader. The album was excellently recorded at the RecPublica Studios and engineered by Lukasz OlejarczykFind albums by this artist, and offers a superb sonic quality, which will make high-end Hi-Fi enthusiasts extremely happy. But overall it is definitely one of the best Polish Jazz albums released so far in 2016, and hopefully will reach a wide circle of music lovers, as it is definitely capable of capturing the hearts of very many connoisseurs anywhere in the world. Respect!

Updated: 07/05/2016Posted: 07/05/2016

CD 1 Recommend To A Friend

SEAN NOONAN ~ MEMORABLE STICKS FOR TUNE 0089 (Barcode: 5902768701968) ~ USA ~ Jazz Recorded: 2015 Released: 2016 This is an album by Irish-American drummer / composer Sean NoonanFind albums by this artist and his trio, which also includes pianist Alex MarceloFind albums by this artist and bassist Peter BitencFind albums by this artist. The album presents seven original compositions, all by Noonan, the first five of which were inspired by Noonan´s visit of the Wieliczka Salt Mine near Krakow, Poland and the remaining two by South African climates. Although basically a piano trio, this music is as far from the Jazz piano trio idiom as humanly possible. Noonan, who travels extensively around the world and absorbs diverse ethnic influences, calls this music Punk Jazz. If Punk means the lack of conventions and disregard of accepted rules as well as mutiny against traditions, than his music is certainly punk, as defined by the Punk Rock revolution of the mid-1970s. The music is rough and direct, loud and extrovert, unpredictable and bold, i.e. everything that can be expected from a Punk album. Noonan´s recitation / singing of his texts add another dimension to this punkish attitude, creating a Punk & Poetry (see Jazz & Poetry) sub-genre. But strangely enough this music also includes some great melodic themes and conventional swinging parts, which prove that it is deeply rooted in the Jazz tradition, despite its Punk character. The last two tunes, which are utilizing the Fender Rhodes rather that the acoustic piano, have a much easier, funky character and are quite conventional, so much that they sound as if belonging to another album entirely? The individual performances by the trio members are all quite impressive. Marcelo plays some very funky piano, which masterly moves in and out of the steady rhythm, incorporating completely free passages that last usually quite briefly. This adds to the overall atmosphere of havoc and mayhem, which is of course completely intentional. Bitenc is the well behaved anchor of the trio, which keeps the music moving forward and maintains its sense of regularity. Noonan is all over the drum kit, sometimes playing the time and sometimes quite out of time, but always doing the right thing as far as this music is concerned. This album requires several listening session in order to get deeply into its intricacies, but eventually emerges as a fascinating piece of unusual music, definitely worth investigating.

Updated: 09/05/2016Posted: 09/05/2016

CD 1 Recommend To A Friend

SABINA MECK ~ LOVE IS HERE FOR TUNE 0090 (Barcode: 5902768701821) ~ POLAND ~ Jazz Recorded: 2014 - 2015 Released: 2016 The new generation of Polish Jazz musicians, which swept the local scene like a tsunami with the onset on the 21st Century, produced a staggering number of superb instrumentalists: trumpeters, saxophonists, pianists, bassists and drummers, but sadly almost no significant discoveries in vocal Jazz arrived on the scene, with just a very few exceptions. There are many possible explanations why this has happened: the crisis in the vocal Jazz idiom in general, the fact that vocalists born in Poland are not native English speakers, yet they tenaciously insist on singing in English even when it works against them, and most importantly the fact that the human voice is not only the most beautiful and limitless instrument, but also the most difficult one. Therefore listening to this album by the young Sabina MeckFind albums by this artist (a.k.a. Sabina MyrczekFind albums by this artist) one can finally release a sigh of relief saying "it´s finally happening". Not only does she sing fabulously but she also wrote all the music and the lyrics on this album, which is almost too good to be true. The whole thing sounds like a classic vocal Jazz album, featuring a set of carefully selected standards; anything but a debut album. Meck selected the accompaniment of a classic piano trio, which is classy, elegant and minimalistic, but also incredibly bold. There is no electric trickery to hide imperfection, but there is a challenging need to combine forces with the trio members at all times. The trio´s performance is by all means as spectacular in every respect as the vocals. The upcoming and still very young Aga DerlakFind albums by this artist on piano is absolutely brilliant as an accompanist and together with the singer they are in a perfect Ying and Yang harmony. The rhythm section, bassist Franciszek PospieszalskiFind albums by this artist and drummer Bartosz SzablowskiFind albums by this artist, adds its support amicably and very skillfully, with nothing short of flawlessness. The insiders of the Polish Jazz scene will of course notice immediately that Sabina Meck is the sister of the incredibly talented vocalist Wojciech MyrczekFind albums by this artist. It will be completely unfair to treat her just as "the sister of", since although she shares with her brother the gene pool of the highly gifted Myrczek clan, this album proves that she is a greatly talented Artist in her own right. Hopefully this is just the first of many wondrous albums to come. You’ve got it, my Fair Lady; you certainly have got what it takes! Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 19/09/2018Posted: 06/05/2016

CD 1 Recommend To A Friend

IGOR OSYPOV ~ DREAM DELIVERY FOR TUNE 0091 (Barcode: 5902768701920) ~ UKRAINE ~ Jazz Recorded: 2015 Released: 2016 This is the second album by Ukrainian (resident in Berlin) guitarist / composer Igor OsypovFind albums by this artist recorded in a quartet setting with German saxophonist Wanja SlavinFind albums by this artist, Polish bassist Max MuchaFind albums by this artist and German drummer Moritz BaumgartnerFind albums by this artist. The album presents eight tunes (one is repeated twice in different versions), six of which are original compositions by Osypov and two are co-credited to all four members of the quartet. The music is floating somewhere between mainstream Jazz and Fusion, dominated mostly by guitar sounds. The compositions are stylistically diverse, and somehow lack a coherent direction, and as a result the album sounds confusing and uninviting. The musicians are much more professional this time than those on Osypov´s debut album, but sadly their abilities are not potent enough to save this album from the fate of its predecessor. Slavin is a formidable player and his parts are absolutely stunning, but Osypov´s guitar, which sounds out of tune all the time, really stands in the way to enjoy them. Mucha and Baumgartner try their best to keep this music together and often play some wonderful parts, but alas again not being able to save the overall result. I am sorry that for the second time Osypov´s playing is simply painful to my ears. I tried my best to approach this album without predetermination, but alas I failed again to discover its beauty. As cruel as it might sound, I think that this music with the guitar parts removed could produce a great trio album.

Updated: 17/08/2024Posted: 10/07/2016

CD 1 Recommend To A Friend

CRACOW JAZZ COLLECTIVE ~ NO MORE DRAMA FOR TUNE 0093 (Barcode: 5902768701692) ~ POLAND ~ Jazz Recorded: 2014 Released: 2016 This is the debut album by Polish Jazz ensemble Cracow Jazz CollectiveFind albums by this artist, an octet led by pianist / composer Mateusz GawedaFind albums by this artist, one of the most notable upcoming Polish Jazz musicians in recent years. The rest of the ensemble consists of other young and upcoming Polish Jazz musicians: trumpeters Cyprian BaszynskiFind albums by this artist and Dominik MietlaFind albums by this artist, saxophonists Marcin SlusarczykFind albums by this artist, Slawomir PezdaFind albums by this artist and Bartlomiej PrucnalFind albums by this artist, bassist Piotr PoludniakFind albums by this artist and drummer Dawid FortunaFind albums by this artist. The album presents three expanded compositions, all originals by Gaweda. The music embodies an amazing amalgam of contemporary Modern Jazz, which moves stylistically between swinging melodic themes and collective group improvisation with elegance and grace. The sound of the octet is typical of much larger ensembles and is no less powerful than a Big Band at times. The arrangements, which call for unisono brass parts and almost Rock like rhythmic riffs, create a fat sound, which is extremely effective. All these contribute to the fact that this is one of the most quite recordings on the Polish scene lately. The extended pieces offer plenty of opportunity to show the individual talents of the ensemble members, which are all very impressive, but also emphasize the ability of the musicians to sub-divide the lineup into sections, which play in a variety of combinations from unisono to individual improvised statements. The majority of the music is however very "well behaved" and follows strictly wonderfully arranged scenarios. This album reveals a much lesser known side of Gaweda, who so far is mostly known as a piano virtuoso of highly individual style, who plays mostly Free Jazz and Improvised Music, whereas here he symbolizes the Jazz tradition not only as the composer and arranger but also as a player, which can be followed through out this album. Perhaps the fact that this music was recorded a couple of years before it was released, portrays Gaweda at that time, which is not what he does now, but I certainly hope he will make more music as majestic and skillfully arranged as this one in parallel to his explorations of the Free realms. There is little doubt as to the fact that music is such complexity on one hand and perfect execution on the other is the proof of the incredible level of the young generation of Polish Jazz musicians, who are slowly taking over the local scene into their capable hands. In fact it is so good that it should studied by other young musicians as a model of what Jazz is all about. Definitely a shining gem of an album!

Updated: 15/07/2016Posted: 15/07/2016

CD 1 Recommend To A Friend

WOJCIECH MAJEWSKI ~ REMEMBRANCE FOR TUNE 0094 (Barcode: 5902768701449) ~ POLAND ~ Jazz Recorded: 2004 - 2013 Released: 2016 This is an archival album presenting a live recording by a quintet led by pianist / composer Wojciech MajewskiFind albums by this artist, which also included his brother trumpeter Robert MajewskiFind albums by this artist, saxophonist Tomasz SzukalskiFind albums by this artist, bassist Jacek NiedzielaFind albums by this artist and drummer Krzysztof DziedzicFind albums by this artist. The concert, which took place at a Polish Radio studio, was part of a promotion effort for the album "ZamyslenieFind albums with this title", recorded by the same quintet and released a few months earlier. For this release the album was enhanced by the inclusion of one original track from that album, which features the vocals of the incredible Grzegorz TurnauFind albums by this artist, a couple of solo piano pieces recorded by Wojciech Majewski a decade later and finally by a fragment of a historic radio broadcast, featuring the Polish Rock legend Czeslaw NiemenFind albums by this artist accompanied by Wojciech Majewski and Szukalski. The music was mostly composed by Wojciech Majewski, but includes also a composition by Niemen, a couple of compositions by the legendary Polish bard Marek GrechutaFind albums by this artist and one composition by the Godfather of modern Polish Jazz Krzysztof KomedaFind albums by this artist. The music is, as expected, top notch from start to finish, and presents the peak of the second generation of the Polish Jazz scene, both on the instrumental and compositional levels. All five players are absolute masters of their respective instruments, but obviously the performances by Szukalski are at the centre of attention, as he is sadly no longer with us and this album emphasizes the incredible loss Polish Jazz suffered with his premature death. As such, this album is a great tribute to his talents. Wojciech Majewski as a composer is in many respects the epitome of the mainstream Polish Jazz, encapsulating the lyricism, melancholy and exquisite melodies, which are its main characteristics. This album also shows how Polish Jazz, often within the Jazz & Poetry idiom, is interconnected with other aspects of the Polish Culture. The inclusion of works by Grechuta and Niemen are by no way incidental and emphasizes these intricate associations. Overall this is a highly important release, not only as far as the beautiful music it presents, but also as a wonderful historic document shedding light on the Polish Jazz scene in particular and Polish Culture in general. The For Tune label deserves to be especially praised for this release, which no doubt is a very significant addition to the label´s catalog. I hope more releases of such character will follow. This is an absolute must to all fans of Polish Jazz, but Jazz connoisseurs the world over should also enjoy this music immensely, as it knows absolutely no borders.

Updated: 19/07/2016Posted: 19/07/2016

CD 1 Recommend To A Friend

LUKASZ BOROWICKI ~ WANDERING FLECKS FOR TUNE 0095 (Barcode: 5902768701937) ~ POLAND ~ Jazz Recorded: 2015 Released: 2016 This is the second album by young Polish Jazz guitarist Lukasz BorowickiFind albums by this artist. Following the debut album recorded in a trio format, this album presents a quartet effort, with Danish flugelhornist Mads la CourFind albums by this artist and Polish bassist Mariusz PrasniewskiFind albums by this artist (who also appears on the debut) and drummer Karol DomanskiFind albums by this artist. The album includes ten original compositions, eight of which are by Borowicki and two are improvisations credited to the quartet members. In contrast to the debut, this album is much more relaxed and organized, probably since there is no pressure to prove anything this time. The compositions are lyrical and much closer to the European Jazz idiom, with breathing space and freedom being the most important ingredients in addition of course to the personal abilities of the participants. The addition of the flugelhorn expanded the ensemble´s possibilities considerably and Borowicki could have hardly find a better partner for his musical explorations that the amazing Dane, who has caught my ear already and who is definitely worth following carefully. The quartet is very tight together, which is quite remarkable considering the complex, both harmonically and rhythmically, music they perform. The rhythm section truly supports the soloists as well as builds up the platform on which the entire structure securely advances in time. As the result the instrumental work is nothing short of amazing. It is hard to believe that this album was recorded by such young musicians. Borowicki also presents an impressive compositional palette and the overall level of his tunes is very notable. His compositions serve as ideal vehicles for the musicians to play their best. The interplay between the guitar and the trumpet is especially exciting, as are their respective solo parts. Both Borowicki and la Cour have a distinctive sound and approach and on this album they simply complete each other perfectly. It is a joyful feeling to hear music of such quality, especially when it comes from musicians who are at early stages of their careers. The maturity and talents displayed here are all exemplary. As a result this is another great album released by the For Tune label, and certainly one of the strongest releases this year on the Polish Jazz scene. Congratulations!

Updated: 08/08/2016Posted: 08/08/2016

CD 1 Recommend To A Friend

MALERAI / BARGH / GOODARZI ~ ZIN DO HEZARAN… FOR TUNE 0096 (Barcode: 5902768701852) ~ POLAND ~ Jazz-World Fusion Recorded: 2015 Released: 2016 This is the third album by polish trio MaleraiFind albums by this artist, led by clarinetist / composer Michal GorczynskiFind albums by this artist and also including violinist Dagna SadkowskaFind albums by this artist and cellist Robert JedrzejewskiFind albums by this artist. They are joined by vocalist Awa BarghFind albums by this artist and percussionist Farzad GoodarziFind albums by this artist and together perform a cycle of ten songs composed by Gorczynski, which feature lyrics by the 13th Century Persian poet and mystic RumiFind albums by this artist and which have been inspired by the Persian musical traditions and Rumi´s poetry. Gorczynski´s chameleonic ability to absorb cultural influences and create his unique music inspired by them seems to have no borders. His earlier projects dealt with Jewish and Japanese influences and now he chose the magnificent Persian culture, which is sadly little known in Europe. Such ability is truly remarkable and Gorczynski deserves high praise for it. As usual the music amalgamates the folkloristic motifs with Gorczynski´s Jazz based improvisations, creating a powerful Jazz-World Fusion. Although the Persian lyrics are probably completely incomprehensible to European listeners, Bargh manages to express them with such heartfelt delivery that they become a part of the overall tapestry and can be enjoyed just on the emotional plane. As in the case of all good music, listening to this album requires undivided attention and open-mindedness from the listener, who is eventually deeply rewarded. Acceptance and tolerance towards other cultures is definitely a basis for human communication and Gorczynski is definitely a Master of the trade in that area. As always, this album is highly recommended to serious listeners, who see in music an opportunity of discovery and deeply emotional as well as intellectual experiences. This is exactly what this album delivers.

Updated: 10/08/2016Posted: 10/08/2016

CD 1 Recommend To A Friend

MADE IN CHINA ~ TRANSMISSIONS FOR TUNE 0098 (Barcode: 5902768701975) ~ USA ~ Jazz Recorded: 2015 Released: 2016 This is an album by the Jazz trio called Made In ChinaFind albums by this artist, which consists of Canadian (resident in NY) saxophonist Michael BlakeFind albums by this artist, Swiss trombonist Samuel BlaserFind albums by this artist and American drummer Michael SarinFind albums by this artist. The trio´s name, as explained in the liner notes, originates from the fact that it was put together in order to play concerts in China. The album presents eight compositions, four of which are originals by Blake, two are originals by Blaser, one is by the legendary South African drummer Louis MoholoFind albums by this artist and the remaining one is Jamaican ska tune. The music is based on exchanges of improvised passages between Blake and Blaser, with Sarin laying some rhythmic patterns behind them. It has its Bebop roots, like most American Jazz, but it is not unchained enough to be considered as fully blown Improvised Music and not restrained enough to be considered mainstream. Personally this kind of playing leaves me completely cold and I don´t see where it is going at all. It contains no emotional statement nor does it impress with its virtuosity or cleverness. In short it is completely unimpressive. I wonder why the For TuneFind albums on this label label, having at its disposal endless stream of superb original Polish Jazz, would invest in completely secondary American efforts, which look incredibly pale in the catalogue standing side by side with the Polish releases. But of course it´s only my point of view.

Updated: 11/08/2016Posted: 11/08/2016

CD 1 Recommend To A Friend

K.R.A.N. ~ THE ZOMBIE CHORDS FOR TUNE 0099 (Barcode: 5902768701999) ~ POLAND ~ Jazz Recorded: 2015 Released: 2016 This is the second album by the Polish / Danish quartet K.R.A.N.Find albums by this artist, which consists of Polish clarinetists / saxophonist Tomasz LicakFind albums by this artist and guitarist Marek KadzielaFind albums by this artist and Danish bassist Richard AnderssonFind albums by this artist and drummer Kasper Tom ChristiansenFind albums by this artist. They perform seven original compositions: three by Licak and two each by Andersson and Christiansen. The music is typical young contemporary European Jazz, full of complex and passionate statements by the quartet members. The brief melodic intros give way to extended improvisations by Licak and Kadziela, admirably supported by the excellent Danish rhythm section, with both Andersson and Christiansen already recognized as some of the best new generation European players on the scene. The quartet manages to balance skillfully between discipline and freedom, both individually and as an ensemble. Some of the soloing plunges deeply into Free Jazz, but the rhythm section keeps things right in check, successfully avoiding mayhem and cacophony. Licak sounds great both on clarinet and saxophone and Kadziela adds some electronic effects to his guitar vocabulary, enhancing the overall sound of the quartet. He also supports Licak very skillfully during his solo parts and plays beautiful unisono parts with him. It is very encouraging seeing K.R.A.N. make such a progress since their debut album some years ago, recorded when they were still students. The experience they all gained during the years that passed since then is plainly evident. By now they are a mature and fully equipped unit, which is capable of delivering solid musical statements. Overall this is definitely a very fine effort, which brings forward some fresh ideas and a lot of interesting music, which speaks volumes about the future of European Jazz. Definitely worth investigating!

Updated: 11/08/2016Posted: 11/08/2016

CD 1 Recommend To A Friend

MARCIN KRZYZANOWSKI ~ KENOSIS MUSIC FOR TUNE 0102 (Barcode: 5906395808021) ~ POLAND ~ Avant-Garde Jazz-Classical Fusion Recorded: 2014 - 2015 Released: 2016 This is a very interesting album by veteran Polish cellist / composer Marcin KrzyzanowskiFind albums by this artist, primarily known as a composer of cinematic and theatrical music, which presents a collection of thirteen relatively short Avant-Garde compositions, all by Krzyzanowski. The music is performed by a core trio, which also includes the excellent saxophonist Paulina OwczarekFind albums by this artist and electronics manipulator Piotr ZylaFind albums by this artist. Multi-instrumentalist / vocalist Mieczyslaw LitwinskiFind albums by this artist appears as guest. The music is very diverse and touches upon a multitude of Contemporary Avant-Garde Music and other idioms, with also includes spontaneous improvisation. The cycle of three compositions based on Biblical Psalms, which include the original Hebrew texts, are the strongest pieces on the album. A whole album dedicated to such music might have been also truly fascinating. Additional cycles of three chorals and five "Fucksoundages" (yes there is a lot of humor here as well) are also included. The overall level of complexity and wonderful weirdness is in fact intriguing and keeps the listener on his toes throughout the entire duration. The vocals deserve a special mention and are one the most impressive layers of this music. This is a wonderful example of music, which is still searching and exploring uncharted (at least partly) territories, boldly ignoring genre limitations and taking from the tradition only to push it into a new direction. Definitely not for everybody, but connoisseurs of Contemporary Avant-Garde Classical music and Improvised Music should enjoy this album in full. Kudos to the For TuneFind albums on this label label for giving this music a chance to reach a wider public, despite the total lack of commerciality it so proudly displays.

Updated: 12/04/2019Posted: 16/10/2016

CD 1 Recommend To A Friend

TOMASZ SROCZYNSKI ~ PRIMAL FOR TUNE 0103 (Barcode: 5906395808038) ~ POLAND ~ Avant-Garde Jazz-Classical Fusion Recorded: 2015 Released: 2016 It is the debut album as a leader by Polish Avant-Garde violinist / composer Tomasz SroczynskiFind albums by this artist, recorded in a trio format with bassist Max MuchaFind albums by this artist and drummer Szymon GasiorekFind albums by this artist. The album presents a continuous twelve piece progression lasting thirty eight minutes. Since composing credits are not disclosed on the album´s liner notes I assume the music was co-composed by all three musicians based on basic ideas by the leader. The music moves along between Contemporary Classical, Free Jazz, Improvised Music and Ambient, which seems pretty arbitrary as there is no coherent structure or sequence, which could hint as to the ultimate goal. The diverse sonic vistas produced by the violin are interesting and so is the attempt to share responsibility by the other instruments, which play along amicably, but that is not enough to keep the listener fascinated for more that a few moments at a time. Sroczynski displays virtuosic technique, especially so in the longest track on the album, but the other pieces are much more minimalistic and less immediately attractive. However, there is no doubt that this is a courageous effort to produce original and ambitious music, and as such it deserves encouragement and support, like the release of this album. There is no way to foresee where Sroczynski might be heading in the long range, but based on his previous recordings and the one at hand he certainly is full of interesting ideas and opens new possibilities for the role of the violin in contemporary music. Lovers of adventurous Avant-Garde escapades, full of challenge and discovery, should find this music interesting and worth listening to. The question is if a repeated listening to this recording is something many listeners will be interested in.

Updated: 12/04/2019Posted: 14/10/2016

CD 1 Recommend To A Friend

PAWEL WSZOLEK ~ FAITH FOR TUNE 0106 (Barcode: 5906395808083) ~ POLAND ~ Jazz Recorded: 2016 Released: 2016 This is a second album by young Polish Jazz bassist / composer Pawel WszolekFind albums by this artist, which follows his debut album, released just a year earlier. This time the music is recorded by a quintet, which includes all the players present alongside the leader on the debut effort, i.e. guitarist Lukasz KokoszkoFind albums by this artist, pianist Sebastian ZawadzkiFind albums by this artist and drummer Szymon MadejFind albums by this artist, and adds saxophonist Mateusz SliwaFind albums by this artist. The album presents eight original compositions, all by Wszolek. Musically the album marks a significant step forward towards compositional maturity, and continues the excellent level of execution present on the debut. The tunes are significantly less straightforward than those on the predecessor, with more complex harmonic structure and melodic diversity, which results in an overall aesthetic aura, which projects seriousness and depth. Wszolek is lucky to have these talented players as members of his quintet, as their individual contributions lift the music to a connoisseur level, which of course serves the compositions very well. The album is full of great solo statements by the participants, but manages to maintain a calm, relaxed atmosphere of melancholy, typical of Polish Jazz recordings. Wszolek plays the bass parts with confidence and determination, obviously leading the quintet all the way through. His beautifully melodic and round sound is an excellent anchor that keeps the music in check. Zawadzki´s statements are, again, the most impressive as far as soloing is concerned, and in spite of his young age he is slowly emerging as a significant pianist on the very crowded Polish Jazz scene, still waiting for his definitive album to be released. Overall this is a very solid release, full of great tunes and excellent performances, which proudly represents the state of contemporary Polish Jazz and compares favorably to anything in the similar vein recorded anywhere in the world. All these musicians are part of the next generation of Polish Jazz, slowly taking over the center stage from the aging (albeit hopefully slowly) current residents. Well done!

Updated: 31/12/2016Posted: 31/12/2016

CD 1 Recommend To A Friend

MINIM EXPERIMENT ~ DARK MATTER FOR TUNE 0107 (Barcode: 5906395808090) ~ POLAND ~ Jazz Recorded: 2016 Released: 2016 This is the debut album by a young Polish Jazz quartet Minim ExperimentFind albums by this artist, led by guitarist / composer Kuba WojcikFind albums by this artist, which also includes pianist Kamil PiotrowiczFind albums by this artist, Italian bassist Luca CurcioFind albums by this artist and drummer Albert KarchFind albums by this artist. The album presents five pieces, all original compositions by Wojcik. The music is a wonderful open format amalgam of melodic themes and free improvisations, full of energy, inspiration and surprisingly fresh ideas, which are even more amazing considering the young age of the musicians involved. There is a wonderful balance between the melodic content and the freedom of expression, which keeps this music coherent and focused on one hand and opened and unexpected on the other hand, an ideal all modern Jazz musicians are striving to reach, but only very few actually succeed. There is of course a certain minimalism involved, as the name of the quartet suggests, but it is that wonderful kind of minimalism which manages to emphasize the "less is more" effect, which again is very rarely achieved. The individual contributions by all for musicians are outstanding. The leader plays with a very clean, almost sterile sound, eschewing electronic effects and other cornucopia, which is remarkably fresh and effective. Piotrowicz, who already has a couple of solo albums under his belt, sounds outstandingly open minded here, very far from the pretty conventional approach he used on his own albums, almost as if he wasn´t himself. Curcio does a great job on the bass, playing sparingly but always right on the money, with his individual punches standing like pillars upon which the rest of the music rests comfortably or arco work creating additional layers of the overall soundscape. Karch, who already made his impressive statements on other Polish Jazz albums, is the ideal drummer, who does not play rhythm but is there alongside his partners exactly when needed. Overall this is a brilliant debut album, one of the best Polish Jazz debuts of 2016 and perhaps even one of the best albums of this year. It is with great pleasure that I am able to write these words on New Year´s Eve, rounding up my work as a reviewer for 2016. A beautiful finishing accord of a very intense year for Polish Jazz, hopefully to be followed starting tomorrow! Hats off!

Updated: 31/12/2016Posted: 31/12/2016

CD 1 Recommend To A Friend

BAUER / BALDYCH / DUCHNOWSKI / KONRAD ~ TRANS-FUZJA FOR TUNE 0108 (Barcode: 5906395808069) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2012 Released: 2016 This is a live recording by an ad-hoc quartet comprising of two Polish Jazz musicians: violinist Adam BaldychFind albums by this artist and drummer Cezary KonradFind albums by this artist, a Classical cellist / composer Andrzej BauerFind albums by this artist and an electronic music composer / pianist Cezary DuchnowskiFind albums by this artist. Together they perform seven original compositions, three of which are credited to all four participants, being basically spontaneous improvisations, and two each are by Baldych and Duchnowski. The album was recorded four years before it was finally released. The music is a variety of contemporary Avant-Garde Classical Music, with includes a large degree of improvisation, but also other forms of Modern Classical composition. Although conceptually the music does not belong to the Jazz idiom per se, Baldych´s violin phrasing and Konrad´s rhythmic parts make the music to sound quite Jazzy, definitely more than probably initially intended, and simply transfers it safely into the Jazz environs. Although the music is pretty minimalistic and introvert, it is definitely interesting not only to the Avant-Garde connoisseurs but to a much wider circle of potential listeners, especially during the parts which display a melodic content and rhythmic stability, and as such are relatively easy to follow. Not surprisingly, the two pieces composed by Baldych are the most melodic and include, as usual in his works, huge doses of the typical Polish melancholy, which almost defines Polish Music as such. The level of execution is of course brilliant, again with the focus in Baldych´s exquisite violin virtuosity, but also due to the overall superb contributions by all the musicians involved. Bauer, who is of course a renowned cellist in the Classical field, gets a relatively limited opportunity to showcase his talents, but there is still enough of his presence herein to amaze and astonish. Konrad, who is one of top Polish Jazz drummers, exposes his versatility and wonderful ability to listen to his partners while driving the ensemble forward. Duchnowski adds some brilliant electronic effects and plays great piano licks. Overall listening to this recording is an uplifting aesthetic experience. Kudos, as usual, to For TuneFind albums on this label Records for releasing this unusual and obviously non-commercial music, which otherwise might have disappeared in the vaults of music archives, which never see the light of day, especially in view of the fact that this music such a great example of cross genre pollination and Jazz-Classical Fusion at its best.

Updated: 12/04/2019Posted: 30/12/2016

CD 1 Recommend To A Friend

KRYSTYNA STANKO ~ NOVOS ANOS FOR TUNE 0113 (Barcode: 5906395808151) ~ POLAND ~ Jazz Recorded: 2016 Released: 2016 This is the eighth album by Polish Jazz vocalist Krystyna StankoFind albums by this artist, recorded with her regular wonderful Baltic crew which includes vibraphonist Dominik BukowskiFind albums by this artist, guitarist Marcin WadolowskiFind albums by this artist, bassist Piotr LemanczykFind albums by this artist and guest Brazilian drummer / percussionist Ze Luis NascimentoFind albums by this artist. Trumpeter Marcin GawdzisFind albums by this artist guests on two tracks and drummer Lukasz ZytaFind albums by this artist on three tracks. Together they perform eleven songs (one is repeated twice), six of which were composed by Antonio Carlos JobimFind albums by this artist, and the rest by different composers like Chick CoreaFind albums by this artist, Mongo SantamariaFind albums by this artist and others, all with a distinct samba and bossa nova character. All the songs use English lyrics. This album marks a significant diversion in Stanko´s career, which is usually focused on singing original material composed by her or her band members. When I visited her in Gdansk three months ago, not long after this album was recorded, she told me that this was a conscious decision to create an album which could be enjoyed by a much wider audience than her previous recordings, without compromising the artistic and aesthetic values. There is no doubt that she and her band managed to do just that. The album includes mostly very well known songs, which have been previously recorded many times by artists all over the world. This album offers however a slightly different approach, with the instrumental arrangements being much more Jazzy than similar efforts. The presence of Bukowski adds another dimension, normally not present on such recordings and the brilliant bass playing by Lemanczyk firmly places these interpretation within the Jazz idiom rather that the usual Pop or easy Jazz genre. Wadolowski adds some beautiful guitar parts, which are also quite different from the standard guitar parts used on samba albums and so does Gawdzis, albeit briefly. Of course having a Brazilian drummer / percussionist on boards ensures that rhythmically everything works perfectly. Stanko´s deep sensual voice is of course ideally suited for these songs, and her vocal theatrics fit the bill perfectly. Although her pronunciation is not exactly "perfect" English, it is not significant as these songs have been sung in English by Jobim himself, Astrud GilbertoFind albums by this artist and countless other non-native English speaking vocalist and a slightly foreign accent in this case is perhaps an asset rather than a weakness. Stanko of course has the perfect feel needed to perform these songs and does it with obvious passion and love. She uses superb vocalese parts in addition to the lyrics, which are truly delightful. For me the most touching song of the album is the intimate trio which finds Stanko supported just by vibraphone and bass, which is perfection itself. Stanko respectfully leaves a lot of space for instrumental parts, which is most appropriate. If this album will bring Stanko to a wider public attention, it will serve its purpose ideally. She deserves to be heard and adored by everybody as much as I do adore her, regardless what she does, not because she is my friend, but because she is a true Artist and a wonderful human being. Well done Krystyna, Dear!

Updated: 26/11/2016Posted: 20/11/2016

CD 1 Mini-Sleeve Recommend To A Friend

NIKA LUBOWICZ ~ NOC NAD BETLEJEM FOR TUNE 0114 (Barcode: 5906395808144) ~ POLAND ~ Jazz-World Fusion Recorded: 2016 Released: 2016 This is second Christmas album I am writing about this year, which is highly unusual, as I mostly keep away from Christmas albums as far as I can, not that I have anything against Christmas per se, but because Christmas albums are usually pretty atrocious musically. However, for the second time it turns out that Christmas albums can be artistic and musically fulfilling. Polish Jazz vocalist Nika LubowiczFind albums by this artist, a member of the famed Lubowicz clan, gathered her two brothers: violinist Dawid LubowiczFind albums by this artist and keyboardist Jakub LubowiczFind albums by this artist, her husband accordionist Sebastian ZajacFind albums by this artist, bassist Marcin MurawskiFind albums by this artist, drummer Krzysztof SzmandaFind albums by this artist and a couple of guests, and together they perform ten Christmas Carols, six of which were composed by Nika´s father Stanislaw LubowiczFind albums by this artist, one by Waclaw Geiger and three are traditional Carols newly arranged for this album. The music carries the Christmas spirit, as expected, but it is also rich in wonderful arrangements, some more Jazz oriented and others less so, and of course features Nika´s lovely vocals, which are always a pleasure to listen to. Everything is kept in relaxed, almost blessed atmosphere, with the music and instrumental passages working perfectly together to create a coherent, highly aesthetic message. The music also includes some Folklore elements, related to the Polish Highlanders, who live near the southern border of the country in the Tatra Mountains and the town of Zakopane, which of course is Nika´s home ground. Overall this is a gorgeous, moving album, which although Christmas oriented, is perfectly listenable any day of the year, and which emphasizes the diversity and beauty of the Polish Culture.

Updated: 28/11/2016Posted: 28/11/2016

CD 1 Mini-Sleeve Recommend To A Friend

KRZYSZTOF DYS ~ TOYS FOR TUNE 0115 (Barcode: 5906395808199) ~ POLAND ~ Jazz Recorded: 2014 Released: 2016 This is the debut album in the classic piano trio format by Polish Jazz pianist / composer Krzysztof DysFind albums by this artist, recorded with his usual cohorts: bassist Andrzej SwiesFind albums by this artist and drummer Krzysztof SzmandaFind albums by this artist. The trio performs eleven classic modern Jazz compositions by famous American Jazz musicians / composers, except for one track which was composed by Antonio Carlos JobimFind albums by this artist and in addition one original composition by Dys is also included. Although not mentioned anywhere on the album´s artwork, this is the first Polish Jazz album dedicated to re-composition or de-composition of music composed by others, which does what other albums claimed to do but didn´t. It is of course a speculation on my part if this was the intended procedure by Dys and his colleagues, but the treatment of the well known compositions offered by the trio is very radical and most listeners will have a very hard time to identify these compositions simply by listening to the music, which seems to support my guesswork. As a result this is definitely one of the most intellectually challenging Polish Jazz albums released lately and a true masterpiece, which deserves but the highest praise. The sublime balance between the hidden melodies and the Free Improvisations is magical and truly fascinating. The superb technique and virtuosity displayed by all the members of the trio clearly puts them in the high echelons of the Polish Jazz scene, which is no surprise to people following that scene closely Dys gradually earns the respect and the position of "musician´s musician", which sadly does not always go in parallel to his popularity with the critics and Jazz listeners, and this album is an excellent example of such dilemma. It is simply to "witty" to be loved by the average Jazz fan. On the other hand considering his versatility and proficiency, Dys should sooner or later reach the level of popularity he truly deserves. His recorded legacy so far definitely proves his abilities beyond any shadow of a doubt. Overall this is a excellent piece of highly sophisticated European Jazz, even if it is based on music written by American composers, which although challenging and demanding is very much worth the effort of several listening sessions, which should suffice to let the music sink deeply and be appreciated in full. Great stuff!

Updated: 27/01/2017Posted: 27/01/2017

CD 1 Recommend To A Friend

MICHAL WIERBA ~ BODY LANGUAGE FOR TUNE 0116 (Barcode: 5906395808168) ~ POLAND ~ Smooth Jazz Recorded: 2015 Released: 2016 This is the second album as a leader by Polish Jazz pianist / composer Michal WierbaFind albums by this artist, recorded live at the Polish Radio in a quintet setting with saxophonist Maciej SikalaFind albums by this artist, bassist Jakub DworakFind albums by this artist, drummer Arek SkolikFind albums by this artist and percussionist Bogusz WekkaFind albums by this artist. The album presents nine compositions, five of which are originals by Wierba, one is a traditional tune and three are standards (sort of). As usual with Wierba´s recordings, the music is definitely on the lighter side of Jazz, somewhere between mainstream Jazz and entertainment. His original compositions are well crafted, but do not represent a coherent stylistic consistency as of yet. This of course might be remedied in the future. The album is, however, excellently executed by all the participants, who are of course seasoned musicians with years of experience and numerous earlier recordings. Wierba is very skilled technically and plays with self confidence and vigor. Sikala is right on the money every time he takes a solo. The rhythm section provides amicable support and carries the music safely and steadfastly, albeit predictably forward. Personally I´m not a great fan of percussion, unless used in music where it organically belongs, so the percussion parts on this album add little to its value. Overall this is a very nice light Jazz album for listeners not necessarily associated with Jazz per se, but displaying some fondness of Jazzy oriented material that does not get to complicated. Definitely well played and entertaining, it might find many sympathetic ears.

Updated: 28/01/2017Posted: 28/01/2017

CD 1 Recommend To A Friend

ESKAUBEI & TOMEK NOWAK QUARTET ~ TEGO CHCIALEM FOR TUNE 0117 (Barcode: 5906395808205) ~ POLAND ~ Jazz-Rap Fusion Recorded: 2016 Released: 2016 This is the second album by Polish Rap and Jazz ensemble which finds rapper Bartlomiej SkubiszFind albums by this artist (a.k.a. EskaubeiFind albums by this artist) combining forces with a Jazz quartet led by trumpeter Tomek NowakFind albums by this artist, which also includes pianist Kuba PluzekFind albums by this artist, bassist Alan WykpiszFind albums by this artist and drummer Filip MozulFind albums by this artist. This time they are also supported by DJ Wojciech DlugoszFind albums by this artist (a.k.a. Mr. KrimeFind albums by this artist) who performs turntablism, saxophonist Mateusz SliwaFind albums by this artist and vocalist Patrycja ZarychtaFind albums by this artist. A couple of guest musicians appear on one track. Together the ensemble performs ten original songs, seven of which were composed by Nowak, two by Pluzek and one by Mozul (an instrumental intro). Skubisz wrote the lyrics to all nine songs and was helped out by the guest on one of them. This album continues the direction set by its predecessor, which combines Funky / Groovy Jazz tunes with Rap. In contrast to most attempts of such amalgamation, in which the musical content is rather limited and mostly very sketchy not to say primitive, this album offers a series of excellent full fledged compositions, which easily hold their own ground musically. This is even more emphasized on this album with the addition of Sliwa and expanding the quartet into a quintet on about half of the tunes. The Rap elements, although occupying a separate plane, are fully integrated within the musical structures. The turntablism, courtesy of Mr. Krime, who is prominently featured on the album, brings this album up to date with updated sound trends The instrumental work by the quartet / quintet is excellent from start to finish. Nowak plays superb soulful / funky phrases, Sliwa adds strength creating a brass section feel and soul when he plays solo, Pluzek plays absolutely wicked keyboards, using a plethora of sounds and groovy touches, Wykpisz, who is a wonderful Jazz bassist, turns here into a wizard of Funk and Groove and finally Mozul takes care of the rhythmic continuum, steady as a rock and devilishly inventive; in short a dream team! The Rap, which in fact is more a form than contents, turns out to be a recitation of Poetry, which deals with a wide range of subject matter, which Skubisz and his generation are facing in this strange and cruel world, which is consistently becoming less human. The lyrics are often bitter and frustrating, but from time to time also touch upon dreams and hope. They are a great example how one can express protest and anger without using even one four (or in Polish five) letter word. Overall this is another great album by Skubisz and his cohorts, proving that their debut effort was not just a lucky coincidence. The Rap and Jazz concept is again proven to be valid and creatively sound and the execution is once more just right on the money. Hopefully the Artists involved in this project will develop the idiom further in their future recordings, and in the meantime we are happy to enjoy this excellent effort. Well done again!

Updated: 31/01/2017Posted: 31/01/2017

CD 1 Recommend To A Friend

OLES BROTHERS / ANTONI GRALAK ~ PRIMITIVO FOR TUNE 0118 (Barcode: 5906395808212) ~ POLAND ~ Jazz-World Fusion Recorded: 2016 Released: 2016 This is the debut album by Polish Jazz trio comprising of bassist Marcin OlesFind albums by this artist and drummer Bartlomiej OlesFind albums by this artist (collectively known as Oles BrothersFind albums by this artist) and trumpeter Antoni GralakFind albums by this artist, known as member of such Polish cult ensembles as Free CooperationFind albums by this artist, GraalFind albums by this artist, YesheFind albums by this artist, Tie BreakFind albums by this artist and Young PowerFind albums by this artist. The album presents ten pieces, three of which are based on traditional folkloristic motifs, one is a collective improvisation, two are composed by Gralak, one is composed by Bartlomiej Oles, one is co-composed by Marcin Oles and Gralak and two are compositions by others. The music, as the title suggests, is a very fascinating journey exploring early, or so called "primitive" music, which naturally deals with basic human emotions, like sadness and joy, as reflected in contemporary musical environment of Jazz and Improvised Music. The folkloristic themes originate mostly from Africa - the cradle of Man – but venture also as far as Tibet and Mexico. The modus operandi in these sessions relays completely on the ability of the three musicians to converse and express their "primitive" emotions towards each other, based on whatever thematic sub-context was chosen for each of the pieces. This cooperation with Gralak takes the Oles Brother back in time to the period when they cooperated closely with another Polish trumpet legend, Andrzej PrzybielskiFind albums by this artist, who died six years ago (in 2011). Therefore the setting of trumpet accompanied only by a rhythm section is not a new concept to them. Gralak, accidently (or maybe not) shows many similarities in his playing and general attitude towards music to those displayed by the late Przybielski. Even the tone of his trumpet brings immediate fond memories of Przybielski´s work. In any case it´s great to see the older generation of Polish Jazz Trumpet School alive and kicking. This album is very intimate and does not pretend to dazzle or swap anybody off their feet. It does however propose a serious re-examination of what the essential elements of music are and what can be considered as superficial worthless deception that often pretends to be the real thing. Oles Brothers have always taken their music seriously, and this time is no different. Listeners willing to explore new (albeit in fact very old) territory will find this album fascinating in every respect: the musical choices, the candor of the attitude and of course the perfection of execution. Fans of the trumpet should expect a revelation, and if this is the first album they hear with Gralak on it, they will surely try to find his other work. Overall wholeheartedly recommended, as usual with Oles Brothers projects, when buying an album is completely risk-free!

Updated: 03/02/2017Posted: 03/02/2017

CD 1 Recommend To A Friend

KOLAKOWSKI / WYKPISZ / KORELUS ~ SCHONBERG FOR TUNE 0119 (Barcode: 5906395808229) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2016 Released: 2016 This is the debut album by Polish Jazz piano trio comprising of pianist Mateusz KolakowskiFind albums by this artist, bassist Alan WykpiszFind albums by this artist and drummer Bartlomiej KorelusFind albums by this artist. The album presents the trio´s interpretation of the famous set of six pieces for solo piano by Jewish Austrian composer Arnold SchonbergFind albums by this artist called "Sechs Kleine Klavierstucke" (Op. 19 from 1911). All the six pieces of the set and an alternate take of the first piece are present herein. Schonberg´s music was as much revolutionary in its nature at the time it was composed, as Free Jazz was some fifty years later, braking with existing tradition of Classical music (or Jazz music later) and paving the way for reinvention of the idiom. The six brilliant miniatures comprising the set influenced an entire generation of young European composers and Classical Music would not be the same from that moment on. Kolakowski, Wykpisz and Korelus take a giant leap into the unknown by attempting to reinterpret this complex and highly sophisticated music and the final result proves that sometimes taking risks pays off big time. The music is indeed reinvented, often quite distant from the origin, and manages to amalgamate perfectly the essence of Jazz with the compositional concept of tonality, which the original pieces introduce. The music is beautifully executed, perfect both technically and emotionally and full of virtuosic phrasing and dazzling arpeggios which should make the listener´s head spin. The elegance which characterizes the trio´s transitions between Classically influenced passages and the Jazzy vistas is mind-bugling and awe inspiring. It is difficult to imagine a more perfect match between Classical Music and Jazz than what this album offers, which simply means that musical genres are really quite meaningless. Overall this is a superb piece of music, which should satisfy the most sophisticated music connoisseurs. Listeners who look for intellectual challenges in what they let into their ears should find this album overwhelmingly satisfying. Hats off!

Updated: 04/02/2017Posted: 04/02/2017

CD 1 Recommend To A Friend

KRZYSZTOF DZIEDZIC ~ TEMPO FOR TUNE 0120 (Barcode: 5906395808182) ~ POLAND ~ Jazz-Funk Fusion Recorded: 2016 Released: 2017 This is the debut album as a leader by the veteran Polish Jazz drummer / composer Krzysztof DziedzicFind albums by this artist. Surrounded by a formidable team, which includes keyboardist Piotr WylezolFind albums by this artist, saxophonist Kuba WiecekFind albums by this artist, guitarist Apostolis AnthimosFind albums by this artist, bassist Robert KubiszynFind albums by this artist and Michal BajFind albums by this artist (a.k.a. DJ EpromFind albums by this artist), who is in charge of turntablism, Dziedzic presents nine original compositions / improvisations, all credited to him. The music, as described in the album´s liner notes, is all about tempo measured in beats per minute, or BPM, which changes here from one tune to another from the very slow 25 BPS to the extremely fast 207 BPM. The melodic content is quite limited on this album, with the drums being the anchor instrument, which leads the proceedings. Bass guitar parts turn some of the tunes into improvised Funk and Groove. The piano takes most of the solo parts and the saxophone and guitar play only on selected tracks, but deliver excellent contributions, especially the Anthimos parts which are Fusion heaven, as usual. The drums dominate the proceedings of course all the way through. This album is mostly about drums and drumming and fans of rhythmic grooves should find this music delightful. For others, especially those looking for straightforward Jazz might find this music somewhat less approachable, except for some excerpts. Overall this is a bold and quite unique statement, which deserves to be heard and hopefully will conquer hearts in the process. Dziedzic already proved that he is one of the top Polish Jazz drummers over the years and now is time to discover his less obvious qualities.

Updated: 12/04/2017Posted: 12/04/2017

CD 1 Recommend To A Friend

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

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

CD 1 Recommend To A Friend

NAK TRIO ~ AMBUSH FOR TUNE 0122 (Barcode: 5906395808243) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2016 Released: 2017 This is the second album by Polish Jazz ensemble called NAK TrioFind albums by this artist, led by veteran drummer / composer Jacek KochanFind albums by this artist and also including pianist Dominik WaniaFind albums by this artist and bassist Michal KapczukFind albums by this artist. The trio is accompanied by a nine players strong string section, which includes violinist Mateusz SmoczynskiFind albums by this artist, who plays solos on a couple of tracks. The album presents eight original compositions, all by Kochan and all arranged by him except for one of the string arrangements done by Smoczynski. The music is quite complex and although melody based, in features confusing rhythmic patterns and fragmented pieces of melodies, which don´t make it easy on the listener to find his way along the tunes. The string arrangements add another layer of complexity to the proceedings and the final result presents music which moves between modern Contemporary Classical elements and Jazz and require attentive listening and patience. Wania, who plays electric piano on this album (Fender Rhodes and Wurlitzer), is the chief soloist and his playing is, as usual, very convincing and technically perfect. He handles the odd meters and tempi changes with ease and elegance. Kapczuk supplies the basic bottom lines all along with a few nice solos on the way. Kochan delivers the complex polyrhythmic drive with obvious talent and skill. Overall this is a very ambitious undertaking, which might be a tad too much for the average Jazz listener. The electric piano combined with the Classical sound of the strings and the unfamiliar rhythmic patterns are an acquired taste. Wania´s piano playing and the violin solos are the highlights of this unusual album, which is definitely worth investigating by the more motivated listeners. The album also emphasizes the diversity and multifaceted involvedness of the Polish Jazz scene.

Updated: 11/04/2017Posted: 11/04/2017

CD 1 Recommend To A Friend

FRANCISZEK POSPIESZALSKI ~ 1ST LEVEL FOR TUNE 0123 (Barcode: 5906395808250) ~ POLAND ~ Avant-Garde Jazz Recorded: 2016 Released: 2017 This is the debut album by young Polish Jazz bassist / composer Franciszek PospieszalskiFind albums by this artist, recorded in a sextet setting with his fellow Polish students at Copenhagen´s Rhythmic Music Conservatory, which is very popular among the young generation of Polish Jazz musicians in the last decade. The other members of the sextet are: saxophonists Kuba WiecekFind albums by this artist and Jedrzej LagodzinskiFind albums by this artist, pianist Grzegorz TarwidFind albums by this artist and drummers Szymon GasiorekFind albums by this artist (who also plays electronic vibraphone) and Albert KarchFind albums by this artist. Trumpeter Szczepan PospieszalskiFind albums by this artist plays on one tune. The album presents seven original compositions, all by Pospieszalski, and one arrangement of a Classical piece. The music, which is absolutely beyond any known systematic classification, moves constantly between modern Jazz, group improvisation, contemporary Classical and a myriad of other not yet invented labels, and is utterly stunning in its inventiveness and complete disregard of stylistic or mental limitations. It is an extension to what the Love And Beauty SeekersFind albums by this artist trio (Pospieszalski / Lagodzinski / Gasiorek) brilliantly started on their debut album a year earlier, with the additional power and possibilities intrinsic to the larger sextet lineup. In short this is perhaps a beginning of a new Jazz genre, which appears here for the first time, and which is new and separate from anything else known in the past. It is mindboggling to hear what these young people manage to achieve here, which is more revolutionary and prophetic that what most Jazz musicians achieved in their lifetimes. As hard as it is to believe, this music is a quintessential expression of the Jazz exploration and development, which is the genre´s most important quality, especially in view of the fact that most other musical forms are simply dying or exist in a state of deep lethargy. Listening to this music reveals perhaps the last threads of hope for human Culture, which is still alive and kicking. Although the album is extremely short (just over thirty six minutes in duration), it is so extremely condensed and full of intellectual charge, that its unadulterated contents means more that dozens of other albums put together. As a result it stays apart from most other albums released in Poland this year, and is by far the most interesting release so far in 2017. It will perhaps take time for the listeners to fully understand the meaning and significance of this music, but the musical prophecy conveyed herein is bound to create a major impact. My deepest thanks go to these young Lions for keeping my faith in humanity afloat.

Updated: 18/07/2017Posted: 18/07/2017

CD 1 Recommend To A Friend

WOJCIECH PULCYN ~ TRIBUTE TO CHARLIE HADEN FOR TUNE 0125 (Barcode: 5906395808274) ~ POLAND ~ Jazz Recorded: 2016 Released: 2017 This is the debut album as a leader by veteran Polish Jazz bassist Wojciech PulcynFind albums by this artist, dedicated as the title suggest, to the great American bassist / composer Charlie HadenFind albums by this artist. The music was recorded live at the Polish Radio studio by a group of Pulcyn´s cohorts, which include trumpeter Tomasz DabrowskiFind albums by this artist, saxophonist Mateusz SliwaFind albums by this artist, pianist Kuba StankiewiczFind albums by this artist and drummer Sebastian FrankiewiczFind albums by this artist. Vocalist Grazyna AuguscikFind albums by this artist and Pulcyn´s eight years old son Piotr PulcynFind albums by this artist (who plays cello) appear on one track each. The album presents nine pieces, six of which were composed by Haden, two by Ornette ColemanFind albums by this artist and one is a traditional tune. Over the years I have had the immense pleasure to hear Pulcyn live many times and his performances were always impeccable and inspiring. His affinity with his instrument is as close as humanly possible and his humility and kind manners are an example of musical chivalry. Therefore this album, which finally puts the spotlight on his musical skills, is a long overdue opportunity to pay dues to his talents and personality. The music should be pretty familiar to serious Jazz listeners, in particular those who follow the long and impressive career of Haden from his early days as a member of the revolutionary Ornette Coleman quartet, which changed the face of the Jazz idiom, to his work as a leader of his own ensembles. It is modern, often groundbreaking music, which remains completely relevant to this very day, and to be honest it is still on the forefront of the genre, despite the years that have passed sine it was originally composed. The really fascinating aspect of this album is the fact that this music, created and performed originally by American musicians, is treated here with a completely new and more importantly European approach, which sets new meaning to the music and invigorates it immensely. I am tempted to say that this specific treatment of the music is more fascinating than the original in many respects, and for sure it is as far from imitation as can be imagined. The performances are all stellar, as expected from the participating musicians. Dabrowski, who consistently earned a position of one of the top European Jazz trumpeters, fondly fits the shoes of the great Don CherryFind albums by this artist, again displaying his personal style and approach rather than imitating the Master. Sliwa, a young and upcoming player, stands shoulder to shoulder with the veterans, playing like a pro. Stankiewicz, a marvelous pianist, is a symbol of lyricism and never misses a note, always knowing when to touch the keyboard ever so delicately and Frankiewicz, a faithful companion in endless rhythm sections, supports the bassist amicably and telepathically. From the opening solo bass track to the very last moment of this album Pulcyn´s bass is prominently featured in many diverse roles and intonations, always perfectly in accord with the music and the rest of the band, a true silent hero behind the scenes, who makes everything perfect. This album is definitely a superb tribute to Haden´s genious, but at the same time it is a tribute to Pulcyn´s legacy as one of the top Polish Jazz bassists and an icon of stability, perfection and personal standing. Thank you Wojtek for all those beautiful moments!

Updated: 21/10/2017Posted: 21/10/2017

CD 1 Recommend To A Friend

KUBA PLUZEK ~ FROOTS FOR TUNE 0129 (Barcode: 5906395808311) ~ POLAND ~ Jazz Recorded: 2017 Released: 2017 This is the third album by young Polish Jazz pianist / composer Kuba PluzekFind albums by this artist, recorded in a classic quartet setting with the same musicians that played with him on his debut album: saxophonist Marek PospieszalskiFind albums by this artist, bassist Max MuchaFind albums by this artist and drummer Dawid FortunaFind albums by this artist. The album presents ten original compositions, presented as two individual tunes, one two part composition and two three part compositions; definitely an unusual approach to presenting music in the Jazz idiom. The music is very difficult to classify and embraces a plethora of cross-genre influences ranging between Reggae to Free Jazz, with the majority of the tunes just about fitting the mainstream Jazz category. But obviously Pluzek is not much concerned with the classification of his music and is here to make a statement, which is highly unusual and original. Rhythmically the music is uneven, often on the verge of falling apart and than returning back to the beat, sometimes featuring a repeated drone pattern, close to ambient music, and sometimes swinging almost "normally". The aural aspect of this album is also very bizarre, with the distorted electric piano sound dominating the music, dense drum parts up front in the mix, deep bottom bass and out of focus (between the channels) saxophone somewhere as if on a different plane. Altogether this is a weird sonic experience, which adds wonderful tension to the proceedings. The individual contributions are all stellar, as expected. Pluzek freely moves between musical moods, falling in and out of the melody lines, managing to be quite unexpected for the entire duration of the album. Personally I prefer his work on the acoustic piano, but his electric piano parts are more challenging. Pospieszalski manages to hold back his Avant-Garde tendencies and stays pretty conventional, playing several wonderfully structured solos. Mucha is all over the music with his superb bass parts, inserting some arco passages but mostly plucking his bass to the Max (pun intended). Fortuna plays some highly unusual drum parts, polyrhythmic and dense which are only partly concerned with keeping time and become an integral part of the music. Overall this is a challenging, unusual album, definitely one of the most interesting recordings done in 2017, which firmly established Pluzek´s position on the Polish scene as one of the youngsters to reckon with in the immediate future. Pluzek, an outspoken young person, who openly voices his opinions in the social media, often as a voice of opposition, dedicates one of the three part compositions to music critics, calling the piece by a clever twist of the little known word wihajster (subtitled "Piece For Critics"), which expresses his attitude towards the all knowing "music critics", a generalization which hopefully does not include yours truly…

Updated: 12/04/2019Posted: 21/01/2018

CD 1 Recommend To A Friend

GILLE / MUCHA / ARUTYUNYAN ~ LIGHTS & SHADOWS FOR TUNE 0130 (Barcode: 5906395808328) ~ GERMANY ~ Jazz Recorded: 2016 Released: 2017 This is the debut album by the European Jazz trio consisting of German saxophonist Sebastian GilleFind albums by this artist, Polish bassist Max MuchaFind albums by this artist and Latvian drummer Ivars ArutyunyanFind albums by this artist. It presents eight tunes, seven of which are original compositions by the trio members, composed individually and collectively, and one is a Thelonious MonkFind albums by this artist standard. The album was recorded at the excellent RecPublica Studios and offers a beautiful, crystal clear sound quality. The music is a wonderful example of contemporary Modern European Jazz, floating elegantly between melody-based themes and free form improvisations, always unpredictable and exciting. The intimate saxophone trio format is an ideal environment for these three immensely talented players to expose their individual potentials and create a fully functional unit, which sounds as one organic music making body. All the original compositions are absolutely first class and the trio´s interpretation of the Monk standard should make most American Jazz players eat their hats. Gille is an exceptional and completely unique saxophone player, who is able to produce almost unearthly tones, which sound sometimes like violin or flute, and considering he is playing the tenor, this is absolutely amazing. His manner of slowing the tempo almost to a standstill is also extremely effective and creates enormous amounts of tension in the music, in spite of the fact that it is almost minimalistic. Mucha plays superb bass parts and is able to singlehandedly supply both the harmonic layer, upon which the saxophone parts are based, as well as the rhythmic pulsations, which are precise like a chronometer and at the same time dance around the time measures like an ice skater. Although he is rarely seeking a position in the Polish Jazz limelight, his consistently excellent work in the last few years definitely earned him an honorary position among the young lions of the European bass players. Arutyunyan stands shoulder to shoulder with his two partners playing the drums well beyond just keeping the time, which he actually does very rarely. His incredible dynamics and sensibility, not very often found amongst drummers, makes him an equal partner within this tight unit. He is certainly someone to keep an eye on in the future. Overall this is an astonishingly beautiful, intelligent and surprising debut album, which is an example what great Jazz means today, something that others should listen to in order to learn from it and of course a source of immense pleasure for Jazz lovers. An absolute must to every true Jazz connoisseur!

Updated: 22/01/2018Posted: 22/01/2018

CD 1 Recommend To A Friend

CHARLES GAYLE TRIO ~ SOLAR SYSTEM FOR TUNE 0131 (Barcode: 5906395808380) ~ USA ~ Avant-Garde Jazz Recorded: 2016 Released: 2017 This is the second album on the Polish For TuneFind albums on this label label by the American Avant-Garde saxophonist / pianist Charles GayleFind albums by this artist and his trio, which includes Polish bassist Ksawery WojcinskiFind albums by this artist and again a German drummer, this time Max AndrzejewskiFind albums by this artist. The album presents seven improvised pieces, credited to all the trio members, recorded live at Warsaw´s already legendary 12on14 Jazz Club. As I have already stated in my review of the earlier release by the trio, I am completely unable to get the music of Gayle on any level, neither intellectual nor emotional. It sounds like a collection of random, chaotic sounds that make absolutely no sense or is painfully trivial (especially his piano playing). The only thing that makes this music listenable to some extent is the excellent work by the rhythm section, which tries desperately to keep this music in some orderly manner, before it completely disintegrates. I have no idea why Gayle is so difficult for me to get, since I love Free Jazz and Improvised Music since the 1960s and listen to similar music constantly. Must be a mental barrier of some kind? Improvised Music listeners might perhaps enjoy this album, but alas I am simply completely numb here. Good luck with it ;)

Updated: 12/04/2019Posted: 25/01/2018

CD 1 Recommend To A Friend

JANCZARSKI & MCCRAVEN QUINTET ~ LIBERATOR FOR TUNE 0132 (Barcode: 5906395808427) ~ POLAND ~ Jazz Recorded: 2016 Released: 2018 This is the second album by the Polish / American quintet co-led by Polish saxophonist Borys JanczarskiFind albums by this artist and American drummer Stephen McCravenFind albums by this artist, with Polish pianist Joanna GajdaFind albums by this artist and bassist Adam KowalewskiFind albums by this artist and American trumpeter Rasul SiddikFind albums by this artist. Together they perform seven tunes, five of which are originals (three by Gajda and one each by Janczarski and McCraven) and two standards, one each by Woody ShawFind albums by this artist and Billy EckstineFind albums by this artist. The music was recorded live at Warsaw´s 12 on 14 Jazz Club and another venue and has a superb sound quality. The music is a continuation of the direction established on the quintet´s debut album, i.e. straightforward mainstream American Jazz, very well played and presenting solid composition, but hardly innovative or challenging. It seems that although the majority of the quintet members are Polish musicians, the spirit of the music is completely enthralled within the American traditionalism, which changed very little since the heyday of Bebop half a Century ago. But innovation aside, this is still a perfectly enjoyable Jazz album, with highly professional playing, which is much more relaxed and less constrained that on the debut album, and full of joy and energy. Considering the fact that mainstream Jazz has a large following the world over, this album should be appealing to many Jazz lovers. It also proves that European musicians are able to play Jazz as well as any American musician, even within the mainstream idiom, and the "White Man Can´t Jump" is a lot of bull. It is good to see that the quintet gives more exposure to the compositions by Gajda, who is undoubtedly a very skillful and talented composer. Her piano solos are also amongst the most interesting moments on the album. Overall this is a nice mainstream effort, which should be very enjoyable to a wide range of mainstream Jazz audiences, which presents well woven tunes and heartfelt performance as well as superb sound quality.

Updated: 08/05/2018Posted: 08/05/2018

CD 1 Recommend To A Friend

JOACHIM MENCEL ~ ARTISENA FOR TUNE 0134 (Barcode: 5906395808458) ~ POLAND ~ Jazz-World Fusion Recorded: 2015 Released: 2018 This is an album by Polish Jazz pianist / composer Joachim MencelFind albums by this artist, recorded in a quintet setting with violinist Weronika PluteckaFind albums by this artist, guitarist Szymon MikaFind albums by this artist, bassist Pawel WszolekFind albums by this artist and drummer Szymon MadejFind albums by this artist. It presents a cycle of eight original compositions, all by Mencel, based on Polish Folklore dances. Originally Mencel composed and arranged these compositions for a Jazz nonet, but over time as a result of his process of mastering the hurdy-gurdy, he changed the concept and recorded these compositions in a Jazz-World Fusion approach with the above quintet. Polish Folklore seems to be and endless source of inspiration to Polish Jazz musicians and the numerous Jazz-World Fusion projects that appear on the Polish Jazz scene like mushrooms after the rain are ample proof of this phenomenon. One can reflect on the early days of Polish Jazz, during the Socialist regime, when Jazz was often presented as Folk music of the oppressed Afro-American community in order to get clearance from the Cultural censorship to organize Jazz events, and later on Jazz musicians had to include Polish Folklore in their compositions in order to be allowed to record an album (same methods applied also to Polish contemporary Classical Music and Rock). In retrospect perhaps these despicable political manipulations achieved an after effect, which is now coming to a most successful fruition out of good will this time. The music on this album is very melodic and basically mainstream oriented, with the Folklore influences being rather subtle and present most vividly in the rhythmic layer of the compositions. Listeners familiar with Polish Folk dances like Polonaise, Oberek, Mazurka or Kujawiak will probably recognize the patterns, but to those less well-versed in the matter they will become simply a part of the music as a whole. Nevertheless the overall effect is very impressive and aesthetically pleasing. The Jazz facet of the music comes forward during the guitar and piano solo parts and the excellent work by the rhythm section, behind the front players. The individual performances of the quintet members are all top notch, although Mika simply steals the show with his guitar magic. Mencel is an accomplished pianist but his soloing is rather reserved, which emphasizes the guitar parts even more. The violin and hurdy-gurdy stay mostly in the background and are merely an ambient coloring to the rest of the music. Overall this is a very pleasant, highly melodic album, which flows gently from one tune to the next, with the Folklore impact being mostly secondary. Great guitar solos spice the proceedings and keep the music on a Jazzy path, to the delight of the many guitar enthusiasts. Definitely on the lighter side of the spectrum, this music is accessible to almost all music connoisseurs, who like cross-genre explorations without too many cerebral obstacles.

Updated: 08/05/2018Posted: 08/05/2018

CD 1 Recommend To A Friend

LESZEK ZADLO ~ MISS B. FOR TUNE 0136 (Barcode: 5906395808489) ~ POLAND ~ Jazz Recorded: 1995 Released: 2018 This is an archival album by Polish (resident in Germany) Jazz saxophonist / composer / educator Leszek ZadloFind albums by this artist recorded in a trio format with bassist Andrzej CudzichFind albums by this artist and drummer Janusz StefanskiFind albums by this artist. The album presents six compositions, four of which are originals composed by Zadlo and two are standards. The album was recorded the day after the funeral ceremony of Barbara Kwiatkowska-LassFind albums by this artist (the Miss B. to whom this album is dedicated), Leszek´s wife. Sadly both Cudzich and Stefanski are not longer with us as well. Although this is supposed to be an album´s review, this music and the people behind it are way to close to me and my family to allow me to write about it in an objective way, and I´d rather state here a few personal comments / memories about it. Leszek and I share many common crossroads in our life´s stories. We were both forced to leave Poland in the 1960s for political reasons. Leszek left first to Austria and later to Germany and I left to Israel. We both managed to build successful personal lives and careers in our new homelands, but we also kept in touch with our Polish friends and of course with the Polish Culture in general and Polish Jazz in particular. Both of us were banned from visiting Poland for many years and our Polish passports were confiscated and voided. We both organized concerts and events to support the Polish "Solidarity" movement in its struggle for political freedom in Poland and we both rejoiced when Poland finally managed to break the shackles of Socialist tyranny. During all these years and to this very day, for five decades, we stayed in constant contact, supported each other in hours of need and sorrow and consoled each other when dark skies have hidden the sunshine. In the 1980s and first half of 1990s my family (my wife, my daughter and myself) have spent many days in the incredible house in the suburbs of Munich, where Leszek and Basia (as we called Barbara) and their lovely dogs greeted as always with friendship and love and great food and splendid company. We shared our love of people, music, movies and of course dogs, spending hours on end talking and eating and drinking wine till the small hours of the night. Basia was the sweetest, gentlest person one can imagine. She was completely devoid of the ego mannerisms often associated with film stars, a wonderful devoted mother and a true friend. The news about her serious illness and finally about her tragic and unexpected death were a horrific blow to Leszek and of course to all the people who knew and loved her, our family amongst them. We all remember her most fondly and she will always be a part of our lives. In 2016 Leszek and I received on the same stage our respective Polish Jazz "Oscars", he for his lifetime achievements as a musician and I for my achievements in Jazz Journalism. A few months later I invited Leszek to be the Resident Artist of the Singer Jazz Festival, of which I am the Artistic Director. During this residency Leszek, supported by a dream team of top Polish Jazz musicians, performed the lost musical composed by the Godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist, called "Wygnanie Z RajuFind albums with this title" ("Exile From Eden"), which we immediately re-christened jokingly as "Wygnanie Z Kraju" ("Exile From Our Country") referring to our common past. The recording of this historic concert will be released by For TuneFind albums on this label Records, hopefully soon. As to the album I am supposed to write about: Well Leszek never played an unnecessary note in his life and the traumatic circumstances surrounding this recording only emphasize his sublime power of expression, with the music serving as the only way to both escape and express his grief. Everything else is already within the music itself. For me Leszek will always be the greatest Polish saxophone player of all times. Love you my friend, as always!

Updated: 28/10/2018Posted: 28/10/2018

CD 1 Recommend To A Friend

OLGA BOCZAR ~ TESKNO MI, TESKNO FOR TUNE 0137 (Barcode: 5906395808496) ~ POLAND ~ Jazz-Pop Fusion Recorded: 2016 Released: 2018 This is the second album by Polish vocalist / flautist / songwriter Olga BoczarFind albums by this artist, recorded with the same quartet of Polish Jazz musicians who accompanied her on her debut album: pianist Jan SmoczynskiFind albums by this artist, guitarist Andrzej GondekFind albums by this artist, bassist Wojciech PulcynFind albums by this artist and drummer Pawel DobrowolskiFind albums by this artist. The album presents eight songs, four of which are Polish Folk songs and the other four are original compositions by Boczar, three of which feature her lyrics (one of them in English) and one is based on a poem by Polish poet Boleslaw LesmianFind albums by this artist. Both the Folk songs and the original compositions get a Jazzy arrangement (which remains uncredited), but are not really transformed into the Jazz idiom, remaining mostly somewhere between Pop and Folk music after all. Boczar sings both lyrics and vocalese, holding her ground skillfully and even gracefully at times, but her vocal parts are somewhat low in the mix being often overshadowed by the instrumental accompaniment. Her flute parts are only marginally featured here. All four Jazz musicians that participate in the recording are of course highly professional, but the music leaves little ground for them to show their skills except for occasional solos. Overall this is a pleasant album, easy on the ear and well put together, mostly for listeners who prefer to be entertained rather than challenged, but one that can be enjoyed by a wide spectrum of music lovers.

Updated: 19/02/2019Posted: 19/02/2019

CD 1 Recommend To A Friend

KUBA PLUZEK ~ CREATIONISM FOR TUNE 0138 (Barcode: 5906395808519) ~ POLAND ~ Avant-Garde Jazz Recorded: 2017 Released: 2018 This is the fourth album as a leader by the young (born 1988) Polish Jazz pianist / composer Kuba PluzekFind albums by this artist and his third recording with the same quartet, which also includes saxophonist Marek PospieszalskiFind albums by this artist, bassist Max MuchaFind albums by this artist and drummer Dawid FortunaFind albums by this artist. The album presents fifteen relatively / untypically short compositions, nine of which were composed by Pluzek, three were co-composed by him with Pospieszalski and another three were co-composed by all the members of the quartet, although "composed" has to be taken with a grain of salt, as in fact all except two of the pieces on the album are improvised and Pluzek "admits" to composing only two of the pieces, which appear towards the very end of the album. Pluzek, who first appeared on the Polish Jazz scene as a sideman in 2010 and recorded his debut album as a leader in 2012, took part in more than a dozen recordings since, which offer a chameleonic stylistic diversity, which could only mean either a complete lack of focus of an exceptional multi-layered musical talent, which in his case is definitely the latter. Even if one follows only his recordings as a leader, there is clear evidence that Pluzek is trying to cover an unlimited (stylistically) ground in his search for the genius loci of his musical universe. It is therefore not really surprising that Pluzek should arrive in his quest of exploration to the very source of music, as the album´s title suggests. The "primitivism" of sound before melody, harmony and rhythm took over, as he suggests in his comments about the music. One could of course say that the same process happened countless times before, when Jazz musicians abandoned the form in order to explore the source / spirit of music, moving from the traditional Jazz towards Free and Improvised Music, which in fact although commonly called Avant-Garde was in reality completely retro-garde. The music on this album offers the listener a sublime journey, which is propelled more by hints and suggestions rather than by actual directions. It is up to the listener to create the music in his head, based on the "primitives", supplied by the musicians, except, as already stated earlier, in the case of the two fully developed compositions appearing towards the finale, which could be envisaged as the "Let there be light" of the creation process. There is no doubt that Pluzek consistently paves his way towards a respected position on the crowded Polish Jazz piano scene and this excellent album is definitely a step in the right direction. Perhaps this is a closing chapter in the initial chapter of his career, which now passes towards the mature stage when he leaves the boisterous "twenties" behind. This album, recorded at the now already legendary Monochrom Studio, offers a spectacular sound quality in addition to the extraordinary music, and is of course wholeheartedly recommended to all Polish / European Jazz connoisseurs, who already know where truly great music comes from.

Updated: 12/04/2019Posted: 19/02/2019

CD 1 Recommend To A Friend

HOTS ~ LIVE IN TROJKA FOR TUNE 0139 (Barcode: 5906395808526) ~ POLAND ~ Jazz Recorded: 2017 Released: 2019 This is the third album by the Polish Jazz ensemble HoTSFind albums by this artist, led by guitarist / composer Mikolaj PoncyljuszFind albums by this artist, which also includes trumpeter Radek NowakFind albums by this artist, saxophonist Bartosz TkaczFind albums by this artist, bassist Adam ProkopowiczFind albums by this artist and drummer Maciek WojcieszukFind albums by this artist. Pianist Aga DerlakFind albums by this artist joins the ensemble on four tracks. The album was recorded at Studio Three of the Polish Radio and presents six original compositions, all by Poncyljusz, some originating from the ensemble´s earlier recordings and other appearing here for the first time. The music continues the tradition of modern Polish mainstream Jazz, which characterized the ensemble since its inception, emphasizing the solid compositions by the leader, which are ideal vehicles for all the members of the ensemble to express their individual talents. The addition of Derlak expands the overall ambience of the ensemble and the harmonic layers, which are now shared by two instruments. The music remains somewhat slow and dynamically limited, with the individual tunes building up the tension very gradually, but since this is the ensemble´s trademark, one has to accept this as a fact and play along, in order to enjoy the music in full. All the six young Polish Jazz players display the extremely high level of the local scene, with their individual contributions all being beyond reproach. Personally Prokopowicz turns out to be the outstanding musician on this album, with his beautifully melodic and wonderfully solid bass lines being the glue that keeps all this music together. Wojcieszuk, who is the new member of the ensemble, is a more dominant player than his predecessor, which marks a significant improvement in the role of the rhythm section and takes the music to a much agile level. Derlak´s presence is also a very significant factor to the success of this album. She manages to "fill the holes" with her intelligent piano chords and lifts the overall sound to a new level. Her presence allows Poncyljusz to play much more adventurous solos, where he does not need to worry about the harmonic parts. The years of playing together also come to effect of course and this album is definitely the most enjoyable recording by this ensemble. Overall this is a splendid display of live Jazz played by the young generation of Polish Jazz musicians, who are the future of the local scene. For listeners who never came across an album by HoTS, this is a splendid opportunity to jump on the wagon, with Derlak definitely serving as the proverbial cherry on top. Warmly recommended!

Updated: 13/08/2019Posted: 29/03/2019

CD 1 Recommend To A Friend

LESZEK ZADLO ~ KOMEDA. WYGNANIE Z RAJU FOR TUNE 0140 (Barcode: 5906395808502) ~ POLAND ~ Jazz Recorded: 2016 Released: 2019 Leszek ZadloFind albums by this artist and I share many common crossroads in our life´s stories. We were both forced to leave Poland in the 1960s for political reasons. Leszek left first to Austria and later to Germany and I left to Israel. We both managed to build successful personal lives and careers in our new homelands, but we also kept in touch with our Polish friends and of course with the Polish Culture in general and Polish Jazz in particular. Both of us were banned from visiting Poland for many years and our Polish passports were confiscated and voided. We both organized concerts and events to support the Polish "Solidarity" movement in its struggle for political freedom in Poland and we both rejoiced when Poland finally managed to break the shackles of Socialist tyranny. During all these years and to this very day, for five decades, we stayed in constant contact, supported each other in hours of need and sorrow and consoled each other when dark skies have hidden the sunshine. In the 1980s and first half of 1990s my family (my wife, my daughter and myself) have spent many days in the incredible house in the suburbs of Munich, where Leszek and Basia (as we called Barbara) and their lovely dogs greeted as always with friendship and love and great food and splendid company. We shared our love of people, music, movies and of course dogs, spending hours on end talking and eating and drinking wine till the small hours of the night. In 2016 Leszek and I received on the same stage our respective Polish Jazz "Oscars", he for his lifetime achievements as a musician and I for my achievements in Jazz Journalism. A few months later I invited Leszek to be the Resident Artist of the Singer Jazz Festival, of which I am the Artistic Director. During this residency Leszek, supported by a dream team of top Polish Jazz musicians, performed the lost musical composed by the Godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist, called "Wygnanie Z Raju" ("Exile From Eden"), which we immediately re-christened jokingly as "Wygnanie Z Kraju" ("Exile From Our Country") referring to our common past. The recording of this historic concert is now released by For Tune Records. Leszek never played an unnecessary note in his life and his interpretation of Komeda´s music was always one of the best imaginable. Everything else is already within the music itself. For me Leszek will always be the greatest Polish saxophone player of all times. Love you my friend, as always! 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: 20/05/2019Posted: 20/05/2019

CD 1 Recommend To A Friend

SKOLIAS & BESTER ~ REBETIKO POLONIKO FOR TUNE 0142 (Barcode: 5906395808564) ~ POLAND ~ World Music & Folklore Recorded: 2018 Released: 2019 This is a wonderful album by two Polish musicians: charismatic vocalist Jorgos SkoliasFind albums by this artist (obviously of Greek origin) and accordion virtuoso Jaroslaw BesterFind albums by this artist. As the album´s title suggests it offers somewhat polonized versions of traditional Greek Rebetiko songs. The album presents twelve tracks, eleven of which are of traditional origin and one is an original instrumental composition by Bester. I have no idea how many listeners in Poland have been exposed to Rebetiko, or even any other kind non-popular Greek music, but for me this album is a true feast for the ears. Outside of Greece, Israel is probably the most likely place on earth to hear Rebetiko on a daily basis, on the radio or on stage in the small tavernas in Jaffa, where the majority of Israelis of Greek origin made their homes. Rebetiko and its Cultural, historical, social and musical significance is so vast and diverse that it requires years of study to be comprehended properly. But since the music of our Mediterranean neighbors is so close to our hearts, even without being a music scholar this music can be, and in fact is dearly loved here. Of course the accordion is not the immediate instrument associated with Rebetiko; the bouzouki is the absolute monarch of the genre and great Masters of the instrument are much loved and cherished in Greece, often way more than Pop stars. Bester steps boldly into the challenging circumstances involved in this recording and his adaptation of the Rebetiko atmosphere is truly superb. Rather than trying to imitate the original sound, he takes the music to his familiar neighborhood of Polish Folklore and Hassidic Music, creating the "Rebetiko Poloniko" atmosphere which the album´s title hints to. Bester´s accordion playing exposes the unlimited possibilities of the instrument on the one hand and his incredible sensitivity and musicality on the other hand. Skolias handles the traditional Rebetiko in his own idiosyncratic way, again not imitating the famous Masters of the idiom, but creating a new approach which mixes the Greek origins with Blues and other European vocal traditions. The resulting vocal delivery masterfully emphasizes the universality of music. His version of Rebetiko might raise some brows in a Piraeus taverna, but will surely be embraced for its evident honesty and intrinsic beauty. Overall this is a beautiful album, from start to end, which should touch any true music lover, even if this is his first encounter with Rebetiko magic. Congratulation to both musicians for the courage and vision needed to tackle such an ambitious project and deep thanks for the album´s emotional value.

Updated: 19/07/2019Posted: 18/07/2019

CD 1 Recommend To A Friend

IPT ~ DIFFRACTIONS FOR TUNE 0143 (Barcode: 5906395808571) ~ POLAND ~ Avant-Garde Jazz-Classical Fusion Recorded: 2018 Released: 2019 This is the debut album by Polish Jazz trio called IPTFind albums by this artist (Improvising Piano Trio) consisting of pianist Szymon WojcinskiFind albums by this artist, violinist Jakub BandurFind albums by this artist and cellist Jakub Gucik.Find albums by this artist The album, recorded live, presents seven original compositions, all co-composed by the trio members. The music offers an innovative approach to the Classical Music Piano Trio format transformed into the Improvised Music idiom, and quite naturally offers an amalgam of the two worlds. Obviously pre-composed, the music offers melodic themes, which are then opened up for improvisation, but overall the Classical Music aura is preserved – my immediate association was of an elegantly dressed anarchist. As it usually happens with Improvised Music, its primary goal is to be performed and listened to live. Recorded Improvised Music rarely transfers into a lasting artistic statement, which can be repeatedly listened to later on, with a few exceptions of course. The innovative approach of this album and the bridge it creates between Classical Music environment and the free spirited Avant-Garde elements of Improvised Music is able to create such a lasting impression, at least for me, as I enjoyed this music without being present in the room while it was created. All three musicians display remarkable technical abilities on their respective instruments, managing to cross the "expected" barriers time after time. Combined with the spirit of unity the trio manages to achieve, the resulting music is a true rollercoaster of energies and emotions, offering a fascinating listening experience. The decision to involve both the acoustic and the electric piano adds an additional layer of sound and versatility. Overall this is definitely a most interesting debut album and probably one of the most worthwhile Improvising Music recordings released this year (2019) in Poland, which has a solid and well developed Improvising Music scene and a faithful public following. Kudos for the originality!

Updated: 24/11/2019Posted: 24/11/2019

CD 1 Recommend To A Friend

KULPOWICZ QUARTET ~ EXPRESSION FOR TUNE 0145 (Barcode: 5906395808595) ~ POLAND ~ Jazz Recorded: 2007 - 2018 Released: 2019 This is an archive release of music recorded by the legendary Polish Jazz pianist / composer Slawomir KulpowiczFind albums by this artist and his quartet shortly before his untimely death in 2008. Following a long period of inactivity on stage Kulpowicz reformed his ensemble called simply The QuartetFind albums by this artist in 2006 with saxophonist Piotr CieslikowskiFind albums by this artist, bassist Wojciech PulcynFind albums by this artist and drummer Kazimierz JonkiszFind albums by this artist. They recorded this album in 2007 but it remained unreleased following the havoc of his death. This album presents six tracks selected from the studio tapes, all original compositions by Kulpowicz. Trumpeter Tomasz DabrowskiFind albums by this artist added (overdubbed) trumpet parts to three tracks of the original recording in 2018. Kulpowicz, who was one of the most talented Polish Jazz composers / pianists and a fascinating personality, was a devoted follower of John Coltrane´s music and his own compositions followed stylistically and spiritually the legacy of the great Master, which the music on this album reflects beautifully. The material recorded by Kulpowicz constitutes one the absolute peaks of the Polish interpretation of American Modern Jazz, avoiding mimicking and replication and adding a fresh, independent approach, and this album beautifully solidifies this approach, being a valuable addition to the legacy Kulpowicz left behind him. I have written extensively about the music Kulpowicz created in the reviews of his other albums, which can be easily found on this site simply by clicking on his name. I was somewhat taken aback by the idea of overdubbing the original recordings, which at first glance looks quite sacrilegious, but upon further examination it looks like the original material was intended to be overdubbed by guest musicians, with obvious rhythm section only gaps left within the music waiting to be filled. The musical producer Ryszard WojciulFind albums by this artist couldn´t have found a more appropriate musician to create the missing pieces of the puzzle than Dabrowski, who stood up to the challenge outstandingly. Sometimes doing the unthinkable is simply the right thing to do. Overall this is an absolutely brilliant piece of music, an outstanding addition to the legacy of Kulpowicz in particular and Polish Jazz in general. For TuneFind albums on this label managed to create another must have item for the Polish Jazz connoisseurs and the release of this album is of the same level of importance for Polish Jazz like the releases of previously undiscovered material by John Coltrane for global Jazz scene. An absolute must!

Updated: 21/01/2020Posted: 21/01/2020

CD 1 Recommend To A Friend

ULF JOHANSSON WERRE ~ TWO HEARTS FOR TUNE 0146 (Barcode: 5906395808618) ~ SWEDEN ~ Jazz Recorded: 2019 Released: 2020 This is a live recording by a Jazz piano trio comprising of Swedish pianist / trombonist / vocalist Ulf Johansson WerreFind albums by this artist and Polish bassist Zbigniew WrombelFind albums by this artist and drummer Wojciech LubczynskiFind albums by this artist. The album presents ten tracks, all of which are Jazz adaptations of Swedish and Polish Folk songs, all arranged by Werre. The music is kept strictly within the mainstream Jazz idiom, sounding like something that might have been recorded in the 1950s. Striding, swinging piano and amicable accompaniment by the rhythm section create a very pleasant and easy Jazz atmosphere, which seems to be hanging to the glory of the Jazz tradition, but adds nothing contemporary to the proceedings. The concept of arranging Folk songs and using them as a basis for the Jazz environment has been utilized with various degrees of success since many years. Some Polish Jazz albums managed to create sublime projects in this idiom, but this album sadly can´t be counted among them. It trivializes the Folk material rather than upgrading it within the cross-genre transition. The Folk roots and their aesthetics are completely lost here and there is nothing left except for occasional melody quote and a barrage of catchy boogie-woogie phrases. Werre and his Polish cohorts are of course accomplished musicians and technically this music is without reproach of course, as is the excellent sound quality. Overall, although this is hardly my cup of tea, this is still a very enjoyable easy Jazz album, which many listeners can enjoy, especially those who listen to Jazz looking for entertainment while drinking cocktails?

Updated: 17/08/2020Posted: 17/08/2020

CD 1 Recommend To A Friend

JANCZARSKI & SIDDIK 4TET ~ CONTEMPLATIONS FOR TUNE 0147 (Barcode: 5906395808625) ~ POLAND ~ Jazz Recorded: 2020 Released: 2020 This is a live recording at the Warsaw 12 on 14 Jazz Club by the quartet co-led by Polish Jazz saxophonist Borys JanczarskiFind albums by this artist and veteran American trumpeter Rasul SiddikFind albums by this artist, with Polish bassist Michal JarosFind albums by this artist and veteran drummer Kazimierz JonkiszFind albums by this artist. Together they perform seven pieces, six of which are Jazz standards and one is an original composition by Siddik. The album offers a warm and authentic club atmosphere but the music is all strictly within American mainstream boundaries and is completely predictable. This is a third recorded collaboration between Janczarski and Siddik released on the For Tune label, all of which follow the same well established pattern of Bebop oriented music making, which has hardly changed in the last 70 years or so. As for the performances, despite the fact that Siddik has a well earned reputation of playing with some very important American Jazz names in the past, his playing here (and on the two other a.m. albums) is very shaky and unimpressive, Janczarski is much more vigorous but not really notable and only the excellent rhythm section is up for the job, especially Jaros whose bass parts are the absolute highlights of this album. Overall this music might have been nice to listen to at the club while enjoying a drink, but has no lasting value beyond that. At least the music is well recorded by Tomasz PierchalaFind albums by this artist, the club owner and persistent Warsaw Jazz scene activist.

Updated: 18/11/2020Posted: 18/11/2020

CD 1 Recommend To A Friend

LESZEK KULAKOWSKI ~ KOMEDA VARIATIONS FOR TUNE 0148 (Barcode: 5906395808632) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2019 Released: 2020 This is an album by veteran Polish pianist / composer / arranger / bandleader Leszek KulakowskiFind albums by this artist. It presents a live concert recording of Kulakowski´s arrangements of film music by the Godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist, for a Symphony Orchestra. These arrangements were originally written by Kulakowski in 2001 and performed the same year by the Lodz PhilharmonicFind albums by this artist with the participation of the brilliant Polish Jazz trumpeter Tomasz StankoFind albums by this artist as a soloist. Almost twenty years later the concert was repeated and recorded, this time with slightly changed arrangements featuring a Jazz quartet with Kulakowski on piano, bassist Adam KowalewskiFind albums by this artist and drummer Tomasz SowinskiFind albums by this artist, and the sadly departed Stanko replaced by three trumpeters: Piotr WojtasikFind albums by this artist, Tomasz DabrowskiFind albums by this artist and German Christoph TitzFind albums by this artist, playing with the Sinfonia BalticaFind albums by this artist Philharmonic Orchestra, directed by Radoslaw DronFind albums by this artist. The genius film music by Komeda is of course a wonderful subject matter, and in Kulakowski´s hands (or rather mind) it metamorphoses into its Classical form gracefully and "willingly", proving the greatness of both the composer and the arranger. The transformation sounds absolutely naturally and manages to bring to light many aspects of the original compositions, which often remain hidden in their Jazz interpretations. Although the arrangements may appear bold and "invasive" in some ways, they are absolutely justified and artistically coherent. The performances are also absolutely brilliant from start to finish. The balance between the orchestra and the quartet is perfect all along the way and the focus on the trumpet soli is holding the internal tension and creates a superb continuity, which keeps the listener mesmerized. Having three trumpeters, each with his idiosyncratic approach, adds another layer of diversity to the entire project. Kulakowski spices the proceedings with his superb piano solos, full of delicate touches and melancholic twists. It is a well known fact that Komeda´s music has been abused and mistreated many times by Polish Jazz musicians, thinking that by playing his music they would be automatically immune from criticism. It gives me a great joy to see (and hear) Komeda treated with respect and love, and mastery and imagination, which he truly deserves, like in this case. Overall this album is an instant classic, a must have by Polish Jazz fans and Komeda admirers all over the world and a sublime example of Polish / European Jazz ingenuity, which does hesitate to reach boldly beyond the obvious. Well done my Friend!

Updated: 22/12/2020Posted: 22/12/2020

CD 1 Recommend To A Friend

BERNARD MASELI SEPTET ~ GOOD VIBES OF MILIAN FOR TUNE 0151 (Barcode: 5906395808663) ~ POLAND ~ Jazz Recorded: 2017 Released: 2021 This is an album by veteran Polish Jazz vibraphonist / composer Bernard MaseliFind albums by this artist and his septet, which comprises of four vibraphonists (Maseli, Bartosz PieszkaFind albums by this artist, Dominik BukowskiFind albums by this artist and Karol SzymanowskiFind albums by this artist) and a rhythm section (pianist Boguslaw KaczmarFind albums by this artist, bassist Michal KapczukFind albums by this artist and drummer Marcin JahrFind albums by this artist), a classic “Summit” format, which I utilize since many years in my Singer Jazz Festival, and which was initially devised by my Friend and Mentor Joachim BerendtFind albums by this artist. The album is a tribute to one of the Godfathers of Polish Jazz, vibraphonist / composer / bandleader Jerzy MilianFind albums by this artist, a pillar of modern Polish Jazz and one of the greatest composers, especially of orchestral Jazz, on the European Jazz scene. It presents a live recording of a concert recorded a few years back, which offers seven tracks, six of which were compositions by Milian (one co-composed with Krzysztof KomedaFind albums by this artist, another iconic figure of Polish Jazz) and one composed by Pieszka. The sound quality and clarity is excellent. The artwork features Milian’s wonderful paintings, an Artform Milian embraced after retiring from active performing life, which are reproduces in full color, for the first time in the many years of For TuneFind albums on this label Records history ;) The lines notes by Krzysztof BalkiewiczFind albums by this artist are well written and informative. The music holds no surprises, perfectly executed by the professional team and beautifully weaved by the Master composer, with the expected focus on the vibraphone (and marimba) as the tool of delivery. The vibraphone is a very dominant instrument and the thought of four vibraphone playing simultaneously is pretty scary; fortunately, most of the time it is just one of the four vibraphones (or two of them) that plays at a given moment, which makes the music perfectly audible and balanced. Since the listener is not present at the performance, it would have been nice to have a list of who is soloing on which track, but credits aside, all the players do a perfect job, as does the excellent rhythm section, driving the music steadily and securely. Overall this is an important tribute to the composing Genius of Milian and a very pleasant listening experience. For vibraphone enthusiasts this is of course a true feast. Of course it is also a well-deserved tribute to Polish Jazz history. Well done Gentlemen!

Updated: 29/12/2023Posted: 17/07/2021

CD 1 Slipcase Recommend To A Friend

SKEREBOTTE FATTA ~ APPAZ FOR TUNE 0152 (Barcode: 5906395808670) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2020 Released: 2021 This is the second album by Polish Free Jazz duo Skerebotte FattaFind albums by this artist, which comprises of saxophonist Jan MalkowskiFind albums by this artist (a.k.a. Jan SkerebotteFind albums by this artist) and drummer Dominik MokrzewskiFind albums by this artist. The album presents seven original compositions credited to the duo members. As the album’s title and the track titles (when read in reverse) suggest, the album is a tribute to icons of creative music, as diverse as Frank ZappaFind albums by this artist, Albert AylerFind albums by this artist or Han BenninkFind albums by this artist. Both Malkowski and Mokrzewski already participated in several Polish Free Jazz / Improvised Music recordings, including the RdzaFind albums by this artist ensemble and the Infant Joy QuintetFind albums by this artist, the latter also released on the For TuneFind albums on this label label. The rather unusual saxophone – drums duo obviously immediately prompts for comparisons to similar recordings on the world scale, but honestly it’s hardly relevant to compare these relatively young musicians with world-class veterans like Max RoachFind albums by this artist / Anthony BraxtonFind albums by this artist or John ColtraneFind albums by this artist / Rashied AliFind albums by this artist. It’s better to keep things in proportion. The duo members display an obvious rapport and excellent partnership, while building their performances, usually driving them to an explosive crescendo. Both also display excellent technique and evident understanding of the Improvised Music idiom. As a result, the music they create offers honest effort and inventive excitement, which are perhaps more appropriate for a live performance than a studio recording, but that is just a mere observation. The problem with Improvised Music is always its long-term musical value, which faces the obvious conflict between spontaneous / momentary creation and its lasting significance. In plain words, will a potential listener return to listen to this music ever again? In times when listeners are constantly bombarded with an endless flow of new releases and the opportunity to discover older recordings made available, the chances of Improvised Music recordings become ever slimmer, unless they are truly unique and everlasting. As wonderful as the Polish Jazz scene has become in the last two decades, Improvised Music is unfortunately not one of its fortes. Overall, this is an ambitious and generally successful Free Jazz / Improvised Music duo recording, with a lot of passion and technique involved. For lovers of the genre, it is certainly a worthy excursion into the Polish flavor of the idiom.

Updated: 25/09/2021Posted: 25/09/2021

CD 1 Recommend To A Friend

BESTER QUARTET ~ PIAZZOLLA ANGELS FOR TUNE 0153 (Barcode: 5906395808687) ~ POLAND ~ Jazz-World Fusion Recorded: 2021 Released: 2021 This is the twelfth album (second on For TuneFind albums on this label Records) by Polish ensemble Bester QuartetFind albums by this artist, formed in 1997 by accordionist / composer Jaroslaw BesterFind albums by this artist as Cracow Klezmer BandFind albums by this artist. The current lineup also includes violinist Dawid LubowiczFind albums by this artist (see Atom String QuartetFind albums by this artist), bassist Maciej AdamczakFind albums by this artist and drummer Ryszard PalkaFind albums by this artist. The album presents nine tracks, eight of which are compositions by Astor PiazzollaFind albums by this artist and one by Carlos GardelFind albums by this artist, the most famous Tango singer of all time and composer of several famous Tangos. All the music is arranged by Bester. Considering the fact that all eleven albums recorded by Bester before this one were one way another connected to the Polish “Jewish” / “Klezmer” tradition, the sudden move towards the Argentinean Tango is quite a surprising one. In the liner notes of the album Bester describes his long fascination with the music of Astor Piazzolla and, as far as I understand, it was the influence of the Covid-19 pandemic, which made him realize it is now or never to turn his dream into reality. Since I am pretty familiar with many interpretations of Piazzolla’s music, especially those by musicians connected with Jazz, I am happy to say that Bester manages to avoid the worse possible traps connected with such projects. First and foremost, the refuses to mimic or copy Piazzolla’s music and try to sound like a genuine Tango musician, which of course is simply impossible. He takes a lot of liberties with the original music, admittedly all in in good taste, transporting it into much more European Jazz flavored environment and even a modest smile. The resulting music is obviously clearly infused with Piazzolla’s spirit but has its own aesthetics. Although Bester’s accordion sounds still similar to the sound of the bandoneon, the violin parts are full of European lyricism deeply rooted in Classical music, and the rhythm section adds the Jazzy spice to the proceedings, which is completely absent in the Tango idiom, which uses guitar and piano all absent here. Even the “Funky” mandolin works fine ;) Of course one might question these liberties, but as long as Bester is not claiming to play like Piazzolla, but only submit to his magic and insert his own interpretation, for me these liberties work well and are not offending or sacrilegious. Combined with the superb musicianship this album boasts with, I’d say that there is very little of “not to like” here. Piazzolla’s genius is so overwhelming, that it manages to withstand much more abusive treatment than what was applied here. Overall, this is a pleasant, beautifully played and recorded tribute to one of the greatest geniuses of 20th Century music, which comes here with a Polish “twist”, which I find quite entertaining and tasteful, and which is surely one of Bester’s best achievements so far.

Updated: 15/12/2021Posted: 10/12/2021

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ANDRZEJ DABROWSKI / ALL STARS ~ LIVE FOR TUNE 0154 (Barcode: 5906395808700) ~ POLAND ~ Jazz Recorded: 2018 - 2021 Released: 2022 This is a live album by veteran / iconic Polish Jazz vocalist / drummer Andrzej DabrowskiFind albums by this artist, recorded during a concert celebrating his 80th Birthday. He is accompanied by a formidable sexted comprising of top Polish Jazz musicians: trumpeter Robert MajewskiFind albums by this artist, saxophonist Henryk MiskiewiczFind albums by this artist, trombonist Michal TomaszczykFind albums by this artist, pianist Andrzej JagodzinskiFind albums by this artist, bassist Slawomir KurkiewiczFind albums by this artist and drummer Marcin JahrFind albums by this artist. Dabrowski sings nine songs, seven of which are American standards and two are Polish ones, written by Jan Ptaszyn WroblewskiFind albums by this artist and Agnieszka OsieckaFind albums by this artist. A bonus track, the symbolic “My Way” (sung in Polish), recorded at the Polish Radio three years later with different musicians, is added to complete the set. Dabrowski has been a part of the Polish Jazz scene since its inception and this album is a loving tribute to his lifetime contribution to the Polish Jazz scene and its achievements. Considering the age of the protagonist of this recording, any attempt to say anything about his performances are completely irrelevant, and would simply miss the point by a mile. The musicians gathered here all pay tribute to their colleague, with obvious respect and adoration, and that is all that matters. Overall, the For TuneFind albums on this label label should be congratulated for releasing this loving tribute, which is a wonderful document of the Polish Jazz scene history. The respect paid to Culture is always highly appreciated. Side Note: This For Tune release initiates the new graphic layout of the label’s releases, which combines the decade-long tradition of consistent elegance and class. The move to digipak from the traditional jewel case is a sign of commitment to the collectors, many of which own the entire output of this excellent label, now numbering 155 releases – a true treasure of Polish Jazz.

Updated: 09/06/2022Posted: 09/06/2022

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WOJCIECH MYRCZEK ~ CELEBRATING THE JOURNEY FOR TUNE 0155 (Barcode: 5906395808694) ~ POLAND ~ Jazz Recorded: 2020 - 2021 Released: 2022 This is the third album by Polish Jazz vocalist Wojciech MyrczekFind albums by this artist recorded with a classic piano trio accompaniment, which features pianist Boguslaw KaczmarFind albums by this artist, bassist Michal KapczukFind albums by this artist and drummer Szymon MadejFind albums by this artist. The album presents nine songs, eight of which are American standards (sung in English) and one is a Polish song, obviously sung in Polish. Myrczek debuted a dozen years ago (2010) and his sophomore album “Love Revisited” was released in 2014, which means that eight years passed since we last heard from him, which on the hyper-busy Polish Jazz scene is almost an eternity. Lucky for Myrczek, as far as male Jazz vocals are concerned, nothing happened during this time to endanger his position at the top of that particular genre, and this album continues exactly where the previous one left us lingering, wishing for more. So yes, Myrczek is still a formidable vocalist, with a velvety voice and superb feel for the Swing. The trio accompanying him is also absolutely unblemished, comprising of some of the busiest relatively young Polish Jazz musicians, all with a considerable recording legacy. Kaczmar, who took part in several excellent vocal Jazz projects during the last few years, is an ideal choice for this kind of music and the rhythm section, despite a limited opportunity to show their chops, performs without a hitch. The question of course is, if riding the same horse will lead our hero safely into the sunset? Many Jazz vocalists succeeded in the past to ride on the wave of accomplishment for decades, without any dramatic modification of their style and aesthetics, but times they a-changin’, and musicians are expected to adopt new artistic paths in time, to keep being relevant. Although Myrczek offers slight stylistic diversion on a couple of tracks herein, this certainly does not go beyond an eyebrow rise. If my advice is worth anything, I’d love to hear an album with Polish songs (there are so many great ones) and more vocalese and elaborate instrumental arrangements, perhaps even a Big Band? One can always dream… Overall, this is a great classic male vocal Jazz album, which is a great fun to listen to and offers some both refined and enjoyable musical moments. Please don’t make us wait for another eternity to hear the next album, and take some risks next time. We will still love you whatever happens!

Updated: 09/06/2022Posted: 09/06/2022

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KORYBALSKI / TRACZYK / ZEMLER ~ DON`T TRY FOR TUNE 0156 (Barcode: 5906395808724) ~ POLAND ~ Avant-Garde Jazz Recorded: 2020 Released: 2022 This is the debut album by Polish Jazz trio comprising of trumpeter Lukasz KorybalskiFind albums by this artist (who also plays synthesizers), bassist Wojciech TraczykFind albums by this artist and drummer Hubert ZemlerFind albums by this artist. The album presents seven original compositions, described as “emerging from collective improvisation”. Korybalski is a fascinating figure, with rare appearances on the recording scene. His brilliant debut album “CMMFind albums with this title” from 2015 was one of the best Polish Jazz recordings at the time, but he almost completely disappeared from the scene during the five years that separate this album and the debut, and emerged in a completely new musical environment. Combining forces with two experienced representatives of the Polish Improvised Music scene, Korybalski and his cohorts create a stylistic amalgam between melodic Jazz and Free Jazz, whatever that means. The resulting music is way more accessible than the usual Improvised Music havoc and mayhem, but certainly is also far detached from mainstream melody based Jazz, which might function as a double edged sword, with the Improvised Music fans rejecting it as “too easy” and mainstream fans as “too challenging”. It is therefore at the mercy of the listener to decide its fate. Personally, although respecting the will to search and explore, I feel Korybalski is way more effective when playing well-behaved compositions, which are truly heart-wrenching, rather than playing Miles Davis late period short phrases, which are all beautiful miniatures, but lose their effectiveness on top of the improvised rhythm section background, and which worked splendidly on top of the Funky Groove that the Davis’ groups were so brilliantly producing, so long ago. The trio truly gets things going by the last track on the album, which is the epitome of what the album might have sounded at its best. Overall, this is a fascinating album by one of the best Polish Jazz trumpeters, which portrays him searching for a new way of expressing himself, and as such is absolutely worth listening to. It might disappoint some of his fans, who loved his mainstream work, but it will bring new fans willing to take a risk. This music takes a while to get into, but grows on the listener with time, as all good things do. Welcome back!

Updated: 08/07/2022Posted: 08/07/2022

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NIKA LUBOWICZ / ALL STARS ~ NIKA SINGS ELLA FOR TUNE 0157 (Barcode: 5906395808717) ~ POLAND ~ Pop & Rock Recorded: 2020 Released: 2022 This is the third album by Polish vocalist Nika LubowiczFind albums by this artist, this time recorded by a classic Jazz combo comprising of veteran Polish Jazz players led by Wieslaw PieregorolkaFind albums by this artist, who also arranged most of the tunes. The excellent rhythm section with pianist Andrzej JagodzinskiFind albums by this artist, bassist Wojciech PulcynFind albums by this artist and drummers Kazimierz JonkiszFind albums by this artist or Marcin JahrFind albums by this artist provide the backbone. Vocalist Wojciech MyrczekFind albums by this artist guests on a couple of tunes. As the album’s title suggests, Lubowicz performs a collection of Jazz standards associated with the repertoire of the great American Jazz vocalist Ella FitzgeraldFind albums by this artist, which of course sets an incredible challenge in view of the Majestic status held by Fitzgerald in the Vocal Jazz tradition. Lubowicz approaches the classic repertoire with a straightforward attitude, sticking to the convention and intelligently avoiding mimicking her model but at the same time eschewing any extravagant innovations. As faithful as the music is to the source, Lubowicz manages to put forward her personality as a vocalist, which is beyond reproach. Her vocalese parts are especially interesting. The instrumental performances are all exactly what one might expect from a collection of such experienced players, with brief, but excellent soli and obvious empathy to the material. The arrangements are very conservative, which in this case is just what the doctor prescribed. Overall, this is a tribute to the tradition of a great Artist and a kind reminder of what Jazz sounded like more than half a Century ago. For the many fans of the great Ella Fitzgerald and classic Vocal Jazz tradition this is a most welcome effort, which will surely be enjoyed immensely.

Updated: 10/09/2022Posted: 10/09/2022

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KAROL DOBROWOLSKI ~ BLEUE MELANCOLIE FOR TUNE 0158 (Barcode: 5906395808731) ~ POLAND ~ Gypsy Jazz Recorded: 2019 Released: 2022 This is the debut album by Polish (resident in Paris) violinist / composer Karol DobrowolskiFind albums by this artist, recorded with an ensemble which includes no less than twelve musicians, who perform in various lineups, from a violin quartet supported by piano / bass / drums rhythm section, and adding additional violin players and other instrumentalist on selected tracks. Some of the more known names are: Hungarian violinist Roby LakatosFind albums by this artist or Polish saxophonist Borys JanczarskiFind albums by this artist. The album presents seven original compositions by Dobrowolski and one composition by French composer Valerie SabbahFind albums by this artist. The music is a very esoteric mixture of styles and genres, and for a lack of a better definition could be described as Gypsy Jazz (Jazz Manouche), although it definitely lacks the characteristic swing embedded in Gypsy Jazz, but instead offers some of its melancholy and melodic inclinations. There are many other recognizable musical elements, like strong Classical approach by most of the players, some Polish Folkloristic themes, a pinch of nostalgia and typical Parisian nonchalance, all with little connection to Jazz per se. The album offers a very specific sound, being recorded “live in studio” and without using any amplification, which might be highly challenging to listeners used to more rounded / balanced contemporary sound – a matter of taste of course. Overall, this is a very unusual album in many respects, which might find its enthusiasts, most probably outside of the strict Jazz circles. The idiosyncratic sound, performances and music all combined are certainly an experiment, which stretches the taste buds.

Updated: 20/10/2022Posted: 20/10/2022

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JOLANTA SOSNOWSKA & FRIENDS ~ ANTONIO CALDARA: VIOLIN SONATAS FOR TUNE 0159 (Barcode: 5906395808748) ~ POLAND ~ Classical Recorded: 2020 Released: 2022 I write about Classical Music relatively rarely, mainly since I don’t feel sufficiently qualified in the intricacies of the vast legacy of music created over the Centuries. However, in special cases, where the music in question or the performers are close to my heart, I allow myself to express my humble impressions, trying carefully no to commit terrible blunders. This album is the second recording by Polish violinist Jolanta SosnowskaFind albums by this artist, resident in Vienna since 2005, and third overall Classical Music release on the Polish For TuneFind albums on this label label, one of the true patrons of music on the Polish scene, with a remarkable catalogue of 160 titles, assembled over time, which include also numerous Jazz, Avant-Garde and World Music titles. Sosnowska, who obviously likes to dig into the vast library of musical manuscripts at the Austrian National Museum in Vienna, found many forgotten pieces of music, which deserve a contemporary performance and recording. These eight violin sonata by the Italian Baroque composer Antonio CaldaraFind albums by this artist are among her finest findings, and the album presents their World Premiere recording. The music was performed by Sosnowska with cellist Philipp ComploiFind albums by this artist and harpsicord player Erich TraxlerFind albums by this artist and beautifully recorded in a Viennese church. The music was performed by authentic instruments originating from the time this music was composed. The beautiful booklet includes a short essay by musicologist Herbert SeifertFind albums by this artist, who explains the problems with crediting Classical music pieces to their creators and the polemics around these pieces. A short note by Sosnowska about the music is also included, all appearing in Polish, English and German languages. The music is an orgy of Baroque finesse, which in this case is also superbly melodic. Caldera was a wonderful songweaver, which as a composer of many operas was surely very useful, but these sonatas are also full of wonderful melodies. The minimalist trio setting is ideal for this music, allowing every little nuance to be heard perfectly clearly and vividly. The performances are superbly vivacious and Sosnowska’s violin parts are absolutely stunning. Overall, this is a beautiful piece of music, much like a true Bomboniere of Baroque fantasy, bringing immediate associations of other Baroque wonders of architecture, painting and poetry, and which manages to balance perfectly between kitsch and elated beauty, which never ceases to astound. Wholeheartedly recommended, even for people, who would never think to listen to a Classical Music album, or perhaps even especially for those people!

Updated: 24/11/2022Posted: 24/11/2022

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JAN PTASZYN WROBLEWSKI ~ ON THE ROAD VOL.1 FOR TUNE 0160 (Barcode: 5906395808755) ~ POLAND ~ Jazz Recorded: 2003 - 2020 Released: 2022 As the title suggests, this is the first volume of an archival live album by the Polish Jazz Colossus and Godfather of the local Jazz scene, saxophonist / composer / bandleader Jan Ptaszyn WroblewskiFind albums by this artist, born in 1936. The album presents five tracks recorded in a quartet setting with pianist Wojciech NiedzielaFind albums by this artist, bassists Jacek Niedziela-MeiraFind albums by this artist or Andrzej SwiesFind albums by this artist and drummer Marcin JahrFind albums by this artist. The first three tracks were recorded in 2003 and the other two in 2020. Four tracks are original compositions by Wroblewski and one is a standard. The music is all mainstream oriented, combining elements of Bebop and typical Polish Jazz lyricism, based on beautiful melodic themes, which Wroblewski has been spinning for decades with great skill and craftsmanship. Despite his age, his saxophone playing remains masterful and unblemished. Although the first and the second recording are separated by seventeen years, there is no noticeable / audible difference in his performing ability. I had ample ability to hear the Master perform live during these years, and was always amazed by his longevity and imperishable gift of handling his instrument. The four musicians accompanying Wroblewski, all much younger than him, reflect the incredible level of the local talent, carrying the torch he and a few others ignited decades earlier. Their performances are all impeccable. This beautifully produced and released album is an obvious tribute to the Man behind the notes, a symbol and a living history of the Polish Jazz movement. The album’s booklet (bilingual) includes an interview with the Master, which sheds light on his personal relationship with Jazz, which is a fascinating read. Overall, this is a loving tribute to a man, who symbolizes the Polish Jazz scene for decades and who contributed enormously to its development, admired by his peers as much as the by the younger generations of Polish Jazz musicians. Luckily he can enjoy this gift of love and admiration, while still with us.

Updated: 07/01/2023Posted: 07/01/2023

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BESTER QUARTET ~ HUSTLE AND BUSTLE FOR TUNE 0161 (Barcode: 5906395808762) ~ POLAND ~ Jazz-World Fusion Recorded: 2022 Released: 2022 The release of this album marks the 25th Anniversary of the Polish Bester QuartetFind albums by this artist, founded in 1997 by accordionist / composer Jaroslaw BesterFind albums by this artist and initially called The Cracow Klezmer BandFind albums by this artist. The current lineup of the quartet includes also violinist Dawid LubowiczFind albums by this artist, bassist Maciej AdamczakFind albums by this artist and drummer Ryszard PalkaFind albums by this artist. The album presents eight original compositions, all by the leader. On this album Bester takes the listeners on a musical World Tour, which spans between Western and Eastern Europe, the Middle East and eventually reaches the shores of NY. Rather that concentrating on one musical milieu, like Jewish Music or the Tango, which were his earlier fascinations, this time Bester summarizes his experiences over a quarter of a Century, and explores diverse influences, which results in an album offing a much more varied aural experience. The new compositions are blessed with wonderful musicality and melodic depth, and the expanded horizons suit the total result in full. Another aspect of this album is the increased soloing duty taken over by Lubowicz, who obviously became an “equal partner”, richly deserved by his virtuosic ability and musical sensibility. As a result, the music on the last three albums since the new lineup of the quartet crystalized, offers gradually more improvising depth and tension than the earlier releases. The new rhythm section is also more spirited and supportive, pushing the two soloists even further in their explorations. Together the four members of the quartet are able to create a unison rarely achieved by other ensembles of this kind. Overall, this is a beautiful, deeply rewarding musical experience, elegantly performed by the quartet members, full of heartfelt dedication and aesthetic involvement. Older and mature and then ever, Bester Quartet is a synthesis of years of experience, education, talent and most of all passion. This is music that heals broken hearts and charges weakened souls, for which we can only be grateful. Thank you Gentlemen and hats off!

Updated: 09/01/2023Posted: 09/01/2023

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JAN PTASZYN WROBLEWSKI ~ ON THE ROAD VOL.2 FOR TUNE 0162 (Barcode: 5906395808779) ~ POLAND ~ Jazz Recorded: 2003 - 2020 Released: 2023 As the title suggests, this is the second volume of an archival live album by the Polish Jazz Colossus and Godfather of the local Jazz scene, saxophonist / composer / bandleader Jan Ptaszyn WroblewskiFind albums by this artist, born in 1936. The album presents five tracks recorded in a quartet setting with pianist Wojciech NiedzielaFind albums by this artist, bassists Jacek Niedziela-MeiraFind albums by this artist, Maciej GarbowskiFind albums by this artist or Andrzej SwiesFind albums by this artist and drummer Marcin JahrFind albums by this artist. The tracks were recorded between 2003 and 2020. One track is an original composition by Wroblewski and the rest are standards. Everything I wrote about the first volume of this album (“On The Road Vol.1Find albums with this title”) still applies, so I am simply repeating it again below, in case someone reads this first. The music is all mainstream oriented, combining elements of Bebop and typical Polish Jazz lyricism, based on beautiful melodic themes, which Wroblewski has been spinning for decades with great skill and craftsmanship. Despite his age, his saxophone playing remains masterful and unblemished. Although the first and the second recording are separated by seventeen years, there is no noticeable / audible difference in his performing ability. I had ample ability to hear the Master perform live during these years, and was always amazed by his longevity and imperishable gift of handling his instrument. The five musicians accompanying Wroblewski, all much younger than him, reflect the incredible level of the local talent, carrying the torch he and a few others ignited decades earlier. Their performances are all impeccable. This beautifully produced and released album is an obvious tribute to the Man behind the notes, a symbol and a living history of the Polish Jazz movement. Overall, this is a loving tribute to a man, who symbolizes the Polish Jazz scene for decades and who contributed enormously to its development, admired by his peers as much as the by the younger generations of Polish Jazz musicians. Luckily he can enjoy this gift of love and admiration, while still with us.

Updated: 01/06/2023Posted: 01/06/2023

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HORNTET ~ HORNTET FOR TUNE 0163 (Barcode: 5906395808793) ~ POLAND ~ Jazz Recorded: 2023 Released: 2023 This is the debut studio album by Polish Jazz quintet HorntetFind albums by this artist, led by pianist / composer Bartlomiej LesniakFind albums by this artist, with saxophonists Robert WypasekFind albums by this artist and Szymon ZiolkowskiFind albums by this artist, bassist Mikolaj SikoraFind albums by this artist and drummer Piotr PrzewozniakFind albums by this artist. The album presents seven tracks, six of which are original compositions by the quintet members: four by Lesniak and one each by Ziolkowski and Przewozniak, and finally one standard by Thelonious MonkFind albums by this artist. The music is all modern Mainstream Jazz, with extensive improvisations and complex arrangements, which result in the tracks being all around ten minutes and beyond in duration. This allows for all the band members to express their individual abilities and experiment with tempi and often extend the basic melody lines far beyond the origins. As a result, there is a lot happening here, which often seems a bit over the board. These young musicians are bursting with talent and probably feel the need to prove themselves on the extremely crowded Polish Jazz scene, which might by the reason why the result seems so dense and ready to explode. The quintet is at their best playing slow, lyrical material, which is only a small part of the music herein. The album was recorded at the excellent Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, which usually is a guarantee of sound quality, but this time the sound is a bit muffled / unusual, emphasizing the piano over the other instruments. But of course this is just a very personal inkling. Overall, this is an impressive album, considering the age and lack of experience of the musicians, which is just a first step in their career. They simply need time to get their stuff together in time. It obviously indicates the potential and talent of the young Polish Jazz scene, which has so much to offer.

Updated: 11/12/2023Posted: 11/12/2023

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ADAM MAKOWICZ ~ WELCOME BACK, ADAM FOR TUNE 0164 (Barcode: 5906395808786) ~ POLAND ~ Jazz Recorded: 2022 Released: 2023 This is a solo piano album by Polish Jazz pianist / composer Adam MakowiczFind albums by this artist, who left Poland in 1977 and settled in NY, where he released his first American album on ColumbiaFind albums on this label, simply entitled “AdamFind albums with this title”. Later on Makowicz moved to Canada, where he currently resides, visiting and performing occasionally in Poland. This album, recorded 45 years after his American debut, is a closure of sorts, as the title suggests. The album presents seventeen tracks, eight of which are original compositions by Makowicz and nine are standards. The music was splendidly recorded at the Nowa Miodowa concert hall in Warsaw. The music is a delightful recital of relaxed and virtuosic performance, which presents Makowicz at his most melodic and elegant self. There seems to be no distinction between the original music and the well-known standards, which speaks volumes about his compositional abilities. Makowicz fully embraced the American Jazz tradition and his music sounds completely authentic and spiritually akin to the music composed in America almost a Century earlier by its best composers. Makowicz is blessed with a very personal touch on the keyboard, which is blissfully elegant and often somewhat humorous, which invokes an immediate smile of “familiarity” on the listener’s lips. The excellent sound quality and atmosphere of the recording adds an aura of “class” and grace, which makes the virtuosic performances completely accessible and natural sounding, which of course is a great gift of the Artist. Overall, it is an absolute delight to hear the Master at such form and dexterity, not to mention the fact that fact that the album offers a generous amount of new compositions, which are always most welcome. The album definitely summarizes the American chapter of the pianist’s career at a most affirmative way, and the fact that this time the album was recorded and released by a Polish record label certainly closes the fate’s circle. Side Note: This is the 100th album released as part of the “magenta” Jazz Series by the fabulous Polish For TuneFind albums on this label Records label, and the 164th overall release. The innovative label releases also World Music, Classical Music and other ambitious projects and earned a distinguished position on the market in the last decade, since its inception in 2013. Congratulations, my Friends!

Updated: 02/07/2023Posted: 02/07/2023

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BARTENDERS ~ SKANKIN` TO THE JAZZ FOR TUNE 0165 (Barcode: 5906395808816) ~ POLAND ~ Jazz-Pop Fusion Recorded: 2022 Released: 2023 This is the 4th album by the Polish ensemble BartendersFind albums by this artist, a nonet combining Jamaican Ska / Reggae influences with Jazz arrangements. The album presents eleven tracks, ten of which were composed by the ensemble members, and one is by Polish / Jewish composer and early Jazz musician Jakub KaganFind albums by this artist, who died in the Warsaw ghetto. Although definitely on the lighter side of the Jazz spectrum, the music features excellent Jazzy arrangements, perfectly and intelligently performed by the eight instrumentalists and the lead singer Jakub KaczmarekFind albums by this artist. The lyrics are mostly in Polish but sometimes also in English. Pianist Andrzej MikulskiFind albums by this artist plays some truly inspiring Fender Rhodes parts, and the brass section sounds funky and always right on the money. All the songs offer highly melodic and nontrivial arrangements, which are a reflection of the ensemble members’ professionalism, dedication and rich experience. Overall, this is a most entertaining piece of music, which does not compromise any aesthetic values in order to stay accessible to a wide audience and offer a truly delightful listening (well, dancing as well) experience. Great music for a festive party, definitely recommended to Jazz listeners, who are able to take their head out of their behind ;)

Updated: 16/12/2023Posted: 16/12/2023

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WSPAK ~ RADIST Z NEBA! FOR TUNE 0166 (Barcode: 5906395808823) ~ POLAND ~ World Music & Folklore Recorded: 2023 Released: 2023 This is the debut album by Polish vocal duo WSPAKFind albums by this artist, which comprises of Adrianna Kafel-WozniakFind albums by this artist and Aleksandra Pura-CidyloFind albums by this artist. The vocalists accompany their vocals by playing Polish folklore instruments, like the Bilgoraj suka, Plock fiddle and wspak (a viola like instrument, but with reversed symmetry). The album presents eleven tracks, most of which are Xmas carols from Eastern Poland, sung in local dialects. The music is absolutely delightful, soul wrenching and penetrating the heart instantly. The melodic sequences are sophisticated and the vocal harmonies are plainly out worldly. The delicate instrumental accompaniment is perfect in every sense and fits the vocal front line like a glove. The vocal harmony between the two voices is one of the most refined I ever came across in folklore music and sometimes almost unbelievable. If there was a custom of “rubbing one’s ears”, I’d have probably done so many times while listening to this album. It is amazing how just two voices can produce a harmony perfectly pure and often sounding like an entire choir. The Xmas period always produces an abundance of albums with carols, but this one is like nothing else in that tradition. It is pure Art and perfection incarnate, regardless if you are a Christian or a Martian. Overall, this is a perfect Xmas carols album, which puts almost everything in that genre far aside. If Godsend has a musical manifestation, this is probably it, plain and simple.

Updated: 18/12/2023Posted: 18/12/2023

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WERONIKA GROZDEW & MUSOS ~ WANDERING SONGS FOR TUNE 0167 (Barcode: 5906395808809) ~ POLAND ~ World Music & Folklore Recorded: 2021 - 2023 Released: 2024 This is an album by Polish vocalist / ethnomusicologist Weronika GrozdewFind albums by this artist, a prominent activist on the local scene with impressive academic career, but also a great performer and of course Folklore Music lover. She is accompanied by an instrumental ensemble fondly named MusosFind albums by this artist, which includes dulcimer player Marta MaslankaFind albums by this artist, violinists Dorota Blaszczynska-MogilskaFind albums by this artist and Kacper MaliszFind albums by this artist, violist Alexandra Demowska-MadejskaFind albums by this artist, cellist Bartlomiej PalygaFind albums by this artist, bassist Wojciech PulcynFind albums by this artist and percussionist Wojciech LubertowiczFind albums by this artist. A few additional guests appear on selected tracks, including the celebrated vocalist Grazyna AuguscikFind albums by this artist. The album presents ten tracks, with songs originating from various sources, including Greece, Bulgaria and of course Poland, several of which were written by Polish folk violinist Bartosz NiedzwieckiFind albums by this artist. Four of the songs were arranged by accordionist / composer Jaroslaw BesterFind albums by this artist. The music presents a stunning collection of Folk songs, which although originating from diverse origins and being a random collection, form a perfectly coherent continuity, brilliantly sung and played by everybody involved, including some virtuosic voice modulations and other tricks of the trade. The album perfectly demonstrates the fact that beneath the seemingly naïve and simplistic Folklore music there is a great aesthetic depth and often musical complexity, which puts to shame much more “prestigious” music genres. The album shows an absolute love and admiration of all the participants towards the music and the absolute seriousness it is treated by them. I was particularly impressed by the superb parts played by Pulcyn, who is usually associated with the Polish Jazz scene. His steady pulsations hold the music together perfectly. But the string quartet also does an amazing job by setting the melodic / harmonic background, which often becomes quite tricky. Auguscik adds a lengthy improvised vocalese on one tune, which is a knockout. I am happy to see the For TuneFind albums on this label Records label becoming a steady supporter of Folk Music recordings, which are consistently of the highest quality and sadly badly missing on the Polish scene. Their “green” series is certainly a mark of quality in that respect, and deserve both attention and support. Overall, this is a beautiful vocal Folk Music album, which offers an ambitious stream of wonderful songs, excellently supported and accompanied by the instrumental ensemble, all of which offers a brilliant listening experience and for Folk Music lovers a truly heavenly moment of joy.

Updated: 28/03/2024Posted: 28/03/2024

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MARIA POMIANOWSKA & FRIENDS ~ DANCE OF SUKA FOR TUNE 0169 (Barcode: 5906395808830) ~ POLAND ~ World Music & Folklore Recorded: 2020 Released: 2024 This is an album by Polish World Music / Folklore magician Maria PomianowskaFind albums by this artist, recorded with four of her musical friends: Karolina HulbujFind albums by this artist, who plays the cello and wspak (a viola like instrument, but with reversed symmetry), Sebastian WypychFind albums by this artist, who plays the double bass, Arad EmamgholiFind albums by this artist, a Kurd living in Warsaw, who plays the daf (a Middle Eastern frame drum) and Wojciech LubertowiczFind albums by this artist, who also plays frame drums. This superb quintet recorded in the midst of the Pandemic twelve tracks of completely unique music, two of which are contemporary compositions by Pomianowska and ten are new interpretations / arrangements of dances composed between the 13th and 17th Century. This album is a companion to the album “The Voice Of SukaFind albums with this title”, recorded by Pomianowska in 2016 and also released on the For TuneFind albums on this label Records label. Pomianowska plays on the instrument known as suka, a vertically played fiddle (or knee fiddle), close in sound to violin, which was part of the Polish musical tradition for centuries and almost forgotten in time, and now thanks to her dedication, brought back to “active duty” with great success. On this album she uses two variants the suka, as well as an old fiddle. The music is an exceptional amalgam between Classical Medieval and Baroque compositions and Folkloristic influences, which encompass a wide range of diverse sources, between Eastern European and Middle Eastern Cultures. Somehow Pomianowska manages to amalgamate all those seemingly completely separate elements into a coherent oneness, which is not only beautiful but also very clever, exciting and aesthetically pleasing. Listening to the album seems to be a wide magic carpet ride above countries, on one side, and a time machine trip on the other, constantly moving between one musical environment to another, almost making the listener dizzy at times, but inducing a wide smile at the same time. Of course people familiar with the many sources of the music, will also enjoy the familiarity, but those to whom everything here is previously unheard, the joy of surprise should be even more exciting. Overall, this is a wonderful piece of music, which splendidly combines many stylistically different types of music and different Cultural heritages into a comprehensible and enjoyable musical experience, with the unique signature of Pomianowska, who is taking the world by storm. I envy you your stamina, Maria my Friend, and thank you for your creativity. Godspeed in these crazy times!

Updated: 29/06/2024Posted: 29/06/2024

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WSPAK ~ SONGS OF THE RISING SUN FOR TUNE 0169 (Barcode: 5906395808861) ~ POLAND ~ World Music & Folklore Recorded: 2021 - 2023 Released: 2024 This is the 2nd album by the Polish vocal duo WSPAKFind albums by this artist, which comprises of Adrianna Kafel-WozniakFind albums by this artist and Aleksandra Pura-CidyloFind albums by this artist. The vocalists accompany their vocals by playing violin and Polish folklore instruments, like the Bilgoraj suka, Plock fiddle and wspak (a viola like instrument, but with reversed symmetry). The album presents ten tracks, which are Lemko (Polish Carpathian region ethnic group) and Ukrainian folk songs, arranged by the duo and sung in local dialects. The music is every bit as moving and enthralling as that on their debut, featuring exquisite vocal harmonies and superb instrumental support. Although the verbal message of the lyrics is lost to listeners not familiar with the regional dialects, but that does not take away the beauty of the music and the prevailing atmosphere, which is way more powerful than any verbal context. The duo decided to explore their roots, rather than create contemporary new music, and considering the wealth of these regional traditions, they have a vast cultural zone, which is inexhaustible. As a result, we can expect more such explorations in the future, which is heartwarming. On the purely musical plane, the vocal harmonies this duo is able to create are some of the finest one can hear, and regardless if one is a World Music buff or not, they are absolutely worth being heard, which I of course recommend wholeheartedly. Overall, this is a brilliant album in every aspect, full of breathtaking vocal harmonies and beautiful melodies, sublimely performed by the duo and excellently recorded, presenting music for all seasons and completely universal, despite its clear Easter European roots. This is beyond recommendation!

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

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LESZEK ZADLO QUARTET ~ LIVE IN HAMBURG `75 FOR TUNE 0170 (Barcode: 5906395808847) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 1975 Released: 2024 By the mid-1970s West Germany became a true Mecca of European Jazz. The great economic resurgence allowed benevolent support of Arts by the German regional and Federal governments, and Jazz became a highly popular and flourishing Artform, bursting with concert activity all around the country. The many indoor and outdoor Jazz festivals, venues ranging from newly constructed concert halls to small clubs and cellars, music schools with Jazz departments and a vast number of thriving independent record labels, like MPSFind albums on this label, ECMFind albums on this label and EnjaFind albums on this label, to mention but a few, all these created a climate, which not only enabled the local musicians to flourish, but also acted like a magnet pulling Jazz musicians from all over the world to move to Germany and take part in the celebration of creating the new European Jazz miracle. Since Europe was at the time literally split by the Iron Curtain into “West” and “East”, moving to Germany from the USA or other West European countries was a breeze. However, as far as East European Jazz musicians were concerned, such move was, more often than not, only but a dream. That did not mean, of course, that some of them would not try, and eventually also succeed to make such transition. Born in Krakow in 1945, Polish Jazz saxophonist / flautist / composer / educator Leszek ZadloFind albums by this artist was one of the first Polish Jazz musicians, who managed to make the “West” their new home. He moved first to Austria, in 1966, where he polished his education and performing skills, playing constantly with the best local and visiting international Jazz players. There he recorded his debut album “Inner SilenceFind albums with this title” in 1973. In 1975 Zadlo relocated to Germany, settling in Munich and quickly becoming an integral part of the busy local scene. This album presents a live recording by Zadlo with an international quartet, which includes American pianist Larry PorterFind albums by this artist, who was one of the many US musicians staying at the time in Germany, and a German rhythm section comprising of bassist Gunter LenzFind albums by this artist and drummer Joe NayFind albums by this artist. The concert was a part of the 1. New Jazz Festival, which took place in Hamburg in June of 1975. The festival’s concerts were presented at two legendary local venues: “Fabrik” and “Onkel Pös Carnegie Hall”, where the music on this album was recorded. The Festival’s lineup included several ensembles, led by important international Jazz artists, like Norwegian Terje RypdalFind albums by this artist, American Dave LiebmanFind albums by this artist, German Eberhard WeberFind albums by this artist and… Polish Tomasz StankoFind albums by this artist, another proud representative of the Eastern European Jazz scene. Parts of the performances by these artists were included on a commemorative album released by the Polydor label later that year. The fact that Leszek Zadlo was invited to take part in this important festival speaks volumes about his status as a part of the evolving European Jazz Avant-Garde. The music is, as expected, a brilliant example of European Free Jazz / Improvised Music hurricane, exploding with emotions and sublime musicianship. Zadlo’s “infatuation” with the music of John ColtraneFind albums by this artist is obvious, but Zadlo offers his very own voice and interpretation of Freedom, which is perhaps less wild and instinctive, but rather more expressive and balanced, without losing touch with the world around. There is no doubt that Zadlo was at that period of his life perhaps the most “Coltrane oriented” European Jazz musician, all the way as total as the great Master, and with complete and full control of his faculties. Watching Zadlo on stage was like facing a Force of Nature, being totally and utterly swept by flow of his energy, all of which is wonderfully captured herein. His partners in crime are completely up to the task, as expected. It would be a sin to leave this music dormant in the vault and I am extremely happy to see it out in the open. Love you my Friend, as always! 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: 06/12/2024Posted: 06/12/2024

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MICHAL URBANIAK ORGANATOR ~ D-DAY IN TOMASZOW FOR TUNE 0171 (Barcode: 5906395808878) ~ POLAND ~ Jazz Recorded: 2019 Released: 2024 This is a live album by Polish Jazz saxophonist / violinist / composer / bandleader Michal UrbaniakFind albums by this artist, one of the Godfathers of the modern Polish Jazz scene and one of a few Polish Jazz musicians, who managed to develop a career in the US, including even a short stint with Miles DavisFind albums by this artist. The music was a recorded by a quintet, which includes another Polish Jazz legend and Urbaniak’s collaborator for many years, pianist / organist Wojciech KarolakFind albums by this artist, which sadly marks one of Karolak’s last live appearances before his untimely death in 2021. The rest of the quintet comprises of trumpeter Piotr WojtasikFind albums by this artist, guitarist Gabriel NiedzielaFind albums by this artist and American, resident in Poland, drummer Frank ParkerFind albums by this artist. The album presents six tracks, three of which are original compositions by Urbaniak and three are standards. Karolak’s presence hints as to the quintet’s moniker chosen for this quartet. As appropriate for a live album, the tracks are extended, all bar one lasting for over twelve minutes, which of course offers a splendid opportunity for musicians to solo at length, and which is highly enjoyed by the audience. Urbaniak displays his incredible virtuosity on the violin, which actually was his second instrument, as his early career was devoted to the saxophone. During this concert he plays the saxophone on three tracks. Karolak’s Hammond playing is absolutely delightful, and he was always a completely reliable player of great imagination and most importantly superb taste. The rest of the team also performs splendidly, supporting the two veterans amicably and with obvious respect. Urbaniak’s compositions are obviously the more interesting material, especially his reference to the fusion of Polish Folklore elements with Jazz, which brought him fame in the 1970s, when he recorded the series of three such Fusion albums (“FusionFind albums with this title”, “AtmaFind albums with this title” and “Fusion IIIFind albums with this title” for ColumbiaFind albums on this label Records in the US), which were revolutionary and visionary at the time and still remain as some of the most rewarding example of this genre. Karolak played on the first two of these albums. Overall, this is a wonderful snapshot of two Polish Jazz greats in action, which captures them at full swing, to the delight of the concert audience, and now also available as a lasting reminder of their talent. For Polish Jazz lovers this is obviously a must have item, and as usual kudos to the For TuneFind albums on this label label for keeping these memories alive.

Updated: 13/02/2025Posted: 13/02/2025

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

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

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SZYMON NIDZWORSKI ~ BEHIND YOUR EYELIDS PLATEAUX 01 (Barcode: 190295727000) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2017 Released: 2017 This is the debut album as a leader by Polish saxophonist / composer Szymon NidzworskiFind albums by this artist, a classically trained musician who also flirted with Jazz as a member of the Magnolia Acoustic QuartetFind albums by this artist, which recorded a couple of albums for the For TuneFind albums on this label label a few years ago. On this album Nidzworski presents fourteen original compositions (one repeated twice) performed by lineups varying from a saxophone / drums duo to a nonet with brass instruments, violin, accordion and drums. On two compositions the famous Polish actor Andrzej SewerynFind albums by this artist recites lyrical texts and one of those two compositions is repeated with vocals. Although obviously very ambitious, the entire project lacks focus and the cross-genre excursions leave the listener baffled. The music is heavily influenced by Classical Music, both conceptually and sonically, but some minor elements of improvisation could be considered as Jazz, the use of the Bilgoray suka hints of Folkloristic influences, the recitation is perhaps a wink towards the Jazz & Poetry idiom, and so on. Overall the music leaves the listened dazed and confused as to the concept and direction of this project, except for a large dose of depression that remains after the haze is dispersed. There are obviously some nice moments on this album and the musicianship is beyond reproach, but those are not enough to save the project as a whole. Lovers of lethargic Nordic music might find it overall interesting, but for a larger audience it probably will be too much to handle. The album is beautifully designed and packaged, which obviously means that the marketing aspect was carefully thought out in advance.

Updated: 13/01/2018Posted: 13/01/2018

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FUSK ~ SUPER KASPER WHYPLAYJAZZ 009 (Barcode: 4050486086735) ~ DENMARK ~ Jazz Recorded: 2012 Released: 2013 This is the second album by the Danish / German quartet FUSKFind albums by this artist led by Danish drummer / composer Kasper Tom ChristiansenFind albums by this artist, which also features the Danish bassist Andreas LangFind albums by this artist and the German saxophonist Philipp GropperFind albums by this artist and bass clarinetist Rudi MahallFind albums by this artist, who is also a member of the Kasper Tom 5Find albums by this artist ensemble. The album presents eleven original compositions, eight of which are by Christiansen and the remaining three are group improvisations. Christiansen is one of the most prolific young European Jazz personalities in the last decade and participates in several diverse ensembles in parallel, both led by him and by others, which involve musicians from different European countries. This kind of international collaboration is one of the most creative ingredients of the new European Jazz scene, where the artists can enjoy the freedom of movement without any restrictions and some take advantage of it quite broadly. As a result of his recordings Christiansen has established quite a reputation not only as a player and bandleader, but particularly as a superb composer of diverse stylistic approaches. His work is worth following across the broad spectrum of his creative output, of which FUSK is just a singularity. The music presented here emphasizes the freedom and openness in his compositions, which are based on short melodic themes which are then explored by the quartet quite liberally and without limitations. Of course even if the music is mostly improvised, both harmonically and rhythmically, it is neither chaotic nor disorganized, keeping well within the boundaries of group improvisation. The quartet members obviously listen to each other attentively and support each other constantly. There is an overall feeling of tenderness and respect and none of the aggression often associated with group improvisation is present here. The individual performances are all first class, with the two soloists obviously standing up front most of the time, but with the rhythm section firmly involved as well. Lang´s bass and Christiansen´s drumming are an excellent example of superb contemporary rhythm section work, which is nonabrasive and nonaggressive and yet keeps the music moving forward on a solid track. The music recorded on this album was also recorded live at the legendary Warsaw Pardon, To Tu club shortly before being recorded in the studio, and it´s highly recommended to listen to both versions, in order to appreciate the dramatic influence of a live audience on a Jazz performance. The live album is scheduled to be released on the Polish For TuneFind albums on this label label. Kasper Tom Christiansen and his cohorts are the new generation of European Jazz and judging by their accomplishments we have little to worry about the quality of the music they will create. What kind of impact this kind of music will have on the general Culture of the continent is another question…

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