Record Reviews

PIOTR MELECH / WOJCIECH KUREK ~ SPLIT HERE ANTENNA NON GRATA 2019/07 ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2018 Released: 2-19 This is an album by Polish Improvising Music duo comprising of clarinetist Piotr MelechFind albums by this artist and drummer Wojciech KurekFind albums by this artist. The album presents six improvised pieces, which are, as usual in such cases, uncredited. Melech is a prominent figure on the Polish Avant-Garde scene in the last decade and a prolific recording artist, associated mostly with the MultikultiFind albums on this label label, but also releasing albums on other Polish niche labels, like the Antenna Non GrataFind albums on this label, which released this album. Kurek, also a prolific recording artist, with about twenty albums under his belt, works as improvising musician but also composes for multimedia installations and theatre. It seems that this recording is the first cooperation between these two Artists. As I have already stated often in my reviews of Melech´s other albums, I am a great fun of his clarinet shenanigans, and since the clarinet is one of my favorite instruments Melech always has an open ear as far as I am concerned. He is obviously a completely unique clarinetist, who is able to take the instrument into uncharted territory time after time. He is able to play relative melodic music as well as totally Free improvisations with the same power of expression and obvious virtuosity. I am not familiar with Kurek´s other recordings, but his performances here expose his openness to dialogue and cooperation, which the duo demonstrates whenever they play together. Obviously highly skilled technically, Kurek proves to be a very supportive partner to Melech´s spacey explorations, and they are able to produce many magic moments together on this album. Since Free / Improvised Music is a priori oriented towards very limited audiences, this album belongs to the same category. The magic that happened during the recording of this music has no guarantees to be embraced by many listeners, which sadly is almost an intrinsic characteristic of the Avant-Garde. Hopefully, since Melech has a solid following on the local scene, this music will resound in many homes, as it certainly deserves.

Updated: 24/10/2020Posted: 24/10/2020

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NOWICKI / SWIES / FRANKIEWICZ TRIO ~ PATHFINDER MULTIKULTI 005 (Barcode: 5907529223468) ~ POLAND ~ Jazz Recorded: 2012 Released: 2012 This is the debut album by the Polish Jazz trio comprising of saxophonist Radek NowickiFind albums by this artist, bassist Andrzej SwiesFind albums by this artist and drummer Sebastian FrankiewiczFind albums by this artist. There are nine tracks on the album, eight of which are original compositions (four by Nowicki and two each by Swies and Frankiewicz) and one is the trio´s interpretation of a RadioheadFind albums by this artist song. The album was recorded in the legendary Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, the studio owner, a guarantee of superb sonic quality. These three talented young musicians have all quite impressive musical achievements behind them and therefore it is not surprising that they sound remarkably mature as performers. Stylistically, however, they seem to be still somewhat undecided as to the degree of freedom they want to incorporate into their music, which remains mainstream oriented on this recording. The saxophone trio is one of the most difficult Jazz formats and demands a lot of discipline in order to present a cohesive whole and this trio definitely stands up to the challenge with flying colors. Naturally saxophone trios tend to put the focus of the listener´s attention on the saxophone player and are less about interplay and cooperation than say piano trios. On this recording there are plenty of bass and drums spots, showcasing the individual talents of the participants, but in most cases it is the sax up front supported by the rhythm section. The music, although quite appropriate for the format, is somewhat lacking in the melody department. Mainstream Jazz is usually based on strong melody lines, which last at least as long as the tune is being performed. The melodic content here is somewhat abstract and difficult to follow, which works fine for a free form setting, but in a mainstream is contra productive. It seems as if the trio members intended to play a much looser set, but were reluctant to "cross the line". However, all things considered, this is still a very strong debut with great performances and a lot of interesting moments, which should make the trio members proud of their work. Definitely worth investigating!

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SEKSTANS ~ SEKSTANS MULTIKULTI 010 (Barcode: 5907529223376) ~ POLAND ~ Jazz Recorded: 2011 Released: 2013 This is an excellent debut album by the young Polish Jazz sextet called SekstantFind albums by this artist and originating form the Baltic Tricity, founded and led by saxophonists Lukasz JuzkoFind albums by this artist and including saxophonist Piotr CheckiFind albums by this artist, trumpeter Dawid LipkaFind albums by this artist, pianist Szymon BurnosFind albums by this artist, bassist Maciej SadowskiFind albums by this artist and drummer Tomasz KoperFind albums by this artist. The album comprises of seven original compositions, two of which (the opening and closing tracks) are improvised pieces, three are composed by Juzko and one each by Sadowski and Koper. As usual with the young Polish Jazz ensembles the music crosses all possible boundaries and is almost impossible to be neatly categorized. On top of the obvious Jazz tradition there are traces of Rock and even Punk (especially in the somewhat hassle-free attitude), Free Jazz and even Improvised Music excursions and many other elements, which of course make this music fascinating and unpredictable. The usage of electric piano and the brass arrangement on certain pieces take the ensemble close to Jazz-Rock Fusion, but then electronics and Ambient elements remind the listener that this is 21st Century and music is constantly changing and expanding its idioms. Underlying these stylistic explorations, the compositions present solid melodic themes, which are all quite impressive. Both the individual abilities of these players and their collective cooperation are very impressive. As usual it´s hard to believe that these are such young players only starting their musical life´s journey. The open-mindedness and personal courage to explore non-trivial music and eschew mediocrity are truly admirable. I eagerly anticipate the next step on this ensemble´s path, which in view of this promising debut could be even more thrilling. In the meantime this is a true little gem, which should give Jazz connoisseurs a most pleasurable listening experience. Well done!

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HERA ~ WHERE MY COMPLETE BELOVED IS MULTIKULTI 016 (Barcode: 5907529223161) ~ POLAND ~ Jazz Recorded: 2011 Released: 2011 This is the second album by Polish Avant-Garde ensemble HeraFind albums by this artist, led by multi-instrumentalist / composer Waclaw ZimpelFind albums by this artist, one of the most important representatives of the European Improvised Music scene in the last decade. The album comprises of four extended pieces (three of which have a duration of about 20 minutes), as appropriate for this kind of music, where space and freedom are of the essence, which were recorded live. The first piece was composed by Zimpel, the following two are credited as group compositions and the last is a Russian folk song. Zimpel plays bass clarinet and harmonium and the ensemble includes also saxophonist Pawel PostaremczakFind albums by this artist, bassist Ksawery WojcinskiFind albums by this artist and drummer Pawel SzpuraFind albums by this artist. Guest musicians include Sara KaluznaFind albums by this artist, who plays tampura on one track and Maniucha BikontFind albums by this artist, who sings the vocals and plays harmonium on the last track. The music of Hera completely escapes any attempt of classification and is so incredibly rich and amalgamated that expanding on the subject would be pretty futile. After all music is intended to be listened to, not written about, and great music has a tendency to slip through words trying to encapsulate it. There is no doubt that the atmosphere and modus operandi of the ensemble is influenced by Indian and other Far East Cultures, where extended improvisation and contemplative treatment of musical pieces is a way of life, with time playing little or no role at all. The music starts and continues and comes to an end when it naturally concludes its intrinsic message. Naming the pieces after titles of poems written by the Indian mystic poet Kabir are ample evidence as to the intended aesthetic prevailing herein. The meditative / contemplative nature of the music does not mean it lacks excitement, quite on the contrary, it is full of passionate improvisations, which appear on a separate plane, as if floating above the firm recurring basis, complementing the overall result. This is truly a music of the "higher spheres", which requires total attention and acquiescence from the listener joining the musicians in the process of aural communication. Absolutely brilliant stuff wholeheartedly recommended to bold souls with refined taste!

Updated: 12/04/2019Posted:

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ANDRZEJ PRZYBIELSKI ~ TREN ZALOBNY MULTIKULTI 017 (Barcode: 5907529223178) ~ POLAND ~ Jazz Recorded: 2008 - 2009 Released: 2011 This is the third posthumous release (in a few months) by the great Polish Avant-Garde trumpeter / composer Andrzej PrzybielskiFind albums by this artist, which is about as many albums as he released under his name during his entire life. This sad statistic once more reminds us that Art should be appreciated preferably while the Artist is still with us rather than when he´s gone. But, "better late than never", which is a solace for the fools, applies nevertheless. This album collects the recordings (both live and studio) Przybielski made with two young musicians: bassist Jacek MazurkiewiczFind albums by this artist and drummer Pawel OsickiFind albums by this artist, which were one of his last projects. The music is quite different from the acoustic trio performances with the Oles BrothersFind albums by this artist, as it also includes some electronically generated sound layers, vocal parts (with Przybielski´s distinctive voice) and other effects, which expand the scope significantly. In many respects this is a lesser known side of Przybielski´s activity, although he was involved with many innovative projects his entire life, some of which lied well beyond the Jazz idiom. Of course the music is brilliant and challenging as always in his case and attentive and open-minded listeners should find here an unusual and most rewarding musical experience. The album is an overwhelming proof of Przybielski´s versatility and complete disregard of conventions and limitations, which makes his untimely death even more tragic, as he definitely was one of very few of his class. Modern Avant-Garde Jazz lovers rejoice!

Updated: 12/04/2019Posted:

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MELECH / LONBERG-HOLM / OLESZAK / GOLEBIEWSKI ~ DIVIDED BY 4 MULTIKULTI 023 (Barcode: 5907529223239) ~ POLAND ~ Jazz Recorded: 2012 Released: 2012 This is the debut album by Improvised Music quartet comprising of three Polish musicians: clarinetist Piotr MelechFind albums by this artist, pianist Witold OleszakFind albums by this artist and drummer Adam GolebiewskiFind albums by this artist, who are joined by US cellist Fred Lonberg-HolmFind albums by this artist. The album was recorded in one day, as appropriate for this kind of music, and the nine consecutively numbered improvisations are separated into the album´s nine tracks. All music is co-credited to the four musicians. Spontaneously improvised music, as the one presented here, has a very limited appeal to most music listeners and is usually considered as part of the "wild" Avant-Garde, inhibiting the extreme margins of the Jazz scene. Therefore the Polish Avant-Garde / Improvised Music scene, which is experiencing a remarkable Renaissance in the last decade, is an amazing phenomenon. Recordings, concerts, festivals and other activities, which happen in several cities across Poland, manage to draw listeners and enthusiasts from the native Poland, from all over Europe and even from across the pond. There is no logical explanation to the above, but the facts speak for themselves. Perhaps it is the longing for Freedom, which has always been a very "Polish" characteristic, emphasized by hundreds of years of political enslavement, created the proper intellectual ground in the Polish Culture to pursue Freedom, wherever possible? The greatest problem with Improvised Music is the fact that is can transform in an instant from a cultural dialogue to an orgy, from a coherent sound structure into cacophony. The limits and boundaries are thin and flexible, and they probably differ from listener to listener. Therefore whatever makes sense to one listener can be completely confusing to another one. The only way to treat an album like this one is therefore to listen to it and decide for oneself. Personally the most important factor in making Improvised Music recordings is the very fact they are made at all. Such recordings are obviously completely non-commercial (anti-commercial?) and there is no money to be made from them and therefore documenting the fact that such music was made becomes the only reason for them to be made at all. That and of course the intellectual pleasure of hearing four individuals communicating non-verbally on a "higher plane", if that is you "cup of tea". Improvised Music fanatics will find this extremely interesting, most other will find it unlistenable, but who cares about the "most" anyway. The majority is always wrong ;).

Updated: 12/04/2019Posted:

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DARIUSZ HERBASZ ~ JOY OF FRIENDSHIP MULTIKULTI 024 (Barcode: 5907529223246) ~ POLAND ~ Jazz Recorded: 2012 Released: 2012 This is the debut album as a leader by Polish Jazz saxophonist Dariusz HerbaszFind albums by this artist and his double tenor saxophone quintet, which also includes saxophonist Tomasz GrzegorskiFind albums by this artist, pianist Piotr ManiaFind albums by this artist, bassist Adam ZuchowskiFind albums by this artist and drummer Tomasz SowinskiFind albums by this artist. The album comprises of six original compositions, all by Herbasz and was recorded at the superb Studio Tokarnia with engineer Jan SmoczynskiFind albums by this artist presiding. If I would have been subjected to listening to this album in a blindfold test situation, I would be sure this is an unknown recording of mid 1960s Blue NoteFind albums on this label period, as this music has the distinctive feel of modern mainstream, which flourished at the time and was captured for posterity by Rudy Van GelderFind albums by this artist. The warmth and presence of the overall sound and the crisp piano sound are quite remarkable. But of course there is also the music, which stylistically returns to that wonderful period that summarized the Jazz tradition bringing it to sheer perfection on one hand and opening doors for the free form just wide enough to make it interesting on the other hand. These wonderful compositions are truly grand on every level; there are some beautiful melancholic melodies, several great vamps, and a strange feeling of familiarity even upon the first hearing. I must admit that it´s been a while since I´ve heard a collection of such superbly crated tunes on one album. Herbasz takes a considerable risk with the double tenor saxophone frontline, since such setting is often prone to clashes and outright contest rather than cooperation, but also opens intriguing opportunities of harmonizing and completing each other. It´s a pleasure to hear how well this situation was handled here, enabling both players to solo as well as play together in a variety of quite distinct musical surroundings and atmospheres. Both saxophonists [lay remarkably well, both when simply stating the lyricism of a melody or venturing into almost free form excursions. The rhythm section is excellent as well, providing the ideal support for the soloists and framing the musical expressions with just the right amount of direction, allowing space for less constrained experimentation at times. The pianist is an ideal harmonizer and his vamping is a classic form obviously learned from the best. Bass is round, clear and worm and the drums play exactly the amount of time keeping to keep everything tick, with some great topping of inventive drumming. The overall dynamic sensitivity of the entire rhythm section is simply just what the doctor ordered to make the music perfect. This is a remarkable debut and a brilliant Jazz album, which comprises of everything that makes Jazz such a great music: it´s interesting, artistic, intelligent, well played and above all honest, simply stating the artist´s credo and not trying to be something it isn´t. Well done indeed!

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HERA / HAMID DRAKE ~ SEVEN LINES MULTIKULTI 030 (Barcode: 5907796319512) ~ POLAND ~ Jazz-World Fusion Recorded: 2012 Released: 2013 This is the third album by Polish Ethno-Jazz ensemble HeraFind albums by this artist, led by saxophonist / composer Waclaw ZimpelFind albums by this artist. The album contains a live concert recording by the ensemble, with featured as special guest the American drummer Hamid DrakeFind albums by this artist. The participating ensemble members are: saxophonist Pawel PostaremczakFind albums by this artist, hurdy-gurdy player Maciek CierlinskiFind albums by this artist, guitarist Raphael RoginskiFind albums by this artist, bassist Ksawery WojcinskiFind albums by this artist and drummer Pawel SzpuraFind albums by this artist. The music consists of five pieces, four of which are over fifteen minutes in duration, all of which are based on World Music ethnic riffs and melodies, partly composed or arranged by Zimpel and in one case including a melody contributed by Drake. Except for Drake´s chanting his own melody, the rest of the music is instrumental and mostly improvised. It is much easier to say what this music isn´t than to say what it actually is, but that is hardly relevant as music is basically created in order to be listened to and not to be written about. Nevertheless one can try one´s best. So this is definitely not Jazz as most people conceive it, not even Jazz-World Fusion, as it goes well beyond the usual boundaries of that sub genre. Yes it is mostly improvised, but so is much of Ethnic music, which after all begot Jazz in the first place. The closest definition that I can come up with is Spiritual Music, a kind of collective trance induced by repeated rhythmic patterns and a feeling of sharing and togetherness, which inspires the musicians involved. However, the problem with such music is that is works absolutely divinely live, but translates less efficiently into albums. Of course in this case the actual music is strong enough to carry on a potent impression, but probably much is also lost in the process. This music is also definitely not for everybody. Conventional Jazz listeners will find it not Jazzy enough; others might find the strong Ethnic influences outlandish and unfamiliar. Only listeners with a highly developed open-mindedness and readiness to accept what is different will discover the true delight of this music. The individual performances are of course blissful as always in Hera´s case. Zimpel and Postaremczak weave some beautiful snaky improvisations; Roginski rocks things up with a great guitar solo and the expanded rhythm section transports the music into a different universe. Overall it is quite a musical experience, which should not be missed. People familiar with the two earlier albums by Hera are of course already hooked for good. I always wonder where Zimpel will take the ensemble next. I guess we´ll all have to wait until the next album appears before us. Until then, may the spirits of music be with you all.

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BUBA BADJIE KUYATEH / MICHAL GORCZYNSKI ~ CUT THE AIR MULTIKULTI MPF 004 (Barcode: 5907529223536) ~ POLAND ~ Jazz-World Fusion Recorded: 2016 Released: 2017 This is the debut album by the duo comprising of Gambian (resident in Warsaw) kora player Buba Badjie KuyatehFind albums by this artist and Polish bass clarinetist Michal GorczynskiFind albums by this artist. The album presents six lengthy musical dialogues, credited to both players. The music is an absolutely glorious testimony of two superb musicians conversing with each other despite the seemingly remote cultural backgrounds. As a result of this telepathic connection the music, mostly improvised, merges the cultures together in a complete natural and harmonic way, as if these cultures were one, or perhaps proving that all music cultures are one indeed. The individual abilities of these two musicians are obviously virtuosic, but this music has nothing to do with showmanship or exhibitionism, which so often destroy music, being all about the human cooperation, understanding and spiritual unity, being a true "Art of the Duo" in its best incarnation. Gorczynski, whose roots encompass a wide diversity of musical influences, from Hassidic music, European Folklore, Jazz and Improvised Music, seems to be perfectly at ease with the West African music and his conversations with Kuyateh fit perfectly within the newly created amalgam. The natural contrasts between these two instruments are completely obliterated here and the instruments simply compliment each other despite their different scales and harmonics. Overall this is a phenomenal album, which should leave no music connoisseur cold, regardless of his musical preferences. This music is universal and goes straight into the listener´s soul and heart, completely effortlessly and overwhelmingly. When the idiom World Fusion was coined, this is what that idiom was really intended to be all about. This is definitely one of the finest achievements of its kind and should be a part of every decent music collection. Obviously essential!

Updated: 05/04/2018Posted: 05/04/2018

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BABOOSHKI ~ BEDZIEMY SIE KREZYLI MULTIKULTI MPF 005 (Barcode: 5903068683374) ~ POLAND ~ Jazz-World Fusion Recorded: 2019 Released: 2020 This is the third album by Polish Jazz-World Fusion ensemble BabooshkiFind albums by this artist, formed by Polish vocalist / violinist Karolina BeimcikFind albums by this artist and Ukrainian vocalist / pianist Dana VynnytskaFind albums by this artist, and including top Polish Jazz players: trombonist Michal TomaszczykFind albums by this artist, pianist Jan SmoczynskiFind albums by this artist, guitarist Rafal SarneckiFind albums by this artist, bassist Michal JarosFind albums by this artist and drummer Bogusz WekkaFind albums by this artist. A couple of guest musicians play on selected tracks. The album presents nine traditional songs of Polish / Ukrainian and Byelorussian origins, performed in the original languages, all arranged by the ensemble members. The music was recorded at the excellent Studio Tokarnia, owned by Smoczynski, and offers a splendid sound quality. Musically, the album offers a pretty faithful interpretation of the original Folkloristic material, with the Jazzy arrangements being pretty minimalist and delicate, not disturbing the authenticity of the songs, but enhancing the result and bringing it closer to contemporary listeners. The vocal duets by Beimcik and Vynnytska are the epicenter of the music, beautifully performed and cleverly synchronized, amalgamation two pretty diverse vocal traditions (Polish more Western and Ukrainian more Eastern), which complement each other splendidly. The instrumental work is also brilliant, as expected by the level of the participating musicians. Sarnecki, Smoczynski and Tomaszczyk add a few splendid soli, and Jarosz plays stunning bass parts, but overall this music is all about team work. Listeners interested in the East European vocal tradition should be absolutely delighted by this little gem, as should all Jazz-World Fusion fans, especially since this is one of the best projects on the Polish scene recorded in this sub-genre in the last years. Overall this is a beautiful piece of music, beautifully authentic, highly aesthetic and brilliantly executed from start to finish. Hats off!

Updated: 04/06/2021Posted: 04/06/2021

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FRED LONBERG-HOLM / PIOTR MELECH ~ COARSE DAY MULTIKULTI MPI 014 (Barcode: 5907529223147) ~ USA ~ Free Jazz / Improvised Music Recorded: 2009 Released: 2011 This is the debut album by the experimental duo, which consists of American cellist / composer Fred Lonberg-HolmFind albums by this artist and Polish clarinetists / composer Piotr MelechFind albums by this artist. The album presents eight original compositions / improvisations co-credited to both musicians. The music presents extreme Avant Garde, which has very little to do with Jazz or any other form of music, and which is spontaneously improvised and recorded in real time. There is no melody, no harmony and no rhythm, which of course makes it difficult to consider this kind of expression in standard terms of reference applied to music. It is all about freedom and conversation between the musicians at the moment of creation. The question whether this music is a form of anarchy is also relevant. This kind of music may have some validity performed live, but in its recorded form is actually pretty irrelevant, since it is questionable if anybody would play this album repeatedly actually listening to it. Therefore completely valid as a form of expression, it has little meaning beyond the documentation of the meeting and mutual exchange of ideas between the musicians involved. Of course Lonberg Holm and (in retrospect) Melech have created many valuable contributions in music, this album is definitely not one of them. Nothing beyond self-indulgence I´m afraid.

Updated: 17/12/2018Posted: 29/04/2017

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TROUBLE HUNTING ~ TROUBLE HUNTING MULTIKULTI MPI 020 (Barcode: 5907529223208) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2011 Released: 2013 This is the debut album by the Polish / Danish ensemble Trouble HuntingFind albums by this artist led by Polish saxophonist / composer Tomasz LicakFind albums by this artist and including Polish trumpeter Tomasz DabrowskiFind albums by this artist, Danish saxophonist Sven Dam MeinildFind albums by this artist, Bosnian keyboardist Adi ZukanovicFind albums by this artist, Danish bassist Richard AnderssonFind albums by this artist and drummer Anders ProvisFind albums by this artist. The album presents six original compositions, all by Licak. The music is typical young European Jazz, which combines composed and freely improvised music, with an emphasis on group improvisation and freedom of expression. Despite the advanced explorations, the music manages to stay coherent and tamed, which allows to the inquisitive listener to hear every little nuance of the individual contributions by the musicians. The ambience of the music combines the Polish melancholy with the Scandinavian minimalism, which works out splendidly. Despite the young age of these musicians, they all already show signs of their musical personality. Listening to this album almost a decade after it was recorded gives a wonderful perspective on the musical achievements of Licak, Dabrowski and Meinild, who made numerous other recordings since and solidified their personas. The album is also a document of the bond that was created between young Polish, Danish and other European musicians around the Odense Music Academy, which created an entire circle of musicians who cooperate actively since their meeting as students, being one of the creative foci of contemporary European Jazz. This album withstands the test of time splendidly and sounds every bit as interesting as it did at the time of its release. It is definitely worth revisiting and European Free Jazz / Improvised Music connoisseurs should definitely try and get a copy before this album (like so many others) disappears into oblivion. Great stuff!

Updated: 18/08/2020Posted: 18/08/2020

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OLIE BRICE ~ IMMUNE TO CLOCKWORK MULTIKULTI MPI 026 (Barcode: 5907796319529) ~ UK ~ Jazz Recorded: 2013 Released: 2014 This is the debut album by a quintet led by British Jazz bassist / composer Olie BriceFind albums by this artist, which also includes saxophonist Mark HanslipFind albums by this artist, trumpeter Alex BonneyFind albums by this artist, drummer Jeff WilliamsFind albums by this artist and leading Polish clarinetist Waclaw ZimpelFind albums by this artist. The album presents seven original compositions, all by Brice. Brice has been active on the British (mostly London based) Improvised Music scene since a few years and is involved with several ensembles in parallel, some as a leader and others as a band member. He also cooperated with the Polish Jazz saxophonist / clarinetists / composer Mikolaj TrzaskaFind albums by this artist in the past, expanding the British / Polish Improvised Music interaction, which often produces excellent results. The music is surprising, and contrary to the accepted image of Improvised Music, beautifully lyrical and melody based. The three soloists are featured extensively, playing long and well constructed solo improvisations and collective improvisations. Most notably Zimpel, who plays here more explicitly and vividly than on the Polish albums he lately recorded as a leader, those being more contemplative and less Jazz oriented than this recording. Therefore Zimpel followers can hear some of his the best moments captured in a long time. Brice, apart from being the composer, also sets the overall direction of the album with his solid bass lines, which are the backbone of this music. He sets the tempo variations and the passage between the unisono theme statements, the solos and the group improvisation parts. Therefore he fulfills his role as a leader in full in addition to being part of the ensemble. Williams also deserves praise for following Brice´s moves closely and applying his rhythmic layer with grace and obvious sympathy. Although he does anything but keeping time, the result is well in check, with him keeping time without actually keeping time, a rare gift which only the best drummers can handle really well. In many respects this album sounds a bit retrograde, and I mean it in the most positive sense, bringing back fond memories of the wonderful British Jazz recordings by early Free Jazz / Improvised Music ensembles in the late 1960s. There was the same level of serenity and non-aggressiveness present than, which was almost completely lost over the years with Improvised Music musicians often trying to outshout each other rather than integrate. Overall this album is a beautiful and pleasing listening experience, which serves well the image of Improvised Music at its best. Congrats Olie for doing your thing and selecting the right folk to do it with. Well done indeed!

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BROWN / LEVIN / MAZURKIEWICZ ~ DAY IN THE LIFE OF A CITY MULTIKULTI MPI 029 (Barcode: 5907796319543) ~ USA ~ Jazz Recorded: 2012 Released: 2014 This is the debut album by the US / Polish Improvising Music trio, which consists of saxophonist Rob BrownFind albums by this artist, cellist Daniel LevinFind albums by this artist and Polish bassist Jacek MazurkiewiczFind albums by this artist. The album was recorded live at three different locations during a Polish tour of the trio and presents eight improvised pieces co-credited to all the trio members. Improvised Music is by its very nature a spur of the moment occurrence and when frozen for posterity by the recording process it very rarely sustains its original meaning and only in exceptional cases turns into a meaningful piece of music, which is worthy of repeated hearing. Sadly the music herein is not one of such rare cases and although it might have been interesting when heard during a live performance, it sounds distant and introvert on record. Although all three participating musicians have a fine list of achievements, and the two Americans have recorded together before, the trio fails to impress. Improvised Music is all about cooperation, without which it sounds like a series of individual statements, which do not merge together and have only one thing in common: the fact that they happened at the same place at the same time, which this album unfortunately tends to sound like most of the time. Of course it is entirely possible that I just don´t get this music and am not able to enjoy it, in which case my opinion is completely worthless and selfish. On the other hand perhaps that kind of music making is a completely self-centered activity, which excludes listeners as superfluous? In any case it is up to the listener to decide.

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TRZASKA / MAZURKIEWICZ ~ NIGHTLY FORESTER MULTIKULTI MPI 033 (Barcode: 5907796319895) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2016 Released: 2016 This is an album by Polish Improvising Music duo comprising of clarinetist / saxophonist Mikolaj TrzaskaFind albums by this artist and bassist Jacek MazurkiewiczFind albums by this artist. They perform nine original compositions / improvisations co-credited their names. The unique aspect of this album is the fact that the music is a "field recording", capturing the two musicians performing in deep forest, away from any urban influences and studio technology. The sound quality of this recording is absolutely sensational. The music is very intimate and mostly quite introvert, emphasizing the close dialogue Trzaska and Mazurkiewicz are able to create between them. The natural and clean sound of the instruments suits the overall nature of this music perfectly and creates a beautiful sonic ambience, rarely captured in a studio. Trzaska manages to stay relaxed and low key, which shows his lyrical side more expressively than on most of his other numerous recordings. His clarinet work is stunning and full of Hassidic influences, lamentations and howls characterizing serious Klezmer music. Mazurkiewicz utilizes the arco and plucking techniques with great effectives. But most importantly they manage to maintain a coherent dialogue, which results in music being much stronger than just a sum of its ingredients. Although Improvised Music is often estranged and unfriendly towards the listeners, this music is remarkably accessible and "strangely pleasant", of course in the most positive meaning of the phrase. Over several listening sessions it really gets under the listener´s skin and becomes an extension of his inner self, which happens of course very rarely. Personally I find Trzaska´s return to the exploration of the Jewish Music motifs extremely satisfying, especially after a period of time when he was busy with other musical paths. Whatever the motivation might be, the end result is what counts, and it is most welcome. Music like this is the epitome of the "Art of the Duo", in its most refined and purified form. Superb stuff!

Updated: 06/02/2017Posted: 06/02/2017

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TOMASZ DABROWSKI / JACEK MAZURKIEWICZ ~ BASEMENT MUSIC MULTIKULTI MPI 040 (Barcode: 5907529223543) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2015 Released: 2018 This is the debut album by the Polish Improvised Music duo comprising of trumpeter Tomasz DabrowskiFind albums by this artist and bassist Jacek MazurkiewiczFind albums by this artist. The album presents seven compositions, all co-credited to both participants. Both Dabrowski and Mazurkiewicz are very prolific musicians who released quite a few albums on various labels, and it is a bit difficult to follow their rich output, especially in view of the incredible number of albums released on the Polish scene year after year. Mazurkiewicz released a couple of excellent albums with another young Polish trumpeter Wojciech JachnaFind albums by this artist, so playing with a trumpet is certainly not unfamiliar to him. Dabrowski, who recorded dozens of albums in many different musical environments, proved that he can handle virtually anything. Therefore it is not surprising that their collaboration on this album works smoothly and effectively. As with all Improvised Music the most important test is if the music makes sense in recorded form. Improvised Music almost always makes some kind of sense live, as it is able to express the mutual relationship between the musicians and the listeners in the audience, but when captured on record it has to make sense to a random listener, who does not hear the musicians playing live and the sound captured on the album is his only source of cerebral information. Thanks to the incredible versatility of Dabrowski, who can create a myriad of sounds and moods on his trumpet, and the clever usage of electronics Mazurkiewicz employs in addition to his imaginative bass playing, this music works in its stand-alone recorded version and constitutes an interesting aesthetic experience to the listener, presenting a very varied and fascinating musical adventure. Of course a priori this music appeals to a tiny minority within the minority of Jazz listeners, who are open minded enough to even try and listen to Improvised Music to start with. One has to admire the musicians who consistently tread on this treacherous path against all odds, disregarding popular trends and often facing open animosity not only from ignorant listeners, but even from other musicians. Admittedly not for everybody, this album offers some fascinating Improvised Music, which is as good as Improvised Music gets. Certainly worth investigating!

Updated: 17/04/2019Posted: 17/04/2019

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KAMASZ ~ EIGHT ROCKS FROM GRANDMA´S BOX MULTIKULTI MPI 041 (Barcode: 5907529223772) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2015 Released: 2019 This is the debut album by Polish Improvising Music trio KaMaSzFind albums by this artist comprising of guitarist Marek KadzielaFind albums by this artist, bassist Jacek MazurkiewiczFind albums by this artist and drummer Krzysztof SzmandaFind albums by this artist. The album presents eight original compositions / improvisations co-credited to all three members of the trio. Despite the fact that this album firmly belongs to the Improvised Music idiom, the music is relatively well "organized" and accessible, including melodic fragments and logical harmonic developments, wrapped up in minimalistic low key, spaced-out ambience, which overall is remarkably listenable. For one reason or another, this music remained unreleased for five years and only now sees the light of day. In the meantime the musicians involved in creating it recorded intensively, so this album allows a glance into the past, as well as comparison with their recent work. Whatever the reason, it is great to have this music out in the open. All three musicians contribute not only cohesive and sympathetic collaborative statements as a trio, but also interesting individual statements. Kadziela offers a diverse palette of sounds, often returning to his Rock roots, Mazurkiewicz keeps the music on track with excellent bass lines and Szmanda masterly plays in and around the rhythms, still able to swing al all times. Overall this is a highly enjoyable album, full of great playing and despite the open improvisations sounding organized and structured enough for most Jazz listeners to be able to have fun, giving it some slack. Recommended!

Updated: 05/01/2020Posted: 05/01/2020

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WOJCIECH JACHNA ~ EMANACJE MULTIKULTI MPI 043 (Barcode: 5907529223536) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2015 Released: 2018 This is a solo trumpet album by Polish Jazz trumpeter / composer Wojciech JachnaFind albums by this artist. The album examines the relationship between sound and space and was recorded in several locations around Jachna´s home town of Bydgoszcz, like the Synagogue and the Water Tower, and other locations with a specific architectural design, which influences the acoustics. The album presents fourteen relatively short improvisations on themes, mostly composed by Jachna (eight tracks). Guitarist Jakub ZiolekFind albums by this artist guests on one track, which was composed by Ornette ColemanFind albums by this artist. For several years now Jachna has been consistently paving his way towards the top of the Polish Improvised Music / Jazz trumpet scene, obviously influenced by the two major / celebrated Polish Jazz trumpet figures, sadly both not with us any more: his hometown hero Andrzej PrzybielskiFind albums by this artist and of course Tomasz StankoFind albums by this artist. It is not surprising therefore that a composition by each of these two great musicians is present next to each other on the album. Also present is a composition by the godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist. As a result Jachna seems to pay tribute to the Masters, recognizing their influence, along with his own contributions, which mark his own path. The music was recorded three years before the album´s release, which means that Jachna released several albums after this music was recorded, allowing us a glimpse into the past. The sound of the trumpet reflected by the acoustics of the various architectural structures is a lonely journey, minimalist and introvert, but full of emotion and beauty, which should keep all Improvised Music enthusiasts perfectly happy. Jachna has a rare talent to express his emotions and musical ideas clearly and effectively, which is even more powerful in the solo setting. This album is a document of an experiment, which proves that Jachna is at all times searching for new ways to express his music. Overall this is an unusual and interesting album, which is definitely worth investigating by Polish Jazz, Improvised Music and trumpet connoisseurs the world over.

Updated: 05/01/2019Posted: 05/01/2019

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MELECH / MAZURKIEWICZ / TRILLA ~ DOG / HUM / BRAIN MULTIKULTI MPI 047/48/49 (Barcode: 5903068683282) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2016 Released: 2019 Released as three separate CDs, this is obviously a unified release documenting live performances by the Improvised Music / Avant-Garde Jazz trio comprising of Polish clarinetist Piotr MelechFind albums by this artist, bassist Jacek MazurkiewiczFind albums by this artist and Spanish drummer Vasco TrillaFind albums by this artist, recorded in February 2016 at three clubs in different cities in Poland. Guitarist Damian PielkaFind albums by this artist takes part on one track. The albums present four / five / two improvised tracks respectively, all obviously credited to the three members of the trio. Although all the three concerts were recorded by the same trio within one week, the music on the separate CDs differs significantly, presenting completely diverse facets of the trio´s possibilities. Improvised Music is of course created in the spur of the moment and such diversity speaks highly of the abilities of the trio both on the individual and ensemble levels. Listeners familiar with the European Improvised Music scene are obviously already familiar with the names of these musicians, since they all performed and recorded prolifically in the last decade and are considered as some of the most interesting representatives of the genre. Since both Melech and Mazurkiewicz employ electronics on regular basis, the music on these albums depicts the polarity between purely acoustic and almost completely electronic music, with everything in between. It seems that the usage of electronics opened up the possibilities, both of the contemporary modern European Jazz and the more adventurous Free Jazz / Avant-Garde scene, which embraced electronics as an integral part of the accessible instrumental palette, a trend growing stronger towards the end of the decade. The reception of this music is of course highly individual, but I found all thee albums to be highly interesting and absorbing, and the diversity of the music is a strong incentive to try and listen to the whole set in one go. But of course it is also entirely possible to listen to them separately. Overall this is a great document of the live concerts, which stand on its own in the recorded version and offers challenging, but highly aesthetic listening experience. Highly recommended to all Improvised Music enthusiasts!

Updated: 15/03/2020Posted: 15/03/2020

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LESZEK KULAKOWSKI ~ CANTABILE IN G-MINOR MULTIKULTI MPJ 004 (Barcode: 5907529223642) ~ POLAND ~ Jazz Recorded: 2006 Released: 2011 This is an album by Polish Jazz pianist / composer Leszek KulakowskiFind albums by this artist, recorded in a quartet setting with celebrated American trumpeter Eddie HendersonFind albums by this artist, bassist Piotr KulakowskiFind albums by this artist and veteran drummer Jacek PelcFind albums by this artist. The album comprises of ten original compositions, all by Kulakowski. The music was recorded in 2006 but released only in 2011. The music is set well within the mainstream Jazz boundaries, with clear melodic themes and pretty straightforward improvisations, all very well performed by the quartet members, but hardly innovative or challenging. Kulakowski is a very skilled weaver of melodies, and his slow melancholic themes are usually more moving than the mid to up-tempo numbers. All the players are of course very experienced performers and the overall level of personal output is excellent. Piotr Kulakowski plays some beautiful bass riffs and holds the quartet together and Pelc is always doing what is expected of him in every situation. Leszek Kulakowski is a charmer, as usual, and his delicate piano chords and solo parts are heartwarming. Henderson, after playing Funk and Jazz-Rock Fusion for many years, is back as a Post-bop player, doing a splendid job both on trumpet and Flugelhorn. However, in comparison to many Polish Jazz trumpeters, who appeared on the scene in recent years, his performances quite honestly a bit pale as to what one might expect. All in all this is a fine mainstream album, which many Jazz fans should be able to enjoy and one that is definitely worth discovering. Perhaps not the strongest statement by Kulakowski to date, but this is definitely a valuable component of his splendid legacy so far.

Updated: 15/11/2019Posted:

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ZAWADZKI / PRASNIEWSKI / WOSKO ~ TAGE MULTIKULTI MPJ 009 (Barcode: 5907529223383) ~ POLAND ~ Jazz Recorded: 2011 Released: 2013 This is the debut album by a young Polish Jazz trio comprising of pianist Sebastian ZawadzkiFind albums by this artist, bassist Mariusz PrasniewskiFind albums by this artist and drummer Radek WoskoFind albums by this artist. The album was recorded in Odense (Denmark) where the trio members studied music at the time of the recording at the local Academy, where many other Polish musicians also study music in the last decade. The album presents eight original compositions, five by Zawadzki, one by Wosko and two collective compositions by all three members of the trio. Although recorded at the early stages of their career, this album shows the musicians searching and exploring the Jazz idiom with a youthful carefree approach, not yet bounded by convention and "proper" norms. The music is melodic and falls within the mainstream classic piano trio setting, but it is also pretty adventurous and at times even unconventional. Technically both the pianist and the rhythm section are proficient and sound professional. Zawadzki shows early signs of his brilliant technique, which will blossom a bit later, as evident on his subsequent albums. Prasniewski plays beautifully, with great feel and intrinsic melodious elegance, always exactly when his support is needed, and so does Wosko, who manages to keep the volume of his drums at a suitable level, not being obstructive with his solo spots being truly inspired. The two collective compositions are much more open and improvised than the strictly composed pieces, and are the highlights of this album, showing the trio´s experimentation and more ambitious approach. Zawadzki´s tunes are a bit too sweet at times, but definitely not crossing over into the sugary muzak. Overall a very impressive debut, which is just a glimpse at these talented young musicians, a sonic document caught for posterity. It is definitely nothing to be ashamed of and can be proudly mentioned in their respective CVs as a jumpstart success.

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BLACKBIRD ~ BLACKBIRD MULTIKULTI MPJ 012 (Barcode: 5907796319710) ~ POLAND ~ Jazz-Rock Fusion Recorded: 2014 Released: 2015 This is the debut album by the young Polish Jazz quintet BlackBirdFind albums by this artist, which comprises of trumpeter Pawel SurmanFind albums by this artist, guitarist Michal WalczakFind albums by this artist, pianist Michal RoratFind albums by this artist, bassist Bartek BednarekFind albums by this artist and US drummer Frank ParkerFind albums by this artist. Veteran vibraphonist Bernard MaseliFind albums by this artist appears as a guest artist on a couple of tracks. The album presents seven original compositions (one of which is repeated four times), four by Walczak, two by Rorat and one by Bednarek. The album was recorded live and has a very good sound quality. The music is dominated by the sound of the electric guitar and immediately falls under the typical Fusion imagery. The combination of lead guitar and trumpet, which was favored by early Jazz-Rock / Fusion artists, like Larry CoryellFind albums by this artist and his Eleventh HouseFind albums by this artist ensemble for example, was pretty dormant lately and the attempt by BlackBird to bring it back is very effective. With the guitar / trumpet lead balanced by the acoustic piano and the electric bass and drums pulsating vigorously, the overall sound of the quintet floats somewhere between Fusion and the Scandinavian ECMFind albums on this label sound, which of course turns it immediately into a very likeable piece of music. Once we have established that the album sounds great the question of course arises as to its musical contents, which is definitely not on the same level as the sound. The melodies are rather simplistic and a bit repetitive, which makes the album to sound like one continuous piece of music with very little diversity. Even the attempt to break the monotony by repeating the theme song four times does not help much. It´s not that the music is bad or anything, it just sort of stays in one place all the time. But of course this is only my personal opinion and others may find it completely misguided. The personal performances by the quintet members are all quite adequate, although the guitar is definitely too loud and aggressive. For me Rorat delivers the most impressive solos, even if he is the most introvert and timid player herein. His piano strokes are a true joy throughout. Overall this is a pleasant Fusion album, which many Fusion fans might find attractive and which sounds absolutely divine, but is hardly a brainer. Since it is a debut effort, things will probably improve with their next release, which I am impatiently waiting for already.

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BEAM ~ ONE MULTIKULTI MPJ 016 (Barcode: 5907796319802) ~ POLAND ~ Jazz-World Fusion Recorded: 2016 Released: 2017 This is the debut album by the BEAMFind albums by this artist quartet, led by Polish Jazz saxophonist Bartosz CzarnieckiFind albums by this artist, which also includes Polish bassist Michal NienadowskiFind albums by this artist and Danish guitarist Anna RoemerFind albums by this artist and drummer Emil ThorenfeldtFind albums by this artist. The album presents nine tracks, seven of which are original compositions, all by Czarniecki, and two are arrangement of Polish Folk tunes. The music is very unique and immediately strikingly different from most other contemporary young Jazz efforts. Although definitely Jazz oriented, it sounds like a Progressive Folk album, with a very strong tendency towards folklore music, this of course thanks to the superb compositions by the leader, but also as a result of a very unusual sound and balance between the instruments. Although the guitar is electric, the entire performance sounds completely acoustic and has a distinct retro ambience. The performances are beautifully minimalistic, with a lot of breathing space and silence between the notes. There is no rush or unnecessary urgency, which again is elegantly dissimilar from just about everything done these says. Obviously there is no competition between the players and the quartet´s leader leaves the spotlight to the guitar player, supporting her intelligently and balancing the overall result just right, and playing just a few wonderful solos himself. The duo performs closely together, with perfect harmony and close comradeship. The rhythm section carries the music amicably and steadily throughout and keeps also respectfully in the background not dominating the proceedings, which is exactly what is needed in this case. Overall this is a remarkable debut album, which manages to present an original approach to Jazz, soaked with folksy melancholy, creating a coherent, aesthetically solid piece of music. Full of beautiful melodic statements and inspired improvisations, and at the same time keeping things at a minimal level of unnecessary complexity, as the "more is less" approach advocates. I am already anxious to hear their next album. Definitely not to be missed!

Updated: 21/09/2017Posted: 21/09/2017

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KAROLINA BEIMCIK ~ ZORYA MULTIKULTI MPJ 017 (Barcode: 5907529223581) ~ POLAND ~ Jazz-World Fusion Recorded: 2018 Released: 2018 This is an ambitious debut album by Polish vocalist / violinist / composer Karolina BeimcikFind albums by this artist with her new project called "Zorya", which is her interpretation of Polish / Ukrainian Folklore of the ethnic minorities like Boykos, Lemkos and Kurpie people, who maintain their linguistic dialects and traditions. Beimcik is accompanied by four excellent Polish Jazz musicians: guitarist Rafal SarneckiFind albums by this artist, pianist Jan SmoczynskiFind albums by this artist, bassist Michal JarosFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist. The album presents eight tracks (actually the album´s artwork lists eight tracks but credits refer to nine tracks, go figure), six of which are traditional tunes and two were composed by Beimcik. The music was recorded by Smoczynski at his excellent Studio Tokarnia, with excellent sonic quality as usual. In spite of the presence of the Jazz musicians, the music itself has very little to do with the essence of Jazz and is dominated by the Folkloristic themes. The Jazz influences stay mostly in the background and are more ornamentation than the actual quintessence. The basic melodies have, as expected, a strong East European disposition, being all rather melancholic and gloomy, quite similar to each other. The two original compositions, and especially the title track, are much more Jazz oriented and Beimcik performs on them nice wordless vocalese parts in addition to instrumental solos. The instrumental work by the team is all quite excellent, as appropriate from highly talented musicians of this class. Smoczynski takes most of the accompaniment on his shoulders, staying relatively in the background, Sarnecki adds tasteful guitar embellishments and the rhythm section provides a solid basis for the music, with a few exceptional bass solos by Jaros. Overall this is another example of the amalgamation between Folklore and Jazz, which seems to be more popular and successful in Poland than anywhere else in recent years. Preservation of ethnic traditions is of course an obligation of any Cultural people, and projects like this one are all important, but some or more successful musically than others. Personally I´d prefer an entire album of music as represented by the two original compositions.

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

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ARTUR TUZNIK ~ ARTUR TUZNIK TRIO MULTIKULTI MPJ 019 (Barcode: 5907796319857) ~ POLAND ~ Jazz Recorded: 2015 Released: 2016 This is a debut album as a leader by young Polish (resident in Copenhagen) pianist / composer Artur TuznikFind albums by this artist, recorded in a classic piano trio format which also includes two Danish musicians: bassist Nils Bo DavidsenFind albums by this artist and drummer Jakob HoyerFind albums by this artist. The album presents nine tracks, all of which are original composition by Tuznik. The album was recorded at the excellent RecPublica Studios and offers excellent sound quality. The music presents a remarkably mature set of compositions, which although based on melodic themes, are beautifully open and unrestrained. It is pretty amazing to find such young musicians playing in such challenging musical environment and of course this album immediately sets an example to a whole generation of young pianists, which clearly points towards what can be achieved and what should be played, even at the very early stages of a Jazz career. For Polish music connoisseurs and aficionados the challenge here is to discover the hidden clues of the influence of Frederic ChopinFind albums by this artist on this music. Tuznik is an outstanding piano player, a fact that becomes clear after just a few notes. His self-confidence and imagination take over the music and lead it securely towards an open-minded expressionism, full of lyricism and emotion regardless of the free form and uneven rhythmic patterns. Of course every piano trio is only as good as its members and Tuznik definitely found ideal partners herein, who are willing to share his openness and exploration based modus operandi, improvising together without giving up their individuality. This trio is definitely way beyond the concept of a piano and a rhythm section – it is a fully organic ensemble which creates music symbiotically. I suppose such music making is only possible in Europe, where the minds of the young Jazz musicians have not been mercilessly blunted by overexposure to American mainstream, which completely smothers individuality and progress. Such wonderful creativity and forward-thinking as present on this album is an antidote to everything the American Jazz tradition is trying desperately to cling to. This is definitely one of the most impressive Polish Jazz recordings of 2016 and a stunning debut effort in every respect. One can only wish that more young musicians will follow the path set by this album, which will make true music lovers exceedingly happy. It is a rare combination of talent, vision and the courage to stand behind ones choices and decisions, which again points out the maturity of the musicians involved. Polish Jazz is not only alive and kicking, but slowly starts to spread all over Europe and get incorporated into the new fabric of young European Jazz, which bridges Warsaw, Berlin, Copenhagen, Oslo and other European cities where young European music students are brewing the Jazz we will enjoy in the years to come. Hats off!

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

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HOTS ~ NUMBERS MULTIKULTI MPJ 020 (Barcode: 5907796319871) ~ POLAND ~ Jazz Recorded: 2016 Released: 2016 This is the second album by the Polish Jazz quintet HoTSFind albums by this artist, led by guitarist / composer Mikolaj PoncyljuszFind albums by this artist and including trumpeter Radek NowakFind albums by this artist, saxophonist Bartosz TkaczFind albums by this artist, bassist Adam ProkopowiczFind albums by this artist and drummer Jakub KinsnerFind albums by this artist. The album presents six original tunes, all composed by Poncyljusz, which are separated by five short interludes, which are improvised. All the music is presented continuously without the customary silence breaks between tracks. Musically the album continues the path set by their debut album, which focuses on melodic compositions, which serve as basis for solo improvisations by guitar, trumpet and saxophone. The interludes feature prominently each of the quintet members in turn, focusing on their respective abilities as instrumentalists and improvisers. The addition of Tkacz as the fifth member of the group radically expanded the ambience and the interplay possibilities, and presents a more balanced overall ensemble sound and enables sharing the load of the main soloist between him and Nowak, who was the focus of the debut album. Poncyljusz continues using the reverb soaked guitar sound, which personally I am not crazy about, but his playing is technically without reproach. The rhythm section supports the flow of the music perfectly, staying respectfully mostly in the background. Prokopowicz has a nice fat sound which fills the bottom range very well and Kinsner plays very softly (or is not prominent enough in the mix), which often seems as he´s not there much. The music is a bit too melancholy, flowing very slowly and within a very narrow emotional range. But the compositions are solid and the performances heartfelt, which adds up to a very nice atmospheric album, which deserves to be heard and enjoyed. The fact that HoTS manages to create their own stylistic signature as a group is the most significant achievement and the unusual concept of presenting the album as a continuous stream of music is also commendable. Overall this is a very interesting mainstream Jazz album, which beautifully presents the diversity and ingenuity of Polish and European Jazz and is definitely worth investigating.

Updated: 05/03/2017Posted: 04/03/2017

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LUKASZ BOROWICKI ~ MORBIDEZZA OF DECADENCE MULTIKULTI MPJ 021 (Barcode: 5907529223598) ~ POLAND ~ Jazz Recorded: 2017 Released: 2018 This is the fourth album by Polish (resident in Denmark) Jazz guitarist / composer Lukasz BorowickiFind albums by this artist recorded this time with a sextet, which also features three Danish musicians: trumpeter Mads la CourFind albums by this artist, pianist Soren GemmerFind albums by this artist and drummer Anders MogensenFind albums by this artist and two Polish musicians: saxophonist Bartlomiej WawryniukFind albums by this artist and bassist Mariusz PrasniewskiFind albums by this artist. The album presents eight original compositions, all by Borowicki. The music on this album takes a step back towards more structured / composed modern European Jazz, with emphasis on composition and ensemble effort. In contrast to the typical albums produced by young Polish Jazz musicians these days, this album is much closer in spirit to Scandinavian Jazz, not only due to the fact that half of the sextet´s members are Danish, but mainly due to the character of the compositions, which offer typical Nordic open space and "windy" ambiance. The music is relaxed, and offers a lot of breathing space for all the musicians to solo and interplay extensively, with every single note being perfectly clearly audible. Borowicki plays the guitar with wonderful minimalist, almost completely acoustic touch, shunning flashy displays of egocentric show-off. All the rest of the sextet members follow his lead in this respect, and the album is a wonderful example of mutual respect and understanding between the musicians, as well as a display of the elegance, restraint and artistry that characterizes European Jazz. The sextet members are all superb instrumentalists, and they all contribute equally to this album´s success. Wonderfully "cool" trumpet parts by la Cour, beautifully melodic solos by Gemmer and spirited saxophone parts by Wawryniuk are kept in check by the solid and yet creative work by the rhythm section, which is fully up to par with the front line players. Overall this is an excellent album in every respect, clear evidence that the prolific work of Borowicki is consistently excellent and has a lot to offer in a long term. Full of great compositions and excellent playing, this album is an indicator of how young European Jazz is exploding with talent and extraordinary quality, which never ceases to amaze. Well done Gentlemen!

Updated: 27/10/2018Posted: 27/10/2018

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P.E. QUARTET ~ COKOLWIEK MULTIKULTI MPJ 022 (Barcode: 5907529223604) ~ POLAND ~ Avant-Garde Jazz Recorded: 2018 Released: 2018 This is the debut album by young Polish Jazz ensemble called P.E. QuartetFind albums by this artist, which comprises of saxophonist Jerzy MaczynskiFind albums by this artist, guitarist Szymon WojcikFind albums by this artist, bassist Rafal RozalskiFind albums by this artist and drummer Bartosz SzablowskiFind albums by this artist. The album presents eight original compositions, all co-credited to the four members of the quartet. The music was wonderfully recorded at the Monochrom Studio with Ignacy GruszeckiFind albums by this artist in charge of the sound. The music is an interesting mixture of pre-composed themes and improvised pieces, all very open and unrestrained, which allow individual members of the quartet to express their statements as well as involve in collective improvisation. The ingenuousness and obvious openness of these young musicians is truly astounding, as such playing usually requires years of experience. By listening blindly to this music no one would be able to guess the young age of these musicians. The music is also quite complex and sophisticated, and yet flows elegantly and smoothly without awaking antagonism or hardship in the listener. Organized chaos or restrained freedom come to mind, but the only way to comprehend this music is of course to listen to it. At some moments the music is also more relaxed and fluid, but usually that is just a starting point of another intensive improvisation part. The individual statements are all excellent, and diametrically different. Personally my "hero" on this album is Rozalski, who builds wonderful bass intros, full of tension and anticipation. But the guitar work by Wojcik is also superb, regardless if it is beautifully melodic or completely distorted. But Maczynski and Szablowski contribute equally well and this music is first and foremost an ensemble statement, which works splendidly. Overall this is a splendid debut effort, which shows tons of potential and again confirms the incredible strength of the young Polish Jazz scene, which never ceases to amaze. It is frightening to think what these guys will come up with next! Not to be missed!

Updated: 29/07/2018Posted: 29/07/2018

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MICHAL JAROS ~ FLOATING BRIDGES MULTIKULTI MPJ 023 (Barcode: 5907529223727) ~ POLAND ~ Jazz Recorded: 2017 Released: 2018 This is the debut album as a leader by Polish Jazz bassist / composer Michal JarosFind albums by this artist recorded in a quintet setting with trumpeter Piotr DamasiewiczFind albums by this artist, saxophonist Maciej ObaraFind albums by this artist, pianist / organist Jan SmoczynskiFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist. The album presents eight tracks, six of which are original compositions by Jaros (the title track appears in two versions) and one is a contemporary standard. Five of the tracks on this album feature the full quintet (or quartet in one case) and the remaining three feature a piano trio. Although all the music is quite mainstream oriented, with clear melodic themes, the quintet / quartet tracks are more open and less rhythmically restricted, and serve as basis for improvisations by Damasiewicz and / or Obara, but without crossing over into more ambitious Improvised Music vistas, which one might have expected from the presence of these two musicians, who not so long ago were the torch bearers of the young Polish Avant-Garde, roaring like mighty lions, and in time assumed a comfortable role of domesticated pussycats. As a result, the tracks that feature the piano trio with Smoczynski, Jaros and Miskiewicz only are way more coherent and focused than the quintet tracks, showing the wonderful interplay between the trio members, Smoczynski´s virtuosity, which is sadly rarely appreciated by the local "critics", and the rhythm section at its best. Although Jaros´ compositions are all very solid and well structured, in the trio format they receive the most advantageous treatment, even if they are all worthy of prize and respect. Overall this is an uneven album, obviously played by an excellent team but somewhat lacking focus. At times the music flows beautifully, especially when the piano trio is at the helm, and at other times it is sort of dragging on, as if looking for a direction. Of course it is still way better that the average Jazz album with the "Made in the USA" sticker, but Polish Jazz is often way better than this.

Updated: 12/04/2019Posted: 21/03/2019

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BOSSA NORKAH ~ NA MOIM BRZEGU MULTIKULTI MPJ 024 (Barcode: 5907529223994) ~ POLAND ~ Jazz-Pop Fusion Recorded: 2016 - 2017 Released: 2018 This is the debut album by Polish Jazz ensemble Bossa NorkahFind albums by this artist, led by vocalist Honorata KozuchowskaFind albums by this artist, which also includes some of the top Polish Jazz instrumentalist: pianist Andrzej JagodzinskiFind albums by this artist, guitarists Rafal SarneckiFind albums by this artist / Piotr AleksandrowiczFind albums by this artist, bassists Wojciech PulcynFind albums by this artist / Michal JarosFind albums by this artist, drummer Krzysztof SzmandaFind albums by this artist and several other guests appearing on selected tracks playing brass and a plethora of percussion instruments. The album presents thirteen songs (two of which appear twice in alternate versions), all of which were written by Polish songwriter / poet Antoni MurackiFind albums by this artist. The music has a distinct Bossa Nova flavor, which is the main climate of all the songs. On the other hand the album is also clearly a Jazz & Poetry project, since Muracki´s songs are all deeply lyrical and evocative. The songs are kept in pretty reticent attire, featuring the vocals clearly in the center of the attention and the instrumental work kept to a bare minimum, with the piano providing the steady accompaniment and the rhythm section keeping the rhythm in check. There are only a few instrumental solos, which is a pity as those might have added a spark to the proceedings. Kozuchowska handles the vocals well, which is not an easy task in this case for many reasons; the lyrics are complex and often difficult to express in rapid succession and admittedly South American rhythms are hardly native to East European singers. The vocals therefore lack the sensual and often plainly erotic sensitivity of Bossa Nova, which are native and natural to Brazilian vocalists. But all things considered, the album works fine and offers a pleasant listening experience with an added value of excellent texts (sadly relevant to Polish-speaking listeners only). Overall this is an album floating between Pop and Easy Jazz, which can be enjoyed by a wide range of listeners, offering both musical and lyrical values combined with highly professional musicianship.

Updated: 21/02/2019Posted: 21/02/2019

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RADEK WOSKO / ATLANTIC QUARTET ~ SURGE MULTIKULTI MPJ 025 (Barcode: 5903068683329) ~ POLAND ~ Jazz Recorded: 2019 Released: 2019 This is the second album by Polish Jazz drummer / composer Radek WoskoFind albums by this artist and his Atlantic QuartetFind albums by this artist, which includes Norwegian (resident in Copenhagen) guitarist Stian SwenssonFind albums by this artist (who replaced Israeli Gilad HekselmanFind albums by this artist who played on the debut), Danish pianist Soren GemmerFind albums by this artist and Polish bassist Mariusz PrasniewskiFind albums by this artist. The album presents eleven original compositions, eight composed by Wosko and three co-composed by all four members of the quartet. The music, although sonically continuing the guitar dominated Fusion ambience of the debut, is way more open and offers significant proximity to European Jazz elements, including the Nordic loftiness and Polish lyricism, two of the most powerful ingredients of modern European Jazz. It is great to find Wosko finally approaching his "natural" elements in his music, which combined with his maturity and experience accumulated over time and his excellent compositions come all together on this album. The playing is also excellent all the way, with the two Scandinavian melody weavers leading the way with confidence and finesse. Swensson is a wonderful surprise (sadly I failed to hear his debut album so far) and steps easily into Hekselman´s shoes with complete confidence. His playing is the most significant color of the music, but he respectfully leaves space for his cohorts to have their say. He can be firm and decisive but also delicate and considerate, showing great sensitivity. Gemmer is a superbly lyrical player and his sense of melody and atmospheric vistas are simply hair-rising. Prasniewski offers both a solid bottom filling to the quartet´s sound and a significant rhythmic drive. Wosko offers inventive and supportive drumming parts, especially significant during the open / almost free compositions, but does not dominate the music, staying respectfully in-line with the other quartet members. The album is a wonderful example of the ideal balance between melody and order and freedom and open space, which is always so difficult to achieve without pulling the music one way or another; one could almost say that it is case study of such vague and evasive musical phenomenon. Overall this is a beautiful and superbly executed album, for me definitely the best recording by Wosko so far and a gate of hope for his future endeavors. This quartet is a formidable team, which exemplifies the best there is in contemporary, still young but already mature European Jazz. Well done!

Updated: 08/12/2019Posted: 08/12/2019

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MACIEJ CZAJKOWSKI TRIO ~ MISTS OF THE PAST MULTIKULTI MPJ 026 (Barcode: 5903068680182) ~ POLAND ~ Jazz Recorded: 2021 Released: 2022 This is the debut album by young Polish Jazz pianist / composer Maciej CzajkowskiFind albums by this artist, recorded with his trio, which also includes bassist Mariusz PrasniewskiFind albums by this artist and Danish drummer Jesper Lorup ChristensenFind albums by this artist. The album presents eight original compositions, all by Czajkowski, and was recorded in Denmark, where he currently resides. The music fits within melody based modern Mainstream Jazz and continues the tradition of the classic Jazz piano trio idiom. The compositions are remarkably well structured and mature, characterized by lyricism and introspection, which are also the basic qualities of Czajkowski’s piano playing, often minimalist and even skeletal, but always able to deliver the melodic continuity, avoiding unnecessary arpeggios and other glimmery ornamentation. All three musicians are obviously well schooled and offer splendid delivery, with the rhythm section supporting the piano amicably all the way through, with punctual and highly imaginative performances and occasional soloing, which round up the music into a wonderful listening experience. Although not trying to be explicitly innovative of groundbreaking, the music delivers the essence of the tradition of modern European Jazz at its best, being unique and enthralling enough to stand out. Overall, this is a very impressive debut album, which deserves to be heard and will most probably will be highly appreciated by lovers of European Jazz, especially enthusiasts of the piano trio format, which is still the most likely candidate of affection among Jazz listeners. Definitely well done!

Updated: 22/12/2022Posted: 22/12/2022

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MICHAL AFTYKA ~ FRUKSTRAKT MULTIKULTI MPJ 027 (Barcode: 5903068683381) ~ POLAND ~ Jazz Recorded: 2023 Released: 2023 This is the debut album by Polish Jazz bassist / composer Michal AftykaFind albums by this artist recorded in a quintet setting with trumpeter Marcin ElszkowskiFind albums by this artist, saxophonist Marcin KonieczkowiczFind albums by this artist, vibraphonist Tymon KosmaFind albums by this artist and drummer Stefan RaczkowskiFind albums by this artist. The album presents eleven tracks, all original compositions by Aftyka. This album is a wonderful verification of my theory that Jazz bassists, despite their seemingly “behind the scenes” role, often are the best composers out there, which has been proven time after time. The brilliant, concise, coherent and non-trivial compositions on this album are a pure delight from start to finish, presenting a wide spectrum of what might be considered as “Chamber Jazz” of the highest class and the album sounds like a progression of musical gems, separate but parts of a greater whole. The instrumentation, with vibraphone / xylophone replacing the traditional role of the piano, is absolutely perfect for this music, adding a unique ambience and taking the harmonic balance into a separate dimension from most common Jazz recordings. The individual performances by the quintet members are all spotless and highly imaginative, although the music is first and foremost an ensemble effort. Unusual meters and “exotic”, but rather vague World Music elements also play an important role in the final result. This music requires a very intensive / attentive listening procedure in order to expose the many layers hidden from a casual exposure, and with each approach displays new hidden treasures. Aftyka’s bass playing is the ultimate frame, which supports all the music, and he masterly leads the structural progression of each tune. The warm, encompassing bass sound holds the complicated melodic / harmonic structures in perfect accord. Overall, this a true Masterpiece of contemporary Polish Jazz and certainly the best debut recording on this year’s long list. It offers a perfect amalgam of highly intelligent compositions and Masterly performances, which refuses to conform and bravely steps into uncharted territory. It makes me extremely happy to see that the young Polish Jazz scene is able to produce such refined, Artistic, aesthetic and mature music as this. A was beginning to wonder…

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

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PIOTR MELECH / PATRYK LICHOTA ~ LOST LEVEL MULTIKULTI MPLE 001 (Barcode: 5907529223420) ~ POLAND ~ Avant-Garde Jazz Recorded: 2011 Released: 2013 This is the debut album by Polish experimental duo, which consists of clarinetists / composer Piotr MelechFind albums by this artist and live electronics performer Patryk LichotaFind albums by this artist. The album presents seven original compositions, all co-composed by Melech and Lichota. The album was released by the prestigious MultikultiFind albums on this label label as a numbered Limited Edition. The music is one of the very few examples of Avant Garde / Improvised Music, which incorporates fully acoustic instruments and electronics, treating the two distinct worlds on an equal plane, whereas in most cases when electronics are used, they are confined to a marginal role in the overall framework. The entire sound environment created by the two musicians is very unorthodox and presents numerous innovative approaches, which are all quite fascinating. The traditional "sweet" tone of the clarinet is radically changed by electronic manipulation, used in a multilayered recording technique, with pure clarinet and pure electronic sounds also added to the entire collage. There is very little melody used as such, but melodic fragments are an integral part of the entire creation, creating a link to "conventional" music, without which the sonic structures might have been a tad too detached from what most listeners define as music. Overall the album is a fascinating trip into unconventional musical spheres, which manages to keep the listener on his toes, unable to predict what the next move will be, which defines the essence of creativity after all. Although released a few years ago, this is still more innovative than most contemporary releases and definitely worthy of discovery.

Updated: 17/12/2018Posted: 29/04/2017

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GORCZYNSKI / PALMER / WIRACKI ~ WILLIAM`S THINGS MULTIKULTI MPO 002 (Barcode: 5907529223833) ~ POLAND ~ Jazz & Poetry Recorded: 2018 Released: 2018 This is an amazing Jazz & Poetry album recorded by Polish clarinetist / composer Michal GorczynskiFind albums by this artist (playing the contrabass clarinet), British (resident in Warsaw) actor / vocalist Sean PalmerFind albums by this artist and Polish pianist Tomasz WirackiFind albums by this artist. The album presents ten original compositions by Gorczynski to poems by the celebrated British poet William BlakeFind albums by this artist. The music, although melody based to some extent, is a superb example of contemporary Avant-Garde exploration, which uses relatively intimate instrumental setting to produce entire landscapes of words and music, which are deeply moving and wonderfully expressive. The contrabass clarinet is seemingly a limited instrument, but when skillfully combined with the human voice and delicate piano stream, and enhanced by electronic looping, is able to create powerful and rich kaleidoscope of sounds. The atmosphere of the resulting framework often resembles minimalist music, but of course is not constrained only to that specific idiom. There are also elements of serial, sacral and neoromanic trends, some Jazz improvisation, folkloristic touches and even Rock; overall a bizarre but wonderful blend of ideas that works out surprisingly well and combined with the potent poetry is very striking. Gorczynski again proves that he is one of the most idiosyncratic Artists on the Polish scene, who does not stand still for a moment and manages to surprise the connoisseurs with new concepts on each of his relatively frequent releases. It is difficult to say much about the individual performances, as this project is all about close, almost symbiotic cooperation between the three partners. Palmer´s theatrical background is a great benefit herein, as his delivery of the vocals is based on his ability to play with his voice and other tricks of the trade. Wiracki is a master of the understatement, and his delicate melodic pointers are more suggestive than direct. Gorczynski is a virtuoso player of course but his contributions on this album are mostly atmospheric and background oriented. Having said that, this album is full of exquisite moments, which when added together creates a result way beyond just the sum of its ingredients. This is a very unique, wonderful piece of Artistry, wholeheartedly recommended to open-minded listeners anywhere on this planet. For other Jazz & Poetry projects involving William Blake the listeners should also check out the Mike WestbrookFind albums by this artist discography.

Updated: 12/04/2019Posted: 19/10/2018

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GORCZYNSKI / PALMER / WIRACKI ~ A SOUL NOT ALL OF WOOD MULTIKULTI MPO 003 (Barcode: 5903068683299) ~ POLAND ~ Jazz & Poetry Recorded: 2019 Released: 2019 This is the second album by the trio comprising of Polish Jazz clarinetist / composer Michal GorczynskiFind albums by this artist, British (resident in Warsaw) actor / vocalist Sean PalmerFind albums by this artist and Polish pianist Tomasz WirackiFind albums by this artist, which apparently decided to call the trio William`s ThingsFind albums by this artist after the name of their debut album. Same as with the debut, this is also a kind of Jazz & Poetry project, this time based on the writings of the American poet / philosopher Henry David ThoreauFind albums by this artist. The album presents eleven compositions, all by Gorczynski, to texts by Thoreau, a pioneering environmentalist and ecologist. In complete contrast to the debut album, the musical approach on this album is almost completely "conventional", with all the pieces being basically melodic songs, in most cases accompanied only by the piano and with minimal instrumental contributions by Gorczynski. Having said that, the music and the entire concept are excellent from start to finish and Gorczynski again proves to be a superb weaver of melodies and moods and an Artistic spirit of great importance on the local scene. The minimalistic approach is also present in Wiracki´s playing, which is devout of any improvisation and offers harmonic chord accompaniment to the singing only. As a result the focus of this album lands almost entirely on Palmer´s shoulders, and he uses his theatric training and abilities to express the deeply emotional charge of some of these pieces, although most of the songs are contemplative and calm. Overall this is a very powerful piece of music, even if most of it reserved and minimalist, exemplifying the "less is more" concept to the max. Even if the English texts somewhat limit the audience to English native speakers, which on the Polish scene is a bit problematic, as usual with Poetry & Jazz projects these limitations can be transcended by the sheer Artistic power of the music. The trio manages to create a distinct niche for its Artistic endeavors, which is highly commendable.

Updated: 05/11/2019Posted: 05/11/2019

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ROBERT SWISTELNICKI ~ PIOSENKI MULTIKULTI MPO 005 (Barcode: 5903068680137) ~ POLAND ~ Jazz & Poetry Recorded: 2020 Released: 2022 This is the debut album by young Polish Jazz guitarist / composer / lyricist Robert SwistelnickiFind albums by this artist, recorded with his sextet, which also includes trumpeter Pawel PalcowskiFind albums by this artist, saxophonist Adam BlawickiFind albums by this artist, keyboardist Kajetan BorowskiFind albums by this artist, bassist Maciej KitajewskiFind albums by this artist and drummer Piotr BudniakFind albums by this artist. Vocalists Klara CloudFind albums by this artist (a.k.a. Sylwia Klara ZasempaFind albums by this artist) and Lukasz LipskiFind albums by this artist guest on one track. The album presents nine original compositions and texts, all by Swistelnicki, recorded at the legendary Monochrom Studio and engineered by Ignacy GruszeckiFind albums by this artist, with the usual splendid sound quality. The album falls into the Jazz & Poetry idiom, although Swistelnicki recites his texts / poems / songs (the album’s title) on top of the music, rather than singing them, coming back to the early days of the Jazz & Poetry movement of the Beat Generation in America in the 1950s, when Allen GinsbergFind albums by this artist and others recited their revolutionary poetry accompanied by Jazz bands. A decade later the idiom appeared also in Europe, in London, Paris and other European cities, spilling over the Iron Curtain like molten lava and soon popped up in Poland and Czechoslovakia, despite the political regime’s censorship. Therefore, this album definitely has its nostalgic / retro aspects, although there are some important stylistic differences, both literary and musical. The texts are highly personal and reflect the alienation of contemporary human condition, as often reflected in contemporary Rap music, rather than social / political / ideological rebellion, which was the essence of the Beatniks. The music is also much more tamed and mainstream oriented, mixing elements of Jazz with Rock and even Pop, rather than Bebop or early Free Jazz. But notwithstanding nostalgia, etc. this is quite a remarkable album in many respects, with offers some excellent musical ideas and (retro) innovative approach to the Jazz & Poetry idiom, which surely proves open-mindedness and courage. The musicianship is of course beyond reproach, which is hardly surprising, and the listeners are offered a diverse collection of compositions and non-trivial texts, which elegantly kick the butt. Overall, this is an impressive debut album, which hopefully will be followed by future achievements by Swistelnicki and his colleagues. Kudos to the MultikultiFind albums on this label label, which bravely keeps releasing unusual / pioneering projects against all (mostly economic) odds. Well done everybody!

Updated: 20/12/2022Posted: 20/12/2022

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KWASNY DESZCZ ~ KWASNY DESZCZ MULTIKULTI MPPA 002 (Barcode: 5903068683312) ~ POLAND ~ Avant-Garde Jazz Recorded: 2019 Released: 2020 This is the debut album by the Polish Jazz trio Kwasny DeszczFind albums by this artist comprising of saxophonist Kacper KrupaFind albums by this artist, bassist Piotr CienkowskiFind albums by this artist and drummer Stanislaw AleksandrowiczFind albums by this artist. These musicians are also members of the AnomaliaFind albums by this artist septet, hailing from the Poznan music scene. The album presents eleven original compositions, all co-composed by the trio members. The music, which although based on some sketchy melody lines, is mostly improvised, at times more Free Form oriented and in other instances quite well organized. It is clearly a part of the young Polish Jazz Avant-Garde movement, that is overflowing the local scene in the last decade and seems to be evolving and attracting new young arrivals in its ranks on a steady basis. In contrast to most Avant-Garde Jazz, which often is loud and aggressive, this music is remarkably minimalist and mostly very subdued, making each sound and note count. The spaces of silence between the sounds are as much important as the sounds themselves. The decision to offer many relatively short pieces rather that extended (and often repetitious and consequently boring) pieces works wonderfully and turns this album into a roller coaster ride, constantly changing intensity, tempi and sonorities. Although a saxophone trio format usually puts the horn in the center of attention, this trio manages to keep a wonderful balance between the instruments and gives plenty of opportunities to the bass and the drums to show off their, one must admit, remarkable skills, which compliment the superb saxophone parts on an equal footing. Overall this is an outstanding debut effort, which makes Polish Jazz Avant-Garde proud and proves than the idiom can be not only adventurous but also wonderfully beautiful, emotional and cerebral at the same time. Hats off!

Updated: 18/07/2020Posted: 18/07/2020

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UNLEASHED COOPERATION ~ 8 YEARS MULTIKULTI MPPA 003 (Barcode: 5903068680144) ~ POLAND ~ Jazz Recorded: 2021 Released: 2022 This is the debut album by young Polish Jazz quintet, called Unleashed CooperationFind albums by this artist, co-led by saxophonist Krzysztof KusmierekFind albums by this artist and pianist Patryk MatwiejczukFind albums by this artist and also including trumpeter Patryk RynkiewiczFind albums by this artist, Italian (well Sicilian, which is a bit like extreme Mediterranean Italian – mi piace) bassist Flavio GullottaFind albums by this artist and drummer Stanislaw AleksandrowiczFind albums by this artist. Trombonist Adam KurekFind albums by this artist guests on one track. The album present seven original compositions, four by Kusmierek, one by Matwiejczuk, one co-composed by the two and finally one by Rynkiewicz. The album’s title hints to the long cooperation of the two leaders, which finally materializes in recorded form. The music offers vibrant modern Jazz, based on melodic themes but encompassing a lot of freedom and space, excellently put together and fluidly performed. Stylistically the music is somewhat retro oriented, offering shades and shapes of early modern Polish Jazz with strong Komedaesque references, which of course bring fond memories. But these are only hinted of course and updated with contemporary expressionism, rather than an attempt to mimic the past. In contrast to many other Polish Jazz ensembles, Unleashed Cooperation manage to eschew the traps of Polish melancholy and lyricism, which although beautiful, tend to be dominating and to some extent overbearing. As a result, this album sounds like something that might have been recorded anywhere in Europe, which I find quite unrestrained and promising. Although this music does not attempt to be revolutionary or groundbreaking, it proves that there is enough freedom of expression within the conventional modern Jazz sphere to create wonderful, interesting and highly satisfying music. There is something in here for a wide range of Jazz enthusiasts. Overall, this is an excellent debut effort, which presents some great tunes, full of imagination and heartfelt emotion, and which are a pleasure to listen to without overheating the cerebral cells. It rises high hopes as to what these musicians might come up with the next time, which hopefully will not be as prolonged as the process that led to the creation of this album. Warmly recommended!

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

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CLAMAN / STRYCHARSKI / CHOJNACKI / PRATS ~ QUARTETT NON LOCALITY MULTIKULTI MPSMT 015 (Barcode: 5903068683336) ~ SPAIN ~ Free Jazz / Improvised Music Recorded: 2018 Released: 2019 This is an album by international Improvising Music ensemble Quartett Non LocalityFind albums by this artist consisting of New Zealand (resident in Barcelona) violinist Sarah ClamanFind albums by this artist, Polish flautist Dominik StrycharskiFind albums by this artist and accordionist Zbigniew ChojnackiFind albums by this artist and Catalan drummer Ramon PratsFind albums by this artist. The album presents seven improvised pieces not attributed to specific composers. The album is a part of the "Spontaneous Music Tribune Series" dedicated to Iberian Free Improvised Music, curated by my friend and colleague Maciej LewensteinFind albums by this artist, who lives in Barcelona since many years and who is a passionate music lover in parallel to his scientific career. The music is a typical Improvised Music experience, which sadly suffers from the characteristic recorded Improvised Music malady, which haunts most albums of the genre. This music might have been highly interesting for the musicians to play, and perhaps might have been a fascinating live experience, but is much less interesting to listen to at home from a record and is unable, at least to me, to recreate that potential excitement, closed in a recorded time capsule. Sadly since making a recording and releasing albums have become accessible and inexpensive in the last two decades, there is a deluge of Improvised Music albums on the market, which only under rare circumstances make a lasting statement and deserve repeated listening. Strycharski and Chojnacki are both formidable musicians and have already created numerous excellent recordings, but sadly on this album one can hardly find significant evidence of their individual abilities. Although I painstakingly listened to this music, enjoying some fragments, I don´t envisage myself doing it again. Overall this is perhaps of interest to the hardened Improvised Music enthusiasts, who are deeply enthralled by the intricacies of the genre, but for listeners beyond that intimate circle it is most probably impenetrable.

Updated: 12/01/2020Posted: 09/01/2020

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MALERAI / GOLDSTEIN / MASECKI ~ PREPARING TO DANCE – NEW YIDDISH SONGS MULTIKULTI MPT 011 (Barcode: 5907796319567) ~ POLAND ~ World Music & Folklore Recorded: 2013 Released: 2014 This is a live recording of a concert, which presents a cycle of nine songs composed by clarinetist / composer Michal GorczynskiFind albums by this artist with lyrics in Yiddish by the American poet Yermiyahu Ahron TaubFind albums by this artist. The cycle is performed by the MaleraiFind albums by this artist trio, which comprises of Gorczynski, violinist Dagna SadkowskaFind albums by this artist and cellist Mikolaj PaloszFind albums by this artist, vocalist Hanna GoldsteinFind albums by this artist and the enfant terrible of the Polish Avant-Garde Jazz scene, pianist Marcin MaseckiFind albums by this artist. Gorczynski is known to Polish Jazz followers as the member of the clarinet quartet IrchaFind albums by this artist led by Mikolaj TrzaskaFind albums by this artist and also as a member of the PoleFind albums by this artist trio. He cooperated with Masecki as a member of his ProfesjonalizmFind albums by this artist ensemble. The concert was recorded in 2013 during the 4th edition of the New Jewish Music Festival in Warsaw. This album is a very important statement of several realities concerning contemporary Jewish Culture. Firstly it proves that the Yiddish language is alive and kicking, not only as the lingua franca of Ashkenazi orthodox Jewish communities in Israel and the USA, but also as a form of expression of contemporary Jewish Culture, including poetry and literary prose, which are being created as we speak; this contrary to the popular opinion that the Yiddish language is practically dead and represents a wonderful heritage, which sadly is buried in the past. Secondly it once again emphasizes the incredible rebirth / resurgence / renaissance of the Jewish culture in Poland, especially in the Avant-Garde cycles of the young Polish Jazz community. To put things straight this is definitely not a Jazz album or Jazz music per se; the best form of describing it would be drawing a parallel to the glorious days of German cabaret of the decadent era created almost a century ago and best portrayed by the music of Kurt WeilFind albums by this artist. Gorczynski, perhaps subconsciously, uses similar musical / theatrical devices as classic cabaret, but brings them up to date by adding dissonance and free improvised instrumental passages as part of the arrangements of the songs. Masecki, who is the most Avant-Garde prone ingredient of this ensemble, plays the "grown up in charge" part, elegantly accompanying the vocals and displaying maximal restrain almost at all times. Goldstein´s vocals fit the musical setting well and she´s not afraid to "let go" and explore some vocal acrobatics, whenever appropriate. If only her Yiddish accent was a bit more authentic… Therefore, although not really Jazz, this music does have a lot of free spirited expressionism and improvisational elements in it, to become aesthetically related to Jazz. Although Taub comes from a strict orthodox Jewish background, the subject matter of his poetry is completely secular and universal, often full of psychedelic imagery and free associative connections. Gorczynski´s music is a superb vehicle for these poems to cross over into a new dimension, mixing music and words to create a new identity. Gorczynski and his team created an excellent piece of contemporary Art, which adapted heritage, tradition and contemporary artistic resources, amalgamating them into a class of its own. Overall, although this album does not make any revolutionary discoveries, it has enough merit to be called a bold, important step forward towards creating contemporary Jewish Culture as much as enriching the existing heritage. In a reality, in which most music is completely devoid of any ambition or artistic merit, this is a wonderful example of creativity and intellectually challenging spirit. Bravo!

Updated: 12/04/2019Posted:

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BRESLAUER COCKTAIL ~ ABSYNETRIA MULTIKULTI MPT 013 (Barcode: 5907796319918) ~ POLAND ~ Pop & Rock Recorded: 2015 - 2016 Released: 2017 This is the debut album by the Polish group Breslauer CocktailFind albums by this artist, which comprises of vocalist Natalia NikolskaFind albums by this artist, drummer Janusz WawrzalaFind albums by this artist, bassist Szymon DanisFind albums by this artist, guitarist Marcin KuzdowiczFind albums by this artist and trombonist Kuba KlepczynskiFind albums by this artist. Several other musicians guest on selected tracks. The album presents thirteen songs, mostly originating in the 1930s, with the exception of one original song. The basic concept behind the album is to present popular songs from the pre-WWII era, representing the Polish, German, Russian and Jewish Cultures prominent in Central Europe at the time. The songs have been re-arranged, or rather transformed into contemporary Pop / Rock environment, but are sung in the original languages. The overall attitude is rather nonchalant, punkish and simplistic, which in most cases loses the original songs in the process almost entirely. Although potentially an interesting attempt to bring this music back to life, the actual result leaves me personally cold and estranged. It is all too chilly, too fast and too loud, sort of artificial and impersonal. The sound (I assume purposely) is muffled and blurred, which does not contribute to the aural experience. Of course I am an old fart and this music might be simply too modern for me, but it´s sadly not my cup of tea. Additionally the vocals in German, Yiddish and Russian suffer badly from terrible accent and pronunciation, which in the punkish don´t care atmosphere might work but they hurt my ears. The album was released in the "Tikkun" (which in Hebrew means reparation / correction / rectification) series, sadly (for me) not fulfilling any of these goals.

Updated: 26/09/2017Posted: 26/09/2017

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MELECH ~ PLAYS GEBIRTIG MULTIKULTI MPT 015 (Barcode: 5907796319826) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2015 Released: 2016 This is the debut album by Polish Free Jazz / Avant-Garde quartet MelechFind albums by this artist, which comprises of clarinetist / composer Piotr MelechFind albums by this artist, trumpeter Marcin Albert SteczkowskiFind albums by this artist, bassist Marcin JadachFind albums by this artist and drummer Michal KasperekFind albums by this artist. The album presents six pieces, five of which were composed by the Polish / Jewish poet / songwriter Mordechai GebirtigFind albums by this artist and one is an original composition credited to all four members of the quartet. The album continues the interest in Jewish music by the Polish Jazz Avant-Garde, which is one of the most fascinating developments on the local scene since the turn of the Millennium. A whole "New Jewish Music" scene developed in Poland, exploring the treasures of Jewish Music and creating contemporary Jewish Music, despite the fact that there are almost no members of the Jewish community left in Poland at the moment. Gebirtig´s legacy is one of the most re-visited, which is no surprise considering the wealth, depth and strength of his creations. Some of the treatments of his songs in the past suffered from too many liberties, but this album is a wonderful example of just the right way to respect the original music and take it forward to contemporary Avant-Garde. The quartet manages to preserve the spirit of the music in spite of the radically changed musical environment and the individual contributions by the quartet members fit the transposed sounds ideally. Melech states the original melodies almost faithfully, before those are picked up by the rest of the band and transformed, stretched and re-composed in Free Form. The rhythm section is elevated to a full membership within the quartet, adding its invaluable contributions. I wonder what would Gebirtig say to these transformations, but considering his progressive intellectualism, he would probably embrace them wholeheartedly. Overall this album is a wonderful example of preservation by modernization, where Culture is brought forward to contemporary recipients in form and shape that bridge over time barriers. It manages to stand by itself both as a contemporary work of art and as a tribute to the past. Thanks to the talent of the musicians involved and their respect towards the source of this music, their goal was achieved in full. This is definitely one of the most successful tributes to Gebirtig´s legacy done within the Polish Jazz Avant-Garde. Wholeheartedly recommended!

Updated: 28/10/2019Posted: 17/12/2016

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

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

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