Record Reviews

IZABELLA EFFENBERG ~ IMPRESSIONS IN COLOURS GLM 365 (Barcode: 4014063436528) ~ POLAND ~ Jazz Recorded: 2021 Released: 2024 This is a 2CD album by Polish (resident in Germany) multi-instrumentalist / composer / music activist Izabella EffenbergFind albums by this artist, recorded with several German musicians and featuring the Polish / Japanese vocalist / songwriter Yumi ItoFind albums by this artist. The album presents twenty-two tracks, all but two composed by Effenberg and one each composed by Krzysztof KomedaFind albums by this artist and Lars DanielssonFind albums by this artist. Izabella Effenberg emerged on the European Jazz scene just about a decade ago and during that relatively short period of time she proved to be not only an outstanding musician and composer, but also an important activist, recording Artist, educator and festival organizer, which of course is a highly commendable and unique achievement. Despite the fact that Izabella plays the vibraphone, one of the most difficult instruments within the Jazz milieu, she continuously expands her interest in the entire mallet family, expanding way beyond the obvious with trying new and uncharted territory and introducing experimental new instruments, like glass harp, array mbira and others, incorporating them into her set of performing tools. The presence of Ito is a true proverbial cherry on top! By using such a wide collection of instruments within her performances and recordings, Izabella is able to create one of the most unique and unparalleled arrays of sonic experiences, which keep the audiences electrified and astounded time and again. Her compositions are perfectly suited for her instrumental abilities and offer the listeners a magic, unforgettable aural voyage. Overall, this is a remarkable musical experience, which presents a wide range of diverse mallet instruments, masterly performed and composed by Effenberg. It combines Jazz with many other genres, offering a stunning kaleidoscope of sound and ideas. I am proud to be her keen follower since her early days and a Friend, always proud of her remarkable achievements. Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 04/12/2024Posted: 04/11/2023

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KRZYSZTOF HERDZIN ~ IMPRESSIONS ON PADEREWSKI ANAKLASIS 011 (Barcode: 5907795209722) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2019 Released: 2020 This is an album by Polish Jazz pianist / composer Krzysztof HerdzinFind albums by this artist, recorded live in a solo piano setting. The album presents five interpretations (impressions) of compositions by the Polish Classical pianist / composer Ignacy Jan PaderewskiFind albums by this artist. The album was released by the prestigious Polish AnaklasisFind albums on this label label as part of its “Revisions” series. Despite Herdzin’s highly successful career as a Jazz musician, he obsessively returns to his Classical Music alter ego, mostly as a composer of his own music, but sometimes, as in this case, as an interpreter of Classical Music composed by others. It seems that some Jazz musicians / composers, especially those with Classical Music education and training, are caught in a duality conflict between these two streams of artistic musical expression. After all, the European musical tradition cultivated Classical music for centuries as a lofty and superior cultural form, leaving other kinds of music, like Folklore, Pop and later also Jazz to the masses. Since the late 20th Century Jazz managed to achieve some recognition from the Classical music elite, but is hardly commonly accepted on equal terms. Herdzin is a classic (pun intended) case of this dichotomy and sadly, as much as I like his Jazz facet, I often find his Classical facet difficult to swallow. To my surprise and delight, this adventure by Herdzin with Classical Music is quite enjoyable. He does show off with his technique, playing as many arpeggios as possible, but his “impressions” are creative and even innovative, which summa summarum turns out to be a very nice piece of music, which is enjoyable and easy on the ear, but avoids being a schmaltzy chaltura. Perhaps the wonderfully melodic music by Paderewski is a more suitable medium for being Jazzed up, but whatever the reason, the end result works out fine (assuming that the composer is not turning in his grave). Overall, this is another highly successful album in this wonderful series, and certainly something worthy of pursuing by the Jazz-Classical Fusion enthusiasts. It is probably the most approachable album in the entire series, as far as wide audiences are concerned, but definitely stands up to the standards of excellence set up by the Anaklasis label. Grab a copy and enjoy!

Updated: 30/03/2023Posted: 30/03/2023

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KARI IKONEN ~ IMPRESSIONS, IMPROVISATIONS AND COMPOSITIONS OZELLA 097 (Barcode: 4038952000973) ~ FINLAND ~ Jazz-World Fusion Recorded: 2019 Released: 2021 This is a solo piano album by Finnish Jazz pianist / composer Kari IkonenFind albums by this artist, recorded using acoustic piano and a device developed by Ikonen, called Maqiano, which enables him to manipulate the piano scales and intervals in order to play music influenced by the Arabic maqam system. The album presents twelve relatively short original pieces, all by Ikonen. The music is wonderfully unique, not only due to the special tuning used on some of the pieces, but in the overall approach to composition and improvisation, creating a magical microcosm, which combines Western and Middle Eastern music traditions in a highly aesthetic and challenging manner. Although the album’s duration is relatively short, it offers a wealth of highly diverse music, which strangely fits together perfectly coherently, taking the listener for a charming introvert and highly enthralling musical journey. I am nor familiar with Ikonen’s other recordings, but this album certainly makes me want to hear more. Overall this is a beautiful, interesting and unusual album, which offers another effort of combining cross-cultural musical influences, and as such expanding the realm of the contemporary Jazz-World Fusion in a most stimulating way. Naturally I wholeheartedly recommend this album to all adventurous music lovers, as it is truly worth being discovered!

Updated: 10/02/2021Posted: 10/02/2021

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ROLF + JOACHIM KUHN QUARTET ~ IMPRESSIONS OF NEW YORK MPS 600753227572 (Barcode: 600753227572) ~ GERMANY ~ Free Jazz / Improvised Music Recorded: 1967 Released: 2009 This is a reissue / remaster of the legendary album by the German Kuhn Brothers, clarinetists / composer Rolf KuhnFind albums by this artist and pianist / composer Joachim KuhnFind albums by this artist. The quartet includes also American bassist Jimmy GarrisonFind albums by this artist and Italian drummer Aldo RomanoFind albums by this artist. The album presents two tracks, corresponding to the two sides of the original LP, which are in fact four parts of a suite, which gave the album its name. All the music was co-composed by the both brothers. Following the unification of the Kuhn Brothers in West Germany, with Joachim leaving the DDR and moving to West Germany, they were invited to perform at the legendary Newport Jazz Festival. Their performance was witnessed by the legendary producer Bob ThieleFind albums by this artist, who invited them to record this album on his iconic Impulse!Find albums on this label label. The album was recorded on July 27, 1967, just a few days following the death and funeral of John ColtraneFind albums by this artist, which the brothers attended, and which had a tremendous impact on the music on this album, considering the fact that Coltrane was the most revered American musician and an instigator of Free Jazz / Improvised Music, as well as the fact that Coltrane’s bassist played on it. This album was the first Impulse! release to feature German Jazz Musicians. The Kuhn Brothers recorded another album for Impulse! some forty-four years later, called “LifelineFind albums with this title”. The album is an outstanding example of early European Free Jazz / Improvised Music, of the absolutely highest standard and imagination, which took the seeds of American Free Jazz of the period and took them to another plane, way more sophisticated, Artistic and imaginative. The performances are blood-chilling and absolutely unique, in many ways probably exposing the very peak of the Jazz creativity, which to be honest never managed to climb much higher than what can be heard here. Rolf Kuhn is for me the true hero of this session, considering the fact that he was deeply rooted in American Swing and Mainstream, playing in the US for many years, and yet managed to detach himself from that tradition in such a radical way, which is way more difficult than plunging into Improvising Music straight on, like his younger brother. Obviously, the comparison of his clarinet performances herein with Coltrane’s saxophone playing is immediately a point of interest, as are the piano parts against those of Coltrane’s pianists. Rolf’s death almost two years ago (2022) was a huge personal loss for me, since we have been Friends for so many years and I truly admired his talent and wisdom. Overall, this is one of the most pivotal Jazz albums in European Jazz, despite the fact that it is only known by relatively very few Jazz listeners. I have owned a copy since day one and listened to this album countless times in the almost sixty years since it was released, and each and every time I managed to discover something new in the music. I can only hope some more listeners will discover it one day, although admittedly it is quite difficult to find a copy.

Updated: 01/10/2024Posted: 08/07/2024

CD 1 Oversampling Remastered Essential Recommend To A Friend

ALEKSANDRA KUTRZEPA ~ IMPRESSIONS NOT ON LABEL ~ POLAND ~ Avant-Garde Jazz-Rock Fusion Recorded: 2018 Released: 2018 This is the debut album by Polish Jazz violinist / composer Aleksandra KutrzepaFind albums by this artist recorded in a quartet setting with guitarist Bartlomiej GarczynskiFind albums by this artist, bassist Michal StudniarekFind albums by this artist and drummer Robert KutrzepaFind albums by this artist. Vocalist Anna GadtFind albums by this artist and pianist Patryk CzyzewskiFind albums by this artist appear as guests on selected tracks. The album presents eight original compositions, all by Alexandra Kutrzepa. The music offers a series of contemporary Polish Jazz compositions, full of lyricism, melancholy and even romanticism, all developing slowly and based on solid melodic themes. Stylistically the music displays a strong touch of Fusion, especially when the guitar is featured up front, but also due to the unique sound and manner of playing the violin that Kutrzepa utilizes, which has strong ties with the French Fusion violin school (Jean-Luc PontyFind albums by this artist / Didier LockwoodFind albums by this artist) rather than with the Polish Jazz violin school (Zbigniew SeifertFind albums by this artist / Michal UrbaniakFind albums by this artist). As already mentioned above, Kutrzepa manages to achieve a unique and very personal violin sound and mannerism, which is quite different from the numerous other young generation Polish Jazz violin players, and which is quite remarkable by itself. She is very aloof, minimalist and reserved creating incredible tension and anticipation, which is extremely effective. The rest of the players on the album are all highly professional and talented. Garczynski serves as a contrast to Kutrzepa´s laid-back phrasing with his energetic and expressive solos, like a musical cold-hot or yin-yang seesaw. The rhythm section supports the soloists amicably and displays inventive and fully responsible ensemble playing, always solid and reliable. The guests add spice and panache to the proceedings, as expected, with Gadt taking the music slightly towards more imaginary ground on the last track with her beautiful vocal contributions. Personally this is my favorite piece on the album and perhaps points towards the direction the music might take in the future. Overall this is an excellent debut offering, obviously well planned and rehearsed, original and ambitious, and most importantly offering elements previously unheard and exploring uncharted territory, which after all happens quite rarely. For lovers of intelligent Fusion this album is a true gem and should not be missed, and judging by the potential it displays, Kutrzepa is definitely a Lady to keep a close watch on, both as a composer and a player, which I definitely intend to do in the future, wishing her all the best on the way.

Updated: 18/12/2018Posted: 18/12/2018

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LESZEK MOZDZER ~ IMPRESSIONS ON CHOPIN MAGIC 602527489612 (Barcode: 602527489612) ~ POLAND ~ Jazz-Classical Fusion Recorded: 1999 Released: 2010 This album by Polish Jazz superstar pianist / composer Leszek MozdzerFind albums by this artist presents him exploring the music of the great Polish composer Frederic ChopinFind albums by this artist by playing his very personal interpretations of fourteen of Chopin´s pieces. Of the fifteen tracks on this album thirteen are performed on solo piano and two are duets between Mozdzer and Iranian (living in Paris) percussionist Madjid KhaladjFind albums by this artist. The album was recorded in Paris and initially released on the prestigious French NaïveFind albums on this label label, with a later Polish edition. This is not the first album by Mozdzer, which is dedicated to Chopin´s music. In fact one of his first albums "Chopin ImpressionsFind albums with this title" from 1994 already explored the similar avenue. Like many other Polish Jazz players (mostly pianists), who rode the Chopin "wave" since the early 1990s and continue to do so to this day, Mozdzer jumped on the wagon, using it as another step in his way to the top of the local scene. Playing some Chopin is considered bon ton and obviously tickles the patriotic feelings in listeners, fans, critics and state bureaucrats. The artistic merits of such explorations are an entirely different issue. Mozdzer is undoubtedly a virtuoso piano player, capable of playing virtually anything. He is also a very charismatic performer and his good looks make him the ladies´ Adonis. The question is, if beneath all those external characteristics one can find a great Jazz musician or is Mozdzer just a more sophisticated version of Richard Clayderman? It´s not for me to provide a decisive answer to this dilemma, but judging from this album, there is surely very little Jazz involved here. Mozdzer freely interprets Chopin´s compositions, playing around with tempi, adding almost Baroque ornaments and endless arpeggios. Stylistically he dresses up the Chopin pieces in disguises parallel to the various Jazz sub-genres, from Ragtime to Swing, or ventures into atmospheric New Age doodling. Of course there are some great moments herein, even glimpses of brilliance, but they are lost in the overall impression. Of course I respect the "de gustibus non est disputandum" approach, but personally I find this music sort of intellectually offending. Much ado about nothing more or less summarizes it perfectly. I´m sure many people love this music totally, which is fine with me, but where I come from one does not tackle profound, almost sacred music, unless one has something truly intense to say.

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