THIS ITEM IS SOLD OUT. YOU CAN PURCHASE IT FROM AMAZON:
KRZYSZTOF KOMEDA
THE GENIUS OF KRZYSZTOF KOMEDA 13-CD's BOX-SET
Ten ekskluzywny 13-CD box-set wydawnictwa PowerBros Records zawiera
najbardziej reprezentacyjna selekcje tworczosci Krzysztofa Komedyn of Komeda's work including his most famous motion
pictures scores.
All tracks were personally selected by Komeda's wife - Zofia. Each CD in the
set is enhanced by the video interview (in Polish language with English
subtitles) with Zofia Komeda who shares many, previously unknown details
about the recordings and Komeda himself.
1)
Astigmatic
PB 00163 Power Bros (1998)
PNCD 536 Polskie Nagrania-Muza (2001, re-mastered)
Tracks:
1. Astigmatic [22:50]
2. Kattorna [07:20]
3. Svantetic [15:50]
this CD is enhanced by video footage with the interview with Komeda's wife -
Zofia
Recorded:
in Warsaw, December 1965
Performed by:
Krzysztof Komeda - piano
Zbigniew Namyslowski - alto sax
Tomasz Stanko - trumpet
Guenter Lenz - bass
Rune Carlsson - drums
Music by:
Krzysztof Komeda
About:
Krzysztof Komeda-Trzcinski (1931-1969), an extraordinary talented
self-taught composer and pianist, became after his tragic, untimely death, a
legend and a cult hero of Polish jazz. His music reflects not the growing of
jazz in our country in the '60-s, but echoes the big influences: Bill Evan's
refinement, Eric Dolphy's free and even John Coltrane's abandon. On this
disc his partners are two eminent Polish masters: Tomasz Stanko and Zbigniew
Namyslowski and two excellent rhythm men. Gunter Lenz and Rune Carlsson. The
title piece 'Astigmatic', except for the beginning, presents little of
ensemble interaction. Rather, we hear exciting dialogues by trumpet and
piano or trumpet and bass. Komeda's piano dictates the levels of tension: it
emerges, grows inciting, fades away and emerges again. Namyslowski's alto
takes up backed by bass and drums. Lenz's solo opens the way for the drummer
and then piano reappears. After a sudden take-off by the whole ensemble the
piece burns out in barely audible bass flageolets. 'Kattorna' a disquieting
music from the Danish movie by Carlssen (the title means Kittens), changes
on this disc into real tour de force by Stanko, that reminds us of Mexican
deguello from the siege of Alamo time. Komeda's exceptional illustrative
talent made him the much valued composer of music to many movies and among
them some by R. Polanski. 'Svantetic', dedicated to Swedish poet Svante
Forster, creates initially an impression of a dirge, but its main diatonic
motif in d-minor (a Polish boy scouts song) is merely the nucleus of truly
dramatic jazz development in which we hear much of Namyslowski's alto and
also beautiful meditations by bass and piano. It seems to be the best piece
by Komeda. However, structurally it has double ending: after the first, the
drum solo leads to the reappearance of the initial theme that spans the
whole, but the last sentence - not without the protest of others - belongs
to the trumpet.
All text courtesy of © PowerBros and © Zofia Komeda
2)
Astigmatic in Concert
PB 00173 Power Bros (1998)
Tracks:
1. Astigmatic (K. Komeda) [19:44]
2. Kattorna (K. Komeda) [20:10]
3. Svantetic (K. Komeda) [22:15]
Recorded:
Tracks 1 and 2 recorded live at Jazz Jamboree Festival, Warsaw, Poland 1965
Track 3 recorded live at Montmartre Jazz Club, Copenhagen, Denmark 1965
Performed by:
Krzysztof Komeda - piano
Tomasz Stanko - trumpet
Rune Carlsson - drums
Janusz Kozlowski - bass
Music by:
Krzysztof Komeda
About:
ASTIGMATIC
The composition composed in1965. It was performed for the first time in
autumn this same year during Jazz Jamboree Festival. This composition is
title composition one of a record which Christopher Komeda recorded in
December for the needs of Polskie Nagrania in series Polish Jazz. He
recorded it after Jazz Jamboree with enlarged group of musicians with
Zbigniew Namyslowski. The recording included on this CD is first-night
performance and comes from concert hall.
KATTORNA
This composition was composed in 1965 in Copenhagen. It's light motive
from the movie under the same title. Danish movie "Kattorna" directed by
Henning Carlsen tells a story about women. Great and famous Ingmar Bergman's
actresses acted in that movie. The title "Kattorna" means "Little cats". The
recording included on this CD-just like "Astigmatic" - comes from the
concert in National Philharmonic Hall and was recorded during Jazz Jamboree
Festival in 1965.
SVANTETIC
This composition originates from 1965.The name of this composition comes
from the name of Komeda's friend-Swedish critic and jazz activist, poet and
journalist Svante Forster. Svante enchanted by Komeda's playing in Warsaw
Jazz Club "Hybrydy" in 1961, made him and his group go to Sweden for several
concerts. This composition was performed during Jazz Jamboree Festival 1965
for the first time and Svante Forster had an opportunity to listen to it
also for the first time. The recording included on this CD isn't that one
from Jazz Jamboree, but from "Montmartre" in Copenhagen.
All text courtesy of © PowerBros and © Zofia Komeda
3)
Soundtracks From Roman Polanski Movies - Knife in the Water
CD PB 00175 Power Bros (1999)
Tracks:
1-8. Knife In The Water [15:59]
9. Two Men And A Wardrobe [14:56]
10. When Angels Fall [13:50]
Performed by:
Krzysztof Komeda - piano
Bernt Rosengren - tenor saxophone (1-8)
Various instrumental ensembles, Krzysztof Komeda - conductor
Music by:
Krzysztof Komeda
About:
TWO MEN AND A WARDROBE
This film is a short student piece by Roman Polanski. It was Krzysztof
Komeda’s first film soundtrack, and it wasn’t an easy start, because the
film had no dialogue and a lot of the effects had to be carried by the
music. The film was premiered in 1958 at the International Short Film
Festival in Brussels, and that year is officially given as the date of Two
Men and a wardrobe, although both the film and the music actually date from
1957. As a leitmotif for the soundtrack music, Komeda used his first
composition, which was premiered at the first Sopot Jazz Festival in 1956.
This was a piece he called Lullaby. The other Lullaby he wrote was for the
film Rosemary’s Baby, at the end of his life and work. Two lullabies - the
first one his debut, the second one the end of a great but all-to-short
career. The first won third prize in Brussels, the second was nominated for
the Golden Globe Award.
WHEN ANGELS FALL
This is also a short, another student piece by Polanski, dating from 1959,
and in colour. Among those appearing in the film are Barbara Kwiatkowska -
at that time Polanski’s wife, a film actress later known throughout Europe
as Barbara Lass - and Andrzej Kondratiuk, a friend of Polanski’s from the
film academy, then a student cameraman and now a director. The film also
includes short appearances by some of Polanski’s student friends, for two
reasons, I suppose: it kept the production costs down, and apart from that,
young people regarded making films as good fun. The role of the electricity
meter-reader was played by Kuba Goldberg, who had previously played one of
the Two Men And a Wardrobe. The communists forced him to leave Poland, his
home, in 1969, and he later became a lecturer at the film academy in
Copenhagen.
KNIFE IN THE WATER
Polanski’s first full-length feature film dates from 1962. The screenplay
was by the director and Jerzy Skolimowski. For Polanski it was the first
full-length film, but for Komeda it was the seventh, and his sixteenth film
score in all, if you include all his other for short and medium-length
films. Among the musicians on the recording is the Swedish tenor player
Bernt Rosengren. Komeda was really taken with Rosengren’s talent, and
invited him to take part in the session. Getting agreement for this in the
communist Poland of the 1960s was something absolutely unprecedented, but
thanks to Komeda’s stubbornness and the goodwill of the head of the KADR
film studio, and after many attempts at persuasion in the offices of the
Ministry of Art and Culture, the film authorities, and the management of the
National Bank, I managed to arrange it. Because, of course, I was my
husband’s manager and the producer of the recording, and it was one of my
responsibilities to hire musicians and draw up contracts with them. The
beautiful solo you can hear on this soundtrack is by that wonderful
saxophonist.
All text courtesy of © PowerBros and © Zofia Komeda
4)
Soundtracks From Roman Polanski Movies - Rosemary's baby
CD PB 00183 Power Bros (2003)
Tracks:
Rosemary's Baby
1. Main Title [2:30]
2. The Coven [1:00]
3. Lullaby - Part I [0:21]
4. Moment Musical [4:03]
5. The Coven [2:09]
6. Moment Musical [1:01]
7. Lullaby - Part II [1:59]
8. Dream [1:27]
9. Christmas [0:31]
10. Expectancy - Part I [1:12]
11. The Coven [0:45]
12. Lullaby [1:05]
13. The Coven [0:33
14. Main Title [1:58]
15. Panic [1:37]
16. Rosemary's Party [1:08]
17. Expectancy - Part II [0:33]
18. Through the Closet [1:25]
19. What Have You Done to Its Eyes [1:51]
20. Happy News [0:31]
21. Main Title [2:24]
Fearless Vampire Killers
22. Main Title [2:14]
23. Sarah in Bath [0:53]
24. Snowman [0:51]
25. Koukol Laughs [2:07]
26. Alfred Behind Sledge [1:28]
27. Sarah Asks for a Bath - Love Tune [0:20]
28. Krotock on Sledge [1:58]
29. Vampire Corners [0:36]
30. Shagal Leaving [0:40]
31. To the Cellar [1:04]
32. Skiing [0:40]
33. Portraits [1:14]
34. Alfred Hears Singing [2:44]
35. Vampires to Crypt [2:22]
36. Both Over Rooftops [2:49]
37. Sarah's Song [1:56]
38. Alfred over Rooftops [0:29]
39. Alfred in the Crypt [1:21]
40. Herbert's Song [3:54]
41. Main Title [1:43]
Performed by:
Various instrumental ensembles, Krzysztof Komeda - conductor
Music by:
Music by:
Krzysztof Komeda
About:
We present you with a CD with two motion picture soundtracks by Krzysztof
Komeda from his later period. Within merely several years as he was gaining
experience and knowledge as a composer his method of composing was changing
and developing. His first work was created in autumn 1957 and recorded in
1958. It was a piece of music composed for the film "Two Men with a
Wardrobe" directed by then a student, Roman Polanski. It was a Lodz Film
School etude and the music was composed for a quartet: a tenor saxophone, a
piano, a double bass and percussion. The film became a classic and is
lectured on at many European film schools as an example of music superbly
harmonized with picture. The music for the film "Fearless Vampires’ Killers"
was created in 1966 in London, that’s 10 years after the first score. This
time the composer extended the line-up to include a clarinet, a trombone,
two harpsichords, a piano, a guitar, a bass, percussion, a marimba, a cello,
bongos, a flute, an oboe, a horn, bells, kettledrums, an alt saxophone, a
violin and a seven-piece choir. As we can see from the set I have just
described apart from the typical musical instruments and jazz specific
instruments he extended the line-up by adding a beat rhythm section. He also
surprised the studio technicians when he used folk during the recording: by
rubbing the piano’s cords with his fingers he could bring out sounds similar
to the string effects. The latter activity usually required negotiations
with a representative of trade unions who was always present during the
recording. In the times before Mrs Thatcher trade unions in England would go
to absurd lengths in their activity. A composer from Poland could not be
both a pianist and a composer at the same time because he would deprive
English musicians of their pay. Unfortunately Komeda was not able to bring
from Warsaw a renowned vocal group "Novi Singers", the watchful trade unions
made it impossible for him to engage the singers. It was recorded by
vocalists – three women and four men from London. The film with a Hollywood
producer was made entirely in Europe. The main actress was a pretty American
called Sharon Tate, a subsequent Roman Polanski’s wife who died tragically.
Apart from the fact that Polanski had fixed a French actress, the American
producer Mr Rancehoff decided otherwise. The director had no say in the
matter as it was Mr Rancehoff who paid. Unfortunately for Sharon and Roman
who had met on the film’s location it ended tragically! If it wasn’t for
this decision they may never have met at all and Sharon would be alive.
The other soundtrack included on this CD is a score for the film "Rosemary’s
Baby". The film locations were created partly in New York – a famous house
in which John Lennon lived and in front of which he was murdered. The other
pictures were shot in California. Krzysztof Komeda had to be present in the
cutting room when the film was edited. It was demanded by Polanski and
Komeda had to leave Warsaw a month earlier than it was previously arranged.
The music was recorded in 1968 in Los Angeles with Don Ellis band. What was
interesting, Blood Sweat & Tears manager applied for this job but Komeda did
not approve of it as he had been friends with Don Ellis for two years and it
was then that he and his band playing in LA in a jazz club had financial
problems so Krzysztof helped them. I talked about that after Krzysztof’s
death with the percussionist of this excellent beat band who had used many
jazz elements in his arrangements. Talking to Bobby Colombo when they were
giving concerts in Warsaw I suddenly realized that I incidentally shifted to
German which I knew much better. Surprised at Bobby’s reply in German I
asked him how come he as an American knew this language. "You see I was born
in Germany and I went to school there before we with my parents left for the
States", he said. "My dad is Silesian and our name’s Goabek but I don’t
remember Polish anymore." Coming back to the score, the famous lullaby is
hummed by the nervous main character Mia Farrow on the composer’s request
because the singer who Komeda had offered this recording to – it was with
lyrics then – demanded a sum almost the same as the pay of Krzysztof Komeda
the composer, the arranger and the conductor of the whole film music. Poland
was then a completely unknown country in the States and so were Polish
talented artists. Surprisingly though, before the first night, when the
lullaby was played for commercial purposes in radio broadcasts, the
so-called "Pop Twenty", it became so popular that it kept topping the
charts. Going down the streets of LA one could hear it all the time coming
from passing convertibles with their radios on. It was recorded, as far as I
could count, on seventeen singles – by different bands and singers. It was
also recorded by that Canadian singer from Los Angeles who demanded of
Komeda the mind-boggling sum of money, this time at a different price,
though. Or maybe out of charge, just for publicity? Personally I was
absolutely contented. The whole score was nominated for a "Golden Globe"
together with Barbara Streisand’s "Funny Girl" The first score of a Pole in
the realm of film and all of a sudden such a huge success of Komeda. He was
called then "Napoleon of Poland." I was listening to the very lullaby
watching television in a hospital room in Los Angeles sitting by the bed of
its dying composer when Oscars were presented during the Great Oscar
Ceremony. It was played twice, once when the awarded support actress was
going to get the prize and later when she was going back from the stage. She
got an Oscar for the role of Rosemary’s neighbour, the lovely elderly lady
whose name I don’t remember exactly so I won’t write it down just to avoid
making a mistake. Still, I think I have so many memories. It’s been 35 years
since then anyway.
All text courtesy of © PowerBros and © Zofia Komeda
5)
PB 00155 Power Bros (1998)
Tracks:
1. Memory of Bach (K. Komeda) [07:03]
2. Crazy Girl (K. Komeda) [12:46]
3. II (Roman Two) (K. Komeda) [15:58]
4. After Catastrophe (K. Komeda) [07:09]
Recorded:
Track 1 - Recorded August 1956.
Track 2 - Recorded May 1964.
Track 3 - Recorded October 1963.
Track 4 - Recorded November 1967.
Performed by:
Krzysztof Komeda - piano
Jerzy Milian - vibraphone (1)
Jozef Stolarz - bass (1)
Jan Zylber - drums (1)
Tomasz Stanko - trumpet (2, 3)
Jan 'Ptaszyn' Wroblewski - tenor sax (2)
Roman Dylag - bass (2, 4)
Rune Carlsson - drums (2, 4)
Michal Urbaniak - tenor sax (3)
Maciej Suzin - bass (3)
Czeslaw Bartkowski - drums (3)
Music by:
Krzysztof Komeda
About:
MEMORY OF BACH
This composition by Krzysztof Komeda and Jerzy Milian, based on an invention
by Bach, was created by chance in April 1956 when members of Komeda’s sextet
were rehearsing for their debut at the first Sopot Jazz Festival. It was
Komeda’s first attempt at composition. The piece had its premiere in Sopot
in August 1956, and the recording on this CD was made the following day, for
the 4-minute film by Andrzej Munk which was included in ‘Film Chronicle’.
This was the only time the piece was recorded – Komeda didn’t perform it in
later years.
CRAZY GIRL
Komeda dedicated this composition to his wife, Zofia. It was premiered at
Jazz Jamboree in 1961, and in 1962 it was included in the soundtrack for
Roman Polanski’s film ‘Knife in the Water’, with Bernt Rosengren from Sweden
on saxophone. The recording on this CD was made at the ‘Montmartre’ jazz
club in Copenhagen during Komeda’s Scandinavian tour in May 1964.
II (ROMAN TWO)
This is one of Komeda’s earliest pieces, composed in Cracow in 1958, during
his ‘Cracow period’. It’s one of the Komeda pieces most often played by
other musicians. The recording on this CD was made at the Warsaw Jazz
Jamboree in 1963.
AFTER THE CATASTROPHE
This piece was written in Cologne, Germany in 1967, during the making of the
record of jazz and poetry called ‘Meine Susse Europaische Heimat’. The
version on this CD is the studio recording made for Polish Radio in November
the same year. The first recording was a musical illustration of a poem with
the same title by Czeslaw Milosz. Milosz was one of the poets banned in
Poland in the 1960s, and writing music to his poetry required considerable
political courage from Komeda.
All text courtesy of © PowerBros and © Zofia Komeda
6)
Kattorna
PB 00189 Power Bros (2004)
Tracks:
1 -3. People Meet And Sweet Music Fills The Heart.
4 -10. Sult
11 -15. Kattorna
Music by:
Krzysztof Komeda
About:
We present you with the music to the three Scandinavian films composed
and performed by Krzysztof Komeda for the Dutch director Hening Carlsen. I
am sorry this CD does not include the music to the first film from 1963
under the title Hvad med os but I hope it will be released not just for the
superb music but also for the importance of the film – cast in the film were
Ingmar Bergman’s best actors like Harriet Anderson, Eva Dalbeck. The music
you are going to hear comes from the Swedish-Danish film Kattorna (Kittens)
from 1965 which tells a sad story of women.
Director Hening Carlsen wished the Polish actress Lidia Korsakówna had
starred the film. He had seen her in a film by Jerzy Passendorfer called
Wyrok. Unfortunately Lidia Korsakówna’s husband, the Polish actor Kazimierz
Brusikiewicz mistook the filmmaking in Scandinavia for the Hollywood
production and demanded $12,000, which was a staggering sum of money in
Denmark and Sweden (this was a Danish and Swedish co-roduction). Komeda
himself got $1,300 for the whole score and recording. Well, yes, the dollars
are different now as the pairs of Levis jeans I bought for myself, Krzysztof
and our son cost $2,30 each and another pair of jeans for myself, the white
jeans I couldn’t resist - $2,60. It’s a pity Lidia Korsakówna did not take
part in the film.
The next film from 1966 called Sult (Hunger), based on the Norwegian writer
Knut Hamsun, winner of the Nobel Prize was autobiographic in character. The
main character was played by a Swedish Oscar-winning actor, a great
eccentric (unfortunately I can’t remember his name after the 40 years that
have passed since then). In order to prepare himself for the role he walked
all the way from Stockholm to Oslo where the film was set, living on
whatever he could find on the way. In the film Oslo bore its older name
Kristiana as the film was set in those days.
Anxiety accompanied the production of the film as the writer, a Nobel Prize
winner was a great supporter of Hitler during the WW2, so ardent that he
forced his young son to join Wehrmacht. We were afraid the film would be
boycotted but it was a big success. It was also shown in Poland with a
beautiful poster by Waldemar Swierzy. The poster had been made earlier in
Copenhagen and it was Krzysztof who came up with it. The poster was spread
in Scandinavia sending the public into raptures wherever it was displayed.
It can still be seen in the Museum of Poster in Wilanów near Warsaw.
The other film from 1967 was called The People. Longish titles were in
fashion then and in Polish translation the title was People meet up and the
sweet music of love starts nesting in their hearts. The film starred the
Swedish actress Harriet Anderson. The soundtrack also includes the dialogues
and in the background you will hear Harriet’s voice.
Komeda’s fifth film with Carlson was to be made at the turn of 1969 and in
winter 1968 music to a film by Jerzy Skolimowski was to be made in Rome. In
1969 Komeda died in Warsaw. I had only managed to transport him to his
homeland dying. He was buried at Powazki Cemetry in Warsaw.
All text courtesy of © PowerBros and © Zofia Komeda
7)
Moja Ballada
PB 00161 Power Bros (1998)
Tracks:
1. Knife in the Water (K. Komeda) [16:52]
2. Moja Ballada (K. Komeda) [03:37]
3. Cages (K. Komeda) [07:45]
4. Wickar Basket (K. Komeda) [08:40]
5. Laterna Magica (K. Komeda) [01:40]
Recorded:
Track 1 recorded at 6th Jazz Jamboree Festival at National Philharmony,
Warsaw October 1963
Track 2 recorded January 1972 (based on Komeda's solo piano tracks from
1961)
Track 3 recorded January 1966 (original movie soundtrack)
Track 4 recorded January 1967 (original movie soundtrack)
Track 5 recorded January 1967 (waltz from the original movie soundtrack)
Performed by:
Krzysztof Komeda - piano
Tomasz Stanko - trumpet
Michal Urbaniak - tenor sax
Maciej Suzin - bass
Czeslaw Bartkowski - drums
Janusz Muniak - soprano sax (2)
Jazz Studio Orchestra of the Polish Radio conducted by Jan 'Ptaszyn'
Wroblewski (2)
Music by:
Krzysztof Komeda
About:
NOZ W WODZIE (KNIFE IN THE WATER)
This ballad, from the soundtrack of Roman Polanski’s film of the same
name, dates from 1962. It became one of Komeda’s own favourites, which he
often played with a trio line-up. This recording was made in 1963, when he
enlarged his group to include two soloists: Michal Urbaniak, at that time
still a tenor saxophonist (he later switched to the violin), and the young
trumpeter from Cracow, Tomasz Stanko.
MOJA BALLADA (MY BALLAD)
Komeda also played this piece with his trio. The version included here was
arranged and recorded in 1972 by Jan Wroblewski (nicknamed ‘Ptaszyn’ by
Komeda) for the Jazz Studio of Polish Radio under his direction. For this
recording Ptaszyn wrote solo parts for Komeda himself on piano and Janusz
Muniak on soprano.
KLATKI (CAGES)
WIKLINOWY KOSZ (WICKER BASKET)
LATERNA MAGICA
These three recordings are from cartoons directed by Miros³aw Kijowicz, in
which music took the place of dialogue. ‘Cages’ dates from 1966, ‘Wicker
Basket’ and ‘Laterna Magica’ from 1967. Komeda wrote music for five of
Kijowicz’s films in all, the first two in 1965. The two artists understood
and complemented each other very well. Their successful partnership was
brought to an end by Komeda’s journey to Hollywood and his tragic, untimely
death.
All text courtesy of © PowerBros and © Zofia Komeda
8)
Crazy Girl
PB 00165 Power Bros (1998)
Tracks:
1. Ballad for Bernt [03:27]
2. Crazy Girl [02:41]
3. Typish Jazz [03:33]
4. Moja Ballada [03:33]
5. Get Out of Town (C. Porter) [03:41]
6. Cherry [03:09]
7. Stella by Starlight (Young/Washington) (first version) [06:15]
8. Fourth [01:53]
9. An Oscar for a Devil (C. Parker) [06:29]
10. For Heavens' Sake [05:05]
11. Three Little Words [05:29]
12. Stella by Starlight (Young/Washington) (second version) [02:35]
13. This or This [08:08]
14. Sophia's Tune [06:41]
this CD is enhanced by video footage with the interview with Komeda's wife -
Zofia.
Recorded:
2nd Jazz Jamboree Jazz Festival (?), Warsaw October 1960 (4, 5, 8, 12), 4th
Jazz Jamboree, National Philharmonics, Warsaw October 1961(1, 2, 3, 6, 7, 9,
10, 11, 13), 7th Jazz Jamboree, National Philharmonics, Warsaw, October 1964
(14)
Performed by:
Krzysztof Komeda - piano
Bernt Rosengren - tenor sax
Roman Dylag - bass
Lech Dudziak - drums
Adam Skorupka - bass
Adam Zielinski - drums
Adam Jedrzejowski - drums
Jimmy Gourley - guitar
Music by:
Krzysztof Komeda unless otherwise indicated
About:
Discovering things again after many years is really very useful. Assaulted
by fresh and new events and impressions we are losing a clear vision of the
bygones that grew dim in our memory. This disc will help you to discover the
early but mature years of Krzysztof Komeda /1931-1969/. The time is 1960 and
Komeda had behind him some four years of professional jazz playing and
striving for perfection mainly as a pianist. It brought obvious results and
fortunately some recordings were made than we can enjoy now. A trio, as
everybody knows, is a fine vehicle for a virtuoso player, and pianist
especially. Jazz trio that is Consider Bill Evans or Keith Jarrett, or Art.
Tatum. But then, Komeda was not considered a brilliant technician but rather
a reflective and creative painter of moods. Anyway, here we have the audible
proof of his technical prowess: crystal-clear runs with each note pronounced
distinctly; chordal components perfectly balanced...Yes, Komeda was a
pianist no doubt about this and he would become a perfect one, were it not
for two ?obstacles": his talent and flair in composition and his tragic,
premature death. Komeda partners in these recordings are rhythm-men,
bassists and drummers, but bassists in the first place: Adam Skorupka and
Roman "Gucio" Dylag. In some six pieces Bert Rosengren, the Swedish eminent
tenorman joins the Trio. His soli, especially Parker's "An Oscar For a
Devil", are memorable. A marvellous chunk of jazz. In the same concert
during Jazz Jamboree '61 the brilliant American guitarist also joined the
Trio - Jimmy Gourley. And so, we ask ourselves: Is the sound of guitar more
suitable for Komeda's moods? - Gourley's guitar with no doubt. Both recorded
pieces were refreshing and plain beautiful, though they are different, the
first being a ballad, the other a swinger. The Komeda Quintet of 1936-64 is
quite a rarity too, mainly because of Tomasz Stanko, that was to gain
notoriety as the convincing free-man, plays muted trumpet here with a
heartfelt plays tenor saxophone, Janusz Kozlowski - bass and Czeslaw
Bartkowski - drums. This combination never happens again, but happily it was
recorded.
All text courtesy of © PowerBros and © Zofia Komeda
9)
Sophia's Tune
PB 00167 Power Bros (1998)
Tracks:
1. Repetition (K. Komeda) [10:27]
2. Svantetic (K. Komeda) [22:15]
3. Sophia's Tune (K. Komeda) [10:12]
this CD is enhanced by video footage with the interview with Komeda's wife -
Zofia
Recorded:
live at Montmartre Jazz Club, Copenhagen, Denmark 1965
Performed by:
Krzysztof Komeda - piano
Simon Kopel - drums
Tomasz Stanko - trumpet, stief-bass
Michal Urbaniak - tenor sax
Music by:
Krzysztof Komeda
About:
REPETITION
Christopher Komeda composed this composition in 1964. The recording
included on this CD was recorded in Jazz Club "Montmarte" in Copenhagen in
1965. In 1967 Christopher Komeda enclosed that composition on the record
entitled "Meine Susse Europaische Heimat". That record was made in
cooperation with Joachim Berendt in Cologne,Germany. It consisted of poems
of Polish poets translated by Karl Dedecius and illustrated by music of
Christopher Komeda.
SVANTETIC
It was 1965.When Svante Forster was sitting among the audience during
another Warsaw jazz festival "Jazz Jamboree",he suddenly heard from Andrzej
Jaroszewski who was the master of ceremony, that the next composition which
would be performed by Komeda's group was dedicated to him. It was the
first-night performance of that composition and Svante Forster was deeply
moved.
SOPHIA'S TUNE
When Chris was working at that composition I was often repeating him that I
liked that composition very much. Finally, though I didn't ask him about it,
Chris dedicated that composition to me. "Sophia's Tune" was composed in 1964
but the recording included on this CD was made in Jazz Club "Montmarte" in
1965.
All text courtesy of © PowerBros and © Zofia Komeda
10)
Roman Two
PB 00169 Power Bros (1998)
Tracks:
1. Crazy Girl [25:42]
2. Roman Two [18:06]
3. Kattorna [09:48]
this CD is enhanced by video footage with the interview with Komeda's wife -
Zofia
Recorded:
live at Montmartre Jazz Club, Copenhagen, Denmark 1965
Performed by:
Krzysztof Komeda - piano
Simon Kopel - drums
Tomasz Stanko - trumpet, stief-bass
Michal Urbaniak - tenor sax
Music by:
Krzysztof Komeda
About:
ROMAN TWO
All compositions included on This CD were performed in "Montmarte" Jazz Club
in Copenhagen.Many talented musicians who became famous all over the world
more than once had been spotted out there. For example Archie Shepp - famous
American saxophonist started his career just in "Montmartre". In that period
of time Chris Komeda-except his concerts in that club-was composing and
recording the music to Danish movie "Kattorna" directed by Henning
Carlsen.It was one out of four movies of that director to which Chris Komeda
had composed the music. Henning Carlsen used to say about the music which
Komeda had composed to his movies: "Komeda's music didn't have the melody at
all. It was something just like music "tachisme". Komeda understood that
film music it is quite integrated sound and picture".
"All Komeda's compositions are full of poetry and music vanguard
interaction".
Joachim E.Berendt
"Komeda was par excellance a film musician because he understood
intentions of a director earlier then anybody else,so he was composing film
music".
Roman Polanski
All text courtesy of © PowerBros and © Zofia Komeda
11)
What's up Mr.Basie
PB 00171 Power Bros (1998)
Tracks:
1. What's Up Mr. Basie [09:26]
2. Roman Two [17:14]
3. Knife In The Water [16:30}
this CD is enhanced by video footage with the interview with Komeda's wife -
Zofia
Recorded:
live at Jazz Jamboree Festival, Warsaw 1963
Performed by:
Krzysztof Komeda - piano
Maciej Suzin - bass
Czeslaw Bartkowski - drums
Michal Urbaniak - tenor sax
Tomasz Stanko - trumpet
Music by:
Krzysztof Komeda
About:
This composition was composed in 1963 in Copenhagen. It was composed to the
Danish-Swedish movie directed by Henning Carlsen and called "Hvad med os?"-
what means "What about us?". The main part was acted by great Swedish
actress-Hariett Anderson. For the second time Komeda used it during Jazz
Jamboree Festival in 1963. The recording included on this CD just comes from
Jazz Jamboree in 1963. Knife in the water This ballad originates from the
soundtrack of Roman Polanski's movie under the same title. The first-night
performance of that composition took place in Warsaw in 1962. The recording
included on this CD comes from Jazz Jamboree in 1963. Roman Two The title of
that composition should be written just like that " II ". Christopher Komeda
used to name it or rather mark it that way. It was in "Cracow period" in
1958. He composed it for the needs of ZAIKS - the union which protected
copyrights. I made Chris join this union. Music output of Christopher wasn't
great in that time: soundtrack of Roman Polanski's movie called "Two men and
a wardrobe" and three other compositions "When angels fall down", "Lullaby"
and "Memory of Bach". ZAIKS wanted him to compose 10 compositions, so Komeda
sat down at my old, little broken piano and composed several "pieces". That
one was second so he marked it " II ". After wards it showed successful
composition and it's premiere was in Warsaw during Jazz Jamboree Festival in
1963.
All text courtesy of © PowerBros and © Zofia Komeda
12)
Ballads
PB 00185 Power Bros (2004)
Tracks:
1. Waltz (F. Churchill) [09:51]
2. Breakfast at Tiffany's - theme 1 [06:12]
3. Unknown [06:18]
4. Ballad for Bernt [04:01]
5. Crazy Girl [11:23]
6. This or This [08:09]
Recorded:
5th Jazz Jamboree Jazz Festival, National Philharmonics, Warsaw October 1962
(tracks 1-5) and during 4th Jazz Jamboree, National Philharmonics, Warsaw
October 1961 (track 6)
Performed by:
Krzysztof Komeda - piano
Roman Dylag - bass (1-5)
Adam Skorupka - bass (6)
Rune Carlsson - drums (1-5)
Leszek Dudziak - drums (6)
Music by:
Krzysztof Komeda except as indicated
About:
Krzysztof Komeda introduced Polish jazz into the worldwide jazz. He was the
first Polish jazz composer to be accepted and to make a success in the USA.
It triggered a change in the attitude of communist authorities to Polish
jazz musicians and composers. However, prior to that, Komeda had brought
about a bigger interest in jazz music among Polish audience. By that time
jazz had been regarded as an artistically inferior kind of music and in the
50s, at the time of the communist regime, even as ideologically dangerous.
Along with his bosom friend, also a jazz pianist, Andrzej Trzaskowski, in
terms of art, he was the most mature musician performing contemporary jazz
and that’s why it was he who started and accelerated the development of jazz
music in Poland.
It was mainly Krzysztof Komeda’s merit that jazz could be heard in the
National Philharmonic.
The secret of his music was a unique mood featuring distinctive Slavic
lyricism. I wasn’t surprised that after the early 60s performances in
Stockholm and Copenhagen Scandinavian critics called him “contemporary young
Chopin from Poland”.
Three years ago in the European specialist press Komeda was called a
“propagator” of European jazz. It was certainly contributed by Tomasz Sta?ko
who had recorded Komeda’s compositions on his CD “Litania”. I was
particularly pleased to hear that Komeda’s music was appreciated in England.
After his successes in Scandinavia Krzysztof was thinking about performing
in London. However, English trade unions raging in the 60s approved of
concerts only on the basis of exchange of musicians, I mean Komeda’s quartet
for an English quartet in Poland, but in those communist days, the time of
huge red tape it involved talks with the Polish Artists Agency PAGART, the
Department of Culture, the Polish Students’ Association, etc. Finally I gave
it up. I do think I should have been firmer, though as it was the case with
Bernt Rosengren, a Swedish tenor saxophonist in 1961, who owing to my
actions, was permitted to stay a month longer after Jazz Jamboree Festival
to perform in many places in Poland and participate in recording the score
to Roman Polanski’s film “Knife in the Water”.
In this case I just didn’t make it in time !
All text courtesy of © PowerBros and © Zofia Komeda
13) Wyrok - Soundtrack from Jerzy Passendorfer movie
PB 00197 Power Bros (2008)
Tracks:
Typish Jazz
Light motif
Intro - sax
Kocia muzyka (Cats' music)
Dancing
Serenada
Swing
Light motif - piano
Kocia muzyka (Cats' music)
Flute - part 1
Flute - part 2
Light motif - piano
Typish Jazz
Light motif - piano
Typish Jazz
Intro - piano
Flute - part 3
Light motif - sax
Light motif - piano
All compositions by Krzysztof Komeda
Wyrok (The Verdict):
Director:
Jerzy Passendorfer
Writers:
Jerzy Passendorfer, Jerzy Przezdziecki
Release Date:
16 October 1964
About:
Psychological drama about the complicated relationship between newspaper
editor, his wife and a young boy found abandoned on the street.
Cast:
Wienczyslaw Glinski ... Redakteur Opera
Lidia Korsakówna ... Mutter
Grzegorz Roman ... Adas
