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