The music on this record, marked by the individuality of the composer - leader and his sidemen ... is varied structurally, instrumentally and harmonically throughout, with changing tempos and times.
Zbigniew Namyslowski
Winobranie
Polish Jazz vol.33
Label: Muza-Polskie Nagrania, 2004 (1973)
Catalogue No: PNCD 933 (SXL 0952)
Format: CD (digipak) 24-bid re-mastered from original master tapes.
Tracks:
- WINOBRANIE (WINE FEAST) / JAK NIE MA SZMALU TO JEST LAZ (NO DOUGH, NO KICKS) 9.55
- NIE MNIEJ NIZ 5% (NOT LESS THAN FIVE PER CENT) 6.35
- GOGOSZARY 4.40
- PIERWSZA PRZYMIARKA (FIRST TAKE) / BALLADA NA GRZEDZIE (BALLAD ON THE ROOST) / MISIE (TEDDY BEARS) 14.05
- TAJ MAHAL / WINOBRANIE (WINE FEAST) 6.55
Performed by:
Kazimierz Jonkisz - drums
Tomasz Szukalski - tenor sax, bass clarinet
Zbigniew Namyslowski - alto sax, cello, piano
Stanislaw Cieslak - trombone, percussion
Pawel Jarzebski - bass
All music composed by Zbigniew Namyslowski.
Recorded:
live in Warsaw, February 1973. Recording engineer: A.Karuzas, Sound engineer: K.Diakon
About:
We have been waiting long for this album. Namyslowski's previous LPs, the internationally-successful "Lola" (Decca SKL 4644) and "Polish Jazz Vol. 6" (Muza XL 0305) were both released in 1965. Since that time Na- myslowski, for long one of the most creative jazz artists on the Polish scene, has made considerable progress in his development. This record proves it well enough, featuring Namyslowski playing his new compositions. The supporting group are actually co-makers of the music. Despite their youth, they belong to the top Polish jazzmen.
The music on this record, marked by the individuality of the composer- leader and his sidemen, is far from monotonous. In fact it is varied structurally, instrumentally and harmonically throughout, with changing tempos and times. What actually integrates it is the predominating cheerful mood. This climate is introduced from the very start with the title tune, Wine Feast, which opens and closes the record, fastening the whole music like a buckle. The mood is also present in the mostly humorous titles of the other pieces. On all the tracks, despite their varying character, one can feel the freshness, ingenuity and spontaneity which has always been present in Namyslowski's music.
Wine Feast, a short piece based on a simple, catchy tune in 7/8, is linked with the next track. No Dough, No Kicks, featuring solos by the leader on alto, Jarzebski on bass and Jonkisz on drums. There is an amusing contrast between the slow, "free" part of the piece, performed by the bowed cello-bass duo and the reprise of the theme, sung in Polish musicians slang.
The influence of the folk music of both his own and other countries is another feature of Namyslowski's music. It is evident on this record: while in Wine Feast we hear echos of the Polish "kujawiak", Gogoszary, played in 11/8, includes some elements of Balkan folklore. The latter features a fine cello solo by the leader, with innovative use of on amplifier with wah-wah and fuzz effects, which results in a guitar-like sound. Not Less Than Five Per Cent consists of two different parts. The first is of 12/8 and 13/8 alternately, the second is a tuneful ballad.
Side two begins with an extensive piece, composed of several parts which include the same theme but treated differently each time. The three different parts, changing smoothly one into another, are First Take. Ballad on the Roost and Teddy Bears. The piece culminates in an extended alto solo by Namyslowski. It starts off with a festive-mood ballad and develops dynamically, changing the original climate and turning almost free, but keeping the timing and harmony, which gradually condenses.
Taj Mahal deserves special mention as the group's successful attempt to achieve the sound of Indian music. It is interesting to note how the original Hindu instruments are replaced by their European counterparts. The sitar part is played by a prepared piano, the bass takes on the role of tampura and the piccicato cello serves as the melodic solo instrument. The drummer plays an original tabla drum, and the trombonist adds to the rhythm by playing assorted percussion. After hearing this piece on stage during Jazz Jamboree 1972. the jazz expert Willis Conover said it was the most perfect imitation of Hindu music he had ever heard. And the group's whole performance of the music featured on this record was the strongest experience he had during the whole festival.
This album guarantees a similar experience for anyone who enjoys good music.
Stefan Zondek (There were the original line notes from the album's back cover).
The existence and development line of Polish jazz was, like every living thing, its plateau, declines and peeks. It towers sometimes and shines like a lighthouse, High-lights... We got quite a few of them and of course their creators too, first of all Zbigniew Namyslowski, an artist of distinction - truly creative and invective, blessed with peculiar instinct of the right direction that guides him in his explorations. "Winobranie" (The Vintage), recorded in 1973 was preceded by highly successful presentation of its pieces during The Jazz Jamboree' 72 Festival in Warsaw, with basically the same line-up except the bass-player. The Vintage theme opens and closes this attractive box of music which contains an astounding wealth of instrumental variety.
Namyslowski himself plays altosax, cello, flute and piano, displaying beautiful ideas and sound. Szukalski plays mainly tenor, but also shapes up colouristic moods, conceived by the leader, with bass-clairnet phrases. Equally busy is Cieslak who moves freely through the area of modern trombone possibilities. Excellent solos by Jastrzebski and Jonkisz are integrated with the flow of music in the most natural way. The secret of the beauty of Namyslowski's music is hard to penetrate, but part of it lies in his arrangements and their perfect execution. He is obviously a very exacting leader, but this doesn't mean his sideman are hampered and can't stretch musically. There's ample evidence to the contrary in this album. There's plenty of surprising and attention engaging moments, from the saxophone concordant two-part phrases supported by the growling trombone, through bop sequences, cello-and-bass duet and up to "Taj Mahal" when commonly known instruments successfully manage to imitate sitar and tampura, creating a veritable air of Hindu music. There are complicated (11/8) meters and madality, poetry of a ballad and disciplined free, even Balkan flavored rock. All in all "Winobranie" is more than a distinguished document of Polish modern jazz; it is an obvious attraction for every sensitive music lover.
