This beautifully realized set includes six separate CD's from Polish Jazz Masters: KRZYSZTOF KOMEDA, TOMASZ STANKO, ZBIGNIEW NAMYSLOWSKI, ADAM MAKOWICZ, MICHAL URBANIAK and ANDRZEJ KURYLEWICZ.
The Best of Polish Jazz - Polish Jazz Masters (6-CD BOX SET)
This beautifully realized set includes 6 separate CDs, housed together in one-of-its-kind unique and elegant, factory sealed cardboard box, measuring 10.5 x 10.5 x 1.5. Each volume of the set comes with its own digi-pack CD, with complete artwork and text which is a replica of its original analog (on vinyl) release, including line notes. Comprehensive booklet with biographies of the performing musicians complements the whole set. All items are brand new.
The set consists of six compact disks:
- KRZYSZTOF KOMEDA QUINTET - Astigmatic
- ANDRZEJ KURYLEWICZ QUINTET - GO RIGHT
- TOMASZ STANKO - Music 81
- MICHAL URBANIAK'S GROUP - Live Recording
- ADAM MAKOWICZ - Unit
- ZBIGNIEW NAMYSLOWSKI QUARTET - Siodmawka
Detailed information about each disk is below.
KRZYSZTOF KOMEDA QUINTET
Astigmatic
Polish Jazz vol.5
Label: Polskie Nagrania - Muza , 1965/2004
Catalogue No: PNCD 536
Format: CD (24-bit re-mastered from original master tapes)
Tracks:
- Astigmatic 22:50
- Kattorna 07:20
- Svantetic 15:50
All music by Krzysztof Komeda
Recorded:
December 1965, at the Warsaw Philharmonics Hall, Warsaw, Poland
Performed by:
Tomasz Stanko - trumpet
Zbigniew Namyslowski - alto sax
Krzysztof Komeda - piano
Gunter Lenz - bass
Rune Carlsson - drums
About:
Innovator with a complex of tradition, romanticist expressing himself in the contemporary idiom, poet of piano — this is KRZYSZTOF KOMEDA, one of those musicians who have widened the essence of jazz.
He has proved that the world of emotions hitherto remaining within the scope of symphony music could manifest itself in jazz as well. He did it by introducing into it dramatic lyricism and pathos which in their ecstatic, even mystic intensity are in the late-romantic, Promethean, Skriabin-like modes of expression.
This new aesthetics in jazz required its new form. Instead of the static conventional sets of variations, preceding without direction, he has initiated a dramatic form which develops from the exposition towards culmination and final solution. This form, let us call it roughly "the bow form", has been used in two major pieces by Komeda recorded on this disc: Astigmatic and Svantetic (after Svante Forster, Swedish poet and writer, friend of the composer). The solo parts have ceased in it to be blowing choruses and have taken on instead a definite function, while the simple construction of the piece, concentration on a single idea (one movement, one theme), as well as much scope for improvisation and the psychic contact between the players contribute to the fullest realization of the composition.
The dramatic and constructional elements are not the only characteristics of Komeda's style. The particular „Slavonic" feeling of his pieces results from the fusion of all sorts of stuff: beside contemporary technique of composition (sound spots, clusters, aleatoric and poliagogic structures) there are structures getting out of fashion (modalism or the extinct harmonics of the last century) or the "fossilized", long forgotten forms of the musical prematter (as for instance the simple drum beating — the obsessive rhythm, how very fresh and revealing nowadays!, or the uncontrolled instrumental "cry").
The force that unifies these elements is the jazz rhythm and sound. It must be said, however, that the sonority and articulation have been here considerably widened.
Komeda's pieces are outlines to be performed by a group of chosen instrumentalists. No wonder that Komeda selects his partners carefully.
Among the musicians connected with him there is RUNE CARLSON, a distinguished Swedish percussionist, extraordinarily musical, with a rapid reflex and an unusual sensitivity to the quality of sound. Though in his style similar to Anthony Williams, in details completely different from him.
Then there is in Komeda's group TOMASZ STANKO, a leading Polish trumpeter, a striking individuality. Since recently he has been playing on the flugelhorn, extracting from it a fine, voluminous sound.
As guest performers appear with Komeda: GUNTER LENZ, playing double-bass with the West-German Albert Mangelsdorff ensemble, a musician of rich technique and imagination; and ZBIGNIEW NAMYSLOWSKI from Warsaw, one of the leading alto axophonists of the younger generation (b. in 1939), known in numerous countries in Europe and in USA.
KRZYSZTOF KOMEDA himself (born on April 27, 1931) is a pianist, a musician whose career has been very rich. He has been playing as jazz musician since 1959, appearing in many European countries and having a particularly great success in Scandinavia. He has written music to over thirty films both Polish and foreign. Among others to "Two Men with a Wardrobe", "Mammalia", "Knife in Water", "Cul-de-sac", all by Polanski, to "Innocent Sorcerers" by Wajda, "Hvad Medos" and „Kattorna" (Cats) by Henig Carlssen. Just from the latter comes the second of the pieces recorded on this disc. of the four individualists appeals strongly to our imagination. And that is what they are aiming at.
Adam Stawinski (original line notes from the album's back cover)
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.
additional text courtesy of PowerBros
ANDRZEJ KURYLEWICZ QUINTET
GO RIGHT
Label: Polskie Nagrania - Muza , 1963/2005
Catalogue No: PNCD 900
Format: CD (24-bit re-mastered from original master tapes)
Tracks:
- Go Right (Karolak)
- Obsession (Kurylewicz)
- Green Eayed Girl (Wroblewski)
- Yenom On (Wroblewski)
- So-so (Karolak)
- Nayamalan (Kurylewicz)
- One Step Nearer You (Wroblewski)
- Minor Bop (Kurylewicz)
- Microphonophobia (Karolak)
Line-up:
Andrzej Kurylewicz - trumpet
Jan "Ptaszyn" Wroblewski - tenor sax & flute
Wojciech Karolak - piano
Tadeusz Wojcik - bass
Andrzej Dabrowski - drums
Recorded:
in Warsaw, June 1963.
About:
Andrzej Kurylewicz was a Polish composer, conductor, jazz pianist, trumpet-player, and trombonist. He was born in Lvov, 1932; and died 2007 in Konstancin-Jeziorna. His musical education began at the Music School in Lvov and in the Institute of Music in Gliwice. He went on to study at the High School of Music in Krakow: piano under Henryk Sztompka, and composition under Stanislaw Wiechowicz. He made his debut as the founder of the Polish Radio Jazz Band in Krakow. He conducted the Polish Radio and Television Orchestra in Warsaw. Since the early 1950s he was an active figure on Polish Jazz map both as a leader of multiple bands, and a recording artist; as well as a front-liner of first jazz festivals in Poland, including the Sopot Jazz Festival. In 1969 he founded the groundbreaking Formation of Contemporary Music (Formacja Muzyki Wspolczesnej featuring strings, brass and percussion), which he led until 1979. In 1967, in Warsaw’s Old Town, with his wife Wanda Warska - a singer and painter – he opened '"Piwnica Artystyczna Kurylewiczow' – a studio for the performance of musical and literary forms, distinct and combined. From the late 1960s Andrzej Kurylewicz's musical interests drifted more and more toward the contemporary classical music field, where soon be became one of the most outstanding personalities in contemporary Polish music. He has also composed and received many prizes for his compositions for film and theatre. (Bio based on materials from Adam Mickiewicz Institute archives).
TOMASZ STANKO
MUSIC 81
Polish Jazz vol. 69
Label: Polskie Nagrania - Muza , 1971/2005
Catalogue No: PNCD 969
Format: CD (24-bit re-mastered from original master tapes)
"I have always been interested in tradition. At Krzysztof Komeda's we would mostly listen to scale music: Miles Davies, John Coltrane. This was my inspiration. Naturally, Ornette Coleman was important, too, but more as an example of a certain attitude to art - that of search and rebellion - than as an offer of a specific music convention." (Tomasz Stanko)
Tracks:
1. Alusta 11'40
2. Daada 07'15
3. Bushka 05'50
4. Third Heavy Ballad 06'50
5. Ahuha 08'35
Line-up:
Tomasz Stanko - trumpet
Slawomir Kulpowicz - piano
Vitold Rek - bass
Czeslaw "Maly" Bartkowski - drums
Recorded:
April 1982, Warsaw, Poland
About:
In 1962 a young trumpet player name Tomasz Stanko, created the 'Jazz Darings', later described by jazz critic J. E. Berndt as “the first European free jazz combo.” During the late 1960s, many avant-garde musicians in Poland were discovering the free jazz concepts of John Coltrane and Ornette Coleman. Interestingly, due to the isolation of the country, the Polish style developed independently, and Stanko style is uniformly considered to be the most unique and fascinating one. In 1968, Stanko formed his famous Quintet, and the next chapter of European jazz history began. After the Quintet disbanded in 1973 at the peak of its creative potential and after achieving a cult-like following in Europe, Tomasz Stanko continued his solo career, focusing his interest on free jazz (in cooperation with Cecil Taylor), and later on developing his own style, although there have always been traces of Polish classical, and folk music. The continuing motif of Stanko's language is his life-long interpretations of compositions by Krzysztof Komeda. Beside jazz, another area of artistic interest for Tomasz Stanko is film and theatrical music.
This is how critic Jerzy Brukwicki defines Stanko's unique style: “In the creations of Tomasz Stanko, the following elements are important: an open form of composition which allows for changing dramaturgy, depending on band members and on circumstances. This leaves a substantial margin of freedom in the reception of his performances (this artist is never 'literal' or 'obvious' in his creation). The sound of his instrument is immediately recognizable, hoarse, and highly emotional and sometimes it is an echo of a human voice (a cry, a whisper). Vital to his music are spontaneous, electrifying improvisations built into a well-designed, consistent whole. The second major element of the works composed and performed by Tomasz Stanko is a strongly developed melodic pattern, usually suffused with lyricism and romantic reverie. The third constituent part of Stanko's music language - and one as important as improvisation and melody - is the sound of his trumpet“. Today, well into the 5th decade of his career, Tomasz Stanko remains the most popular and accomplished jazz artist in Poland, European jazz icon and ECM recording artist. At the beginning of the 21st century, Stanko is one of the most important, successful and creative jazz musicians in the world, next to other living giants such as Wayne Shorter and Sonny Rollins.
MICHAL URBANIAK'S GROUP
Live Recording
Polish Jazz Vol.24
Label: Polskie Nagrania - Muza , 2004 (1971)
Catalogue No: PNCD 924 (SX 0733)
Format: CD (24-bit re-mastered from original master tapes)
Excellent work by Polish jazz legend Michal Urbaniak -- a great live set with some wonderful elements! The recording features Urbaniak in one of his early 70s quartets -- working with Adam Makowicz on piano and keyboards, and playing in a mix of early fusion and more exploratory jazz. Urbaniak's playing a lot of sax on the set -- including soprano (which we always love him on), baritone, and tenor -- and tracks are long, with some of the adventurous energy he picked up during his years with Komeda. The set features a great version of Komeda's "Crazy Girl" -- plus a mellow ready of "Body & Soul", and an extended suite dedicated to Poland's famous jazz festival -- called "Suite Jazz Jamboree 70". (dustygroove)
Tracks:
- Suite - Jazz Jamboree '70: North Ballad (Urbaniak) 6:35
- Suite - Jazz Jamboree '70: Ej Blues (Urbaniak) 5:54
- Suite - Jazz Jamboree '70: Spring (Urbaniak) 8:34
- Crazy Girl (Komeda, arr. Urbaniak) 7:00
- Body and Soul (Green, Heyman) 6:05
- Jazz Moment No. 1 (Urbaniak) 4:43
Line-up:
Michal Urbaniak - violin, soprano and tenor saxophones
Adam Makowicz - piano
Pawel Jarzebski - electric bass
Czeslaw 'Maly' Bartkowski - drums
Recorded:
January 1971 at Warsaw Philharmonic Hall, Poland
About:
In 1970s and 1980s Michal Urbaniak was probably the best internationally known Polish jazz musician. A prodigy of various Komeda bands, and a leader on his own from the late 1960s, his worldwide career began in 1973, when Columbia published his groundbreaking album “Fusion”. Since that time, his passion has been continuing with varying fortune. But throughout the years of his artistic calling, all elements of his ingenious personality were always there: straight-ahead expression, paired with Slavic ingenuousness, musical eclectics, contemporary articulation and the influence of Polish folk music - all flawlessly incorporated into the vocabulary of American jazz. The beginning of the 1990's was the culminating point in his career: his name was then mentioned numerous times in various categories of important jazz surveys, including of the prestigious 'Down Beat'. In his compositions, Urbaniak has always attempted to integrate the latest trends of world jazz with elements of his personal style. He brings together the original, easily recognizable sound of his instrument with current musical conventions. Consequently, musicians representing the styles of fusion, soul-jazz, funk or rap appear in his recordings over the next decades. Urbaniak has continued his hunt after cutting edge styles, sounds, genres and technologies from the jazz-rock of the 1970s to the fusion and funk of the 1980s to the hip-hop of the 1990s, and electronic sounds of 21st century - always founding inspiration in his own folk tradition, when at the same time, creating a homogenous form of musical expression in a truly unique jazz art form. In his continued pursuit for new inspirations and new sounds, Michal Urbaniak is probably as close to Miles Davis' spirit as any Polish Jazz artist could be.
ADAM MAKOWICZ
Unit
Polish Jazz vol.35
Label: Polskie Nagrania - Muza , 1973/2004
Catalogue No: PNCD 935 (SX 0963)
Format: CD (24-bit re-mastered from original master tapes)
During the past several years of my career as a jazz pianist, I've had a steady and direct contact with my listeners at concerts and clubs. Their reaction, emotions and appreciation mean everything to me and give me a great satisfaction. They also give me the drive to search and create something new. The result of this search is an LP made with Czeslaw Bartkowski. A Definite drawback in making this record was the absence of the audience. I had to imagine them and the club atmosphere so the music would be authentic and spontaneous, alive and very personal. If, and to what extent I have succeeded - my listeners will decide. (Adam Makowicz)
Tracks:
-
Piesn z dolin / Song from the valleys (A.Makowicz)
-
Piesn wojenna / War song (A.Makowicz)
-
Piesn ze wzgorz / Song from the hills (A.Makowicz)
-
Piesn pijacka / Drinking song (A.Makowicz)
-
Piesn religijna / Sacred song (A.Makowicz)
-
Seven for five (W.Karolak)
-
Propozycja / Suggestion (Cz.Bartkowski)
-
Blues (A.Makowicz, Cz.Bartkowski)
-
Nie jest zle / It's not bad (K.Komeda)
-
Cherokee (Ray Noble)
Recorded:
March 1973, at Polskie Nagrania Studio, Warsaw, Poland
Performed by:
Adam Makowicz - Fender piano, fender Bass & piano
Czeslaw Bartkowski - drums, percussion
About:
Adam Makowicz is the real genius of Polish jazz. His brilliant carrier spans through decades and even today he continues to amaze jazz fans with his virtuosity and swing. An alumnus of verity of styles, including both electric, as well as acoustic configurations; Makowicz has been performing mainly as a soloist since 1974. He is a virtuoso pianist, with his own personal style, both in his own compositions and in piano interpretations of works of the other composers. His style is a combination of American tradition originated by Art Tatum and George Gershwin, with elements of European music referring to the romantic tradition. Today, Makowicz is devoting more and more time to his own interpretations of American songbooks standards. His recitals are addressed to a large extent to audiences of philharmonics. The musician himself currently describes his music as “closer to classical music than to jazz”. This trend incorporates his compositions written for piano and for small bands as well as for symphonic orchestras. As Jim Fuselli once wrote about Makowicz in The Wall Street Journal: ”Mr. Makowicz's fiery style, firm chording, and rapid, Tatumesque right hand phrasing make him more than deserving of the accolades he has received.”
ZBIGNIEW NAMYSLOWSKI QUARTET
Siodmawka
Polish Jazz vol.6
Label: Polskie Nagrania - Muza , 1966/2004
Catalogue No: PNCD 906 (XL /SXL 0305)
Format: CD (24-bit re-mastered from original master tapes)
Tracks:
- Seven-Four Bars (Siodmawka) 08:05
- Despair (Rozpacz) 06:10
- Frances the Terror (Straszna Franka) 10:55
- The Beatle Humming in the Reeds (Chrzaszcz brzmi w trzcinie) 09:00
- My Dominique (Moja Dominika) 07:10
- The Wardrobe (Szafa) 07:10
- Mead Drinker Lola (Lola pijaca miod) 01:30
All music by Zbigniew Namyslowski
Recorded:
January 1966, at Polskie Nagrania - Studio 12, Warsaw, Poland
Performed by:
Zbigniew Namyslowski - alto sax
Adam Matyszkowicz - piano
Janusz Kozlowski - bass
Czeslaw Bartkowski - drums
About:
"Jazz fills up my life. It means to me everything — said Namyslowski. — Playing in a quartet suits me best... Until recently I did not set great store by composition. But now to be successful one cannot merely play Horace Silver's themes and other people's arrangements. And so I have created my own quartet and my own music, to be able to play what I want and how I want...".
Quoting these words I cannot help recalling a thin and insignificant looking boy who burdened with a huge cello scrambled on to the gigantic stage of the Forest Opera in order to play with the Modern Combo group, which was taking part at the II International Jazz Festival at Sopot (August 1957), as a completely unknown soloist. And yet a few years later Zbyszek Namyslowski won recognition not only with jazz fans and connoisseurs at home but also with the exacting critics abroad — after numerous tours of his quartet in such countries as Italy, Belgium, West Germany, Switzerland, Czechoslovakia, Yugoslavia, Finland, USA.
Namyslowski went through most suitable stages before he achieved his present-day results; he played the trombone in traditional and swing bands, for some time also the trumpet and cornet, and when there was need he accompanied the vocalists on piano. ..("The Times", London, 18.3.1966)
(original line notes from the album's back cover)
