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Revisionist History. And many Polish students study now for example in Denmark in Odense while many Czech youth learn jazz in famous Katowice Music Academy. The effects of this interchange is salutary as the music life become more vibrant, ideas move around, relationships are formed.
Their debut album "Inner Spaces" was very warmly received. In my review I stressed a high level of musicianship, coherence of whole material and great compositions, especially those written by Stepanka Balcarova who plays on trumpet. With "Light Year" I must go even further with my appreciation. Although tunes written by Balcarova are still among the best on this album check awesome "Higher Form Of Love" but those written by Lubos Soukup saxophoneVit Kristan piano and David Doruzka guitar are equally captivating.
Also interplay between musicians became deeper. It is really great pleasure to listen how well this whole machine is working. These are not separate voices figthing for listener's attention as often on albums by young musicians. This is one organism, one instrument, moved by one idea and going in one direction. All in all, an excellent piece of jazz which deserves attention and appreciation as much from critics as from audience.
Email This BlogThis! This is the fifth album by Polish Jazz vocalist Grzegorz Sinfonietta Per Arch - Vivace - Pianohooligan - Experiment: Penderecki (CD and his first live recording. Together they perform just five extended pieces, one of which is a Joni Mitchell song and the rest are originals co-credited to Karnas and Oles. The sound quality of this live recording is absolutely superb, which every single note being perfectly audible. Karnas presents a unique approach to Jazz vocals, which amalgamates lyrics, vocalese, scat, wordless chanting and spontaneous improvisation.
He is always full of surprises and completely unconventional. His vocal modus operandi is based on techniques developed earlier by American Jazz vocalist Bobby McFerrin and sounds similar to McFerrin's early work, but of course is inventive enough to avoid being considered simply a replica of the original. Karnas is experienced and talented enough to keep his audiences mesmerized and his extended improvisations manage to sustain tension for prolonged periods of time, which of course is extremely difficult.
As this live recording proves, he is a fascinating live performer and listening to him live is perhaps the best way to benefit from his many abilities. The accompanying musicians are all splendid players and provide excellent support for the vocalist all the way through. The cellist uses his instrument mostly as if it was an upright bass, almost never playing arco.
He displays fantastic musicality and virtuosic control of the cello, being the primary partner of the vocalist and complementing him superbly.
The drummer plays delicately, often using his hands and brushes, with of course is suitable for this intimate music-making experience. The cimbalom player sounds remarkably like a pianist, which although works well in this Album), is a pity, as it loses the wonderful "original" sound of the instrument, which surely might have added another interesting dimension to this already multifaceted music.
Considering the fact that male vocalists are a rarity on the Polish Jazz scene and in generalKarnas definitely deserves to be praised for filling this difficult gap. Constantly developing and expanding his vocabulary and technique he is definitely a talent to be watched and enjoyed. This album is certainly a splendid addition to his recorded legacy and a source of immense listening pleasure. Wholeheartedly recommended!
Dariusz Herbasz — Joy Of Friendship This is the debut album as a leader by Polish Jazz saxophonist Dariusz Herbasz and his double tenor saxophone quintet, which also includes saxophonist Tomasz Grzegorski, pianist Piotr Mania, bassist Adam Zuchowski and drummer Tomasz Sowinski.
The album comprises of six original compositions, all by Herbasz and was recorded at the superb Tokarnia Studio with engineer Jan Smoczynski presiding.
If I would have been subjected to listening to this album in a blindfold test situation, I would be sure this is an unknown recording of mid s Blue Note period, as this music has the distinctive feel of modern mainstream, which flourished at the time and was captured for posterity by Rudy Van Gelder. The warmth and presence of the overall sound and the crisp piano sound are quite remarkable.
But of course there is also the music, which stylistically returns to that wonderful period that summarized the Jazz tradition bringing it to sheer perfection on one hand and opening doors for the free form just wide enough to make it interesting on the other hand.
These wonderful compositions are truly grand on every level; there are some beautiful melancholic melodies, several great vamps, and a strange feeling of familiarity even upon the first hearing.
I must admit that it's been a while since I've heard a collection of such superbly crated tunes on one album. Herbasz takes a considerable risk with the double tenor saxophone frontline, since such setting is often prone to clashes and outright contest rather than cooperation, but also opens intriguing opportunities of harmonizing and completing each other.
It's a pleasure to hear how well this situation was handled here, enabling both players to solo as well as play together in a variety of quite distinct musical surroundings and atmospheres.
Both saxophonists [lay remarkably well, both when simply stating the lyricism of a melody or venturing into almost free form excursions. The rhythm section is excellent as well, providing the ideal support Sinfonietta Per Arch - Vivace - Pianohooligan - Experiment: Penderecki (CD the soloists and framing the musical expressions with just the right amount of direction, allowing space for less constrained experimentation at times. The pianist is an ideal harmonizer and his vamping is a classic form obviously learned from the best.
Bass is round, clear and worm and the drums play exactly the amount of time keeping to keep everything tick, with some great topping of inventive drumming. The overall dynamic sensitivity of the entire rhythm section is simply just what the doctor ordered to make the music perfect. This is a remarkable debut and a brilliant Jazz album, which comprises of everything that makes Jazz such a great music: it's interesting, artistic, intelligent, well played and above all honest, simply stating the artist's credo and not trying to be something it isn't.
Well done indeed! At the end of the 70s she decided to give singing a go. For a singer in her early thirties nothing personal! She was probably the oldest in her group and most likely the best or very good, anyway. For years Grazyna has been cooperating with young musicians from Chicago. Nick Drake is a diamond in the rough.
True, Bob Dylan is a household name and a great poet, but there are also others who, despite not having carved for themselves a successful career of parallel magnitude, certainly deserved one. Part of the legend of many an acclaimed musician is their short or tumultuous life, as was the case of Tim Hardin or Tim Buckley, both American, and the only Briton in the pantheon of rock poets, Nick Drake.
Far from relying on lyrics alone, he writes exceptional music as well. In his works the melody complements the lyrics and evokes a dark, desolate mood with powerful instrumental support and complex, nonobvious arrangements. The fact that there have been very few attempts to take on his works over last forty years is a testimony to how complex the material is.
Highly intimate on both the musical and lyrical level, his songs are also very much bound to a specific time and place and as such, despite exploring universally understood, timeless concepts, might be difficult to interpret by a different performer.
Musically, they pose a challenge as well, the songs cannot be simply sung without being dissected, understood and reinterpreted so that they respond to who is singing them, even if that means altering the original emotion. Nick Drake is considered by many to be the saddest poet of contemporary music. Nick Drake mastered this skill forty years ago and now Grazyna Auguscik is excelling at it. The album delivers a true musical feat, which is a rare achievement in this ever-changing reality.
Man Behind The Sun is highly-addictive so consider yourselves warned…. I was fortunate to be able to get hold of first album issued by this ensemble and here is my report. Altogether the mere copies were pressed.
It is therefore really very, very rare. There are some affinities in style between these two releases, like strong connections with contemporary classical music, yet it is better to treat them separately. They bring in fact totally different aural experience. In both cases VERY satisfactory. The music by The Intuition Orchestra is based on total improvisation. We can read in linear notes: "Musicians meet in studio and without any preparation and without composition create music.
The compositional process takes place during recording. And it is result of emotion and sensitivity which is brought to session by its participants". Sounds OK but in most cases of so called free music less and less this kind of music has anything in common with jazz this brings only chaos, cacophony, disorder.
Fortunately this is a bit different in case of this album. Sure the music on this album can be characterized by higher degree of entropy than typical mainstream albums. But in fact what we get here is a very coherent material which offers continuous narration from the beginning to the end.
The reason for this is that sounds that were recorded during session were afterwards carefully selected and mixed. The interesting thing is that the same material was mixed TWICE by two different members of the ensemble. This is a very interesting idea and its outcome is inspiring. On the 23rd of November, the debut solo album of Piotr Orzechowski, known as Pianohooligan, will be released. The date of the premiere of the Experiment: Penderecki album is not accidental.
Pianohooligan will take part and he will give Krzysztof Penderecki the first copy of the album. The album will be available for purchase from the 27th of November, published by the prestigious Decca Classics company in cooperation with Universal Music Polska. Thus, Piotr Orzechowski becomes one of only two Polish artists alongside Aleksandra Kurzak whose albums were signed by the logo of this prestigious London record company. The recording of a journey to the colourful and aesthetically diverse, but also complicated world of music of the Polish composer includes seven pieces.
The material for the Experiment: Penderecki album was recorded in Switzerland. The young musician and his project were supported by Penderecki himself.
Etykiety:Orzechowski Piotr. Bill William Frisell. GRUBO ponad dwustu Etykiety:Nowotny MaciejPolish. This is the fourth album by Polish Jazz vocalist Aga Zaryan and her first live recording, captured at the Warsaw 's Palladium club. She is accompanied by a trio of excellent musicians: guitarist Larry Koonse, bassist Darek Oleszkiewicz and percussionist Munyungo Jackson, who all participated in the recording of her second album "Picking Up The Pieces", recorded a couple of years earlier in the USA.
The album comprises of thirteen tracks, spread over two CDs and a DVD with the video of the concert, which has the same musical content and some bonus material with artists' interviews.
The music originates mostly from the second album, with a couple of earlier songs form the debut album, one instrumental piece, which Sinfonietta Per Arch - Vivace - Pianohooligan - Experiment: Penderecki (CD the concert and one previously unrecorded song by Stevie Wonderwhich closes it. It takes balls of steel especially for a woman to face a large crowd and being able to mesmerize it with such a delicate music, which is based on aesthetics and finesse and requires total silence and complete attention from the listener.
There are but a few female vocalists able to perform such magic on stage and Zaryan is certainly at the very top of this exclusive guild. The three master musicians accompanying Aga deserve of course a large piece of the praise, especially Oleszkiewicz, since lengthy parts of the concert are simply duets between him and the singer.
His playing is way beyond virtuoso bass performance; it is simply the vehicle carrying this entire show on his shoulders. His empathy and telepathic conversation with Zaryan and the other musicians is simply sensational. Zaryan's performances are simply breathtaking from start to finish. She is much more adventurous here than on the studio albums, using her full vocal range as well as creating a panorama of sound effects using her voice.
Her total control of tone, expression, volume and theatrics is masterful, as is her ability to switch moods and atmosphere. She simply holds the audience at the palm of her hand. Although the album brings little new material, it summarizes perfectly the first phase of Zaryan's career, where she concentrated on her vocal interpretations of Jazz standards. The next phase, which started with the third album, was about to expose her also as lyricist and a Jazz and Poetry artist, taking her right up to the very top of the Polish Jazz scene.
When the legendary Blue Note label signed Aga Zaryan as its recording artist, it was a culmination of the first decade of her career, well earned and truly deserved, as this album proves beyond any reasonable doubt. In retrospect this is a wonderful document, a time capsule preserving magic moments, which are always associated with sublime pleasure, when revisited.
I simply can't imagine anybody could resist Zaryan's charm and talent for long, so give in and grab this crown jewel as soon as you can — satisfaction guaranteed!
Various Artists — Tribute To Komeda Komeda's charisma, mystique, prophetic vision and above all his extraordinary talent as a composer keep his legacy alive generation after generation, with his musical heritage being passed on to the upcoming young Polish Jazz artists, as an integral part of the modern Polish Culture.
In Sinfonietta Per Arch - Vivace - Pianohooligan - Experiment: Penderecki (CD scope of those forty plus years since Komeda's death the Polish Jazz scene produced a plethora of recordings, concerts, festivals and other events dedicated to his memory.
As a result the idea of commemorating Komeda has been overexploited and often even abused by lesser quality attempts, which result in blemishing his memory rather than uphold it. Fortunately this album is definitely not one of those damaging efforts; on the contrary, it offers many new and fascinating discoveries, as well as thrilling interpretations by excellent musicians, which treat the music with respect and obvious admiration.
The album includes ten Album) compositions, performed by several different ensembles: pianist Janusz Olejniczak with Atom String Quartet, bassist Zbigniew Wrombel and his quintet drummer Krzysztof Przybylowicz, trumpeter Maciej Fortuna, pianist Piotr Wrombel, vibraphonist Karol Szymanowski with actor Kamil Mackowiak, the duo of saxophonist Andrzej Olejniczak and pianist Wladyslaw Sendecki, the duo of tuba player Zdzislaw Piernik and synthesizer player Tadeusz Studnik and finally solo piano performances by Lena Ledoff.
Such diverse settings are an ideal vehicle to present the diversity of Komeda's music and the endless possibilities, in which it can me expressed and interpreted. All the performances are truly superb, moving and deeply engaging and pay a fitting homage to Komeda's heritage. My personal preferences are the trumpet pats by Maciej Fortuna, the incomparable piano playing of my friend Wladyslaw Sendecki and the solo piano pieces by Ledoff.
Release Date January 1, Label Universal. Track Listing. Capriccio Per Oboe. Krzysztof Penderecki. Stabat Mater. Sinfonietta Per Archi: Allegro Molto. Sinfonietta Per Archi: Vivace. Sonorist Variation I. Piotr Orzechowski. Sonorist Variation II. Sonorist Variation III. Sonorist Variation IV. Sonorist Variation V.
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