Polish Jazz vol. 43 – Adam Makowicz – Live Embers

★★★★

   In times when piano become fashionable, Polish culture was rebuilding towards creating independent survival forms. Cultural tradition of Poland from first decades of 19th century was strongly connected with piano music. In many cases this instrument was a medium of cultural identity and national pride. Central position in Polish artistic traditions was reserved for Fryderyk Chopin’s piano music, but every next generation had to define itself in context of these traditions. Such attitude can be traced in music composed in next centuries as well as performance artists and style of own pianistic school. Prominent role in politics of early 20th century played Polish virtuoso pianist and composer Ignacy Jan Paderewski. Connected with public affairs and cultural identity pianistic tradition was great part of cultural narration in postwar Poland. No wonder jazz pianists in Poland had always serious basis. Most famous Polish pianist in seventies was Adam Makowicz.
   Adam Makowicz (born Adam Matyszkowicz) is one of most independent artists of contemporary international jazz scene. He was born August 18th 1940 in Hnojnik (Czech Republic) in Polish family and after war he was learning in Musical School in Rybnik, then in Cracow Chopin Conservatory. As a classical pianist he was trying to reconcile his professional playing with passion to jazz he was played in underground clubs of Cracow. Also later as internationally recognized jazz pianist, he sometimes plays romantic music, especially Chopin which is no coincidence for his education and strong connections with Polish culture. His main activity is jazz but he is playing almost all styles and best denomination for his musical genre could be just creative music.

Adam Makowicz – Live Embers (1975)

   In 1962 when Adam Makowicz was 22, together with Tomasz Stańko he started Jazz Darings, first Polish group playing free jazz. One year later band won 1st prize in South Poland Jazz Competition and Adam Makowicz started his career as jazz musician in various ensembles Andrzej Kurylewicz Quartet, Tomasz Stańko Trio, Michał Urbaniak Group and Zbigniew Namysłowski Band, Jan Wróblewski Quartet and his own Adam Makowicz Trio. He was also playing with Urszula Dudziak, Novi Singers and Wojciech Młynarski. In 1974 he started solo career and this was crucial point of his career. Audience and critics were delighted by new pianistic personality comparing him to Art Tatum and Keith Jarret. In February 1975 he recorded his first solo album Live Embers. Two years later, May 9th, 1977 he debuted in New York “The Cookery” and recorded his solo album Adam for CBS. In 1978 he settled in New York.
   Program of Life Embers looks at first sight like promotional album. One can find here the whole tradition of piano jazz, from Scott Joplin do Keith Jarrett, from Art Tatum to Bill Evans. And I must confess, I thought this way when I bought this album almost 40 years ago. This was one of my first jazz record, I was fourteen, so I think I’m justified. Idea of this program is much deeper than demonstration of pianist’s possibilities. The program comprises seven compositions by Adam Makowicz, two ragtimes by Scott Joplin, with famous The Entertainer, and two standards by John Coltrane with Giant Steps. Ragtimes were reharmonized and rearranged, and even if in a mysterious way they are keeping the original feeling, modern harmonics show its deeper sense. Bebop or hard bop passages connected with swinging stride, lyricism of phrases and rhythmic complexity, citations and stylistic references show the idea of reconstructing and reworking jazz past. Somehow this humble album is a forecast for jazz neoclassicism of the eighties. Adam Makowicz founded here some common denominators for virtuosity and creativity, merging knowledge on jazz styles with his own invention. Somehow this humble album is a forecast for jazz neoclassicism of the eighties. Four stars without any hesitation.

Polish Jazz vol. 49 – Laboratorium – Modern Pentathlon

★★★✰

   Cracow group Laboratorium was probably the first Polish band playing jazz rock and experimenting with sounds and forms consequently from its beginning. Laboratorium in Polish means “laboratory” and when band was formed in 1970, it was already common name for projects focused on experimenting with artistic methods and forms. The first and most famous predecessor was Laboratorium Theatre directed by Jerzy Grotowski. Contacts with this alternative theatre and improvised spectacles of Wiesław Hoszowski during concerts were the mark of artist’s aspirations. From the very beginning band was experimenting with sound, leader of the band, Janusz Grzywacz was using prepared piano, singer Marek Stryszowski was experimenting with wide range of vocal sounds. These experiments gave Laboratorium chance to pierce through the establishment of Polish Jazz School and create their own musical language.

   Laboratorium was probably first artistic project breaking domination of earlier generation in Polish jazz. The situation of jazz apprentices in 1970 was difficult. Older musicians debuted in underground, differentiated in late 50’s and 60’s musicians were tightly filling the stage. The first generation of Polish jazz school was rich and well established. In this situation only totally different style was a formula leading to success. In 1971 group debuted at festival in Nowa Huta near Cracow. They were pioneering fusion and jazz-rock music. Next year band won in Wrocław festival second prize, which was opportunity to record their debut album. It was eponymous album Laboratorium published in 1973 by Polish Jazz Society. Three years later in July 1976 Laboratorium recorded their second album Modern Pentatholon (Muza SX 1418).

Polish Jazz vol. 49 – Laboratorium – Modern Pentathlon (1976)

   After first successes next step was professionalization of the band. The lineup and sound had changed. First significant change was hiring two brothers Krzysztof Ścierański playing bass guitar and Paweł Ścierański playing electric guitar. Two guitars made the sound more electric and closer to fusion which was trendy at the time. At the moment of creating album Modern Pentathlon Laboratorium was totally different band. The sound of the group changed also as the effect of massive use of electronic and electric instruments. It was visible in keyboard kit owned by Janusz Grzywacz who was frequently playing Fender Rhodes and Rolland 2000 Synthesizer than traditional piano. The same applies to vocalist and saxophonist Marek Stryszowski who was using numerous sound effects. Drummer Mieczysław Górka was playing more funky than rock. And bass guitarist Krzysztof Ścierański after first album with Laboratorium became a star of new wave of jazz in Poland.
   The original style of Laboratorium was just between what was doing by European progressive and jazz rock groups like Soft Machine and American fusion bands. The creative ideas of Janusz Grzywacz were as far of popular schemes as of rock or classical forms even if basing on composed constructions and discipline. It wasn’t just funky like some American bands as well. Main composition of the album was eponymous Modern Pentathlon, almost 20 minutes long, five part composition of the band. This work shows the scale of artistic ambitions of Laboratorium members. Second side comprises four shorter compositions by Janusz Grzywacz: Funky for Franka, Crazy Shepherd (composed together with Marek Stryszowski), ABZ and Grzymaszka, tasty small demonstrations of band and its leader possibilities. In seventies Laboratorium, along with famous artists of Polish jazz school, was exposure of Polish culture. Playing with successes on few continents band had its position and influenced many musicians. Three and a half star for huge heart to play creative music.

Polish Jazz vol. 45 – Complot of Six

★★★✰

   The first wave of modern jazz in Poland was an effect of fast transition from traditional forms modeled on Dixieland patterns to cool and hard bop harmonics and sound constructions. The generation of musicians born before the war and starting their musical activity in 1950’s has been called Polish school and started great tide of jazz in culture of 1960’s. In the seventies, when most jazzmen in the world explored possibilities of fusion music, many artists were trying to connect still bearing hard bop with funk rhythms and short rock phrases. This direction was expanded by some well known artists as well as youngest Polish musicians. And this was a phenomenon one can call the second wave of Polish jazz school. It was not only the issue of generation adherence, although comprising mainly these musicians born after the war and grown up in admiration to the legends of Polish jazz scene. 

   Wrocław was interesting jazz scene with festival of young talents “Jazz nad Odrą” and many active musicians. With Cracow and Warsaw it was one of three most powerful jazz centers in Poland. In Wrocław atmosphere of creative ferment, ensembles were formed and disappeared, giving place to the next generations of bands. The same musicians played in various groups and artistic projects. One of such groups was Spisek sześciu (Complot of Six), one of most popular fusion bands of mid seventies in Poland. It was established in 1972 and made its debut on Jazz nad Odrą festival in 1973. Band was awarded and took place in Jazz nad Odrą 1974 contest winning 1st prize. The same year 1974 Spisek sześciu played in Prerov (Czechoslovakia) where musicians won gold medal and European Extra Class Band designation.

Polish Jazz vol. 45 – Complot of Six (1975)

   After an instant success the new sextet from Wrocław was invited and played in festivals Jazz Jamboree in Warsaw and famous Spanish festival in San Sebastian. But the top achievement of the group happened to be the only album recorded in Wrocław in March 1975 for Polskie Nagrania. It has been published as volume 45 of Polish Jazz series. Musicians were playing as Spisek sześciu in next editions of Jazz nad Odrą in 1975 and 1976 and many other events. But in 1976 the band broke down and three of them started new jazz-rock group Crash. Composer of whole material was leader Włodzimierz Wiński playing tenor and baritone saxophones. Members of the ensemble were trumpet player Zbigniew Czwojda, trombonist Leszek Paszko, pianist Bogusław Razik, bass guitarist Andrzej Pluszcz and drummer Adam Bielawski.
   Program of the album is eclectic choice of jazz-rock and fusion jazz pieces. Improvised fragments are closer in some parts to rock solos than to jazz. First side is one wide expanded cyclic composition Visions which comprises three episodes constructed as a suite. Set in trendy directions between free jazz and progressive rock, this almost 20 minutes composition was primarily planned as title piece of the whole album. Maybe its title Visions was worn out too much and title of the album has left eponymous. Second side program are three compositions in clear jazz style, basically consisting of themes and improvised choruses. These compositions are Amorphous, With Salt and Pepper and Epitaphium. The sextet played presumably on traditional instruments, only exceptions were bass guitar, sometimes playing with expressive distortion and Fender electric piano. Yet its sound was very far from acoustic jazz. This is very interesting album full of fresh ideas and very good trumpet improvisations. Three and a half on the five stars scale for good position in history of Polish progressive music.

Polish Jazz vol. 74 – Namyslowski The Q – Open

   A famous Polish saxophonist, Zbigniew Namysłowski is one of most prolific artists of Polish school of modern jazz. He is active since late fifties and with every decade he was evolving through trends while retaining his individual style. In the era of vinyl records he was also one of most featured artists in Polish Jazz series. As many of Polish school founding fathers he was professionally educated in classical music as multi instrumentalist, arranger and composer. Before he chose alto saxophone, he was playing cello and piano in Academy and trombone in traditional jazz bands.
   After his debut in 1957 during Sopot International Jazz Festival, he almost instantly became one of leading artists in Poland, with his group Jazz Rockers which he was recording life during Jazz Jamboree festival in 1961. Later he was leader of The Wreckers. In both bands he was playing with Michał Urbaniak, then playing tenor saxophone. With The Wreckers he was touring in US and played at Newport Jazz Festival in 1962. In 1964 Zbigniew Namysłowski with his own quartet recorded for Decca album Lola and it was probably first international success of Polish jazz musicians.

Namyslowski The Q – Open (1987)

   Zbigniew Namysłowski was present on Polish Jazz recordings from the very beginning of the series. First volume of Warsaw Stompers presented four songs in his arrangements. On fifth volume Astigmatic he was playing with Krzysztof Komeda Quintet – he was listed as Zbyszek Namysłowski (he was 26 years old). Sixth volume of the series was self titled record of Zbigniew Namysłowski Quartet opening series of the most significant albums in the history Polish jazz. Next records were Winobranie (vol. 33), Kujaviak Goes Funky (vol. 46) and signed by Namysłowski The Q one of last albums in the series Open (vol. 74). In fact each of these albums requires a more attention and a separate article as every record is document of artist development.
   Album Open shows a reaction against exhaustion of jazz in the eighties. Saxophonist is convincing the best answer to an uncertain situation of jazz music could be turning back to seventies and using some past ideas in new context. In 1987 jazz was still highly priced in Poland, even if as a genre it was more and more marginalized. Many jazz musicians had moved to popular music, playing soft jazz or becoming arrangers and sidemen in dance recordings. Thus there are some references to the easy listening, but Zbigniew Namysłowski made Open another strong expression of his believe in folk music. His solos in Cuban Tango Mohito and Rachitis March are once again clear examples of artist’s post-bop and post-fusion improvisations.

Polish Jazz vol. 1 – Warsaw Stompers

   Jazz was alive in Poland a long time before the war. But the real history of Polish jazz had to begin in 1956. In the period of most intense communistic regime, jazz was underground music. And when in 1956, in time of political relaxation called the “Polish October” or “Polish thaw” it has changed, jazz had resonated like it was always ready. Although it was only temporary liberalization of political life in Poland, this was enough for jazz to come out of hiding. And jazz blossomed with new force, appearing first in the dance music, than simultaneously in traditional Dixieland style and in modern and cool jazz arrangements. Jazz concerts, festivals, records and magazines became common part of Polish culture.
   The traditional swing or even Dixieland bands were not only the first wave of official jazz but traditional or revival jazz, quite the same as in other communistic countries, remained solid part of Polish jazz scene in next decades. In modern jazz there was too much pessimism and traditional sounded sometimes just happy. New Orleans Stompers later known as Warsaw Stompers is the band playing with various lineups and achieving considerable popularity during first decade of official jazz life in Poland after the Polish October. This band was one of workshops where apprenticed future stars of Polish jazz, Henryk Majewski, Włodzimierz Gulgowski and many others.

Polish Jazz vol. 1 – Warsaw Stompers (1965)

   After 1956 Polskie Nagrania had begun to publish first jazz records. Some of them were groundbreaking, but most were just popular songs. Many were pure dance SP and EP records, just as some bands were working in ball rooms. Collecting some recordings from previous sessions of New Orleans Stompers and Warsaw Stompers, considering popularity of the band, in 1965 state culture authorities decided to publish album of this band. This was the moment Polskie Nagrania started the series of LPs under the heading Polish Jazz. And the album of Warsaw Stompers was the volume number one. What is sometimes misplaced as the record title – New Orleans Stompers – was in fact the prior name of the band. This was common practice with first volumes of Polish Jazz series, the names of the bands were used as the titles of most albums. Just like it were the onetime presentations organized as a kind of a documentary. Strong elements of this presentation were Polish songs opening B Side of the album, what was creative and politically correct gesture.

Warsaw Stompers – Ej przeleciał ptaszek (1965)

   There were more attributes clearly indicating the Warsaw Stompers’ production was regarded as an archive presentation. Most of the tracks were placed in chronological order as documenting consecutive recording sessions. The selection comprises choice of half decade, from two ragtimes by Wojciech Kacperski recorded April 10th 1959, to last four pieces recorded August 11th and 12th 1964. Most of material was recorded in 1963 when the style of the band was stable and group has been well recognized by public in Poland, acclaimed by critics and accepted by authorities.
   The choice of Warsaw Stompers is 16 songs filling the volume 1 of Polish Jazz series with heterogeneous content. This is the album of different tendencies and ideas, collected over the years. Older compositions are rawer in style and in performance, and newer recordings are played with heart and more swinging. Solos are more pronounced, expression is clear and humor less specific. Four songs arranged by Zbigniew Namysłowski and Henryk Majewski opening B Side of this record are probably the first successful attempt of creating a genuine Polish jazz tradition. One is based on folk tunes of Polish mountaineers and three of them are popular songs of Polish composers – Stanisław Moniuszko, Tadeusz Sygietyński i Stanisław Hadyna. This became the idée fixe for Zbigniew Namysłowski, alto saxophonist who in modern recordings was always looking for connections with native musical traditions. His later recordings in Polish Jazz series have become a confirmation of the trend.

Polish Jazz Archive Series vol. 3 – From “Improvising Jazz” Series

   Three years after war has ended, despite all the hope and many efforts for recovering the cultural and social life, political situation in Poland occured increasingly worse. In 1949 communist governance immersed the country into new regime. Five next years Poland was enveloped by ideological oppression and Orwellian doublethink. Communistic government tried to make all forms of culture a subordinate of propaganda, but such idea was never enough enduring and its realization was clearly incomplete. It is worth to remember, every decade after the war Poland was the scene of social protests and anti-system rebellion. And this radical Poland was still the country retaining more freedom than any other in “Soviet bloc”. One of very first signs of change, even before the amnesty for political prisoners, was revival of jazz as most characteristic element of American culture.
   Jazz has always been associated with freedom. No wonder this was the first element of American culture accessible for wide public. In the radio and public concerts jazz and blues were presented under the guise of being protest songs as the proof of injustice of Western democracy. After the death of Stalin in 1953 political oppression was gradually diminished. In 1954 jazz was coming out of underground and in 1956 started to operate two official and in future important international festivals – Jazz Jamboree (first two years in Sopot and from 1958 in Warsaw) and dedicated for avant-garde music Warsaw Autumn. This gave artists and listeners a chance of recognizing and observing genres of music that earlier were not acceptable from the positions of party ideologists and official propaganda.

Polish Jazz vol. 3 – From “Improvising Jazz” Series (1976)

   In November 16, 1955 label Polskie Nagrania recorded some portions of Melomani concert in Warsaw Philharmonic Hall. It was the first group in Polish jazz officially published on records. These recordings were republished in forthcoming years on many popular editions. Melomani was the group playing underground whole period of Stalinization in Polish culture to the moment jazz became accepted genre of popular music. In early years, playing jazz and dance music were complementary activities and many musicians were merging these experiences, what was interresting process anyway. Unlike popular dance bands, music made by Melomani was intended just for listening. And generally this kind of improvising music was new in Poland. Music of Melomani indicates some ties with dancing music background but ambitions of the group were substantially above the level of many groups playing popular music.
   Records were pressed with a half-year delay. And 1956 was the moment of serious changes in Poland life and culture. With these Melomani life recordings Polskie Nagrania began publishing the series called “Improvising Jazz” which few years later has been transformed into Polish Jazz series. And twenty years later, in 1975, Polskie Nagrania Muza begin to publish archive series of Polish jazz recordings. Volume three of the series comprise beginnings of this series and selected recordings of five groups. First are legendary recordings of Melomani group with Jerzy “Duduś” Matuszkiewicz on clarinet, Witold Sobociński on trombone, Andrzej Trzaskowski on piano and famous jazz singer Carmen Moreno. Closely in style are Józef Mazurkiewicz Ensemble and Polish-Czech group Stefan Buga Ensemble with vocal duo Gustav Wicherek and Jerzy Kunicki singing Oh, Bop Sh’Bam Be Bop by Gillespie. Their rendition clearly shows strong connection of early jazz was musical jokes and dancing. This volume comprise also recordings of two groups well recognized in fifties, both lead by tenor saxophone players: Jan Walasek Jazz Ensemble and Władysław Kowalczyk Quartet.

Polish Jazz Archive Series vol. 1 – Post-War Dance Bands

   In after war East Europe jazz music blossomed for a while and then it was roughly repressed. In the beginnings of Cold War era, jazz as any other form of American culture was just banned. And as many other forms of independent culture, jazz artists were trying to survive in underground. In the background it was political issue. Every kind of information showing USA as a land of freedom and civil rights was considered to be politically dangerous. Of course not for communistic establishment, as Stalin was spending many nights watching American movies, the same were doing many of his brothers in arms in East European capitals.
   While modern jazz was absolutely absent in official music of early fifties, some more traditional jazz themes were playing by musicians in dancing clubs. Many musicians continued their pre-war activity; some had to work for money in orchestras and smaller groups, where jazz was not loudly promoted but still existing – especially after the hours. De-Stalinization meant the end of banishment for many genres of concert and popular music as well as for huge portions of literature, art and movies. In late fifties jazz began the process of slow developing the position of artistic music.

Polish Jazz vol. 1 – Post-War Dance Bands (1975)

   It’s interesting the first few years after the war communistic regime was not enough strong and in many areas people were continuing their pre-war activities. In the years 1946 to 1948 many recordings of dance orchestras were published and some of them were in the swing style. To bring listeners back this forgotten chapter of the underground jazz, Polish label Polskie Nagrania started in 1975 publishing Polish Jazz Archive Series. In 1975 and 1976 appeared only four volumes. Maybe it’s not great number considering dozens of records in similar series in West European countries, but it’s still impressive how wide in war-devastated and regime-frozen Poland jazz stream was. Every volume of this series has its features and qualities. First has very special meaning because it preserves the sound of first after war swing bands.
   These oldest sound samples come from Jerzy Harald Band recorded 1946 in Cracow and Charles Bovery Jazz Orchestra recorded next year in Poznań. With Jerzy Harald Band Organ Grinder’s Swing sings Kazimiera Kaliszewska – very rare and early jazz vocal recording in Poland. Main parts of the selection are seven different tunes from 1948. This was the moment of great expectations and increasing activity in different areas. Jazz has the moment of short rising. For this album redactors choose well known vocal ensemble Czejand’s Choir, almost forgotten Kazimierz Obrębski Jazz Orchestra, Mieczysław Janicz Jazz Ensemble, Skowroński and Górkiewicz Jazz Ensemble and probably the best band Łopatowscy Bros. Jazz Orchestra with three standards in well sounding swing arrangement – In the Mood, Caravan and Chattanooga Choo Choo – fancy arrangements in Glenn Miller’s style, rhythmic discipline and rich sound are the qualities no communist mass culture was able to resist.
   Last three pieces come from the period 1954-1956 when Polish jazz bands returned to concert halls – Jan Cajmer Orchestra a famous big-band of Polish Radio recorded life in sporting hall concert and two recordings from Warsaw National Philharmonic Hall – Charles Bovery Jazz Orchestra playing Creole Love Call and The Blue Jazz National Music Ensemble with Józef Grabarski playing Trumpet Rhapsody. This was historical moment anyway. Jazz in National Philharmonic, played as professional music was quite a satisfaction for musicians and the audience.