Komeda Project: Bringing New Life to a Legend
When Medyna finally did "get it," it was through a process of rediscovery. "At 15 years of age, I put it on the back burner and just moved on. Later on, when jazz fusion was the big thing in Poland, Komeda was still a legendyou had to hear his music no matter what. Even if you didn't understand the music, you were afraid to admit it," Medyna said. "So at that point, I rediscovered it, and this was a sort of an epiphany for me."
In the USA and Europe, Komeda was best known for his film soundtracks, written for movies such as Rosemary's Baby (1968) or The Fearless Vampire Killers (1967), both of which were directed by Roman Polanski. In Poland, Komeda's soundtrack work had started some years earlier, as Winnicki pointed out. "He scored something like 40 movies for Polish directors. He is right up there as a composer of film scores, capturing the mood of a movie."
Komeda died in 1969. Almost 40 years later, Medyna and Winnicki formed the Komeda Project. The group's genesis goes back earlier than this, to the re-activation of Breakwater in 2000 as Electric Breakwater and its subsequent release of In the Bush (J-Bird Records, 2000). Medyna put this work into context: "We were playing in the late '90s around New York City and New Jersey. We played pretty often on the fusion scene, but we were witnessing the sad period when fusion died a natural death. One day, we arrived at the Zanzibar Club in Manhattan to play a gig, and we saw the closed door and yellow police tape. Andrzej called the owner, and he said, 'Oh, I sold the clubit's going to be a Chicago blues place.' So we realized that it made no sense to continue to play fusion, and we started to go acoustic and play Komeda material. At first we were still called Electric Breakwater, but we started to play with an upright bassit was an evolution, not a revolution."
The first lineup under the Komeda Project name arrived in 2004; Crazy Girl was released three years later. The album featured trumpeter Russ Johnson. "We searched for the right trumpet player for a while," Winnicki said. "It was the hardest part of putting the band togetherfinding an American trumpet player who could perform Komeda's music the way we heard it. We were not looking for someone to imitate Stanko by any meansthat's the last thing we would wantbut at the same time, we didn't just want someone who played bebop lines."
According to the press release at the time of Crazy Girl's release, the tunes were chosen because they were the ones that could best be performed at gigs. The situation was actually a little different, as Winnicki explained: "The tracks that were chosen were simply the tunes that we were already playing liveso it's that way round. We were already a gigging band, and so when we went into the studio, we had already played these tunes live. ... Most of the album was recorded at the first studio date; only one or two tracks from the second session were used." Medyna added one other point: "The first thought was to create a demo disc to get gigs. But after we started to record, we decided that it was too good just to use in that way."
The band's second album, Requiem, is, as Medyna put it, "a totally different story." It's a more accessible recording"easier on the ears," is how Winnicki described itwhile Requiem is "a darker sounding album. The music is darker, full of the religious undertones of Komeda's music. The tunes we selected for the second album are sadder: it's a requiem, it's supposed to be that way," he said. "Crazy Girl is more optimistic."