Czarakcziew and the Jazz Cats: A Tribute to Fred Katz

I've always thought that musicians (if they are sincere), draw from the same source. No matter what genre (classical, jazz, rock) they are in, it's the same well. In my book The Seekers—Meetings with Remarkable Musicians, I write a chapter on Fred Katz, my old college professor and more importantly, the cello player in the Chico Hamilton Jazz Quintet. You heard that correctly —a cello in a jazz setting. My young mind was blown by the way Prof Katz integrated a traditionally classical instrument, into a swingin' jazz ensemble.

My mind has been blown again, by Pawel doing the same thing. His trio consists of musicians of the highest caliber. They are extremely tight, which is the key to any ensemble, whether it be a duet or a symphony orchestra. When musical borders like this are crossed, we all experience a healing. What previously seems impossible (red & blue states getting along), when done as well as this recording, one is left with a warm feeling.

Tension is released, and what is music for... anyway? If it brings people together, you can't ask for more. Pawel has done for the cello what Stephane Grappelli did for the violin. Like Fred, he bows and plucks the instrument like a jazz soloist. Vienna goes to New Orleans. It is so refreshing to hear these two genres melded into a third form, I encourage you to check it out!

—John Densmore

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Additional Notes by Paweł Czarakcziew

Ever since I was a child, I've been enchanted by the cello's soulful resonance and intrigued by its untapped possibilities—especially when it steps outside its classical comfort zone. As I grew older, I began to wonder how this instrument might thrive in the world of jazz. That curiosity led me to Fred Katz, the pioneer who brought the cello to center stage in jazz—yet is rarely discussed. The more I learned, the more I realized I'd found someone whose story needed to be told.

My determination to honor Fred's legacy led me on a months-long quest until I found a single comment from his son, Hyman Katz, under a Tony Bennett post featuring Fred. It took three months of waiting before Hyman replied, and that moment changed my life. Through our conversations, I realized there was far more to Fred's story—a wealth of music, memories, and a spirit that still inspires.

Armed with a Fulbright scholarship, I traveled to Los Angeles to immerse myself in Fred's world. Under the mentorship of Josh Kun, who had also studied Fred's legacy, I spent countless days at Hyman's home, going through archival scores, family photos, and personal letters. Each discovery brought Fred closer, turning him from a distant legend into a vivid presence who reshaped my understanding of the cello in jazz.

One day, Hyman showed me his father's cello. I played Granada—Fred's favorite piece—and from that moment on, we became close friends, and our bond turned musical. Hyman, a flutist who once performed with his dad, picked up his instrument for the first time since Fred passed. Together, we revived Fred's spirit in our improvisations.

It was Josh Kun who introduced us to Harlan Steinberger at Hen House Studios in Venice, where a spontaneous session lit the spark of an even bigger dream: to record an entire album dedicated to Fred Katz's music right here in Southern California. That idea solidified when I happened upon the beach in Malibu where Fred once posed for his Fred Katz and His Jammers cover. Standing there, I felt a strong connection—this was where our tribute had to take shape.

Less than a year later, I returned to L.A. with my quartet. We recorded at Hen House Studios, joined by Hyman on flute and Fred's longtime friend, Debbi Ebert, on vocals. A Tribute to Fred Katz is the culmination of that journey—a heartfelt homage to jazz's first true cellist, whose blend of classical technique and jazz freedom still sparks new ideas. In these arrangements, we aim to reflect Fred's warmth and curiosity, inviting listeners to rediscover a remarkable artist whose music remains alive and full of possibility.