Jakub Paulski: Free' Odde

After the genre-slippery trio album Preludium (Jazz Sound, 2020), which drew from Jimi Hendrix, Bill Frisell, Dmitri Shostakovich and Henrik Wieniawski—modernists all—for inspiration, Polish guitarist Jakub Paulski stretches his compositional palette in a more personal direction on Free' odde. In settings that switch between nimble trio intimacy and large (ish) ensemble ambition Paulski leans towards a modern-jazz aesthetic that lies somewhere on the flight path between Charles Mingus and Marius Neset.

On these eight through-composed pieces Paulski orchestrates trumpeter Cyprian Baszyński, tenor saxophonist Mateusz Śliwa and Wojciech Lichtański—who doubles on soprano and alto saxophones—in tight choreography of bold unison colors and deft counterpoint. Their individual voices drop in and out with a regularity that keeps the arrangements fresh and the narratives moving. But this is also music that swings and charges, driven by the organic rhythms of earthy double bassist Tymon Trąbczyński and drummer Maksymilian Olszewski's effervescence. The leader's rock-edged comping brings an additional dimension to his episodic charts.

The casual listener may conclude that this is complex music teetering on the arch. But it does not take too many repeat spins to realize that there is a strong melodic core to these tunes. Recurring heads, motifs and mantras provide clear signposts over the changing musical topography, while consistently melodious solos likewise keep the music on terra firma. Just occasionally, as on "New Minor" and "Italian Sketches Part I," Paulski's pedal effects cast a spacey ambient veil evocative of Frisell's painterly loops. Such atmospheric diversions, however, are rare.

In the main, Paulski is absorbed in directing the delicate dance between little big-band roar and small ensemble agility. That he strikes the balance so well is a tribute to his compositional flare. Marked are the contrasts between tempi and moods on "2 Listopada Part 1" and "2 Listopdad Part 2." The former, a restless slow burner, sees a fine solo from Baszyński over softly lowing horns. The latter, all rhythmic hustle and bustle, features keening tenor saxophone and jagged guitar interjections.

Paulski also does the seemingly simple well, as the clean spare lines of "New Major" underline in some style. Here, the leader stretches out with a solo as fluid as it is tasteful. Fans of Ant Law, Tom Ollendorff and Rob Luft will find much to admire in his—for the most part—melodious approach to his instrument. His more outré forays, as on "Italian Sketches Part 2," where his guitar revs, rips and snarls, is part and parcel of a fluid personal signature that is never predictable.

At over nine minutes each, the brooding anthem "Około Pierwszej" and the steaming guitar-cum-horns burner that is "Sketches from 315"—complete with extended drum solo—close the album in contrasting yet edifying style.

Sophisticated and multi-layered on one hand, visceral and accessible on the other, Free'odde feels like an important step in Paulski's trajectory.