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Polish Jazz: Under The Surface

Polish Jazz: Under The Surface
Ian Patterson By

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The article was originally published in a special English edition of Jazz Forum magazine prepared for Jazzahead!2018.

It was the summer of 2002. A friend had just passed me a copy of Tomasz Stanko's latest CD on ECM—Soul Of Things, and was raving about the young trio backing the legendary trumpeter. In no time, I too was bowled over by the musicianship of Marcin Wasilewski, bassist Sławomir Kurkiewicz and drummer Michał Miśkiewicz—all then in their twenties. The trio—which of course has gone on to international renown in its own right—was a revelation to me, playing with a zest and lyricism that suggested there was a depth to Polish jazz that merited investigation. I wasn't wrong.

It has, however, taken a little digging and maybe that's because, like their American counterparts, Polish jazz youth has for too long played second fiddle to the country's iconic jazz figures, who seemed to hog the international jazz media and monopolize the polls. International promoters still predominantly gravitate towards the heavyweight figures—the marquee names and crowd pleasers. Polish jazz history might weigh just a little too heavily for its own good at times, like great oaks whose canopies stop the light from filtering through to the smaller trees below.

A couple of years later, shortly after being thrilled by Stańko's sparkling quartet in Belfast, I encountered an altogether different band—Rafał Gorzycki's Ecstacy Project. Here was a band whose experimental fusion of contemporary chamber aesthetics with jazz was as brilliant as it was original. I was particularly struck by the group's exhilarating violinist, Łukasz Górewicz, whose personal idiom embraced European folk tradition, chamber music and jazz-fusion to compelling effect. Reviewing Ecstacy Project's Realium (2005), my All About Jazz colleague Michael McCaw opined that if Ecstacy Project "recorded for a label along the lines of Thirsty Ear, rather than a local Polish company, the group would surely garner some worthwhile press attention in the US." It's my feeling too, that much contemporary Polish jazz merits greater international exposure.

Almost a decade later, in 2014, I found myself in Lusławice, a small village in southern Poland, where, in the marvelous surroundings of the Krzysztof Penderecki European Centre for Music, a dozen violinists vied for first prize in the inaugural Zbigniew Seifert International Violin Competition. In an outstanding international field, I was struck by the depth of Polish talent. Górewicz was as bold and experimental as I expected, but new discoveries such as Stanisław Słowiński, Dawid Lubowicz and eventual winner Bartosz Dworak (check out his stunning interpretation of Seifert's "Quo Vadis" on Youtube) all blew me away with their virtuoisty and musicality.

On another day, perhaps, Lubowicz could have won, but picking a winner was not simple—the weight of the task bringing competition judge Mark Feldman to the verge of tears. Lubowicz also plays in that rarest of beasts—a jazz string quartet. Atom String Quartet, which also features Mateusz Smoczynski, Michal Zaborski and Krzysztof Lenczowski, has released a number of first rate recordings, but Seifert (Zbigniew Seifert Foundation, 2017) is arguably the pick of the crop and must surely rank as one of the greatest string recordings—regardless of genre—of modern times. Seifert, you feel, would have been mightily impressed.

Great violinists, however, were not the only discoveries I made at the Zbigniew Seifert International Violin Competition. The backing trio for the violinists consisted of pianist Pawel Kaczmarczyk, double bassist Maciej Adamczak and drummer Patryk Dobosz—outstanding musicians all. Kaczmarczyk, however, with his breathless ingenuity, dazzling improvisations and highly attuned comping, was little short of mesmerizing. Not since I first saw the Esbjörn Svensson Trio, in a municipal theater in Valencia in 2001, had I been so taken by a pianist.

Kaczmarczyk became one of the few Polish jazz artists to sign for a major international label when ACT Music released Complexity in Simplicity in 2009. Whist the ACT marriage was to prove a short one, Kaczmarczyk's most outstanding work has subsequently come on the less high-profile Slovakian label, Hevhetia. Something Personal and Vars & Kaper Deconstruction, both released in 2016, make the case for Kaczmarczyk's Audiofeeling Trio as one of the most exciting jazz trios in Europe. Although Kaczmarczyk has played all over the world, he hasn't as yet attained the recognition of Leszek Mozdzer though I would be most surprised if, in time, his undoubted talent isn't more widely celebrated.



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