Nu Ensemble at 8th Krakow Jazz Autumn - day II (09.10)

The second chapter of the five-days marathon with Nu Ensemble showed yet another faces (masks?) of modern improvisatoin.

The evening begins with the polish representation: Dominik Strycharski and Rafal Mazur duo, both names familiar to the followers of the local and national free improv scene. Characteristic sound of Rafal's acoustic bass guitar fills low registers with a magmatic and dense flow. Dominik Strycharski plays on the stage a variety of wooden flutes and brings forward sound that combines emotional characteristic of human voice, and trance echoes of tribal ethno. The circling lines expose both contrast and consonance of the two instruments, with the extremes being the most effective – with high register whistles, piccolo flute and eerie suspended sounds of the bowed strings on one end and heavy stomps of the bass flute and blurried bass lines on the other. A worthy presentation of how vibrant the polish scene is, though it felt to me that both the audience and the musicians needed a warm – up, the further they went, the better was the chemistry.

Joe McPhee

The second set once again is divided into solo + duo + solo fragments. Joe McPhee begins his

performance with the pocket trumpet in hand, creating an quasi-electronic musical landscape filled with breath, whisper and hushing sounds. Once he switches to tenor sax all his maestry and richness of the experiences of life and art is in full evidence. His playing is profoundly emotional and the feeling is palpable. Within not even half hour Joe Mcphee tells with his own sounds the story of american black music. You'll hear echoes of Mississippi, Harlem, Broadway, New Orlean. You'll hear the longing for freedom hidden in the old negro spirituals songs, soulfull tone, haunting melodies cut by an ayleresque scream, the whole history of jazz sax. A true professor.

Jon Rune Strom and Ingebrigt Haker-Flaten

The second performance in this part of the evening is Ingebrigt Haker-Flaten and Jon Rune Strom duo so it's a double double bass heavyweight match. Those two to do not joke around. They have no mercy for their instruments. The strings are being struck, torn, bent, pulled, plucked, bowed, scratched with gypsy-like passion and gusto. The intensity is overthrilling so they cool down a few times, take a very short breath and began another furious crescendo with the ferocious light-speed high tones bowing being the most impressive one. Downright brutal and damn impressive.

The last one in the set to step on stage is Christer Bothen with the bass clarinet. His musical narration is poetic, subtle, minimalistic and all the musical action would happen somewhere hidden, under, behind, beside the note – within the whisper, the natural rhythm of inhale-exhale – with all the long sustained sounds and circular phrases disapperaing one into other, echoing in space. Music dense and mysterious as misty fog above the water, an hour before the dawn, sounds coming from unknown close or distand sources, some of it merely immagined.

Mats Gustafsson, Augusti Fernandez, Peter Evans

Third set brings on stage the trio EFG – Peter Evans, Augusti Fernandez and Mats Gustafsson. This is music of liberated sounds, freely placed into the space and time, found in the archives of the lost and found sounds. Sounds scary abstract and highly intellectual right? Fortunately Gustafsson's eloquence (and it count for the other two as well) never stops him from acting like a mischievous villain on stage. EFG is hellishly abstract but also bursting with energy, spontanous combusionts and musical chain reactions.

Augusti Fernandez stays throughout under the piano panel, creating a horror soundtrack, Gustafsson sax and the other thing (kind of a slide, metal flute?!) screams, kicks and punch while Peter Evans kinda mimicks Donald Duck with his trumpet. No matter what, the class of the musicians, their understanding of the musical direction, dramaturgy of narration makes so that they not only create the chaos but then thay master it as riders of the Apocalypse. The instruments are not there to play notes, notes are of secondary importance. There are only sounds.

More pictures by Krzysztof Penarski available on the photofreejazzblog

Set I

Dominik Strycharski - wooden flues; Rafal Mazur - acoustic bass guitar

Set II

Joe McPhee - tenor saxophone, pocket trumpet

Jon Rune Strom, Ingebright Haker-Flaten - double bass

Christer Bothen - bass clarinet

Set III

EFG

Peter Evans - trumpet, pocket trumpet; Augusti Fernandez - piano, objects; Mats Gustafsson - saxophones

Nu Ensemble week at Krakow Autumn Jazz. Alchemia. 09.10.2013

Interview with Rafal Mazur. Chapter 04

Here's the last fragment of the long conversation with Rafal Mazur, a furthermore insight into personal philosophy and conception of improvisation. 

I'd like to say thanks to Rafal for the time and thougts he decided to share.
(in this as well as in previous chapters you can find linked some of the net-labels releases which mean you can legally and for free download some of Rafal Mazur's music)

I’m trying to find the method free improvisation,  having a method means knowing what conditions are necessary that so it would be a conscious activity, which means one can practice it and selfi-improve through practice. Improvisation should be casual or accidental. It can’t a resultant of mood, weather, emotional state and son. I’m talking about the whole process, to begin with the ability to listen, through the reactive mindset and instrumental agility included. I’ve this idea to make a group that would be a sort of workshop, a laboratory of improvisation. I think improvising is a skill, and as such it can be perfected.

I’m talking with many musicians about this and there’s a very positive feedback. I’d like to be able to practice improvisation so it would go to a „higher level”. I’d like to strip it from this mysterious and magical „aura” a bit.    

Interviw with Rafal Mazur. Chapter 03

I hope you have already read the first two chapters of the interview in which Rafal tells the story of his musical roots. With the third chapter we reach a part of our conversations in which Rafal explains the essence of his views on the art of improvisations:

(you often define improvisation as an action rather than musical performance, can you elaborate on that?)

Improvisation is not exclusive feature of a musical activity. You can improvise in any field of life. It is a model, a way, a strategy of action. For improvisaition to take place some requirements have to be met that are not acoustic-related, that are not "musical". Learning how to improvise does not happen through learning sounds. Those are merely the effect  of using the method of improvisation. But this method, and its requirements are equally valid for a dancer, poet, painter, musician or anybode else. Such a requirement is the ability to perceive the reality and react to it. If’d have to describe the improvisation I’d say it’s the art of a deep insight into what’s happening and quick reaction.

Ensemble 56 - 1st Meeting : Towards Sky Flight of Dragon

My personal inspirations for this methodical and theoritical approach towards the improvisation are rooted in philosophy of Far East, european tradition of thinking does not provide tools adapt to theoretise and perfect this kind of activity. According to our culture, improvisation is always connected to inspiration, it’s an effect divine intervention. You’re taken by a "furor poeticus" and you don’t really know what’s happening with you. It’d be hard to perfect e method of taking the advantage of divine intervention, men have rather little saying in this field.

Interview with Rafal Mazur. Chapter 02

Some sparks filled the air the other night as Rafal Mazur played with Marco Eneidi, hope you won't miss the next chance to see any of the two on stage.

Rafal Mazur already told us how he became a passionate heavy metal fan (chapter 1 of the story to be found here), now's time to tell how he became interested in improvised music.

polish readers can find the entire interview published on jazzarium.pl

How did you became interested in improvisation?

Aside from being heavy metal fan I was always, and still am, a keen reader. I devour with passion all kinds of books, I love written world. And so in my father’s library I found this book „Everything about jazz” by Joachim Berendt, I’d read without any particular interest till I got to a mini-chapter dedicated to improvisation. I read that jazzmen do this thing so each time they play a tune, they play something different. It was phrased somehow poetically - what a jazzman plays on stage is influenced for example by the audience, so if there were any beautifull ladies in the front row, he might play differently then with someone else sitting there.

I couldn’ really immagine what it was about. In the music school, it’s different, you learn the composition by heart,  and you play it as your teachers tell you to, they’ll show you what is the „right” interpretation. As for rock music, the thing is equally clear, any improvisation element is circumstantial, you’re supposed to play the song on stage as it was recorded on the disc. That’s how the recodring is structured as well, mutlitrack separtely registered, this is all hard studio work, which you try to immitate during the concert., because that’s what people who boutght the cd want to hear. And suddenly I found out that there are people who do something else, it moved my immagination, because somehow I had known before that music can’t be boring like these – that you always play the same thing. And ever since I’m interested in the art of improvisation. 

Interview with Rafal Mazur. Chapter 01.

Rafal Mazur is one of the most active improvisers on Krakow scene has been mentioned many times on this blog. His involvement with improvising scene is now far beyond local interest as he works regularly such musicians like Mikolaj Trzaska, Artur Majewski, Raymond Strid, Keir Neuringer, Liudas Mockunas and many more.

As I had a long conversation with Rafal, and we talked about improvisation, recent records, history, beer, heavy metal and many more, there were two main themes that emerged.

Firstly, Rafal's personal story as a musician, from the very beggining. An personal account that gives also an intriguing perspective on the beginnings of Krakow and polish improvising scene.

Secondly, Rafal talked a lot about his views about the improvisation itself, its methods and goals and those reflections formed naturally an essay about the nature of this art which I find really inspiring.

As the volume of the text is substantial, the interview will be divided in more chapters which will presented on the blog seperately. I hope you'll enjoy the read.

I took also this opportunity to invite you once again, on Rafal's behalf, to participate in the upcoming concerts with Marco Eneidi. 20.03 in Krakow at Literki. 21.03 in Sopot at Lalala (with Jerzy Mazzoll on clarinets; btw, isn't that a most brilliant name for a restaurant/hotel?).

(photos are by Krzysztof Penarski)

Początek to jest sytuacja jasna. Okoliczności były takie, że trudno jest je zapomnieć, a zaczeło się to  prosto – mój ojciec był muzykiem. Nie zawodowym,  ale takim grającym wiele, był jednym z pierwszych muzyków, którzy grali w Krakowie jazz, raczej w kierunku muzyki rozrywkowej,   tanecznej, grając często akompaniament dla wokalistek śpiewających jakieś tam polskie piosenki. Mnie to mało interesowało, ale muzyki było dużo w domu. Mieliśmy oczywiście adapter i całą kolekcję płyt. Muzyki więc było dużo chociażby ze względu na to, że ojciec w jednym z tych zespołów mój ojciec poznał moją mamę, która śpiewała.

Moja przygoda z muzyką zaczęła się jednak dzięki komuś innemu, matka mojego ojca czyli moja babka pewnego dnia przyszła po mnie, wzięła mnie ze szkoły przed zakończeniem lekcji i pojechaliśmy na przesłuchanie do szkoły muzycznej do centrum, mieszkałem wtedy na os. Widok w Bronowicach. Nie wiedziałem co się dzieje, nie wiedziałem gdzie jadę. Wszedłem do pokoju gdzie jakaś pani grała coś na fortepianie, ja coś odpowiadałem. Efekt był taki, że trzeba było wybrać instrument. No i ja też nie miałem właściwie w tym udziału, bo to było dla mnie pytanie zupełnie abstrakcyjne. To była pierwsza klasa szkoły podstawowej. Nie potrafiłbym nawet jakoś sensownie wymienić instrumentów. No i  wybrano za mnie wiolonczelę, która siedziała mi na karku aż ukończyłem 19sty rok życia. Musiałem chodzić do tej szkoły i grać na tej wiolonczeli.

As for the begining, the situation was very simple – the circumstances in which I were introduced to music  would be hard to forget:  my father was a musician. Not a professional one,  but he was one of the first in Krakow to play jazz, more on the entertainement side,  ballrooms music, accompanying vocalists singing some slightly jazzed up polish songs. I wasn’t really interested, but there was lots of music at home, we had a lp player and quite big record collection. My mom would sing in one of those groups and that’s how my father met her.

Keir Neruinger & Rafał Mazur - invitation to Literki, tonight at 8PM

I'd like to pass Rafal Mazur's invitation to the concerts with Keir Neuringer. I've written about the duo on the occasion of a concert at Bomba some time ago. The duo's cd "Unison Lines" comes equally highly recommended.

The concert at Literki is and additional event to the Krakow Autumn Jazz program as well as part of the new and very much-welcomed series dedicated to improvised music Improwizje that will take place at the club.

As such it starts also an international tour by the duo.  Here are the next dates, be sure to see the concert if you're nearby:

Unison Lines European Tour 2012

15.11. - Kraków, klub Literki http://www.barliterki.pl/
19.11 – Warszawa, „Pardon, to tu” http://www.pardontotu.pl/
20.11 – Poznań, Dragon http://www.dragon.krzyk.pl/
21.11 – Gdańsk, Teatr w Oknie www.teatrszekspirowski.pl/
22.11 – Berlin, Sowieso http://www.sowieso-neukoelln.de/#home
23.11 – Leipzig, Galerie KUB http://galeriekub.de/
25.11 – Paris, La galerie G http://lartaugarage.over-blog.com/
27.11 – Brussels, Cafe Central www.lecafecentral.com/
28.11 – Amsterdam, OT 301 www.ot301.nl
29.11 – Geneve, Insubordinations series, le Cabinet http://www.insubordinations.net/agenda.html
01.12 – Wien, Porgy&Bess www.porgy.at

The tour is possible thanks to a funding received by the

Mikolaj Trzaska, Rafal Mazur, Mark Sanders at Klub Bomba (24.02)

Mikolaj Trzaska, Mark Sanders

Last year's concert by Trzaska / Brice / Sanders trio called Ha Tichona (which is hebrew for inner ear) was one of the most exciting events I have attended. The trio toured briefly last week in Poland but for the last concert in Krakow Rafal Mazur filled the bass spot.

Such a meeting couldn't prove nothing short of utterly exciting. Even as I had high hopes the band still amazed with the its power, syncronicity, adventurous mindset, intensity level. They played one long set filled with true musical fire. Breaking storm, tornado, magmatic amalgam of sound and space. Fury of immagination. There were moments of patient silences, resounding gongs, and whispers, but most of the time this was a blow out, intense and fiery. Fire music. Fantastic.

Couple of years back I have seen Mikolaj with Mark and Peter Fris Nielsen, after the last year concert with Olie Brice I remember Rafal Mazur (in the audience) saying he would want to play with such drummer. And he got his wish granted, my wish is that the three get to meet and play again.

Rafal Mazur

photos by Krzysztof Penarski


Mikolaj Trzaska - alto saxophone, bass clarinet
Rafal Mazur - acoustic bass guitar
Mark Sanders - drums

Klub Bomba. Krakow. 24.02.2012

Rafal Mazur / Liudas Mockunas / Raymond Strid at Alchemia (20.10)

Liudas Mockunas

Fun fact : had the idea to start this blog came one day earlier the very first (or the very second) would be about a concert those three guys played close to a year ago at Solvay (modern art centre in Kraków). 

Raymond Strid is probably best known out of tree, his trio with Barry Guy and Mats Gustafsson has been one of the most respected unit in the free music for quite a long time. Rafal Mazur (one of the most written about musicians on this blog) is well known to Krakow audience, our guy on the stage. Liudas Mockunas (while faithfull readers might remember this review) was probably the least known (to the audience) member of the band but from now on he will be well remembered.

Rafal Mazur / Marek Pospieszalski / Qba Janicki at Alchemia (22.06)

I praised all three members of this trio on numerous occasions. Yesterday's concert is yet another occasion to do that so here it goes:

I never can really tell what makes the free improvised music performance successfull. There's so many variables, so many factors, so many elements to be balanced. If writing about any kind of music is difficult, it is even more so in a case of music performance that comes from willing to escape any kind of musical barriers, stylistic norms and confines.

With fragile textures woven in the air (ostinato walks on the bass, melodic clouds of percussion sounds, circular labirynths of lines on the saxophone) or heavy and slow drones. Hard and edgy or soft and barely audibly. This music escapes any kind of generalisation, any kind of catchy 'one-line' summary. 

I always admired Janicki's killer punk-rock instincts but he shows himself to be not only a very versatile drummer but also a creative geek, using a laptop and some kind of touchpad device to create drones, loops, process the live sound. Sometimes he adds a completely different sound (piano clusters, thumb piano, gongs), sometimes his loops add a rhythmic structure, otherwise they provide meditative background. With Qba Janicki splitting in half his duties between the laptop and the drums set the group shifts swiftly through  the series of close interactions, to the point in which is hard to say that the electronic transformations are just the bridging interludes and they become equally important part of the performance.

Marek Pospieszalski is a very promising saxophone player, his sound indebted to Coltrane, but also influenced by Evan Parker, very keen to use extended techniques (especially agile with the circular breathing technique) creating myriads of sounds, intervowen lines, following the partners closely. I look forward to see him develop more personal attitude towards the instrument, maybe take also more commanding lead on the stage, not only to follow graciously, but to push the others out of their comfort zone. Nonetheless it's a pleasure to see him playing and I expect a lot more coming our way from this young player soon.

Rafal Mazur, due to his busy schedule in Krakow, is probably the most popular musician on this blog. Wise Man among the youngsters, never pushing himself to the front, rather trying to push his partners into the new regions (be it with a heavy walking line, delay effects, or bowing the strings to create a resonating sound that slowly dies in the air).

Focused performance, bringing the listeners into an outer space - not only because of some humorous sci-fi or game-boy sounds coming from the laptop - but rather becuase of the ethereal quality of the music, that bends the space and makes the time go in circles instead of a straight line. In fact a illusive repetition helps this group control the flow in a natural and semless way. The spontaneous creation was being enjoyed to the point that the musicians got lost near the end, not sure how (not wanting?) to end the track - possibly the only moment where they wandered to far and crossed the line between transcendent and monotonous (but it all ends well with a nice drumrolling crescendo).

I'm trying hard here with all this writing above to disprove the initial point of being there no sense in writing about freely improvised music. Not sure which way it went, all I know, and I recommend this solution to you with all the might of my hear and mind - there's all sense in seeing performances like this live. If those guys are playing near you - make sure to be there. If they're not, maybe they're others who do. Improvised music is always best served live.

photos by Krzysztof Penarski

Rafal Mazur - acoustic bass guitar
Marek Pospieszalski - tenor saxophone
Qba Janicki - drums, electronics

Alchemia. Krakow. 22.06.2011

Ensemble 56 at Harris (21.05)

by Krzysztof Penarski

It was supposed to be tha last day before the end of the Universe, but if you are reading this I guess the Apocalypse didn't happen. 

Ensemble 56 trio had a long run with Attilla Dora (great cd for Not Two "1st Year of the Dragon") but now the sax spot is a loose one and different musicians are playing with the core of Rafal Mazur (acoustic bass guitar) and Mieczyslaw Gorka (drums). Marek Stryszowski (who used to play with Gorka in the Laboratorium -  polish fusion band, in the 70s) was to fill the spot on this particular evening (just 2nd concert with the group) and I had mixed feelings about this. The particular synergy this group had (oversimplyfying the description for the sake of argument) was the three-directional tension between the band's members - with Gorka's fusion experience showing up in the tendency for solid and stable rock grooves or at least accents every once in a while, with Mazur's dense and dark style, with Dora's inclination towards sonorus experimentation and minimalism. With the change on saxophone spot the risk of loosing this equilibrium was great, but in improvised music new is also chance for something spontaneous and surprising so I was still curious about this performance.

The first set was really great. Marek Styszowski, while his playing is rooted in post-bop language, can be very expressive, and reach over the standard scale with some overblown shrieks on the alto saxophone - energetic and powerfull. Rhythmic intervallic jumps or the circling, swift lines - there's a nice narrations to his solos and enough variety to keep a listener on his toes. He also plays flute (some overtones) - creating an ethnic aura which is complemented well by Mieczyslaw Gorka percussion and toy-objects subtle play. And he sings (wordless vocalisations, flamenco-like cries, shrieks) which is definitely a new element to this group's sound and is a good surprise.

by Krzysztof Penarski

The second set however, an exception to general rule ('the 2nd set is always better') was quite dissapointing. It started with a forgettable EWI solo - both the sound and dynamic flatness and inexpressivity (and retro-fusion sound) of this instrument leave me totally indifferent. The choir harmonizer effect seems a bit too much in my oppinion either (I can enjoy Weather Report but those kinds of sounds are simply old and cliche now). It's not all bad as there was another engaging vocal improvisation and a passionate sax solo. Also a fun and funky-groove piece which, while bit too obvious, was also hard to resist to be enjoyed. The "Ultimate" final track is a peacefull and gentle ballad on soprano, with, fortunately, subtle and colourfull support by the rhythm section keeping it from getting (God forbid) too smooth or new-age.

I might have put too much focus on the Marek Stryszowski here, but since he was the new element in the group (and he plays the leading instrument) he had a crucial impact on the general outcome of the evening. Plus I had many occasions to write about both Rafal and Mieczyslaw recently so let me just add to that the chemistry they developed is a pleasure to watch and listen to. 

While not entirely successfull it still was a solid gig (especially the first half of it). I hope Ensemble 56 will continue its journey.

Ensemble 56

Marek Stryszowski - alto sax, soprano sax, EWI, flute, alto flute, vocal, percussion

Rafal Mazur - acoustic bass guitar

Mieczyslaw Gorka - drums, percussion

Harriss Piano Jazz Bar. Krakow. 21.05.2011

Rafal Mazur & D'Incise Electro-Acoustic Quintet at Alchemia (08.05)

by Krzysztof Penarski

Among the late occasions to see Rafal Mazur's activity on Krakow's improvisation scene this was the most unusual combining both the electro and acoustic side of improvisation as three different nations on the stage.

Actually the musicians played in the middle of the room, surrounded by the audience, with speakers situated on all for corners of the room making for quite unique sound scene experience (unique for a concert as the 'sourround sound' is now something quite obvious in a home cinema). 

In such events what excites me the most is quite frankly not the music itself but the possibility to see the laptop whizz produce sounds in a way that escape my cognitive capabilities. Ludger would use some kind of touchpad, and he started with magnifying the air-conditioning noise in the room. D'incise, apart from using the laptop would also bow small gongs, use the wooden table, metal plates and other objects. Jonas Kocher's playing was pretty minimalistic, as he would create dark and brooding backgrounds on the accordion. Rafal would keep the touch of the strings lighter and more abstract than usual, utilizing bow quite often, plucking gently, playing the bass guitar like a cello (which was his primarily instrument). The music was quite minimalistic, dreamy-like, somehow hypnotic, exploring different textures. Tomek Choloniewski did a good job of stirring the proceedings every now and then with a sudden cry or thundering drumroll.

Definitely and intriguing performance although with this kind of music-creation it's really different to give any kind of quality evaluation as this music kind of comes firectly from the strenght of the individuals playing, but then gets zen, looses the sense of individuality, becomes this kind of formless, shapeless energy cloud. Which can be as much disturbing as relaxing experience, or a mix of both sometimes.

D'incise - electronics, sound objects
Jonas Kocher - accordion
Ludger Henning - electronics
Tomek Chołoniewski - drums, percussion
Rafal Mazur - acoustic bass guitar


Alchemia. Krakow. 08.05.2011

Keir Neuringer & Rafal Mazur - Jazz at Bomba vol. 3 (28.04)

Jazz at Klub Bomba series continues. 

I've expressed my appreciation of Rafal Mazur's playing a couple of times lately (as he has played in Bomba on the occasion of both previous concerts) so let me just say that he was his usual great - deep sound, blurried lines, focused and attentively listening, never forcing himself on the front, comfortable at providing background that would put the spotlight on his partner, though not afraid to introduce new , surprising suggestions and slighly changing the direction of the music.

The collaboration with Keir Neuringer, once a student in Krakow, started in 1999 and lasted and developed through years, resulting last year in their first cd ("Unison Lines" on Not Two). I thoroughly enjoed the music on the cd so I was looking forward to this evening which was to be the first time I'd see Keir on stage.

Ilia Belorukov, Rafal Mazur, Mieczyslaw Gorka at Bomba (14.04)

The concert was entitled 'Jazz at Bomba vol. 2" and it looks as promising a series as any (first volume would be Mikolaj Trzaska and Rafal Mazur duo I wrote about here).  I had many occassions to see Rafal and Mieczyslaw play together (usually in the Ensemble 56 trio) but I have never heard before of Ilia Belorukov and I was very curious to see him play.

The music of this concert should be placed somewhere in the middle between free jazz and free improv. Rafal plays dark and deep, creating a presence of a black hole kind of gravity, moving freely between abstract plucks and heavy walks on the bass. Mieczyslaw plays melodically, but he's at his best when things get cooking and he can lay down some more solid groove. When this happens he gives the rhythmic structure, Rafal gives the substance to it and Ilia, well, he is the salt and pepper.

He's playing is versatile and sophisticated. Fluent lines but played with the distorted tone, scattered. Absolutely fluent in the art of extended techniques he plays with the ability and sureness that is far beyond his age, and yet with the radical attitude, boldness that is more typical to his age (he's 24 but looks much younger). He dismantles the saxophone and plays without the mouthpiece (whistling duel with Gorka) or utilize just the neck (ghostly, weird and eerie sound). He makes single notes shimmer. The chemistry is apparent, the energy is clear.

There's an apparent surge of great musicians from eastern Europe gaining wider recognition (just check the names on the new Leo Records release) and polish jazz scene is somehow serving as the bridge (Mark
Tokar's case would be a good example). Among those I say to you :Ilia Belorukov is the name to watch. I hope to hear much more from him in the nearest future.

Ilia Belorukov - alto sax

Rafal Mazur - acoustic  bass guitar

Mieczyslaw Gorka - drums, percussion

Klub Bomba; Krakow; 14.04

Mikolaj Trzaska - Rafal Mazur Duo at Klub Bomba (12.03)

by K. Penarski

I've been long waiting for a serious free-jazz concert and here it was. Two amongst my favourite musicians, intimate do setting, what else to desire? The problem is that Bomba is a very specific place, not exactly fit for live music venue, with just a small improvised stage, no real audience space. While listeners filled the floor around the musicians and stairway, there were also many people around not really interested in the music, chattering, laughing, drinking, disturbing those who came specifically to see the concert.

by K. Penarski

I had a hard time focusing on music, taking notes and trying to nevermind the chattering noise,  but the musicians delved right into the world of sound and managed to create somehow of a parallel reality, coexisting, completely autonomic. Only when I stopped taking notes I managed to separate myself from the casual sounds around and focus on the music delievered from the stage.

Mikolaj has long been one of my favourite sax players, tremendously agile, adventorous, completely free at his playing. And with thise sense of melody that is really quite unique. His playing is now completely mature, a sign of a true master, whether screaming, whispering, playing with this emotional delicacy, gentle cry, raw power and jazzy swagger. Rafal is an extremely gifted musician, fabulous cohort, closely listening, he underscores the lineage of sax melodies, he can play dense and blurry lines, powerfull riffs, as much as distinct and selective bass lines. He's almost telepathic when it comes to reacting to the musicians around him.

Together they create music that is intense, focused, free yet with a strong sense of cohesity, of direction. That travels effortlessly within a dynamic range of scream and whisper, and within the musical traditions of a jazz standard, jewish song, hushed lullaby, raging war song, free jazz and free improv.

This duo has developed a clear chemistry. I had seen their first concert (summer last year if I recall correctly), the trio concert with Tim Daisy (written about it here). And I'm hoping to see them again soon, possibly with a new cd in hand.

Rafal Mazur - electro-acoustic bass guitar

Mikolaj Trzaska - alto sax, tarogato

Klub Bomba; Krakow. 12.03

the video comes from the very first concert of Rafal Mazur and Mikola Trzaska together.

Mikolaj Trzaska, Rafal Mazur, Tim Daisy at Solvay 08.12

While Tim (no doubt) and Mikolaj (I hope) need no introduction, Rafal Mazur is probably the least known musician among those three. Highly active on local stage, somehow of a founder of improvisor's scene in Krakow. He plays an (electro)acoustic custom made bass guitar and works in a whole lot of ad-hoc groups and a few stable partnerships (Ensemble 56 and duo Keir Neuhringer come to mind, both have releases on Not Two).

While Mikolaj had played both with Rafal and Tim, the latter two never played together so this was their very first meeting. The band starts up with a 'high C' , sharp, edgy, energetic, straight to the business. Mikolaj takes the lead part, managing to stay on the top of the sound of the very busy rhythm section. Tim gives a strong pulse, pushing forward constantly, utilizing his whole set of different drumsticks, some giving a very 'toy' sound. And Rafal takes care of the base, but his bass lines are far from typical. He plays with a dense, deep, blurried sound, till the point when it's impossible to single out the notes. It gives this dark power feeling to the whole: raw, full of gravity, somehow like a black hole, emenating with strange kind of menacing energy (and on that note, his playing reminds of Peter Friis Nielsen, but, thanks to the acoustic instrument, his sound is still quite unique). There's a nice duo between drums and bass, and great, fast and dynamic solo by Tim (that, funny enough, had this big band sound to it, Buddy Rich or Gene Krupa maybe). Mikolaj on reeds leads through, switching between reeds, combining intense sound with more melodic or almost boppipsh lines, also playing on some toy flutes and toying with the instruments' parts. At one point he starts whistling this jumpy tune than he repeats it on sax, and finally elaborate on it into all directions possible. There are some more meditative moments, usually with Mikolaj on tarogato or bass clarinet, but overall this 45-minute extended improvisation is as energetic and as intense as it gets. Definitely a powerfull statement, cupped up with encore that moves swiftly between windy sound of neckless, disassembled sax, some screeching overblowing till the tempo slows down to something like a late-night jazz groove. I really hope this band will be able to play again and record together next year.

For those of You that can get to Sanok tonight – go and see the band live! :)