Szilard Mezei Wind Quartet - Innen [Ayler]

Szilard Mezei - viola
Bogdan Rankovic - alto sax, bass clarinet, clarinet
Branislaw Aksin - trombone
Kornel Papista - tuba

Ayler Records 2011

Szilard Mezei has been tremendously active in recent years, dividing his time between small ensembles, and large groups (among his bands' most recent releases you will find a trio and a 10-piece orchestra on Not Two, Szabad Quartet on NoBusiness, an octet on Slam Productions, plus two solo albums). Not only he's a terrific performer and improviser on an instrument that's rarely to be found in jazz music, nonetheless it yelds tremendous expressive possiblities, but he's composing (whether for a trio or the orchestra) gives an unique,  personal stamp to the music as he's draws inspiration from modern improvised music, jazz, folk melodies and both historic and avant-guarde strategies of (for lack of a better term) classical music.

Mikolaj Trzaska Ircha Clarinet Quartet at Cheder Cafer (30.09)

photo by Krzysztof Penarski

I've written about Ircha's debut cd "Larks Uprising" (with Joe McPhee) that was recorded during the Tzadik Festival in Poznan. While the music on the cd had close to none elements of jewish tradition to it, Ircha's connection to this heritage was strong from the very beginning, as they seamlessly forge improvisation, modern composition and some of the oldest jewish melodies. The concert in Krakow took time during the jewish New Year period. 

The clarinet quartet (with occasional duduk or fujara in the mix) sounds full and complete and quite unique. And the sense of structure and direction is absolutely compelling, they pass the fragrant melodies between each other as they form a soloist - choir roles, or a double duo (as they assume different roles they walk and set the formations on the stage), creating on the spot almost transparent arrangements in the way a 4-voice vocal ensemble or a string quartet would be set. With a rhythmic line in the bass clarinet, a repetitive chord structures, a clear line of ancient melody soaring over, transforming into an succession of everchanging minimalistic melodic and harmonic patterns.

Stefano Pastor / Ari Poutiainen - North South Dial [SLAM]

Stefan Pastor - violin, synthesizer

Ari Poutiainen - violin

SLAM 2011

A very rare instrument in jazz (sligthly less so in free improvised music) is here presented in a duo version to bring into focus its potential. I really can't think of any other violin duo release (if you know any, put that in the comments) so this one is really unique for me in a way it explores unchartered territories.

The range of tones produced is awe-inspiring on its own. Not only we can find the the classical round tone violin is known for in concert-halls, or the gypsy-like raw passion of a fast glissando. Violin here can sound like a saxophone, shakahuchi, zither, bringing to the pool not only the beauty of its singing features but also ugly and frightening details of the scraping sounds.

SEKSTETT: Gjerstad, Skaset, Grenager. Tatfjord, Molstad, Moe [Conrad Sound]

SEKSTETT

Frode Gjerstad - clarinets

Havard Skaset - guitars

Lene Grenager - cello

Hild Sofie Tafjord - french horn

Borre Molstad - tuba

Guro Skullsnes More - double bass

Conrad Sound 2010

A very intriguing release, with unusually big line-up playing minimalistic music which poses many questions about the limits of music, nature of sound and group interaction. Through 5 untitled fragments they create a wonderfully shape-shifting amalgam of sounds, timbres, reverbs.

Jorgos Skolias & Bronek Duzy at Harris (07.05)

I don't venture too often to Harris Piano Jazz Bar which is usually a mainstream (jazz, blues, fusion) venue. But on the other hand there's little or nothing mainstream about this duo - voice and trombone, nor in the instruemental setting, nor in the material and the execution.

Jorgos Skolias and Bronislawa Duzy (with the help of Jorgos's son Antonis on the drums in the 2nd set) create a musical that is mutli-ethnic, multi-lingual (as Jorgos sings mixing polish, english, suahili or greek) yet universal in its nature. Whether it's dynamic take on Jimi Henrix's "Foxy Lady" or emotional folk-like song "Imema" the music created by this duo is deep and coulurfull. Both Jorgos and Bronislaw use two microphones -one with natural sound, the other with an electronic feedback effect on it, but it doesn't take away the fact that their are bare and exposed and every little detail of their playing is audible. Bronislaw use extensively harmonic sound on trombone (thus stating both the melodic and harmonic base of the song) and Jorgos treats his voice in a very instrumental way, takes extensive solos (quite often humorous), experiments with his timbre, with folk, roots vocal techniques (ethno scat if you'd like to find a catchy name for it). 

In the meantime Jorgos keeps the dialogue with the audience vivid and joyful, which only makes the music more accessible and enjoyable, while mantaining a spiritual ethos of those songs. I've seen this duo a couple of times and while I'd like to hear more new material, they are quite unique, creating a musical message on their own. Recommended

Jorgos Skolias - voice, small percussion objects

Bronislaw Duzy - trombone

Antonis Skolias - drums

Harris Piano Jazz Bar. Krakow. 07.05.2011

John Wolf Brennan - Triangulation : Whirligigs [Leo]

Bruno Amstad - voice, subcontrabass voice, loops
Christy Doran - electric & acoustic guitars, loops & fx
John Wolf Brennan - piano, organ, e-piano, clavinet, melodica, accordion & indian harmonium
Patrice Heral - percussion, loops, voice

Leo Records 2010

After a series of reviews concerning very serious music, big orchestras, whole sections of strings, modern chamber sensibiltiy etc. this one serves as a great antidote.

Call it a mash-up, call it eclectic, call it whatever you like, this is one of the strangest mix I've heard in a while.

The Trumps at Eszeweria (27.01)

The Trumps:

Ian Smith - trumpet
Ricardo Tejero - tenor sax, slide flute
Katarzyna Kuchnicka - trombone

guest: Adam Golicki - drums (2nd set only)

Eszeweria 27.01.2010

Although they all met each other playing in London Improvisers Orchestra, The Trumps are an international band  - with Ricardo coming originally from Portugal and Katarzyna from Poland. Free improv - connecting people :)

With an unusal line-up they obviously bring an uncommon palette of sounds to the table. First long piece   is mellow, merging all three horns together, sometimes, especially when extended techniques are involved and sonic experiments, making it hard to distinguish one from another. Nice flow of ideas, sounds coming from the distance, from some hidden space, players complementing one another. The new, or at least not so common in so often dead-serious free-improv music, is the sense of humour. At their most searching, probing strange sound territory, the trio sounds light, cartoonish even. Quite often when hearing a spirited sound-games I think of some Tom & Jerry fight sound fxs, swishes, swooshes, clicks and clacks and all kinds of those, the toyish sound of slide flute enhances that entertaining effect. (as John Cage said once - laughter is preferrable to tears; and it's funny looking around at the faces, audience members hiding their smile, not sure whethere it is ok to laugh or maybe this is supposed to be taken seriously)

The second track of the first set was supposed to be "short and loud", but, after initial fanfaric shouts, it turns deeply harmonic and melodic. Nice touch before the short pause.

The second set adds a drummer to the mix (snare drum, hi-hat, cowbell, couple of plates) and it changes drastically the sound texture of the music, allowing for some more conventional, more "jazz" playing with trombone providing often the bone bass structure to the proceedings - sometimes with a robust, expansive shouts of the New Orleans traditional jazz (joined once by great, joyfull solo statement by Ian Smith). The music has more traditional, but no less inspiring feel to it and all players can establish more clearly their solo personality - with a jazz solo by Ricardo being my personal favourite - at one point he introduces a charming melody (during the concert I was sure it was a Monk's tune but now my mind is playing tricks on me and I can't find it) - and he plays it with gently, warm timbre, slowly building up, breaking loose, finishing up with muscular and vibrating tone.

That was a good, imaginative, and surprisingly accessible free-improv, played in front of 20 something strong audience, in a small room of Eszeweria. Maybe not an earth-shattering, mind-blowing or awe-inspiring but this was a very solid improvising performance - an achievement that could get easily undervalued. While I definitely invite you to look up and see those musicians if you have a chance, the most important thing I want to say is - there's no music like live music. Get up and go see some concerts this weekend! I know I'm going to :)

Mikolaj Trzaska Ircha Clarinet Quintet feat. Joe McPhee - Lark Uprising [Multikulti]

Ircha Quintet:

Joe McPhee - alt clarinet

Mikolaj Trzaska - alt & bass clarinet

Waclaw Zimpel - bass clarinet, clarinet, tarogato

Pawel Szamburski - clarinet, bass clarinet

Michal Gorczynski - bass clarinet

Multikulti 2010

Imagine a foggy night at the sea, and the sound ships sirens emerging from the silence and the darkness,  five of them, calling each other out, responding to voices coming from all the directions. Finding a freindly waters, where they can exchange some personal stories, with the listening choir commenting on those all the time. They reach an agreement and start singing together (absolutely stunning and oh so peacefull harmonies in the middle of the track) and then move back and forward between the solo narration, duos and the entire choir parts, with everyone finding a role to play and never looking for a front spot. That is how this albums starts on "Ant-hill Builder".