Polish Jazz - Freedom at Last
From catacombs to the free society - the Story of Polish Jazz

Chapter 7: Contemporary Polish Jazz Now

Milestones:

Tomasz Stanko

Contemporary Jazz scene in Poland

Poland joined NATO in 1999 and the EU in 2004 and is thriving democracy with one of the strongest and fastest growing economies in Europe.

If one had to choose one word to describe a contemporary Jazz scene in Poland, then it would be "diversity."

Today, in the 2nd century of its development, Polish Jazz remains mature but still vibrant and evolving Jazz form. The form with a deep respect and understanding of tradition but at the same time an art form that explores places, concepts and emotions previously unknown. The Jazz landscape is very different, intense and richly populated by several generations of creative artists. From “Old Masters” to young talents, from 1980s Young Power generation to the 1990s era dissidents of yass music, from traditional Dixieland styles to veterans of the avant-garde - Jazz knows no borders and Polish Jazz of the 21st century is an art form that long ago crossed stylistic and geographical boundaries.

Today, well into the 5th decade of his career, Tomasz Stanko remains the most popular and accomplished Jazz artist in Poland. At the beginning of 21st century, Stanko is is one of the most important, successful and creative Jazz musicians in the world, just next to another living giants such as Wayne Shorter and Sonny Rollins. After the end of his legendary quintet in early 1970s, Tomasz Stanko has continued his solo career, primarily focusing his interest on free Jazz, although there have always been traces of Polish classical, and folk music. The continuing motif of Stanko"s language is his life-long interpretations of compositions by Krzysztof Komeda. Beside Jazz, another area of artistic interest for Tomasz Stanko are film and theatrical music. "In the creations of Tomasz Stanko, the following elements are important: an open form of composition which allows for changing dramaturgy, depending on band members and on circumstances. This leaves a substantial margin of freedom in the reception of his performances (this artist is never "literal" or "obvious" in his creation). The sound of his instrument is immediately recognizable, hoarse, highly emotional and sometimes it is an echo of a human voice (a cry, a whisper). Vital to his music are spontaneous, electrifying improvisations built into a well-designed, consistent whole. The second major element of the works composed and performed by Tomasz Stanko is a strongly developed melodic pattern, usually suffused with lyricism and romantic reverie. The third constituent part of Stanko"s music language - and one as important as improvisation and melody - is the sound of his trumpet." (Jerzy Brukwicki)

Contemporary Jazz in Poland is an evolving art form. The musical level represented by newest comers to Polish Jazz field is as good (or sometimes better) then Jazz music played in any other place in the world today.

Contemporary Jazz scene in Poland is large and bulging field with many new artists that already made, are making and will for sure write their own page in the history of Polish Jazz. The list is to long to name them all but some of the current acts include (in no particular order); bands: Simple Acoustic Trio, Pink Freud, Sing Sing Penelope, Loskot, Ecstasy Project, 100nka, Robotobibok, Contemporary Noise Quintet, and (running strong since 1962!) Jazz Band Ball Orchestra. Vocalists: Grzegorz Karnas, Grazyna Auguscik, Ania Serafinska, Kasia Stanko, Marek Balata, Kasia Stankowska, Aga Zaryan; saxophone players: Adam Pieronczyk, Wojtek Staroniewicz, Maciej Sikala, Piotr Baron; trumpeters: Piotr Wojtasik, Janusz Zdunek; guitar players: Andrzej Izdebski, Tomasz Gwincinski, Krzysztof Misiak; pianists: Pawel Kaczmarczyk, Slawomir Jaskulke, Leszek Mozdzer, Marcin Masecki, Krzysztof Herdzin, Marcin Wasilewski, Joachim Mencel, Michal Tokaj, Piotr Wylezol; bass players: Marcin Oles, Darek Oleszkiewicz, Olo Walicki; and drummers: Jacek Kochan, Krzysztof Zawadzki, Tomek Sowinski, Lukasz Zyta, Cezary Konrad, Jacek Pelc, Artur Dominik, and Adam Czerwinski.

Characteristically, the contemporary musicians often prefer their own compositions, their own language, arrangements, and their own approach to Jazz tradition. Even more, the new principles are also emphasized by the choice of the instruments - the majority of the new leaders on Polish Jazz scene are either drummers or bass players - in opposition to abundance of pianists and horn players in prior periods of Jazz art development in Poland. This is not a coincidence - Polish Jazz of the 21st century is more tuned up with sensibilities of its rock and hip-hop oriented fans then with conventional Jazz tradition. On the other hand, is also strongly influenced by 20th century classical music canon from Lutoslawski to Szymanowski, from Schoenberg and Ives to Steve Reich and Arvo Pärt, and from Frank Zappa to King Crimson.

But despite its new new language, and its eclecticism Polish Jazz continues to enhance the development of Jazz art worldwide. And it still swings hard, surprise, inspires and gain new fans.

American critic Michael Keefe, wrote in its introduction to 2005 2-CD's compilation The Best of Polish Jazz: "While America waits for the next big thing in jazz, they should turn to the east, to Poland, a country that has been making consistently great music for 40 plus years. It is criminal that American jazz fans are so completely unaware of this music. If you are expecting some sort of abrasive free blowing or watered down post bop, you are in for a big surprise. This music encompasses every genre of jazz, even genres that don't exist. Regardless of the style, this music is never, never pretentious and has more soul, whether it's Slavic soul or whatever, than what is passing for jazz in the States. The Polish version of jazz is as pure as music can be. It is not blending different types of music, i.e., jazz, ethnic folk, classical to create some kind of hybrid; it is a totally seamless combination of sounds based on the love of creative music and the joy that the music bestows on the listeners. In a nation with such a turbulent recent past, it is hard to imagine that these extraordinary musicians devoted themselves to this music for any reason other than love of jazz. I doubt they could make even a meager living from this music, which is even more amazing since they put so much heart and soul into this art form...........humor, beauty, power, introspection................but I guess, mostly beauty.................this is the most beautiful music in the world....this is pure jazz...and America doesn't know what it is missing.....................Polish jazz could make "jazz" popular music again in America, if only Americans had the chance to hear it."

Welcome to continuing story of Polish Jazz.

Skalpel - 1958	Contemporary Noise Quintet - Walking Sin live

Rafal Gorzycki - Ecstasy Project	Leszek Mozdzer - Chopin Impressions

100nka	Sing Sing Penelope - We Remember Krzeselko

Pink Freud - Dziwny Jest Ten Kraj	Jarek Smietana - A Story of Polish Jazz