Polish Jazz 1946-1956 (Post War Dance Bands / "Melomani" Group / Improvising Jazz piano players)

Polish Jazz 1946-1956
Post War Dance Bands / "Melomani" Group / Improvising Jazz piano players

Label: Polskie Nagrania, 2008
Catalogue No: PNCD1241A/C
Format: 3-CD box set (digi-pack)

This beautifully released compilation presents the most important archival recordings from the history of Polish Jazz during the years 1946-1956.

Tracks:

CD 1
POLISH JAZZ ARCHIVE SERIES - POST-WAR DANCE BANDS

1. RYTM DZUNGLI (JUNGLE RHYTHM) ** 1:58 (Jack Bulterman).
Mewa 3 (mx 47424). Recorded in Poznan, 1947.
Charles Bovery Jazz Orchestra: Ch. Bovery – ts, Edward Ciesielski – tp, Franciszek Górkiewicz – tp,
Juliusz Skowronski – as, Stefan Jakowlew – cl, Henryk Orlowski – tb, Kazimierz Morawski – tb,
Waclaw Czyz – p, unknown bass, probably Janusz “Marek” Bylinski – dr
2. GDY JAZZ GRA (ORGAN GRINDER’S SWING) * 3:04 (Parish, Mills, Hudson).
Gong 420/413 (mx 12025). Recorded in Cracow, 1946.
Jerzy Harald Band: J. Harald – p, Wilhelm Habryka – cl, Konrad Bryzek – v,
Bernard Waloszek – g, Wiktor Gadzinski – b, Maksymilian Raczka – dr, Kazimiera Kaliszewska – voc
3. W CIENIU DRAPACZY CHMUR (IN THE SHADOW OF SKYSCRAPERS) ** 3:06 (Franta Cech).
Muza 1145 b (mx Wa-224). Recorded in Warsaw, November 10, 1948.
Kazimierz Obrebski Jazz Orchestra: K. Obrebski – tp, Józef Mikutowski – as, others unknown.
4. HARLEM */** 2:42 (Eddie Carroll).
Muza 1104 a (mx Wa-238). Recorded in Warsaw, November 15, 1948.
Mieczyslaw Janicz Jazz Ensemble: M. Janicz – acc, Wladyslaw Nowicki or Stefan Rembowski – p,
unknown – cl, unknown – tp, Janusz Jedrzejczak – g, Kazimierz Szczepanski – b, Janusz “Mrek” Bylinski – dr
5. W NASTROJU (IN THE MOOD) * 2:51 (Joe Garland, Andy Razaf).
Melodie 133 a (mx 47451). Recorded in Poznan, September, 1948.
Lopatowscy Bros. Jazz Orchestra: Wlodzimierz Lopatowski – as, cl, Doratynski – as;
Stefan Brodzinski – ts, cl; Józef Soltys – ts; Pinkus Bajgelman – tp;
Jerzy Bogdziewicz – tp; Romuald Naruszewicz – tp ,
Suski – tb; Henryk Orlowski – tb; unknown 3rd trombone;
Czeslaw Uzdowski – p; Jan Jasinski – b; Kazimierz Sosinski – g , Goltmic – dr;
Daniel Lopatowski – conductor
6. KARAWANA (CARAVAN) * 2:29 (Ellington, Tizol, Mills).
Melodie 161 b (mx 47457), reissued on Muza label 1982 b. Recorded in Poznan, September, 1948.
Lopatowscy Bros. Jazz Orchestra: same as track 5.
7. CHATTANOOGA CHOO CHOO ** 2:36 (Mack Gordon, Harry Warren).
Melodie 132 b (mx 47447). Recorded in Poznan, September, 1948.
Lopatowscy Bros. Jazz Orchestra: same as track 5.
8. TREBACZ (BOOGIE WOOGIE BUGLE BOY) ** 2:45 (Allie Wrubel, Chas. Newman).
Muza 1055 b (mx Wa-175). Recorded in Warsaw, October 18, 1948.
Skowronski And Górkiewicz Jazz Ensemble: Juliusz Skowronski – as, cl;
Franciszek Górkiewicz – tp; Adam Kutzner – ts; Jan Cajmer – p;
Stanislaw Navalany (Nawarski) – g; Wladyslaw Skrzypiec – b; Mieczyslaw Wozniak – dr
9. CHINSKA DZIELNICA (CHINATOWN, MY CHINATOWN) ** 2:48 (Schwartz, Jerome, Cz. Januszewski arr.).
Muza 1021 a (mx Wa-123). Recorded in Warsaw, November 28, 1948.
The Czejand’s Choir: Czeslaw Czejand – tenor, Roman Szach – baritone,
Zygmunt Sylwestrowicz – bass, Adam Muszynski – tenor, unknown rhythm section.
10. ZEW KREOLSKIEJ MILOŚCI (CREOLE LOVE CALL) * 4:02 (Ellington, Miley).
Muza 2893 a (mx 4461). Recorded in Warsaw Philharmonic Hall, December 12, 1955.
Charles Bovery Jazz Orchestra: Boleslaw Bulawka, Boleslaw Lutarewicz, Adolf Marszalek – trumpets;
Ch. Bovery – ts, leader; Wladyslaw “Kaczka” Kowalczyk – ts, cl;
Pankracy Zdzitowiecki, Leon Piwkowski – trombones; Andrzej Aftowicz,
Marian Krakowinski – altos; Maciej Kasprzycki – b; unknown piano;
Janusz “Mrek” Bylinski or Zbigniew Rajniger – dr
11. TYTUL NIEZNANY (UNKNOWN TITLE) ** 2:18
Never released on records.
Live recording of the concert given on the occasion of the X Anniversary “Zycie Warszawy” Daily at the “Gwardia”
sporting club hall. Warsaw, November 14, 1954.
Jan Cajmer Orchestra: Juliusz Skowronski, Andrzej Aftowicz – altos;
Albert Pradella, Adam Kutzner – tenors; Stefan Jakowlew – bs;
Franciszek Górkiewicz, Jan Bragiel, Romuald Naruszewicz – trumpets;
Alfons Zacharek, Henryk Orlowski, Kazimierz Morawski – trombones;
Jerzy Wasiak – p; Stanislaw Nawarski (Navalany) – g;
Wladyslaw Skrzypiec – b; Edward Grochowski – dr; Jan Cajmer - conductor
12. RAPSODIA NA TRABKE (TRUMPET RHAPSODY) 5:40 (James, arr. R. Damrosz).
Muza 2892 a-b (mx 4756-4757, A-22). Recorded in Warsaw Philharmonic Hall, February 22, 1956.
The Blue Jazz National Music Ensemble: Ryszard Damrosz – conductor.
Trumpet solo – Józef Grabarski.

* From the J. Zagozda collection.
** From the A. Zarebski collection.

CD 2
POLISH JAZZ ARCHIVE SERIES - GOLDEN ERA OF THE “MELOMANI” GROUP

1. THEME SONG OF THE “MELOMANI” GROUP (SEPTEMBER SONG) 0:58 (K. Weill, Anderson)
2. CARAVAN 4:14 (Tizol, Ellington, Mills)
3. HOW HIGH THE MOON ** 7:06 (Hamilton, Lewis).
Never released on records. Recorded in the studios of “Radio Cracow”, 1952.
Krzysztof “Komeda” Trzcinski – p, Witold Kujawski – b, Witold “Dentox” Sobocinski – dr
4. SEPTEMBER IN THE RAIN 4:17 (Dubin, Warren)
5. BLUES IN “B” 3:22
6. LULLABY OF BIRDLAND 3:57 (G. Shearing)
7. BLUE AND SENTIMENTAL 3:55 (Basie, Livingston, Davis)
8. HONEYSUCKLE ROSE 3:57 (Waller, Razaf)
9. HOW HIGH THE MOON 2:57 (Hamilton, Lewis)
10. JUMPING WITH SYMPHONY SID 3:12
11. MOVE 2:14 (Denzil Best)
12. BODY AND SOUL 3:49 (Heyman, Sour, Eyton, Green)
13. DRUMS BOOGIE 4:57 (G. Krupa)
14. I’LL NEVER SAY NEVER AGAIN, AGAIN 2:11 Don Redman),
Muza 2824 a (mx 4412, A-33), also Muza N 0018. Recorded in Warsaw Philharmonic Hall, November 16, 1955.
Melomani: Jerzy “Duduś” Matuszkiewicz – cl, leader; Andrzej “Idon” Wojciechowski – tp, Witold “Dentox”
Sobocinski – tb, Andrzej Trzaskowski – p, Witold Kujawski – b, Antoni Studzinski – dr, Carmen Moreno – voc
15. ROYAL GARDEN BLUES 2:08 (C. Williams, S. Williams).
Muza 2824 b (mx 4413, W-267), also Muza L 0133, Pronit L 0133.
Recorded in Warsaw Philharmonic Hall, November 16, 1955.
Melomani: same as track 1, except Moreno – voc
16. I CAN’T GIVE YOU ANYTHING BUT LOVE, BABY 2:11 (D. Fields, J. McHugh).
Muza 2825 a (mx 4411, A-33), also Muza N 0018. Recorded in Warsaw Philharmonic Hall, November 16, 1955.
Melomani: same as track 1, Matuszkiewicz – ts, cl;Sobocinski out.
17. BABY, YOU’RE DRIVING ME CRAZY 2:48 (L. Armstrong).
Muza 2825 b (mx 4414, W-267), also Muza L 0133, Pronit 0133.
Recorded in Warsaw Philharmonic Hall, November 16, 1955.
Melomani (3) from early polish jazz piano players SX 1325, (14 - 17) from “improvising jazz” series SX 1324

The “Melomani” Group: Jerzy “Duduś” Matuszkiewicz – ts, cl, leader; Andrzej “Idon” Wojciechowski – tp;
Krzysztof Komeda Trzcinski – p (1, 2); Andrzej Trzaskowski – p; Witold Kujawski – b; Witold “Dentox” Sobocinski – dr
Recorded in Kraków Radiostation Studio, 1952 (1, 2), 1953 (3, 4, 5, 6), 1954 (7, 8, 9, 10, 11, 12)

CD 3
POLISH JAZZ ARCHIVE SERIES - FROM “IMPROVISING JAZZ” SERIES

1. ON THE SUNNY SIDE OF THE STREET 3:08 (D. Fields, J. McHugh).
Muza 2826 a (mx 4452). Recorded in Warsaw Philharmonic Hall, November 24, 1955.
Józef Mazurkiewicz Ensemble: J. Mazurkiewicz – ts, Alan B. Guzinski – vib,
Aleksy Krauzowicz – p, Marian Jurga – g, Waclaw Królikiewicz – b, Miroslaw Ufnalewski – dr,
Jeanne Johnstone – voc
2. OH, BOP SH’BAM BE BOP 2:48 (D. Gillespie).
Muza 2828 a (mx 4442). Recorded in Warsaw Philharmonic Hall, November 28, 1955.
Stefan Buga Ensemble: Wojciech Farkas – cl, Juraj Berczeller – p, Vladislav Hajchl – g,
Gustaw Wicherek – b, Stefan Begala – dr, G. Wicherek and J. Kunicki – vocal duo
3. AIR MAIL SPECIAL 3:00 (B. Goodman).
Muza 2829 a (mx 4443, W-284). Recorded in Warsaw Philharmonic Hall, November 23, 1955.
Stefan Buga Ensemble: same as track 2, except vocal duo
4. RIFF IN SI-BEMOL 3:00 (G. Calvi).
Muza 2831 a (mx 4417, A-23), also Muza N 005, Veriton V-0206. Recorded in Warsaw Philharmonic Hall, November 17, 1955.
Jan Walasek Jazz Ensemble: J. Walasek – ci, Alojzy Thomys – as,
Jerzy Herman – p, Jan Czekalla (Ciano) – g, Zenon Wozniak – b, Antoni Studzinski – dr
5. WHAT IS THIS THING CALLED LOVE 3:17 (I. Berlin).
Muza 2835 a (mx 4560). Recorded in Warsaw Philharmonic Hall, December 30, 1955.
Jan Walasek Jazz Ensemble: J. Walasek – ts, Wladyslaw Kowalczyk – cl;
piano and bass same as track 4, Szymon Walter – dr
6. TEA FOR TWO 3:10 (Caesar, Youmans).
Muza 2836 a (mx 4562). Recorded in Warsaw Philharmonic Hall, December 30, 1955.
Jan Walasek Jazz Ensemble: same as track 5.
7. PERDIDO 3:11 (J. Tizol).
Muza 2832 a (mx 4486). Recorded in Warsaw Philharmonic Hall, December 9, 1955.
Wladyslaw Kowalczyk Quartet: W. Kowalczyk – ts, Jerzy Herman – p, Zenon Wozniak – b, Szymon Walter – dr
8. BODY AND SOUL 3:15 (J. W. Green).
Muza 2834 b (mx 4565). Recorded in Warsaw Philharmonic Hall, December 30, 1955.
Wladyslaw Kowalczyk Quartet: same as track 7, Kowalczyk – cl
9. COME BACK TO VIRGINIA 2:55 (Cook, Heywood).
Muza 2900 a (mx 4649). Recorded in Warsaw Philharmonic Hall, January 30, 1956.
Wladyslaw Kowalczyk Quartet: W. Kowalczyk – ts, cl; Albert Full – p,
Zenon Wozniak – b, Janusz “Mrek” Bylinski – dr
10. DAMASK 5:25 (S. Phillips).
Muza 2833 a (mx 4527, A-31), also Muza N 0010, Pronit N 0010, Veriton V-204.
Recorded in the studios of “Radio Cracow”, December 12, 1955.
Andrzej Kurylewicz Organ Sextet: A. Kurylewicz – org, harpsichord, p;
Leslaw Lic – cl; Zbigniew Gadomski – g; Ryszard Garbien – b; Juliusz Mysinski – dr
11. SLONCE O PÓLNOCY (MIDNIGHT SUN) 2:15 (L. Hampton).
Muza 2833 b (mx 4529, A-32). Recorded in the studios of “Radio Cracow”, December 20, 1955.
Andrzej Kurylewicz Organ Sextet: A. Kurylewicz – p; Leslaw Lic – org,
Stanislaw “Drazek” Kalwinski – accordion, Ryszard Garbien – b, Juliusz Mysinski – dr
12. ST. LOUIS BLUES 4:02 (W.C. Handy).
Muza 3154 b (mx 5015, W-226), also Muza L 0133, Pronit L 0133.
Recorded in the studios of “Radio Cracow”, May 14, 1956.
Leslaw Lic Jazz Ensemble: L. Lic – cl, Jan Salamon – tp, Maksymilian Grobosz – tb,
Zbigniew Gadomski – bj, Eugeniusz Kania – tb, Feliks Kotarba – dr
13. MUSKRAT RAMBLE 3:09 (E. Ory).
Muza (mx 4860, W-267), also Muza L 0133, Pronit L 0133.
Recorded in Warsaw Philharmonic Hall, March 20, 1956.
Jerzy Herman Jazz Band: J. Herman – p, Jan Bragiel – tp, Wladyslaw Kowalczyk – cl,
Jerzy Kowalski – tb, Zenon Wozniak – b, Wladyslaw Jagiello – dr
14. LULLABY OF BIRDLAND 3:30 (G. Shearing).
Muza 3027 b (mx 4867). Recorded in Warsaw Philharmonic Hall, March 20, 1956.
Jerzy Herman Jazz Ensemble: same as track 13, except Kowalczyk – ts, Kowalski out.
15. ALEXANDER’S RAGTIME BAND 2:12 (I. Berlin).
Muza 2638 b (mx 3773, W-63). Recorded in Warsaw Transit Authority Hall, January 29, 1955.
Waldemar Maciszewski (Valdi) – p, unidentifiedfied rhythm section
16. THE FIVES BOOGIE 2:08 (H.J. Thomas).
Muza N 0036 b (mx 5815, A-79), also Pronit N 0036, Veriton V-0214.
Recorded in Warsaw Philharmonic Hall, March 22, 1957.
Tadeusz Prejzner – p, Zenon Wozniak – b, Miroslaw Ufnalewski – dr
17. TENDERLY 3:43 (Lawrence).
Muza N 0038 a (mx 5835, A-77). Recorded in Warsaw Philharmonic Hall, March 29, 1957.
Jerzy Herman – p, Zenon Wozniak – b, Miroslaw Ufnalewski – dr
18. LULLABY OF BIRDLAND * 2:41 (G. Shearing).
Never released on records.
Edward “Gwidon” Widelski – piano solo
19. YESTERDAYS 3:30 (Kern, Harbach).
Muza 5364 a (mx 5364, W-224), also Muza L 0084.
Live recording at the 1-st Polish Jazz Festival in Sopot, August 6, 1956.
Andrzej Kurylewicz – p, Ryszard Garbien – b, Ryszard Szumlicz – dr

(10 - 19) from early polish jazz piano players SX 1325

* From the Andrzej Zarebski collection

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

Near the end of World War II, German forces, which have occupied Poland since 1939, were driven from Poland by the advancing Soviet Red Army. At the same time Yalta Conference secretly divided post-war Europe between Western (democratic) and Eastern (totalitarian) parts. Openly heralding the need for democracy, in facts the signatories of Yalta's agreements: American president Franklin D. Roosevelt and British prime minister Winston Churchill, in order to appease Soviet leader Josef Stalin, surrendered Poland along with half of Europe to Moscow. Despite the protests from the legit Polish government on exile; the 200,000 man strong Polish army on exile, which along with allied forces fought Hitler's armies since 1939, was disbanded; and pro-communist provisional government in Poland sanctioned. Despite few democratic slogans and later on hypocritical slogans of "Cold War"," the West has never provided any significant support to democratic forces in de-facto Soviet occupied Poland. "The Betrayal of Poland" was then completed and the fundaments for the new European order established for next four and the half decades.

Consequently, like the rest of the Eastern and Central Europe, Poland fell under the dominance of Stalinist Russia - and the Soviets certainly did not dig the swing! Only certain musical forms were allowed to flourish, particularly those with folk rhythm, without syncopation. One tempo was prescribed for everybody and army marching bands rose in importance. The process of political and cultural oppression intensified when Communist government "creatively" altered the results of 1949 election; and period of "Cold War" began. Jazz music was outlawed as the music of the enemy (Western Europe and the USA). In Stalinist Poland, Jazz music was banned along with modern art, decent toilet paper and the right to travel abroad. Ruled with the "iron fist" cultural policy of government excluded all forms of modern art, demanding from the artists to follow "Socialist realism" mantra, defined and redefined as he pleased by the one and only authority - Soviet leader Josef Stalin himself. 

Thankfully not everybody digged Stalin and toed the party line.  Young people in Poland with no taste for Russian recipes, Soviet music and political doctrines, but longing for freedom, rediscovered Jazz. Being banned and sometimes even persecuted, Jazz went underground, or, as was said, into "the catacombs". Jazz could only be played at private homes and private parties. In Poland, since late 1940s Jazz, although not officially existing, in fact it embraced the spirit of independence, nonconformity and cosmopolitanism.

One band came to dominate the hidden landscape of the Polish Jazz scene. The name of this group was Melomani ("the Music Aficionados"). The ensemble was established in 1947 from among the hippest cats of the day, including "The Founding Fathers of Polish Jazz": Dudus Matuszkiewicz (leader, saxophones, and clarinet), Andrzej Trzaskowski (piano), and Krzysztof Komeda (piano). The line-up of Melomani was complemented by Andrzej 'Idon' Wojciechowski (trumpet), Witold Kujawski (bass), and Witold 'Dentox' Sobocinski (drums). The lineup often fluctuated, and included among others:  Jeanne Johnstone, Carmen Moreno (vocal),  Andrzej Kurylewicz (piano), Leslaw Lic (clarinet), Wlodzimierz Wasio (trombone), Jerzy Tatark (bars), Alojzy Thomys (alto sax, banjo), Roman Dylag (bass), and Antoni Studzinski (drums). Many of them were students of the Lodz Film School, famous for establishing one of the leading European film movements and commonly referred to as the "Polish School." Musicians of the Melomani hung out at the Lodz YMCA, one of the few existing oases for nonconformists and independent thinkers in the Poland of late 1940s.  Having been separated from the development of Western Jazz and without any Jazz recordings or publications, Melomani played the sort of music that they thought was Jazz, such as Jelly Roll Morton and W.C. Handy. There were actually two different line-ups of Melomani: traditional and modern but the quality of the music, technical abilities of musicians and obsolete repertoire would not have met the standards of any reputable Jazz club in Western Europe or the United States at the time. But that did not matter for Melomani's fans. They embraced it because it was illegitimate and because it was theirs. A critic Elliott Simon nailed it the best: "Melomani played a series of standards with enthusiasm exceeded only by their fans’ obvious adoration... it is however, the historical circumstance - when jazz was a high energy outlet for the creativity of a culturally repressed society". 

In the meantime the new communist government in Warsaw increased its political power and the Communist Polish United Workers Party (PZPR), under Moscow's appointee Boleslaw Bierut gained complete control of Poland. Sealed by Soviet constitution of 1952, Poland become an integral part of the postwar Soviet sphere of influence in Eastern Europe.  Of course, there was no Jazz music on the Polish radio, no Jazz records in the stores, no books and no sheet music for sale. However, there was the will, the enthusiasm and the Voice of America. Instead of listening to reports about the success of the Soviet Union and achieving heaven on earth, Jazz fans and aspiring Jazz musicians tuned their Soviet-made radios to DJ Willis Conover programs. For Polish Jazz devotees of the late 40s and early 50s Poland, Willis Conover was a musical messiah. Conover's programs allowed access to the desired alternative: the right stuff and the real thing. His contribution to Polish Jazz would never be forgotten.

After Stalin's death in 1953, the perception of Jazz in Poland began to change. Following the death of Stalinist's president Boleslaw Bierut in 1956, a brief period of de-Stalinization began, raising hopes for political and economical reforms. It became acceptable to listen to Jazz, to talk about Jazz, to write about Jazz and, most importantly, to play Jazz. Polish Radio resumed its national broadcasts of the swing concerts. Official Jazz festivals began to appear in the second part of the 1950s. The first legal Jazz gathering took place in Krakow on November 1st 1954 (Zaduszki Jazzowe). Other events soon followed. The first official Jazz festival took place in Sopot in 1956 and initiated a tradition of regular Jazz festivals in Poland. "The first Sopot Jazz Festival, which took place in August 1956 is regarded as the key event in the history of Polish Jazz. It represented the culmination of the first, chaotic period in the development of Polish Jazz. It marked the full emergence of Jazz from the underground and the music's first official recognition on a major scale. It ended the "catacomb era" and launched the "time of frenzy". Jazz came out of the catacombs and immediately became recognized as a symbol of freedom and liberation from boredom and obscurantism, as well as a chance for contact, solidarity and unity with the rest of the world. This was an authentic explosion of energy and joy, often frenetic, that we remember nostalgically even now, at a time when we miss even more the burst of the youthful energy of that generation." (Janusz Szprot).

Polish Jazz veteran Jan 'Ptaszyn' Wroblewski, and performer (with Komeda Sextet) at Sopot 1956, remembers : "At that time we didn't dream about anything like Jazz FESTIVAL. What was happening  was absolutely shocking. We are talking about a national event, with international guests - man, until that time I haven't played at anything better then dance halls in Poznan, and for the public consisting of my colleagues only. Tens of thousands people from all over the Poland came to Sopot for the festival. When the legendary rally (inspired by New Orleans funeral parades) went thorough the town you couldn't stick a finger anywhere - it was packed. The party was going on 24 hours a day, extraordinary, fantastic party. People, free people, were everywhere, on the streets, on the Sopot pier, on the beaches...".

The lineup of the festival included Melomani, Andrzej Kurylewicz Band, Zygmunt Wichary Band, Drazek i Pieciu, Jerzy Grzewinski Band, Kamil Hala Band (Czechoslovakia), Pawel Gruenspan Band, Pinokio, The Dave Burman Jazz Group (England) and first Polish modern Jazz band - Komeda Sextet with Krzysztof Komeda on piano, Jerzy Milian - vibes, Stanislaw Pludra - alto sax, Jan 'Ptaszyn ' Wroblewski - baritone sax, Jozef Stolarz - bass, and Jan Zylber on drums.

The 2nd Jazz Festival in Sopot took place in the following year - 1957, and once again created an oasis for Jazz fans to show up, to freely express their love for Western music, and to unify. Sopot '57 festival was also a place of the first since 1933 (the year Hitler came to power) significant cultural interaction between Poland and Germany. German bands: Joki Freud Quintet and Emil Mangelsdorff Swingtet, as well as bands from Poland, Italy, Czechoslovakia, and (for the first time) Americans: clarinet master Albert Nicholas, and singer Big Bill Ramsey, won hearts of Polish Jazz fans and initiated one of the first reciprocal transfers of ideas between artists from two opposite sides of the Iron Curtain. In the following year the tradition of the annual jazz festival was transplanted to Warsaw where the new festival simply called "Jazz `58", was held in September at the Stodola club. Leopold Tyrmand came up with the name for the annual gathering - "Jazz Jamboree" and this tradition has been passed from decade to decade and continues until today.

But despite Jazz scene gaining cultural and social freedoms; the political misfortunes of Poland were not over. In June 1956, an insurrection began in city Poznan. The workers rioted to protest shortages of food and consumer goods, bad housing, decline in real income, shipments of commodities to the Soviet Union and poor management of the economy. The Polish government initially responded by branding the rioters "provocateurs, counterrevolutionaries and imperialist agents". Security forces killed and wounded scores of protesters. However, the party hierarchy soon recognized that the riots had awakened nationalist movement and reversed its opinion. A liberalizing "thaw" in Eastern Europe caused a more liberal faction of the Polish communists to gain power. Political prisoner, of both democratic (pre-war) Poland and (post-war) Communists' gulags, Wladyslaw Gomulka became the new secretary of communist party...