This exclusive 13 CD's box-set from PowerBros Records presents the most comprehensive selection of Komeda's work including his most famous motion pictures scores. All tracks were personally selected by Komeda's wife - Zofia. Each CD in the set is enhanced by the video interview (in Polish language with English subtitles) with Zofia Komeda who shares many, previously unknown details about the recordings and Komeda himself.
Krzysztof Komeda vol. 1
Ballet Etudes / Breakfast at Tiffany's
PB 00155 Power Bros
Tracks:
1. Ballet Etudes (K. Komeda) [19:18]
2. Breakfast at Tiffany's (K. Komeda) [30:01]
Recorded:
at Jazz Jamboree Festival, Warsaw October 27-29, 1962 (track 1), in Warsaw, January 1965 for theatre "Komedia" (track 2)
Performed by:
Krzysztof Komeda - piano
Wanda Warska - vocal (1)
Michal Urbaniak - tenor sax
Eje Thelin - trombone (1)
Zbigniew Namyslowski - alto sax
Roman Dylag - bass
Rune Carlsson - drums (1)
Jerzy Lesicki - fluet (2)
Tomasz Stanko - trumpet (2)
Janusz Sidorenko - guitar (2)
Jacek Ostaszewski - bass (2)
Adam Jedrzejowski - drums (2)
Kalina Jedrusik - vocal (2)
About:
Ballet Etudes were created by Christopher Komeda in 1962. He composed them with the intention of Jazz Jamboree, where they were performed for the first time. Christopher Komeda was composing them in June and July 1962 and they were recorded in August. These are four independent etudes. They have different rhythmicity, melodics and mood. Jerzy Gruca worked out the choreography for the first - night performance which was shown during autumn jazz festival. He also danced in that performance together with other very famous ballet soloists of Warsaw Opera - Maria Krzyszkowska, Krystyna Mazurowna and unforgettable Mr. Strzelecki and Mr. Szymanski. Next year in spring all these etudes were played by Komeda and his musicians in jazz clubs and on concerts during their tournee in Scandinavian countries. Christopher Komeda was giving concerts as a member of his quintet together with two Scandinavian musicians - trumpeter Allan Botschinsky from Denmark /among other he replaced vocalisation of Wanda Warska/ and with drummer Rune Carlsson from Sweden. Other members of his quintet were - bassist Roman "Gucio" Dylag - Polish musician who lived in Sweden, Jan "Ptaszyn" Wroblewski who played tenor sax and Christopher Komeda who played piano. These etudes stired up admiration and aroused interest. So, they were recorded in Copenhagen for METRONOME Records in May 1963. That record was called "Ballet Etudes - The Music Of Komeda". Second time Ballet Etudes were performed in the seventies by Warsaw Opera. This time Marta Bochenek was their choreographer. This ballet was also included to a concert which was dedicated to the creation of Christopher Komeda. That concert was organized five years after Komeda's death. This time only female dancers danced in that performance - six leading soloists of Warsaw Opera. That concert, in accordance with my script and directed by Kazimierz Kutz, was performed successfully in four Polish cities - Warsaw, Cracow, Poznan and Wroclaw. I also know that in the same time vanguard ballet group of Cracow Engineering College performed all these etudes successfully in our country and at some foreign festivals. That group received several prizes for great dance skills and realization. "Breakfast at Tiffany's is the theatrical music composed by Christopher Komeda. Polish premiere which was directed by Jan Biczycki took place in Comedy Theatre in Warsaw in 1966. It was in the same year when that suite was composed and recorded. The play itself was the adaptation of the book "Breakfast at Tiffany's" written by Truman Capote. That adaptation was made by Stanislaw Dygat - our great writer and dramatist. He was able to create that adaptation because he had come to the agreement with Truman Capote about that. Stanislaw Dygat made that adaptation with the intention of leading role for his wife Kalina Jedrusik. That leading role - the part of Holly - was ideal role for her. It was great success, not only literary but also musical. Great acting - in particular acting of Kalina Jedrusik and her partner Wladyslaw Kowalski. That performance was being performed in that theatre for several months. Two music themes distinguish themselves in all that music illustration. The first in Holly's song with lyrics written by Agnieszka Osiecka which was being sung by the main heroine acted by unforgettable Kalina Jedrusik. She was singing that song very beautifully and with great sensibility. The second theme is the Komeda's carol, the carol full of special mood. After Komeda's death I called it "Grey Carol". This song lived to see its vocal performance because Wojciech Mlynarski wrote its lyrics several years ago and as a separate composition it was performed during the concert titled "Komeda's Song - Book" in Warsaw in Polish Radio Studio S1 in October 1995. This concert was shown in Polish Television twice in 1996 and 1997. The play directed by Kazimierz Kutz with archival music recorded by Christopher Komeda was shown in national TV channel by TVP Katowice in 1971. Kalina Jedrusik also took part in that play.
Krzysztof Komeda vol. 2
Memory of Bach
PB 00155 Power Bros (1998)
Tracks:
1. Memory of Bach (K. Komeda) [07:03]
2. Crazy Girl (K. Komeda) [12:46]
3. II (Roman Two) (K. Komeda) [15:58]
4. After Catastrophe (K. Komeda) [07:09]
Recorded:
Track 1 - Recorded August 1956.
Track 2 - Recorded May 1964.
Track 3 - Recorded October 1963.
Track 4 - Recorded November 1967.
Performed by:
Krzysztof Komeda - piano
Jerzy Milian - vibraphone (1)
Jozef Stolarz - bass (1)
Jan Zylber - drums (1)
Tomasz Stanko - trumpet (2, 3)
Jan 'Ptaszyn' Wroblewski - tenor sax (2)
Roman Dylag - bass (2, 4)
Rune Carlsson - drums (2, 4)
Michal Urbaniak - tenor sax (3)
Maciej Suzin - bass (3)
Czeslaw Bartkowski - drums (3)
About:
MEMORY OF BACH
This composition by Krzysztof Komeda and Jerzy Milian, based on an invention by Bach, was created by chance in April 1956 when members of Komeda's sextet were rehearsing for their debut at the first Sopot Jazz Festival. It was Komeda's first attempt at composition. The piece had its premiere in Sopot in August 1956, and the recording on this CD was made the following day, for the 4-minute film by Andrzej Munk which was included in `Film Chronicle'. This was the only time the piece was recorded - Komeda didn't perform it in later years.
CRAZY GIRL
Komeda dedicated this composition to his wife, Zofia. It was premiered at Jazz Jamboree in 1961, and in 1962 it was included in the soundtrack for Roman Polanski's film `Knife in the Water', with Bernt Rosengren from Sweden on saxophone. The recording on this CD was made at the `Montmartre' jazz club in Copenhagen during Komeda's Scandinavian tour in May 1964.
II (ROMAN TWO)
This is one of Komeda's earliest pieces, composed in Cracow in 1958, during his `Cracow period'. It's one of the Komeda pieces most often played by other musicians. The recording on this CD was made at the Warsaw Jazz Jamboree in 1963.
AFTER THE CATASTROPHE
This piece was written in Cologne, Germany in 1967, during the making of the record of jazz and poetry called `Meine Susse Europaische Heimat'. The version on this CD is the studio recording made for Polish Radio in November the same year. The first recording was a musical illustration of a poem with the same title by Czeslaw Milosz. Milosz was one of the poets banned in Poland in the 1960s, and writing music to his poetry required considerable political courage from Komeda.
All text courtesy of © PowerBros and © Zofia Komeda
Krzysztof Komeda vol. 3
Nightime, Daytime Requiem
PB 00159 Power Bros (1998)
Tracks:
1. Nightime, Daytime Requiem (K. Komeda) [27:50]
2. Don Quixote (K. Komeda) [11:01]
3. The Witch (K. Komeda) [06:51]
4. Ballad for Bernt (K. Komeda) [03:00]
Recorded:
November 1967
Performed by:
Krzysztof Komeda - piano
Roman Dylag - bass
Rune Carlsson - drums
Tomasz Stanko - trumpet
Zbigniew Namyslowski - alto sax
About:
NIGHTIME, DAYTIME REQUIEM
This piece is dedicated to the memory of John Coltrane, and was composed in response to the news of the death of that great musician. The recording on this CD dates from November 1967 and was commissioned by Polish Radio. The original version was about five minutes longer, but was cut to 22 min. 50 sec. by the producer and engineer so that it would fit onto one side of an LP - part of a four-LP set released in 1974 through the efforts of Komeda's wife, who did the editing work.
DON KICHOT I CZAROWNICA (DON QUIXOTE AND THE WITCH)
Both pieces were written for the jazz and poetry record `Meine Susse Europaische Heimat', recorded in Germany in 1967 thanks to the efforts of jazz writer Joachim E. Berendt. Both were named after poems: `Don Quixote' by Stanis³aw Grochowiak and `The Witch' by Kazimiera Illakowiczowna.
BALLAD FOR BERNT
This is a ballad from the soundtrack for Polanski's `Knife in the Water'. Komeda dedicated it to the Swedish saxophonist Bernt Rosengren, who took part in the 1962 recording at the composer's special request. This was the first, and probably only, time in the early 1960s when agreement was given for a western musician to take part in the soundtrack recording for a Polish film. The version on this CD was recorded in 1967.
Krzysztof Komeda vol. 4
Moja Ballada
PB 00161 Power Bros (1998)
Tracks:
1. Knife in the Water (K. Komeda) [16:52]
2. Moja Ballada (K. Komeda) [03:37]
3. Cages (K. Komeda) [07:45]
4. Wickar Basket (K. Komeda) [08:40]
5. Laterna Magica (K. Komeda) [01:40]
Recorded:
Track 1 recorded at 6th Jazz Jamboree Festival at National Philharmony, Warsaw October 1963
Track 2 recorded January 1972 (based on Komeda's solo piano tracks from 1961)
Track 3 recorded January 1966 (original movie soundtrack)
Track 4 recorded January 1967 (original movie soundtrack)
Track 5 recorded January 1967 (waltz from the original movie soundtrack)
Performed by:
Krzysztof Komeda - piano
Tomasz Stanko - trumpet
Michal Urbaniak - tenor sax
Maciej Suzin - bass
Czeslaw Bartkowski - drums
Janusz Muniak - soprano sax (2)
Jazz Studio Orchestra of the Polish Radio conducted by Jan 'Ptaszyn' Wroblewski (2)
About:
NOZ W WODZIE (KNIFE IN THE WATER)
This ballad, from the soundtrack of Roman Polanski's film of the same name, dates from 1962. It became one of Komeda's own favourites, which he often played with a trio line-up. This recording was made in 1963, when he enlarged his group to include two soloists: Michal Urbaniak, at that time still a tenor saxophonist (he later switched to the violin), and the young trumpeter from Cracow, Tomasz Stanko.
MOJA BALLADA (MY BALLAD)
Komeda also played this piece with his trio. The version included here was arranged and recorded in 1972 by Jan Wroblewski (nicknamed `Ptaszyn' by Komeda) for the Jazz Studio of Polish Radio under his direction. For this recording Ptaszyn wrote solo parts for Komeda himself on piano and Janusz Muniak on soprano.
KLATKI (CAGES)
WIKLINOWY KOSZ (WICKER BASKET)
LATERNA MAGICA
These three recordings are from cartoons directed by Miros³aw Kijowicz, in which music took the place of dialogue. `Cages' dates from 1966, `Wicker Basket' and `Laterna Magica' from 1967. Komeda wrote music for five of Kijowicz's films in all, the first two in 1965. The two artists understood and complemented each other very well. Their successful partnership was brought to an end by Komeda's journey to Hollywood and his tragic, untimely death.
Krzysztof Komeda vol. 5
Astigmatic
PB 00163 Power Bros (1998)
PNCD 536 Polskie Nagrania-Muza (2001 - remastered)
Tracks:
1. Astigmatic [22:50]
2. Kattorna [07:20]
3. Svantetic [15:50]
this CD is enhanced by video footage with the interview with Komeda's wife - Zofia
Recorded:
in Warsaw, December 1965
Performed by:
Krzysztof Komeda - piano
Zbigniew Namyslowski - alto sax
Tomasz Stanko - trumpet
Guenter Lenz - bass
Rune Carlsson - drums
About:
Krzysztof Komeda-Trzcinski (1931-1969), an extraordinary talented self-taught composer and pianist, became after his tragic, untimely death, a legend and a cult hero of Polish jazz. His music reflects not the growing of jazz in our country in the '60-s, but echoes the big influences: Bill Evan's refinement, Eric Dolphy's free and even John Coltrane's abandon. On this disc his partners are two eminent Polish masters: Tomasz Stanko and Zbigniew Namyslowski and two excellent rhythm men. Gunter Lenz and Rune Carlsson. The title piece 'Astigmatic', except for the beginning, presents little of ensemble interaction. Rather, we hear exciting dialogues by trumpet and piano or trumpet and bass. Komeda's piano dictates the levels of tension: it emerges, grows inciting, fades away and emerges again. Namyslowski's alto takes up backed by bass and drums. Lenz's solo opens the way for the drummer and then piano reappears. After a sudden take-off by the whole ensemble the piece burns out in barely audible bass flageolets. 'Kattorna' a disquieting music from the Danish movie by Carlssen (the title means Kittens), changes on this disc into real tour de force by Stanko, that reminds us of Mexican deguello from the siege of Alamo time. Komeda's exceptional illustrative talent made him the much valued composer of music to many movies and among them some by R. Polanski. 'Svantetic', dedicated to Swedish poet Svante Forster, creates initially an impression of a dirge, but its main diatonic motif in d-minor (a Polish boy scouts song) is merely the nucleus of truly dramatic jazz development in which we hear much of Namyslowski's alto and also beautiful meditations by bass and piano. It seems to be the best piece by Komeda. However, structurally it has double ending: after the first, the drum solo leads to the reappearance of the initial theme that spans the whole, but the last sentence - not without the protest of others - belongs to the trumpet.
Krzysztof Komeda vol. 6
Crazy Girl
PB 00165 Power Bros (1998)
Tracks:
1. Ballad for Bernt [03:27]
2. Crazy Girl [02:41]
3. Typish Jazz [03:33]
4. Moja Ballada [03:33]
5. Get Out of Town (C. Porter) [03:41]
6. Cherry [03:09]
7. Stella by Starlight (Young/Washington) (first version) [06:15]
8. Fourth [01:53]
9. An Oscar for a Devil (C. Parker) [06:29]
10. For Heavens' Sake [05:05]
11. Three Little Words [05:29]
12. Stella by Starlight (Young/Washington) (second version) [02:35]
13. This or This [08:08]
14. Sophia's Tune [06:41]
this CD is enhanced by video footage with the interview with Komeda's wife - Zofia.
Recorded:
2nd Jazz Jamboree Jazz Festival (?), Warsaw October 1960 (4, 5, 8, 12), 4th Jazz Jamboree, National Philharmonics, Warsaw October 1961(1, 2, 3, 6, 7, 9, 10, 11, 13), 7th Jazz Jamboree, National Philharmonics, Warsaw, October 1964 (14)
Performed by:
Krzysztof Komeda - piano
Bernt Rosengren - tenor sax
Roman Dylag - bass
Lech Dudziak - drums
Adam Skorupka - bass
Adam Zielinski - drums
Adam Jedrzejowski - drums
Jimmy Gourley - guitar
About:
Discovering things again after many years is really very useful. Assaulted by fresh and new events and impressions we are losing a clear vision of the bygones that grew dim in our memory. This disc will help you to discover the early but mature years of Krzysztof Komeda /1931-1969/. The time is 1960 and Komeda had behind him some four years of professional jazz playing and striving for perfection mainly as a pianist. It brought obvious results and fortunately some recordings were made than we can enjoy now. A trio, as everybody knows, is a fine vehicle for a virtuoso player, and pianist especially. Jazz trio that is Consider Bill Evans or Keith Jarrett, or Art. Tatum. But then, Komeda was not considered a brilliant technician but rather a reflective and creative painter of moods. Anyway, here we have the audible proof of his technical prowess: crystal-clear runs with each note pronounced distinctly; chordal components perfectly balanced...Yes, Komeda was a pianist no doubt about this and he would become a perfect one, were it not for two ?obstacles": his talent and flair in composition and his tragic, premature death. Komeda partners in these recordings are rhythm-men, bassists and drummers, but bassists in the first place: Adam Skorupka and Roman ?Gucio" Dylag. In some six pieces Bert Rosengren, the Swedish eminent tenorman joins the Trio. His soli, especially Parker's "An Oscar For a Devil", are memorable. A marvellous chunk of jazz. In the same concert during Jazz Jamboree '61 the brilliant American guitarist also joined the Trio - Jimmy Gourley. And so, we ask ourselves: Is the sound of guitar more suitable for Komeda's moods? - Gourley's guitar with no doubt. Both recorded pieces were refreshing and plain beautiful, though they are different, the first being a ballad, the other a swinger. The Komeda Quintet of 1936-64 is quite a rarity too, mainly because of Tomasz Stanko, that was to gain notoriety as the convincing free-man, plays muted trumpet here with a heartfelt plays tenor saxophone, Janusz Kozlowski - bass and Czeslaw Bartkowski - drums. This combination never happens again, but happily it was recorded.
Krzysztof Komeda vol. 7
Sophia's Tune
PB 00167 Power Bros (1998)
Tracks:
1. Repetition (K. Komeda) [10:27]
2. Svantetic (K. Komeda) [22:15]
3. Sophia's Tune (K. Komeda) [10:12]
this CD is enhanced by video footage with the interview with Komeda's wife - Zofia
Recorded:
live at Montmartre Jazz Club, Copenhagen, Denmark 1965
Performed by:
Krzysztof Komeda - piano
Simon Kopel - drums
Tomasz Stanko - trumpet, stief-bass
Michal Urbaniak - tenor sax
About:
REPETITION
Christopher Komeda composed this composition in 1964. The recording included on this CD was recorded in Jazz Club "Montmarte" in Copenhagen in 1965. In 1967 Christopher Komeda enclosed that composition on the record entitled "Meine Susse Europaische Heimat". That record was made in cooperation with Joachim Berendt in Cologne,Germany. It consisted of poems of Polish poets translated by Karl Dedecius and illustrated by music of Christopher Komeda.
SVANTETIC
It was 1965.When Svante Forster was sitting among the audience during another Warsaw jazz festival "Jazz Jamboree",he suddenly heard from Andrzej Jaroszewski who was the master of ceremony, that the next composition which would be performed by Komeda's group was dedicated to him. It was the first-night performance of that composition and Svante Forster was deeply moved.
SOPHIA'S TUNE
When Chris was working at that composition I was often repeating him that I liked that composition very much. Finally, though I didn't ask him about it, Chris dedicated that composition to me. "Sophia's Tune" was composed in 1964 but the recording included on this CD was made in Jazz Club "Montmarte" in 1965.
Krzysztof Komeda vol. 8
Roman Two
PB 00169 Power Bros (1998)
Tracks:
1. Crazy Girl [25:42]
2. Roman Two [18:06]
3. Kattorna [09:48]
this CD is enhanced by video footage with the interview with Komeda's wife - Zofia
Recorded:
live at Montmartre Jazz Club, Copenhagen, Denmark 1965
Performed by:
Krzysztof Komeda - piano
Simon Kopel - drums
Tomasz Stanko - trumpet, stief-bass
Michal Urbaniak - tenor sax
About:
ROMAN TWO
All compositions included on This CD were performed in "Montmarte" Jazz Club in Copenhagen.Many talented musicians who became famous all over the world more than once had been spotted out there. For exampleArchie Shepp - famous American saxophonist started his career just in "Montmartre". In that period of time Chris Komeda-except his concerts in that club-was composing and recording the music to Danish movie "Kattorna" directed by Henning Carlsen.It was one out of four movies of that director to which Chris Komeda had composed the music. Henning Carlsen used to say about the music which Komeda had composed to his movies: "Komeda's music didn't have the melody at all. It was something just like music "tachisme". Komeda understood that film music it is quite integrated sound and picture".
"All Komeda's compositions are full of poetry and music vanguard interaction".
Joachim E.Berendt
"Komeda was par excellance a film musician because he understood intentions of a director earlier then anybody else,so he was composing film music".
Roman Polanski
Krzysztof Komeda vol. 9
What's up Mr.Basie
PB 00171 Power Bros (1998)
Tracks:
1. What's Up Mr. Basie [09:26]
2. Roman Two [17:14]
3. Knife In The Water [16:30}
this CD is enhanced by video footage with the interview with Komeda's wife - Zofia
Recorded:
live at Jazz Jamboree Festival, Warsaw 1963
Performed by:
Krzysztof Komeda - piano
Maciej Suzin - bass
Czeslaw Bartkowski - drums
Michal Urbaniak - tenor sax
Tomasz Stanko - trumpet
About:
This composition was composed in 1963 in Copenhagen. It was composed to the Danish-Swedish movie directed by Henning Carlsen and called "Hvad med os?"- what means "What about us?". The main part was acted by great Swedish actress-Hariett Anderson. For the second time Komeda used it during Jazz Jamboree Festival in 1963. The recording included on this CD just comes from Jazz Jamboree in 1963. Knife in the water This ballad originates from the soundtrack of Roman Polanski's movie under the same title. The first-night performance of that composition took place in Warsaw in 1962. The recording included on this CD comes from Jazz Jamboree in 1963. Roman Two The title of that composition should be written just like that " II ". Christopher Komeda used to name it or rather mark it that way. It was in "Cracow period" in 1958. He composed it for the needs of ZAIKS - the union which protected copyrights. I made Chris join this union. Music output of Christopher wasn't great in that time: soundtrack of Roman Polanski's movie called "Two men and a wardrobe" and three other compositions "When angels fall down", "Lullaby" and "Memory of Bach". ZAIKS wanted him to compose 10 compositions, so Komeda sat down at my old, little broken piano and composed several "pieces". That one was second so he marked it " II ". After wards it showed successful composition and it's premiere was in Warsaw during Jazz Jamboree Festival in 1963.
Krzysztof Komeda vol. 10
Astigmatic in Concert
PB 00173 Power Bros (1998)
Tracks:
1. Astigmatic (K. Komeda) [19:44]
2. Kattorna (K. Komeda) [20:10]
3. Svantetic (K. Komeda) [22:15]
Recorded:
Tracks 1 and 2 recorded live at Jazz Jamboree Festival, Warsaw, Poland 1965
Track 3 recorded live at Montmartre Jazz Club, Copenhagen, Denmark 1965
Performed by:
Krzysztof Komeda - piano
Tomasz Stanko - trumpet
Rune Carlsson - drums
Janusz Kozlowski - bass
About:
ASTIGMATIC
The composition composed in1965. It was performed for the first time in autumn this same year during Jazz Jamboree Festival. This composition is title composition one of a record which Christopher Komeda recorded in December for the needs of Polskie Nagrania in series Polish Jazz. He recorded it after Jazz Jamboree with enlarged group of musicians with Zbigniew Namyslowski. The recording included on this CD is first-night performance and comes from concert hall.
KATTORNA
This composition was composed in 1965 in Copenhagen. It's light motive from the movie under the same title. Danish movie "Kattorna" directed by Henning Carlsen tells a story about women. Great and famous Ingmar Bergman's actresses acted in that movie. The title "Kattorna" means "Little cats". The recording included on this CD-just like "Astigmatic" - comes from the concert in National Philharmonic Hall and was recorded during Jazz Jamboree Festival in 1965.
SVANTETIC
This composition originates from 1965.The name of this composition comes from the name of Komeda's friend-Swedish critic and jazz activist, poet and journalist Svante Forster. Svante enchanted by Komeda's playing in Warsaw Jazz Club "Hybrydy" in 1961, made him and his group go to Sweden for several concerts. This composition was performed during Jazz Jamboree Festival 1965 for the first time and Svante Forster had an opportunity to listen to it also for the first time. The recording included on this CD isn't that one from Jazz Jamboree, but from "Montmartre" in Copenhagen.
Krzysztof Komeda vol. 11
Soundtracks From Roman Polanski Movies
CD PB 00175 Power Bros (1999)
Tracks:
1-8. Knife In The Water [15:59]
9. Two Men And A Wardrobe [14:56]
10. When Angels Fall [13:50]
Performed by:
Krzysztof Komeda - piano
Bernt Rosengren - tenor saxophone (1-8)
Various instrumental ensembles, Krzysztof Komeda - conductor
Krzysztof Komeda vol. 12
Soundtracks From Roman Polanski Movies
CD PB 00183 Power Bros (2003)
Tracks:
Rosemary's Baby
1. Main Title [2:30]
2. The Coven [1:00]
3. Lullaby - Part I [0:21]
4. Moment Musical [4:03]
5. The Coven [2:09]
6. Moment Musical [1:01]
7. Lullaby - Part II [1:59]
8. Dream [1:27]
9. Christmas [0:31]
10. Expectancy - Part I [1:12]
11. The Coven [0:45]
12. Lullaby [1:05]
13. The Coven [0:33
14. Main Title [1:58]
15. Panic [1:37]
16. Rosemary's Party [1:08]
17. Expectancy - Part II [0:33]
18. Through the Closet [1:25]
19. What Have You Done to Its Eyes [1:51]
20. Happy News [0:31]
21. Main Title [2:24]
Fearless Vampire Killers
22. Main Title [2:14]
23. Sarah in Bath [0:53]
24. Snowman [0:51]
25. Koukol Laughs [2:07]
26. Alfred Behind Sledge [1:28]
27. Sarah Asks for a Bath - Love Tune [0:20]
28. Krotock on Sledge [1:58]
29. Vampire Corners [0:36]
30. Shagal Leaving [0:40]
31. To the Cellar [1:04]
32. Skiing [0:40]
33. Portraits [1:14]
34. Alfred Hears Singing [2:44]
35. Vampires to Crypt [2:22]
36. Both Over Rooftops [2:49]
37. Sarah's Song [1:56]
38. Alfred over Rooftops [0:29]
39. Alfred in the Crypt [1:21]
40. Herbert's Song [3:54]
41. Main Title [1:43]
Performed by:
Various instrumental ensembles, Krzysztof Komeda - conductor
Krzysztof Komeda vol. 13
Ballads
PB 00185 Power Bros (2004)
Tracks:
1. Waltz (F. Churchill) [09:51]
2. Breakfast at Tiffany's - theme 1 [06:12]
3. Unknown [06:18]
4. Ballad for Bernt [04:01]
5. Crazy Girl [11:23]
6. This or This [08:09]
Recorded:
5th Jazz Jamboree Jazz Festival, National Philharmonics, Warsaw October 1962 (tracks 1-5) and during 4th Jazz Jamboree, National Philharmonics, Warsaw October 1961 (track 6)
Performed by:
Krzysztof Komeda - piano
Roman Dylag - bass (1-5)
Adam Skorupka - bass (6)
Rune Carlsson - drums (1-5)
Leszek Dudziak - drums (6)
About:
Krzysztof Komeda introduced Polish jazz into the worldwide jazz. He was the first Polish jazz composer to be accepted and to make a success in the USA. It triggered a change in the attitude of communist authorities to Polish jazz musicians and composers. However, prior to that, Komeda had brought about a bigger interest in jazz music among Polish audience. By that time jazz had been regarded as an artistically inferior kind of music and in the 50s, at the time of the communist regime, even as ideologically dangerous.
Along with his bosom friend, also a jazz pianist, Andrzej Trzaskowski, in terms of art, he was the most mature musician performing contemporary jazz and that's why it was he who started and accelerated the development of jazz music in Poland.
It was mainly Krzysztof Komeda's merit that jazz could be heard in the National Philharmonic.
The secret of his music was a unique mood featuring distinctive Slavic lyricism. I wasn't surprised that after the early 60s performances in Stockholm and Copenhagen Scandinavian critics called him "contemporary young Chopin from Poland".
Three years ago in the European specialist press Komeda was called a "propagator" of European jazz. It was certainly contributed by Tomasz Sta?ko who had recorded Komeda's compositions on his CD "Litania". I was particularly pleased to hear that Komeda's music was appreciated in England. After his successes in Scandinavia Krzysztof was thinking about performing in London. However, English trade unions raging in the 60s approved of concerts only on the basis of exchange of musicians, I mean Komeda's quartet for an English quartet in Poland, but in those communist days, the time of huge red tape it involved talks with the Polish Artists Agency PAGART, the Department of Culture, the Polish Students' Association, etc. Finally I gave it up. I do think I should have been firmer, though as it was the case with Bernt Rosengren, a Swedish tenor saxophonist in 1961, who owing to my actions, was permitted to stay a month longer after Jazz Jamboree Festival to perform in many places in Poland and participate in recording the score to Roman Polanski's film "Knife in the Water".
In this case I just didn't make it in time !
All text courtesy of PowerBros and Zofia Komeda
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