KRZYSZTOF KOMEDA - Astigmatic (Power Bros mastering)

Krzysztof Komeda
Astigmatic

Label: PowerBros, 1998
Catalogue No: PB 00163
Format: CD

This digitally re-mastered by PowerBros Records edition of legendary Komeda's 1965 classic Astigmatic is considered by many audiophiles superior to original Polskie Nagrania Muza mastering. The CD consists of all original tracks from Polskie Nagrania Muza release and is enhanced by video footage with the interview with Komeda's wife Zofia (Sophia).

Tracks:

1. Astigmatic [22:50]
2. Kattorna [07:20]
3. Svantetic [15:50]

All music by Krzysztof Komeda

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.