Tomasz Stanko
1970 1975 1984 1986 1988
Label: Metalmind, Poland (2008)
Catalogue No: MMP5CDBOX006
Format: 5-CD box-set
This special box-set includes selection from Tomasz Stanko's discography recerded between 1970 and 1988. All material was selected and remastered with the supervision by Tomasz Stanko himself.
Tracks:
CD 1: Music for K
1. Czatownik
2. Nieskończenie mały
3. Cry
4. Music for K
5. Temat Czatownik
CD 2: Twet
1. Dark Awakening
2. Twet
3. Mintuu Maria
4. Man from North
5. Night Peace
CD 3: Music 81
1. Alusta
2. Daada
3. Bushka
4. Third Heavy Ballad
5. Ahuha
CD 4: Lady Go
1. Modi Modi
2. The First
3. Mr Paul at Marta's Place
4. Almost Gama
5. Lady Go
6. Last Song
7. Lakis and Basia
8. Violet Liquor
9. Les Papillons Gris
10. Modi Modi
CD 5: Switzerland
1. Lady Go
2. Asmodeus
3. Sunia
4. Too Pee
5. Switzerland
6. Ha ha ha
Recorded:
1970-1988
About:
In 1962, 20 years old trumpet player called Tomasz Stanko and pianist Adam Makowicz, created the "Jazz Darings", later described by Jazz critic J. E. Berndt as the "first European free Jazz combo". Stanko was a graduate of Cracow Music Academy when in 1963 he received and invitation from Krzysztof Komeda to join his band. Their collaboration lasted until Komeda's tragic death. Komeda's music, while remote from free jazz, was highly modern and had a significant impact on young Stanko, who admitted: "The lyricism, the feeling of playing only what's essential, the approach to structure, to asymmetry, many harmonic details. I was so lucky that I started out with him". In 1968, Zbigniew Seifert joined the newly formed Stanko Quintet, soon switched from alto sax to electric violin, and the next chapter of European Jazz history began. Beside Stanko and Seifert, the line-up of the Quintet included Janusz Muniak on the saxophones and flute, Jan Gonciarczyk / Bronislaw Suchanek on the bass and Janusz Stefanski on the drums. The Quintet made three records: "Music for K" (1970), "Jazz Message from Poland" (1972) and "Purple Sun" (1973) but the albums could not compare to the magic of Quintet's life performances. The music of Quintet escaped easy definitions. Sophisticated, collective improvisations and breath taking instrumental solos were bands' trademarks; hypnotic cosmic-like interactions between members of the band, and between the band and the life public, complemented the whole experience. Stanko Quintet disbanded in 1973 on the pick of its creative potential and after achieving cult-like following in Europe. Always interested in musical progression, Stanko went through period of fascinating collaborations with artists including Alex Schlippenbach Globe Unity Orchestra, Krzysztof Penderecki, Don Cherry, Stu Martin, Dave Holland, Garry Peacock, and Jan Garbarek. He also experimented with electronics and electro-acoustic sounds, as well with concept of concerts for trumpet solo, at places as unusual as temple Taj Mahal in India. His most important work of the 1970's may have been with Finnish drummer Edward Vesala. Their series of albums, which included "Balladyna" and "TWET", defined new directions for improvised music in the next decades.
Beginning of 1980's documents short lived but very important in Stanko's carrier partnership with inFormation - a trio lead by McCoy Tyner - influenced pianist Slawomir Kulpowicz, one of the most innovative bass players in Europe - Vitold Rek, and the legendary drummer Czeslaw "Maly" Bartkowski. The quartet recorded two albums in Poland in early 1980's: "A i J" and "Music 81", capturing the period of political turmoil and social oppression (marshal law). Stanko's cooperation with inFormation is a fascinating document of artistic freedom, independence and creativity; musically leaping forward to another Stanko's "Polish Quartet" from the beginning of the 21 Century (Wasilewski, Miskiewicz, Kurkiewicz). In 1980's Stanko also collaborated with Chico Freeman in Freeman's group Heavy Life, and worked with James Spaulding, Jack DeJohnette, and Rufus Reid. He was also briefly part of Cecil Taylor's big band in 1984. Shortly afterward, he formed another ensemble, Freelectronic, and experimented with post-Miles musical concepts on albums "Lady Gone", "Chameleon" and "C.O.C.X.". Always inspired by writers famous for their "improvised narration" like William Faulkner, William S. Burroughs, and James Joyce; Stanko spend part of the 80's exploring legacy of Polish writer Stanislaw Ignacy Witkiewicz (Witkacy) with whom he shared interest in influence of narcotics in the process of artistic creation. His "Witkacy's period" awarded his fans with album "Peyotl - Witkacy". Commenting later on use of the drugs, Stanko concluded: "As Jimmie Hendrix once said: 'Drugs are for adolescents'. Perhaps it took me a while but I am not a kid anymore".
The beginning of 1990's brought a final articulation of mature Stanko's style. The first album of the new decade was "Bluish" released by Krzysztof Popek's label Power Bros. Following this breakthrough album Stanko re-established an alliance with ECM Records, which issued some of Stanko's most acclaimed work, including "Matka Joanna", "Leosia" that featured pianist Bobo Stenson; "Litania" - a tribute to Komeda; a cross continental ensemble featured at "From the Green Hill" , and series of albums with Marcin Wasilewski (piano), Slawomir Kurkiewicz (bass), and Michal Miskiewicz (drums), that received uniform acclaim among the critics and jazz fans worldwide. In 2002, after votes from 21 distinguished European jazz critics, he received the very first European Jazz Award, which is intended to honor the most outstanding European jazz musicians.
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)
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