Polish Jazz - Freedom at Last
The Story of Polish Jazz

Chapter 7
Polish Jazz in the 21st century

Poland joined NATO in 1999 and the EU in 2004 and since then is a 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.

Tomasz Stanko
Well into the 5th decade of his career, Tomasz Stanko remains the most popular and accomplished Jazz artist in Poland.

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.  The critics raved: 'Stanko developed his own, highly integrated, transparent style. The music on this record is really absorbing, the execution -impressive'. (The Wire).  'A marvelous record from Rybnik-based label, which deserves the widest distribution. Paired with northern European's premier rhythm section, Stanko seems content to work a long way clear of any fixed measures'.  (The Penguin Guide to Jazz Recordings)

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.  His newest project include Nordic Quintet with Scandinavian musicians: Alexi Tuomarila (piano), Jakob Bro (guitar), Anders Christensen (bass guitar), and Olavi Louhivuori (drums).

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).

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.  In 2004 Tomasz Stanko was honored by President of Poland with an Order of Polonia Restituta, ranked second amongst Polish civilian decorations.

Since 2004  Stanko has been as a curator of two international jazz festivals in Poland: 'Signed by Stanko' in Warsaw and 'The Jazz Autumn' in Bielsko Biala. Both festivals were enormously successful and every year are enthusiastically received by the audiences and trade media.

Today, sharing his home between Warsaw and New York, Stanko 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.  The music of Tomasz Stanko's is a part of the most selected jazz lexicon, and one of the most essential elements of the world's jazz heritage.  Remaining an integral part of Polish Jazz, Tomasz Stanko is truly an international artist. His music has always been and still is the best exemplification of jazz idiom and jazz pursuit for freedom (Freedom at Last).

Released on March 29, 2011, the six-disks monolith: 'Jazz. The Smithsonian Anthology" is an essential presentation of America's greatest musical form, and probably the most canonic jazz compilation ever made.  The anthology includes recordings from all the major figures and movements in history of jazz. The final track on the set and the final voice in always evolving history of jazz belongs to Tomasz Stanko (Suspended Night Variation VIII).  Richard James Burgess, producer of the Smithsonian anthology explains this choice: 'It's a metaphor for how jazz as a whole has worked, and I think it speaks for what's going on in the world right now, with people raising up and saying: "We want to rule our own lives". I think jazz is a lot like that.'

Contemporary Jazz in Poland is an evolving art form. The musical level represented by artist of Polish Jazz field is as good (or sometimes better) then Jazz music played in any other place in the world today. There are countless band and artists playing jazz music in Poland now, it is difficult to even name them all. What follow are few sampling of some of the most interesting artists and bands right now.

Simple Acoustic Trio
The story of Simple Acoustic Trio goes back to the beginning of ‘90s. Still being students of the Music High School, Marcin Wasilewski - piano, Slawomir Kurkiewicz - double-bass and Michal Miskiewicz – drums, made their debut in 1991. They won the third prize at the Polish jazz contest-Jazz Juniors ’91. In the same year, a sixteen-year old band leader - Marcin Wasilewski won the fourth prize at the International Jazz Pianist festival in Kalisz, Poland. Two years later the band won the first prize at the 7th International Festival of Jazz Bands “Chorus ‘93” during Jazzin’ Sorgues Festival in France. In 1996 the band participated in two jazz competitions. In Getxo, Spain, the band won the first prize and Marcin Wasilewski was chosen the best soloist of the festival. In the same year the band became a prizewinner of the Leverkusen Jazz Festival, and again Marcin Wasilewski was considered the best soloist.

Under the name Simple Acoustic Trio the band recorded four CDs. The first one called “Komeda” (Gowi Records) released in February 1995, was inspired by a successful live performance dedicated to Krzysztof Komeda during the Jazz Jamboree’94. 'Up-dated' version of this album re-titled 'Lullaby for Rosemary's' was released on NotNot Records in 2001. “When will the blues leave” (Polonia Records) is the title of the second release from December 1995. “Live in Getxo” (Hillargi Records) was recorded during Getxo Jazz Festival 1996. In October 1999, the band performed at “Jazz All Fil De L’oise” festival in France, and the fallowing month recorded their fourth CD “Habanera” (Not Two). The fall of 2001 brought the release of “Lyrics”. The album came from co-operation between Polish saxophonist Henryk Miskiewicz and Simple Acoustic Trio, and in 2001 was awarded the most prestigious prize in Polish phonographic industry “Fryderyk” (Polish Emmy) for the best jazz album of the year. In the meantime S.A.T. was voted the best acoustic band by the readers of a polish magazine “Jazz Forum”.

Individually and as a group the members of S.A.T. have performed with prominent international jazz stars such as Jan Garbarek, Manu Katche, Louis Sclavis, Dino Saluzzi, Palle Danielsson, Jon Christensen, Bernt Rosengren, Arthur Blythe, Joe Lovano, John Surman, Bobo Stenson, Anders Jormin, Gianluigi Trovesi and also have worked with Tomasz Szukalski, Piotr Wojtasik, Michal Urbaniak, Janusz Muniak, Zbigniew Namyslowski. Since 1994 the musicians of Simple Acoustic Trio have worked with Tomasz Stanko as members of Stanko quartet. This co-operation became a springboard for their artistic and commercial success; Tomasz Stanko Quartet has made a great deal of tours all over the world.  Stanko argues that “In the entire history of Polish jazz, we’ve never had a band like this one. I’m surprised by these musicians every day. They just keep getting better and better.”

In 2007 the band released its first album titled 'Trio' for ECM. Following the change of name to Marcin Wasilewski Trio, the band has continued cooperation with ECM releasing 'January' (2008) and 'Faithful' (2011).

Marcin and Bartlomiej Oles
Twin brothers Marcin and Bartlomiej Oles (Marcin - bass / Bartlomiej (Brat) - drums) are some the most unique and creative contemporary European musicians now.  They are also an accomplished composers, producers and authors of theatrical and film music.  Their projects brake jazz stereotype of rhythmic section and prove that double bass and the drums are sufficient to create music so complete, full of energy and unusual sounds.

Oles brothers  were born on the 4th of January 1973, In Sosnowiec (south of Poland) in musical family (father was a conductor). Since their  first recording in 2000 they continuously compose, record and perform original music based on a jazz tradition.

Initially fascinated by jazz-rock and electronic music, in early 1990s their attention switched to acoustic jazz that resulted in creation of a formation Custom Quartet with repertoire consisted of jazz standards. After a year the band transformed into Custom Trio which played mainly music composed by Barlomiej.  Custom Trio, with a line-up Krzysztof Kapel – sax, Marcin – double bass, Bartlomiej – drums, made its debut in 1999 with an album Mr. Nobody. One year later the group teamed up with legendary polish trumpet player Andrzej Przybielski and recorded their second album CT & Andrzej Przybielski Free Bop. The cooperation was concluded by an album Back Point in 2002.

In 2002 they worked together with Dionizy Piatkowski's festival Era Jazzu, at the international project, which expanded beyond jazz boundaries. The Contemporary Quintet was based on work of polish contemporary composers Grazyna Bacewicz, Witold Lutoslawki and Krzysztof Penderecki, played by German bass clarinet player Rudi Mahall, Romanian pianist Mircea Tiberian and American french horn player Mark Taylor.

Between 2001 and 2003 they cooperated with Mikolaj Trzaska, recording albums Danzinger Strassenmusik (with live street performance), Mikro Music, la Sketch up and Suite for trio + – with guest appearance French trumpet player Jean-Luc Cappozzo.

Marcin's double bass solo album examining, interpreting and saluting the work of Ornette Coleman (Ornette on bass) was released in 2003. Drum solo suite in 12 parts (FreeDrum Suite) by Bartlomiej followed in 2004.

In 2003 they established formation Oles | Jörgensmann | Oles with German clarinet virtuoso Theo Jörgensmann. The trio extensively performs and recorded number of albums for NotTwo, Fenomedia and Hat Hut labels.

In 2005 they invited Ken Vandermark into Michal Rosicki's Sonus Studio Lomianki, and together recorded album of free improvisations titled Ideas.

Their own label - Fenommedia Records, was formed together with Graphic Design Studio Fenommedia in 2005.

In 2007 a new project was created: Marcin & Bartlomiej Brat Oles Duo – one of the most original and unique in their career to date. The first album by Duo was published in 2008 and new one is planned for 2011.

The music of Oles brothers is a sensation not only on Polish but also on international scale.  Their limited to bare essential instrumentation keep their music in the center what has always been essential for jazz - rhythm. On the other hand, their music is composed to the much greater degree, and uses ideas and techniques closer to contemporary chamber music then jazz. Their improvisations are always engaging, their execution flawless. Their keep pushing boundaries of free and improvised music.

Skalpel
Polish duo of respected DJs and producers Marcin Cichy and Igor Pudlo, explores Poland's rich jazz history, and they are consider to be most interesting Polish Jazz artists of the new millennium.

On their albums releases by London-based label Ninja Tune, they generously draw from their Polish Jazz heritage.  They combine a broad brush romanticism with carefully sliced up breaks, to create a very own and unique sound.  “We are much more influenced by this music than the present day scene”, explain members of duo. They point to the richness of their influences which included among others music of Krzysztof Komeda, Zbigniew Namyslowski, Michal Urbaniak,  and Laboratorium.

As Verstaerker's critic observed: 'Skalpel remains close to the original sonorities of their sound sources. Listening to their albums, it is hard to make the distinction between what has actually been sampled, and what might have been played especially for the record. And that’s perhaps the main strength of their albums: sounding like a genuine jazz record without pretending to be anything special. All the way through, the pair presents a totally classic, yet fresh, soundtrack on which flourish elements of swing, bop and soul, creating an extremely consistent piece of work from beginning to end.  Through a great understanding of their sonic sources and a great control over their music, Skalpel never sounds fake or pretentious.  Despite its name, Skalpel’s music never feels clinical. This is about keeping something living – not a post-mortem'.

Wojciech Staroniewicz
Wojciech Staroniewicz, tenor saxophonist and composer (born in 1954 in Sopot) freely moves around the various areas of jazz, classical  and popular music.

Wojtek Staroniewicz was the only Polish sax player to have gone as far as to the semifinals of the International Jazz Improvisation Competition in Washington, D.C. in 1991, where he successfully competed along  such players as Joshua Redman.

He collaborated with many of Polish Jazz leaders like Wlodzimierz Nahorny, Andrzej Jagodzinski, Wlodek Pawlik, Cezary Konrad, Adam Cegielski, and virtually with all the most distinguished jazz players in Tricity area (Sopot-Gdynia-Gdansk).  He frequently takes part in many international projects including cooperation with Nippy Noya, Helge Lien, Erik Johannessen, Brian Melvin, and Norway-based Loud Jazz Band. He leads various groups of his own ranging from straight-ahead jazz to fusion. As a soloist, he collaborated with the Polish Chamber Philharmonic - Sopot, and took a part in only one Polish play staged on New York City's Broadway 'Metro'.

He also finds a time to run his own record label (Allegro Records).

Staroniewicz plays contemporary jazz in which one can trace the influences of club music, funk, drum'n'bass as well as the contemporary mainstream. Master saxophonist and composer, he is an author of many wide stylistically diverse musical projects, recorded on the albums: 'Karambola' - nominated for the Fryderyk Award (Polish Grammy), 1999 Best Jazz Album of the Year, 'Quiet City', 'Hand Made', 'Conversession-Live', 'Alternations', and ' A'freak-an Project'. In 2009 he was awarded the prestigious 'Sopot Muse' reward in the field of arts and culture.

Polish Jazz veteran Jan 'Ptaszyn Wroblewski observed: 'Music played by Staroniewicz represents the healthy contemporary jazz, firmly anchored partly in Coltrane and partly in the finest traditions of The Messengers, without a doubt belonging to the Tricity school, which school for years now has been arousing admiration and awe among the members of our society'.

Piotr Baron
Polish Jazz Saturator blog has nothing but god to say about Piotr Baron: 'If Piotr Baron was not such a good reed player, I would love him anyway. The reason is that I love crazy people who nonetheless have some idea, go their own way, follow some inner directive they believe in. In his case this is Christian faith in its Catholic form and JAZZ. He's expressing his musical beliefs in a same vehement, extravagant, all-or-nothing way as he demonstrates conviction that somewhere there must be entity which created everything else except itself. ...Piotr Baron's music speak for itself, there is everything in it: passion, faith, confidence and hope. You do not have to know all this complicated religious notions to feel that there is only one question relevant to ask: what is human being relation to God? And by pursuing an answer to this question all other matters begin to resound with each other, be it ethics, politics, science or art... Hidden pearl among treasures of Polish jazz.'

Piotr Baron, born in Wroclaw, Poland in 1961 made his professional jazz debut as a teenager in 1977. In 1978 he was acknowledged as a soloist at the Jazz nad Odra festival in his home town and received a second prize at that festival in 1980. Four years later in 1984 Piotr won a Grand Prize as a soloist at the San Sebastian festival 'Jazz Aldia' in Spain. Throughout his successful career Piotr Baron has collaborated with all accomplished jazz musicians from Poland and most of the European countries.

As a leader of his own projects, Piotr Baron has released six CDs. 'Take One' (1995), 'Tango' (1996), 'Blue Rain' (1997), 'Bogurodzica' (2000), 'Reference' recorded in New York City (2004) with Eddie Henderson - trumpet, John Hicks - piano, Darek 'Oles' Oleszkiewicz - bass and Victor Lewis - drums, 'Salve Regina' recorded in Pasadena, California (2007) with Ishmael 'Wadada' Leo Smith - trumpet, Darek 'Oles' Oleszkiewicz - bass and Marvin 'Smitty' Smith - drums.

For the last 20 years Piotr maintains the highest rankings in the Jazz Forum magazine readers poll as the best tenor and soprano saxophonist, and highly regarded as alto and baritone saxophonist. He was nominated to prestigious Fryderyk Awards as the musician of the year in 2000 and 2004. His solo CD project 'Bogurodzica' was nominated to Fryderyk Awards as best jazz album (2000). 

Since 1994 Piotr hosts his own weekly radio jazz show at the Polish Radio Wroclaw. He has been freelancing as a reviewer and publicist for Jazz Forum European Magazine and Diapazon.pl.

Wojtek Konikiewicz
Since 1980s, Wojciech (Voytek) Konikiewicz (born 1956 in Wroclaw) is one of the most fascinating personalities on Polish Jazz scene. He is also a rare example of a person whose educational background includes studies in classical music, piano, composition , technology, electro-acoustics, and philosophy. In 80-ties he took part in a free-punk-funk jazz rebel, founding legendary groups like 'Sesja 80 Acoustic Action', 'Free Cooperation', and 'Green Revolution'. All those bands, and especially 'Green Revolution', broke the limits of jazz idiom, and preceded world wave of acid & hip hop jazz and Bill Laswell’s experiments in 90s; mixing freely ethno, free jazz, funk, hip hop, dub and even...punk rock. An extensive drum machine programming, interactive use of a huge MIDI controlled synthesizer & module system, ecstatic solos of keyboards, electronically transformed trumpet and saxophone, profound vocals, trance of ethnic drums, onomatopoeic rap of an avant-garde poetry (Miron Bialoszewski), as well as deep and creative mixing by Wojtek Przybylski and Konikiewicz, made the sound of 'Green Revolution' unique and fresh. Unfortunately, finding no support or even a tolerance, and facing numerous problems, the group was suspended in early 90-ties. After the dismissal of 'Green Revolution', Konikiewicz  became involved in Poland's independent rock movement, that flourished during Solidarity time, touring and recording with numerous legendary reggae, punk & indie rock groups (Izrael, Tilt,  Deuter, T.Love, Klaus Mitffoch, Obywatel GC); performing at famous rock (Jarocin), reggae (Solidarity Against Apartheid, Robrege Festival) and jazz festivals.

Since 1985, Konikiewicz has been a successful composer, scoring for feature, documentary, experimental and TV films, as well as for theatre, ballet and mime theatre. He is also a performing artist who acts upon both as a soloist ( piano, electronic instruments, laptop, pipe organ, harpsichord), and as a member of many groups, playing contemporary, experimental, electro, jazz, reggae & dub, indie rock or improvised music. He takes part in some multicultural projects, cooperating with musicians of diverse ethnic and cultural backgrounds.  As a composer Konikiewicz scored music from works for symphony & chamber orchestra, choir, string quartet, reed trio, saxophone and piano, saxophone and organ, harp and organ etc. to progressive, free & nu jazz, experimental, electronic /dark ambient, EBM,  noise, industrial, trance, dub & reggae, ethno and sacral pieces.

Today, Konikiewicz is one of the most creative and multidimensional artistic personalities of Polish electro, jazz, experimental, indie rock, reggae & dub music, as well an accomplished and very distinctive independent jazz critic. His most recent projects include Tribute To Miles Orchestra, Transgroove, various acoustic lineups (Oles brothers, Vitold Rek), and rock collaborations with Tomek Lipinski's Tilt, and own bands War5aw and Trupia Czaszka (with punk band Armia leader Tomek Budzynski).

Rafal Gorzycki
Despite his young age, drummer, leader and composer Rafal Gorzycki is one of the most creative and hard working artist of the jazz music scene in Poland. 

Rafal started to be interested in music when he was 13 and tried to play drums between rehearsals of his brother's punk-rock band.  Seven year later he was among those uncompromising musicians connected with famous Bydgoszcz clubs 'Trytony' and 'Mózg' creating what was later called Yass. Around that time he started cooperation with Tomasz Gwincinski and they played together in a band called 'Maestro Trytony'.  In 1998 he formed his own musical project called 'Ecstasy Project' which whom he recorded 4 albums: Ecstasy Project (2001), Realium (2005), Europae (2007), and Reminiscence Europae (2008).  The band originally fascinated with jazz rock fusing turned into the 20th century chamber music and absorbs this legacy to his jazz experience.

Rafal's  next important group, which he created (with Patryk Weclawek and Daniel Mackiewicz) in 2003 was Sing Sing Penelope ( transformed from a band called 'Jaskinia' . SSP has released 4 albums: Sing Sing Penelope (2005), Music for Umbrellas (2006), We remeber Krzeselko (2008), Stirli People (2009), Electrogride (2010).   His latest projects include: 'Rafal Gorzycki - Trio Poems'  with the music written to the 20th century`s poetry for man's vocal, electronics and drums; and .  In 2010 Pater / Kaminski / Urowski /  Gorzycki Quartet was nominated for the Polish Emmy award ' Fryderyki' for the Best Jazz Debut of the Year for their new album - 'Dziki Jazz' (Wild Jazz).

Contemporary Noise Sextet
The music of Contemporary Noise Quintet can be described as energetic jazz with the elements of film music. According to one critic the band 'continues on poetical path established by 1960s Polish Jazz classics like Krzysztof Komeda and Andrzej Kurylewicz'. Tthe band was established by Kapsa brothers Kuba and Bartek, who earlier formed Something Like Elvis the legendary emo-hardcore band.  The other musicians include Tomek Glazik - saxophones (Kult, ex-4Syfon, Sing, Sing Penelope), Wojtek Jahna - trumpet (Sing, Sing Penelope, Mordy), guitar player Kamil Pater who joined the band in November 2006,  and Patryk Weclawek (bass) who replaced Pawel Urowski.

'Contemporary Noise impresses with maturity and class. There’s elegance as well as punk energy. The compositions are unbelievably spacious but on the other hand all fulfilled with instruments – from the superb rhythm combo to the greatly equipped brass section. The roots of the musicians reach harder music, sometimes even heavy metal what bears excellent interest. The compositions are vigorous and expressive. The name of the band must be remembered because it undoubtedly is Polish export commodity'. (Diggin the Shelf)

Contemporary Jazz scene in Poland

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. Some of the current acts include (in no particular order); bands: RGG Trio, Pink Freud, 100nka, and (running strong since 1962!) Jazz Band Ball Orchestra. Vocalists: Grzegorz Karnas, Grazyna Auguscik, Ania Serafinska, Kasia Stanko, Marek Balata, Kasia Stankowska, Aga Zaryan; horn players: Marcin Obara, Adam Pieronczyk, Wojtek Staroniewicz, Maciej Sikala; trumpeters: Piotr Wojtasik, Janusz Zdunek; guitar players: Andrzej Izdebski, Tomasz Gwincinski, Przemyslaw Straczek, Kamil Pater; pianists: Pawel Kaczmarczyk, Slawomir Jaskulke, Leszek Mozdzer, Marcin Masecki, Krzysztof Herdzin, 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, surprises, inspires, gains new fans, and starting having impact of jazz scene outside Poland. 

The growing impact that Poland is having on the Contemporary World Jazz and Improvised Music scene is probably most evident in activities of Polish jazz club (among them Krakow's Alchemia) and Poland - based record labels (among them Not Two Records, Multikulti, Kilogram, and Laurence Family) that devote special attention to works of the international artists. And the artists agree - acknowledged Chicago jazz improviser Ken Vandermark considers his frequent visits to Poland 'to be one of the highlights of my career'.

American critic Michael Keefe, wrote in his introduction to 2005 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. Stay tuned.

Written and compiled by © Cezary Lerski and Polish Jazz Network.
Resources from Polish Jazz Network archives, Adam Mickiewicz Institute, the Warsaw Voice, The Big Band Database, Jazz, Jazz Forum, ECM Records, Polskie Nagrania, Polonia Records, PowerBros Records, Jazz Times, The New Grove Dictionary, All About Jazz, All Music, Encyklopedia Muzyki Popularnej - Jazz, Wikipedia and other sources were used in creation of this essay. All rights reserved to corresponding authors, composers, photographers, and all other legal copyrights owners.