Jazz Archives

(Editor) One of the best and most significant recordings of then just 27-years old legendary Polish altoist Zbigniew Namysłowski...

"Jazz fills up my life. It means to me everything -- said Namyslowski. -- Playing in a quartet suits me best... Until recently I did not set great store by composition. But now to be successful one cannot merely play Horace Silver's themes and other people's arrangements. And so I have created my own quartet and my own music, to be able to play what I want and how I want...". 

Quoting these words I cannot help recalling a thin and insignificant looking boy who burdened with a huge cello scrambled on to the gigantic stage of the Forest Opera in order to play with the Modern Combo group, which was taking part at the II International Jazz Festival at Sopot (August 1957), as a completely unknown soloist. And yet a few years later Zbyszek Namyslowski won recognition not only with jazz fans and connoisseurs at home but also with the exacting critics abroad -- after numerous tours of his quartet in such countries as Italy, Belgium, West Germany, Switzerland, Czechoslovakia, Yugoslavia, Finland, USA. Namyslowski went through most suitable stages before he achieved his present-day results; he played the trombone in traditional and swing bands, for some time also the trumpet and cornet, and when there was need he accompanied the vocalists on piano. 

But the ambitious musician was never after the label of a "multi-instrumentalist". Eventually he chose the alto saxophone in which he could prove himself completely. What we appreciate with Namyslowski particularly is his equally enthusiastic attitude to all styles in jazz; he is always himself while playing hard-bop along with rhythm and blues, free-jazz and the third current along with the fringes of pop-music, and who at the same time would feel an irresistible fascination towards new ventures? A separate chapter could be devoted to Namyslowski's compositions, the more so that his ambition is to draw inspiration from Polish folk-lore which leads to the sort of music that Poland exports as her contribution to the world of jazz. 

While writing on Namyslowski we must say a few words about the remaining members of the band as they also have their say in modern jazz. The pianist ADAM MATYSZKOWICZ (b. 1940) made his first steps as jazzman within the Cracow "jazz boheme"; in 1963 he made his mark as member of "The Jazz Darlings", and already in those days critics predicted him a fine career which was to lead him subsequently to appearances in the quartet of the known Polish tenore saxophonist Michal Urbaniak. His greatest success abroad was his accompanying to the known Polish group "Novi" which won the first prize at the 15th International Jazz Festival in Zurich (1965). The percussionist CZESLAW BARTKOWSKI also became a jazzman in a student milieu having begun his career in the FAR quartet. In 1961 he made himself known to the wider public at the International Jazz Jamboree at the Warsaw Philharmonic, then he participated in the triumphant tour of Namyslowski's quartet (among others in Britain, Italy, West Germany). From time to time he joins other bands such as the excellent quartet of the Polish pianist Krzysztof Komeda. The bass player JANUSZ KOZLOWSKI (b. 1941) started, like his colleagues, as member of modern student bands. For some time he played with traditional bands such as "Warsaw Stompers", Ragtime Jazz Band, the group Bossa Nova Combo and "Pagart's" big band with whom he went on numerous tours abroad.

Siodmawka (Seven-Four Bars) -- After the composition based on Polish mountaineer's themes called "Piatawka" (Five-Four Bars) in which Namyslowski used rarely appearing in jazz rhythm 5/4, the composer went here still farther and used in "Siodmawka" the beat 714. Along with the free form we hive here harmonies of a mountaineer's tune. This is undoubtedly one of the most interesting items of the record. 

Despair -- In respect of melody and harmony, an equally interesting piece. This is a twelve-bar form of  blues, but without the use of the blues scale. 

Frances the Terror -- Here we come to know the quartet operating within free-jazz, the sort of music which perhaps does not appeal to all, but expresses, however, the artistic changes occurring in our days and the evolution of jazz. The band is improvising in two tempi, two phases, and does it very consistently. 

The Beetle Humming in the Reeds -- A folk-tune again, this time it's a Krakowiak. The quartet plays it with dash and half-jokingly. 

My Dominique -- A typical ballad of simple harmonies, in slow tempo. The composer wrote it with his little daughter, Dominika, in mind. 

The Wardrobe -- The composition, which is being played dynamically and in a "dirty" way, may be regarded as a mixture: free harmony + big beat. Let's hear what's been the result. 

Mead Drinker Lola -- A sort of Charleston, a musical joke with typical solo parts. It can do without commentary, being simply a musical relaxation. 

"Despite the comings and goings of our many American visitors in 1964, one of the most refreshing things to hit the British jazz scene last year was the visit of these four young Poles. This album... is a striking illustration of the high standard of European jazz. ("Melody Maker", London, Jan. 9th 1965) "...As an orthodox modern jazz group, they possess all the qualities one would look for in their American counterpart... As a group, the four men are obviously well accustomed to each other's playing.. In addition their music has a strange attractive flavor which one can only put down to their contact with Polish folk music...".  

:::Review by polish-jazz.blogspot.com:::

Zbigniew Namysłowski Quartet - Polish Jazz Vol.6 (1966)

1.  Siódmawka / Seven-Four Bars 8:05

2.  Rozpacz / Despair  6:10

3. Straszna Franka / Frances The Terror 10:55

4. Chrząszcz Brzmi W Trzcinie / The Beetle Humming In The Reeds 9:00

5. Moja Dominika / My Dominique 7:10

6. Szafa / The Wardrobe 7:10

7. Lola Pijąca Miód / Mead Drinker Lola 1:30

Credits

Zbigniew Namysłowski - alto sax

Adam Matyszkowicz - piano

Janusz Kozłowski - bass

Czesław Bartkowski - drums

"We have known Zbigniew Namysłowski so far as a musician of a small ensemble. Indeed his groups had not for years exceeded the size of a quintet, and lately he has even been playing in a quartet. On this record, however, Namyslowski, by writing his pieces for quartet and orchestra, has created for himself and his remarkable colleagues a vast and colourful tonę background. The idea itself is not new; some major jazz and rock groups have been doing such recordings already. What's new in Namyslowski's approach is, I think the way he is treating here the orchestra. It is no longer restricted to play sweeping chords as merely a harmonic background. Being at once arranger and composer he has assigned the symphonic players an exacting task by writing for them the rhythmic patterns typical of contemporary jazz. And one must admit that they fulfil that task for the most part satisfactorily, thereby giving this recording an unusual expression and a refreshing quality of novelty. Julian Cannonball Adderley said on one occasion that Zbigniew Namyslowski was one of the greatest jazz musicians he had ever known. This recording, with its features of genius, made by Namyslowski on the twentieth anniversary of his activities, does confirm this opinion a hundred per cent."

:::Review from liner notes:::

Zbigniew Namysłowski (1977)

01. Pod dobrą godziną (At the Auspicious Hour)
02. Gdy zakwitnie miesiąc maj  (When May Is in  Flower)
03. Mango-boogie
04. Jasmine Flavoured
05. Upływ czasu (The Passage of Time)
06. Przejażdżka na UFO (Flight on an UFO)

Credits
Zbigniew Namysłowski Quartet:

Zbigniew Namysłowski  — alto saxophone,
Sławomir  Kulpowicz  —  piano,
Paweł Jarzębski  -  bass,
Janusz  Stefański  —  drums
&
Marek  Bliziński  —  guitar,
Józef Gawrych  —  percussion,
Wiesław  Kowalewski  —  percussion.

Orchestra conducted  by Zbigniew  Namysłowski.


Notes
Muza SX 1493
1977

GUIDO MANUSARDI. Born on December 3, 1935 in Chiavenna. In his very early days Guido moves to Switzerland, Germany, Holland, Denmark and, finally, ends up in Sweden where he lives for 5 years. It is in Stockholm that Guido meets the great Red Mitchell, with whom he will establish a deep friendship and musical collaboration.
In 1967 Guido moves to Bucharest and finally comes back to Italy after 7 years. His live album "Live recorded at the Lubiana Jazz Festival", wins the annual Italian "Premio della Critica Discografica". In 1977 his solo album 'Delirium' wins once again the same prize and Guido is recognized "Musician of the Year' and in October of the same year he is invited with his quartet al the Jamboree Jazz Festival In Varsavia. In July 1978 he his invited at the Montreux Jazz Festival: Guido is the first Italian Jazzman who participates at the festival.
Guido has performed and recorded with many jazz artists: Roy Eldridge, Bobby Hackett, Art Farmer, Don Byas, Dexter Gordon, Al Heath, Slide Hampton, Johnny Griffin, Red Mitchell, Lee Konitz, Jimmy Cobb, Jerry Bergonzi, Victor Lewis, Billy Higgins, Cecil Payne, Shelly Manne, Booker Ervin, Joe Venuti, Curtis Fuller, Kay Winding, Jimmy Owens, Lou Donaldson, Joe Morello, Art Taylor, Hal Singer, Sture Nordin, Bjorne Alke, Lennart Aborg, Petur Ostlund Island, Zbigniew Namyslowsky, Niels Henning Orsted Pedersen. In July 2000 Guido was invited, from the Art Director of MOCA (Museum of Contemporary Art), in Los Angeles to have a performance at the Museum with Billy Higgins and Trevor Ware and during his permanence in L.A. he played with Billy even at World Stage - Hot Spot and here he recorded a CD - Live at the Hot Spot. Guido Manusardi is one of the few Italians lo be included by Leonard Feather in his "Jazz Encyclopedia".

:::Review from theblues-thatjazz.com:::

Guido Manusardi Quartet feat. Zbigniew Namysłowski - Namymanu (1977)

Side A

Planetarium Suite:
a) The Silent Sound of Space
b) Exploration
c) Song of the Spheres
d) Creation
e) Reaction
f) Back in Silence

Side B

1) Ballad for Eve
2) From the Bottom to the Top
3) Namymanu

Credits
Guido Manusardi - piano
Zbigniew Namysłowski - alto sax
Peter Guidi - soprano sax (Side A only)
Lucio Terzano - bass (Side A & B2)
Gianni Cazzola - drums (Side A & B2)

When in February 1993 Stanisław Sobóla of Polonia Records called me and offered cutting a record of Chopin music, I agreed to do so most readilly. But just as soon as I had hang up, panick took me over - Chopin a la jazz? Help me somebody!
Almost a year I hestitated before I got into the studio, since so much had taken to prepare myself mentally for the project. Mentally, which means not so much by way of practicing at the keyboard, as by thinking rather and careful listening to Chopin's music, as well as to some jazz pianists solo recordings. I felt that every concert I was playing during the period furthered me to the moment when I would sit at the piano and cut the record myself.
In the meantime Andrzej Jagodziński had recorded Chopin with his trio and I'd heard news about Benek Maseli fixing to do the same. It started getting crowded in the Chopin department anyway.
Finally the date was called for three days at the Warsaw's radio and TV studio at Woronicza Street. I invited the two greats - Stańko and Namysłowski - to join the session. It has all been a terrific experience and a fantastic lesson to me. I have discarded quite a few recorded pieces leaving only the most valuable in my opinion.
Generally speaking I wanted to stear clear of „remakes” of all sorts. Being an admirer of our great composer's genius myself, I knew that restyling Chopin „in a jazzy groove” would have been dealing trash and sacrilege. I tried to get out of his music things that I could use as a pretext for my own, personal playing. The Chopin's themes therefore often appear camouflaged, often marked rather than quoted. Whenever I was to quote Chopin - then I did it literally, after the original score.
The material includes two jazz standards: „My Secret Love”, where the left hand figure from Prelude in A flat major, adapted to the theme's harmony, has been employed in the accompaniment (the ending, however, is the original Chopin's prelude) and „Segments” by Charlie Parker, which - as far as harmony is concerned - strictly covers the opening of Etude in A minor Op. 25 Nr 4. You'll also discover quite a lot of easy playing, which is what I personally like the most, without holding on tight to an a priori settled harmony or from.Let me hope that you'll enjoy this record, those of you who know Chopin and love him as well as the jazzfans among you. I also hope that perhaps a few of the latter will find themselves motivated by it to get more familiar with his music.
Leszek Możdżer

:::Review From original liner-notes 1994:::


Leszek Możdżer - Chopin Impresje (2005)

1. Mazurek C op. 24 nr 2
2. Nokturn F op. 15 nr 1
3. Etiuda Ges op. 25 nr 9
4. Nokturn G op. 15 Nr 3
5. Mazurek A op. 17 Nr 4
6. Preludium As Nr 26 (My Secret Love)
7. Preludium A nr 7
8. Etiuda A op. 25 Nr 4 (Segments)
9. Mazurek F. op. 68 Nr 3
10. Nokturn F op. 15 Nr 1 (2nd ver)
11. Nokturn Fis op. 48
12. Mazurek G op. 24

Credits
Leszek Możdżer - piano
Zbigniew Namysłowski - alto saxophone (12)
Tomasz Stańko - trumpet (10)

I intended to cut a record with pop music played by jazz musicians. It was done easy, and it should be listened to easy as well; it may come through one ear and flow away through another. And if, incidentally, it brings the listener some pleasure - we may say that is mission is filled.

:::Review from Last.fm:::

Wojciech Karolak - Easy! (1974)

1. A Day In The City 5:28
2. (DACP 796) Endless Transit 4:17
3. Instant Groove 7:09
4. Strzez Sie Szczezui (Jan Wroblewski) 3:58
5. Easy 5:57
6. Why Not Samba 4:16
7. Seven Shades of Blue 4:04
8. Goodbye 6:27

Credits
Wojciech Karolak (Hammond Organ and Fender Piano)
Zbigniew Namysłowski (Alto Saxophone)
Janusz Muniak (Tenor Saxophone)
Tomasz Szukalski (Tenor Saxophone)
Włodzimierz Kurpinski (Baritone Saxophone)
Tomasz Stańko (Trumpet)
Józef Debek (Trumpet)
Tadeusz Sosztak (Trumpet)
Andrzej Piela (Trombone)
Stanisław Cieślak (Trombone)
Jan Jarczyk (Trombone)
Pawel Dabrowski (Fender Bass) - 7,8
Czesław Bartkowski (Drums)
Wojciech Kowalewski (Percussion)
Ewa Wanat (Vocals)
Waldemar Parzynski (Vocals)
Janusz Mych (Vocals)

Great record of excellent and rare progressive jazzrock album that was a PL-only release in 1981 on  MUZA and comes in a thin full colour paper sleeve (swoc) - fantastic instrumental fusion album including six tracks  by flute wizzard KRZYSZTOF ZGRAJA who has a very individual sound and style...sounds like early-70s hippie psychfusion with dreamy parts as well as heavy outbursts...listen to that fantastic drum solo!!!

Krzysztof Zgraja - Laokoon (1981)

1. Luz-blues 03:30
2. Alex – funky 01:00
3. La concha 11:20
4. W oczekiwaniu na../WAITING FOR... 03:05
5. Laokoon 10:25
6. Fin de siècle 09:45

Credits
- Krzysztof Zgraja - flute
- Jacek Bednarek - bass
- Krzysztof Ścieranski - bass guitar
- Marek Stach - drums
- Wojciech Kamiński - piano, Fender piano
- Zbigniew Namysłowski - alto sax (3)
- Reto Weber - drums (4)

Although not as well-known in the West as his countrymen Adam Makowicz, Tomasz Stanko, and Michal Urbaniak, Wróblewski has been one of the dominant figures in Polish jazz since the late '60s. Wróblewski played clarinet, tenor sax, and piano while studying agriculture at a Polish technical college; his first professional experience was with Krzysztof Komeda in 1956. Beginning in 1958, he studied at the Higher School of Music in Krakow. That year, he was chosen by George Wein and Marshall Brown to play in the International Youth Band, which performed at the Brussels World's Fair and the Newport Jazz Festival. In 1960, he played and recorded with Stan Getz and a group of Polish musicians; the resulting album was issued as Jazz Jamboree '60.
Wróblewski led many Polish jazz groups during the 1960s, including the Jazz Outsiders and the Polish Jazz Quartet. He played some free jazz, but -- while occasionally prone to experimentation -- he remained attached to more traditional forms. Wróblewski formed the Polish Radio Jazz Studio orchestra in 1968 and led the band until 1977; it included most of the country's top jazz players at one time or another. Around that time, Wróblewski was also vice president and later president -- of the Polish Jazz Society. He led several of his own ensembles during the '70s, including Mainstream (co-led with Wojciech Karolak), Chalturnik (an experimental aggregate), and his quartet.

Quite a groovy little album -- big band work from Polish saxophonist Jan Ptasyn Wroblewski, done with the same hip flair and sense of soul as similar projects for MPS at the time! There's a sound here that's ambitious, but not overly academic -- a bold statement in music that's filled with strong colors, firm tones, and a confident direction -- played to perfection by a group that includes Wroblewski on tenor, Tomasz Stanko on trumpet, Michael Urbaniak on violin, Zbigniew Namyslowski on alto sax, and Adam Makowicsz on Fender Rhodes. Tracks are longish, but very well constructed -- so that they don't run on too much, and have a tightness that matches the spirit of the set. Titles include "Determinant One", "Quotation From Myself", "Magma", "Seaweed Sale", and "No Fade Out".

:::Review by Dusty Groove America, Inc.:::

Jan Ptaszyn Wróblewski - Sprzedawcy Glonów (1973)

Credit
1. Seaweed Sale 6:18
2. No Fade Out 6:04
3. Quotation From Myself 9:09
4. Determinant One 9:50
5. Jan Szpargatol Mahawisnia 6:26
6. Magma 5:18

Credits
Studio Jazzowe P.R. - directed by Jan 'Ptaszyn' Wróblewski

Tomasz Szukalski - tenor sax, soprano sax, bass clarinet (1, 3-6)
Michał Urbaniak - violin (1), soprano sax (2)
Zbigniew Namysłowski - alto sax, flute (1-6)
Tomasz Stańko - trumpet (2, 3, 4, 6)
Adam Makowicz - Fender electric piano (4)
Marek Bliziński - guitar (1, 4, 5)
Jan Ptaszyn Wróblewski - tenor saxophone (1, 2, 4, 6), conductor
Wojciech Karolak - Hammond organ (1, 5)
Włodzimierz Nahorny - alto sax, flute (1-6)
Zbigniew Seifert - alto sax (2,3), violin (6)
Stanisław Mizeracki - trumpet (1,2,3,4,6);
Bogdan Dembek - trumpet (1,3,4,5,6)
Bogusław Skawina - trumpet (2)
Laco Deczi - trumpet (5)
Józef Grabarski - trumpet (1)
Stanisław Cieślak - trombone (1-6)
Andrzej Brzeski - trombone (1,2,3,4,6)
Andrzej Piela - trombone (2,3,5,6)
Jan Jarczyk - trombone (1,4,5)
Dariusz Filiochowski - French horn (1,3,5,6)
Dariusz Szewczyk - French horn (4)
Zdzisław Piernik - tuba (2,3,5,6)
Janusz Muniak - tenor sax, soprano sax, flute (2,3,5,6)
Waldemar Kurpiński - baritone sax, clarinet (1,3,4,5,6)
Andrzej Trzaskowski - piano ( 6)
Paweł Jarzębski - bass (1,2,4,5)
Bronisław Suchanek - bass (3,5,6)
Janusz Stefański - drums (2,3,5,6)
Czesław Bartkowski - drums (1,4), percussion (5)
Kazimierz Jonkisz - percussion (1,3,4,5,6)

This album by Zbigniew Namyslowski is considered by many as a great peak in his long career. His abilities as an improviser and his skills as a composer come together in order to create a perfect modern jazz recording. The 3 brass instruments (2 saxes and trombone) and the pianoless rhythm section all work in perfect unison with amazing interplay and scary solos chasing one after another. One can find of course influences by John Coltrane and Ornette Coleman, but this is truly original in every sense. A masterpiece!
Polish Jazz Vol.33

:::Review by Jazzis:::

Zbigniew Namysłowski – Winobranie (1973)

1. Winobranie (Wine Feast) / Jak nie masz szmalu to jest łaź (No Dough, No Kicks) 9:55
2. Nie mniej niż 5% (Not Less Than Five Per Cent) 6:35
3. Gogoszary 4:40
4. Pierwsza przymiarka (First Take) / Ballada na grzędzie (Ballad on the Roost) / Misie (Teddy Bears) 14:05
5. Taj Mahal / Winobranie (Wine Feast) 6:55

Credits
Bass - Paweł Jarzębski
Cello, Composed By, Piano, Saxophone [Alto] - Zbigniew Namysłowski
Clarinet [Bass], Saxophone [Tenor] - Tomasz Szukalski
Drums - Kazimierz Jonkisz
Trombone, Percussion - Stanisław Cieślak

Innovator with a complex of tradition, romanticist expressing himself in the contemporary idiom, poet of piano - this is Krzysztof Komeda, one of those musicians who have widened the essence of jazz.
He has proved that the world of emotions hitherto remaining within the scope of symphony music could manifest itself in jazz as well. He did it by introducing into it dramatic lyricism and pathos which in their ecstatic, even mystic intensity are in the late-romantic, Promethean, Skriabin-like modes of expression.
This new aesthetics in jazz required its new form. Instead of the static conventional sets of variations, preceding without direction, he has initiated a dramatic form which develops from the exposition towards culmination and final solution. This form, let us call it roughly "the bow form", has been used in two major pieces by Komeda recorded on this disc: Astigmatic and Svantetic (after Svante Forster, Swedish poet and writer, friend of the composer). The solo parts have ceased in it to be blowing choruses and have taken on instead a definite function, while the simple construction of the piece, concentration on a single idea (one movement, one theme), as well as much scope for improvisation and the psychic contact between the players contribute to the fullest realization of the composition.
The dramatic and constructional elements are not the only characteristics of Komeda's style. The particular "Slavonic" feeling of his pieces results from the fusion of all sorts of stuff: beside contemporary technique of composition (sound spots, clusters, aleatoric and poliagogic structures) there are structures getting out of fashion (modalism or the extinct harmonics of the last century) or the "fossilized", long forgotten forms of the musical prematter (as for instance the simple drum beating - the obsessive rhythm, how very fresh and revealing nowadays!, or the uncontrolled instrumental "cry").
The force that unifies these elements is the jazz rhythm and sound. It must be said, however, that the sonority and articulation have been here considerably widened.
Komeda's pieces are outlines to be performed by a group of chosen instrumentalists. No wonder that Komeda selects his partners carefully.
Among the musicians connected with him there is Rune Carlson, a distinguished Swedish percussionist, extraordinarily musical, with a rapid reflex and an unusual sensitivity to the quality of sound. Though in his style similar to Anthony Williams, in details completely different from him.
Then there is in Komeda's group Tomasz Stańko, a leading Polish trumpeter, a striking individuality. Since recently he has been playing on the flugelhorn, extracting from it a fine, voluminous sound.
As guest performers appear with Komeda: Günter Lenz, playing double-bass with the West-German Albert Mangelsdorff ensemble, a musician of rich technique and imagination; and Zbigniew Namysłowski from Warsaw, one of the leading alto axophonists of the younger generation (born in 1939), known in numerous countries in Europe and in USA.

Krzysztof Komeda (1931-1969), a pianist, a musician whose career has been very rich. He has been playing as jazz musician since 1959, appearing in many European countries and having a particularly great success in Scandinavia. He has written music to over thirty films both Polish and foreign. Among others to Two Men with a Wardrobe, Mammalia, Knife in Water, Cul-de-sac, all by Roman Polański, to Innocent Sorcerers by Andrzej Wajda, Hvad Medos and Kattorna (Cats) by Henig Carlssen. Just from the latter comes the second of the pieces recorded on this disc of the four individualists appeals strongly to our imagination. And that is what they are aiming at.

:::Review by Adam Stawinski
Original liner notes from the album's back cover:::

Krzysztof Komeda – Astigmatic (1965)

1. Astigmatic 22:50
2. Kattorna 7:20
3. Svantetic 15:50

Komeda Quintet
Tomasz Stańko - trumpet
Zbigniew Namysłowski- alto sax
Krzysztof Komeda - piano
Gunter Lenz - bass
Rune Carlson - drums

One of the best, though short-lived groups led by Namyslowski was the 1974-76 Quintet with Karolak, Szukalski, Jarzebski and Bartkowski. These excellent jazzmen were lucky to record, in March 1975, rather unusual music by Namyslowski: the highly original pieces that sparked again the touchy problem of Polish folklore presence in jazz. Namyslowski had already earlier intrigued sensitive listeners with his probably unconscious infusing into his music some characteristics of the Polish Mountainers' folklore ("Siodmawka","Piatawka"),but only now this side of his creative imagination showed itself so strongly.
The centerpiece of this record is the three-movement title composition in 15/8 meter. Here we can enjoy contrasting tempos and moods, mediations and chantings, bass ostinatos, obstinate shifting of two chords, and, in the last section, rock-like repetitive rhythm-patterns, moving back into pensive, melancholy chants that finally fade away to end the piece. But even here the folk colouring stems not form any methodical background studies or intentions.
Namyslowski simply allows his musical nature to pronounce itself freely, and exactly such a spontaneity is what makes it precious from the jazz standpoint.
In "Sad Little Johnny", the first pastoral section is followed by the busy funk rhythms and free sax improvisations. Also in the "Quiet Afternoon" the prolongued and beautiful immersion in poetic meditation finds its momentary contrast in the ragged alto solo, backed by electric piano and drums, after which the music returns to the dreamy mood. "Little Lamb Lost" strayed obviously somewhere in the Polish Tatra Mountains, for in spite of rock rhythms (even with their help) the motifs and scales of Podhale region are very much evident.

:::By Andrzej Schmidt:::