02. Requiem Dla Z.C. / Requiem For Z.C. [3:06]
03. 10+8 [10:10]
04. Rondo (Z Filmu TV 'Cyrograf Dojrzalosci') [11:45]
05. Twarz Widza / Spectator's Face [8:45]
Polish Jazz vol. 14
Recorded in Warsaw, October 1967
Andrzej Kurylewicz - valve trombone, piano, rebela
Wlodzimierz Nahorny - alto sax
Jacek Ostaszewski - bass, tambourine
Janusz Kozlowski - bass
Sergiusz Perkowski - drums
Wanda Warska - vocal
In contrary to other "Founding Fathers of Polish Jazz" such as Andrzej Trzaskowski, Andrzej Kurylewicz (born in 1932), was initially more a man of swing then an avant-garde. He was also a a man of many talents: composer, pianist, trumpet-player, and trombonist. Born in Lwow, 1932, he began his musical education in the Music School (Szkola Muzyczna) in Lwow, and in the Institute of Music (Instytut Muzyczny) in Gliwice. He went on to study in college at the Academy of Music (Wyzsza Szkola Muzyczna) in Kraków - piano under Henryk Sztompka, and composition under Stanislaw Wiechowicz.
In 1954 he was kicked out from the Music Academy for... playing jazz. With political liberalization few years later, he made his debut as the founder of the Polish Radio Jazz Band (Zespol Jazzowy Polskiego Radia) in Kraków and later on worked as a leader of Polish Radio Organ Sextet (Sekstet Organowy Polskiego Radia). Every year, since 1958 until 1971, he presented own programs at the annual Jazz Jamboree festivals with his bands: Jazz Believers, Modernisci, trios, quartets, quintets and with Jazz Orchestra of the Polish Radio (later on known as Studio Jazzowe). He collaborated with variety of artists, including Czeslaw Niemen and Tomasz Stanko. In 1969 he founded the Formation of Contemporary Music (Formacja Muzyki Wspolczesnej - strings, brass and percussion), which he led till 1979. In 1967, in Warsaw's Old Town, with his wife Wanda Warska - a singer and painter - he opened 'Piwnica Artystyczna Kurylewiczow' - a studio for the performance of musical and literary forms, distinct and combined.
He was a passionate artist, who has changed several times the field of his interests and activities, since late 1960s he began drifting from Jazz field more toward contemporary classical music. As a composer, he belonged - as he himself has put it: 'to the post-avant-garde of the late 20th century'. He composed numerous pieces for symphonic orchestra, for chamber orchestra, as well as many song-cycles, psalms for Latin texts, and a wide range of solo works, for piano, harpsichord, organ, flute, tuba, double-bass, and others. As a pianist, Andrzej Kurylewicz valued highly the music of Polish composer Karol Szymanowski, offering particularly outstanding interpretations of all twenty-two of that composer's Mazurkas. In his improvisations on the piano, he has been particularly innovative in combining classical and contemporary music with jazz. In 1959 he collaborated with 'Teatr Rapsodyczny' in Krakow, and wrote his first score for the movie ('Powrót'), starting life long successful collaboration with film and theatre. His biggest hit was a score to made for TV show 'Polskie Drogi', the songs from this movie were recorded and re-interpreted by many artists worldwide, including Pat Metheny.
Kurylewicz, who once admitted that he 'never escaped from Jazz' came back to regular playing with his own jazz trio in 1994. Kurylewicz departed on April 12, 2007.
A complete jazz publishing house.
It starts with a very groovy And Will not Stay With You (I have an unpleasant feeling that the tambourine is too loud), but the cooperation of bass and drums is exemplary. After this broken neck, the song is silenced in Requiem for ZC (title requires). The work is a sleepy, slightly inserted funeral march.
The title 10 + 8 is a musical improvised game: unfortunately, it's about 5 minutes long. This is the only complaint I have for this progduction: if I want to be avant-garde, they have made a tentative step: In the swaying of the rocking, in their traditional way, I Will not Stay With You , or the calm, but a little disturbing Requiem, almost free of readable improvisation structures, it has too undecided length: I would prefer it to last 30 minutes or 5-10 it has not been pinned or patched.
Rondo with irreplaceable Wanda Warska on the microphone is a beautiful composition quickly transforming into free-jazz experimentation. In some 3/4 of the length in the form of a chorus, the melody is recalled from the beginning, then it is replaced by a solo of the percussion, to which for a moment they join the inflated one, and after a while let the beautiful closing phrase sound again. This song about the closed but loosely contained composition appeals to me in particular.
The album ends with a reflection on the Faces of the Viewer , in which the avant-garde sounds of collective improvisation with changing saturation are again reflected.
A great chapter of Polish Jazz.