Tomasz Stanko Live in Seattle

[Peter Johnson]

Just got back from the Stanko quartet show at the Triple Door in Seattle. It was a 90 + minute show--one set, three encores. Terrific stuff. Were any fellow Organissimites there?

This is the first time I've been to a jazz show without having heard _anything_ by the musicians in advance. This board hipped me to Stanko, and I missed him in Philadelphia last year, so when I saw his name resurface in connection with his recent record, I made a mental note to be sure to go. I'm certainly glad I made it.

I don't know his repertoire, so my thoughts are really more from an impression point of view--the playing was all over the board, as far as straight ahead, free, slow, fast...you name it. The quartet was clearly able; the pianist (sorry, don't know names, although I've seen them mentioned elsewhere here) played, for lack of a better comparison, in a sort of post-herbie-hancock herbie hancock vein. The drummer? I've seen the comparisons here to Tony Williams, and I get that, but I think the better comparison is early PMG Paul Wertico. The bass player didn't leave me with anything, other than a thought that he was quite able.

Stanko himself? I admit my perception was a bit colored by all of the "Miles Davis derivative" stuff I've heard (not here so much as popular press, "everyone who owns KOB should buy...blah blah blah" and I'm here to tell you, this shit is NOT derivative. Stanko has really got his own thing going--if there were a single Miles comparison it would be that this guy can play so...far...behind...the...beat that he's almost in front of it. His phrasing had me on the edge of my seat ("shitmanhe'sgottaendthatnotesometimeandnow...wait...ishechangingtoanotherone?") Brilliant!

The concert opened with (and freqently returned to) a tune that began with a nice, interesting bass ostinato over which the pianist came in with chords, setting up a mood for Stanko to blow some long phrases over. I don't think the key changed for a good five minutes, but it was very interesting (this sort of thing doesn't usually grab me, but it did here).

By the time my first glass of bordeaux arrived, the band had kicked it up a notch and was really interacting nicely; I mean, they weren't trading fours or anything, but there was synchronicity and Stanko clearly has much respect for his pianist (as he should have, the guy was amazing) because he frequently laid out when the pianist really had something going.

Halfway through the show the bassist pulled out his bow and my heart sank--arco usually drives me up a wall--but he held my attention with (I'm stealing someone's, Ubu's??? description here, sorry/thanks) a very intricate, almost chamber music duo with the pianist. It was haunting, and the audience _got_ it--well, except for the 22-year old blond with superpointyshoes who fell on the stairs next to me at that exact moment (she was okay, she walked it off)--and listened raptly as the song built and built and ebbed and flowed and the drummer appeared out of nowhere and then Stanko came in with crazy chromatic runs and goddamn it was just amazing, amazing ensemble work...this band has clearly got a vibe that they're comfortable with, and they use it to their advantage (and the advantage of the audience members who are paying attention!).

Speaking of the latter, my second glass of bordeaux was marred slightly by the presence of three middle management schlubs who decided to walk halfway into the room, stand on the side, and talk loudly. Now in Philadelphia, you can imagine what would have happened next, but this being Seattle, the waiters and hosts just stepped around them, doing nothing. My blood started to boil, and they got louder, so I got up, walked up (feeling many pairs of eyes watching the back of my skull) to them and asked them politely to shut the fuck up (in so many words). One of them, a shorty with glasses and a combover lipped off a bit, but he said his piece and they slunk away. Sheesh!!!

The encores were equally brilliant, and I was told by my table mate that they comprised material from their latest record on ECM. Which I would have bought for fifteen dollars, had they not run out.

All in all, a terrific show, a terrific night, go see Stanko if you can, ditch the preconceptions if you have them, and hope with me that that asshole wakes up with a hangover!

PJ

Edited March 20, 2005 by Peter Johnson

[tonym]

Glad you had a good time Peter. They really do play don't they. Stanko certainly knows how to do the rubato thing. He's a very cool, assured man, but not at all arrogant. Great how he's passing his thing on to such a young band (much in the way Miles used to do --see one more Miles comparison!).

When I saw them, I really didn't want them to stop playing. I'll have a big fix later tonight.

As for arsehole in the crowd; there's always one isn't there? Everybodies born with one, just that some decide to actually be them

All the best.

[doubleM]

I saw them at the Bluemonk in Portland on Friday night. I was blown away by Stanko and the pianist, and the other two players were more than good enough. I think that Tomasz has a bit of a Don Cherry/Ornette thing happening, too...even though they write about his influences being Miles and Chet. He's the one the best trumpet players that I've seen play in that out, stream-of-consciousness style without reverting to cliches and Milesisms. That pianist is a mutant! Just amazing. Yes, I'll try to catch these guys anytime possible.

[Quincy]

I saw them in Eugene under the same sort of condition as Peter did (but without the loud talkers.) Hadn't heard a lick from any album but knew to trust the recommendations from board members. Also I took the timing of a Polish musician playing on St. Patrick's Day as another sign that this was a must see show!

It was a pure delight. And the pianist is something else. He really has the jimmy legs at times as they often bounce up & down when he plays. Easily one of the most enjoyable evenings I've ever had. Now it's time for me to start buying albums!

[Peter Johnson]

That pianist is a mutant! Just amazing.

Indeed--he was unreal. All over the keyboard while still making musical "sense".

[tonym]

Thinking about it, there is a geat deal of Ornette in there; sort of that 'melodicism' in the face of abstraction. If that makes any sense at all.

[LWayne]

Saw the Tomasz Stanko Quartet last Wednesday, March 16th at the HotHouse in Chicago, while I was visiting the town for business.

As previously stated, the set was much more "up tempo" than the group's last two ECM sides "Suspended Nights" and "Soul of Things" I was likewise impressed with Stanko's ability to sustain a tune with his tone and not by resorting to histronics.

Marcin Wasilewski, the piano player, was also impressive as he drove the quartet flawlessly. While this club probably seats 250 max, there must have been twice that number in attendance at the show, with a particularly large concentration of Poles and Eastern Europeans enjoying the show.

Stanko walked quickly through the crowd at the end of the set, giving a couple of cursory autographs to his adoring throng, and seemed like an earnest, if shy, fellow. Altogether a great show and a memorable evening!

LWayne