AOTW: Feb 8 - 14: Krzysztof Komeda - Astigmatic

[relyles]

I have listened to this one several times the past couple of days. Very good recording. The title tune is episodic and holds your attention for the duration of the 22 minutes. The principal soloists, including a young Tomasz Stanko are strong throughout. I was particularly impressed with alto saxophonist, Zbigniew Namyslowski, who was entirely new to me. After listening to this recording I can see why Komeda was a successful composer for film. His compositions are filled with drama. Although I have not heard enough to classify it as one of the greatest jazz recordings ever, my initial exposure to this recording indicates that it is a very strong recording and easily recommended to anyone who has not heard it.

Geoff, thanks for pulling my coat to this disc.

[KOB]

Not a bad recording, but found it tad boring after awhile. The tracks are rather lengthy; whish is no big deal except that it doesn't seem to matter where you enter any particular track. It's all more of the same thing. It's ideal for movie scoring. Which one might think is Komeda's strong suit, but not necessarily. Try listening to Komeda on piano in a trio setting where you can focus on just Komeda. You will find that he is quite an impressive pianist. (Re: Polish Jazz Vol. 3 on the Muza label)

As to Namyslowski on alto, .... Well he's an old accomplished vet and I personally have a couple of old LP's on CD reissue under his name or he is part of the side personnel. He's very capable, but certainly a lot more exciting names on alto out there.

The thing to remember about a lot of this output from the Polish jazz scene during this 1960's period was that they were simply referencing what was going on here at the time and in particular Miles Davis 60's modal period. IMO, none of this output is particularly original in concept and simply putting their own spin to it. Stanko at this time idolized Miles and was trying to incorporate that style into his own playing. That said, it must be acknowledged that the overall level of musicianship from these musicians in Poland during this time was / is pretty darn good.

[DrJ]

Wow, I couldn't disagree more.

First of all, Namyslowski is a favorite of mine - certainly there were influences but he's got his own sound, and always has had.

This one to me is just as seamless and perfectly-conceived as some of the best contemporary outer bop sessions from the U.S. that seem to have far more cache and fashionability (read: many of the much ballyhooed avant-garde tinged BNs).

No offense meant, but I think what you're perpetuating is the orthodox "party line" viewpoint about European jazz, and I think it's a way too narrow and one-sided a view in that it doesn't allow for the possibilities of parallel development or even (gasp!) reciprocal influence.

Edited February 28, 2004 by DrJ

[KOB]

I am hardly U.S. - centric when it comes to jazz. And, certainly not party line in that regard. That's complete nonsense. My jazz collection strongly refutes that notion all together. As a matter of fact, I am presently on a huge Swedish jazz kick. In particular, I really enjoy Jonas Kullhammar and his cohorts. They are turning out some outstanding and very interesting advanced postbop stuff and have made a point to own all of Kullhammar's recordings and related discs on the Moserobie label.

Back to the subject at hand, by no means was I putting down that Polish jazz scene from the 1960's. I have been able to accumulate a fair amount of circa 1960's Polish Jazz from Dusty Groove and was particularly impressed with the Andrzej Trzaskowski quintet and sextet on Polish Jazz Vol. 2. I thought the music on this particular disc was excellent. As to Namyslowski, I acknowledged that he was good and he is. For my taste, I wouldn't put him up on a pedestal.

Nevertheless, the music's point of reference is from where I stated earlier. As to 'parallel development' or 'reciprocal influence', I doubt very much that Miles and Wayne and Herbie were influenced or concerned by what was going on in Poland or anywhere else for that matter and were too busy developing and perfecting their own original version of modal jazz during that period. I suspect they could care less who was following a trend they started or precipitated. It's not a narrow view. As Miles would say, 'here we go again someone else trying to take credit for something I did'. Why is it so difficult to acknowledge that they were influenced by what was going on over here at the time and in particular, Miles? Did Miles invent modal jazz, probably not but he did precipitate a trend in that direction at the time and many followed suit. It was followed both domestically and on an international level. It was simply one of several directional breaks from 1950's and early 60's hardbop.

There are and have been some excellent musicians out of Europe. No question about that. I would even go so far as to say that they were many that deserved wider recognition domestically than some domestics being touted here. I have no hang an up that the only good jazz around is found exclusively in the U.S... That would be an incorrect and ignorant line of thought.

Edited February 28, 2004 by KOB

[Spontooneous]

I'm awful late getting on this train, I know...

I'm just now hearing this refreshing album for the first time, and I wanted to thank Geoff for making me aware of it.

[Rooster_Ties]

Where'd you find one, Spontoonie?? If you happen to have it on disc, I'd love to borrow it sometime. Sounds like something that'd be very interesting, especially with Stanko.

[Spontooneous]

It was a lucky eBay purchase. There seem to be a lot of them on eBay lately.