***Tomasz Stanko***

[tonym]

I guess because he's European (and us prole Americans just can't understand the Old Worlders), he must be way head of us, like Derridean criticism or Foucaultian philosophy, and other such engaging European products.

No, I would expect some Americans to understand such things.

I don't think it's ever been suggested that Europeans are 'way ahead' or whatever, after all, it is the great American art form we're dealing with. Carry on like that and you're in danger of offending us European board members. I don't think that would achieve anything or be of any benefit to anyone.

[king ubu]

I guess because he's European (and us prole Americans just can't understand the Old Worlders), he must be way head of us, like Derridean criticism or Foucaultian philosophy, and other such engaging European products. 

No, I would expect some Americans to understand such things.

I don't think it's ever been suggested that Europeans are 'way ahead' or whatever, after all, it is the great American art form we're dealing with. Carry on like that and you're in danger of offending us European board members. I don't think that would achieve anything or be of any benefit to anyone.

Leeway, you had me laugh out loud! Don't take this so serious! If you find Stanko a bore and don't get him - fine. To each his own, I'd say, musical tastes are different, and we should be all the more happy about that.

and to tonym: of course *some* - maybe lots of - Americans do indeed understand those "old world" "engaging products"! Derrida would not be half as famous today if not for his fame in the US. But all of this has nothing to do with Stanko, I think...

ubu

[king ubu]

The music doesn't really swing and, to me, lacks vitality.  In other words, too much head, too little heart.  What am I missing?  Or are there others who feel the same way?

Perhaps you're listening for something that isn't there ('swing' in the traditional American sense of the term).

You're also assuming that this 'swing' equates to 'heart', lack of it to 'head'.

That's a common criticism of European jazz (and ECM jazz in particular) by listeners centred on the American mainstream (and I mean everything from Armstrong to Ayler and beyond there).

But there are other ways to express 'heart'. Mahler doesn't 'swing' but he's full of heart.

I'd say Stanko is drawing off a very different tradition from normal jazz (though there's that there too) ...and he (and scores of other European musicians) are doing that too. That's how they've come to find their own voices.

I can fully understand that in many listeners minds they appear to have thrown the baby out with the bathwater. The very things they love in jazz are sacrificed in the interest of originality or distinctiveness.

But take it from those of us who do relate to the likes of Stanko. The 'heart' is as much there as in anything by Coltrane or Davis or Hawkins.

And, personally, I hear much more 'heart' in the music of someone like Stanko than in many of the contemporary musicians who continue to run through the blues/swing tradition and seem to be 'playing the part'.

But that's just my ears.

It's always dangerous to assume that musicians working in a language you are not familiar with or sympathetic too lack 'heart'. If I tried to read a volume of Lorca's poetry in Spanish I might conclude it lacks 'heart'.

Bev, very good post! I'm completely with you on the part I put bold.

But hell, they have such a *momentum* (to omit the word "swing" which might be mis-leading indeed), that no one who sees them live cares, really!

Anyone with doubt about this should check them out live!

ubu

[A Lark Ascending]

I guess because he's European (and us prole Americans just can't understand the Old Worlders), he must be way head of us, like Derridean criticism or Foucaultian philosophy, and other such engaging European products.

No intention to suggest that Stanko or anyone else in Europe is 'ahead'. Certainly not to doubt the understanding of anyone in America.

I'm merely suggesting that listeners in Europe might just be coming out of similar cultures from Stanko and therefore might 'get' (in the sense of emotionally respond to) things that don't connect immediately with those coming out of a very different culture.

I havn't a clue about Stanko or anyone elses technical accomplishments on the trumpet. In that case you are way ahead of me. I only react to the overall sound.

To give a comparison I don't 'get' all the fuss over Moran/Osby/Harris. What I've heard of their music sounds cold and intellectual to my ears; I've often wondered if they get talked about so much in jazz circles simply because they're fine musicians on Blue Note and satisfy a wish-fulfilment for a revival of the Hill/Hutcherson/Moncur era. But I'm convinced that's not the case - the problem (if 'problem' is the correct word) lies with me - my listening experience/preferences just don't (yet) provide me with the connections to access the 'heart' in their music.

If Stanko doesn't do it for you I'd suggest one of two things:

a) Keep trying

B) Give it up as a bad job and listen to something else.

But don't assume you're missing anything or that anyone (with any sense) will think the less of you.

There's more jazz out there thany any of us will ever have time to hear. No point wasting that time worryinbg over why we don't like something that others do.

[A Lark Ascending]

But hell, they have such a *momentum* (to omit the word "swing" which might be mis-leading indeed), that no one who sees them live cares, really!

Anyone with doubt about this should check them out live!

ubu

Absolutely, Ubu.

I can think of plenty of players within the American tradition(s) who I've been excited by.

I'd also say that such players frequently bring a vibrancy that I rarely hear in European players. I think back to concerts I've attended by Roy Hargrove, David Murray and Bobby Watson which had an energy that was quite different from anything I've heard from European musicians. I'm almost tempted to believe the old chestnut about the effects of a faster pace of life.

But despite that, my own preferences come back to qualities that are more common in European musicians.

And that's all it is, a personal preference.

I'm not one for reducing music to absolutes.

[alankin]

His new one will be out on May 11 in the U.S.:

Tomasz Stanko Quartet - Suspended Night (ECM 1868) May 11

He'll be in the U.S. this Spring - performing in Philadelphia on June 19th. (See www.Jazzmatazz.info for detail on the Philly gig.)

Edited April 11, 2004 by alankin

[Patrick]

from ecmrecords.com

Jun 09 Seattle, WA Triple Door

Jun 10 Edmonton, Alberta Yardbird Suite

Jun 11 Portland, OR Blue Monk

Jun 12 San Francisco, CA San Francisco JazzFest - Florence Gould Theater

Jun 13 La Jolla, CA Athenaeum Music & Arts Library

Jun 14 Los Angeles, CA Jazz Bakery

Jun 16 Indianapolis, IN Jazz Kitchen

Jun 17 Ann Arbor, MI Firefly

Jun 19 Philadelphia, PA Slought Foundation

Jun 21 Washington DC Blues Alley

Jun 22 Baltimore, MD An Die Musik

Jun 23 New York, NY Merkin Hall - JVC Festival

[Eric]

Just picked up the Rarum compilation ... like what I am hearing. No, it 'aint Blakey, but it is pretty cool

[Guest che]

I saw Stanko with his new group on tour last year, and it was one of the best concerts I have been to .His touch and tone were something else, and like Miles Davis, he seemed to start something. drift out and then come back at the end.

I also enjoyed the piano playing of Marcin Wasilewski a real talent.

Che.

[Guest che]

I also enjoy the album 'Soul Of Things' on which we see the emergence of the new group. and the 'From The Green Hill', a very different album with a host of great musicians.

Che.

[alankin]

Stanko's on tour in the US in March:

Tomasz Stanko Quartet

............................... ............................... ............................... ............................... ...............................

2005 Mar 09 New York, NY Birdland USA

2005 Mar 10 New York, NY Birdland USA

2005 Mar 11 New York, NY Birdland USA

2005 Mar 12 New York, NY Birdland USA

2005 Mar 13 Boston, MA Regattabar USA

2005 Mar 14 Washington DC Blues Alley USA

2005 Mar 15 Ann Arbor, MU The Firefly Club USA

2005 Mar 16 Chicago, IL Hothouse USA

2005 Mar 17 Eugene, OR The Shedd, Oregon Festival of American Music USA

2005 Mar 18 Portland, OR Blue Monk USA

2005 Mar 19 Seattle, WA The Triple Door USA

2005 Mar 20 Vancouver, BC Norman Rothstein Theatre Canada

2005 Mar 21 Los Angeles, CA The Jazz Bakery USA

2005 Mar 22 San Francsico, CA Yoshi's USA

2005 Mar 24 Albuquerque, NM The Outpost USA

[Guest che]

Stanko's on tour in the US in March:

Tomasz Stanko Quartet

............................... ............................... ............................... ............................... ...............................

2005 Mar 09 New York, NY Birdland USA

2005 Mar 10 New York, NY Birdland USA

2005 Mar 11 New York, NY Birdland USA

2005 Mar 12 New York, NY Birdland USA

2005 Mar 13 Boston, MA Regattabar USA

2005 Mar 14 Washington DC Blues Alley USA

2005 Mar 15 Ann Arbor, MU The Firefly Club USA

2005 Mar 16 Chicago, IL Hothouse USA

2005 Mar 17 Eugene, OR The Shedd, Oregon Festival of American Music USA

2005 Mar 18 Portland, OR Blue Monk USA

2005 Mar 19 Seattle, WA The Triple Door USA

2005 Mar 20 Vancouver, BC Norman Rothstein Theatre Canada

2005 Mar 21 Los Angeles, CA The Jazz Bakery USA

2005 Mar 22 San Francsico, CA Yoshi's USA

2005 Mar 24 Albuquerque, NM The Outpost USA

Go out aand see him, the concert I saw in England was fantastic. It sounded great. looked very visiual and the interplay between the group was something else.

Che.

[sal]

I've become quite an admirer of Stanko this past year. Something about his playing really affects me.....he's a very gifted musician. His two albums with the new band, "Soul of Things" and "Suspended Night" are both very nice. I also picked up an older one called "Leosia" that is beautiful. Really looking forward to seeing him here in Chicago next month.

[Guest che]

I've become quite an admirer of Stanko this past year. Something about his playing really affects me.....he's a very gifted musician. His two albums with the new band, "Soul of Things" and "Suspended Night" are both very nice. I also picked up an older one called "Leosia" that is beautiful. Really looking forward to seeing him here in Chicago next month.

Stanko was influenced by Miles Davis, but later developed his own style and is one of the giants of European Jazz.

Che.

[GregK]

Cool, he's back at the Firefly, also one of Organissimo's haunts. I think I'll go check him out this year

[Guest che]

Cool, he's back at the Firefly, also one of Organissimo's haunts. I think I'll go check him out this year

When I saw him in concert last year he and his young group (

[Guest che]

Cool, he's back at the Firefly, also one of Organissimo's haunts. I think I'll go check him out this year

When I saw him in concert last year he and his young group (

Sorry pressed the wrong button

Anyway Stanko and his group were fantastic.

He did what Miles used to do, he would start a song, the band would respond, he would then sit back and watch and listen to them improvise, before coming back.

Wonderful live.

Che.

[tonym]

I've become quite an admirer of Stanko this past year.  Something about his playing really affects me.....he's a very gifted musician.  His two albums with the new band, "Soul of Things" and "Suspended Night" are both very nice.  I also picked up an older one called "Leosia" that is beautiful.  Really looking forward to seeing him here in Chicago next month.

I think Sal, that 'Leosia' is one of my favourite Stankos now; not as 'immediate' as 'Soul Of Things' or 'Suspended Night', but it is a grower. Maybe that is partly due to his new band being a bit more, well, malleable, in Stanko's charge. The Oxley discs were a bit of a 'supergroup' really, weren't they?

Still though, 'Litania' is an epic listening voyage IMO.

[Kevin Bresnahan]

These guys are playing in Boston and I was intrigued. However, I'm not a big fan of really out stuff. How free "off the beat" is this band? I mean, I like a bit of free playing but I can't stand it if it sounds like everyone's playing off a different metronome, if you get my drift. I always describe the style of free jazz I hate as "everyone's playing a different song".

In a way, it really comes down to the drummer. Does Michal Miskiewicz play like a madman all the time or does he keep time? If he is at least keeping some forward momentum going, I can take the rest of the band going off.

Later,

Kevin

[tonym]

These guys are playing in Boston and I was intrigued. However, I'm not a big fan of really out stuff. How free "off the beat" is this band? I mean, I like a bit of free playing but I can't stand it if it sounds like everyone's playing off a different metronome, if you get my drift. I always describe the style of free jazz I hate as "everyone's playing a different song".

In a way, it really comes down to the drummer. Does Michal Miskiewicz play like a madman all the time or does he keep time? If he is at least keeping some forward momentum going, I can take the rest of the band going off.

Later,

Kevin

Hi Kevin. I dare say they'll be playing stuff off the last two albums which IMO, swings as hard as any modern post-bop. They may not be as 'in the pocket' as Hank or Horace's late '50's sides, but they will get your feet tapping --- most of the time.

When they do slow things down, or break things up, they resist the temptation (because it must be a temptation) to go 'outside' too much. There may be the odd bit of atonality in Stanko's phrases, but ultimately his sound and language is fairly blues/folk based. The resolutions, when they do come (and they always come) are beautiful.

Go.

Cheers.

[tonym]

In a way, it really comes down to the drummer. Does Michal Miskiewicz play like a madman all the time or does he keep time? If he is at least keeping some forward momentum going, I can take the rest of the band going off.

Edit to say Kevin, that if anything Miskiewicz is the most rooted in the 'jazz drumming' tradition than most of the ECM 'house' drummers. Like an up-to-date Euro Jimmy Cobb. If that helps.

BTW I have seen this band live, and they were fabulous. No bull.

[sal]

I think Sal, that 'Leosia' is one of my favourite Stankos now; not as 'immediate' as 'Soul Of Things' or 'Suspended Night', but it is a grower. Maybe that is partly due to his new band being a bit more, well, malleable, in Stanko's charge. The Oxley discs were a bit of a 'supergroup' really, weren't they?

Still though, 'Litania' is an epic listening voyage IMO.

I really like the group with Oxley, tonym. They meshed well with Stanko. Is Litania with the same group? If so, I'll defintiely have to get it.

[A Lark Ascending]

'Litania' is stunning. The line-up:

Tomasz Stanko - Litania - The Music of Krzysztof Komeda

Tomasz Stanko trumpet

Bernt Rosengren tenor saxophone

Joakim Milder tenor and soprano saxophones

Terje Rypdal electric guitar

Bobo Stenson piano

Palle Danielsson double-bass

Jon Christensen drums

I love 'Leosia' and I'd add 'From the Green Hill' as front runners.

The two recent discs are beautiful but I think there's a danger this group could eaily become a formula like EST. I'd like to see Stanko in a completely different setting on his next ECM - no piano, some edgy horns perhaps.

Edited March 2, 2005 by Bev Stapleton

[tonym]

I really like the group with Oxley, tonym.  They meshed well with Stanko.  Is Litania with the same group?  If so, I'll defintiely have to get it.

The very essence of 'Litania', IMO, is it's material, though it is executed marvellously by the band and Stenson and Rosengren turn in some gorgeous solos, the music has the inherent darkness and mystery one would expect having seen the films in which all of the music features; i.e. Rosemary's Baby, Knife In The Water etc.

There are plenty of nervous patches where one attuned to standard hard-bop fayre might feel less than comfortable. Not so much as the band playing 'outside', they don't really, more of a case of challenging material, interpreted with respect and gravitas I suppose.

I was intrigued when I first heard it. Loved it soon after, but it demands attention.

Hope this helps.

[7/4]

May 21, 2008

Music Review

Haunting Soundtracks: Jazz With a Polish Accent

By BEN RATLIFF, NYT

The Polish trumpeter Tomasz Stanko’s records of the last six years, with their elegiac moods and clean, controlled lyricism, have become a primary reference point for current European jazz. So it was curious to see him taking a step back into a woollier past on Monday in a performance at the Museum of Modern Art, part of the museum’s Jazz Score series on jazz and film.

The tenor saxophonist Billy Harper sat in with Mr. Stanko’s regular working quartet — a first-time collaboration that worked out gracefully — and the music became more jagged, more grooving and in many ways more American. But, in fact, it was all Polish.

The group was performing exclusively music by the Polish film composer Krzysztof Komeda, who died in 1969, and with whom Mr. Stanko used to play. Mr. Komeda is still best known for the soundtracks he wrote for Roman Polanski films, including “Rosemary’s Baby” and “Knife in the Water,” but as a pianist and bandleader he was also the leading Polish jazz musician in the 1960s.

Mr. Komeda was an excellent composer. Like the works of Wayne Shorter and Billy Strayhorn, his jazz ballads were full of romantic unease, but they often didn’t suggest a complete, scripted emotion. Their melodies are expressed in long notes and lines that sometimes seem to be missing a few important pieces or a resolution; they’re mysterious and fragmentary, leaving you to guess the rest.

As a jazz bandleader, Mr. Komeda remains barely known in the United States. (Too bad: his quintet record “Astigmatic,” from 1966, with Mr. Stanko in the group, is one of the great jazz records of its time.) Mr. Stanko has been his old friend’s champion, paying tribute on a 1997 record for ECM, “Litania.” About half of Monday’s concert came from that album, including “Sleep Safe and Warm,” a lullaby from “Rosemary’s Baby.”

There was no mistaking the chemistry between Mr. Stanko and his rhythm section. He has a buzzy trumpet sound, abraded around the edges, meted out in long notes that almost flap in the wind; his style feels spotlighted by the precision of his quartet, with the pianist Marcin Wasilewski, the bassist Slawomir Kurkiewicz and the drummer Michal Miskiewicz. Sometimes, on slow ballads, Mr. Stanko was out front, with the band creating a frame for his sound, but in the hotter, denser music he interacted with the band members’ phrasing.

Mr. Harper harmonized on melodies with Mr. Stanko and played a few of his own far-reaching solos. He’s a post-Coltrane saxophonist, with discipline and catharsis, and when the group ran through free-bop or modal music, he brought an authentic voice to it, playing with the dark, squiggly urgency that some of the Komeda songs, like “Kattorna,” require. Whether or not Mr. Harper knew this music before, he was of it.