(JazzPlanet) Marcin Wasilewski - January (Eac Flac Cue) TNT

Marcin Wasilewski Trio - January - 2008







Artist: Marcin Wasilewski
Title Of Album: January
Label ECM Rocord
Recorded February 2007
ECM 2019
Discs 1
Release: 2008
Genre Jazz
Category: Contemporary Jazz



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Cover Included

Tracklist

The First Touch
Vignette
Cinema Paradiso
Diamonds and Pearls
Balladyna
King Korn
The Cat
January
The Young and Cinema
New York 2007


Personnel

Marcin Wasilewski piano
Slawomir Kurkiewicz double-bass
Michal Miskiewicz drums




Listen to Sample

http://www.amazon.com/gp/recsradio/radio/B000ZN9MGK/ref=pd_krex_dp_a

http://www.youtube.com/watch?v=-tPum0j1LNc

http://www.youtube.com/watch?v=69drEPF_jIg&feature=relmfu

http://www.youtube.com/watch?v=ISfVzLzZs7o&feature=relmfu

http://www.youtube.com/watch?v=SY_ve1_6j90&feature=relmfu

http://www.youtube.com/watch?v=uON3-K99XfU&feature=fvwrel


BIOGRAPHY

“January” is a strong musical statement from a still-young band with a long history already behind it, and an album with an exceptionally wide-ranging programme - all of it played with assurance, purpose and focus. The disc reconfirms that the trio of Marcin Wasilewski, Slawomir Kurkiewicz and Michal Miskiewicz is one of the most outstanding contemporary jazz groups. Their friend and mentor trumpeter Tomasz Stanko has said, “In the entire history of Polish jazz we’ve never had a band like this one.
They just keep getting better and better.” It was through Stanko’s ECM recording “Soul of Things”, recorded 2001, that the wider world first had a hint of the capacity of Wasilewski/Kurkiewicz/Miskiewicz. Since then, they’ve toured widely with Stanko and contributed mightily to his quartet recordings “Suspended Night”and “Lontano”, recorded in 2003 and 2005.
As an autonomous force, the trio’s biography begins in 1990, when Wasilewski and Kurkiewicz as 15-year old students at the Koszalin High School of Music began playing jazz together. Their first trio was formed the following year. In 1993 drummer Miskiewicz joined them, and the group’s line-up has been stable ever since. As the Simple Acoustic Trio they won awards in their homeland and issued five albums on local labels. Their first international release, for ECM, entitled just “Trio” was recorded in 2004 and released the following year, immediately winning the Quarterly Prize of the German Record Critics. In the US, too, critics were taking notice. “Their years together have resulted in an ensemble with an utterly symbiotic creative flow,” wrote Don Heckman in the Los Angeles Times.
The release of “January” - recorded in New York with producer Manfred Eicher early in 2007 - also signals a change of name. Henceforth the group is, simply, the MarcinWasilewski Trio. The group continues to be run as a collective of equals, but its members have come to accept the convention that piano trios are traditionally identified by their pianists. Besides, Marcin is the band’s principal songwriter: he contributes four pieces to the present disc, including the title track and the beautiful opener, “The First Touch”. Wasilewski also, at the urging of the producer, addresses pieces written by Gary Peacock and by Carla Bley - pieces identified with two major pianists, respectively Keith Jarrett and Paul Bley. Wasilewski does not flinch from the challenge but, with his trio partners, makes of this music something of his own.
“Vignette” is a composition by Gary Peacock first heard on the album “Tales of Another”, the 1978 ECM recording which marked the coming together of the band later known as Jarrett’s “Standards” Trio. The Wasilewski Trio takes it at a statelier pace, and mines it for deeper emotions. A powerful performance, especially in the light of Marcin’s indebtedness to Jarrett as a player. Acknowledging the influence, he moves beyond it.
Carla Bley’s composition “King Korn” meanwhile is a piece of early 60s vintage that surfaced on Paul Bley’s 1963 classic ”Footloose” recording with the great trio line-up including Steve Swallow and Pete La Roca. The Polish trio fly at it with invigorating energy and wonderful group interaction (the recording quality illuminating detail with a clarity impossible back in the days when Paul Bley was recording for Savoy), with especially exciting dialogues between Michal Miskiewicz and Wasilewski.
“Balladyna”, a Tomasz Stanko tune, was title track of the Polish trumpeter’s ECM debut disc (with a rhythm section of Dave Holland and Edward Vesala), back in 1975, the year Wasilewski was born. The trio’s dark, swirling rubato performance has the stark drama and predatory lyricism associated Stanko; they’ve played the piece often in concert with the composer.
On their 2004 ECM disc, the trio offered a luminous version of Björk’s “Hyperballad”. This season’s pop cover is Prince’s “Diamonds and Pearls”, the ballad from 1991 which gains a deal of mystery in this stripped-down interpretation in which bassist Kurkiewicz shares the melody with Wasilewski.
The cinematic arts are never far away in Polish jazz; ever since 1958, when Komeda first collaborated with Polanski, the genres have influenced each other. Wasilewski’s “The Young and Cinema” references an identically-titled festival of new Polish films held in Koszalin. The trio also covers Ennio Morricone’s title theme for Giuseppe Tornatore’s 1988 film “Cinema Paradiso”, itself a celebration of film.
The album closes with a trio improvisation, a free ballad made in the moment and specific to its time and place, “New York 2007”. As already demonstrated on Stanko’s “Lontano”, these are players extremely adept at creating songs in real time.
Marcin Wasilewski and Slawomir Kurkiewicz also appeared on Manu Katché's popular “Neighbourhood” and “Playground” albums.



review


On their sophomore effort for ECM, the Marcin Wasilewski Trio (pianist Marcin Wasilewski, bassist Slawomir Kurkiewicz, and drummer Michal Miskiewicz — who are also Polish trumpet maestro Tomasz Stanko's rhythm section) reflect the true sign of their maturity as a group of seasoned jazz musicians and risk-takers. Their debut album, simply called Trio, merely reflected to American and Western European audiences the wealth of talent, vision, and discipline that Polish and Eastern Europe's audiences had known for over a decade. (The group recorded five previous albums in its native country between 1993 and 2004.) They came together in 1991 as teenagers: Wasilewski and Kurkiewicz were only 16 and had already been playing together for a year when they met up with Miskiewicz. In 1993 they began playing behind Stanko, and eventually became his recording group as well. They were first heard on his 2001 album The Soul of Things, as well as his subsequent ECM outings, Suspended Night and Lontano. But all of this is history and history only. It doesn't begin to tell of the magic and mystery found in this beautiful album. There are four Wasilewski compositions in this ten-cut set. They range from the lovely songlike opener, "The First Touch," with its romantic melody that suggests Bill Evans' late "Song for Evan" period, as well as elliptical European improvisers like Bobo Stenson. But it's that inherent sense of dimension and space that is in all the best Polish jazz that makes this is such a stellar tune. The utterly lyrical brush and cymbal work by Miskiewicz and present yet uncluttered bassline of Kurkiewicz allow the full range of Wasilewski's reach from melodic invention to gently ambiguous modal exploration to come to the fore. The group's reading of Ennio Morricone's "Cinema Paradiso" underscores the deep and inseparable relationship between Polish jazz and the cinema that has existed since the collaborations between director Roman Polanski and Stanko's first boss, pianist and composer Krzysztof Komeda. The sense of dynamic that the trio goes for on this piece is perhaps less forcefully pronounced than the composer's, but it is almost a reading of its other side, where the brooding aspects of the original give way to something fuller and more picaresque, while allowing its sense of nostalgia and memory free rein inside the narrative of the tune.

This is followed by one of the set's true highlights, a killer jazz reading of Prince's "Diamonds and Pearls," led by a tough little three-note bass intro by Kurkiewicz; he proceeds to underscore every note in the melody with a fill. It's difficult to know for the first couple of minutes exactly what the trio is getting at here, but just before the extrapolation of the harmony and its inversion it becomes clear and it gains a more aurally recognizable quality. The tune is soulful and romantic, and contains all of the inherent lyricism that Prince employs in its chord structure, adding just a little of jazz's sense of adventure in the final third of the tune and wrapping it all together into something new. This is a worthy interpretation if there ever was one. Interestingly, the trio tackles some tunes by ECM standard-bearers as well. There are innovative, challenging, and very fresh-sounding versions of Gary Peacock's "Vignette," Carla Bley's "King Korn" (which retains all of its knotty humor and then adds some of its own), and Stanko's gorgeous and enduring "Balladyna"— the title cut from his own ECM debut back in the 1970s. Three longer Wasilewski compositions — "The Cat," the title track, and another crack at the relationship between Polish film and jazz in "The Young and the Cinema" — dominate the second half of the record by giving the band a chance to really stretch and fly. All of these tunes, but particularly the last one, reveal the trio members' ability to swing effortlessly together no matter how complex the music gets as it moves from post-bop to angular impressionistic jazz. The final cut is a muted improvisation that is, if anything, all too brief. This is terrific second effort by a band that, despite the fact that its members have been together for 17 years, is only really coming into its own in the present moment.