CSW 14_03_2015

csw
Established in 2013 and currently having over 50 floating members, the Warsaw Improvisers Orchestra acts as a resource for musicians to meet and work in a large improvising ensemble, or in smaller units within a larger context.
Spontaneous music making is our remit, but on occasion, scores both regular and graphic may be used as well as visual cues presented by visual artists.
The orchestra is a chance for people to develop a deeper understanding of the relationship of sound and how it functions. The substantial power at the orchestra’s disposal can be deployed in many ways ; sometimes raw, sometimes melodic, occasionally melancholic; rhythmical or abstract but always with a sense of purpose.
The music on this CD was recorded in early 2015 and was the biggest orchestra show we had done up to this point.
Numbering 29 musicians from a variety of backgrounds and disciplines, the music composed “live in the moment”, without any preconceived intention, moves through a variety of styles. From contemporary classical to ecstatic free jazz, noise to electronica, moments of stillness to avant rock. Sounds felt at the time are combined to take the musicians and listeners on a journey where certain moods are created and emotions are felt that indicate new possibilities and directions in which to “take the music” or “let the music take you”.
WIO relies on the generosity of the musicians that take part, the audience that follow us and promoters that help us – without you this would never happen. To you we give a heartfelt thanks.
Ray Dickaty 2016

credits

released November 4, 2016

WIO CSW 14_03_2015

*01 Ray Dickaty – Conductor (tracks 2 and 3)
*02 Patryk Zakrocki – Violin / Viola / Conductor (track 1)

*03 Piotr Dąbrowski – Percussion
*04 Michał Kasperek – Drums
*05 Rafał Dedyński – Drums
*06 Hania Piosik – Vocals
*07 Marcin Gokielli (King Kong ) – Vocals
*08 Antonia Nowacka – Vocals
*09 Piotr Mełech – Bb and Bass Clarinet
*10 Łukasz Kacperczyk – Analogue Synths
*11 Stanislaw Welbel – Sop Sax
*12 Philip Palmer – Alto Sax
1*3 Jan Małkowski – Alto Sax
*14 Bartek Tkacz – Tenor Sax
*15 Mateusz Franczak – Tenor Sax
*16 Michal Maota – Tenor Sax
*17 Maciej Rodakowski – Tenor Sax
*18 Natan Krysk – Baritone Sax
*19 Michal (Jerzy Galgin) Biel – Baritone Sax
*20 Marcin A. Steczkowski – Cornet / FX
*21 Olgierd Dokalski (Mira B) – Trumpet

*22 Jacek Mazurkiewicz – Bass
*23 Tymon Bryndal – Electric Bass
*24 Ksawery Wójciński – Bass
*25 Daria Wolicka – Flute
*26 Jerzy Sergiusz Malanowicz – Toys / Keys / FX
*27 Jakub Buchner – Electric Guitar
*28 Łukasz Czekala – Violin
*29 Zbigniew Chojnacki – Accordian
*30 Dominik Mokrzewski – Drums

F.O.H Sound / recording engineer – Jakub Iwiński
Recording Engineer – Joanna Popowicz
Official Photographer – Patryk Wiśniewski.

Track Names –
01 – “This…” Conduction Patryk Zakrocki
02 – “……That…..” Conduction Ray Dickaty
03 – “………….and the Other….” Conduction Ray Dickaty

All music recorded live at CSW Laboratorium, Zamek Ujazdowski, Warsaw Poland 14.03.2015
All music composed by the Warsaw Improvisers Orchestra members present on these recordings.

Mixed and Mastered by Ray Dickaty, Łukasz Kacperczyk and Joanna Popowicz at Studio Kamienica, Warsaw Poland.

Produced by Ray Dickaty

All music Copyright Control Ray Dickaty/WIO 2016

Reklamy

Suria

Sufia.jpg
Applying the influences of different musical cultures has been practiced by jazz players for decades. In fact, absorbing is the essence of jazz, and a strong reason for its constant fluctuation. This certain aspect makes it somehow a very democratic genre. The transcultural factor of jazz can be truly amusing both for the musicians and their listeners, often bringing surprises and sometimes helping to show things from a whole new viewpoint. The music presented in this recording makes a perfect example in that matter.

There are not many musical traditions as seemingly diverse as Polish and Arabic ones. It was only the curiosity of Gdansk-based vibraphonist/composer Dominik Bukowski that helped to find a connection between the traditional Polish melodies taken from Oskar Kolberg’s catalogue and a Middle Eastern musical idiom. Asking Amir ElSaffar for cooperation seemed like the best thing to do. The remarkable Iraqi-American trumpeter agreed to become a member of the band, providing his knowledge and sense of the traditional Arabic maqam melodic system. Thanks to the exquisite musicality, supreme level of skills together with a deep comprehension of cultural roots, filtering Polish folk tunes with both maqam scales and a jazz approach resulted in material that is a bit more than just a simple fusion of styles. The three elements have melted into a seamless alloy, bringing a new quality to what is known as the folklore/jazz scene. It takes a genuine talent to deny a cultural distance in the way Dominik Bukowski and Amir ElSaffar – along with the other members of the quartet, Adam Żuchowski (double bass) and Patryk Dobosz (drums) – did while performing on the stage at Club Żak during the Jazz Jantar Festival in 2016. Now is the time to bring this music to the wider audience.

Włączanie elementów różnych kultur muzycznych jest praktykowane w muzyce jazzowej od dziesięcioleci. Zasadniczo absorbcja jest esencją tego gatunku i jednocześnie przyczyną jego nieustającej żywotności. Aspekt ów jednocześnie stanowi także o tym, że możemy mówić o demokratycznym duchu muzyki jazzowej. Swoista transkulturowość jazzu jest czynnikiem, który nieustannie pasjonuje zarówno słuchaczy, jak i samych wykonawców: dzięki niej częstokroć mamy do czynienia z zaskoczeniami, ona też czasem pozwala spojrzeć na pewne rzeczy z zupełnie nowego punktu widzenia.
Niewiele jest muzycznych tradycji (z pozoru) różniących się tak znacznie, jak polska i arabska. Początkowo wyłącznie dociekliwość gdańskiego wibrafonisty i kompozytora, Dominika Bukowskiego, pozwoliła odnaleźć obszar wspólny zaczerpniętych z bezcennego zbioru Oskara Kolberga polskich melodiach ludowych z bliskowschodnim idiomem muzycznym. Zwrócenie się do Amira ElSaffara było naturalną koleją rzeczy. Znakomity Iracko-amerykański trębacz zgodził się dołączyć do projektu gdańszczanina, angażując weń swą wiedzę oraz wyczucie tradycyjnego araskiego systemu melodycznego maqam. Dzięki wyśmienitej muzykalności, doskonałości technicznej oraz głębokiemu zrozumieniu i wyczuciu własnych muzycznych korzeni, przesączenie polskich melodii ludowych skalami maqam i jazzowe podejście poskutkowało materiałem, który okazuje się czymś więcej niż tylko prostym zestawieniem stylistyk. Trzy elementy zeszły się w bezszwowy stop, przynosząc nową jakość temu, co znamy jako scena folkowo-jazzowa. Unieważnienie dystansu kulturowego w sposób, w jaki uczynili to Dominik Bukowski i Amir ElSaffar grając wraz z pozostałymi członkami kwartetu: Adamem Żuchowskim (kontrabas) i Patrykiem Doboszem (perkusja) wymaga niebagatelnego talentu. Zarejestrowany na płycie premierowy koncert miał miejsce na scenie gdańskiego Żaka, gdzie kwartet zagrał w ramach festiwalu Jazz Jantar 2016. Czas najwyższy na przedstawienie tej muzyki szerszej widowni.

credits

released November 4, 2016

Dominik Bukowski Quartet feat. Amir ElSaffar

SUFIA – Live in Club Żak, Jazz Jantar Festival 2016

Dominik Bukowski – vibraphone, kalimba
Amir ElSaffar – trumpet, santur
Adam Żuchowski – double bass
Patryk Dobosz – drums, darbuka

www.dominikbukowski.com
www.jazzjantar.pl

1. Niedaleko Warszawy (traditional) 11:02
2. Bring Me The Light (Dominik Bukowski) 9:24
3. Aya Daraha Bil Hazn – Intro 2:54
4. Aya Daraha Bil Hazn (traditional) 3:54
5. Krakowiak (traditional) 9:51
6. Oberek (traditional) 3:45
7. U Młynarza (traditional) 6:19
8. Simoom (Dominik Bukowski) 6:10
9. Sufia* (Dominik Bukowski) 8:18
*Dedicated to Zosia Bukowska

Niedaleko Warszawy, Krakowiak and U Młynarza comes from Oskar Kolberg compilation Pieśni Ludu Polskiego.

Recorded live in concert March 18, 2016 at Jazz Jantar Festival in Club Żak, Gdańsk, Poland; except Sufia recorded in July 29 at the same place.

Recorded, mixed and mastered by Paul Rutschka
Design by Małgorzata Lipińska
Produced by Dominik Bukowski

Dominik Bukowski plays Adams vibraphone.

Special thanks to Amir, Adam and Patryk for their music creativity.
Extra thanks to Magda Renk and Club Żak, Maciej Karłowski, Emil Miszk and my family: Ania, Oliwka and Zosia.

tags

Revelation

revelation

Free Music demands invention. It is not enough to rely on one’s repertoire or default techniques. Every performance is a confrontation with the undiscovered. Each player expects the challenge to change with every portion of sound or silence.

The formulation of a musical duration demands complete attention by each player, who is obligated to interpret and determine the questions and answers with immediate action. Focus with one’s artistry, and facility with ones instrument, must combine with an agreement that everything is mutable and therefore unknown until it is heard.

Agustí Fernández, a master of improvisation on piano, and Yasmine Azaiez, a virtuoso violinist still in her mid 20s, are two of the most daring musicians I know, virtuosos of the highest order, each comfortable in any musical situation. Both are vital, passionate artists who search for new material and areas of expression.

As a friend and colleague to both of them, I am not surprised that on this recording they completely embrace the need for invention, and in the process, change the way a piano and violin sound together—no small feat considering the history of this instrumentation. We hear massive arcs and varied densities made of the smallest particles of sound, all movable, constantly evolving, implying a narrative and also the elemental, organic configuration where sound needs no more interpretive definition. Our opportunity as listeners is to decipher our own understanding of what this music means to us, how it formulates itself in our experience with it.

Agustí Fernández and Yasmine Azaiez have done their jobs on this recording with grace and daring. They’ve made an exciting experience for us to examine—one where we can discover ourselves through the surprise of newly invented music.

Joe Morris

Delusions

Delusions

As a matter of fact, the recording of Delusions was kind of accidental, that is if we believe that chance has the power to shape our fate. Or was it no accident? Maybe it was rather a natural result of brotherly conversations, away from the instruments, in the quiet of our homes, and hot debates on music?

Perhaps it was just meant to be that after years of independent activity, decisions made seperately, we eventually decided to make our musical paths meet again.

Thus, an entirely new chapter opened in our artistic careers, and it is no exaggeration to say that inviting Krzysztof Szmańda to collabotrate with us turned out to be its key element. Complete with his talent, we became a new band, which from now on we want to call Wójciński/Szmańda Q-tet.
When we first entered the recording studio, our intention was simple and modest. We wanted to have a keepsake from our first musical tête-à-tête, whatever it was going to be like. It never even crossed our minds that this recording would soon become our debut album.

Should we, therefore, abandon ourselves to chance, trust our fate or the -unrelenting and often impossible to see straight away- higher consequence of events? Sometimes when people meet to play together for the first time, something more is created than an even very sophisticated arrangement of sounds. Sometimes he magic of discovering music together again emerges from behind the notes, and a simple meeting becomes something impossible to describe because it only happens once. We believe that we had just such a moment, and would like to share it with you.

released April 14, 2016

Szymon Wójciński – piano
Krzysztof Szmańda – drums
Maurycy Wójciński – trumpet
Ksawery Wójciński – bass

Recorded In „Quality” Studio, December 2014 in Warszawie ul. Konwiktorska 7
Recorded by Maurycy Wójciński
Mix and Master – Maurycy Wójciński

Bessarabian Journey

Marcin Olak Quartet - BEssarabian Journey_cover.jpgMarcin would like to thank: Miron Zajfert – for telling me about Bessarabia and introducing me to this wonderful music, Tomasz Kaliński – for helping us get into NInA for the recording session, Michał Kupicz – for the great sound of the record, and extremely fast work – WOW!, Patryk Zakrocki, Maciej Szczyciński, Krzyś Szmańda – you are great musicians, friends and wonderful people, it’s an honour to play with you. If you have managed to get as far as here, the hidden track is called ‘Gone’. Hope you have enjoyed finding it.

The „Bessarabian Journey” was created especially for the New Jewish Music Festival, inspired by its director Miron Zajfert.

This album is dedicated to my Wife, Agnieszka.

credits

released April 14, 2016

Marcin Olak – electric and acoustic guitars
Patryk Zakrocki – viola
Maciej Szczyciński – double bass
Krzysztof Szmańda – drums

Recording and mix – Michał Kupicz

Recorded live @ Narodowy Instytut Audiowizualny, Concert Hall “Ziemia Obiecana”, 3. March, 2016.

Spontaneus Chamber Music vol​.​1

chambermusic_vol1_www

Patryk and I first met during the 9th edition of the Ad Libitum Festival. We performed Boguslaw Shaeffer’s Media there, but more importantly we formed a part of the Ad Libitum Ensemble, an improvising orchestra, under the direction of the festival’s resident conductor, Augusti Fernandez. From the very first notes we knew our cooperation would not end with the festival. Sometimes musicians who haven’t known each other before are able to communicate as if they had played together for a hundred years – it is an extraordinary, inspiring experience. Sounds combine into motifs, blend into phrases and textures almost on their own, and the music just flows. 

We are talking here about improvised, intuitive music. This means that nothing has been previously planned or composed. Every sound is a unique phenomenon which may appear only here and now.

In the studio we were joined by the brilliant percussionist, Mikolaj Miki Wielecki. It was the first time we had all played together.

The album is a literal record of our session. The pieces come in the exact same order we played them in. Nothing has been edited, nor recorded later. We wanted to respect what happened in that moment.

 

Let it flow.

Marcin Olak

Agustí Fernández @60 – Ad Libitum Festival Residency 4CD BOX

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Last year Maciej Karlowski invited me to participate in the Ad Libitum Festival and perform four different concerts to celebrate my 60th birthday. From among the many projects I have been a part of, he chose three: The Aurora trio, which had been performing regularly for over ten years and has released four CDs; the piano solo El Laberint de la Memòria; and the Thunder trio, which was a world première. The fourth concert was an invitation to play and conduct a group of Polish musicians who had teamed up just for the occasion.

I have to admit that Maciej’s choice surprised me as it could not have been a more motley selection, offering a range of rather disparate proposals and representing a wide range of musical projects in which I am currently immersed. But then again it represents four facets of myself that I think can give a very clear idea of what I have been doing of late.

The Aurora trio with its classical grouping of piano, bass and drums, mixes with great care and grace both composition and improvisation. This trio would not exist without the complicity, friendship and team chemistry of Barry Guy and Ramón López who always play the right notes at just the right moment.

THUNDER, initially a bold venture for a trio, was an old dream and wish that Frances-Marie Uitti, Joel Ryan and I all shared to explore pure electroacoustic improvisation. Whenever all three of us would run into each other here and there we would talk about our wish to play together and in Warsaw such an opportunity arose and we made our debut as a trio.

El Laberint de la Memòria [The Labyrinth of Memory] is a piano solo inspired by Spanish folk music, both real and imagined. Perhaps it is my personal recollection of the classical Spanish piano from my student days on the island of Mallorca.

And what we did with the Ad Libitum Ensemble consisted in a „conduction” in the style of Lawrence D. Butch Morris. This was a great opportunity to work with Polish musicians who I hadn’t known before; musicians who I chanced upon and discovered in rehearsals. Despite all of us coming from different places and different backgrounds, we saw how much we shared and had in common from our very first encounter, and this allowed us to perform and carry out some very interesting and profound work together, work of the highest quality, if I may add, which I hope we will be able to repeat again in the future.

I should like to think that underneath this motley selection of four musical projects, which represent four different facets of myself, there lies a unifying thread, a common link, a trace, a feeling, a philosophy, a way of thinking about music that connects seemingly inharmonious registers. I could talk about the listening, about respect, about passion, about intensity, about virtuosity, about our openness to the unknown, about our commitment to music, and about so many other things that I hear in the music recorded in these CDs. But I leave it to the listener to describe and label better than I could what they are listening to.

Bringing together in one single project such varied and disparate music can only be done at a time in one’s life as significant as this: when I am turning 60. This retrospective, as a summary or inventory of my work, makes sense now, not before nor after. Who knows if from this moment on a new musical moment is not set in motion that will take me to places still unknown to me.

I would like to give my heartfelt thanks to everyone who has participated in making this project possible. First and foremost, my infinite thanks to Maciej Karlowski, without whose vision, drive and enthusiasm, this music would not exist. I am equally thankful to Krzysztof Knittel, the artistic director of the Ad Libitum Festival, for all his support.

I would also like to thank all the musicians who played with me for their generosity and for having come along with me on this trip, and giving me the opportunity to learn from them at every stop on the way. I want to thank the audience who attended the festival concerts in Warsaw because without them the music would not have been the same nor would it have had a reason for to exist?. Poland, for reasons that never cease to amaze me, has always welcomed me and my music with extraordinary warmth and I will eternally be grateful to Poland and the Polish people for this. I also want to thank all the technical staff, both in Warsaw and in Spain, for their support and unconditional help.