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2 DANCING ON THE TOES
- - 4:05
3 FIRST FLIGHT TO THE CLOUDS - - 5 :35 4 MY SCANDINAYIAN DANCE - -5:10 5 BLUES NO. l - - 2:40 6 MELODY FOR JAN - - 3:25 7 DO YOU DIG DEBUSSY? - - 5:05 8 A STROLL THROUGH THE STREETS OF WARSAW
4:05 9 LIGHT RAY - - 3:35 10 WINTER FLOWERS - - 7:05 All compositions by Adam Makowicz ADAM MAKOWICZ – piano RECORDED AT THE SUPRAPHON "NATIONAL
HOUSE" STUDIO AT ŻIŹKOY, PRAGUE, ON 24
FEBRUARY, 1977 Adam Makowicz, of course, is no newcomer
to the jazz scene. He made his debut in the very early sixties, at a time of
sharp ferment brought about by a new generation of avant-garde jazzmen.
Their innoyations were reflected in the style of Makowicz's first combo, Jazz
Darings (with trumpet player Tomasz Stańko), historically Europe's first
free-jazz-oriented group. During the next few years Makowicz demonstrated his
close links with mainstream jazz (he has lost none of his admiration for
Ellington and Basie, for instance) by his work with the ensembles led by the
veterans of Polish modern jazz Andrzej Kurylewicz and Ptaszyn
Wróblewski, before joining for several years the accompaniment group
of the NOVI vocal quartet, with whom hę performed on tours i n many
parts of the world including Australia, New Zealand and India. Of special
importance for Makowicz's future development were his four years of collaboration,
from 1970, with Michał Urbaniak, a leading personality of Polish
avant-garde jazz. Some of their excellent joint recordings have been
adopted by prominent world gramophone companies, including Columbia Records,
for their catalogues. The quite extraordinary success of Makowicz's album
Newborn Light with Urszula Dudziak actually laid the foundation for the
Polish jazz vocalist's present fame. Roughly in the mid-seventies Makowicz
exchanged the electric piano for the traditional acoustic instrument, and since
then he has increasingly concentrated on solo performances. In 1977 he
appeared in that role at the Newport Festival in New York, the world's most
important jazz event. This album is the third in the series of
four solo LP's by Makowicz published until now. While the two previous albums
(the 1975 Live Embers on the Muza label and the Piano Vistas Unlimited
recorded one month before our album, and released by Helicon Records)
featured mostly Makowicz's original adaptations of compositions by other composers
(from Jelly Roll Morton through Gershwin, Kern and Porter evergreens to John
Coltrane), the emphasis in the present album (and another one recorded in New
York for CBS) is on Makowicz's own compositions. Apart from two exceptions (My
Scandinavian Dance and Melody for Jan), this album features
Makowicz's originals which have never been recorded before and which are so
much a part of the spirit of the piano and of their composer's remarkable
talent as pianist, that one can hardly imagine them being interpreted by
someone else or differently. Indebted to the late Art Tatum's classical
concertante jazz style and to the musical culture of his Polish homeland
(Chopinian reminiscences), and being naturally in close contact with stimuli
by other prominent jazz pianists (Erroll Garner, Bill Evans, McCoy Tyner,
Keith Jarrett and others), Makowicz has fashioned a remarkably mature musical
synthesis with striking individual traits imprinted on it by his own musical
personality. This record presents Makowicz the pianist
at his best, on the lines sketched above. His compositions and improvisations
arę characterized by sharply-contoured melodics developed in graceful
variations and permeated by full--blooded harmonic accompaniment in the left
hand, of which an American critic has said that Makowicz manages more with it
than most pianists with both hands. Along with occasional echoes of the
proverbially poetical mood of Chopin's nocturnes, Makowicz also employs in
his music reminiscences of the stomping piano style of the swing era or,
elsewhere, the characteristic Garnerian block-chords (Blue Cobea). Again
and again he draws the listener into the very heart of his intimate musical
confessions, opening with the slow emergence, from a light harmonic mist, of
the basic musical contours of originally fashioned subjects (A Stroll
Through The Streets Of Warsaw), which develop into a fine web of phrases
topped by exquisite musical embellishments (Do You Dig Debussy?). By
blending these influences of piano literature, mostly of the romantic era,
with jazz's own traditions (the diachronistic contrasts of different tempi in
First Flight To The Clouds and the rich polymetric structure of My
Scandinavian Dance) Makowicz has achieved a well-integrated style of a
new type. One result of his striving for spontaneity of expression was that
the entire album was recorded in one go without repeating any of the numbers.
It remains to be said that the recording was made on a Steinway concert grand
with the type of stereo equipment usually used for recording serious music. |