|
Очень национальный альбом Збигнева Намысловского,
вообще в формате квинтета он был великолепен, на тенор и сопрано – саксах
играл один из самых востребованных польских «сайдменов» того времени, Томаш
Шукальский, который в 2005 году выступал в нашем городе при изрядном стечении
публики и смешной цене билетов – 100 руб, была у меня мысль подойти за
автографом, но, как назло, ни одной его пластинки в качестве бендлидера, а
переться с альбомом Намысловского?.. Хотя, все это комплексы. Почитать о Намысловском можно, как всегда, здесь-
А.К. APPENZELLER'S DANCE 2. SMUTNY JASIO (SAD LITTLE
JOHNY) 7.05 All
music by Zbigniew Namyslowski Recorded: March
1975, Warsaw, Poland Performed
by: Zbigniew
Namyslowski - alto saxophone Tomasz
Szukalski - soprano and tenor saxophones Wojciech Karolak
- electric piano Pawel
Jarzebski - bass Czeslaw
"Maly" Bartkowski - drums One of
the best, though short-lived groups led by Namyslowski was the 1974-76
Quintet with Karolak, Szukalski, Jarzebski and Bartkowski. These excellent jazzmen
were lucky to record, in March 1975, rather unusual music by Namyslowski: the
highly original pieces that sparked again the touchy problem of Polish
folklore presence in jazz. Namyslowski had already earlier intrigued
sensitive listeners with his probably unconscious infusing into his music
some characteristics of the Polish Mountainers' folklore
("Siodmawka","Piatawka"),but only now this side of his
creative imagination showed itself so strongly. The centerpiece of this
record is the three-movement title composition in 15/8 meter. Here we can
enjoy contrasting tempos and moods, mediations and chantings, bass ostinatos,
obstinate shifting of two chords, and, in the last section, rock-like
repetitive rhythm-patterns, moving back into pensive, melancholy chants that
finally fade away to end the piece. But even here the folk colouring stems
not form any methodical background studies or intentions. Namyslowski
simply allows his musical nature to pronounce itself freely, and exactly such
a spontaneity is what makes it precious from the jazz standpoint. In
"Sad Little Johnny", the first pastoral section is followed by the
busy funk rhythms and free sax improvisations. Also in the "Quiet
Afternoon" the prolongued and beautiful immersion in poetic meditation finds
its momentary contrast in the ragged alto solo, backed by electric piano and
drums, after which the music returns to the dreamy mood. "Little Lamb
Lost" strayed obviously somewhere in the Polish Tatra Mountains, for in
spite of rock rhythms (even with their help) the motifs and scales of Podhale
region are very much evident. ©
Andrzej Schmidt (original linear notes) |