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Jazz in Poland. Improvised Freedom | Pol-Int
Pol-Int MONOGRAPHIE Jazz in Poland. Improvised Freedom Beitrag vom: 16.03.2016 Rezension von Dr. Lisa Jakelski Redaktionell betreut von Dorothea Traupe Poland in the 1950s and 1960s boasted a jazz scene of remarkable vibrancy. State-sponsored festivals in Sopot and Warsaw gave audiences the chance to hear jazz performers from all over the world. Local groups crafted their own sound, releasing seminal recordings such as the Krzysztof Komeda Quintet's Astigmatic (1966). The sounds of jazz permeated the films of Andrzej Wajda and Roman Polański. An important part of Poland's cultural and social history during the post-Stalin Thaw, jazz remains a lively element in the country's contemporary musical life. Igor Pietraszewski's Jazz in Poland: Improvised Freedom investigates Polish jazz as both a historical and present- day phenomenon. The second in the Jazz Under State Socialism Series edited by Gertrud Pickhan and Rüdiger Ritter, this book is part of an ongoing effort to understand the significance of jazz in the cultures and societies of East-Central Europe. Pietraszewski is ideally placed to carry out such a study. His experiences as a jazz saxophonist and board member of the Jazz on the Odra Festival in Wrocław give him an insider's insight into the musical world he describes. His training as a sociologist, on the other hand, enables him to approach his subject with an outsider's detachment. Pietraszewski draws on survey responses, interviews, print and other media sources, and scholarship by sociologists and cultural historians in an analysis that proceeds systematically from theory to data. -
1St International Zbigniew Seifert Jazz Violin Competition / PROGRAM
/ PROGRAM 1st International Zbigniew Seifert Jazz Violin Competition 16th – 19th July 2014 / Lusławice, Kraków A Competition held under the Honorary Patronage of the President of the Academy of Music in Cracow, in cooperation with the “Emanations” Festival and the Summer Jazz Festival at Piwnica pod Baranami. Organizer: Partners: The Competition project has been made possible by the financial support of the Ministry of Culture and National Heritage, the Małopolska Province and Kraków City Council. Media Patrons: 2 1st International Zbigniew Seifert Jazz Violin Competition 16 JULY 2014 7 pm The European Krzysztof Penderecki Centre for Music in Lusławice semifinal auditions 17 JULY 2014 7 pm The European Krzysztof Penderecki Centre for Music in Lusławice semifinal auditions 18 JULY 2014 7 pm The European Krzysztof Penderecki Centre for Music in Lusławice final auditions 19 LIPCA 2014 r. 7 pm Manggha Museum of Japanese Art and Technology in Cracow gala concert www.seifertcompetition.com 3 n love with the music of John Coltrane, he originally took up the saxophone, and soon afterwards - set up ZBIGNIEW his first ensemble, the Zbig- Iniew Seifert Quartet, where he played with Jan Jarczyk, Jan Gonciarczyk and Janusz SEIFERT Stefański. Uncompromising and very daring in their artistic AN ICON OF THE JAZZ VIOLIN aims from the very start, they won the 2nd (1968) and then the Born in Cracow, he was associated with that city almost 1st (1969) prize at the Jazz on throughout his life. It was there that he completed primary and the Oder Festival, while Seifert secondary music schools and where he graduated from the himself took individual prizes. -
Jail+Autumn+Leaves+2012 0.5Web
www.jail.lu Prix: 35.-€ / jour 20.-€ / concert jeudi et dimanche gratuits Les concerts ont lieu à l’Abbaye de Neumünster 28, rue Münster Luxembourg-Grund Tél. 26 20 52-1 www.ccrn.lu Billetterie: Tél. 26 20 52-444 email: [email protected] les partenaires du Autumn Leaves Festival: nos partenaires: FONDS CULTUREL NATIONAL JAZZ FESTIVAL 2012 jeu 11 oct JAZZPLAYSEUROPE ven 12 oct GRZEGORZ KARNAS VOCAL QUARTET DARREN SIGESMUND QUINTET CLAUDE PAULY’S MINDMATTER QUARTET sam 13 oct SHAI MAESTRO TRIO DANILO REA - FLAVIO BOLTRO “OPERA” BIONDINI-GODARD-NIGGLI dim 14 oct ERNESTICO “JAZZ FOR KIDS” BART DEFOORT QUARTET MICHEL REIS QUARTET CREATURES OF HABIT AUTUMN LEAVES FESTIVAL Jeudi, 11 octobre 2012 à 20.30hrs Club JazzPlaysEurope JazzPlaysEurope-lab is ready for a 4th edition ! After presenting a “best of JazzPlaysEurope” at a packed Flagey concert hall in Brussels in January 2012 and uniting for one memorable concert 3 previous JazzPlaysEurope-Labs with 20 musicians from 7 countries, we are ready for the 4th edition of this unique pan-European musical blind date! The 4th edition will be hosted by music:LX Luxembourg Export Office and JAIL (Jazz in Lux- embourg). JazzPlaysEurope-Laboratory is proud to welcome 7 outstanding talents from 7 countries in Luxembourg city, a place that is rumored to be a hot spot for young jazz musicians. The musicians will rehearse for the 4th JazzPlaysEurope-Laboratory Tour in a creative at- mosphere that is packed with musical talent and the energy as well as the desire to generate a new and fresh sound. There are no limits to their creative ventures except for a three-day deadline, after which they must have come up with an entire concert program. -
Jazz: a Celebration of Freedom
Two Freedoms, Two Independences 61 Megan Roy Will Jazz: A Celebration of Freedom Introduction Jazz has long been a symbol of freedom in the United States. Born out of racial strife and ethnic tension, this art form provided an escape and opportunity for those living in a post-Civil War America. Developed around the turn of the 20th century in New Orleans, jazz gained popularity and began to change, adjusting to the current cultural climate while maintaining its meaning of freedom and personal independence. A message like this could not be contained, and soon spread around the globe across radio airwaves and by means of traveling musicians. Many nations welcomed this music that bore the mark of freedom, but few embraced it as exuber- antly as Poland. After the fallout from the Second World War, the Polish nation was thrown into the dark ages of communism. It was during this time that jazz was clung to as a symbol of freedom, and a means of individual expression. Adopted and fostered by Polish musicians, jazz began to take on new and different sounds, eventually leading to the invention of a uniquely Polish style. The purpose of this article is to investigate why jazz stands as a symbol of freedom in both the American and Polish cultures, and how the ideas of freedom and independence are expressed through this music in each country. Historical and Cultural Context Jazz is considered a truly American invention, one that emerged in the late nine- teenth century largely due to the mixing of various peoples and the tension that resulted from the American Civil War. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
'Helikon' Was Also a Favourite of Zbyszek Seifert's. Both His Quartet
man of the light. THE LIFE AND WORK OF ZBIGNIEW SEIFERT The ‘Helikon’ was also a favourite of Zbyszek Seifert’s. Both his quartet and (later) Stańko’s quintet held their rehearsals there, and that’s where he played his first jazz concerts. It was in this club that he met jazz musicians and fans. As its musicians became more and more popular, the Jazz-Club found it could not seat all the audience and so concerts began to be held in other places. Nonetheless, the first steps on the ensemble’s career path were inextricably linked with that magical place. Jazz-Club “Helikon”. From left: barmaid, NN, Jan Jarczyk, Zbigniew Seifert, Jan Gonciarczyk, Adam Matyszkowicz. Archive of Małgorzata Seifert Jazz-Club “Helikon” membership card. Archive of Małgorzata Seifert 36 The music studies and Jazz Ensembles The Career of the Zbigniew Seifert Quartet The Quartet’s official debut took place in November, 1965, during the th14 Cracow Jazz Festival, the so-called Cracow All Souls Jazz Festival at Krzysztofory, where the jam sessions were held. Andrzej Jaroszewski enthusiastically hailed their performance as foreshadowing the coming of a new generation of jazz musicians, the debut of a modern jazz band. In a brochure entitled “Cracow Jazz Festival – 14th Edition”, Krzysztof Sadowski wrote: On Friday evening the second debutant was Zbigniew Seifert, an alto sax player influenced by John Coltrane and Zbigniew Namysłowski. From the latter, he took the pure intonation and confident presentation of frequently complicated melodic phrases. Especially in the theme of McCoy Tyner’s “Three Flowers” the whole ensemble gave us a sample of solid modern jazz. -
The Adam Mickiewicz Institute Report 2017/2018
2017/2018 The Adam Mickiewicz Institute Report 2017/2018 The Adam Mickiewicz Institute Report Adam Mickiewicz Institute Mokotowska Street 25 00-560 Warszawa www.iam.pl www.culture.pl Director: Krzysztof Olendzki Deputy Directors: Ewa Bogusz-Moore Michał Laszczkowski Dariusz Sobkowicz Managers Katarzyna Goć-Cichorska, Marta Jazowska, Maria Karwowska, Dorota Kwinta, Anna Łojko, Zofia Machnicka, Andrzej Mańkowski, Maria Ostrowska, Iwona Patejuk, Małgorzata Łobocka-Stępińska, Joanna Stryjczyk, Michał Szostek, Aneta Prasał-Wiśniewska, Łukasz Strusiński, 2017/2018 Lucyna Szura, Karol Templewicz, Małgorzata Ustymowicz, Artur Wojno, Iga Zawadzińska, Zofia Zembrzuska, Małgorzata Kiełkiewicz-Żak. Texts: Monika Gołębiowska The Adam Mickiewicz Institute Design: Arte Mio Report Translations: Joanna Dutkiewicz Production: Agata Wolska ©Instytut Adama Mickiewicza, Warszawa 2018 Foreword 7 FILM DESIGN PERFORMING ARTS Introduction 8 Polish Film Festival 44 Identity of Design 68 East European Performing Arts Platform (EEPAP) 102 Jan Lenica Retrospective 45 Polish Fashion in Paris 69 G.E.N VR – Extended Reality 104 CLASSICAL MUSIC Polish Icons 46 Exhibition: Textura. A Polish Touch 70 Polish Culture at Hong Kong Festivals 105 Polish Classical Music at Santa Marcelina Cultura 14 DOC LAB POLAND 2018 47 Creative Observatory 71 Apparatum: Installation by the panGenerator Group 106 Polish Music at Rome’s Accademia Nazionale di Santa Cecilia 15 WATCH Out! Polish Filmmakers 48 Exhibition: The ABCs of Polish Design 72 National Philharmonic Symphony Orchestra filmPOLSKA Festival 50 Activated City Workshops 74 CULTURE.PL Performed in China 16 Capturing Freedom 51 Design Dialogue: Poland-Brazil 75 Culture.pl Gets a Facelift 110 Polish Music in Huddersfield 17 Cinema in Mokotowska Street 52 Back to Front 76 Stories from the Eastern West 111 Polish Jazz Bands Tour China 18 Baku Romanticism 53 Art Food Exhibition 77 Soft Power. -
Adam Fulara & Fool-X Trio
Adam Fulara & Fool-X trio Adam Fulara (born 1977) – musician, composer, guitarist, and playing a unique guitar approach – two- handed tapping. He is a master of computer engineering and a computer science collage teacher. Musical life events -1994 – graduation from Entry Level Musician School, Ostrzeszow, accordion class. 1992 – start to play guitar, 1996- start to play with two-handed guitar with usual guitar. - 2002- elaboration of innovative type of tapping – so-called “Portato” style and designing a special kind of musical instrument: doublenecked guitar, which can be used for playing a particularly unique technique. - 2003- first reviews of Adam’s recording in “Guitar and Bass” (musicians’ magazine) – since then they have published about Adam regularly – concert of Fool-X for Opole Polish Radio -2004- certified teacher of Master Class on Bach Playing during European Tap Seminar 2004 and 2005 (Neufachateau, Belgium, English, look at the picture) and also music…. In Poland (in Grodzisk Wielkopolski, Warsaw, Koszalin, during jaZZlot Festival 2003, 2004 and 2005) – he was awarded for the best musician in the Polish National Jazz Festival in Sieradz (jury consisted of well-known names such as Marek Napiorkowski, Henryk Miskiewicz, Dorota Napiorkowski). - Cooperation and concerts with well-known polish jazz and fusion musicians like Krzysztof Misiak, Artur Lesicki, Arkadiusz Skolik, Dariusz Ziółek (including playing with them in a framework of “JaZZlot 2004” and “JaZZlot 2005” festivals: www.jazzlot.org) -2005 – Adam is the winner of The National Competition of Guitar Improvisation in Kielce (called “Gitarowe Harce”). The competition is open for all guitar players in age below 30. – Adam has recived honourable (special prize) for “ expanding jazz guitar area ” in "Guitar City 2005" Jazz Guitar Masters Comepetition in Warsaw – most prestige jazz guitar competition in Europe. -
Birth of the Cool
Mateusz Smoczynski, Violin David Balakrishnan, Violin, Baritone Violin Benjamin von Gutzeit, Viola Mark Summer, Cello Birth of the Cool Reaching for lyricism and gentler textures as a reaction to the fiery sounds of bebop, the renowned musicians who performed on the seminal recording, Birth of the Cool, consider it a tipping point towards the style that became known as “Cool Jazz.” The living embodiment of cool, Miles Davis, and his colleagues, Gil Evans, Gerry Mulligan, Lee Konitz, etc., set the table for a slew of legendary groups that shared their vision. From the Modern Jazz Quartet and Gunther Schuller of third stream music, to the west coast sounds of the Dave Brubeck Quartet with Paul Desmond, to the iconoclastic melodic lines of pianist Lennie Tristano, their particular brand of innovative genius echoed into the myriad jazz fusion blends of the seventies and eighties. Ultimately, this created the perfect conditions for an audacious group of four string players equally grounded in jazz improvisation and classical technique, to split the Eurocentric string quartet atom. In addition to employing their signature groove-based rhythmic techniques to transform classic selections from the recording of Birth of the Cool such as Israel, Venus De Milo, and Jeru into jazz string quartet masterpieces, the two time GRAMMY® winning Turtle Island Quartet will take a wide swath through the many other avenues traversed by these intrepid explorers of cool. Perennial favorites such as Dave Brubeck’s Blue Rondo A La Turk and Gerry Mulligan’s Bernie’s Tune conjoin with Miles Davis’s dreamy Miles Ahead, and the Modern Jazz Quartet’s darker Django. -
Summary of Professional Accomplishments
SUMMARY OF PROFESSIONAL ACCOMPLISHMENTS The music in my family home has accompanied me from an early age. I remember my Parents watching and listening to broadcasts of Chopin contests (as they had free time) on radio and on television. As a child I listened almost continuously to tapes from the American rock-jazz group Blood Sweat & Tears. In addition, I was able to enjoy a rich home record collection that included classical and jazz recordings and Polish 1960s music. I liked listening to recordings of such artists as Novi Singers, Woody Herman, Miles Davis, Ray Charles, Marek Bliziński, Czesław Niemen, Marek i Vacek, Sławomir Kulpowicz, Tomasz Stańko, Adam Makowicz, Krystyna Prońko, Krzysztof Sadowski, Zbigniew Namysłowski, Krzysztof Ścierański, Krzak, Dżamble, Polanie, Czerwono-Czarni, Niebiesko-Czarni, Skaldowie, Alex Band, Laboratorium, Walk Away. My first contact with a real instrument took place at the age of three in a kindergarten. The beginning of my music education began with the admission to the pre elementary department at Music School of 1st and 2nd degree in Sanok. After a year of study I was admitted to the first grade of the first degree music school in the piano class without extra audition. At the same time I started my education at regular primary school. Attending two schools in parallel did not make much of a difference. The six years of my first education have passed relatively quickly. In July 1994 I took part for the first time in the 1st International Summer Jazz Academy in Krakow, conducted by eminent educators from the USA and from Poland (eg. -
The Best of Polish Jazz
PRESS INFO JAZZTOPAD FESTIVAL AND THE POLISH CULTURAL INSTITUTE NEW YORK present JAZZTOPAD FESTIVAL PRESENTS: THE BEST OF POLISH JAZZ WEDNESDAY, JUNE 21, 2017 - THURSDAY, JUNE 29, 2017 DIZZY’S CLUB COCA-COLA, NATIONAL SAWDUST, JOE’S PUB, THE JAZZ GALLERY, MILLENNIUM STAGE, TD VANCOUVER INTERNATIONAL JAZZ FESTIVAL, TD VICTORIA INTERNATIONAL JAZZ FESTIVAL “The Jazztopad Festival, a leading event of its kind in Poland…”– Nate Chinen, The New York Times “…top flight musicians will celebrate improvisation on stage in the homeland of Jazz, the United States…" – Bonnie Johnson, WICN “Colors of Jazz” “The Jazztopad Festival brings together the jazz movement that is happening in Europe to the USA…” – Tim Longo, Sneek City “…Jazztopad stands as an internationally renowned festival with a clearly defined ethos, one that combines a strong respect for the traditions and roots of the music with a progressive vision that provides a platform for the contemporary and innovative.” – Ian Patterson, All About Jazz For the third time, a special edition of Wroclaw’s Jazztopad Festival will be held in the United States and Canada, in partnership with the Polish Cultural Institute New York and with support from the Adam Mickiewicz Institute. This June, leading Polish jazz and contemporary music ensembles and artists Wójcinski/Szmanda Quartet, Stryjo, Marcin Masecki, Jerzy Rogiewicz, and the Lutoslawski Quartet will perform in New York, Washington DC, and Vancouver. Distinguished artists from previous editions of Jazztopad, including Erik Friedlander, Mark Feldman and Sylvie Courvoisier, will join the Polish musicians. Artists from Poland will play at the prestigious Jazz at Lincoln Center, at The Jazz Gallery, eclectic Joe’s Pub at The Public Theater, Millennium Stage at the Kennedy Center, and at the popular TD Vancouver International Jazz Festival. -
Monday 15 July 2019 9.00–10.30 Opening Session Polish Music
Monday 15 July 2019 9.00–10.30 Opening session Polish music: heritage, processes, media Presented by the Organizing Committee Chair: Stanisław Hrabia (IAML President, Jagiellonian University, Kraków) Marcin Gmys (Adam Mickiewicz University, Poznań) Archives and white spots: scholarly perspectives for recovering Polish Music Artur Szklener (The Fryderyk Chopin Institute, Warsaw) Digital humanities tools for music: implementation in the ‘Heritage of Polish Music’ project Daniel Cichy (Polskie Wydawnictwo Muzyczne – PWM Edition, Kraków) Publication and performance: making Polish music known to professionals and music lovers The complex editing of a composer’s music is usually a task of many generations. Unfortunately, such natural processes – including early commercial editions, premieres of the works, their multistage recognition by critics, musicians and audience, further incorporation in historiographies of a nation or academic and critical editions – were impossible for the great majority of European music created in the territory of Poland from the second half of the 18th century to the moment of regaining Polish independence; in some cases, even until the change of the political system in 1989. As a result, a great part of the oeuvre of over one hundred composers has not been published. Among the compositions there are outstanding works, but also just interesting ones. In consequence, they are unknown not only to audiences all over the world, but even to Poles themselves. Making up for lost time, almost two centuries, requires complex, synchronized actions of a multidimensional character. Contemporary technologies make it possible to speed up the work, increase its synergy and provide open access to the results. The aim of the presentation is to show actions as part of the “Heritage of Polish Music” multi-year program, held by The Fryderyk Chopin Institute and PWM Edition under the auspices of the Ministry of Culture and National Heritage.