Wooden Tomasz Stańko Quintet

The second ECM album from this Polish-Swedish-British edition of the Tomasz Stanko Quartet follows the critically-heralded Matka Joanna. As Jazz Journal wrote, 'Trumpeter Stanko's vibrant breadth of tone and poetic feeling for cross-rhythmic drama are second to none.' Leosia marks a further progression, incorporating six first-rate Stanko compositions in his brooding 'Slavic' style, darker than the darkest Miles (and incorporating a tribute to Lautréamont, literature's Count of Darkness), as well as bracing and exploratory duo and trio improvisations, and solos of the higherst calibre by all concerned. The group has an unusual claim on idiomatic completeness; it seems to summarize, in highly original manner, many of the important developments of jazz of the last 30 years…

The second ECM album from this Polish-Swedish-British edition of the Tomasz Stanko Quartet follows the critically-heralded Matka Joanna. As Jazz Journal wrote, 'Trumpeter Stanko's vibrant breadth of tone and poetic feeling for cross-rhythmic drama are second to none.' Leosia marks a further progression, incorporating six first-rate Stanko compositions in his brooding 'Slavic' style, darker than the darkest Miles (and incorporating a tribute to Lautréamont, literature's Count of Darkness), as well as bracing and exploratory duo and trio improvisations, and solos of the higherst calibre by all concerned. The group has an unusual claim on idiomatic completeness; it seems to summarize, in highly original manner, many of the important developments of jazz of the last 30 years…

The second ECM album from this Polish-Swedish-British edition of the Tomasz Stanko Quartet follows the critically-heralded Matka Joanna. As Jazz Journal wrote, 'Trumpeter Stanko's vibrant breadth of tone and poetic feeling for cross-rhythmic drama are second to none.' Leosia marks a further progression, incorporating six first-rate Stanko compositions in his brooding 'Slavic' style, darker than the darkest Miles (and incorporating a tribute to Lautréamont, literature's Count of Darkness), as well as bracing and exploratory duo and trio improvisations, and solos of the higherst calibre by all concerned. The group has an unusual claim on idiomatic completeness; it seems to summarize, in highly original manner, many of the important developments of jazz of the last 30 years…

The change of direction on Lontano, the third release by Polish trumpeter Tomasz Stanko and his three young collaborators - Marcin Wasilewski (piano), Slawomir Kurkiewicz (bass), and Michal Miskiewicz (drums) - is startling. Whereas Soul of Things (2002) and Suspended Night (2004) focused on Stanko's increasing sense of balladry and structurally harmonic, assonant atmospheres, Lontano showcases a band confident enough after playing for five years to find real space for free improvisation. Recorded in the south of France instead of Oslo, producer Manfred Eicher works his name magic and allows stillness and silence to play as much a role as the performers engaging one another musically. The opening title track is the first of three such excursions with the title "Lontano"…

The change of direction on Lontano, the third release by Polish trumpeter Tomasz Stanko and his three young collaborators - Marcin Wasilewski (piano), Slawomir Kurkiewicz (bass), and Michal Miskiewicz (drums) - is startling. Whereas Soul of Things (2002) and Suspended Night (2004) focused on Stanko's increasing sense of balladry and structurally harmonic, assonant atmospheres, Lontano showcases a band confident enough after playing for five years to find real space for free improvisation. Recorded in the south of France instead of Oslo, producer Manfred Eicher works his name magic and allows stillness and silence to play as much a role as the performers engaging one another musically. The opening title track is the first of three such excursions with the title "Lontano"…

Krzystof Komeda (1931-1969) was famous in Poland for writing over 40 film scores and for being one of the first modern jazz musicians, working as a pianist and composer. In his tribute to Komeda, trumpeter Tomasz Stanko and his sextet (which includes Bernt Rosengren and Joakim Milder on tenors; pianist Bobo Stenson; bassist Palle Danielsson; drummer Jon Christensen; and guest guitarist Terje Rypdal, who adds fire to two of the ten performances) interpret three of his film melodies (all from Roman Polanski films) and a few of his jazz compositions. The music is mostly episodic (particularly "Night-time, Daytime Requiem," which clocks in at 21:47), dark, and introspective. The emphasis is on the themes, and the variations stick mostly to the original mood. Nothing is really jammed, and the musicians' personalities are secondary to Komeda's compositions…

Krzystof Komeda (1931-1969) was famous in Poland for writing over 40 film scores and for being one of the first modern jazz musicians, working as a pianist and composer. In his tribute to Komeda, trumpeter Tomasz Stanko and his sextet (which includes Bernt Rosengren and Joakim Milder on tenors; pianist Bobo Stenson; bassist Palle Danielsson; drummer Jon Christensen; and guest guitarist Terje Rypdal, who adds fire to two of the ten performances) interpret three of his film melodies (all from Roman Polanski films) and a few of his jazz compositions. The music is mostly episodic (particularly "Night-time, Daytime Requiem," which clocks in at 21:47), dark, and introspective. The emphasis is on the themes, and the variations stick mostly to the original mood. Nothing is really jammed, and the musicians' personalities are secondary to Komeda's compositions…

TWET - a music album recorded by Polish jazz trumpeter Tomasz Stańko and accompanying musicians. LP TWET (a title probably formed from the first letters of the names of the performers) is an album belonging to the free jazz trend. The American bassist, Peter Warren, played with three musicians who collaborated constantly: Tomasz Stanka, Tomasz Szukalski and Finnish drummer Edward Vesala. All songs are joint compositions of the participants of the recording session. The recordings were made on April 2, 1974 in the PWSM hall in Warsaw. The album was included in the Polish Jazz series (vol. 39).