The fact that these recordings are unavailable is shameful, and a sad testimony to the fact that State owned Cultural treasures are simply being disgracefully completely wasted! The above are my liner notes for this wonderful album. In many respects this concerto symbolizes the closing of a time loop bringing the two great musicians together again. Initially the album has everything working against it. Even his English accent and pronunciation are only very slightly off, which can be considered as charming, rather than disturbing. He was discovered very early as an immensely talented child prodigy, having started to play the violin at the age of six. You should also make it aware to yourself with each piece anew!
Keeping this music available should be supported by the Polish State, since it has a whole Ministry of Culture and National Heritage to do so, sadly very little is done on that level and it is, as always, up to private parties, like Michal Wilczynski, the man behind the GAD Records, to do the work of love which keeps Polish Culture alive and remembered. Debski and Olejniczak were both members of the legendary Polish Jazz ensemble String Connection, which was active in the s. But whatever is lost from the absence of the piano is gained by the sonic space stretched between the brass instruments. It was Komeda who persuaded Milian to drop the piano as his main instrument and switch to the vibraphone, thus enabling him to become a member of his ensembles. But even without the Statkowski influence, it is pretty apparent that although Young was a bona fide American composer for decades, the intrinsic Polish lyricism and melancholy, as well as his Jewish approach to melody, stayed with him for all these years, deeply embedded in his heritage and influenced by the growing-up period he has spent in Poland and learned from Polish educators. The Polish Jazz male vocalists are few and far between, and with rare exceptions are all quite insignificant.
The standards all feature lyrics in English and Polish vocalist singing in English usually simply stink again with very few exceptions. He was nominated 22 times for the Academy Award but his only Oscar marynii awarded to him posthumously.
And as we were tracking Young’s life and music, it didn’t take long to se the similarities between his fate and that of several other famous American composers, like Bronislaw Kaper and Henryk Wars, fellow Jewish wanderers, whose Polish roots are almost completely obscured and are waiting to be exposed.
I have already mentioned the Dobosz Brothers as potential candidates to the title of upcoming sibling rhythm section in Polish Jazz. I imagine that playing Young’s music for Bobbie in her apartment on a piano, that Young bought as a wedding present for his sister, must have been quite a thrilling experience for Kuba and Darek Oleszkiewicz, who was also present at the occasion.
Most importantly the music is much more open and allows for delicate and intimate conversations between the quartet members. Saturday, December 6, Koniec roku na bogato!!! We hope marjni this will be a lot of fun for our readers and eventually it will also help you to get a grip of what was the most interesting in Polish Jazz in year For the listener this dupoe is quite demanding too if you want to understand how the individual pieces were created.
Young made quite a career as a virtuoso concert violinist and even managed to play for the Russian Czar Nikolai, which almost cost him his life when the Bolshevik marynl erupted and all people connected to the Czar were filj dealt with.
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And yet, k all odds, this album is simply a gem from start to finish. Many of his achievements are documented by the ongoing archival “Jerzy Milian Tapes” series released by GAD Records, which also released this reissue. Initially the album has everything working against it. Second Exit — Spoon 9.
The beautiful arrangements, passionate performance and depth of respect for the Polish musical tradition and legacy are all combined herein with truly spectacular results. Although karyni just a short time apart, the quartet seems to be much mature, with the youthful energy and vivacity being replaced by elegant thoughtfulness.
The fact that these recordings are unavailable is shameful, and a sad testimony to the fact that State owned Cultural treasures are simply being disgracefully completely wasted! In many respects this music sounds more like a prayer than an artistic expression, but on msryni other hand perhaps art is always a form of prayer?
The decade Victor Young spent in Poland, as well as his rich Polish roots, remain almost completely absent from his biography and are totally unknown not only l the USA but sadly also in Poland.
Thank you for reading and for listening! Most of these highly personal and fascinating documents and photographs were made available by Young’s niece, Helen’s daughter, the wonderful Bobbie Hill Fromberg, who lives in LA and who embraced this project wholeheartedly, sharing her extensive family archive with us.
This year we dhpie four individual lists of best albums of Who do they think they are? The album presents nine original compositions recorded by the trio and dupiee bonus track which is a solo guitar piece, all composed by Borowicki. In comparison to its predecessor, musically this album is characterized by a much spacey, less melodic and freer approach, sometimes almost minimalistic.
But even without the Statkowski influence, it is pretty apparent that although Young was a bona fide American composer for decades, the intrinsic Polish lyricism and melancholy, as well as his Jewish approach to melody, stayed with him for all these years, deeply embedded in his heritage and influenced by the growing-up period he has spent in Poland and learned from Polish educators.
My deepest thanks to everybody fikm in this project for the pleasure it causes to this humble listener. All that remains is to thank these wonderful Artists for their gift to us, mere mortals, who have the privilege to enjoy this music.
Of course the individual performances are all quite splendid. Accompanied by bassist Darek Oleszkiewicz and formidable American drummer Peter Erskine, Kuba Stankiewicz delivers the music of Young with passion and emotion, but also with great respect.
“Nowa” metoda leczenia to…
Each of the series has its own ffilm and focuses on a different aspect of the dance. The same applies to the frequent tempo changes and improvisational approaches, which move within one piece between tightly knit interplay and completely free form, spacey improvisation.
Later on Milian developed a prolific international career as a vibraphonist and as a composer, being one of mayrni best known Polish Jazz musicians outside of Poland. This music sounds nothing like the referenced albums, which of course is all maryno the good, since letting the bygones be bygones is the only way to get anywhere. Tomaszewski, a graduate of the same Academy, is a seasoned and much respected pianist with an impressive recorded legacy, mostly as a sideman.
Of course in this case, the oberek is more of an inspiration or a point of reference, rather than an actual source, as usual with Orzechowski, whose multi-dimensional compositional concept expands well beyond the actual structure of the dance.
Here flim, one must always keep in mind that this is a solo album! Being realistic, however, it will probably reach only e very limited scope of listeners, which of course is tragic. By mid s Young mayrni in Hollywood and concentrated on composing music for the motion pictures, in time becoming one of the most successful and prolific representatives of the American Dream.
“Nowa” metoda leczenia to…
The album was recorded live with Olejniczak performing the music with the Polish Radio Orchestra conducted by Krzesimir Debski. This year he has only worked on two albums so far, which I enjoyed very differently: The compositions included here were created by Lutoslawski in the s, the most oppressive period in the Socialist era, and for many years thereafter were considered as his less important and definitely less appreciated ddupie.
He begins and ends with an strongly accelerated sequence of the then following ostinato bass, which he fades in slowly after the intro in order to develop the actual piece over this bass line. However, in retrospect the composer’s genius obviously overcame the obstacles and this music turns out to be a completely relevant component of his grand legacy. Pianohooligan returns with the annual third time in a row display of his musical vision, which hovers above the usual genre definitions, practically ignoring all conventions and boundaries and creates his own unique musical universe.