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Krzysztof Komeda Quintet-Astigmatic-'65 Polish Jazz Vol.5-NEW DIGIPACK CD

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Krzysztof Komeda Quintet

Astigmatic-'65 Polish Jazz Vol.5


Krzysztof Komeda Quintet-Astigmatic-'65 Polish Jazz Vol.5-NEW DIGIPACK CD

Komeda Quintet ‎– Astigmatic
Warner Music Poland ‎– 08256 4 64886 0 5
CD, Album, Reissue, Remastered, Digipack
25 Mar 2016
Post Bop
1     Astigmatic     22:50
2     Kattorna     7:20
3     Svantetic     15:50
Companies, etc.

    Phonographic Copyright (p) – Polskie Nagrania
    Phonographic Copyright (p) – Warner Music Poland
    Copyright (c) – Warner Music Poland
    Pressed By – TAKT – 2100006118933
    Pressed By – www.takt.eu – 2100006118933
    Remastered At – JG Master Lab
    Designed At – sovadesign.pl


    Alto Saxophone – Zbigniew Namysłowski
    Artwork By – Łukasz Hernik
    Artwork, Design [Reissue] – Łukasz Hernik
    Bass – Günter Lenz
    Cover – Rosław Szaybo*
    Cover, Graphics ["Polish Jazz" Logo] – Rosław Szaybo*
    Design [Photo Editing For Reissue] – Przemysław Pomarański
    Drums – Rune Carlsson
    Editor [Of Original Series "Polish Jazz"] – Andrzej Karpiński (2), Ryszard Sielicki
    Editor [Reissue Editor] – Paweł Brodowski
    Engineer – Halina Jastrzębska
    Executive-Producer [Reissue] – Anna Zając (3)
    Liner Notes – Adam Sławiński
    Liner Notes [Reissue] – Tomasz Szachowski
    Photography By – I. Jarosińska*
    Piano, Composed By – Krzysztof Komeda
    Producer [Recording Producer] – Wojciech Piętowski
    Remastered By – Jacek Gawłowski
    Translated By [Reissue Liner Notes Into English] – Tomasz Zymer
    Trumpet – Tomasz Stańko

Recorded in Warsaw, December 1965
Remastered from original master tapes
Barcode and Other Identifiers

    Barcode: 0 825646 488605
    Matrix / Runout: 2100006118933
    Mastering SID Code: IFPI LK97
    Mould SID Code: IFPI 9R44
    Rights Society: ZAiKS/BIEM

Recorded in Warsaw, December 1965.

A pioneer with a complex about tradition; a Romantic lost in modernity; a bard of the piano - KRZYSZTOF KOMEDA is one of those musicians who have extended the meaning of jazz.

With the sheer force of his personality, Komeda has persuaded jazzmen to expand into emotional spheres hitherto reserved for the great symphonic art. He added at least two new categories to the expressive scale of jazz music: dramatic lyricism and pathos, bordering in their intensity on ecstatic mystical experience which belongs to the late Romantic, Promethean, Scriabinesque world.

This aesthetic is a novelty in jazz; consequently, it called for a new form. Instead of static, non-directional sequences of variations, conventionally set in the framework of a theme, Komeda has introduced a dramatic directional form in which the development leads from exposition to culmination and a final solution. This kind of form, which could be called an "arch form", can be found in both of Komeda's large-scale compositions on this record: Astigmatic and Svantetic (after Svante Foerster, a Swedish poet-writer and the composer's friend). The solo parts, embedded in this new form, have lost the carefree character of blowing choruses and have instead been employed to play specific functions in the dramatic development. The architectonic simplicity of the piece, concentration on one formal idea (one-part form and monothematicism) as well as the considerable improvisational freedom and the principle of mental contact between the players — all contribute to the successful realisation of the original idea.

Nevertheless, these dramatic and architectural principles cannot fully define Komeda's style. His unique personal "Slavic" feeling depends on melting many heterogeneous materials into a new type of alloy. Apart from elements of contemporary composition technique (such as sound clouds, clusters, aleatory and multi-tempo structures) he applies structures which are already getting out of use (modalism and defunct late-19th-century harmonics) as well as "fossilised", long forgotten forms of primaeval music-making (such as the simple beat of the drum — an obsessive one-beat rhythm, so fresh and revealing in our day — or the uncontrolled instrumental "cry").

What unites all these elements is jazz rhythm and sound, though it must be noted that both components — the rhythm and the sound-articulation — go beyond the hitherto accepted boundaries.

Komeda's compositions are drafts of musical works whose final shape depends on the selected musicians. No wonder, then, that Komeda pays great attention to the choice of his partners.

Among those permanently collaborating with Komeda, a leading figure is RUNE CARLSON — an outstanding Swedish percussionist, a man of eminent musicality, wonderful reflexes and incredible sensitivity to the quality of sound. In his manner of playing, he resembles Anthony Williams, but completely differs from the latter in details.

Another regular collaborator is TOMASZ STANKO, Poland's leading trumpeter and a great individuality. Recently he has also taken up the flugelhorn, which he plays with a "broad" beautiful sound.

Komeda's guests on this record are: GÜNTER LENZ, the double-bassist of the West German Albert Mangelsdorff Band — a musician with a rich technique and powerful imagination, as well as ZBIGNIEW NAMYSŁOWSKI from Warsaw, one of Poland's leading alto saxophonists of the younger generation (b. 1939 r.), known for his performances in many European countries as well as the USA.

The leader of the band, pianist KRZYSZTOF KOMEDA (b. 27 April 1931) has already developed a rich career. Known in the jazz world since 1956, familiar to audiences throughout Europe, he has gained particular acclaim in Scandinavia. He has written music for more than 30 Polish and foreign films such as "Two Men and a Wardrobe", "Mammals", "Knife in the Water", "Cul-de-sac" (all by Polański), as well as "Innocent Sorcerers" by Wajda, "Hvad med os" and "Kattorna" ("The Kittens") by Hennig Carlsen. The latter film is the source of the second piece on this record.
Adam Sławiński
(a new translation of the original essay from the cover of the vinyl record from 1966)

Krzysztof Komeda-Trzcinski (1931-1969), an extraordinary talented self-taught composer and pianist, became after his tragic, untimely death, a legend and a cult hero of Polish jazz. His music reflects not the growing of jazz in our country in the '60-s, but echoes the big influences: Bill Evan's refinement, Eric Dolphy's free and even John Coltrane's abandon. On this disc his partners are two eminent Polish masters-: Tomasz Stanko and Zbigniew Namyslowski and two excellent rhythm men. Gunter Lenz and Rune Carlsson. The title piece "Astigmatic", except for the beginning, presents little of ensemble interaction. Rather, we hear exciting dialogues by trumpet and piano or trumpet and bass. Komeda's piano dictates the levels of tension: it emerges, grows insisting, fades away and emerges again. Namyslowski's alto takes up backed by bass and drums. Lenz's solo opens the way for the drummer and then piano reappears. After a sudden take-off by the whole ensemble the piece! burns out in barely audible bass flageolets. "Kattorna" a disquieting music from the Danish movie by Carlssen (the title means Kittens), changes on this disc into real tour de force by Stanko, that reminds us of Mexican beguile from the siege of Alamo time. Komeda's exceptional illustrative talent made him the much valued composer of music to many movies and among them some by R. Polanski. "Svantetic", dedicated to Swedish poet Svante Forster, creates initially an impression of a dirge, but its main diatonic motif in d-minor (a Polish boy scouts song) is merely the nucleus of truly dramatic jazz development in which we hear much of Namyslowski's alto and also beautiful meditations by bass and piano. It seems to be the best piece by Komeda. However, structurally it has double ending: after the first, the drum solo leads to the reappearance of the initial theme that spans the whole, but the last sentence - not without the protest of others - belongs to the trumpet.

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