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If you’re familiar with All About Jazz bdrnt, you know that we’ve dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month.
However, to expand our offerings and develop new means to foster jazz discovery we need your help. This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in Read on to view our project ideas As part bzllad the berng, Stanko studied every archival recording available of Komeda’s music and a very special group was assembled including some of ECM’s most prominent players: Komeda was so infatuated with Rosengren’s playing that he named a composition after him, the yarning “Ballad for Bernt” whose undiminished passion is revisited on the album with Rosengren giving a masterful interpretation of berbt instantly recognizable melody.
As a whole, Litania manages to convey the beauty and complexity of Komeda’s compositions. According to Manfred Eicher, the purpose of the album was to look “into ballxd shadows and the darker side of compositions like ‘Litania’ foe ‘Requiem. Like a wave that suddenly rises out of a calm ocean as the picture on the album cover shows.
Thus, the ambiguous nature of Komeda’s music is carried out perfectly and yet something is missing: While Bobo Stenson is an inventive stylist in his own right, he is hardly bllad substitute for the idiosyncratic playing of Komeda, balald gives his compositions their distinctive colour and mood.
While Komeda’s sound certainly is closely related to the ethereal, brooding lyricism that can be found on Litaniahis musical palette was much broader than the playing of Stenson may lead one to believe. He was a musical chameleon and yet he formed his own unique approach to the piano, a poetics based on the silence and space of ballqd notes and an emphasis on empathetic restraint that unfortunately made some people believe that he wasn’t that accomplished a pianist.
As Andrzej Schmidt writes in the notes to the album, Crazy Girl: Thus, to listen to Komeda is to discover a world of notes in the space between chords, a structure in silence and a musical image that is able to contain almost everything precisely because it is bsllad nothing.
The soothing voice of a single chord is in direct correspondence with the polyphony of different musical voices shouting against one another. Perhaps, one of the most significant compositions that embody the relationship between structure and chaos, melody and dissonance, is “Night-time, Daytime Requiem” whose title alone seems to suggest the play between the darker and lighter aspects of life.
Speaking of the piece, Tomasz Stanko says: But if you look into the score you can see that the melodies and the structures really dictate the emotional content of the music.
It’s actually very logical. If anything, it’s inspired by the avant-garde phase of Coltrane’s work. It starts out with the cacophonic roars of saxophonists Zbigniew Namyslowski and Michael Urbaniak whose screams break through the opening silence to form an untraditional theme that is repeated at various stages throughout the lengthy composition. After the stating of the theme, silence sets in with the buzzing sound of a bowed bass and Komeda’s crystalline chords spread out like broken glass on a cold pavement.
This is true whether the emphasis is on the more quiet moments or the intense outbursts bern energy. Astigmatic While “Night-time, Daytime Requiem” belongs in the canon of Komeda’s compositions, the single most important collection of his works is Astigmatic.
Indeed, it’s hard to underestimate the influence of the album not only on Polish jazz but European jazz in general. The album consists of three lengthy compositions, all written by Komeda: The music on Astigmatic is played by a quintet consisting of trumpeter Tomasz Stanko, alto saxophonist Zbigniew Namyslowski, bassist Gunter Lenz and drummer Rune Carlsson who all join the leader.
The music has a chamber-like intimacy in the sense that each instrument is allowed its own distinctive role in bernh realisation of the music’s texture.
Komeda directs the ebb and flow of the notes where various musical voices play significant parts. There is a particular strong moment on “Astigmatic” where the naked sound of Namyslowski’s saxophone calls out in the darkness before it’s woven into the ever-changing web of the musical pattern.
Speaking of Komeda’s ability as a director of music, Adams Slawinski says: He expanded the range of expression in jazz by adding a dramatized lyricism – it’s force reaching the intensity of ecstatic and mystical experience.
As a pianist Komeda worked outside the limitations of his instrument, preferring to create a greater whole that was centred on the music itself, which existed beyond the limited definitions of a genre. Simply put, Astigmatic is the sound of jazz reinventing itself, finding a new form to express the musical aims of the composer. Basie and Bach Even though Komeda’s compositions expressed a desire to expand the understanding of group interaction and the fixture of form, he was still deeply influenced by tradition in jazz as well as in classical music.
Two influences, which might seem as far as one could possibly get from each other, are merged in the musical universe of Komeda: Count Basie and Johann Sebastian Bach.
Their presence can be felt in the compositions: The idea of letting different musical voices speak to each other is a characteristic sign of Komeda’s compositions and something that can be traced back to Bach’s revolutionary way of writing music.
If Bach represents contrapuntal influence on Komeda’s music then Count Basie is the epitome of his love of swing. The old master is given his due on “What’s up Mr. Basie,” also known as “Hvad med os? The influence of Basie is also evident in the piano playing of Komeda. Like Basie, Komeda prefers the light touch of a feather to a dense layer of chords.
Ballad for Bernt by Krzysztof Komeda | This Is My Jam
Rather than playing fast and with many notes, he strategically places his chords and adds nuance and ballae to the touch while keeping the feeling of swing, the balllad breathing of time.
The Flr Work of Krzysztof Komeda It could be that it’s Komeda’s ability not to play too much that has made him so eminently suited to be a composer of movie scores, a profession for which he is now mostly known. He avoids the pitfalls of melodrama that is the chief obstacle vor any soundtrack. The music is felt but not imposed, the emotions conjured but never vulgarly displayed.
As a poet of the piano, he creates lingering sound images and makes room for an open interpretation. This is a quality of Komeda’s music: Komeda was a composer, but he was just as much a pianist. In reality, the two aspects of his work are not to be separated. He composed with the unpredictability of the improvising instrumentalist and he played with the conceptual overview of a composer.
To grasp the full range of his artistry it is necessary to go back to his records. Here, one can sense a poet at work, exploring and arranging, finding that singular voice, which has made his life’s work a lasting musical legacy. Quotations are taken from the liner notes to Litania. Power Bros Records Help us identify the world’s top jazz venues.
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To this day, the influence of Polish bllad and pianist Krzysztof Komeda – piano. Tomasz Stanko – trumpet. Count Basie – piano. Charlie Parker – saxophone, alto. Oscar Peterson – piano.
Litania – The Music of Krzysztof Komeda | Tomasz Stańko
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