(JazzPlanet) Marcin Wasilewski Trio - Faithful (Eac Flac Cue)

Wasilewski, Marcin (Trio) - Faithful








Artist: Marcin Wasilewski Trio
Title Of Album: Faithful
Audio CD (April 12, 2011)
Original Release Date: 2011
Number of Discs: 1
Label: ECM Records
Genre Jazz
Category: Contemporary Jazz



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Size Torrent: 394 Mb
Cover Included

Tracklist



An Den Kleinen Radioapparat
Night Train To You
Faithful
Mosaic
Ballad Of The Sad Young Men
Oz Guizos
Song For Swirek
Woke Up In The Desert
Big Foot
Lugano Lake


Personnel

Marcin Wasilewski piano
Slawomir Kurkiewicz double-bass
Michal Miskiewicz drums




Listen to Sample

http://www.amazon.com/gp/recsradio/radio/B004NDVJJG/ref=pd_krex_dp_a

http://www.youtube.com/watch?v=s4J-vle9Lsk

http://www.youtube.com/watch?v=bqhPBEJt7Yc

http://www.youtube.com/watch?v=ZfzyruSHdmk

http://www.youtube.com/watch?v=_johch6RMPY

http://www.youtube.com/watch?v=3nY0jjWfXDE


BIOGRAPHY

“January” is a strong musical statement from a still-young band with a long history already behind it, and an album with an exceptionally wide-ranging programme - all of it played with assurance, purpose and focus. The disc reconfirms that the trio of Marcin Wasilewski, Slawomir Kurkiewicz and Michal Miskiewicz is one of the most outstanding contemporary jazz groups. Their friend and mentor trumpeter Tomasz Stanko has said, “In the entire history of Polish jazz we’ve never had a band like this one.
They just keep getting better and better.” It was through Stanko’s ECM recording “Soul of Things”, recorded 2001, that the wider world first had a hint of the capacity of Wasilewski/Kurkiewicz/Miskiewicz. Since then, they’ve toured widely with Stanko and contributed mightily to his quartet recordings “Suspended Night”and “Lontano”, recorded in 2003 and 2005.
As an autonomous force, the trio’s biography begins in 1990, when Wasilewski and Kurkiewicz as 15-year old students at the Koszalin High School of Music began playing jazz together. Their first trio was formed the following year. In 1993 drummer Miskiewicz joined them, and the group’s line-up has been stable ever since. As the Simple Acoustic Trio they won awards in their homeland and issued five albums on local labels. Their first international release, for ECM, entitled just “Trio” was recorded in 2004 and released the following year, immediately winning the Quarterly Prize of the German Record Critics. In the US, too, critics were taking notice. “Their years together have resulted in an ensemble with an utterly symbiotic creative flow,” wrote Don Heckman in the Los Angeles Times.
The release of “January” - recorded in New York with producer Manfred Eicher early in 2007 - also signals a change of name. Henceforth the group is, simply, the MarcinWasilewski Trio. The group continues to be run as a collective of equals, but its members have come to accept the convention that piano trios are traditionally identified by their pianists. Besides, Marcin is the band’s principal songwriter: he contributes four pieces to the present disc, including the title track and the beautiful opener, “The First Touch”. Wasilewski also, at the urging of the producer, addresses pieces written by Gary Peacock and by Carla Bley - pieces identified with two major pianists, respectively Keith Jarrett and Paul Bley. Wasilewski does not flinch from the challenge but, with his trio partners, makes of this music something of his own.
“Vignette” is a composition by Gary Peacock first heard on the album “Tales of Another”, the 1978 ECM recording which marked the coming together of the band later known as Jarrett’s “Standards” Trio. The Wasilewski Trio takes it at a statelier pace, and mines it for deeper emotions. A powerful performance, especially in the light of Marcin’s indebtedness to Jarrett as a player. Acknowledging the influence, he moves beyond it.
Carla Bley’s composition “King Korn” meanwhile is a piece of early 60s vintage that surfaced on Paul Bley’s 1963 classic ”Footloose” recording with the great trio line-up including Steve Swallow and Pete La Roca. The Polish trio fly at it with invigorating energy and wonderful group interaction (the recording quality illuminating detail with a clarity impossible back in the days when Paul Bley was recording for Savoy), with especially exciting dialogues between Michal Miskiewicz and Wasilewski.
“Balladyna”, a Tomasz Stanko tune, was title track of the Polish trumpeter’s ECM debut disc (with a rhythm section of Dave Holland and Edward Vesala), back in 1975, the year Wasilewski was born. The trio’s dark, swirling rubato performance has the stark drama and predatory lyricism associated Stanko; they’ve played the piece often in concert with the composer.
On their 2004 ECM disc, the trio offered a luminous version of Björk’s “Hyperballad”. This season’s pop cover is Prince’s “Diamonds and Pearls”, the ballad from 1991 which gains a deal of mystery in this stripped-down interpretation in which bassist Kurkiewicz shares the melody with Wasilewski.
The cinematic arts are never far away in Polish jazz; ever since 1958, when Komeda first collaborated with Polanski, the genres have influenced each other. Wasilewski’s “The Young and Cinema” references an identically-titled festival of new Polish films held in Koszalin. The trio also covers Ennio Morricone’s title theme for Giuseppe Tornatore’s 1988 film “Cinema Paradiso”, itself a celebration of film.
The album closes with a trio improvisation, a free ballad made in the moment and specific to its time and place, “New York 2007”. As already demonstrated on Stanko’s “Lontano”, these are players extremely adept at creating songs in real time.
Marcin Wasilewski and Slawomir Kurkiewicz also appeared on Manu Katché's popular “Neighbourhood” and “Playground” albums.



review


Over the course of the past decade, the members of pianist Marcin Wasilewski's trio have been growing in the public eye, first as trumpeter Tomasz Stanko's young Polish quartet on a trio of albums culminating in Lontano (ECM, 2008), and then, in the case of pianist Wasilewski and bassist Slawomir Kurkiewicz, through a collaboration with Manu Katche on two of the drummer's ECM releases, including Playground (2007). But before all that attention, Wasilewski, Kurkiewicz and drummer Michal Miskiewicz were Simple Acoustic Trio—later, settling on their current moniker—and concurrent with their work as Stanko and Katché sidemen, have released a couple of albums, also on ECM, that demonstrate the value of longevity and focus. Faithful is the trio's best yet, with everyone at the absolutely top of their game, with a program that, as ever, combines music from external sources with Wasilewski's increasingly confident originals.

This trio knows that good music is where you find it, but while Trio (2005) and the even more impressive January (2008) reworked pop songs by Björk and Prince alongside its obscurer jazz sources, Faithful references none at all, sourcing its music from the jazz and classical worlds. The trio's delivers a floating, rubato reading of Hanns Eisler's "An den kleinen Radioapparat," its glorious melody—a mix of majesty and melancholy—unfolding slowly, while the unexpectedly rich harmonies underscoring Ornette Coleman's title track are colored by Wasilewski's fluid attention to detail, and Miskiewicz's delicate cymbals and deeper mallet work. Hermeto Pascoal's "Oz Guizos" is darker still, its changes and memorable melody emerging with painstaking care, while a bright look at Paul Bley's "Big Foot" swings nearly as hard as Bley's own version on Paul Bley with Gary Peacock (ECM, 1970), and with a similarly unfettered outlook that speaks to Wasilewski's own roots in Bley, by way of Keith Jarrett.

But it's Wasilewski's writing that provides Faithful's best moments. The fiery "Night Train To You," driven by Miskiewicz's subtle pulse and Kurkiewicz's muscular anchor, demonstrates how effortless irregular meters can be, when everyone is playing through them, as opposed to on them. Its singable melody and simmering energy recalling the late Esbjörn Svensson's e.s.t., despite focusing away from overt virtuosity and towards collaborative interpretation, everyone impressing without resorting to "look at me" pyrotechnics. Still, Wasilewski's extended solo is a tremendous example of motivic development, each successive line a logical evolution from what came before, as the pianist responds to reciprocal pushes and prods from his band mates, leading to a coda of unexpected calm after the storm of Miskiewicz's solo. Wasilewski's "Mosaic" is equally straightforward, based on the sparest of ideas, but expanded to over ten minutes without ever overstaying its welcome. The trio's DNA-level empathy encourages an effortless flow of ideas, including a particularly lithe solo from the robust-toned Kurkiewicz.

Wasilewski may be the titular leader, and contribute all the original material, but Faithful clearly relies entirely on the strength of a collective for whom lyricism is paramount, regardless of the context—direct and driven or implicit and suggestive, but always placing the whole as the objective beyond its individual contributing voices.