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MIKOŁAJ TRZASKA GRA RÓŻĘ
Mikołaj Trzaska Ircha Clarinet Quartet - Zikaron - Lefanay
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Asunder Trio - The Lamp
Ircha - Mikołaj Trzaska Clarinet Quartet - Watching Edvard
Inner Ear - Breathing Steam
Reed Trio - Last Train To The First Station
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Rogiński / Trzaska / Moretti - Shofar
Mikołaj Trzaska - Kantry
Trzaska / Friis / Uuskyla - Orangeada
North Quartet - Malamute
Trzaska / Wirkus - Noc
Andruchowycz / Trzaska - Andruchoid
Trzaska / Friis / Uuskyla - Unforgiven north
Moretti / Wirkus - na baterie
Mikołaj Trzaska - Danziger Strassenmusik
Oleś/Trzaska/Oleś - La SKETCH up
Tomasz Gwinciński & NonLinear Ensamble - The Moon Music
Oleś/Trzaska/Oleś - Mikro muzik
ŁÓDŹ KALISKA - concert
Mikołaj Trzaska - Pieszo
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Mikołaj Trzaska - Danziger Strassenmusik
1. Długie Pobrzeże - MP3
2. Gołębie wieczorem
3. Serce Motllau
4. Hanza Soul - MP3
5. Machandel & Dagoma
6. Kill Still Good Night - MP3
7. Lonely Woman
Mikołaj Trzaska - alto saksophone & bass clarinet
Marcin Oleś - duble bass
Bartłomiej Brat Oleś - street drum set: laptop - snare drum,
tenor gong, steel tray, cowbells, woodblock, 6" akcent,
birds, janchars, dopler orange sticks, jing, tamburine.
It was September 2003 when Mikolaj Trzaska decided to walk on the streets of his home city. He executed his project concerning recording live concerts performed on the streets of Gdansk. It took four days to perform seven shows in various places of Old Town and Park in Gdansk Oliva. As a result, he gathered a seven hours long material. That enabled creating 'Danziger Strassenmusik' record. What one can find on that album are saxophone, double bass and percusion compositions, enriched by natural sounds of the street. The recorded concert took place on Mariacka Street, on 7th of September 2003 - an exact time: 9.15 pm. The 'Danziger Strassenmusik' includes not only a musical material but also a film production, while the whole show was recorded by audio and video equipment.
"Is it possible to review magic? How to describe artists' emotions contained in music completely if it seems almost impossible to describe my feelings when listening to the records?. I will not even pretend that I can do that, especially that "Danziger Strassenmusik" is a truly moving album.
(...) Trzaska, Oleś and Oleś were able to merge elements characteristic for different jazz styles, free improvisation, chamber music, however closer to RIO than to its classic form - klezmer and ethno music. All of them, completed with sounds of music, become a material from which the musicians patiently and slowly build their compositions. Playing only the necessary notes focus on detail, consciousness of how important even the smallest sound is - those are immanent features of the music - slightly introvert but very compact and disciplined. It is even more astonishing that it was created during a concert in direct contact with the listener and that the recordings were made on a street.
"Danziger Strassenmusik" is a type of a musical story - a story which does not need words to express what is the simplest and the most important - true feelings and emotions. I recommend this record with all my heart."
"Mikołaj Trzaska with Marcin and Bartłomiej Oleś appeared in the streets of Gdańsk and gave concerts just like real street musicians. They moved from place to place recording sounds which they played along with those appearing in the crowd. "Danziger Strassenmusik", an album of unusual title considering Polish conditions, is the result of the above.
This is an unprecedented event, having in mind that instead of folk tunes, the passers - by were confronted with a more difficult face of jazz. The musicians played their music for common people, not for jazz club goers. And, although I am familiar with the band music, its perception by accidental listeners is unusual. Applause, applause, applause...
I am not surprised by such reaction - my hands were not once swollen during, or maybe after their concerts. However it is great work to convince an accidental listener, not used to jazz music. And it must be added that Mikołaj and the Oleś brothers succeeded in doing so. On the other hand, it must be stressed that this is the first live recording of arguably the only Polish active jazz band. It is a live album but, due to the unusual character of places, it has a strange and unusual character, different from what we can hear during concerts. "The street drum set", designed especially for the occasion, is mainly responsible for the record unusual character. This gives the music another angle, it seems more ethereal, less direct from what we can hear in a club. Also, on the contrary to regular concerts, compositions were written by Mikołaj, except the wonderful "Lonely Woman" by Ornette Coleman. He is also more of a leader than it usually is in the music of Oleś /Trzaska/ Oleś. The music, despite its drumming lightness, seems more concrete than during the trio regular performances. What moves me in the music of the trio, is the incredible team work, alertness of each band member to what is happening around them. It seems that the trio regular performances lead to the situation in which they do not listen to each other but feel their intentions. They are like a monolith. Which is to their advantage - this kind of monolith bears true art. It is beyond doubt that whenever I reach for music played by Trzaska and Oleś brothers, I have the chance to experience such Art. Music- wise, "Danziger Strassen Musik" is a further evolution of the concept presented by the trio for a few years. There is room for jazz, improvisation, references to contemporary chamber music as well as for genius which makes each sound, each composition different, each times one experiences something new.
"Gdańsk, Mariacka Street, three musicians - alto saxophone, bass clarinet, double bass and a special set of percussion instruments. That is a short definition of circumstances accompanying "Danziger Strassen Musik" session, the effect of which was one of the most unusual recordings in the history of Polish music industry.
I wrote "three musicians" but the Gdańsk street was the fourth band member. Virtually and metaphorically. Virtually - because the musicians are accompanied by sounds of people passing by, children shouting, birds singing and other sounds characteristic for the street of a big city. Metaphorically - because the atmosphere and history of the old Gdansk determined the musical message.
Writing about musical styles and genres in the context of this record seems inappropriate. Obviously, one may find fascination with the so - called European improvised music and free jazz in the music of Mikołaj Trzaska (saxophone, clarinet) and brothers Marcin and Bartłomiej Oleś (double bass, percussion). However, all names lack their sense confronted with the recording. The truth is that we are dealing with highly original, individual artistic form. The musicians obviously draw from the jazz tradition but they use familiar elements to compose a whole which could be prepared only in their minds.
This slow story is painted with phrases of saxophone and clarinet far from traditional virtuosity, along with arco double bass and unusually colorful battery of percussion instruments. Trzaska's experience in writing music for theatre is distinct here. Contrary to many jazzmen, he focuses mainly on moods and sound. (...) It is an exceptional record which truly moves. It is one of the recordings in the presence of which a critic should leave a listener with the music alone."
Marek Romański ("HiFi i Muzyka")
"Another excellent effect of the legendary saxophonist Mikołaj Trzaska collaboration with the currently best jazz rhythm section - brothers Bartłomiej and Marcin Oleś. The music was recorded during one of the trio's concerts at the streets of Gdańsk, which however has no greater influence on its character. Similarly to the previous recordings of the line up, we are dealing with what can be described as contemporary minimal jazz. Moderation and humbleness of the musicians utterly strike the listener. Although each of them has shown their sheer free jazz temperament and inclination to use the sharpest and crude sounds, here they present themselves as artists sensible to silence and hum of fading sounds. Even Trzaska - although the most exposed and located in the center of events -marks his presence with short and ascetic solos, rather than dominates over the whole. This lets the improvisation happen on its own - not limiting it.
And perhaps here - in the lack of formal limitations - lies the mystery of the trio quality - they are undoubtedly the most eminent post - yass ensemble at the Polish jazz scene."
Wojtek Lada / Życie Warszawy
"Mikołaj Trzaska plays on the street. One however does not have to worry about the fate of the most interesting Polish saxophonist. Contrary to the other yass - scene musicians, his name is continuously on the rise. Two albums already recorded with the excellent duo of brothers Oleś are proof of the above. Mikołaj took Bartek and Marcin Oleś on the streets of Gdańsk, in order to record a live album in the city landscape.
The record seems to be an impression on the theme of an evening in Mariacka Street. It is the crowning achievement of the trio work, the formula of which is best expressed through live performances. Saxophone silenced with the dusk, double bass pulsating with the city energy and drums humming with the street sounds, perfectly fit the place climate. Considering the beautiful graphic design, I would gladly send this album as a form of postcard from vacation in Trójmiasto."
Jacek Skolimowski (Przekrój, July 2004)
"The album is a nice document of the jazz musical surprise raid performed by Trzaska and the Oleś brothers over Danzig. There is no such meditative deepness and trans - like playing of Trzaska as it happened on La Sketch Up, the trio previous record. The album will not move listeners with the rich sound but this is not what one could expect of a recording made in field conditions. Danziger Strassenmusik has features of a document (...). A musical incident, a concept of a duel of saxophone, double bass and various percussive toys was documented. Dog barking, sounds of birds flying by. Add ionized wind of the bay, the setting sun and summer fighting autumn, remembrance of the city German heritage, finally a hysteric announcement of winter melancholy. I do not remember a record on which I could hear a dog barking at the saxophone. It is a pity that such evenings do not happen in Warsaw."
Marek Włodarski (Lampa, May 2004)
"This is the third record of Mikołaj Trzaska with the Oleś brothers and similarly to the previous trio recordings, it circulates around contemporary minimal jazz. Moderate treatment of the instruments is especially impressive: no one exposes their skills here, or tries to act as a leader. The musicians play humbly, let the instrument sounds fade; they joggle with silence rather than free jazz expression, as it happens in many other projects, which finally closes the compositions action into a loosely sketched boundaries between contemporary chamber music and minimal music. At times, one has the impression that, in order to strengthen the effect, the musicians impose excessive self control, hold their energy, emotions, only to make the improvisations sound nervous beneath a surface - in which they succeed. Listening to the record, one subconsciously awaits a stronger accent or a solid point, which does not take place. Everything remains insinuated. This, however, does not bother, we come back to the album again and again in search of the above and let ourselves become involved in a subtle play of emotions. This is jazz itself."
Wojtek Wysocki (Fluid, May 2004)
Kilogram Records, Batorego 47/6, 80-255 Gdańsk, Poland, tel. +48 601 208 002, e-mail: firstname.lastname@example.org