Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Having Conquered Los Angeles, Polish Artists Invade Brooklyn

Thursday night, while the Komeda Project provided murkily beautiful ambience, the art show at the Polish/Slavic Center at 177 Kent St. in Greenpoint was similarly intense and intelligent – and covered a vastly wider emotional spectrum. Two Los Angeles-based groups, Krak Art and the Emotionalists joined in the exhibit – it wasn’t clear who was who, but pretty much everyone on display made an impact. Janusz Skowron, who seemed to be the ringleader, explained how their initial LA show “proved the critics wrong” – it was a smashing success. As this one ought to be as well. He brought his own oils, including both intricately textured, allusive portraiture and lushly layered geometric work, one a study in horizontality and the other the opposite.

Anna Zatorska’s haunting, intense housefront tableaux followed specific color themes: pensively autumnal red, hypnotic nightmare scarlet, wistful blue/grey with a clothesline in the background. Arthur Skowron evoked Arthur Robins with ominous, fire-licked, stormy waterfall and whirlpool scenes, while Kinga Czerska’s abstract, fun work playfully juxtaposed casually colorful curves against linear astringency. That playfulness took on added irony with Artur Popek’s genial overhead views of a strangely industrial resort in the offseason, as well as a main-street scene offering an understatedly pointed contrast between the bustle of technology and older, less worldly comforts.

The textural star of the show was a vividly composed, intensely layered acrylic work by Kasia Czerpak-Weglinski making striking use of both enamel and tile accents. Zbigniew Nowosadzki’s paintings also made use of rich background layers, most notably in a hazy view of birds above a ship. And the most evocative work of all was by Piotr Betlej, whose portraits’ finely drawn, minutely nuanced expressions emerged, worn and weary, out of an ominous, chaotic morass. Some, possibly many of these artists will be famous well beyond their own Polish-American community: get to know them before that happens and your life will be enriched.

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April 14, 2010 Posted by | Art, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: The Komeda Project at the Polish/Slavic Center, Brooklyn NY 4/8/10

Polish jazz composer/pianist Krzysztof Komeda is best remembered for the score to Rosemary’s Baby (Roman Polanski would use his music in several films) and the 1965 cult classic album Astigmatic. The Komeda Project dedicate themselves to keeping his music alive; their Requiem album was simply one of the best albums in any genre released last year. Thursday night at the spacious converted church housing the Polish/Slavic Center in Greenpoint, the Komeda Project – this particular version featuring pianist Andrzej Winnicki, sax player Krzysztof Medyna, trumpeter Russ Johnson and an inspired, absolutely spot-on pickup rhythm section of Drew Gress on bass and Rudy Royston on drums – played a show that was as hauntingly nuanced as the album.

Komeda’s most obvious influence was vintage, small-combo Miles Davis, and Winnicki did an evocatively plaintive evocation of Wynton Kelly with his subtle shades of grey. Not all of Komeda’s work is anguished and haunting, but that mood dominated throughout the group’s hourlong set. Winnicki deftly let the composer’s brooding, stygian chordal intensity speak for itself, fueling the smoldering pyre that was the long partita Day-Time, Nighttime Requiem. Relentless and energetic, Medyna fired off one blazing flurry after another, arpeggios and caterpillaring clusters around Komeda’s many moody modal centers; Johnson got as many plum assignments as the piano and made the most of them with a tone that wandered from full-out mournful to watchful and wary. Gress got all of one solo passage all night but made the most of it, tersely yet animatedly. From the first few rumbles on the toms, it was going to be interesting to see how Royston, one of the most powerful and intense drummers on the planet, was going to handle it, but he felt the room – the rumble never reached the usual roar that he can so memorably deliver in situations that allow it. Instead, he and Gress would bounce around the occasional riff once or twice when there was room to squeeze one in, notably during a pulsing, spring-loaded version of one of Komeda’s hotter numbers, Crazy Girl.

Riveting as the Komeda compositions were, the most impressive moment of the show was an original by Winnicki that slyly cached some deliciously dark Balkan tonalities within a deceptively comfortable, bluesy architecture, Medyna delivering his solo on soprano sax with such fluidity that he could have been playing clarinet. It maintained the mood marvelously, a perfect if perhaps unlikely alloy of old world angst and new world indomitability.

April 13, 2010 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | 1 Comment