Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Album of the Day 8/17/10

Every day, we count down the 1000 best albums of all time all the way to #1. Tuesday’s album is #896:

Krzysztof Komeda – Nighttime, Daytime Requiem

Polish jazz pianist and composer Krzysztof Komeda is best known for the soundtrack to the film Rosemary’s Baby. A favorite of Roman Polanski, he’d previously made a mark for his score for Knife in the Water. This album is a 1998 reissue of a 1967 sesssion for Polish radio featuring Komeda on piano along with Tomasz Stanko (whose own albums of Komeda works are worth seeking out) on trumpet, Zbigniew Namyslowski on alto sax, Roman Dylag on bass and Rune Carlsson on drums. Originally issued as part of a four-album box set in 1974 by Komeda’s widow Zofia, original copies sell for thousands of dollars on the collector’s market. Komeda used late 50s Miles Davis as a stepping-off point, adding his own brooding, sepulchral shades and the result is some of the most haunting jazz ever written (with its frequent classical overtones, many consider this third stream). This album includes the complete, 27-minute Daytime, Nighttime Requiem (a Coltrane eulogy) along with the somewhat more lighthearted Don Quixote, the austere, menacing atmospherics of The Witch and the lyrical Ballad for Bernt (from Knife in the Water). Also noteworthy, in fact sonically superior, is the 2009 Requiem album by the Komeda Project of pianist Andrzej Winnicki and powerhouse saxophonist Krzysztof Medyna which includes both the Requiem as well as possibly Komeda’s most macabre composition, Dirge for Europe. Komeda’s most famous album, Astigmatic and his more terse, upbeat, vamp-oriented Crazy Girl are also very much worth seeking out. Komeda died in 1969 under very mysterious circumstances from what could euphemistically be called blunt trauma to the head. Critically injured, he somehow managed to board a plane (or was put on a plane) from the US back to Poland, where he succumbed just a few weeks later, reportedly without medical attention. Here’s a torrent of a whole bunch of stuff of his.

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August 17, 2010 Posted by | jazz, lists, Music, music, concert | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 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