MIECZYSLAW KOSZ - MIECZYSLAW KOSZ Reminiscence - Polish Jazz vol.25
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Music CD Cover
Artist: MIECZYSLAW KOSZPerformer: MIECZYSLAW KOSZ
Edition: Music CD
CD Release Date: 2004-01-01
Music Label: Polskie Nagrania - Muza
Soundtracks:
- Polovtzian Dances - paraphrases (A. Borodin) 6:20
- Prelude in C minor (F.Chopin) 5:22
- Love Dream - praphrases (F.Liszt) 3:57
- Yesterday - paraphrases (Lennon/McCartney) 5:04
- Reminiscence (M.Kosz) 7:24
- For You (M.Kosz) 6:02
- Fulfillment (B.Suchanek) 7:30
Free Music Notes for MIECZYSLAW KOSZ Reminiscence - Polish Jazz vol.25
Free Music Review: from the impressionistic treatment of the tone colour in jazz - towards lyrical expression
Hit: 5 Stars
Performed by:
Mieczyslaw Kosz - piano
Bronislaw Suchanek - bass
Janusz Stefanski - drums, flexaton
Recorded:
March 1971, at the Warsaw Philharmonics Hall, Warsaw, Poland
About:
This album has been long awaited by all Polish jazz fans. After the memorable concert during the Jazz Jamboree '67 in Warsaw, when the 23 years old pianist Mieczyslaw Kosz playing enchanted the fastidious audience, no one had any doubts about his outstanding musical talent. The later years have confirmed this opinion with several interesting radio and television appearances and live performances in Poland and abroad (i a. the 1st prize at the 1968 Vienna International Festival). However, there still was a lack of a phonographic document illustrating the succession of the pianist's searching and development. "Wspomnienie" (Reminiscence) is exactly such a document, on one hand, and on the other a key to understanding of Mieczyslaw Kosz' artistic credo.
The record consists of two parts consciously arranged by the artist himself in a sort of review of his work to date. That's where the title comes from.
Side A, featuring four paraphrases, illustrates his former interest in functional music in general and in serious' in particular. Kosz favorite composers include Beethoven, Chopin, Scriabin, Ravel, Szymanowski and Stravinsky among others. The paraphrases are sort of introduction to the pianists' actual work. Here, Kosz is concentrated and sensitive creator of a climate. In the ''Polovtzian Dances" rendered in Oscar Peterson - Bill Evans orientation, he builds his own world of sounds, enveloped in a mist of melancholy, so typical of Kosz' music. In the paraphrase of Chopin's C minor Prelude, the pianist attempts to give a new shape of expression to this composition, so well-knit and masterly, that the intention is seemingly sacrilegious. It takes a lot of culture and intuition, to combine the respect for the superb original with keeping the proper distance, particularly important with jazz, paraphrasing. Kosz seems to be equal to this conditions The third paraphrase, on Liszt ''Love Dream" kept in serene mood, is followed by Kosz' excursion in to the future into completely deferent 20th century romanticism. The paraphrase of ''Yesterday" is almost a synthesis of this part of the record. It contains Chopin rubatos, Evans-like climate and Tatum-patterned ornamentation, but despite the various influences, this music has its own, easily recognizable "Kosz" style.
The B, side presents two originals by Kosz and one by the bass player Bronislaw Suchanek. On these tracks Kosz tries to actualize his conception of free jazz, which he considers a stage of developing his means of expression rather than the destination. For him free jazz means breaking out from the scheme of the rhythm and phrase, but not from tonality. The ''Wspomnienie'' (Reminiscence) was conceived following the pianist's visit at the Montreux '68 festival, where he won the third prize in the contest. Besides the festival appearances by Bill Evans and Jan Garbarek, vocalist Nina Simone's performance impressed him deeply. "Wspomnienie'' is a minor key ballad with unexpected modulations toward the end of both the introducing and the theme. As previously, the bass has been recorded in the same channel with piano, to get a full integration of timbre of both instruments. During the introduction, the drummer, Janusz Stefanski plays, i. a., little known instrument, flexatone.
The central item on the record seems to be ''For You'', dedicated to Ewa L, which the pianist performs solo. This composition consists of two different parts. The first, highly expressive and impulsive, with free jazz suggestions, evolves into the ballad-like, deeply sorrowful second one, whose intensity of feeling is iridescent like reflections of light on a river on a windy, rainy day, when suddenly the sun comes . "I wanted to express my pain, which is my greatest happiness" said Kosz abut this piece. At the end, the mood of the first part comes back again, and terminates in a vague harmonic hint, a question with no answer. The last selection is full of restlessness. Most interesting in the middle part, which features a dialogue, between the bassist and the drummer, with the side drum snares released.
Four years ago, Kosz said about his credo: "I am particularly concerned about expression and colour. I want to paint the mood, which sweeps over me''. This involves his specific attitude to form in jazz. The sonata-like form, applied in these compositions, defines the place and character of each chorus. The improvisation subordinated to the logical construction of place as a whole.
Three of the selections are performed by the pianist without the rhythm section. Solo playing is a form of expression that suits him very well.
Critics often claim that Kosz cannot free himself from a Bill Evans influence. In the pieces featured on this record, however, the pianist clearly diverges from the impressionistic treatment of the tone colour in jazz - towards lyrical expression. One can rather scent his connection with Krzysztof Komeda, especially in ''Reminiscence'' and ''For You". Kosz is similarly. Slavonic and similarly he is torn between intellect and feeling, usually in favor of the latter.
All text by Krystian Brodacki from original (1971) line notes from the album's back cover
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