SCANDINAVIAN ART ENSEMBLE with TOMASZ STAŃKO

THE COPENHAGEN SESSION VOL 1.

April Records

Tomasz Stańko, trumpet/composer; Richard Andersson, double bass; Radek Wosko, drums; Artur Tuznik, piano; Martin Fabricius, vibraphone; Johanna Elina Sulkunen, vocals/composer; Tomasz Dabrowski & Snorri Siguroarson, trumpets; Thomas Hass, saxophone.

For years, whispers circulated through the jazz scenes of Denmark and Poland about a lost recording session that featured the legendary Polish trumpeter, Tomasz Stańko, (1942-2018).  Amazingly, seven years after the death of Stańko, and nearly a decade after this lost recording session, the studio tapes have been discovered.  This is the first of two albums, originally recorded in 2016.

Stańko was invited to teach at Jazz Danmark’s annual Summer Session in Vallekilde Hojskole, Denmark. This band is comprised of Scandinavian and Polish musicians who all ended up in the same space and time.  There were no plans to record, to form a band or play concerts.

Another trumpeter on the session, Tomasz Dabrowski explained what happened when the famous Tomasz Stańko appeared on the scene.

“I’ll never forget when Stańko arrived at the first session and just said, ‘hello’ – got out his instrument and began to play.  It was different from what you usually do today, with long explanations about what you can and cannot do. Stańko was not interested in standing tall above the rest, which surprised the other musicians. It was refreshing to meet a person in his seventies who still had a strong focus on the music and who just wanted to play in his own way, without any need to impress anyone,” Dabrowski wrote in the liner notes.

The first song on this album is “One O-clock Junk” composed by trumpeter Siguroarson. The voice of Johanna Elina Sulkunen echoes, singing unison along with the horn section. There are three trumpets and a saxophonist in this session.  On the opening tune, they are all giving their best and offering us their own unique talents and improvisations. The music is very free.  The harmonies seem spontaneous.  Martin Fabricius swings hard on his vibraphone, with Richard Andersson’s double bass marching along with the drums of Radek Wosko.  The first song sets the mood and establishes the freedom that these musicians had, each acutely sensitive to the other, and improvising freely.  Thomas Hass uses his saxophone to calm the mood, quieting the ‘swing’ groove to a rubato mood-changer. They cut time and let the ‘swing’ blow, like a puff of smoke into the wind.  The tune changes moods and tempo.  I played this first track twice, I was so intrigued.

With apartments in New York and Warsaw, Poland, Tomasz Stańko was always touring. Those who knew him best described him as an optimist.  He was self-confident and travelled with a positive attitude. The concerts he played always ended with a standing ovation worldwide, but he was actually a man who loved being at home.

Track #2, “Before the Rain” is a gorgeous composition by Martin Fabricius, the vibraphonist in the group. It tears at my emotions, demanding my attention and captivating me with its moody, dreamy arrangement. Although Stańko is prominent on the trumpet, he steps back and lets the young pianist, Artur Tuznik improvise and beautifully express himself. When he does step forward, with Stańko’s signature sound, he mesmerizes with his tone and avant-garde freedom.

Stańko has composed “Dark Eyes of Martha Hirsch” that plays for twelve plus minutes and entertains every second of the journey.  His energy is contagious, and he seems to wordlessly spur the other musicians forward, encouraging them with his own undeniable talent to give their best and play with elevated determination.

This is modern jazz with avant-garde freedom and excitement.  It shows how jazz is loved and transmissible, spreading across continents like warm butter on hot bread.  The result is satisfying and delicious.

Reviewed by Dee Dee McNeil

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