Maciej Lewenstein, an indefatigable researcher of the Polish jazz and avant-garde scene (and by the way an outstanding physicist – but that’s a completely different story) reviewed our album, recorded with Patryk Zakrocki and Agusti Fernandez. Spontaneous Chamber Music vol. 2 gained recognition in the eyes – or rather in the ears – of the reviewer. The entire text – yes, it’s in English – is posted below, and more reviews by Maciej can be found on his Facebook. It’s worth taking a look there, because it is a great guide to the contemporary jazz and avant garde music scene!
***** Zakrocki & Olak with Fernández:
Spontaneous Chamber Music vol. 2 Fundacja Sluchaj! FSR 03|2018
Patryk Zakrocki (vla, trumpetviolin, tuning forks);
Marcin Olak (class g, elec g);
Agustí Fernández (p). October 2018.
The second album of Zakrocki & Olak is even better than the first one. The reason is simple: it is recorded with Agustí Fernández, whose inside piano effects enrich the general sound of the ensemble. The album contains 16, mostly very short, 1-2 minutes long miniature, with three exceptions. The opening Inward” lasts nearly 7 minutes and and creates the atmosphere of free improvised Americana, something reminding me of the Pat Metheny’s and Charlie Haden’s “Beyond Missouri Sky” played in an avant-garde way. The sounds of Patryk’s trumpetviolin reminds me on the other hand of harmonica, so everything associates also to Sergio Leone’s spaghetti westerns
and the incredoible Ennio Morricone music. The second “Silent About” is also relatively long (over 4 minutes), but completely different in style. Patryk Zakrocki starts on viola, while Agustí joins on “normal” piano, providing together with Marcin a kind of minimalist motif. The song starts peacefully, but has a quite dramatic 4th minute. The next eleven songs are miniatures: associations with Anton Webern are inevitable “Trains, Again” illustrate
this ‘perfectly. “Warszawa” is a beautiful “triologue” between normal piano, viola and guitar. I love “The Dog With Two Tails” a fast track with elements of… free improvised swing. “Open/Close” is also a swinging tune this time I have associations with XXIst century of Django Reinhardt/Stephane Grappelli music. While “Irrepressibility” is a one minute long masterpiece of expression
and concentrated energy, the even shorter “Hidden Nature of Movement” is an exercise in free polyphony in a medium tempo. In “My Father Sky” Agustí provides a complex rhythmic/bass basis with the left hand. “Internal
Opposition” is lead by the viola, and Agustí this time contributes with a super accents using mostly, but not only very high tones. On 3 minutes long “Forrows” Agustí enters inside piano, while the sound of Marcin’s guitar reminds me of rock tunes. “The One Who Knows Does Not Speak”
is a extraordinary ballad, with beautiful buildup of the mood by the delicate tones of the piano. “Movements” is another example of repetitive free improvised minimalist track, while in “You Can Always Go Back” the trio indeed
goes back to longer, 7 minutes long form. It is a very open tune with Agustí inside piano, and viola, played pizzicato, realizing warm dialogue with the guitar and then with prepared and normal piano. The highlight of the album is the 12 minutes long “Don’t Touch My Face (When I Sleep)”. It starts also abstractly with strange sounds generated from piano and viola, while guitar “gently weeps”. In fourth minute the lead is taken by Patryk and later by Marcin. The track continues in a slow and quiet manner despite increasing noise from the piano.
A seminal achievement of the XXIst century free improvised chamber music!!!