Like your jazz a bit on the freer side? Here are a trio of releases from the Multikulti Project Label that specializes in improvised music from Easter Europe. They fought for freedom in the 80s, and are showing the fruit of their labors here!
Daktari consists of Olgierd Dokalski/tp, Mateusz Franczak/ts, Maciej Szczepanski/b, Miron Grzegorkiewicz/g and Robert Alabrudzinski/dr and for these five originals make an impressive mix of cohesion and free from. A piece like the opening “Swamp Thing Appetizer” opens with a flute-like sounding trumpet intro before a deep funky groove settles in, leading to a field holler-like tenor wail by Franczak. Some frolicking solos intertwine between drum and trumpet over a thick bass line on “Generic Dreams” while a nifty guitar lick is joined in by tenor and trumpet to create some exciting blues that build up into some wild guitar effects in a climax. Lovely pastoral sounds on the plaintive “(For Girls Who Love) Batmans” shows a delicate side to the imaginative yet accessible combo.
Brass man Andrzej Przybielski teams with Jacek Mazurkiewicz/b-elec and Pawel Osicki/dr for a collection of nine original in a suite of sorts during live and studio session recorded back in ’08 and ’09. The leader has a great tone on a trumpet, cornet and flugelhorn, which makes an intriguing contrast with the free form drumming and electronics on pieces such as the two parts of “Tren Zalobny,” while an ominous bass leads to some open sounding horn work on “Sacrum.” Bluesy drums and bass contrast with bosed bass and meandering electronics and free improve on the three part Rotacje” while “De Profundis” stops and starts before delving into a throbbing groove. Lots of sparks flying here.
Recorded in concert in 2011 and 2012 in Poland and Germany, the eight pieces that make up The Universe are performed by Perry Robinson/cl, Robert Kusiolek/acc, Christian Ramond/b and Klaus Kugel/dr. At times, the music is reminiscent of an Eastern European wedding or a Klezmer celebration as on the danceable “Part 7” and “Part 8”; other times a hint of folk music permeates eerie melodies as on “Part I”. Some feisty and chaotic interplay has the music bouncing off the walls on “Part 2” while agitated undercurrents percolate under “Part 3”. Robinson’s tone on clarinet is exemplary, ranging from classical to Left Bank folk with the flick of a wrist. Flexible music.