Wasilewski Trio in New York: At Birdland

The Marcin Wasilewski Trio stepped into the spotlight last night at Birdland, celebrating their latest ECM release, January. Despite an uncharacteristically early start time by New Yorker standards (it’s hard to get us to show up for anything before 8:00, preferably 9:00), they played to a sizeable, enthusiastic crowd.

Having heard them live and on disk quite a bit over the last week, it finally struck me they were getting a similar reaction that I have seen Jason Moran’s trio (a.k.a. Bandwagon) receive. It is not that they bear striking stylistic similarities, but they both have the same “in-it-together” ethos, with nobody on the bandstand looking to take a lot of bows at the expense of the group endeavor. Both trios also project an unaffected sense of cool, which is appealing as well. That unity of spirit in particular though, is something audiences for both trios really respond to.

Logically, the set drew from January, including Tomasz Stanko’s “Balladyna,” with the trumpeter in attendance, fresh from yesterday’s concert at MoMA. Introducing the tune, Wasilewski recalled playing for Stanko at the same club a year and a half ago. In an interesting decision, the Trio concluded with Carla Bley’s “King Korn,” perhaps the thorniest, most demanding selection on the CD. In general though, the set was representative of the thoughtful intimacy that characterizes January.

The Wasilewski Trio shares the enigmatic lyricism of their mentor. Listening to their music unfold is a pleasure. They are probably the most original and cohesive trio unit I have heard since Moran’s group came on the scene. Given jazz’s uncertain, usually prohibited status during the dark days of Communism, it is especially rewarding to see great new talent from Poland emerge on the world stage.

From New York, their American tour continues on to Philly, Baltimore, Ann Arbor, and LA. Again, whether on CD or in live performance, they are definitely highly recommended listening.

Wasilewski Trio in New York: At MoMA with Tomasz Stanko

Last night represented the convergence of two on-going events that have been covered here: the Marcin Wasilewski Trio’s American tour and MoMA’s Jazz Score film series. Over the weekend MoMA screened several films with soundtracks composed by Krzysztof Komeda, and recorded by his group, usually featuring Tomasz Stanko on trumpet. Last night, Stanko gave a tribute concert of his mentor’s music, backed up by his protégés, the Wasilewski Trio, with special guest Billy Harper on tenor to round out the quintet.

There was not an empty seat to be had in the Titus Theater, and Stanko and his associates did not disappoint. Harper’s rougher tenor proved to be a good counterpoint to Stanko’s misty trumpet. Throughout the evening, the Wasilewski rhythm section-mates were ably supportive and tastefully swinging, often taking considerable solo honors themselves. At times, the ensemble could have been interpreting entire Komeda soundtracks, twisting and evolving to match an emotionally complex story arc.

Stanko has often returned to the music of Komeda, most recently recording “Kattorna” on his latest ECM release Lontano, as well as on tribute records like Litania and Music for K. Clearly he and the Wasilewski Trio are well familiar with Komeda’s music, but still find new things to say through it. Harper also sounded comfortable with the music, spreading warm tenor goodness over Komeda’s classic ballad theme from Knife in the Water for his quartet feature.

Stanko, Harper, and the Wasileski Trio nicely captured the many hues of Komeda’s music: up-tempo swing, darkly brooding ruminations, elegant lyricism, and nervous tension. It was a perfect concert for the MoMA film department to produce as part of their jazz retrospective.

Tonight, the Wasilewski Trio will finish their New York stint with a launch concert at Birdland for their latest CD, January, with an early hit time of 6:00. Based on last night’s audience reaction it promises to be another great show.

Jazz Score: Sounds of Komeda

Krzysztof Komeda is often considered a victim of the curse of Rosemary’s Baby, dying less than a year after the release the famous film he scored. He and producer William Castle were actually admitted to the same hospital, at the same time, but while Castle recovered, Komeda eventually succumbed to his injuries. He died prematurely young, but already one of Poland’s most influential jazz musicians and soundtrack composers. Saturday night, MoMA’s Jazz Score series showcased several films Komeda scored, and tonight, Tomasz Stanko, a former member of Komeda’s Quartet, will play his music at MoMA, backed up by the Marcin Wasilewski trio.

Komeda had a long association with Roman Polanski, which brought him to Hollywood in the late 1960’s. Though it is Polanski’s first full-length feature as a director, Knife in the Water hints at some of the psycho-sexual themes that would pre-occupy much of his later work. It also bears some slight similarity to Dead Calm, telling the story the arrogant, well-connected Andrzej and his trophy wife Krystyna, who pick up a young, un-named hitchhiker, and take him on their day cruise, evidently out of boredom and the challenge of his banter. However, that witty patter often gives way to darker expressions lurking below the surface, intensified by the claustrophobic conditions aboard the small yacht.

As dark and moody as Knife might be, Komeda’s score is not as dark as one might expect. It often swings nicely, capturing the bouncy of the open water with clear skies. At others times it is cool and laid back, almost languid like the placid sea.

Despite featuring some musicians associated with the avant-garde, including cornetist Don Cherry and tenor saxophonist Gato Barbieri, Komeda’s score for Le Départ is also a surprisingly swinging affair. The first film directed by Knife screenwriter Jerzy Skolimowski, it was actually filmed in Belgium, with a largely French cast, including Jean-Pierre Léaud, one of the most consistently annoying screen presences in international cinema.

To be fair, Léaud was often cast in roles demanding such performances, like in Last Tango in Paris and the great Day for Night. Again, here in Départ, he plays the immature dreamer. This Léaud character is Marc, a young hairdresser’s assistant obsessed with entering a motor rally, at the expense of his relations with real people, particularly a potential girlfriend he drags on a foolish, bordering criminal spree, in lieu of an actual date.

Départ is very much a continuation of the New Wave, crying out for comparisons to Godard’s Breathless. Skolimowski has a distinctly subversive eye, well matched by Komeda’s music. At times, his music undercuts the on-screen action, rather than reinforcing it, as when Marc begins a half-hearted attempt to seduce a middle-aged client at a fashion show. Komeda worked with Skolimowski on several projects, including Barrier, which often features the darker sounds frequently associated with the composer. Indeed, a Komeda retrospective would be a great follow-up series for MoMA.

Komeda was an important mentor to Stanko, who has often recorded his compositions. Tonight you can hear him interpret them anew at the MoMA. Tomorrow night, the Wasilewski Trio, mentored by Stanko, will play at Birdland, capping off a mini-festival of Polish Jazz in New York (but Knife and Départ will screen again on May 22nd).

Wasilewski Trio in New York: January the CD

January
By the Marcin Wasilewski Trio with Slawomir Kurkiewicz and Michal Miskiewicz
ECM Records

In coming days, New Yorkers will have several opportunities to hear some of the finest jazz from Poland, and many of those events will directly involve the Marcin Wasilewski Trio. Following a day of Polish films featuring Krzysztof Komeda soundtracks as part of MoMA’s Jazz Score series, the Wasilewski Trio will play a Komeda tribute concert with their mentor, Tomasz Stanko, the leading statesman of Polish jazz. Then on Tuesday evening, the trio will take center stage at Birdland to celebrate the release of their new CD January. Their sophomore release as a unit on ECM, January is notable not just as the impetus for bringing them to America, but as a remarkably assured musical statement.

Beginning with the appropriately titled “The First Touch,” January establishes a relaxed sense of open space and elegant simplicity, colored by Mishiewicz’s shimmering cymbals. Setting the session’s mellow but explorative mood it is an effective example of the unforced patience and rapport of the trio’s interplay.

Perhaps of particular interest to patrons of the jazz and film series they will participate in Monday will be the two cinema-inspired tracks. Their beautiful rendition of the Morricones’ “Cinema Paradiso” is taken at a slower tempo to express its poetic richness. Taking its name from the Polish film festival it was composed for, “The Young and the Cinema” is an upbeat swinger. At over nine minutes, it is the longest track of January, giving all three ample solo space.

The Wasilewski Trio, formerly called the Simple Acoustic Trio (and also thought of as the Stanko rhythm section), remains a democratic group. For instance, Wasilewski and Kurkiewicz share the melody statements on the pop cover “Diamonds and Pearls” by the artist formerly known as Prince (or whatever). It is a perfect example of jazz artists recasting familiar material, in this case adapting it to the Trio’s sparklingly lyrical style.

January includes other notable covers including Gary Peacock’s “Vignette” here sounding perfectly suited to the trio’s vibe and Stanko’s brooding “Balladyna.” Perhaps the ringer of the session is Carla Bley’s Monkish “King Korn,” the most agitated performance on January, proving their facility with faster tempos and knotty melodic lines, as well as thoughtful ballads.

The disk closes with “New York 2007,” a brief, elegiac improvisation recorded by the trio when they were in said city last year. Soon, they will return, backing up Stanko at the MoMA on Monday the 19th at 7:30, and launching January at Birdland the next day (5/20) at 6:00. From there, they will play gigs in Philly, Baltimore, Ann Arbor, and LA. Whether on CD or in live performance, they are definitely recommended listening.