Customer Reviews

CONSTELLATION IN CONCERT Polish Jazz vol.36

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What is a group of stars called? A constellation. A very apt title for this album. Recorded in Warsaw in 1973, just before Urbaniak and Dudziak departed for the US, with a well tested combo of Polish jazz musicians: Makowicz, Karolak, Bartkowski.

This album, although quite different from the 1974 Fusion (by the same group), can be viewed as its slightly younger sister. Two longest themes (Bengal, Seresta) can be heard in shorter yet tighter versions on Fusion. That is the end to the comparison. This album in a context of life performance in 1973 Warsaw seems almost rebellious (although Polish audience's reactions are clearly enthusiastic). It sounds much more avant-garde than Fusion, the music is played much sparser and is quite etheral. Dudziak's singing is much more experimental, and prominent. Her percussive work is also worth noting. The improvisational aspect of the album is also very easily recognized.

Again, one cannot help but compare Michal Urbaniak to Miles Davis who clearly exercises plenty of control over his group. The band's playing is cohesive and kept within the same brooding mood throughout the show, the soloists add just the right amount, and an overall impression is that something historically important is going on that May day in 1973 in Warsaw.

There are groups in the history of music capable of creating original, interesting stuff on stage as opposed to that recorded in the studio at the same time. Michal Urbaniak group is a perfect example of that kind of musical freedom.

A perfect album, not only for those researching Polish jazz, but all interested in electric violin, jazz violin, or simply fusion. Highly recommended!

No doubt about this. During that concert back in May 1973, at Warsaw National Philharmonic, Urbaniak, Dudziak, Karolak, Makowicz and Bartkowski presented mature possibilities of the Polish brand of fusion. In truth, the recorded music not quite justifies this label.

Just consider quasi-cello beginning of the third number "Spokoj" (Quietude), or romantic phrase in the last number. Nevertheless, Michal Urbaniak, his electric violin and his compositions define the style in which all players feel at home. Karolak, playing his beloved Hammond organ and Farfisa, dominates in "Seresta", a wonderful number, full of drive, founded upon the simple motif (d,c-sharp,d,e,c-sharp,b). Makowicz successfully conveys (especially in "Summer") his subtle and Urszula combines her vocal art with electronic effects that were at the cause of much sensation. Impression, onomatopoeic sounds and cadences blend into vague illustrations in this music. The successive taking over of more important melodic threads by way of overlapping creates an impression of seampless continuity. The whole is a rich amalgam of sounds and precisely such ensemble playing was at the time gaining attention after years of solo-variations on a theme. The essential role in those Urbaniak composition play drums and Bartkowski carriers it off wonderfully.

After five years Karolak reminisces: "Back in 1973 we started doing together with Urbaniak interesting things. Michal inspired me... That was a magnificent period in my music life". For Makowicz it was also a good year: "Playing with Urbaniak I learned the most... but he was too much fascinated by electronics and so our ways parted". The concert and consequent recordings became the real milestone in the musicians careers and for three of them even a spring-board toward the world acclaim and success, for in that same year Michal and Ula went stay in the United States, and Adam went in their wake few years later.

review courtesy of PowerBros