Customer Reviews

Dark Eyes

5 star:		(4)
4 star:		(5)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Inevitably, this album will be compared to Stanko's three preceding albums for ECM, Soul of Things (2002), Suspended Night (2004), and Lontano (2006). The Polish quartet has been replaced with a Scandanavian quintet, and while the Stanko sound remains the same and there are similar tonal textures, Dark Eyes is also something very different. Most significantly, the addition of electric guitar and electric bass produce a fuller, more modern, even urban soundscape. Where some will recognize a natural progression from the experimental Lontano, surely others will lament the loss of the classic quartet atmosphere. Dark Eyes is a shorter album (61:44) than the quartet albums, and with a variety of moods will take some time to come to grips with. This is definitely not an avant-garde side-street, but it's also not an accessible "start here" recording.

The album begins with the pace-setting, scratchy-toned "So nice". It's unusual, after the three preceding albums, to hear a guitar backing Stanko. Jakob Bro plays moodily and unobtrusively throughout. When he takes a solo, one might think of "Wes Montgomery meets Bill Frisell without the effects". The thunderous drumming of Olavi Louhivuori and the rumbling bass of Anders Christensen are the highlights of "Terminal 7". Many of the songs begin hesitantly, such as "Amsterdam Avenue", "Samba Nova", and "Grand Central", which stops completely before resuming. Pianist Alexi Tuomarila takes his best solos on these three songs. The album closes with the improvisational "Last Song" and the poignant "Etiuda Baletowa No.3".

Special mention must be made of the following stand-outs: "The Dark Eyes of Martha Hirsch" is this album's instant classic, beginning as a dirge before Stanko finally launches into his wildest solo on the album. Over tolling piano chords and splashing cymbals, Stanko wails and Bro plays an airy solo on "Dirge for Europe". The ethereal "May Sun" does without Stanko entirely: a simple piece for guitar and piano, reminiscent of a Chick Corea "Children's Song".

While risks are taken, Dark Eyes is an overwhelmingly subdued album. The melancholy ECM sound is ever-present and will no doubt repay repeated listening. How this album will be viewed among the complete Stanko oeuvre remains to be seen. And lest any doubt be raised, the greatest trumpet with electric guitar albums remain Miles Davis' In a Silent Way (John McLaughlin), and Enrico Rava's The Plot (John Abercrombie).

One thing is sure, you never know what you are going to hear when you put on a Tomasz Stanko album. With his new group of Scandinavian jazz men, Stanko offers up a new chapter of minimalist music for the discerning listener.
Though I find Dark Eyes to be profoundly relaxing, when listening I notice that all of the strongest pieces are in the first part of the album. So Nice opens this strongly and fills the air with the promise of great things to come. And they do soon enough, for in my opinion Terminal 7 is the finest cut. The percussion is delicate and exquisite while the guitar at times may remind the listener of the work of Gabor Szabo. A couple of other winners are the multi-faceted Grand Central and the sizzling Samba Nova. Those who enjoy a lengthier, more exploratory piece should enjoy The Dark Eyes of Martha Hirsch. And although they are enjoyable, the two Krzysztof Komeda pieces not previously covered by Stanko add nothing to his legend.
As with other ECM releases and as befits the minimalist nature of the music, the attractive booklet that accompanies this CD features a few pictures and a bare minimum of album info. Even though Stanko has made a few changes in musical direction with Dark Eyes, long-time fans will find a lot to like. It has certainly proven to be a worthy addition to my CD collection.

This release features Stanko's current group recorded April 09. The quintet turned in a wonderful set last night in San Francisco the day after Poland's air tragedy. (I had reservations about this new young band, considering the strength of Wasileski/Kurkiewics and Miskiewics on Stanko's last 3 efforts- (Soul of Things, Suspended Night, Lontano), but the new band is wonderful. The addition Jacob Bro on reserved guitar adds a lot to the sound of this album. The cuts are shorter, but very cohesive and well programmed. In all of Stanko's releases there are always a few real standouts, for me this record flows beautifully as a complete work. The Samba cut really works for me as the drummer really swings it. I have about 6 of Stanko's releases, and all are great, but this may very well be my strong favorite. Sometimes I need my Kermit Ruffins, sometimes I need the reflective, emotive European trumpet such as Stanko. The addition of Jacob Bro on guitar may further the usual comparisons to 1969's Miles Davis' "In a Silent Way" period, as there is some John McLaughlin inspired nuance but the comparison can only be used to broaden the discussion, as Stanko's compositions and execution stand brilliantly alone in the Jazz world. Best of year contender.

The concert was fantastic. It showed what this group is capable of. I spoke to the pianist (Alexi Tuomarila) and he said they might put out a live recording of upcoming concerts in Germany. Definitely something to look forward to. But...

If you haven't heard Stanko before, by all means this is a 5 star album - buy it. If you have heard him, maybe 3 or 4 stars. It's good, just not his best (that's Lontano - although I haven't heard Soul of Things yet). Why not the full five? The track "Samba Nova," once it gets past the 4 minute rubato opening goes into a samba like feel and could have been played by any good musician. What I want is something that only Stanko could produce. And I'm spoiled, because that's what he gives on most of his other tracks. "May Sun" at 2:47 is a complete throwaway. Sorry Tomasz. Whatever 30 seconds amazon chose to use, they're the same as the rest of the track. All but 2 of the songs are about 5 minutes. Some of these were lengthened in concert and when the musicians really stretch, that's when it's really happening. (The album Lontano has 3 tracks in the 10 to 15 minute range)

Alexi said this group has been together for about 2 years. It shows in concert. If they put out that live album, I'll be first in line to buy it. Heck, I was first in line to buy this one on the strength of Lontano. Anyway, if you like the samples, you'll like the cd, I just wish they could have stretched more.

I really enjoy this album because of its calm, muted and minimalistic Trumpet's character that Stanko seems to manage pretty well. The album is very well mastered and sounds great on my high-end tube system but most of the ECM's albums perform well in this area. I will be going to Birdland in NY on April 17th to see Stanko's groups live.
This album is a great example of this Polish born trumpet player and composer's work . I would compare it to the "In the silent way" by Miles Davis because of the way the trumpet being played - very minimalistic and relaxed without the edge that appears on other early Stanko's work like Leosia or Balladyna. I would really like to see Marcin Wasilewski trio working with Stanko that gives the music this great dimension!

Simply 5 stars and my honest recommendation!

Tomasz Stanko. Leosia. ECM 1997
TS, tpt; Bobo Stenson, p; Anders Jormin, b; Tony Oxley, dr.

Tomasz Stanko. Dark Eyes. ECM 2009
TS, tpt; Alexei Tuomarila, p; Jakob Bro, guit; Anders Christensen, b; Olavi Louhivuori, dr.
Belatedly, but better late than never, I stumbled across these two fine albums by the exceptional jazz trumpeter Tomasz Stanko from Poland. One of the pleasures in these recordings is listening to the assured playing of an outstanding trumpet soloist, who, regardless of age (he's 68) plays like all music is new and young.
To start with, there is Stanko's tone. At moments he sounds like Miles Davis, but a very specific Miles, the Miles of "the Sketches of Spain album, and particularly Miles's solo on "Saeta". Stanko's tone is as plangent as Miles but stronger -strength is one of the defining traits of Stanko's playing. At other times, Stanko's playing echoes earlier, pre-bop trumpeters -trumpeters like "Red" Allen who used trills and slurs in their playing, back before the ideal was to play all the notes straight ahead and on the mark without making the trumpet sound like a human voice. But Stanko's solos are anything but throwbacks: he is as modern as he piece demands, and since he writes most of the tunes played on his records, it's quite modern indeed, melodically complex but not always as muted as many ECM records can be. He is an outstanding melodist and -one more admirable trait- he doesn't seem to feel the need to hog the limelight. He bows out completely on two cuts on Leosia (a drum-bass duet, and a piano-bass-drums trio) and he leaves ample room on both recordings for the other players to shine.
Both recordings are first rate, but Leosia is a gem of the first water, perhaps one of the great recordings of modern jazz. But look at who plays on it? Stanko has recorded several albums with the power trio of Stenson, Jormin and Oxley, and they serve him well on this stellar outing. One notices immediately two things about the album. The first is the exceptional playing of the two lead "horns", trumpeter Stanko and pianist Stenson. Both are exceptional lyrical soloists and in ensemble, Stenson's interweaving supporting lines enhance the trumpeter's soloes immensely. The second thing one notices is the outstanding, almost revolutionary quality of Tony Oxley's drumming, which provides the other players with strong rhythmic support while offering a bevy of surprises, a sudden ting here, a clicking or clacking or swoosh there, using an augmented drum set. It's modern drumming at its best, never intrusive and never something to be taken for granted, a wellspring of delight.
The more recent Dark Eyes is almost as good and features Stanko's Nordic Quintet. It offers the opportunity to listen to the soloing and backup work of guitar phenomenon Jakob Bro, who also plays on Paul Motian's Garden of Eden (2006), another album I just acquired. The other players -the Finns, Tuomarila and Louhivuori, and the Dane, Andersen, are just as accomplished and remind us what strides modern jazz has taken in northern Europe in recent decades.
Why do I give the nod to Leosia over Dark Eyes if both are so good? First, because of Oxley's drumming. As good as Louhivuori is, Oxley is more. Oxley is, deservedly, one of the greatest modern drummer, powerful and inventive but blessed with good enough ears that he can read the group and move it along at all moments, rather than simply running parallel to it. Oxley is a Force of Life. Secondly, Stenson is so good at playing lyrical but strong. Lastly, though, it's because on Dark Eyes, as on the earlier Suspended Night (2004), there is less variety in mood and tempo than on Leosia. Leosia is just an outstanding album.
*****
If someone asked me which single Stanko album to buy, it would have to be either Leosia or the equally brilliant and more playful From the Green Hill (2000), with a killer cast of Stanko, John Surman (bari sx, b clari), Dino Saluzzi (acc), Michelle Makarski (viol), Jormin (b) and Jon Christensen (dr). (Christensen and Oxley are my favorite European drummers.)

I never seem to fully appreciate a Stanko CD the first time I listen. It takes me a few plays before I 'get it'.

This CD is a good beginning for Tomasz Stanko's new group. I loved the older Tomasz Stanko Quartet with Pianist Marcin Wasilewski, Slawomir Kurkiewicz on bass and Michal Miskiewicz on drums. Lontano is a jazz masterpeice and one of my all time favorite jazz CDs performed by this older group.

"Dark Eyes" features an entirely new group with Alexi Tuomarila on piano, Jacob Bro electric guitar, Anders Christensen electric bass, and Olavi Louhivuori on drums. The sound is clearly ECM, quiet, moody and hypnotic European jazz. I love the addition of jazz electric guitar. It adds another dimension to the 'Stanko sound'.

When I first heard of this release I had very high expectations. "Dark Eyes" is a very good first release by a new group but not quite at the same level as "Lontano". My two favorite tracks are So Nice and Durge For Europe. "Terminal 7" and "May Sun" were written to accompany a drama by Swedish playwright Lars Norén. All tracks are interesting, demand some emotional involvement and offer some meat for the listener to chew on.

This new group has a lot of potential. I hope to see at least one more release.

Here's a wine to go with "Lontano" at [...]

This is a good album , but the new team needs to improve a little more to find something more unique of a style. I personally miss the intricate detail of the good old contra bass. The electric bass guitar just doesn't do it for me- though it is played well, but it lacks the soul and details, known from the Marcin Wasilewski times with Stanko. "Lontano" remains unparalleled!

Stanko has been described as a successor to Miles Davis as a master jazz trumpet player. This is a very fine recording but Stanko is quite distinct from Davis. But both the compositions and the performances are very fine.