“8 Years”, released in 2022, was a success, and led to a string of live dates, both in the quintet’s native Poland and further afield, and their tour to promote the new album is just as international: it includes a performance in Egypt. Also noteworthy is that Unleashed Cooperation has been selected to perform one of the showcases at the 2025 edition of jazzahead!

‘Trust’ is a continuation and development of the music heard on the debut album, and features eight tracks – six original compositions plus two improvised miniatures – with the entire album lasting just under fifty minutes. Half of the material was created with the participation of the band’s special (and extraordinary) guest, outstanding vocalist and improviser Anna Gadt.

A well-integrated combination of jazz and improvisation, with influences from contemporary and ethnic music, allows the band to create a unique, easily recognizable style. Individual tracks sometimes captivate with delicate melodic expression, and at others prove intriguing, not least because of unexpected solutions and openness of form.

The tracks involving Anna Gadt are particularly outstanding. In the two miniatures, the interplay between her voice and the wind instruments – Krzysztof Kuśmierek (saxophones) Patryk Rynkiewicz (trumpet) takes centre stage. The duet introduction to Mr. Paul’s Beautiful Dream features a fascinating exchange between vocals and piano (Patryk Matwiejczuk).

The opening track String Theory is another standout, attracting attention with its compelling solo parts and expertly crafted secondary layers: a bassline (Flavio Gullotta) complementing the piano solo, and a piano line underpinning the drum solo (Stanisław Aleksandrowicz). The saxophone and trumpet also provide a perfectly coordinated intro and outro that bookend the piece beautifully.

It is a pleasure to see how Unleashed Cooperation is solidifying and developing. ‘Trust’ is an excellent album, and also clearly demonstrates how progress can be made while keeping true to a specific artistic path. Congratulations!

The post Unleashed Cooperation – ‘Trust’ first appeared on UK Jazz News.

It began with the Kras52 collection in the Krasiński Library, one of the most important Polish sources of medieval polyphonic music. Pieces from the late Middle Ages and early Renaissance found there became the starting point and inspiration for the project.

The main actors this time are international stars. Adam Bałdych [compositions, renaissance violin] is one of the best-known figures in Polish jazz. The same can be said of Michał Górczyński [contrabass clarinet]. They are joined by Agnieszka Budzińska-Bennett, singer, harpist, musicologist and founder of Ensemble Peregrina. This ensemble, which specialises in historical repertoire, is associated with the famous early music school Schola Cantorum Basiliens. As well as the leader, the recording of Laeta Mundus featured Hanna Järveläinen, Lorenza Donadini [vocals] and Grace Newcombe [vocals and gothic harp].

Adam Bałdych’s music began with the classics. Today – indirectly – he returns to his roots by playing a replica of a Renaissance violin. Michał Górczyński plays with Bastarda trio, often venturing into early music. So for them an encounter with 15th-century music was no novelty. Ensemble Peregrina faced a slightly more difficult task, venturing into improvisation, which they do not normally deal with. Rehearsals involved getting to know the repertoire, but also each other, observing how each player worked, and creating a platform of artistic understanding.

All six treated entering new territory as a challenge, but also an adventure. And it produced an excellent result. Laeta Mundus became a story of eras, personalities, and time travel. All the elements interpenetrated. The vocal quartet harmonised perfectly with the violin and clarinet. The a capella parts were moving and beautiful. The instruments commented intriguingly on the vocal passages, sometimes taking the lead in subdued, expressive duets. The entire album testifies to the uniqueness of the Revisions series – the originality of the idea and perfection of its realisation. A unique and extraordinary project.

The post Adam Bałdych – ‘Laeta Mundus’ first appeared on UK Jazz News.

Where do they serve the best pizza? In London. Don’t laugh. First let me tell you why: it’s because it is ‘spiced’ with jazz. Since 1969, Pizza Express on Dean Street, founded by Peter Boizot, has combined the roles of restaurant and jazz club. Over the years, the venue has acquired a cult status and is held in high esteem by audiences and musicians alike. Many of the concerts are 100% sold out, and the list of stars who have performed there is impressive.

On a weekend in late July the musical ‘spice’ was exceptional, as saxophonist, composer and bandleader Emma Rawicz, a rising star of the international scene, was at Pizza Express for a two-day residency. Last year she joined the renowned ACT Music label, who released her album Chroma. Over two days in the club atmosphere of Pizza Express Jazz Club, Emma Rawicz played no fewer than five times, presenting three different projects.

26 JULY – DUO WITH GWILYM SIMCOCK

The first evening was devoted to a duo with pianist Gwilym Simcock. The pair have toured together for a short time, and immediately after these two London concerts were due to record tracks for an album which will be released later this year. Their programme consisted of original compositions by both musicians, most of them written specifically for this project. The duo also played an interesting interpretation of a Stevie Wonder hit. Rawicz and Simcock excelled in the intimate setting, both in the calmer pieces and their more energetic forays. Their communication and conversational interaction were superb.

27 JULY LUNCHTIME – WITH ELLIOT GALVIN AND STRING QUARTET

The second concert took place the following day at lunchtime. Again, this was material receiving its premiere. This time Rawicz appeared on stage accompanied by pianist Elliot Galvin and a string quartet. Prominent in the quartet’s line-up was violinist Dominic Ingham, whom we remember (in Poland) for his participation in the Zbigniew Seifert International Jazz Violin Competition in 2020. Among the string players, he was allotted the most solo playing, and two pieces featuring him were presented in a piano-saxophone-violin trio format. There were also intriguing passages highlighting the violin and cello played by Cubby Howard in the foreground. The quartet was completed by violinist Jenny Clare and violist Abby Bowen. The repertoire consisted mostly of premiere compositions (one was written only a day before the concert) by Rawicz, and the whole was complemented by two pieces arranged for this unique line-up: one from the aforementioned album Chroma and one written for a duet with Simcock. The whole concept of jazz music with classical elements was a pleasure to listen to.

27 JULY EVENING – EMMA RAWICZ JAZZ ORCHESTRA

On the evening of the same day, Rawicz’s residency was rounded off with a concert by her Jazz Orchestra. She performed a triple role here, as composer, bandleader and soloist. Rawicz stated in one of her announcements that big band music is particularly close to her heart, and there was no doubt that she has a great feel for the atmosphere of a jazz orchestra, performing brilliantly in her compositions and arrangements and leading a large ensemble on stage. Most notable in the solo parts were guitarist David Preston, trombonist James Wade-Sired, percussionist Ananda Brandao and vocalist Immy Churchill, superb both in her vocals and in two beautifully performed songs.

The other members of the orchestra were: Ruta Sipola – flute, George Millard – alto saxophone, Kasper Rietkerk – alto saxophone, George Crowley – tenor saxophone, Damon Oliver – tenor saxophone, Tom Smith – baritone saxophone/bass clarinet, Brinley Heywood-Snell, Edouard Monnier, Miguel Gorodi, Steve Fishwick – trumpets, Joel Knee, Rory Ingham – trombones, James Buckle – bass trombone, Scottie Thompson – piano and Freddie Jensen – double bass.

Rawicz’s considerable skills as an orchestra leader are appreciated by the musical community, with both young and more estalished musicians willingly joining the line-up.

The two-day concerts demonstrated the versatility and class of Emma Rawicz. Newly graduated from the Royal Academy of Music, she proved that the compliments, admiration and awards that she has been receiving are right and fully deserved. An extraordinary weekend in Soho.

This English version of this article, and the photos, are published with the kind permission of Krzysztof Komorek.

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When you type Matylda Gerber‘s name into a search engine, you will be surprised by the rather diverse results. The surprise will be even greater when it turns out that they all concern the same person.

Gerber graduated with a master’s degree in finance and psychology, and went on to obtain a doctorate in social sciences from the Warsaw School of Economics, one of Poland’s most prestigious universities. Her area of interest is intuition and its role in decision-making.

This is a rather unobvious topic of scientific research, but one that is used in many fields around the world. In the course of her career, Gerber has, among other things, participated in research into the work of police department crime analysts, doctors, entrepreneurs and stock market investors. A summary of her activities in this field to date is the book ‘Intuition: a Guide for Those Who Love to Ponder.’

At this point we might ask ourselves, why music, for someone who is so successful in another field?

“I never went to music school, but I had piano lessons from childhood. I even took composition lessons. The saxophone, on the other hand, only came along when I was 18.” Despite becoming involved in ensembles over time, music remained in the background for a long time.

“The breakthrough came during a time when I was studying in London, which, on an artistic level, brought an exploration of the rich music scene there, participation in jam sessions and a collaboration with Sarathy Korwar. At one point I found that I was getting so much positive feedback on my playing that I couldn’t get over it. After returning to Poland, I decided that I wanted to develop this. I became more aware of this musical hunger that was in me.” A significant stimulus came when she was invited to perform at the opening concert of the Jazztopad festival in Wrocław.

Today, her main musical activity is in two bands: Ślina (English: saliva) and sneaky jesus. The improvising quartet Ślina, apart from their own activity, also records and performs with Mikołaj Trzaska, an iconic figure of the Polish and European improvised scene. The whole story of this collaboration began with Gerber’s search to buy a baritone saxophone – specifically a used one, with a better sound. This is not an easy task, and there is usually a queue of people looking to buy one. The sale of the instrument by Trzaska in 2018 was no different, but a personal conversation and an ‘audition’ of sorts meant that the baritone went to Gerber.

“I had previously tested other saxophones, but I didn’t like their sound. Here, I immediately felt it was what I was looking for. And I enjoy the sound all the time.” Trzaska was curious to see how the instrument would turn out. He liked Ślina’s music so much that he suggested he help the band release an album. The possibility of joint concerts and a proposal for joint recordings soon followed. In 2024, we can expect at least one release under the name Ślina Trzaska, as several hours of recorded material are already waiting in the wings.

Trzaska remembers: “When I first met Matylda, I was surprised that she picked up the instrument and immediately started playing it very loudly, with an open, strong sound. We have a bit in common, in the sense that Matylda, like me, took up the saxophone at a fairly mature age and began to explore it with an already grown-up mind. I am delighted with how she is developing, how she is playing more and more interestingly and better and better. Of course, she’s still searching for her language, and developing her time. But she has an awareness of how it works. She is able to discover new things during concerts, during the creative process. She is not afraid of the saxophone. She plays tenor, alto and baritone. She knows what she is talking about through music and why she is telling it in this particular way. And in her case, one feels that she is telling a story about herself through music. She can play, but she can also listen to what is happening around her on stage. She uses her modes of expression differently in each band, and has a gift for finding simple melodies and building on them. On the other hand, she also has patience, and the ability to stay with that first sound that comes along. In her, we find both aggression and tenderness, and their strength is in the sincerity of her message.”

Ślina is a band focused on improvisation, but Gerber also needed other challenges – hence her joining sneaky jesus. Breaking her activity into two bands is a conscious and considered decision. “I always thought it would be cool to work with a band where I could compose. We played jam sessions together and it turned out that we understood each other nicely. The two bands are complementary for me.”

sneaky jesus already has two albums in its discography, both released on the London-based Shapes of Rhythm label. The band amazes and delights with the lightness and freedom with which it moves between conventions and styles. This is music that breathes freshness. The diversity of the musical narrative, the fluidity of the transition from delicacy to frenzy, from melodiousness to heavy and noisy rhythms, is captivating.

Gerber’s musical activities are further complemented by the Wrocław Improvised Orchestra, a platform bringing together artists representing various musical genres who share an interest in improvisation. The orchestra meets regularly for rehearsals and organises cyclical concerts, during which bands perform in randomly organised line-ups. The orchestra also plays concerts under its own name with a full line-up of a dozen or so musicians. During the Jazztopad festival in 2023, Gerber also led a children and youth jazz band. Another important experience was her participation in two sessions of the International Jazz Platform, running workshops in Łódź and Oslo.

All this has been recognised by the jazz community with two significant, prestigious awards granted to Gerber in 2023. In the critics’ poll conducted by Jazz Forum magazine, she won the New Hope category, and was honoured with the same title at the Jazz Melomani Association Gala.

This article is published simultaneously in the following European magazines, as part of an operation to highlight young jazz and blues female musicians: Citizen Jazz (France), JazzMania (Belgium), Jazz’halo (Belgium), London Jazz News (UK), Jazz-Fun (Germany), Giornale della musica (Italia), In&Out Jazz (Spain) and Donos Kulturalny (Poland).

The post #IWD2024 – Matylda Gerber first appeared on UK Jazz News.