1.  Outline (Zarys)     [06:00]
2.  Twistin' On The Turkish Carpet (Twist na tureckim dywanie)     [08:59]
3.  Quiet & Mellow (Spokojnie jak rzadko)     [03:45]
4.  Mister Croque (Pan Croque)     [04:30]
5.  She's Always Angry (Zlosnica)     [05:23]
6.  Promenade through Empty Streets (Przechadzka pustymi ulicami)     [08:29]
7.  Champs Elysees Twelve At Night (Pola Elizejskie, dwunasta w nocy) [06:03]
8.  Dedicated To Swallow (Dedykowane jaskolce)     [01:56]

Jan Ptaszyn Wroblewski - tenor sax
Wojciech Karolak - piano
Juliusz Sandecki - bass
Andrzej Dabrowski – drums

Jan ‘Ptaszyn’ (‘Birdman’) Wroblewski - saxophonist, composer, arranger, conductor, feature writer, and radio reporter. Born on 27 March 1936 in Kalisz.

He graduated from the Secondary Music School in Kalisz in the clarinet and piano classes. After graduation, he moved to Poznań where he became a student of the Farm Mechanization Department at the Poznań University of Technology. His artistic career dates back to this time - he ran student dance groups in Poznań from 1954, also playing the piano and the clarinet.

His debut on the jazz scene came two years later, in 1956, at the 1. Jazz Festival in Sopot where he performed with Krzysztof Komeda's Sextet. He played with this band as a clarinetist and saxophonist until the band broke up in 1957. Ptaszyn's first compositions were written for this band. In the summer of 1958 he was chosen to represent Poland in the International Newport Band set up by the U.S. promoter of jazz, George Wein, and performed with them at the jazz festival in Newport (USA). He joined the band Jazz Believers the same year, and then Andrzej Kurylewicz's band Moderniści. He also worked with Jerzy Milian's radio band playing more popular music, Jerzy Matuszkiewicz's All Stars Swingtet, and the Poznań Radio Fifteen under Zygmunt Mahlik. This was also the time he had his own bands: the Poznań Quintet (1958-59), the Jazz Outsiders (1960-61), the Polish Jazz Quartet (1963-66), the Polish Radio Jazz Studio (1968-78), and the Chałturnik Association in Support of True Creativity (SPPT Chałturnik; 1970-77). In 1973, together with Wojciech Karolak he formed Mainstream (1983-77), and then his well-known Quartet (1978-84). --- culture.pl

Kiedy w pierwszej połowie 1958 roku przybyli do Warszawy jazzmeni amerykańscy np. George Wein i Marschall Brown – organizatorzy festiwalu jazzowego w Newport (USA), aby do Międzynarodowej Orkiestry Młodzieżowej zaangażować m. in. kogoś z Polski – po przesłuchaniu wielu muzyków wybór ich padł na saksofonistę tenorowego, Jana Ptaszyna Wróblewskiego. Szczęśliwy los plus niewątpliwy talent – stały się drugim kamieniem milowym w karierze tego młodego człowieka; pierwszym były jego występy w roku 1956 na I Międzynarodowym Festiwalu Jazzowym w Sopocie w zespole Krzysztofa Komedy, pioniera modern-jazzu w Polsce. Potem Ptaszyn święci triumfy w zespole “Jazz Believers” obok czołowych polskich muzyków: A. Kurylewicza i A. Trzaskowskiego, następnie tworzy własną grupę koncertującą w krajowych filharmoniach i klubach jazzowych. Wreszcie, dążąc konsekwentnie do zdobycia “własnej twarzy” w polskim jazzie, w 1963 r. powołuje do życia nowy zespół pn. “Polish Jazz Quartet”. “Premiera” odbyła się poza granicami Kraju – na Międzynarodowym Festiwalu w Juan-les-Pins, Antibes (Francja). Latem tegoż roku, w drodze powrotnej, “PJQ” zahacza o popularny klub paryski “Blue Note”, gdzie gra przez parę tygodni obok zespołu Johnny Griffina i Kenny Drew.

Następne tournee artystyczne obejmuje Niemcy Zachodnie, a w roku 1964 – Jugosławię. Zespół staje się jedną z sensacji festiwalu jazzowego w Bled. Wynikiem jest 3-miesięczne engagement (i nagranie radiowe). Po powrocie do Polski występuje w filmie opracowanym przez znanego zach.-niemieckiego krytyka i popularyzatora jazzu J. E. Berendta dla telewizji niemieckiej (reżyseria: Janusz Majewski). Kolejnym sukcesem zespołu – był występ na VII Międzynarodowym Jazz Jamboree w Warszawie w końcu października 1964 r. Nowy rok 1965 zastaje muzyków w trakcie przygotowań do dalszych występów w Polsce, Belgii, Skandynawii i Jugosławii. Muzycy Ptaszyna nie nastawiają się wyłącznie na popisy improwizacyjne poszczególnych członków grupy, dążą do tego, by “PJQ” traktowano jako zgrany kolektyw. Kładą nacisk na stronę kompozycyjną i aranże, na to jak się gra, a nie na tylko co się gra. W celu uzyskania maksymalnie dopuszczalnych w aranżacjach efektów – “PJQ” posuwa się do eksperymentów, ale nie trzecio-nurtowych i supernowoczesnych z ciągotami do czegoś szalenie “nowego” i odkrywczego – lecz po prostu chodzi mu przede wszystkim o swój określony “sound”, brzmienie a potem styl. To wszystko, co zostało wyżej powiedziane – znajduje swój wyraz w tematach, kompozycjach filarów zespołu: leadera i pianisty.---Józef Balcerak, discogs.com

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1. Skleroptak        
2. Strzeż się szczeżui        
3. Punktowiec        
4. Szpunk

Personnel:
Jan Ptaszyn Wróblewski: tenor saxophone
BRT Jazz Orchestra - Etienne Verschueren (conductor):

Double Bass – Nick Kletchkowsky
Guitar – Freddy Sunder
Keyboards – Bob Porter
Percussion – Van de Walle, Bruno Castelucci
Piano – Tony Bauwens
Saxophone – Eddy De Vos, Guy Dossche, Jose Paessens, Vic Ingleveld
Tenor Saxophone – Jan Ptaszyn Wróblewski
Trombone – Eddy Verdonck, Frans Van Dijck, Paul Bourdiandhy
Trumpet – Edmond Harnie, Janot Morales, Nick Fisette
Vibraphone, Bongos – Sadi

The material presented on this album was recorded in Belgium but presents the great veteran Polish Jazz saxophonist / composer / arranger / bandleader Jan Ptaszyn Wroblewski, who contributed his beautiful compositions and arrangements and plays as the principal soloist. He is accompanied by the Belgian (Radio & TV) BRT Jazz Orchestra, directed by Etienne Verschuerena, which includes many wonderful players, including internationally known keyboardist Bob Porter and drummer Bruno Castelucci.

Wroblewski, who was also the director of the Polish Radio Jazz Studio Orchestra during the years 1968-1978, recorded these compositions earlier with that orchestra, but these new renditions sound quite different from the earlier versions, being more "polished" and "rounded". The Polish orchestra was in fact a collection of top soloist whereas the Belgian orchestra is a full-fledged professional Big Band, which is much more about the overall band sound than individual solo spots. As a result the music captured here is a beautiful example of European Big Band sound, which is quite different from the American counterparts.

Overall this is a splendid Big Band album playing excellent music, interesting arrangements and featuring some great solo spots. Although pretty mainstream, this is elegant music, full of European aesthetics, which is completely ageless and sounds now every bit as great when it did at the time of its release. Big Band enthusiasts should have a field day with this excellent piece of music, which is again back in circulation.

Side Note: The Poljazz label, which originally released this album, was active for 20 years (between 1972 and 1991) and was owned by the Polish Jazz Society. Considering the fact that the music industry in the Socialist State was centralized and totally controlled, with just one State owned music company producing all the albums, the possibilities to record and release Jazz albums were extremely limited. Poljazz was conceived and founded in order to allow for many more Jazz (and other) albums to be released independently from the State owned Polskie Nagrania / Muza and as such revolutionized the music industry at the time, being the only such enterprise in Eastern Europe. The Polish label Anex reissued many of the original Poljazz albums on CD, bringing this fabulous music back to life. ---Adam Baruch, polish-jazz.blogspot.com

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1. Seaweed Sale 6:18
2. No Fade Out 6:04
3. Quotation From Myself 9:09
4. Determinant One 9:50
5. Jan Szpargatol Mahawisnia 6:26
6. Magma 5:18

Studio Jazzowe P.R. - directed by Jan 'Ptaszyn' Wróblewski:

Tomasz Szukalski - tenor sax, soprano sax, bass clarinet (1, 3-6)
Michał Urbaniak - violin (1), soprano sax (2)
Zbigniew Namysłowski - alto sax, flute (1-6)
Tomasz Stańko - trumpet (2, 3, 4, 6)
Adam Makowicz - Fender electric piano (4)
Marek Bliziński - guitar (1, 4, 5)
Jan Ptaszyn Wróblewski - tenor saxophone (1, 2, 4, 6), conductor
Wojciech Karolak - Hammond organ (1, 5)
Włodzimierz Nahorny - alto sax, flute (1-6)
Zbigniew Seifert - alto sax (2,3), violin (6)
Stanisław Mizeracki - trumpet (1,2,3,4,6);
Bogdan Dembek - trumpet (1,3,4,5,6)
Bogusław Skawina - trumpet (2)
Laco Deczi - trumpet (5)
Józef Grabarski - trumpet (1)
Stanisław Cieślak - trombone (1-6)
Andrzej Brzeski - trombone (1,2,3,4,6)
Andrzej Piela - trombone (2,3,5,6)
Jan Jarczyk - trombone (1,4,5)
Dariusz Filiochowski - French horn (1,3,5,6)
Dariusz Szewczyk - French horn (4)
Zdzisław Piernik - tuba (2,3,5,6)
Janusz Muniak - tenor sax, soprano sax, flute (2,3,5,6)
Waldemar Kurpiński - baritone sax, clarinet (1,3,4,5,6)
Andrzej Trzaskowski - piano ( 6)
Paweł Jarzębski - bass (1,2,4,5)
Bronisław Suchanek - bass (3,5,6)
Janusz Stefański - drums (2,3,5,6)
Czesław Bartkowski - drums (1,4), percussion (5)
Kazimierz Jonkisz - percussion (1,3,4,5,6)

During the 1970s, the third decade of Wroblewski's career, he truly became an indispensable ingredient in the many flavors being created. Wroblewski was already an accomplished tenor and baritone player in a variety of bands, leading his own small groups with straightahead inclinations and a love of Horace Silver phrasing. But the accomplishments of Mainstream have become obscured by his much closer association with free jazz and Studio Jazzowe Polskiego Radia. Created in 1968, the Studio was a unique blend: part venue for free expression by virtuosos and soloists and part workshop for musicians and composers. It would be virtually impossible to find any important Polish jazz composer or soloist who at one time or another in their career had not been involved with the Studio. Musicians, composers and soloists had a chance to test their own ideas and have them confronted and discussed in a peer-group setting. Without the Studio and without its leader, Wroblewski,! Polish jazz would not be the same. ---Editorial Reviews

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1. Wśród żczliwych przyjaciół
2. Niezbyt Blues
3. So What
4. Like Flyin from Long Life Love
5. Klicheć chechcioł dana
6. Pilnie potrzebna dobra wróżka
7. Takie sobie robaczki

Musicians:
Jan Ptaszyn Wróblewski: tenor saxophone
Andrzej Jagodziński: piano
Sławomir Kurkiewicz: bass
Michał Miśkiewicz: drums

Recorded live at Hades Jazz Festival, Lublin, October 1993

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1. Blue Sands [6:47]
2. On Green Dolphin Street [8:54]
3. Instead [6:16]
4. Uncle's Dance [7:42]
5. Promenade Through Empty Streets [10:59]
6. We'll Be Together Again [6:11]
7. Morning Thunder [7:20]
8. Sleep Safe and Warm [9:31]
9. Jadą gwiżdże [6:32]

Musicians:
Jan Ptaszyn Wróblewski: tenor saxophone
Wojciech Niedziela: piano
Jacek Niedziela: bass
Marcin Jahr: drums

While Polish jazz has a dedicated fan base in large cities like Krakow or Warsaw, many youngsters from the country have not yet been exposed to the genre - a quick (and very unscientific) survey among members of the immigrant communities in New York shows that few are acquainted with many of the performers who regularly appear stateside, even if they attract considerable audiences wherever they perform.

Unlike more adventurous players as countrymen trumpeter Tomasz Stanko or pianist Marcin Masecki, saxophonist/songwriter Ptaszyn Wróblewski is a performer who seems to prefer a more straightforward approach to jazz; his music reminds the listener of the more accessible textures of Chet Baker and Dave Brubeck (his compositions have been recorded by many performers, such as Anna Maria Jopek, who included "Zielono Mi on her 1998 live album, Koncert).

His own playing seems to have been strongly influenced by the likes of Stan Getz, especially when hearing his "Blue Sands , a song from Real Jazz that has a strong bossa-nova backing (a genre that seems to be very present among Polish jazz players). Pianist Wojciech Niedzela, however, seems to draw directly from the later work of Bill Evans, playing stronger notes than Jobim's followers, who prefer a smoother touch to the keys. He also knows how to take advantage of open spaces, masterfully filling in the gaps in Krzysztof Komeda's "Sleep Safe and Sound ("Kolysanka Rosemary , from Rosemary's Baby) with short but critical riffs.

Wróblewski also sounds comfortable playing sophisticated 12-bar blues, as heard on "Bblluueess , from his quartet's latest disc, Supercalifragilistic, which despite the title, thankfully does not contain any tunes from Mary Poppins. The musicians take advantage of the tune's simplicity to be playful, a chance for drummer Marcin Jahr to show his chops.

The new disc has more covers than his other outing - in addition to material by Komeda (the beautifully poignant "Szara Koleda ), there are several other tunes which receive a personal treatment from the quartet: Monk's "Well, You Needn't uses the song's upbeat tempo to the band's advantage, giving ample opportunity for all the musicians to improvise freely throughout, and Sonny Rollins' "Doxy , which begins with Wróblewski playing a solo and later joined by the other band members.

The Wróblewski Quartet has earned a lot of respect from their niche audience back home and is definitely ripe for (re)discovery by audiences on our side of the pond. ---Ernest Barteldes, allaboutjazz.com

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Side A
1. Pastuszek Stomp 
2. Grzmot nad ranem 
3. Bossa Nostra 

Side B
1. Pani Ptakowa 
2. Dlaczego małpa... 
3. Licheć Checioł Dana

Personnel:
Jan “Ptaszyn” Wróblewski – tenor sax
Marek Bliziński – guitar
Witold Szczurek – bass
Andrzej Dąbrowski – drums

This is an excellent album by Polish veteran Jazz saxophonist / composer / arranger / bandleader Jan "Ptaszyn" Wroblewski. One of the great pioneers of the Polish Jazz movement since the 1950s, Wroblewski remained very active on the local scene in many capacities, which included leading his own ensembles, directing the Polish Radio Jazz Studio Orchestra and teaching generations of Polish Jazz musicians. Wroblewski always firmly stood for the Jazz tradition, keeping the mainstream Jazz in Poland on a very high level. He was rarely associated with the Polish Jazz modernists and avoided Free Jazz excursions, even when these were fashionable. Nevertheless his unique and innovative approach to Jazz composition and virtuosic ability as a player make his very extensive legacy an infinite source of superb Jazz moments. This album presents six original compositions by Wroblewski, superbly performed by a quartet, which includes guitarist Marek Blizinski, bassist Witold Szczurek and drummer Andrzej Dabrowski. Blizinski should be noted as one of the greatest Polish guitarists and perhaps the Jazziest one, who avoided getting into Fusion at all costs, keeping his sound in the Wes Montgomery / Barney Kessel tradition. Altogether this is a great example of the versatility of the Polish Jazz scene and its excellence, regardless of the specific sub-genre in question. Highly recommended! --- Adam Baruch, polish-jazz.blogspot.com

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01. I Hear Music
02. My Favourite Things
03. Dookoła Wojtek
04. Walkin'
05. I got it Bad
06. It Could Happen To Sou

Musicians:
Czeslaw Bartkowski - Drums
Marek Blizinski - Guitar
Wojciech Karolak - Organ [Hammond]
Jan ‘Ptaszyn’ Wroblewski - Saxophone [Tenor]

Recorded 31 May, 28 October 1973 in Polish Radio, Warsaw.

This album presents a meeting between two Polish Jazz veterans: saxophonist / composer Jan "Ptaszyn" Wroblewski and keyboardist Wojciech Karolak. The two cooperated in various Jazz ensembles since the late 1950s and until mid 1960s and this album marks their reunion in the studio after several years of not playing together due to Karolak's residence in Sweden in the late 1960s / early 1970s. The two are joined by another veteran, drummer Czeslaw Bartkowski, and excellent guitarist Marek Blizinski and together they play six tunes, five of which are standards and one id a Wroblewski original. Karolak plays the Hammond Organ, a sound that would be associated with him for his entire future career, and his passion fro that instrument is clearly evident here. Wroblewski and Blizinski play fire solos and Bartkowski drives the quartet forward at all times. Although typically mainstream, this is still great Jazz, performed with passion and considerable talent, which should be enjoyable to all Jazz connoisseurs. Recommended! --- Adam Baruch, polish-jazz.blogspot.com

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1.  Girl From Ipanema
2.  Wspomnienia z Parnasu
3.  Instead
4.  Sentimental Ballad
5.  Lover Man do połowy
6.  Riff Blues
7.  Sleep Safe and Warm
8.  Bossa Nostra

Jan Ptaszyn Wróblewski - tenor saxophone
Bogusław Kutnik - piano
Jarek Michaluk - bass
Sebastian Urban – drums

JAN "PTASZYN" WROBLEWSKI [YAHN PTASH-shin vroo-BLEFF-ski] – a leader of the Polish jazz scene, originator of numerous unconventional projects, and animator and promoter of jazz in Poland for half a century – can surely be regarded as the godfather of Polish jazz.

Born in 1936 in Kalisz, Poland, he’s from the generation that, in the Stalinist era, discovered jazz on clandestine radios when it was considered degenerate, immoral, and subversive. The first professional jazz bands - Music Lovers of Jerzy "Dudus" Matuszkiewicz, the Krzysztof Komeda Sextet, the Jazz Believers of Jan „Ptaszyn” Wroblewski, and the New Orleans Stompers could only have developed in Poland as a result of the post-Stalinist thaw.

Wroblewski debuted at the first Sopot Jazz Festival in 1956 with Krzysztof Komeda’s Sextet. “Ptaszyn” participated in their recording of the score for Roman Polanski’s famous student film, Two Men and a Wardrobe. He also wrote his early works for the group. --- polishjazz.com

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