01. My Love
02. Double Trouble Blues
03. Moonglow
04. If i Should Lose Sou
05. Sunshine Express
06. Imagination
07. After Perturbation
08. Star Eses

Deborah Brown – vocals
Zbigniew Namysłowski – alto sax
Artur Dutkiewicz – piano, Yamacha DX7
Jacek Niedziela – bass
Krzysztof Przybyłowicz – drums
Jerzy Bartz (guest) – percussion

ONA – urodzona w Kansas City amerykańska wokalistka jazzowa, od dwóch lat mieszkająca w Holandii. Koncertowała w USA, Japonii i wielu krajach Europy Zachodniej, śpiewając z towarzyszeniem jazzmanów jak – Red Mitchell, Kenny Washington, Horace Parlan, Sidle Hampton, Dizzy Gillespie i… Oleg Lundstrem. W 1988 roku trafiła do Polski – DEBORAH BROWN.

ON – wielokrotny „Numer 1” list i zestawień jazzowych, multiinstrumentalista, kompozytor, aranżer i lider – ZBIGNIEW NAMYSŁOWSKI

Spotkali się we wrześniu 1988 na XV Międzynarodowych Spotkaniach Wokalistów Jazzowych w Zamościu. Po dwóch próbach i dwóch koncertach zapadła decyzja: „nagrywamy razem płytę dla Poljazzu!” Reszta potoczyła się bardzo szybko. 10 stycznia 1989 wieczorem Ona wysiadła z samoloty PLL LOT na warszawskim Okęciu. Następnego dnia byli już razem w Studio M-1 PR na ul. Myśliwieckiej. ---welovepolishjazz.blogspot.com

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01. Poćwiart - 06:47
02. Powinnowaci - 06:17
03. Gradient 90 - 09:47
04. Blues 4-2 - 06:26
05. Another 5 (Inna Piątawka) - 08:20
06. Polly Arrhytmic - 08:13
07. Za kłodą kloc, za klocem kłoda (Log Behind the Clog) - 07:14
08. Trion - 07:58
09. Lou Duff Kha - 08:02

Zbigniew Namysłowski - alto saxophone, soprano saxophone;
Michał Barański - double bass;
Grzegorz Grzyb - drums;
Paweł Dobrowolski - drums (02, 07, 08);
Sławek Jaskułke - piano;
Jacek Namysłowski – trombone

This is a brilliant album by veteran Polish saxophonist / composer Zbigniew Namyslowski, one of the Founding Fathers of modern Polish Jazz active on the scene since the late 1950s. First as a member of the legendary Krzysztof Komeda ensemble and later as a leader, Namyslowski was always a superb musician and an intriguing composer. His early work was often characterized by incorporating Polish folklore motifs into his compositions, which was highly unusual at the time in US or Western Europe, but relatively common behind the Iron Curtain. This amazing album, as the (slightly twisted) title suggests, is all about odd meters, you know all those 7/4, 5/4, 7/8 and other crazy rhythmic patterns that only highly skilled musicians are able to play correctly. As much as they are a nightmare to play, they are surely a wonder to listen to and enjoy and this albums offers nine lengthy tunes, one better that the other. Performed by a brilliant quintet: trombonist Jacek Namyslowski (yes the next generation), pianist Slawek Jaskulke, bassist Michal Baranski and drummers Grzegorz Grzyb and Pawel Dobrowolski (on two tracks only), the music is simply divine, clever and enjoyable, all at the same time, which of course id pretty rare. It certainly seems that Namyslowski is getting younger with age, a rare quality indeed. Brilliant! --- Adam Baruch, polish-jazz.blogspot.com

W tekście zamieszonym na okładce swej najnowszej płyty Zbigniew Namysłowski pisze: "Utarło się wśród muzyków jazzowych, jazzawych, yassawych, fanów, profanów, krytyków, kretyków, kretynów, melomanów, melomanek i melowomanek, że Namysłowski pisze bardzo trudne kompozycje (...). Postanowiłem więc dać im wszystkim prawdziwą satysfakcję, pisząc muzykę tym razem naprawdę trudną, i to nie tyle do słuchania, ile do grania."

Od pierwszych dźwięków albumu staje się jednak oczywiste, że muzyka Namysłowskiego nie jest przeintelektualizowaną łamigłówką dla analityków; utworów słucha się bardzo dobrze, kompozycje na pewno nie osaczają "asymetrycznością"; to, co mogłoby się wydać skomplikowane "na papierze", w dźwiękowej postaci brzmi bardzo naturalnie. Na uwagę zasługują obszerne fragmenty aranżowane, z ciekawymi zestawieniami instrumentów, preferowaniem środkowych lub niższych rejestrów, polifonicznym prowadzeniem głosów (echa West Coastu?); unisona saksofonu z puzonem nadają masywności brzmieniu, wspaniale pogrubiają kontur melodyczny, zaś fortepian i bas (także często unisono) wydatnie ożywiają "dół". Solówki są treściwe i skondensowane, co pozytywnie wpływa na plastyczność formy, natomiast nieco wyciszona wydaje się ekspresja (nawet Jaskułke, znany z "szalonych" wejść, doskonale wtapia się w przyjętą konwencję).

Wszystkie utwory zawarte na płycie są godne polecenia. Ci, którzy wolą coś bardziej relaksowego, powinni zwrócić uwagę na rozpoczynający album "Poćwiart", "Powinnowatych" i "Blues 4-2"; moimi typami od początku były: "Za kłodą kloc, za klocem kłoda", gdzie na bazie zawiłości metrycznych rozciąga się piękna, "bezzodechowa" linia melodyczna grana przez sopran i puzon (ach, ta miękkość brzmienia!) oraz "Trion" z rewelacyjnym, kilkuczłonowym tematem, "nieoczekiwanymi" akcentami i napędzającą to wszystko progresją (bas, puzon).

Na koniec wielkie uznanie dla muzyków (wszystkich razem i każdego z osobna), którzy wykonując bezbłędnie tak wymagający repertuar pokazali prawdziwy kunszt instrumentalny i fenomenalne zgranie. --- muzyka.onet.pl

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01. Skarga (6:48)
02. Krywan & Jazz (7:20)
03. Zablakana Owiecka (9:21)
04. Jazz Pod Jaworkiem (6:06)
05. Idzie Janko Z Jazzem (5:57)			play
06. Zboj (8:32)
07. Co Sie Stalo W Jazzie (7:19)
08. 4 Po 4 (5:39)

Musicians:
Zbigniew Namyslowski - sax
Krzysztof Herdzin - piano
Olo Walicki - bass
Grzegorz Grzyb - drums
Zakopane Highlanders Band:
Jan Karpiel "Bulecka" - fiddle, bagpipe, folk whistle, vocal
Piotr Majerczyk - first fiddle, vocal
Wojciech Topa - bass, vocal
Stanislaw Michalczak - first and second fiddle, vocal
Jan Zatorski "Siecka" - bass, vocal

Polish folk music is incredibly diversified and original as much in melody as in rhythm aspect. Created to dance with it possess moreover simplicity which immediately make it charming and engaging to any listener exposed to it. Back in XIX century it was quickly grasped by such a genius as Frederic Chopin which using then contemporary language of Italian opera and new powerful instrument of grand piano sung those folk songs in his own and entirely individual way. It brought him huge success worldwide! Such a scheme appeals also to subsequent generation of Polish musicians and it is no surprise that jazz musicians also addressed this part of national music heritage. Among most convincing attempts in this field are those undertaken by Zbigniew Namysłowski.

Namysłowski is outstanding saxophonist and simply one of founding fathers of Polish Jazz. Well over seventy now not only his is still active (planning new record) but bringing new things to jazz. His greatest contribution is introducing elements of Polish folk music to jazz. Such his albums as "Winobranie" (1973) or "Kuyaviak Goes Funky" (1975) are pivotal in development of jazz in Poland and in forging its own unique style. In following years he continued on this road with two albums recorded with Zakopane Highlanders band. This one is second after "Zbigniew Namysłowski Quartet & Zakopane Highlanders Band" released in 1995. They were not received by critique (opposite to audience) as enthusiastically like his previous attempts in folk jazz. There were opinions that jazz and folk languages do not alternate with one with each other as successfully as on his previous albums remaining at moments separate, not congruent. But I personally do not share all this criticism. Years that has passed show that despite many attempts by other artists Namysłowski interpretation of Polish folk in language of jazz remains by far the most inspiring... ---Maciej Nowotny, polish-jazz.blogspot.com

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01 - Nice to See You  
02 - After Dinner Walk
03 - Seven / Eleven 		play
04 - Follow Your Kite
05 - Waltz for Two
06 - Load Off Mind    

Musicians:
Zbigniew Namyslowski – alta sax, soprano sax, flute,
Wladislaw Sendecki - keyboards,
Krzysztof Scieranski – bass guitar,
Dariusz Kozakiewicz - guitar,
Wojciech Kowalewski - drums,
Jerzy Tanski – percussion.

Zbigniew Namysłowski: versatile musician, composer, bandleader; The Jazzman. The Discover. In the mid-fifties he discovered modern jazz and the fact that it can be played on cello. In the early sixties he had more discoveries: alto saxophone for himself, the "Jazz Rockers", the prophetic name for his group, the name that would berather relevant to the present times; he also found a mighty jazz all called "rhythm and blues", and discovered Michal Urbaniak, a star-musician followed by the list of further discoveries that he launched to the European and World jazz space: Czeslaw Bartkowski, Adam Makowicz, Wlodzimierz Gulgowski and Tomasz Szukalski. Thęir followers will be found on this record. In 1962, for the first time he discovered America with John Coltrane's music, and Poland with its folk music. In both cases he found out genius of the same format, and followed the paths of Chopin and Szymanowski to find in his native music universal values and to add to it his own touch and flavor which makes this music sound even more universal.

Certainly, this is not the record "that requires recommendation. Poland's champion in jazz leads the group of the best youngsters to play dance tunes. Maestro of a instruments, bandleader No.l, the herald of the jazz-rock and folk alliance. The Artist at your service, Ladies and Gentlemen This is you who are heroes of this art. This you for whom all this music has been composed: samba, waltz and other tunes that are so easy not to frighten you so sophisticated to fascinate you and so difficult to make you feel obliged.

This is you for whom the youngest gladiators were convoked, thanks to which the records breathes with music like a saxophone and flute, in its most fabulous moments it calls back with a choir of guitar strings, with the song of the keyboard barking of the bass and chase. There is invisible magic on this record a that noise of blue, beige and black; perilous lullaby and the Magnificent Six. Maybe, you will not be able to hear it. Even then, my Friend to follow kite! ---Tomasz Tluczkiewicz

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1. Der Schmalz Tango 6:41
2. S(z)amba Pana Szambelana 8:12
3. Sprzedaj Mnie Wiatrowi 6:57
4. Dno 7:15
5. Zakrecony Walczyk 5:57
6. Cy To Blues Cy Nie Blues 5:331
7. Five In One 9:53
8. We'll Have A Nice Day 7:55

Personnel:
Zbigniew Namyslowski – alto & sopranino sax, flute, trombone (tracks 1-8)
Krzysztof Herdzin – piano (tracks 1-5)
Olo Walicki – bass (tracks 1-5)
Grzegorz Grzyb – drums (tracks 1-5)
Cezary Paciorek – accordion (tracks 1-5)
Maciej Strzelczyk – violin (tracks 1,2,5,7)
Jose Torres – percussion (tracks 1-5,6)
Habanita – percussion (tracks 1,2,5)
Piotr Wojtasik – trumpet (tracks 3,4)
Grzegorz Nagorski – trombone (tracks 3,4)
Cezary Paciorek – accordion (tracks 3,4)
Jose Torres – percussion (tracks 3,4)
Kuba Stankiewicz – piano, keyboards (track 6)
Dariusz Oleszkiewicz – bass (track 6)
Jerzy Glod – drums (track 6)
Janusz Skowron – piano (track 7)
Zbigniew Wegehaupt – bass (track 7)
Cezary Konrad – drums (track 7)
Adzik Sendecki – keyboards (track 8)
Krzysztof Scieranski – bass guitar (track 8)
Dariusz Kozakiewicz – guitar (track 8)
Andrzej Mrowiec – drums (track 8)
Malina – percussion (track 8)

Der Schmalz Tango w oryginalnym wariancie pojawiło się na albumie Jazz Jamboree 75 Vol.2. Płyta charakteryzowała się elementami free jazzu. Tutaj Namyslowski uwspółcześnił brzmienie i dodał akordeon, który tworzy nową jakość.

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A1 How Long Has This Been Going On (Gershwin) 
A2 Hello Thursday (Surman/Krog) 
A3 When Fortune Smiles (Surman/Krog) 
A4 Who Cares (Gershwin)                 play
B1 Der Schmaltztango (Namyslowski)

Jazz Jamboree 75, Vol. 2 
live at the Congress Hall, Warsaw, Octobre 1975 / Muza 1975

Karin Krog - vocal 
Zbigniew Namyslowski - alto sax 
Tomasz Szukalski - tenor sax 
Wojciech Karolak – Fender piano 
Pawel Jarzebski - bass 
Czeslaw Bartkowski – drums

A rare session by singer Karin Krog -- one that also features great work by Polish alto player Zbigniew Namyslowski! The album was recorded at Poland's Jazz Jamboree in 1975 -- and side one features Krog singing with backing from Namyslowski's quartet, which includes some great work on Fender Rhodes by Wojciech Karolak. The mixture of Krog's icy vocals and warm keyboards is as strong here as on her best 70s recordings -- and the side features 2 original tunes, "When Fortune Smiles" and "Hello Thursday", plus versions of "Who Cares" and "How Long Has This Been Going On". Side two is great too -- and features Namyslowski's group on its own, joined by a tenor player, working on a free-flowing modal number called "Der Schmaltztango", which has nice Latiny touches, and runs for over 25 minutes!

Jazz Jamboree Festival, one of the biggest and oldest jazz festivals in Europe, takes place in Warsaw. Organized by Jazz Jamboree Foundation. The first Jazz Jamboree was organised by Hot-Club Hybrydy. It was three days long (18 to 21 September 1958) and it was called "Jazz 58". The first three editions of the festival took place in the student's club Stodoła (with some of the concerts in Cracow). Then the venue was changed to Filharmonia Narodowa, and since 1965 all editions have taken place in Sala Kongresowa in Palace of Culture and Science in Warsaw. The name "Jazz Jamboree" was invented by Leopold Tyrmand.

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01. Zapowiedz
02. Allegro
03. Larghetto
04. Minuetto
05. Soul Variazione
06. Variazione Caribiense
07. Variazione Di Blue
08. Allegro Finalle
09. Wariacja Goralska

Zbigniew Namysłowski - Alto Saxophone, Sopranino Saxophone
Wojciech Mrozek - Clarinet

Kwartet Camerata:
Wlodzimierz Prominski - 1st Violin
Andrzej Kordykiewicz - 2nd Violin
Piotr Reichert - Viola
Roman Hoffmann – Cello

Kwartet Jazzowy Zbigniewa Namyslowskiego:
Krzysztof Herdzin – Piano
Olo Walicki – Double Bass
Grzegorz Grzyb – Drums

This is probably the least known as well as most unusual album by veteran Polish Jazz saxophonist / composer / band leader Zbigniew Namyslowski, who is associated with the local scene continuously since the late 1950s. The album consists of a live recording captured by the Polish Radio, which presents a Jazz arrangement of Amadeus Mozart's Clarinet Concerto in A major, K 622, performed by Namyslowski's quartet, clarinetist Wojciech Mrozek and the Camerata string quartet. The Zbigniew Namyslowski quartet at the time of the recording included also pianist Krzysztof Herdzin, bassist Olgierd Walicki and drummer Grzegorz Grzyb. Mozart's masterpiece, which was his last completed work before his untimely death, consists of three movements, but this extended interpretation adds five more "variations". All the pieces were arranged by Namyslowski, except the middle movement of the original concerto, which was arranged by Herdzin.

Of course this is by far not the first attempt of creating Classical-Jazz Fusion, which has been attempted countless times before. The matching of these often distant musical idioms is probably the most perilous area, and this album is a "classic" (pun intended) example why. The idea behind such attempts is of course to fuse the two idioms and create an amalgam, which somehow manages to preserve the best of both ingredients and create a new flavor, previously unknown. Sadly the music presented here fails completely in that sense, as far as I am concerned. The resulting music mixes Mozart's melodic themes with Jazz rhythms and improvisations, but the resulting music simply sounds unsavory. Sort of "pickles with marmalade", which makes sense to pregnant women only.

Of course Namyslowski and his crew are all wonderful musicians and perform spotlessly all the way through, as do their Classical counterparts. There are many showcases of splendid musicianship and inspired soloing. However the overall atmosphere simply doesn't let one enjoy this music. Mozart dancing calypso is simply not my cup of rum…

But considering Namyslowski's remarkably long and otherwise spotless career and tremendous contribution to Polish Jazz, this excursion is easily forgiven, as it is forgotten. ---Adam Baruch, polish-jazz.blogspot.com

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01 - Piekna Lola, Kwiat Polnocy (Beautiful Lola, Flower of the North)
02 - Leszek I Ludwig
03 - Piatawka (in 5/4 Time)
04 - Blues Shmues
05 - Rozpacz
06 - Tkotkonitkotko
07 - Wozny - Najwazniejszy (The Caretaker - The Most Important Man)
08 - Ol' Man River

Personnel:
Zbigniew Namyslowski - alto sax
Wlodzimierz Gulgowski - piano
Tadeusz Wojcik - bass
Czeslaw Bartkowski – drums

However good European jazz musicians might be, seldom if ever are they likely to initiate any new jazz directions. During the last decade and a half we have had Swedish George Shearing-style quintets, Danish Mulligan-like quartets, and innumerable other imitation's. Poland's Zbigniew Namyslowski MJQ comes close to an original sound, yet it is obvious that this unit would never have existed in this present form without the work of John Coltrane, Eric Dolphy and Ornette Coleman.

One nameless British jazz critic is quoted on the sleeve as saying that Namyslowski's own alto playing "almost makes Ornette Coleman sound like George Lewis". On the strength of the music heard here this is nonsense, for although Zbigniew Namyslowski's approach is 'new', he observes chord sequences and improvises in a more conventional manner than Coleman. At the same time Zbigniew has made quite astonishing progress when one considers that his experience of jazz has probably been limited to records and Voice Of America broadcasts heard in Poland. His playing transcends the expected type of phrasing, splaying across the 'traditional' breaks in the chorus construction. His tone, incisive with a cutting edge, brings to mind the attack of Sonny Criss and Jackie McLean.

The writing is by members of the quartet, with the exception of Kern's 01' Man River, of course, and takes in a variety of moods. Generally speaking, the work of the pianist, bass player and drummer is adequate rather than inspired, but the deep-rooted intensity of the leader's alto compensates for this. It would be interesting to hear Zbigniew Namyslowski after he had spent, say, six months working in New York with men such as Billy Higgins, Elvin Jones and Jimmy Garrison. This LP was made in London last summer during the Polish quartet's visit to this country. Readers may recall their appearances at the Ronnie Scott Club, the Richmond Jazz Festival and on a BBC broadcast, all of which opened a few eyes—and ears—to the advanced state of jazz in Poland. A.M. --- polish-jazz.blogspot.com

Fragment książki Historia Jazzu w Polsce (K. Brodacki), str. 265:

Kwartet spodobał się w Anglii tak bardzo, że firma Decca zaproponowała nagranie płyty, do czego doszło w Londynie w sierpniu 1964 r. Ten pierwszy longplay polskich jazzmanów, nagrany i wydany za granicą*, otrzymał tytuł Lola - Zbigniew Namysłowski Modern Jazz Quartet. Są na nim utwory lidera oraz Gulgowskiego i "krakowiak" Ol' Man River. Prócz Loli i Piątawki godna uwagi jest Rozpacz, w której Namysłowski zastosował efekt przyspieszenia tempa (accelerando), w jazzie rzadko spotykany (taki agogiczny manewr zastosują też Komeda i Kurylewicz). W improwizacji altu, często granej w trio bez fortepianu i daleko odchodzącej od pierwotnej harmonii tematu, są zestawione z sobą krótkie motywy w sposób przypominający grę Ornette'a Colemana lub Erica Dolphy'ego, a więc ujawniają się freejazzowe skłonności artysty. Nigdy jednak Namysłowski nie stanie się muzykiem freejazzowym tout a fait, skorzysta jedynie z pewnych free jazzowych elementów, gdy mu to będzie potrzebne. --- welovepolishjazz.blogspot.com

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1. Rozpacz
2. Bye Bye Black Cat
3. Balbina
4. Der letzte Tag
5. Szafa
6. Blues Shmues
7. Piatawka
8. Straszna Franka

Zbigniew Namyslowski - alto saxophone;
Joachim Kuhn - piano;
Janusz Koslowski - bass;
Czeslaw Bartkowski -drums

Recorded live at Filmtheater Kosmos, Berlin, November 30, 1965

This is an iconic recording by the Polish Jazz quartet led by saxophonist Zbigniew Namyslowski, with German pianist Joachim Kühn, bassist Janusz Kozlowski and drummer Czeslaw Bartkowski. Recorded live on November 30, 1965 at the East Berlin Kosmos cinema, this is a quintessential piece of Polish and European modern Jazz history. Of the eight compositions present on this album, seven are by Namyslowski and one is by Kühn.

In order to fully comprehend the meaning of the music captured here, one must in fact look at (and hear) three separate recordings by the Zbigniew Namyslowski quartet spanning a mere one and a half year period, which fully present the history of the Polish Jazz in the making. Starting with the album "Lola", recorded in August 1964 in London, which was the first Jazz album recorded and released beyond the Iron Curtain by an East European artists, followed by this album from late 1965 and finally by the album "Zbigniew Namyslowski Quartet" recorded in January 1966, which was Namyslowski's first recording released as part of the legendary "Polish Jazz" Series.

In the liner notes accompanying this album German critic / historian Bert Noglik describes the historic background and the enormous significance of the modern Polish Jazz, which developed independently, almost isolated from the sources of information and influences, reliant only on sporadic radio broadcasts, few LPs trickling illegally and played till they were flat and ever rarer visits abroad. The fact that the Polish Jazz scene was so incredibly vibrant, inventive and beyond all revolutionary is one of the greatest miracles, which escape any attempt of logical or sociological explanation. But the fact remains that Namyslowski and many other Polish Jazz musicians spontaneously re-invented modern Jazz by daring to go where nobody ventured before.

The presence of the German pianist / composer Joachim Kühn is another fabulous bonus. Kühn would of course become one of the great leaders of the German Jazz scene in the years to come, but first he drifted where the great East European Jazz revolution was happening, living in 1964 in Czechoslovakia and playing with the legendary SHQ led by Karel Velebny and then moved to Poland, where he lived in 1965 and met Namyslowski, only to be invited to sit in the piano chair of his quartet. The following year Kühn, like many other fellow East German musicians, would move over to the West and develop a fabulous musical career of his own.

The music is, of course, absolutely brilliant and the live setting allows for a considerably less constrained treatment of the themes, allowing for truly expanded improvisations, one of which goes beyond the half hour mark, something which was completely unthinkable earlier on. Again, when examining the three a.m. albums, it is interesting to see how the same compositions developed, which of them survived and which were dropped and most interestingly noting Namyslowski's fascination with odd meters, which would become his trademark.

Drummer Bartkowski, who is the only musician present on all the three a.m. recordings alongside Namyslowski, is an outstanding example of how these young musicians developed rapidly, almost overnight. His contribution is an integral part of the music. Bassist Kozlowski, who plays on this album, was also present on the studio album recorded a few months later. His performance is also absolutely top notch.

Surprisingly enough, the sound quality is very decent compared to other archival recordings of that period, which enhances the overall experience of listening to these fabulous recordings. In all honesty there have been very few other archival Polish Jazz discoveries, if any at all, which are comparable to this monumental document. The fact that this music was buried for over forty years is a crime, but now that it finally sees the light of day, all serious music connoisseurs should be absolutely delighted. Such gems are as rare as the Koh-i-Noor and should be treated accordingly. Absolutely essential! ---Adam Baruch, polish-jazz.blogspot.com

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01. Total Incompetence
02. Half Done Chicken
03. Samba Under Control
04. Something To Sing
05. Five In One
06. What's In Yemikoy
07. Samba Przestawianka

Zbigniew Namyslowski - saxophones, flute
Janusz Skowron - piano
Zbigniew Wegehaupt - bass
Cezary Konrad - drums
Maciej Strzelczyk - violin (tracks 5,6,7)

This is a brilliant album by veteran Polish saxophonist / composer Zbigniew Namyslowski, one of the pillars of modern Jazz in his country. A superb player and a gifted composer, Namyslowski first as a member of the Krzysztof Komeda's group and later as a leader of his numerous ensembles created excellent music and served as a model to generations of Jazz players in his country. This album, one of very few live recordings by Namyslowski, was captured at Warsaw's Jazz Jamboree festival and features one of the strongest quartets Namyslowski ever led, with pianist Janusz Skowron, bassist Zbigniew Wegehaupt and drummer Cezary Konrad. Violinist Maciej Strzelczyk joins the quartet on a couple of tunes. All seven compositions performed are by Namyslowski and portray his wonderful sense of melody, polyrhythmic approach and tendency to incorporate World Music elements in his music. Two of the tracks are over 10 minutes long, which allows plenty of space for extensive improvisations. I have no idea why this album is entitled "The Last Concert" (perhaps this was the last concert with this particular quartet?), as this certainly wasn't Namyslowski's last live performance and he's still playing brilliantly twenty years later, to the delight to his many admirers and fans, as well as writing great music. For lovers of Polish Jazz, this is an absolute classic, which should be a part of any decent Jazz collection. Highly recommended! ---Adam Baruch, polish-jazz.blogspot.com

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