Jazz

Grazyna Auguscik & Paulinho Garcia – Fragile (2000)

2011-10-28T18:30:42Z

Grazyna Auguscik & Paulinho Garcia – Fragile (2000)


1. Noite Dos Mascarados 				play		
2. Voce 		
3. Fragile 		
4. A Ra 		
5. Bridges 		
6. Cancao Da Estrada Sem Fim (Piosenka z niekończącej się drogi) 		
7. Batida Diferente					play 		
8. Ponta De Areia 		
9. Ponteio 		
10. Samba Em Preludio 		
11. Agua De Beber 		
12. Esse Seu Olhar / So Em Teus Bracos 		
13. The Girl From Ipanema / Garota De Ipanema 		
14. So Danco A Samba

Grazyna comes from Poland and sings in Portuguese, English and scats with Chicago Brasileiro Paulinho Garcia. This is a beautiful recording of vocal duets and acoustic guitar with some light percussion overdubs from Paulinho (he was once a percussionist in Brazil). The program consists of well-known Brazilian standards like Voce, A Ra, Bridges, Agua de Beber and So Dance Samba among others. My personal favorite is their treatment of Sting's haunting Fragile, a tune that is destined to become a standard.

Grazyna and Paulinho recently completed a very successful two-week tour of Poland; complete with two concerts that were broadcast internationally via the Internet on May 5 and 8. Paulinho told me that they received hundreds of complimentary emails from all over the world following these concerts. This is a recording of a new artist that is destined to go somewhere in the music community. --- jazzinchicago.org

“Fragile” in collaboration with one of the best Brazilian singer and guitarist Paulinho Garcia was TOP 20 JAZZ ALBUMS of the year 2000 on WBEZ CHICAGO 91.5 FM National Public Radio. --- paulinhogarcia.com

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Grazyna Auguscik & Urszula Dudziak - To i Hola (2000)

2009-10-16T20:36:07Z

Grazyna Auguscik & Urszula Dudziak - To i Hola (2000)


1. Przasniczki
2. Oberek
3. Cyt, cyt
4. To i hola
5. Dwa serduszka, cztery oczy
6. Preludium c-moll (Chopin)
7. Kukuleczka kuka
8. W olszynie
9. Kadzioleczka
10. Wierzba
11. Mazurek F-dur (Chopin)

Musicians:
Grażyna Auguścik, Urszula Dudziak – vocals, backing vocals
Peter Burman – keyboards
Ulf Bandgren – guitar
Andres Jormin – bass
Wojtek Góral – soprano saxophone
Stefan Pettersson – percussion
Terje Sundby – drums

Singer, composer, arranger, and producer Grażyna Auguścik has won the praise and admiration of music critics, jazz enthusiasts and even non-jazz audiences with a singular voice that speaks a universal language.

She is one of the most intriguing contemporary vocalists on today’s World jazz scene. Her elusive style challenges traditional definitions of jazz and show vocalist and musician without boundaries. Her unorthodox approach to rewriting classic works is at once a tribute to its authors as well as an adventure into uncharted territory. Her originals give a fresh taste of uncanny flavor.

Her professional music career She began in Europe, completed her studies in 1992 at the prestigious Berklee College of Music in Boston, and has since become a prolific collaborator shearing the stage with such jazz notables as Jim Hall, Michael and Randy Brecker, Bobby Enriquez, John Medeski, Paul Wertico, Kurt Rosenwinkel, Robert Irving III, Michal Urbaniak, Terry Callier, Patricia Barber, John McLean, Andrzej Jagodzinski, Jarek Bester and many others.

Since 1994, Grazyna has made Chicago her home where she performs at the legendary Green Mill, the Chicago Cultural Center, the Millennium Park, named just few. Her appearances at the Chicago Jazz Festival and the World Music Festival in Chicago are always highly anticipated. Amidst her active schedule of Worldwide performances, Grazyna has managed to record, produce and distribute fourteen albums, ten under her own record label, GMA Records, and appearing on as many projects as a guest. ---last.fm

Urszula Dudziak. Born on October 22, 1943, Straconka, Poland. Although Dudziak studied piano formally for some years, she began to sing in the late 50s after hearing records by Ella Fitzgerald. Within a few years she was one of the most popular jazz artists in her native country. She met and later married Michal Urbaniak, recording with him during the 60s. In the late 60s they began to travel overseas and in the 70s settled in New York. Language barriers hold no problems for her, as she customarily eschews words in favour of a wordless vocalizing that is far more adventurous than scat. Already gifted with a remarkable five-octave range, Dudziak employs electronic devices to extend still further the possibilities of her voice. She has frequently worked with leading contemporary musicians, including Archie Shepp and Lester Bowie, and was a member of the Vocal Summit group, with Jay Clayton, Jeanne Lee, Bobby McFerrin, Norma Winstone, Michelle Hendricks, and Lauren Newton. Although her remarkable talent is worthy of greater exposure, Dudziak’s chosen style has meant that she has remained relatively unknown except to the cognoscenti. ---last.fm

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Grazyna Auguscik - Don't Let Me Go (1996)

2013-09-04T15:47:44Z

Grazyna Auguscik - Don't Let Me Go (1996)


1 Leaving 	4:23 	
2 Wail 	3:54 	
3 Rosemary's Baby 	6:07 	
4 So Reminding Me 	5:25 	
5 Don't Let Me Go	4:26 	
6 Glide 	4:55 	
7 Dreambird	5:50 	
8 Times Like These 	7:28 	
9 Loving Hearts (2 Serduszka 4 Oczy)	4:52 	
10 Hand In Hand 	5:36 	
11 Lullaby For My Mother	4:42 	

Musicians:
Grazyna Auguscik – vocals
John McLean – guitar (1, 3, 4, 8 to 10)
Harrison Bankhead – bass (1, 3 to 6, 8 to 10)
Peter Huffaker – bass (2, 5, 11)
Ben Lewis – piano (1, 3, 4, 6, 8 to 10)
Ernie Adams – drums (1, 3 to 6, 8 to 10)
Alejo Poveda – percussion (1, 3, 4, 9)
Bob Long – piano (5)
Susan Maskaleris – piano (7)
Fernando Huergo – bass (7)
Jay Azolina – guitar (7)
Michał Urbaniak – soprano saxophone (7)
Karl Latham – drums (7)
Gregory Heiner – percussion (7)
Paulinho Garcia – guitar (11)
Mieczysław Wolny – flute (11)
Hector Garcia – percussion (11)

"Grazyna Auguscik is not merely a vocalist but, rather a musician who has a purpose for every note she sings, for every phrase she lingers upon — or dramatically cuts short. There are no throwaway notes, no glib theatrics, no self-congratulatory turns of phrase here: Auguscik has intelligence to use her voice in thoroughly unexpected ways”. “... Grazyna is emerging as an individual voice in a world of sound-alike singers ... Auguscik approaches the art of jazz singing with fervor and intensity. She treats even the most well-worn fare with a spirit of adventure ..." ---amazon.com

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Grazyna Auguscik - Lulajze - The Lullaby For Jesus (2005)

2012-12-07T17:29:50Z

Grazyna Auguscik - Lulajze - The Lullaby For Jesus (2005)


01 Lulajze Jezuniu (Traditional Polish Carol) - A Cappella 			 	
02 Mizerna cicha . Only A Manger Bed (Traditional Polish Carol) 			 	
03 Cicha noc . Silent Night 			 	
04 A Cradle in Bethlehem 			 	
05 Witaj gwiazdko złota. Welcome Golden Shining Star (Traditional Polish Carol) 		
06 A La Nanita Nana . Sleep My Little Jesus (Traditional Spanish) 			 	
07 Lulajze Jezuniu . Lullaby Sweet Jesus 			 	
08 Oj Maluski, Maluski . Oh, Little One (Traditional Polish Carol) 			 	
09 Little Town of Bethlehem 			 	
10 Nino Lindo . Beautiful Baby (Traditional Venezuelan) 			 	
11 Gdy sliczna Panna . When The Beautiful Virgin Mary (Traditional Polish Carol) 		
12 Ave Maria (F. Schubert. Rev. Burton Ames) 			 	
13 Lulajze Jezuniu/ Lullaby Sweet Jesus (instrumental)

Musicians:
   Grazyna Auguscik - vocals
   John McLean - guitars
   Larry Kohut - bass
   Jim Gailloretto - soprano saxophone, flute, bass clarinet
   Tom Hipskind - drums, percussion (6, 7, 12)
   Ernie Adams - drums, percussion
   Javier Gonzales - cajon, maracas llaneras (10)

A wonderfull CD form beginning to end. This CD is pure magic, I can't stop playing since I got it 2 months ago, every piece on it is done beautifully. Auguscik's voice is Heaven and will be ejoyed even if one does not understand the languages she sings in (Polish, English, Spanish, Latin) I recommend it very very highly. Buy it, you will not be disappointed..... Marie ---cdbaby.com

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Grazyna Auguscik and Paulinho Garcia - The Beatles Nova (2011)

2012-10-23T17:02:28Z

Grazyna Auguscik and Paulinho Garcia - The Beatles Nova (2011)


01 - When I'm Sixty-Four [3:3]
02 - Thing We Said Today [3:12]
03 - Because [2:21]
04 - Norwegian Wood [3:18]
05 - Hey Jude [4:31]
06 - We Can Work It Out [2:56]
07 - Blackbird [2:47]
08 - I Will [4:1]
09 - Two Of Us [3:23]
10 - Hello, Goodbye [2:2]
11 - Nowhere Man [2:59]
12 - In My Life [3:13]
13 - Here Comes The Sun [3:16]
14 - A Hard Day's Night [3:11]

Musicians:
Grazyna Auguscik - voice
Paulinho Garcia - voice, guitar, percussion
Heitor Garcia - percussion
Brett Benteler - acoustic bass
Steve Eisen - flute, sax

Thursday I dropped by Katerina's for a couple of sets by Paulinho Garcia, the Brazilian-born Chicago guitarist and vocalist who's one of the city's--if not the country's--major interpreters of the classic Brazilian repertoire. Though I'm a longtime fan, this was my first opportunity to see Garcia paired with his occasional singing partner, Grazyna Auguscik, a Polish-born siren who's been a force in Chicago jazz for more than a decade.

Despite the disparity in their appearances--Garcia bright-eyed and avuncular, with a cap of snowy white hair; Auguscik regal and serene beneath a concealing blond fringe--when they began harmonizing, the effect was hypnotic. Garcia's warm baritone, with just a hint of buzz, twined with Auguscik's cool, clear soprano as though they were created specifically to complement each other. Covering a wide range of Brazilian tunes, they cooed and crooned, purred and scatted. Katerina, the club's proprietor, called it "the most beautiful collective whisper you'll ever hear," and the uncanny, almost intoxicating shifts in texture and rhythm were amplified by shifts from Portugese to English to Polish. In fact, for me the night's most significant revelation was the way Polish consonant sounds--all those affricates and fricatives that English speakers find so hard to place on the tongue--meld so gorgeously into bossa nova and samba. The syllables seem to caress the melodies, like sea foam washing up on a beach. In one number--Marcos Valle's "Summer Samba"--Garcia sang the lyric in English, alternating with Auguscik singing in Polish, and there was no question which suited the tune better.

The emotional range of the program was also remarkable. Brazilian music is known for its lightness, its deftness; for this reason it's often hastily dismissed as disposable pop confectionery. But the work of the great Brazilian composers, like Antonio Carlos Jobim and Vinicius de Moraes, is tremendously sophisticated; it's slenderness and fleetness are deceptive--in fact it has the structural strength to carry the weightiest themes on its slender back. Garcia and Auguscik brought these same qualities to some non-Brazilian songs they brought into the mix, including Sting's "Fragile" (which Katerina made them play twice), the Beatles' "Blackbird," and Ned Washington and Victor Young's "My Foolish Heart." Polish composers were represented both by a modern tune and by an arrangement of a melody by Frederic Chopin, who Garcia recognizes an influence on Brazilian music--thus giving him and Auguscik a common musical antecedent, and a stronger rationale for their partnership. Not, given the results, that they need one. --- Robert Rodi, Editorial Reviews

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Grażyna Auguścik Orchestar - Inspired by Lutosławski (2014)

2018-10-15T08:50:56Z

Grażyna Auguścik Orchestar - Inspired by Lutosławski (2014)


1    Owiesek (Tryptyk I)
2    Taneczne 4
3    Taneczne 3
4    Lasowiak
5    Róża
6    Przyjechał Jasio
7    A W Tej Studni (Tryptyk II)
8    Hurra Polka
9    Zawierucha
10    Bąk
11    Fujarka
12    Kukułeczka (Tryptyk III)
12    A W Tej Studni (Radio Edit)

GRAŻYNA AUGUŚCIK – lead vocals

TRIO JANA SMOCZYŃSKIEGO:
Jan Smoczyński - piano, keyboards, percussion, programming, voice
Wojciech Pulcyn – double bass
Tomasz Wałdowski – drums
Sylwia Smoczyńska - vocals

JANUSZ PRUSINOWSKI TRIO:
Janusz Prusinowski – violin, accordion, vocals
Michał Żak – clarinet, block flute, shawm
Piotr Piszczatowski – baraban drum, framedrum
Piotr Zgorzelski – folk bass

ATOM STRING QUARTET:
Dawid Lubowicz – violin, vocals
Mateusz Smoczyński – violin, vocals
Michał Zaborski – viola, vocals
Krzysztof Lenczowski – cello, vocals

This extraordinary album is a superb example of intelligent contemporary music, which is completely unlimited by the imaginary bounds set up by genres and other labeling concepts. Polish vocalist Grażyna Auguścik embarked on this ambitious project with the help of some of the most important musicians on the Polish scene, who cover a wide scope of stylistic spheres including Classical Music, Folklore and Jazz, all of which have been already visited by her during her prolific career.

The music combines Polish Folk songs and the work of the esteemed Polish modern Classical composer Witold Lutosławski, which were based on or inspired by Polish Folklore. Lutosławski, like all the composers living and working behind the Iron Curtain, was forced (directly or indirectly) by the regimes ruling Eastern Europe at the time, to include folkloristic motives in his compositions, often completely artificially and against all aesthetic or compositional reasoning. The refusal to do so would effectively mean an artistic ban by the authorities and in extreme cases political persecution. The compositions included here were created by Lutoslawski in the 1950s, the most oppressive period in the Socialist era, and for many years thereafter were considered as his less important and definitely less appreciated works. However, in retrospect the composer’s genius obviously overcame the obstacles and this music turns out to be a completely relevant component of his grand legacy.

Auguścik combined forces with the brilliant keyboardist/composer/arranger Jan Smoczyński, who was entrusted with the enormous task of arranging all the music, both the Classical and Folklore pieces, and than participate in the recording, as well as being the sound engineer, since the recording took place in his now legendary Studio Tokarnia, with spectacular sonic results, as usual in his case. In many respects this album is as much a credit to Auguścik as it is to Jan Smoczyński. The research of the Polish Folklore as well as the leadership of the ensemble performing the folk songs was left in the hands of violinist Janusz Prusinowski.

Overall twelve musicians take part in the entire project in addition to Auguścik, who sings the lead vocals: the Jan Smoczyński Trio (with bassist Wojciech Pulcyn, drummer Tomasz Waldowski and vocalist Sylwia Smoczyńska), the Janusz Prusinowski Trio (with clarinetist Michał Żak, percussionist Piotr Piszczatowski and bassist Piotr Zgorzelski) and Poland’s most celebrated string quartet, the Atom String Quartet (violinists Dawid Lubowicz and Mateusz Smoczyński, violist Michał Zaborski and cellist Krzysztof Lenczowski).

The album comprises of twelve pieces (and a radio edit bonus), ranging from “pure” folklore songs, which were the original songs upon which Lutoslawski based his compositions, to more arranged pieces of folk songs and Lutosławski’s pieces performed by the ensemble and finally to a quite Jazzy songs based on folkloristic motifs. In spite of the variety and wealth of the musical material the album creates a coherent and aesthetically pleasing outcome, which is a music connoisseur’s wet dream. The beautiful arrangements, passionate performance and depth of respect for the Polish musical tradition and legacy are all combined herein with truly spectacular results.

Auguścik takes a step back from the limelight on this album, preferring to play the role of an integrator rather than the leading person. She sings beautifully, as always, but with less spectacular attitude, almost leaving out completely her Jazzy improvisations and vocalese acrobatics, which are her trademarks. This is a very courageous artistic decision, for which she deserves a lot of respect.

There is no doubt that this is definitely one of the most important and beautiful albums released in Poland in 2014, a “complete” multi-layered, multi-faced effort involving the talents of many wonderful musicians and setting a golden standard for future projects, which will be very difficult to match end even more so to rise above. Polish music scene and Polish Culture is glorified by this project, which should make all Poles proud. Being realistic, however, it will probably reach only e very limited scope of listeners, which of course is tragic. My deepest thanks to everybody involved in this project for the pleasure it causes to this humble listener. ---grazynaauguscik.com

Grażyna Auguścik to światowy fenomen. W zasadzie nie ma drugiej takiej wokalistki. To znaczy może jest, gdzieś w Tajlandii, Maroku, Chile, lub Islandii, ja jednak jeszcze o tym nie wiem. Oprócz niemierzalnej żadnymi jednostkami, zwyczajnie nieskończonej muzykalności jej cechą unikalną jest absolutnie fenomenalna wszechstronność. Zadziwiająca umiejętność absorbowania muzycznych doświadczeń i inspiracji, przetwarzania ich w odkrywczy sposób i pozostawania sobą w skrajnie różnych muzycznych wcieleniach.

W ciągu ostatnich kilku lat potrafiła zagrać w unikalny, swój własny, pogodny, egzotyczny z punktu widzenia kompozycji w rodzaju „A Hard Day’s Night”, „Hey Jude”, czy „Norwegian Wood”, brazylijski sposób repertuar The Beatles – to album „The Beatlen Nova”. Zmierzyła się też w niezwykle udany, twórczy sposób z niezwykle emocjonalną twórczością zupełnie nieznanego w Polsce Nicka Drake’a – to z kolei album nagrany z jej amerykańskim zespołem – „Man Behind The Sun”. W Chicago gra w najważniejszych klubach, kiedy przyjeżdża do Polski, nie boi się muzycznych eksperymentów – jak choćby absolutnie spontaniczne improwizacje z zespołem The Intuition Orchestra i legendarnym Zdzisławem Piernikiem. Gra w duetach – śpiewając jazzowe ballady z najlepszymi polskimi pianistami, pracując nad nowym materiałem z Jarkiem Besterem, pięknie śpiewa kolędy. Pewnie o wielu rzeczach zapomniałem…

Tym razem wspólnie z Janem Smoczyńskim postanowiła przybliżyć jazzowej publiczności – na początek w Polsce, ale plany amerykańskie są również realne, muzykę Witolda Lutosławskiego. Kiedy usłyszałem o tym projekcie po raz pierwszy – osoba z otoczenia Grażyny od razu stwierdziła, że mnie pewnie ten projekt nie zainteresuje, bo ja przecież innej muzyki słucham. Z takimi kategorycznymi stwierdzeniami nie polemizuję. Ja wiem swoje. Słucham Grażyny Auguścik od zawsze, i wiem, że dla niej materia muzyczna może być w zasadzie dowolna, choć oczywiście im ciekawsza i muzycznie trudniejsza tym lepiej…

Tak jest i w tym wypadku, bowiem większości słuchaczy – nawet jeśli nazwisko Witolda Lutosławskiego z czymś się kojarzy – to z socrealistyczną wersją Warszawskiej Jesieni i chałturami, które uprawiał wstydliwie kryjąc się za pseudonimem Dervid. Sam kompozytor – jeden z naszych największych, zanim został twórcą awangardowych utworów symfonicznych pisywał piosenki dla dzieci i inne błahe utwory, dziś w dużej części zapomniane, w których inspirował się polską muzyką ludową.

To właśnie ten repertuar stał się podstawowym tworzywem do stworzenia niezwykłego, nowoczesnego, a jednocześnie na wskroś ludowego albumu Grażyny Auguścik. Artystce towarzyszą aż trzy zespoły – Trio Jana Smoczyńskiego, zespół Jana Prusinowskiego, niestrudzonego badacza i popularyzatora polskiego folkloru, dzięki któremu można dowiedzieć się, że polska muzyka ludowa powstawała nie tylko w okolicach Zakopanego, oraz Atom String Quartet.

Ten rozbudowany aparat wykonawczy stworzył dzieło niezwykłe. Część utworów – jak choćby „Taneczne 3” to rzeczy, które należy wydać na winylach i rozdać DJom w najlepszych klubach na całym świecie – za rytmem nikt nie nadąży, ale zabawa będzie przednia. Tak fantastycznie zrealizowanego materiału dawno nie słyszałem z polskiego albumu. Inne utwory są bardziej tradycyjne – brzmią jak próba uchwycenia klimatu w którym powstawały. Mimo tak wielkiej rozmaitości, połączenia klasycznego Atom String Quartet z jazzowym zespołem Jana Smoczyńskiego i wiernym tradycji ludowej muzykom Jana Prusinowskiego, album brzmi niezwykle spójnie – to zasługa niezwykłego głosu Grażyny Auguścik.

Trochę obawiałem się o ten repertuar, mógł przecież powstać album strawny jedynie dla polskiego słuchacza. Powstała jedna z najlepszych w tym roku na świecie płyt wokalnych i z pewnością najlepsza płyta w obszernej dyskografii Grażyny Auguścik. ---Rafał Garszczyński, jazzpress.pl

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Grazyna Auguscik – The Light (2005)

2014-03-07T16:51:40Z

Grażyna Auguścik – The Light (2005)


1. Until it's time for you to go 		5:33 	
2. Don't explain 	6:19 	
3. Apelo 	5:11 	
4. Chorado 		3:09 	
5. For all we know 		3:50 	
6. If I were blue 	5:56 	
7. Pradizer Adeus 	3:15 	
8. Memoria a Fado 	3:50 	
9. Pray 		6:25

Grażyna Auguścik – vocals
Jan Hjalmarsson – cello
Per Jacobsson - cello
Stefan Pattersson – keyboards, bass
John McLean – guitars
Lukas Edman – percussion
David Onderdonk -guitar
Thomas Gustafsson – saxophone
Juan Ochoa – bass
Pulinho Garcia -guitar, vocals

Singer, composer, arranger, and producer Grazyna Auguscik has won the praise and admiration of music critics, jazz enthusiasts and even non-jazz audiences with a singular voice that speaks a universal language. Drawing on influences as diverse as Polish folk music, Bud Powell, Keith Jarrett and Chopin, Grazyna's elusive style challenges traditional definitions of a jazz singer without pretense or sentimentality. Her unorthodox approach to rewriting classic works is at once a tribute to its authors as well as an adventure into uncharted territory. Grazyna is one of the most intriguing contemporary vocalists on today's World jazz scene.

Her professional music career She began in Europe, completed her studies in 1992 at the prestigious Berklee College of Music in Boston, and has since become a prolific collaborator with such jazz notables as Michael and Randy Brecker, Jim Hall, Bobby Enriquez, John Medeski, Paul Wertico, Kurt Rosenwinkel, Robert Irving III, Michal Urbaniak, Terry Callier, Patricia Barber, Leni Stern, Eric Hochberg, John McLean, David Onderdonk, Ernie Adams, Ron Perrillo, Jarek Bester and many others.

Amidst her active schedule of performances in the U.S., Europe and Asia, Grazyna has managed to record, produce and distribute seven albums, four under her own record label, GMA Records, and appearing on as many projects as a guest.

Her album "Pastels" was one of the best in 1998, chosen by National Public Radio listeners. New Millennium brings her three new albums, and idea for the first World Music Festival in Poland. "Fragile" in collaboration with one of the best Brazilian singer and guitarist Paulinho Garcia was TOP 20 JAZZ ALBUMS of the year 2000 on WBEZ CHICAGO 91.5 FM National Public Radio. Her latest "River" 2002 release placed her as one of the hottest young jazz talents in the country.

In Year 2003 Grazyna is receiving 2002 Twirlie Nomination for Top 15 FEMALE VOCALISTS and she is nominated by 22nd Annual Chicago Music Awards for Best Female Vocalist of 2002. In month of February 2003 and 2004 She was awarded as Best Jazz Vocal of 2002 and 2003 by a prestigious European "Jazz Forum Magazine".

Also 2002 Fujitsu Concord Jazz Festival awarded her as TOP VOCAL, and the album "Hamage" Three for Brazil recorded for Pony Canyon Records in Japan was on TOP 20 JAZZ ALBUMS in Asia. 2003 freshly released "Past Forward" by Grazyna Auguscik though it once again resists easy classification because of its musical eclecticism, is jazz in all its contemporary potential, pulsating, exhilarating, eastern musical origins leading to the past, uncanny impression of wholeness, featuring remarkably talented accordion player Jarek Bester, with her alto - warm and hypnotic simply brilliant, it is another from "Graz" must-hear experience.

After two very successful tours in Europe this year her 2004 appearance at one of Japan's largest jazz festivals, Jazz Elite, with Three for Brazil was one of the highlights next to Jim Hall Trio. Her next release "The Light" as of the beginning of 2005 is already highly acclaimed. ---cdbaby.com

“The Light” jest rodzajem muzycznego pamiętnika, bądź swego rodzaju wyśpiewaną autobiografią Artystki. Album wypełniają ulubione piosenki Grażyny Auguścik, dodatkowo skomentowane na okładce płyty jako utwory, które częstokroć stały się Jej fascynacją i inspiracją.

Choć podczas słuchania albumu, niemal w każdym utworze towarzyszy nam elektronika, wielkim błędem byłoby stwierdzenie iż to ona ją zdominowała. Płytę charakteryzuje kameralny nastrój i intymność. To także płyta wyjątkowa pod względem interpretacji wokalnej Grażyny. Mniej na niej wzniosłych, ekspresyjnych i bogatych wokaliz w niespotykanym wręcz wachlarzu umiejętności jakim dysponuje wokalistka, a zdecydowanie więcej elementów stawiających na wytworzenie cudownego klimatu całości.

Aranżacje są często bardzo oszczędne mimo udziału w nagraniach tak wyśmienitych muzyków jak choćby gitarzyści: Paulinho Garcia, John McLean, David Onderdonk czy wspaniały saksofonista: Thomas Gustafsson. Za różnego rodzaju sample, programowanie syntetycznych efektów na płycie, odpowiedzialny jest natomiast basista: Stefan Pattersson, współpracujący już z Auguścik w ramach poprzednich projektów. Zaskakująco brzmi: “Don’t explain” z repertuaru Billie Holiday – jakże odmienna to wersja od znanych dotychczas! W tle elektronicznie spreparowane dźwięki perkusji, dwie wiolonczele (Jan Hjalmarsson i Per Jacobsson), a w drugiej części wyśmienity saksofon sopranowy Gustaffsona. Sama Auguścik natomiast na koniec raczy nas bardzo rozimprowizowanymi wokalizami. Wyjątkowa i pierwsza jak dotąd tak odmienna od pierwowzoru interpretacja tego standardu jaką dane mi było poznać!

“Apelo” to nic innego jak piękny wiersz Jonasza Kofty do muzyki B.Powella, spopularyzowany też przez Hannę Banaszak jako: “Samba przed rozstaniem”. G.Auguścik towarzyszy w tym nagraniu jej wieloletni (jak miało się okazać w następnych latach) partner muzyczny: Paulinho Garcia. Poszczególne zwrotki śpiewane są przez obu artystów na przemiach w dwóch różnych językach. Doskonale brzmi też gitara Garcii i wspaniałe dźwięki fortepianu na koniec. Ta piękna samba stać się miała zaczątkiem wspólnych projektów obu artystów (płyty: ”Andanca”, 2008 i “Beatles Nova”, 2011).

Niezwykły klimat stwarzają dźwięki perkusji Lukasa Edmana i duet wiolonczelowy podczas: ”For all we know”. W tym nagraniu mamy okazję też wysłuchać świetnych partii gitary basowej S.Pattersona i dialogującego z wokalem saksofonu wspomnianego wcześniej T.Gustafssona. Wokalistce na płycie towarzyszyło w nagraniach kilku wyśmienitych gitarzystów. Jednym z nich jest John McLean, którego dźwięki gitary klasycznej są prawdziwą ozdobą leniwej i pięknie snującej się interpreatacji: ”If I were blue” Patricii Barber.

Zaskakuje brzmiący w języku portugalskim wokal Grażyny Auguścik podczas: ”Pradizer Adeus”. W jak dużym stopniu język, w którym śpiewa wokalistka potrafi zmienić sposób odbioru jej głosu! W utworze tym pojawia się też jedyne w swoim rodzaju brzmienie organów Hammonda.

Gdy na początku kończącej płytę: ”Pray” pojawiły się po raz kolejny sample, poczułem się tym już nieco zmęczony. Okazało się jednak, iż utwór ten to prawdziwa perła na płycie. Psychodeliczny nastrój, transcendentalne klimaty, w tle mantryczna melodia, dźwięki imitujące sitar… To doprawdy magiczne 6 i pół minuty tej płyty, a zarazem doskonałe jej zakończenie, po którym najzwyczajniej w świecie ma się ochotę nastawić płytę jeszcze raz od początku. ---grazynaauguscik.com

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