David Murray feat. Marcin Oleś & Bartłomiej Brat Oleś | Circles – Live in Cracow | Not Two Records

David Murray is of course one of the more important tenor saxophonists of his era – or make that any era. Judging by his extensive discography, he is ready to collaborate or engage in almost any musical project. Never one to rest on his many accomplishments, any recording with Murray is worth investigating. This release is no exception, although certainly it would not be the best place to begin one’s Murray research. For this collaboration, Murray connects with two brothers, bassist Marcin and drummer Bartlomiej Brat Oles, during a special concert with “Poland’s finest rhythm section”. This live show was recorded in Cracow as part of a festival and, as the liners state, Murray was throughly on board with this partnership, despite the fact that there apparently wasn’t much rehearsal time. As a result, many of the compositions present space for a blowing session of sorts, with modal vampsbeing the vehicle for the group’s interaction. Fortunately, Murray and the brothers sound like they enjoy one another’s company, with the brothers working as full partners whether out in front or in support mode. — Jay Collins Continue reading

Ken Vandermark | Marcin Oles | Bartlomiej Brat Oles | Ideas | Not Two Records

Our first contact with Ken Vandermark was just a handshake – at one of the concerts in Poland of the DKV formation. Marek Winiarski, the boss of NotTwo Records, introduced us to each other. Some time passed until we had the chance to play together for the first time. When the Vandermark Five gave a concert, at the Cracow music club Alchemia,we got together after and jammed. The idea of recording an album together was with us before the evening had ended. We had prepared original compositions for the recording session, but we talked before going into the studio, and after Ken Vandermark’s suggest we decided for the recording to be one of the free improvisation. We normally work in different musical fields and despite that, or maybe just because of that, every meeting like this brings about a new experience, even a kind of journey into the unknown… Marcin & Bartlomiej Brat Oles (album’s original linear notes) Continue reading

Andrzej Przybielski | Marcin Oleś | Bartłomiej Oleś | Abstract | Not Two Records

The album you are holding was recorded in 2003 and its origins go back to a couple of days in July we spent together recording the soundtrack for the TV Theater show (Parasite, directed by Marcin Wrona). As long-time devoted fans of Andrzej Przybielski’s music, after having collaborated with him for a number of years, we remain constantly impressed by his working methods and the way he views life through the prism of improvisation. At the same time, we believe his music has never been fully presented. That is why we dared produce this disk and be his accompanying musicians during the recording sessions. Most of the music recorded here has been made with no previous rehearsals, preparations or agreements, which reflects Andrzej’s working methodology as well as his firm conviction that real music does not require declarations and if it is to come into being, it wilt do so without them – hence the comments made ad hoc in the studio right before recording a given track. In order to underline the rawness of this music we decided to record it using only three microphones, so that each instrument could fill the same portion of space and therefore be equally important as the other two. — Marcin & Bartlomiej Brat Oles Continue reading

Marcin Oleś | Ornette On Bass | Not Two Records

Oles’ 12-track CD is a tribute to Ornette Coleman, creating versions of the alto saxophonist’s combo compositions using only his bass. Oles may be the first bassist to record a whole solo CD of Coleman themes. But considering many of the heads harken back to the country blues string band tradition, a bull fiddle would seem to be ideal for the task. You’ll certainly believe that once you’re heard the Krakow-based bassist traverse the tunes. For instance on “Humpty Dumpty”, he speeds up the tempo a bit, yet here and throughout the disc he allows the basic song-like quality of Coleman’s themes to come out. At times as well, his vibrations are such that plucks and the echoing malleable harmonic tones almost sound like two basses. — Ken Waxman Continue reading

Marcin Oleś | Theo Jörgensmann | Bartloliej Brat Oleś | Miniatures | Not Two Records

Robust circulating spirits guide the interaction of the trio of M.Oles, B.Oles and Jorgensmann on Miniatures. After an ethereal opening, strong, responsive bass lines by M.Oles carve a trail through uncharted territory while B.Oles clears all the underbrush with his power-laden drumming. Jorgensmann leaps into the clearing breathing fire through his basset clarinet (a slightly longer version of today’s instrument with extended range in the lower register), resulting in the group taking full charge with simulating improvised music. Although titled Miniatures, the CD’s selections evolve as fully developed, open statements on the creative art form. Tonally, the music dips to the deepest end of the sonic pool through M.Oles’ probing resonance and to its apex, where Jorgensmann creates a maelstrom with his fiery blowing. — Frank Rubolino Continue reading

Oleś | Mahall | Tiberian | Oleś | Contemporary Quartet | Not Two Records

We give you a CD that is a product of our thoughts, fascinations, and several months’ hard work. The material included on it is a selection of compositions by Polish 20th-century contemporary composers, from the early post-war years up to the present hence the names Grazyna Bacewicz, Stefan Kisieleswski, Marzena Komsta, Witold Lutoslawski, and Krzysztof Penderecki show up here, as do pieces from various periods of their creativity. The choice of these, as opposed to other compositions was influenced in equal measure by our tastes/our bent towards chamber, music, as well as prosaic factors such as availabilifty of scores. All compositions on the CD used what is known as classical notation, which was our choice. We applied available contemporary compositional techniques, however, in the construction, or definition, of the form of improvisation. Despite the fact that our primary inspiration was that of the themes of the original compositions, it was in the forms of the respective pieces that we sought variation, while maintaining an affinity with 20th-century contemporary music. Thanks to the fact that it was possible to invite such outstanding improvisers as Rudi Mahall and Mircea Tiberian to participate, we were largely successful in achieving this. — Marcin & Bartlomiej “Brat” Oles Continue reading