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Jazz - Verschenen op 12 februari 2013 | ECM

Hi-Res Booklet Onderscheidingen Hi-Res Audio - Sélection JAZZ NEWS - Stereophile: Recording of the Month
Since relocating to America from his native Europe, Polish trumpeter Tomasz Stańko has assembled a crack band to articulate his ever fluctuating, often experimental musical ideas. His New York Quartet, consisting of pianist David Virelles, bassist Thomas Morgan, and drummer Gerald Cleaver is a study in contrasts. The septuagenarian trumpeter proves as wily as ever on Wisława, a double-disc titled for the late poet and Nobel Laureate Wisława Szymborska, who passed away in 2012, and whose work and persona proved influential in composing the material for this set. Several of these pieces bear the titles of her poems. Stańko's signature brooding, cranky, tone-altering phrasing and disconsolate spirit of tenderness are apparent throughout, but they don't necessarily dictate the album's flow. Two versions of the title track bookend the album and showcase those qualities in balladic form, as do others such as "April Song"; there is also plenty of fire here, evidenced by the aggressive interplay of the rhythm section on tracks such as "Assassins" and "Metafizyka." "Mikrokosmos" is a Stańko showcase, offering at its opening all manner of squeals, skronks, sputters, and sharply angled tones before Virelles adds a Latin touch and the quartet settles into a groove. Likewise in the "Dernier "Cri," where the spirit of Miles Davis' second quintet is evoked. The second disc opens with "Oni," led by Morgan's bass walk. It commences impressionistically, yet develops into an easy grooving post-bop thanks to the bassist and Cleaver's shimmering cymbal work. "Tutaj - Here" offers scintillating -- though often subtle -- interplay between Virelles and the trumpeter, while "Faces" presents the pianist's forceful, canny, harmonic assertions that the rhythm section responds to with near glee. Stańko is at his most fiery in this driven post-bop number that also recalls the Davis quintet's fearless sense of exploration. Throughout this set, Stańko leads this band as he has many others: by example. His democratic sensibilities allow his players to be fully themselves through his compositions, in turn adding depth and heft to them. Wisława deftly celebrates in a deliberate way, not only the memory of an honored person in Stańko's life, but also the profound inspiration of her life's work upon his own. © Thom Jurek /TiVo
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Jazz - Verschenen op 14 april 2017 | ECM

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Jazz
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Jazz - Verschenen op 9 oktober 2009 | ECM

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Jazz - Verschenen op 1 januari 2004 | ECM

Hi-Res Booklet
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Jazz - Verschenen op 25 augustus 2006 | ECM

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Jazz - Verschenen op 5 maart 2002 | ECM

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Jazz - Verschenen op 4 oktober 1999 | ECM

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Jazz - Verschenen op 1 september 1997 | ECM

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Jazz - Verschenen op 1 januari 1997 | ECM

As ECM recordings go, Leosia is one of the label's, and certainly trumpeter Tomasz Stanko's, definitive introspective and sedate musical statements. Not that in either instance these qualities have been in short supply, but here those themes of lush romanticism, thinly veiled mysticism, and pure ethereal thought could not be more concentrated or emphasized. As sparse a brass player as there is in contemporary improvised music, Stanko takes it even further with hushed tones and thoughtful, fully formed melodies, reinforced by the always lovely piano playing of Bobo Stenson, able bassist Anders Jormin, and the reined-in drumming of the usually energetic Tony Oxley. The CD is bookended by the entire group performing together, but in the middle, duets and trios provide the center section of their boldly extraterrestrial improvisations. In the full quartet setting, the self-explanatory "Morning Heavy Song" sets a sad, funeral tone, followed by the duality of time faster than the melody lines in "Die Weisheit Von Le Comte Lautreamont" and "A Farewell to Maria" in a free-floating final parting. Five smaller groupings feature Oxley's tiny cymbal and percussive flickings with Jormin's bowed bass on "Brace," and "Trinity" with Stenson added, while Stanko swings "Forlorn Walk" in a free bop mode alongside Jormin and Oxley, but "Hungry Howl" and "No Bass Trio" continue the reflective sounds. The conclusionary "Euforila" and the title selection exude hope at the outset, but a somber mood returns, although Stanko's bolder trumpet asks more loudly for attention, and Stenson's piano rambles a bit in non-plussed disbelief. Clearly a project moved by the death of a friend, it is a reminder of how life is fleeting, and words unspoken until it is too late can muster these feelings of abject regret. © Michael G. Nastos /TiVo
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Jazz - Verschenen op 1 april 1976 | ECM

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Jazz - Verschenen op 26 januari 2004 | ECM

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Jazz - Verschenen op 1 januari 1997 | ECM

As ECM recordings go, Leosia is one of the label's, and certainly trumpeter Tomasz Stanko's, definitive introspective and sedate musical statements. Not that in either instance these qualities have been in short supply, but here those themes of lush romanticism, thinly veiled mysticism, and pure ethereal thought could not be more concentrated or emphasized. As sparse a brass player as there is in contemporary improvised music, Stanko takes it even further with hushed tones and thoughtful, fully formed melodies, reinforced by the always lovely piano playing of Bobo Stenson, able bassist Anders Jormin, and the reined-in drumming of the usually energetic Tony Oxley. The CD is bookended by the entire group performing together, but in the middle, duets and trios provide the center section of their boldly extraterrestrial improvisations. In the full quartet setting, the self-explanatory "Morning Heavy Song" sets a sad, funeral tone, followed by the duality of time faster than the melody lines in "Die Weisheit Von Le Comte Lautreamont" and "A Farewell to Maria" in a free-floating final parting. Five smaller groupings feature Oxley's tiny cymbal and percussive flickings with Jormin's bowed bass on "Brace," and "Trinity" with Stenson added, while Stanko swings "Forlorn Walk" in a free bop mode alongside Jormin and Oxley, but "Hungry Howl" and "No Bass Trio" continue the reflective sounds. The conclusionary "Euforila" and the title selection exude hope at the outset, but a somber mood returns, although Stanko's bolder trumpet asks more loudly for attention, and Stenson's piano rambles a bit in non-plussed disbelief. Clearly a project moved by the death of a friend, it is a reminder of how life is fleeting, and words unspoken until it is too late can muster these feelings of abject regret. © Michael G. Nastos /TiVo
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Jazz - Verschenen op 1 september 1995 | ECM

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Jazz - Verschenen op 14 april 2017 | ECM

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Jazz - Verschenen op 12 februari 2013 | ECM

Hi-Res Booklet
Since relocating to America from his native Europe, Polish trumpeter Tomasz Stańko has assembled a crack band to articulate his ever fluctuating, often experimental musical ideas. His New York Quartet, consisting of pianist David Virelles, bassist Thomas Morgan, and drummer Gerald Cleaver is a study in contrasts. The septuagenarian trumpeter proves as wily as ever on Wisława, a double-disc titled for the late poet and Nobel Laureate Wisława Szymborska, who passed away in 2012, and whose work and persona proved influential in composing the material for this set. Several of these pieces bear the titles of her poems. Stańko's signature brooding, cranky, tone-altering phrasing and disconsolate spirit of tenderness are apparent throughout, but they don't necessarily dictate the album's flow. Two versions of the title track bookend the album and showcase those qualities in balladic form, as do others such as "April Song"; there is also plenty of fire here, evidenced by the aggressive interplay of the rhythm section on tracks such as "Assassins" and "Metafizyka." "Mikrokosmos" is a Stańko showcase, offering at its opening all manner of squeals, skronks, sputters, and sharply angled tones before Virelles adds a Latin touch and the quartet settles into a groove. Likewise in the "Dernier "Cri," where the spirit of Miles Davis' second quintet is evoked. The second disc opens with "Oni," led by Morgan's bass walk. It commences impressionistically, yet develops into an easy grooving post-bop thanks to the bassist and Cleaver's shimmering cymbal work. "Tutaj - Here" offers scintillating -- though often subtle -- interplay between Virelles and the trumpeter, while "Faces" presents the pianist's forceful, canny, harmonic assertions that the rhythm section responds to with near glee. Stańko is at his most fiery in this driven post-bop number that also recalls the Davis quintet's fearless sense of exploration. Throughout this set, Stańko leads this band as he has many others: by example. His democratic sensibilities allow his players to be fully themselves through his compositions, in turn adding depth and heft to them. Wisława deftly celebrates in a deliberate way, not only the memory of an honored person in Stańko's life, but also the profound inspiration of her life's work upon his own. © Thom Jurek /TiVo
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Jazz fusion en jazz rock - Verschenen op 1 januari 1991 | Power Bros

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Jazz - Verschenen op 1 januari 2004 | ECM

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Jazz - Verschenen op 1 januari 1990 | Utopia - Mikri Arktos

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Jazz - Verschenen op 1 augustus 2008 | Newedition

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Jazz - Verschenen op 4 november 1970 | WM Poland - WMI