Today we have a real treat for you — a rare interview with Andrzej Trzaskowski, originally published in Polish “Jazz” magazine in the summer of 1965.The conversation was conducted by Jerzy Radliński, and reading it offers a unique opportunity to peer into the mind of the “brain of Polish jazz,” as Trzaskowski was once called.The interview spans a wide range of topics and, more than six decades later, remains captivating — especially when contrasted with the current state of jazz, particularly on the Polish scene.At the beginning of the conversation, Trzaskowski describes the early development of jazz in Poland between 1951 and 1956 — a period he helped shape as a member of the Melomani — as a kind of “primary school,” where style was just being discovered and technique refined solely through radio and records. He believes that during this time, Polish jazz underwent a remarkable transformation: from clumsy imitation of American artists to reaching the forefront of the European scene, evolving from exotic folklore into significant artistic music.Throughout the interview, Trzaskowski repeatedly emphasizes his fervent support for progress and modern jazz, viewing the jazz musician primarily as a creator and composer. He rejects traditional jazz as lacking creativity and advocates for subordinating emotional to formal discipline. Although he is skeptical of the notion of a “Polish school of jazz” defined by national folklore, he acknowledges that Polish jazz has a distinct identity abroad — with ensembles playing with American expressiveness but offering their own interpretation, avoiding direct imitation.He explains that the earlier reliance on American standards stemmed from the genre’s focus on improvisation and the excellence of available compositions. His drive for innovation leads him to experiment with the avant-garde and the “third stream” — an effort to renew jazz by incorporating techniques from European classical music, while ensuring that jazz’s core expressive and rhythmic identity remains paramount.Trzaskowski admits to a personal creative crisis that culminated in his debut of the free jazz concept in 1964 — designed as a way to liberate improvisation from harmonic constraints. Although many overlooked this innovation, he firmly declares that he will never simplify his complex ideas for a broader audience. He creates for an ideal listener with whom he identifies, prioritizing artistic fulfillment over popularity.

Astigmatic (1966) by Krzysztof Komeda is a groundbreaking album in the history of European jazz and is considered the composer’s most important work. Recorded in December 1965 in Warsaw, it features three expansive compositions: Astigmatic, Kattorna, and Svantetic, which blend modal jazz, free improvisation, and avant-garde techniques with Komeda’s signature lyricism and atmospheric sound.

In this work, Komeda departed from American models, crafting a poetic, emotionally profound style rooted in the aesthetics of Eastern Europe. The structure of the pieces balances complexity with romanticism, creating a mysterious, nocturnal mood that continues to captivate listeners to this day.

Andrzej Trzaskowski was a visionary jazz pianist, a bold composer, and an influential musicologist who shaped the trajectory of jazz behind the Iron Curtain. Known as the "brain of Polish jazz," he masterfully blended American bebop with European avant-garde traditions, creating a distinctly Polish jazz idiom despite the cultural restrictions of communism.Beyond his musical talent, Trzaskowski was the intellectual architect of the Polish jazz renaissance, using music as a subtle form of cultural resistance. His ability to move between three radically different worlds—Polish underground jazz clubs, European academic contemporary music, and international avant-garde jazz—set him apart from others.His career spanned four turbulent but creatively fertile decades—from the repressive 1950s under Stalin’s rule, through the flourishing of jazz in the 1960s and 1970s, to the martial law period of the 1980s, when his work took on new layers of metaphorical significance. As a pianist, he combined the harmonic complexity of modern jazz with Slavic lyricism; as a composer, he boldly incorporated serialism, aleatoricism, and folk motifs into jazz structures. As a jazz critic, he educated generations, demonstrating the transformative power of jazz.Although Andrzej Trzaskowski lived only 65 years, his legacy remains an impressive testament to the immortal force of jazz. His work transcended the boundaries of music—it was and still is an act of intellectual defiance, a manifesto of freedom that resonated during times of restriction and oppression, playing a crucial role in the struggle and ultimate victory against a totalitarian system.

Zbigniew Namysłowski (1939–2022) was a pioneering Polish jazz saxophonist, composer, and multi-instrumentalist who became one of Europe's most original jazz voices. Emerging in the 1960s, he gained international recognition as the first Polish jazz musician to record an album in the West (Lola, 1964). Known for his innovative fusion of jazz with Polish folk music, he developed a distinctive style marked by complex rhythms, adventurous harmonies, and instrumental experimentation – notably his electrified cello work. His 1973 masterpiece Winobranie epitomized his genre-defying approach, blending free jazz with Slavic folk motifs. Over six decades, Namysłowski recorded over 30 albums, mentored generations of musicians, and performed globally, cementing his legacy as a architect of Poland's jazz identity. The New York Times praised him as "one of jazz's great individualists," whose music "transcended political and geographical boundaries."Zbigniew Namysłowski's "Winobranie" (1973) stands as a revolutionary work in Polish jazz history, masterfully blending traditional folk influences with avant-garde experimentation. At a time when jazz behind the Iron Curtain operated under political constraints, Namysłowski crafted an album that smuggled radical innovation through its incorporation of Polish kujawiak melodies, Balkan rhythms in complex time signatures like 11/8, and Indian raga elements - all while maintaining the joyful energy of jazz improvisation. The album's groundbreaking use of electrified cello with wah-wah and fuzz effects created a psychedelic folk-jazz hybrid unlike anything else in contemporary jazz, while prepared piano and tabla expanded its sonic palette further. What made "Winobranie" truly remarkable was how it balanced this experimentation with disciplined composition, structuring free jazz elements within carefully crafted frameworks rather than embracing pure chaos.Recorded in 1973 as part of the state-approved "Polish Jazz" series, "Winobranie" became a subtle act of cultural resistance, using folk traditions as both musical foundation and coded commentary. Namysłowski himself admitted the quintet initially "faked" their way through free jazz until the album's pieces organically taught them how to navigate this challenging style. The result was a work that sounded simultaneously ancient and futuristic - rooted in Slavic musical heritage while pushing jazz into uncharted territories with its electric instrumentation and global influences. Over time, the album has earned recognition as one of Poland's greatest jazz achievements, standing alongside Krzysztof Komeda's "Astigmatic" in influence while maintaining its own distinct voice.Today, "Winobranie" remains a touchstone for musicians exploring the intersection of folk traditions and avant-garde jazz, its legacy enduring through its bold reimagining of what jazz could be. Tracks like "Gogoszary" with its frenetic 11/8 rhythms and "Taj Mahal" with its Indian-inspired textures continue to captivate listeners, proving that the most revolutionary art often emerges from creative constraints. The album represents not just a high point in Namysłowski's career but a defining moment in European jazz history - when Polish musicians demonstrated they could innovate on par with their Western counterparts while developing an entirely original musical language.

Tomasz Stańko (1942–2018), the iconic Polish jazz trumpeter and composer, remains a cornerstone of European jazz. Known for his lyrical phrasing, emotional depth, and innovative improvisation, Stańko’s career spanned over five decades, leaving an indelible mark on the global jazz scene. In this rare 2004 interview with Cezary L. Lerski, Stańko shares his thoughts on jazz, his influences, and his artistic philosophy, offering a glimpse into the mind of a true innovator. His words remind us that jazz is not just another music genre but a living, breathing art form that continues to inspire and evolve.How this content was m

On April 9, 1968, a historic recording session took place at the RCA studio in Hollywood, where composer Krzysztof Komeda, jazz pianist and Polish jazz legend, worked alongside director Roman Polanski to create the soundtrack for the psychological horror film Rosemary's Baby. The film, which follows a young woman’s harrowing pregnancy amid sinister events, demanded a score that blended tension, emotion, and artistry. Komeda, known for his innovative approach, fused jazz, avant-garde, and classical elements, incorporating unconventional techniques like plucked strings and ghostly flute echoes. The session, attended by Polanski, photographer Marek Niziński, and a talented orchestra, captured the cultural spirit of the late 1960s, blending influences from rock, pop, and Polish contemporary classical music. The result was a haunting, timeless score that amplified the film’s psychological depth and paranoia.Komeda and Polanski’s collaboration was a cornerstone of their careers, their partnership was marked by mutual trust and creative freedom, with Komeda’s scores enhancing Polanski’s storytelling. For Rosemary's Baby, Komeda’s minimalist, dissonant compositions mirrored the protagonist’s unraveling reality, creating an atmosphere of dread without relying on traditional horror tropes. The soundtrack, featuring a haunting lullaby sung by Mia Farrow, became an integral part of the film’s success, earning critical acclaim and solidifying its status as a cult classic.The film’s production was marked by creative tensions, particularly between Polanski and producer William Castle, who clashed over artistic control. These conflicts, along with the intense recording sessions, contributed to the film’s layered intensity. Tragically, the film’s success was overshadowed by personal and public tragedies. Komeda died in 1969 following a mysterious accident, and Polanski faced legal troubles and personal demons, including the Manson family’s murder of his wife, Sharon Tate. Despite these events, Rosemary's Baby remains a landmark in cinema, with Komeda’s score redefining the role of music in horror and influencing generations of filmmakers and composers. His legacy endures as a testament to the power of music in storytelling.

A Little History of Polish Jazz