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CD
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ACT 9972CD
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Krzysztof Komeda has legendary status in Polish music, and was also one of the pioneers of European jazz. His wider fame resides largely in his work as film composer -- he wrote the soundtracks for all of Roman Polanski's early films, notably Dance of the Vampires and Rosemary's Baby. Komeda died early in 1969, but left a hugely influential body of work. By fusing Polish folk music and its tradition of melismatic singing with the characteristics of jazz, Komeda as a composer became one of the truly great melodic voices. For a tribute to Komeda, there could be no better guide than Joachim Kühn, the German pianist and jazz icon. The two men knew each other: 'For me, he was one of the great visionaries of European jazz, even then,' Kühn recalls. The Jazz at Berlin Philharmonic concert takes as its point of departure the three pieces from Komeda`s legendary album Astigmatic. Kühn takes on the role of 'primus inter pares' among some quite phenomenal accompanists, his New Trio and the versatile Atom String Quartet. There is excitement in the improvising and soloing which alternates with Komeda's powerful, highly visual themes. This is individual music-making at the highest level, but also with an astonishing sixth sense of anticipation. No less enthralling and dramaturgically perfect are the individual arrangements from Komeda's work which follow: Kühn's romantic, wonderfully delicate solo on 'After the Catastrophe'; a moving duo with Mateusz Smoczyński on the 1961 tune 'Moja Ballada'; Atom String Quartet's version of 'Crazy Girl' from Komeda's soundtrack to Polanski's Knife in the Water; and a dazzling trio arrangement of the lullaby 'Sleep Safe and Warm' before everyone joins together once more for the energetic finale, 'Roman II.' For the encore, Kühn played the moving 'My Brother Rolf' in memory of his brother who had died on August 18, 2022. It was he, like Komeda, who showed the young Joachim Kühn the path to freedom & how jazz would bring him to it."
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2CD
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MIG 232CD
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"Free jazz, free rock, rock jazz, modal jazz, sound experiments, and chamber music just to name a few. Joachim Kühn unites the most distinct expressions, forming a culture with his polystylistic experiences including romanticism, tonal and atonal qualities, modern compositions, and European but also global characteristics. The 'clean style' doctrine never interested him as purism had always bored him. He associated his name with everything including a distinct personal style as well as his improvisational and compositional handwriting. It is more complex than a one-dimensional acoustic picture of the virtuous energetic musician, the Dionysian and ecstatic friend, shimmering waterfalls, a steady pace, and than that of what the occasional testosterone-filled machismo radiates. Each CMP album documents his sources of inspiration, which are so rich of pianists and their microcosms. Independent and uncompromising. There is a lot included in the music, but one thing isn't for sure: mainstream."
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