Strzeszynek in Poland – with its lake shore, pine forests and summer tranquility – proved to be the perfect backdrop for the 15th edition of the Enter Enea Festival. Under the direction of Leszek Możdżer, jazz intertwined with classical, electronic and world music, creating a colourful yet natural soundscape.
15 June – images, sound, space
The evening began with the premiere of Gniewomir Tomczyk’s Perpetus suite, inspired by Józef Tomczyk’s paintings. The collective consisted of Mikołaj Kostka (violin), Anna Szmatoła (cello), Wojciech Pulcyn (double bass), Jan Smoczyński (piano) and Gniewomir Tomczyk (percussion) – a traditional “salon” line-up combined with a new jazz accent introduced by percussion and electronics – who built a bridge between classical music and improvisation. The music spun a narrative full of reflection, time and traces.
After the concert, the audience had the opportunity to visit the ABC Gallery, where Konrad Juściński’s exhibition Punkty Oddechowe (Breathing Points) was presented. The event was accompanied by the unveiling of the monumental installation, Mandorla, at Poznań Visual Park, which was an artistic complement to the musical opening of the festival, creating a harmonious dialogue between sound and space.
In the evening, it was Blu/Bry – a quintet of brothers Jan and Tomasz Kusz (saxophone and trumpet), Jakub Letkiewicz (piano), Franciszek Wicke (double bass/bass guitar) and Stanisław Banyś (drums). Their minimalist precision recalled the spirit of Stańko and Hamasyana, creating a space full of emotion and harmony. Their refined sound and maturity combined to confirm that they are leaders of the young generation.
16 June – tradition, modernity, expression
The evening began with Yonglee & The Doltang – a quintet from South Korea. Yonglee (piano, keyboards), Yechan Jo (electric guitar), Youngwoo Lee (synthesizers, electronics), Hwansu Kang (bass guitar), and Dayeon Seok (drums) presented music balancing between jazz, progressive rock and lyrical expression. The structure of the concert was built on complex rhythms, dynamic piano playing and moments of silence. Surprising, sometimes perverse themes added lightness to the whole, and the richness of musical influences immersed the audience in a unique style. It was a great preview of the band’s upcoming album, Invisible Worker.
The next event of the evening was the concert 30 Years of E.S.T. – Tribute to Esbjörn Svensson Trio, performed by musicians and friends of the E.S.T. band: Dan Berglund (double bass), Magnus Öström (drums), Joel Lyssarides (piano), Magnus Lindgren (saxophone), Ulf Wakenius (guitar) and Verneri Pohjola (trumpet). Their interpretations of E.S.T. compositions went beyond the minimalism of the original versions – fuller arrangements intertwined with moments of intense tension and deep emotion. It was more than a tribute – it was a new definition of the trio’s legacy, both nostalgic and energetic.
The day ended with Leszek Możdżer’s Pro Tone Unit project in which he was joined by Tia Fuller (saxophone), Terri Lyne Carrington (drums), Cheikh Ndoye (bass) and Mino Cinelu (percussion instruments). This group, rooted in ethnic rhythms and jazz harmony, created a coherent concert full of dialogue. Fuller brought melodic charisma and freshness, Carrington impressed with her rhythmic precision and power, while Ndoye and Cinelu added transcontinental pulsations and richness of colour. Możdżer, as the leader, skilfully combined these diverse elements into a story of cultural encounter. The audience surrendered completely to the rhythm and improvised dialogues, creating a unique musical community with the artists.
17 June – subtle, smooth, intense
The evening began with a performance by the Anat Cohen Quartetinho, featuring Anat Cohen (clarinets), Vitor Gonçalves (piano, accordion), Tal Mashiach (double bass) and James Shipp (drums, vibraphone). The clarinet floated lightly above the surface of the lake, the piano and vibraphone painted pastel landscapes, and the double bass and percussion provided the pulse, creating a meditative, reflective whole. Cohen confirmed her status with the lyrical beauty of her tone and intuitive dialogue with her accompanying musicians.
Next, Kenny Garrett took the stage with his Kenny Garrett Project: Sounds From The Ancestors. The band consisted of Kenny Garrett (saxophones), Keith Brown (piano), Jeremiah Edwards (double bass), Michael Ode (drums), Rudy Bird (percussion) and Melvis Santa (vocals, percussion) and brought the lively energy of African-American roots, pulsating groove and ritualistic structure to the Strzeszno landscape. The concert had an almost ceremonial character – full of tension, hypnotic moments and immersion in a musical trance. The rhythm section wove dynamic climaxes, interspersing them with moments of calm, and Garrett confirmed that he remains in excellent form.
The finale of the evening belonged to Al Di Meola. The guitarist was accompanied by Sergio Martinez (percussion) and Peo Alfonsi (guitar). Di Meola is the epitome of virtuosity – technique and emotion woven into one. The final phrases intertwined flamenco, jazz and classical music, creating a story that focused on the depth and sincerity of the music rather than showmanship. It was a concert full of worldly sounds, powerful yet delicate in harmony.
18 June – classical music in a free dialogue with jazz
The festival ended with concerts that reminded us how lively and open classical music can be when it meets improvisation. [Oh, so centuries of scored creation are dull and limited? – Ed]
On Wednesday evening, the festival audience was treated to Leszek Możdżer and the Poznań Philharmonic Orchestra performing Bach Expanded. It was a journey through the music of the Leipzig cantor, reinterpreted through jazz and contemporary filters. Baroque motifs intertwined with the pulsating freedom of improvisation, and the classical texture surprised with its freshness and lightness. Możdżer led the orchestra in a free dialogue between tradition and modernity, creating a story full of contrasts and harmony.
Next, the Filip Wojciechowski Jazz Trio took to the stage with the Poznań Philharmonic Orchestra in a programme entitled From Bach to Gershwin. Wojciechowski (piano), Cezary Konrad (drums) and Paweł Pańta (double bass) presented a wide spectrum – from Chopin’s classical études and mazurkas, through excerpts from Mozart and Beethoven, to jazz interpretations of Summertime and I Got Rhythm. The trio moved between precision and freedom, with excellent phrasing and lyricism. Konrad’s solo – full of energy, finesse, and technical proficiency – was one of the moments that confirmed to the audience that we are dealing with one of the most important European jazz drummers. The whole performance maintained a balance between respect for tradition and courage in breaking rhythms and forms.
The finale of the evening and the festival belonged to Leszek Możdżer and the Poznań Philharmonic Orchestra, this time conducted by Marcin Sompoliński. The programme included two gems by Gershwin: Piano Concerto In F major and the monumental Rhapsody in Blue. Możdżer moved between classical and jazz idioms with naturalness and grace, and the orchestra played precisely, with a rich palette of colours and a dynamic pulse. The performance of Rhapsody in Blue evoked great emotions in the audience – it was full of expression, energy and elegance. The audience surrendered to this wave of sound, which at the end of the 15th anniversary Enter Enea Festival spread over the lake, leaving an unforgettable impression.
The Enter Enea Festival 2025 ended in a symbolic way – music by the water, where classical music and improvisation flowed naturally into one another, tradition met modernity, and jazz showed that its boundaries are only a starting point for new discoveries. On Lake Strzeszyńskie, music once again reminded us that its true language is emotion, freedom and universality.
Text and photos: Szymon Ratajczyk (www.ratajczyk.art)
Music consultation: Anna Karolak
Editor: Damian Kacprzak
Enter Enea Festival, 15–18 June 2025, Lake Strzeszyńskie (Poznań, Poland)
