Przemysław Jan Grabowski: Jazz Mysteries
Pianist Przemysław Jan Grabowski abandoned his musical training at an early age. He wanted to make his own music in his own way, absorbing the influences of Chick Corea, Herbie Hancock and others and creating his own tunes and changes. And over a period of several years, he recorded an album of seven of his compositions. The results are fresh, engaging and warm. Nothing outlandish or iconoclastic. At the same time, nothing formulaic or too predictable. And nothing too virtuosic. This is jazz that is easy to enjoy.
Grabowski is a Polish Australian living in Washington D.C. He started to write some of this music during Covid and the other musicians contributing to this adventure have done so remotely. Grabowski recorded in Boston and the other players recorded their parts in Havana, London and New York. That the resulting tracks sound relaxed and homogenous is a tribute to the skill both of the players and those involved in the sound production.
The remote method of recording, though, has its drawbacks. The spontaneous back and forth of musicians playing together and picking up on each other’s ideas is not achievable. Although the rhythm section is remarkably in the groove, sometimes a solo will sound a little detached.
The album is called Jazz Mysteries, but there is nothing very mysterious here. It is more of an exploration as Grabowski flexes his compositional muscles. He tries different styles with a varying amount of rhythmic complexity and a varying amount of success. He has a gift for a good melody and an adventurous approach to form. The simpler tunes work best. Forward Voyage is a modal number influenced by Herbie Hancock and has a fluent solo from tenor saxophonist Emir Santa Cruz. Some of the trumpet solos seem more generic. Happy Beluga has a relaxed, funky groove which allows the horn players to express themselves with groove-filled solos.
Discography
My Dearest Christine; Forward Voyage; Footsteps Over The Horizon; Monsieur Green; Counting Sevens; Serenading The Morning Sun; Happy Beluga (45.54)
Grabowski (p); Camila Cortina Bella (syn, p comping); Emir Santa Cruz (ts); Kali Rodriguez-Peña (t); Noam Tanzer (b); Samer Sharawi (elb); Andy Wilder (d). Boston, Cuba, London, New York, 2023–2025.
Independent
Ray Lema with Ensemble Partage: Passion Congo
Ray Lema comes from the Congo but is much travelled, both geographically and musically. He has played with rock, jazz and classical musicians, usually performing his own compositions. If his is world music it is not because it derives from one particular culture but because it embraces influences from all over the world. His new album, Passion Congo, is a case in point. It is a collaboration with a string quartet, soprano saxophone and percussion – the Italian Ensemble Partage, named from the French word for “share”. Lema plays piano and, on one track, sings. Lema set out on his musical adventures many decades ago and what might, in other hands, end up as some sort of ethno-pudding, is defined by a total clarity of expression.
Often it is the strings that provide the rhythm. Simple riffs that shift and build. Above this the sax chirrups in feverish excitement. The piano eases its way into the music adding countermelodies and texture. Tracks like Hysteria and Ngandajika, influenced by classical minimalism, work in this way. Rhythm is all important in these compositions. Even those that lean heavily on a classical tradition, like Aquarius, are characterised by a joyful optimism. The melodies are often simple and folksy allowing for brief improvisations and an upbeat lyricism. This isn’t music that stands still. It constantly develops, shifts and surprises without ever losing its charm.
In Mopti, the piano provides the riff while the cello plays mournful, held notes. The strings are released to indulge in some exciting interplay before Lena muses over the Latin-infused cello. In Matongue the cello starts with a line that sounds as if it’s straight out of the baroque. This is a piece in three-four and as it develops it is easy to imagine a dance hall as the piano plays over soupy strings while the soprano saxophone comments cheekily from the wings. You could dance to much of this. It’s infectious. Twist And Smile is Lena’s take on ragtime. Partage, to which Lena lends a graceful vocal, sounds Caribbean.
Discography
Hysteria; Passion Congo; Mopti; Ngandajika; Salsa Gombo; Aquarius; Matongue; Twist & Smile; Partage (46.06)
Lema (p, v); Massimiliano Gilli, Sylvie Blanc (vn); Gerardo Vitale (vla) Claudia Ravetto (clo); Manuel Pramotton (ss); Marc Giovinazzo, Nesta Mondelice (pc). Studio Peninsula, Sarzeau, France.
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Krupke Trio: Hymns In A Jazz Mood Vol 3
Church music has always had a relationship with jazz. Duke Ellington and and Kirk Whalum, among others, have written pieces that are overtly sacred. Gospel music has influenced musicians from Cannonball Adderley to Robert Glasper. The Krupke Trio’s new volume of Hymns In A Jazz Mood comes from a different tradition. This music has none of the ecstatic abandon of gospel. It speaks of a more restrained spirituality, a Norwegian religious tradition and a Nordic approach to jazz.
These are arrangements of Norwegian hymns by a drumless trio of piano, bass and saxophone. That the musicians come from different disciplines is quickly evident. The pianist, Ulf Krupke, is steeped in church music, Tine Asmundsen is an experienced jazz bassist, whereas saxophonist Line Falkenberg is classically educated. This is an opportunity for them to improvise on simple, sometimes folksy hymns which, sadly, will not be familiar to most people outside Norway.
Krupke is responsible for the arrangements and contributes lyrical, contemplative performances on the piano. The opening track, I En Drøm Jeg Øyner Fedres Land, begins with gentle, melodic musings from Krupke, soon joined by Asmunsen’s bowed bass before Falkenberg develops the lovely hymn tune. This, and tracks like Din Herlegdom, Frelsar, Med Undrande Ser, where Falkenberg’s saxophone floats over a walking bass, is where their music is most powerful. Reflective, absorbing music played with total commitment. Whether the mood is jazz or not is hardly relevant.
Kristus Kom Med Vann Og Blod begins with a rendition of the hymn on the church organ before Krupke lays down a lively rhythm on piano. The solos, as always, are imaginative but with a restrained passion. Du Heere, Som Er Sterk Og Stor has a slightly mournful, lilting rhythm. In general, the jazzier arrangements are the least compelling. Though the playing never lacks conviction, it can sound very four square and reserved. Both Asmundsen and Falkenberg are clearly capable of inventive and virtuosic solos but jazz ears would crave more of a groove. Still, this album is volume 3 of a series and these improvised hymns have clearly found an audience among musical and devotional fans.
Discography
I En Drøm Jeg Øyner Fedres Land; Timen Er Komen; Jesus, Det Eneste; Å Leva, Det Er Å Elska; Gladelig Vil Vi Halleluja Kvede; Interludium; Kristus Kom Med Vann Og Blod; Du Heere, Som Er Sterk Og Stor; Det Finst El Jord Som Opnar Opp; Din Herlegdom, Frelsar, Med Undrande Ser; Barn Jesus I En Krybbe Lå; Vår Gud Han Er Så Fast En Borg (56.50)
Krupke (p, org); Falkenberg (ss, as); Asmundsen (b). Musikkloftet, Asker, Norway, September 2025.
Losen Records
