MARCIN WASILEWSKI TRIO - En attendant
ECM 381 0005
Marcin Wasilewski (piano); Slawomir Kurkiewicz (double bass); Michel Miskiewicz (drums)
Recorded August 2019
Recordings from the Marcin Wasilewski Trio have come at steady intervals over the last couple of decades since participating on albums for the imprint with Tomasz Stańko's Quartet in 2001, and then signing to the label in their own right. Over the course of seven albums the Trio have developed as a unit with their own collective personality flourishing and deepening in the intervening time. Interspersing recordings with the trio, and a couple of sets that introduced a fourth voice to the ensemble in guests Joakim Milder on Spark Of Life (2014) and Arctic Riff with Joe Lovano released in 2020.
If much of the enjoyment from the Trio’s albums comes from not just the empathy and almost telepathic rapport of the three musicians, but also this clever and intuitive ability to know when and how to mix things up a little either by bringing in another musician to keep everyone on their toes or by the use of their repertoire and how it is programmed within each recording.
This clever programming is clearly evident in this latest release with the Trio performing compositions by Bach, Carla Bley, The Doors; all interspersed by three free improvisations. What is remarkable is not simply the way in which the three musicians approach each composition but how each seemingly falls under the spell of the Trio, and taken as a whole the album provides a most satisfying listening experience.
The album was actually recorded just prior to the sessions for Arctic Riff, and with the benefit of hindsight appear to be a fine way to limber up for the quartet recording with tenorist Joe Lovano, although it must be said that the music is quite different. As if to prove the point there is a reading of Carla Bley’s ‘Vashkar’ that revel in the composition in an indepth exploration that is quite exhilarating, and in contrast to the two versions that appear on the quartet disc. Another piece that is explored on both albums is Wasilewski’s rubato ballad, ‘Glimmer Of Hope’ with the trio exhibiting some fine interplay with the leader’s tentative touch at the piano and Miskiewicz’s impeccable work at the kit with both brushes and sticks.
This innate sensibility and restraint is also a particular pleasure on ‘Variation 25’ from Bach’s Goldberg Variations while at the opposite end of the spectrum is The Doors ‘Riders On The Storm’ in an almost trance inducing rhythmic groove with a superb solo contribution emerging from within the tune from bassist, Slawomir Kurkiewicz.
The important elements of empathy and trust, as borne out by the fine playing of the written compositions, are further highlighted in great detail by the truly extraordinary improvisations that are featured. Three in total that occur at the beginning, middle and end of the set and such is the playing of the Trio the sheer breadth of the music and their intuitive understanding of what is required, and equally important what should be left unsaid marks these out as quite special pieces. The way they are incorporated into a disparate set of compositions and do not sound out of place is remarkable, but even more remarkable is how they demand and deserve to be placed there as spontaneous compositions that are the equal of their preconceived counterparts.
All in all, in a neat and concise summary of where the Trio currently stand, and it will be interesting to hear where they take their music next.
Reviewed by Nick Lea
ECM 381 0005
Marcin Wasilewski (piano); Slawomir Kurkiewicz (double bass); Michel Miskiewicz (drums)
Recorded August 2019
Recordings from the Marcin Wasilewski Trio have come at steady intervals over the last couple of decades since participating on albums for the imprint with Tomasz Stańko's Quartet in 2001, and then signing to the label in their own right. Over the course of seven albums the Trio have developed as a unit with their own collective personality flourishing and deepening in the intervening time. Interspersing recordings with the trio, and a couple of sets that introduced a fourth voice to the ensemble in guests Joakim Milder on Spark Of Life (2014) and Arctic Riff with Joe Lovano released in 2020.
If much of the enjoyment from the Trio’s albums comes from not just the empathy and almost telepathic rapport of the three musicians, but also this clever and intuitive ability to know when and how to mix things up a little either by bringing in another musician to keep everyone on their toes or by the use of their repertoire and how it is programmed within each recording.
This clever programming is clearly evident in this latest release with the Trio performing compositions by Bach, Carla Bley, The Doors; all interspersed by three free improvisations. What is remarkable is not simply the way in which the three musicians approach each composition but how each seemingly falls under the spell of the Trio, and taken as a whole the album provides a most satisfying listening experience.
The album was actually recorded just prior to the sessions for Arctic Riff, and with the benefit of hindsight appear to be a fine way to limber up for the quartet recording with tenorist Joe Lovano, although it must be said that the music is quite different. As if to prove the point there is a reading of Carla Bley’s ‘Vashkar’ that revel in the composition in an indepth exploration that is quite exhilarating, and in contrast to the two versions that appear on the quartet disc. Another piece that is explored on both albums is Wasilewski’s rubato ballad, ‘Glimmer Of Hope’ with the trio exhibiting some fine interplay with the leader’s tentative touch at the piano and Miskiewicz’s impeccable work at the kit with both brushes and sticks.
This innate sensibility and restraint is also a particular pleasure on ‘Variation 25’ from Bach’s Goldberg Variations while at the opposite end of the spectrum is The Doors ‘Riders On The Storm’ in an almost trance inducing rhythmic groove with a superb solo contribution emerging from within the tune from bassist, Slawomir Kurkiewicz.
The important elements of empathy and trust, as borne out by the fine playing of the written compositions, are further highlighted in great detail by the truly extraordinary improvisations that are featured. Three in total that occur at the beginning, middle and end of the set and such is the playing of the Trio the sheer breadth of the music and their intuitive understanding of what is required, and equally important what should be left unsaid marks these out as quite special pieces. The way they are incorporated into a disparate set of compositions and do not sound out of place is remarkable, but even more remarkable is how they demand and deserve to be placed there as spontaneous compositions that are the equal of their preconceived counterparts.
All in all, in a neat and concise summary of where the Trio currently stand, and it will be interesting to hear where they take their music next.
Reviewed by Nick Lea
