Friday, March 25, 2022
Gordoa / Malfon / Edwards / Narvesen - Substantial Myths (2022 Fundacja Słuchaj)
Wednesday, March 16, 2022
Sjostrom / Casserley / Florodos / De Joode / Kujala / Narvesen / Taramontana / Schiaffini / Wachsmann and others - SoundScapes # 3 FESTIVAL MUNICH - 2021 SchwereReiter (March 26, 2022 Fundacja Słuchaj)
SAMO SALAMON & NEW FREEQUESTRA - Free Distance, Vol. 2: Poems are Opening (March 2022 Fundacja Słuchaj)
Friday, January 21, 2022
Jordina Millà & Barry Guy - String Fables (January 21, 2022 Fundacja Słuchaj)
Satoko Fujii & Joe Fonda - Thread Of Light (January 21, 2022 Fundacja Słuchaj)
Michael Bisio & Matthew Shipp Flow Of Everything (January 21, 2022 Fundacja Słuchaj)
Tuesday, November 30, 2021
FISH WOOL (feat. Susana Santos Silva / Yedo Gibbons / Vasco Trilla - Live In Cerkno (November 30, 2021 Fundacja Słuchaj)
Cecil Taylor - Music From Two Continents (November 30, 2021 Fundacja Słuchaj)
Monday, November 22, 2021
Lebik / Edwards / Lovens - Lepomis Gibbosus (Fundacja Słuchaj)
Tuesday, June 8, 2021
Cecil Taylor Ensemble - Göttingen (June 8, 2021 Fundacja Słuchaj)
Colonna / Miranda / Spera - N-EST (June 8, 2021 Fundacja Słuchaj)
Sunday, April 4, 2021
MOVE (feat. Sjöström / Kaufmann / Pultz Melbye / Narvesen / Gordoa) - MOVE in Moers (April 2021 Fundacja Słuchaj)
Thomas Heberer / Joe Fonda / Joe Hertenstein - Remedy (April 2021 Fundacja Słuchaj)
Evan Parker Electro-Acoustic Ensemble / Warszawa 2019 (April 2021 Fundacja Słuchaj)
From the opening strike of metallic percussion, the oscillator-like wave of soprano saxophone, the burble of electronics, a resonant piano bass string, the shimmering decay of a gong and the broad-toned brilliance of the trumpeter’s brief melody-then-feint-to-intermittent-oscillation, we are in the special ‒ spectral and material ‒ world of Evan Parker’s ElectroAcoustic Ensemble (EAE), a band over 50 years in the making, its official existence 30 years. It is, in an era-defining way, both a great moment in the history of late-20th century music and the early-21st century’s, a unique response to the notion of large-scale free improvisation that, rather than the cultish practice of a disaffected elite, is a signifying laboratory for human interaction, social, meditative, meaning-defining and edge-blurring, a forward probe in the necessity for calm that sees atheists going on pilgrimage, the tone-deaf joining choirs and an explosion in sales of fashions for fitness in which to sit around and drink coffee, no qualitative judgement here, all perhaps equally beneficial. It is a moment of collective definition, an episode of a group mind in which shared concentration gives meaning and form to shared time and space, the period of its making and its later listening.
This listening, I’m 19 minutes in, to a piece I’ve listened to perhaps 20 times, and I’m in a space I can’t recall hearing before, a space where a room’s locating echoes are sufficiently vast to suggest the distance between planets or solar systems, national economies or, for the cognoscenti, the musical instruments and appurtenances floating as a space station in a brown cosmos in Richard Jenning’s (aka “Prophet”) painting on the original 1961 release of Eric Dolphy’s Out There. There is nothing undemanding, jejune, simplistic, coddling, easy about this music. It asks just enough to challenge, and when you’ve met that reward, it asks just enough to challenge again, leading you into a world of increasing grandeur, intensity and, strangely, intimacy, like being alone in a room with Guernica, Des canyons aux étoiles or the Grand Canyon itself.
The EAE is one of the great bands of improvised music with a prehistory of over twenty years before it formed in 1992, and with a history of nearly thirty years since. In its later forms, it’s a big band; in its beginnings, a duo. Reflecting on this latest form, Parker remarks that only he and Paul Lytton are left from the original. That references the 1990s sextet of Toward the Margins (ECM) but it could suggest the 1969 Parker-Lytton duo, whose performances sometimes added previous performance tapes.
A notion of the double is essential. If there’s a clear parallel for the EAE, it’s Ornette Coleman’s Double Quartet of Free Jazz (1960), in which Coleman paired each member of his then-current quartet with a musician playing the same instrument. To create the EAE, Parker matched an electronic musician, each processing an individual signal, to the members of his trio with Lytton and bassist Barry Guy.
Each successive episode balanced the physical and the abstract, the acoustic and the electronic. Eventually, it would assume a global element. By 2010, an 18-member version appeared in a Lisbon concert. Earlier technologies were supplemented with other developments, including an Apple MacBook, as well as precursors, like a Stroh violin and an electric guitar.
Thursday, March 25, 2021
Lucía Martínez / Agustí Fernández / Barry Guy - Bosque de niebla (2CD) March 2021 Fundacja Słuchaj
Guillermo Gregorio / Damon Smith / Jerome Bryerton - Room of the Present (March 2021 Fundacja Słuchaj)
Vasco Trilla - Unmoved Mover (March 2021 Fundacja Słuchaj)
Monday, March 1, 2021
Marek Malinowski / Robert Rychlicki-Gąsowski / Wojciech Zadrużyński - Scratching Fork (2021 Fundacja Słuchaj Records)
A place between structure and fluctuation where planning and spontaneity intertwine, enriched by rational thinking or wild instinct. A connection between cold focus and wonderful oblivion. The art of compromise without compromising. It might be a place where the hardness of metal touches the softness of skin. Scratching Fork could be all of these. One thing is certain – it is a band, a talented trio playing jazz-like music in contemporary style. The story of this band started in 2015 and since then Scratching Fork has been growing without rush, but consistently and inevitably, just like the mountains of New Zealand. Developing, not seeking attention or caring about changing trends, simply focusing all its energy on its purpose, emotions and discovery.
Slowly cultivating its music, the band has grown stronger by firmly following its local Kuyavian roots. And what about these roots? What, or rather who creates Scratching Fork? The idea to create the group, just like the first song of Ilúvatar, seeded in the mind of Marek Malinowski. He then invited two musicians from Toruń to cooperate, Wojtek Zadrużyński (drums) and Robert Rychlicki (double bass), who had cooperated in rhythm sections for years. Both were fascinated by Marek’s music from the very first rehearsal and thus, adding a touch of their own sounds and emotions, became part of the band.
1. When She Sleeps 07:00
2. Mountains 10:05
3. Vertigo 03:06
4. Dancer In Galoshes 05:17
5. 7 O'Clock 04:18
6. Goodbye Poem 04:43
7. Fairytale Land 05:14
Marek Malinowski - guitar
Robert Rychlicki-Gąsowski - double bass, bass guitar
Wojciech Zadrużyński - drums
All compositions by Marek Malinowski






















