Super Duo - Gitarolo (2011)

Today I'd like to share with you an album that's very special to me - it's my dad's bands new album, which came out only a couple of weeks ago.

Super Duo, as the band is called, was started by my dad and Cezary Krajewski in 1984. The group played music that oscillated around the flamenco/jazz areas - sort of like the famous Al di Meola/Paco de Lucia/John McLaughlin trio. The group has enjoyed quite a fair amount of success (bearing in mind their music ain't as catchy as Rihanna and the lot) and has been heralded by many as the best polish guitar duo. As a result, they had the great opportunity to tour many countries: Germany, France, Finland, Denmark, Russia, North Korea (!!!), Holland, England, etc. That was pretty neat for two guys stuck behind the Iron Curtain during a time when getting a passport was just as difficult as finding a decent piece of meat in a shop.

Besides that, they have frequented many festivals: Fama (1985), Jazz Jamboree (1985), Roskilde Festival Denmark (1986), Jazz Praha (1987), De-Bron Dalfsen Holland (1990), Muse Berlin (1990). They have also had the pleasure of sharing the stage with such great acts as Al di Meola and Take 6 in concert halls like the Royal Festival Hall and the Barbican Centre in London. Unfortunately, due to Krajewski's tragic death in 1997, the group ceased to exist.

But now, after 17 years of absence, Super Duo, together with one of the best polish flamenco/latino guitarists Przemyslaw Haluszczak, is back with a new album - 'Gitarolo'. This time, the raw sound of a guitar duo has been backed by grooves crafted by Grzegorz Kopala. As a result, Super Duo became....yep, you guessed it - a trio.

The 'Gitarolo' album features 8 tracks, 4 of which are new renditions of the band's old songs, while the other half constitute new compositions. The addition of Kopala's background vibes gave the band a bit more modern touch that should render the music more appealing to wider audiences. I must admit that I was initially quite scared of these experiments but hearing the older songs in their new versions was quite refreshing (maybe with 1 exception ;) ) and I'm glad that the tunes still have a similar feel and aesthetic as the 'originals'.

My personal favourite from the album must be 'Tarantos Ali-Baby' which is a slight twist on 'Fis-dur Ali-Baby' (a song from their 1994 'Super Duo 3' album). However, due to Haluszczak's 'break-down' solo in the middle of the song (btw, it really is a mutherfucker of a solo - i was truly impressed) the tune ended up having a slightly different form - hence the name change. Besides that, I really enjoyed 'Farruca' - a sweet, chilled out flamenco-ish track with fantastic vocals by Kopala - a perfect song for a lazy Sunday afternoon.

I also believe the bands music benefited from getting Przemyslaw Haluszczak on board. My dad has always been more jazz-oriented (which is reflected in his solos) and jazz-influenced (which I think is reflected in his compositions) and with Przemyslaw's spanish/flamenco approach they tend to complement each other quite neatly - with great benefit for the resulting sound.

Anyways, the album is a double-disc release with a bonus DVD on which you can find: a few video clips to the songs from the album, an interview with a world-famous luthier who is responsible for making the guitars used by my dad and Przemyslaw, interviews with notable polish artists (the conductors: Krzesimir Debski and Zbigniew Gorny; and actors: Katarzyna Skrzynecka and Witold Debicki) who explain the influence Super Duo's music had on them, some trivia and a video of a great flamenco dancer - Malgorzata Moskalewicz.

They used to call themselves: 'The fastest guitars in Poland'. Did they manage to keep up the tempo? Well, just see for yourself...

I've also managed to upload a few tracks from their first album - Gluche Krokodyle (1986). Check 'em out!

And last but not least - some oldschool footage from a lil' TV performance they did in Czechoslovakia (!) in 1986:

Spread the love!

Nate Dogg - Music and Me (2001)

Last Tuesday, March the 15th, the world has lost a very colourful figure. A person who managed to introduce a new quality to the hip-hop culture by leading a completely new path. His unique approach to music, his great voice and great songs helped forge a whole new identity for the west-coast scene. Along other artists, he was responsible for crafting a unique sound - the G-Funk sound.

Nate was always involved in the west-coast scene. He made guest appearances on dozens of songs, working with artists such as: Xzibit, Ludacris, Dr.Dre, Snoop Dogg, Warren G, Tupac, Tha Dogg Pound, etc. Adding Nate's voice singing that little hook always sweetened up a tune and gave it that one-of-a-kind feeling. These collaborations gave us such great songs as: Ludacris' 'Area Codes', Warren G's 'Regulate' and Dre's 'Deeez Nuuuts', among others.

Apart from that, Nate, with his cousin Snoop Dogg, and Warren G, formed in 2004 the famous trio: 213. The group released only one full album: 'The Hard Way', but it was a hell of a release. It featured such great tracks as: 'Groupie Luv', 'Gotta Find a Way' or 'Mary Jane'. Again, it proved that Nate, with the reinforcement of a couple of friends, can make great music.

As for the 'Music and Me' album...Here, Nate has a leading role, being the main actor for most of the songs and occasionally asking his friends to return the favour and make a guest appearance on his album. Therefore, apart from Nate Dizzle the release showcases a bunch of fantastic artists: Dr.Dre, Kurupt, Xzibit, Ludacris and Snoop Dogg.

'Music and Me', Nate's second solo production, is everything you would expect from a top-notch G-Funk album - 'low-rider' beats with a prominent bassline and rather sparse percussion arrangements, heavily-synthesized melodies, the odd pizzicato string here and there and of course Nate's soulful vocals (occasionally reinforced by female backing vocals). The lyrics are the industry standards, really. However, in my opinion, the album benefited from the guest appearances - guys like Kurupt or Xz drop some seriously sick lines. All in all I believe it's a fantastic album.

If you listen to the songs below, you'll know straight away why it was such a huge blow for black music to lose a quality artist like Nate Dogg. Anyways, I'm sure he's Keeping it G.A.N.G.S.T.A. in a better place now...RIP

Spread the love!

Pat Metheny - Bright Size Life (1976)

I have been introduced to Metheny's music many, many years ago, by my dad, who has been a big fan of Pat since the 70s. I have these distant memories of lying in the back of the car, during what I then considered very long journeys, staring at the passing landscape outside of the windows and listening to Metheny and the crew. So in a way, his music is a soundtrack to my early childhood...and my days, it is some decent music!

Pat Metheny, born in 1954 in Lee's Summit (Missouri) is one of the most prolific jazz guitarists of our time. He's been active since 1974, has released over 40 albums (solo, as 'Pat Metheny'; in various duets, trios, quartets; but also with his 'Pat Metheny Group'), he has received 17 Grammy Awards and has worked with such great artists as: Ornette Coleman, Herbie Hancock, Charlie Haden, John Scofield, Joni Mitchell, Chick Corea and Jaco Pastorius...and it was the collaboration with talented bassist Pastorius that rendered his debut album - 'Bright Size Life'.

Pat and Jaco met each other at the University of Miami and connected with each other immediately. As Pat puts it in the liner notes for Pastorius' 1976 debut album:

"As a young musician who met Jaco in his prime when we were both just starting out, I can only say that my reaction on hearing him for the first time …. was simply one of shock – I had literally not heard anything remotely like it, nor had anyone else at that time…..Our musical relationship was immediate….. We also became really good friends. During the short time that I lived in Miami (near Jaco's home town of Ft. Lauderdale), we played show gigs together and occasionally played at his house…. and spent a lot of time talking about music…"

The two were clearly like-minded individuals, and I think the best proof of that is the fantastic connection and understanding they portray in 'Bright Size Life'. The album is a product of great cooperation between two unique, incredibly talented musicians.

Metheny has managed to develop a style and sound that is impossible to copy. His extensive use of various delay, chorus and reverb effects has helped him forge a sound that is unmistakable - you can smell a Metheny track from miles away. Pat also likes to experiment a lot and push the boundaries of the instrument further and further. He is known to incorporate a 12-string guitar with alternate tunings (you can hear it on 'Bright Size Life's' 'Sirabhorn') and also makes use of a custom-made 42-string Pikasso guitar - check this monster out:

Pastorius, on the other hand, is considered to be a pioneer of the jazz bass guitar. He took it to a new level with his extensive harmonisation and elaborate solos in the higher register. Jaco used a fret-less bass guitar, which opened up plenty of room for innovation and experimentation.

Both musicians are considered to have shaped the way their instruments would since then be used in jazz.

'Bright Size Life' then, is a fantastic collaboration between two great musicians, supported by Bob Moses on drums, who fits in perfectly - not too overwhelming, so as not to dim the main stars of the album, but also adding great value with his cymbal-driven, free-spirited, imaginative solos. Pat and Jaco, on the other hand, work together perfectly - with Jaco at times effortlessly and creatively rounding off Metheny's phrases, and at times seeming to be trailing one step behind Pat and acting as counterpart to weigh out the balance. Both guy's solos are just out of this world - with Metheny giving the tunes a smooth, jazzy edge and Pastorius venturing into incredible figures, which leave me wondering if that guy really plays the bass.

The album features 8 tracks, 7 of which are Metheny's own compositions, and the finale - a Coleman tune brilliantly interpreted by the group. There are fast-paced, post-bop influenced, hard-hitting songs, like: 'Missouri Uncompromised', 'Round Trip/Broadway Blues' and the title track: 'Bright Size Life'. But there are also some deeper and more atmospheric songs like: 'Unity Village' or 'Sirabhorn'. There's a bit of everything really so I'm sure the album will appeal to many people.

Anyways, have a look for yourself. And keep an eye on any new posts on the blog because Pat, with his rich discography, is bound to make an appearance sooner or later!

Spread the love!

Tadeusz Nalepa - Bluesbreakout 1971-1972 (1991)

Somebody once famously stated that: 'If it ain't Mississippi, if it ain't raining and if you ain't sitting on the corner of the street soaking wet, hoping you weren't hungry - it ain't the blues'.
Well I always thought that was true... Until last week, when my good friend proved me wrong by showing me a fantastic album - 'Bluesbreakout' by Tadeusz Nalepa's 'Breakout' band.

Believed it or not, but Tadeusz Nalepa is white, he doesn't come from Mississippi (but from Rzeszów, Poland) and he sure can play the blues! I was really surprised that such fantastic blues music can come from behind the iron curtain.

The album was released in 1991 as a compilation of two of the groups' previous titles - 'Blues' and 'Karate' (1971 and 1972 respectively). The music therefore was recorded in times of deep communism in Poland - when artists where banned from public performances if their hair was too long and when the state treated the Beatles as a symbol of western, imperialistic society's moral decay.

Bearing that in mind, I think the authentic feeling of the music and its uncanny resemblance to American blues is mind-boggling - Western records were really hard to come by at that time. Still, you can hear many influences in Breakout's playing - there's a bit of Clapton, a bit of Robert Johnson a bit of John Mayall etc.etc.

You ask: how come? Well, Nalepa recalls touring Western Europe with his previous band - Blackout - and meeting Eric Burdon, who gave him his guitar and a bunch of tapes with 'black blues music' - Nalepa immediately fell in love with it. Actually, the couple of months of concerts they performed in Holland at that time allowed them to buy some proper equipment - before, they used to manually convert acoustic guitars into electric ones, simply because the latter weren't readily available in the *ekhm* People's Republic of Poland. The Western equipment is the reason why the album sounds a lot better than most other Polish music at that time.

The lyrics sung by Nalepa are in no way worse than the music of Breakout. The person responsible for these great texts is the poet Bogdan Loebl who also used to live in Rzeszów at that time. While the music is clearly inspired by American standards, the lyrics have a unique quality - deep, moving, yet very simple.

So, it turns out you don't have to be a black farmer working in the cotton fields of deep Mississippi to feel the blues. As Howlin' Wolf once said: "When you ain't got no money and can't pay your house rent and can't buy you no food, you damn sure got the blues".

This quote frightingly accurately describes communist Poland... 

...Nalepa just found his Mississipi in Rzeszów.

Spread the love!