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Tomasz Stańko

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Tomasz Stańko

Tomasz Stańko (b. July 11 1942) is a Polish trumpeter, composer and improviser.Often recording for ECM, Stańko is strongly associated with free jazz and the avante-garde.

Coming to prominence in the early 1960s alongside pianist Adam Makowicz in the Jazz Darlings, Stańko later collaborated with pianist Krzysztof Komeda, notably on Komeda's pivotal 1966 album Astigmatic[1]. In 1968, Stańko formed an acclaimed quintet that included Zbigniew Seifert on violin and alto saxophone, and in 1975 he formed the Tomasz Stańko-Adam Makowicz Unit. Stańko has since established a reputation as a leading figure not only in Polish jazz, but on the world stage as well, working with many notable musicians, including Jack DeJohnette, Dave Holland, Reggie Workman,[2] Rufus Reid, Lester Bowie, David Murray and Chico Freeman. In 1984 he was a member of Cecil Taylor's big band.[3]

Stańko lost his natural teeth in the 1990s, though over time he developed a new embouchure with the help of a skilled dentist and monotonous practice. He would spend long hours playing what he deemed to be "boring" long tones which helped to strengthen his lip, in spite of playing with the disadvantage of false teeth.[4]

Biography

I don't go out much. I don't drive a car. I don't have a hobby, like golf. Only music. I stopped drinking and I stopped doping. I stopped for financial reasons, to be independent, not for health. I am a strong guy.

Tomasz Stańko[4]

Tomasz Stańko was born in Rzeszów, Poland on July 11, 1942.[5] His first encounters with jazz were through Voice of America radio programs and tours initiated by the U.S. State Department. Coming of age in Communist Poland, Stanko was impressed by the correlation jazz had with a message of freedom. In 1958 he saw his first jazz concert given by Dave Brubeck.[6] While attending the Cracow Music Academy he formed his first group in 1962, the Jazz Darlings, along with the pianist Adam Makowicz; the group took inspiration from the music of individuals such as Ornette Coleman, George Russell and Miles Davis and is considered by many critics to be the first group in Europe to perform in the free jazz medium.[7]

Tomasz Stanko performing in 2007.

In 1963 Stanko joined the Krzysztof Komeda quintet, where he learned much of what he now knows of harmony, musical structure and asymmetry. During his career with Komeda, which concluded in 1967, Stanko did five tours with the pianist and recorded eleven albums with him. In 1968 Stanko formed a quintet that met critical acclaim—one that included Zbigniew Seifert on violin and alto saxophone.[8] In 1970 he joined the Globe Unity Orchestra, and in 1971 he did collaborations with Krysztof Penderecki and Don Cherry. Not long after he formed a quartet that included himself and the drummer Edward Vesala. His performances with Vesala are often considered to me some of his most important work.[7] In 1975 he formed the Tomasz Stańko-Adam Makowicz Unit.[8]

During the 1980s he traveled to India and recorded solo work in the Taj Mahal, and also worked with Vesala in groups led by Chico Freeman and Howard Johnson. In the mid-1980s he began doing extensive work with Cecil Taylor, performing in his big bands and also led various groups of his own, including COCX. Then, before returning to ECM Records, Stanko also worked in a trio that included himself, Arild Andersen and Jon Christensen.[7] In 1993 Stanko formed a new quartet composed of the then 16 year-old drummer Michal Miskiewicz, along with Miskiewicz's two friends pianist Marcin Wasilewski and bassist Slawomir Kurkiewicz.[9] In 1994 the quartet released their first ECM recording titled Matka Joanna, and he also formed an international quartet that included Bobo Stenson, Tony Oxley and Anders Jormin.[7] In 1997 Stanko formed a group which performed the songs of pianist Krzysztof Komeda, touring London, Copenhagen, Stockholm and appearing at jazz festivals like those in Nancy and Berlin. The idea for the project came from the president of ECM Records, Manfred Eicher.[4]

Criticism

Derk Richardson has written for the San Francisco Chronicle that, "Tomasz Stanko is not the first jazz musician to negotiate a rapprochement between gorgeous melodies and free improvisation. But he is one of the most eloquent proponents of extemporaneous lyricism working today."[10] Author Brian Morton has compared Stanko's lyricism to that of Miles Davis, calling it a "direct but individual offshoot."[11]

Discography

As leader

  • Tomasz Stańko Quintet (1970). Music for K. Power Bros Records 00131. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Tomasz Stańko Quintet (1972). Jazz Message from Poland. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Tomasz Stańko Quintet (1973). Purple Sun. Calig Records 30610.
  • Stańko, Tomasz (1973). Fish Face. PSJ record club Z-SXL 0562. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko, Tomasz (1973). At the Primate’s Palace. Poljazz PSJ 97. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko, Tomasz (1974). Twet. Power Bros Records 33860. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko, Tomasz (1976). Balladyna. ECM 1071. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko (1978). Almost Green. Leo 008 (Finland). {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko, Tomasz (1980). Music from Taj Mahal and Karla Caves. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  • Stańko, Tomasz (1982). Chameleon. Utopia Records 1002. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko, Tomasz (1982). A i J. Polonia Records 103. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko, Tomasz (1983). C.O.C.X. Polonia Records CD 088. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko, Tomasz (1984). Lady Go. Polskie Nagrania SX 2224. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko, Tomasz (1986). PEYOTL: Witkacy. Polonia Records CD 037 & 38. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko, Tomasz (1991). Bluish. Power Bros Records 00113. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko, Tomasz (1993). Bossonossa and other ballads. Gowi Records CDG08. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Tomasz Stańko Quartet (1994). Matka Joanna. ECM 1544.
  • Tomasz Stańko Quartet (1994). Tales for a Girl, 12/A Shaky Chica. ECM. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  • Stańko, Tomasz (1987; 1995). The Montreux Performance (Live). ITM 1423. {{cite book}}: Check date values in: |year= (help)CS1 maint: year (link)
  • Stańko, Tomasz (1995). Roberto Zucco. Polonia Records CD 059. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Tomasz Stańko Septet (1997). Litania: The Music of Krzysztof Komeda. ECM.
  • Stańko, Tomasz (1997). Leosia. ECM. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko, Tomasz (1999). From the Green Hill. ECM 1680. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Tomasz Stańko Quartet (2002). Soul of Things. ECM.
  • Tomasz Stańko Quartet (2004). Suspended Night. ECM.
  • Stańko, Tomasz (2004). Music 81. Polskie Nagrania. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko, Tomasz (2005). Wolnosc w Sierpniu (Freedom in August). FiRe. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Stańko, Tomasz (2006). Too Pee. New Edition. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  • Tomasz Stańko Quartet (2006). Lontano. ECM.

As collaborator

Soundtracks

DVD

Notes

  1. ^ Cook, Bernard A. (2001). Europe Since 1945: An Encyclopedia, Vol. II K-Z. p. 1020.
  2. ^ Heffley, Mike (2005). Northern Sun, Southern Moon: Europe's Reinvention of Jazz. p. 176.
  3. ^ Yanow, Scott (2000). Trumpet Kings: The Players who Shaped the Sound of Jazz Trumpet. p. 351.
  4. ^ a b c Template:Cite article
  5. ^ Yanow, Scott (2003). Jazz on Record: The First Sixty Years. p. 251.
  6. ^ Chinen, Nate (2006). Trumpeting Freedom, in Spirit, Thought and Jazz.
  7. ^ a b c d Template:Cite article
  8. ^ a b Carr, Ian. The Rough Guide to Jazz. p. 499. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  9. ^ Template:Cite article
  10. ^ Template:Cite article
  11. ^ Morton, Brian (2005). Miles Davis. p. 151.

References

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