Press

I owe this CD to Adam Domagała who described it gracefully on his blog Z dżezem lżej and without his note it would most probably slipped out of my focus. Not surprisingly since “Muzyki” places itself on a very fringes of jazz music to the same extent as for example Bill Frisell’s “Nashville”. Similarities to great American guitarist do not end on strong folk element present in Michał Zygmunt music, they extend further to things much more important because they share similar sensivity, musicality, creativity. As Frisell Zygmunt creates open structures in which he blends folk, jazz, classic, pop and electronic music, all spoken in language entirely his own, because his affinities to Frisell are only in ideas not in style.

Another record of Frisell that comes to my mind when I think about Muzyki is his famous “History, Mystery” which is intimate travel to his own cultural origins, somewhere in deep blue grass of American Mid-West. Michał Zygmunt on the other hand explores dream-like landscapes of sounds so similar to black and white old family photos: deep, resonant and yet impossible to grasp, as elusive as water running in a swift stream, full of memories, phantasies, nightmares. Musically speaking we find here Polish folk tunes trasformed, all these sweet melodies (kujawiaks, oberkas, polkas)  of our childhood, so moving and so dear to any Polish musician since Frederic Chopin times.
From this short review you may easily see that I am under spell of this music in creation of which Michał Zygmunt (acoustic guitars) was assisted by Roli Mosimann (drums, percussion, responsible also for mixing) and special guest: Zdzisław Jamborski (accordion). Album was meticulously published, sound is very well mixed and I would also like to underline a role played in financing this project by Mirosław Wróbel Foundation, a private fund raised to support cultural projects by daughter of this recently deceased businessman from Wrocław. Recommended!

Maciej Nawrotny “Polisch Jazz”

[…] astonishing debut […] fully shaped artist […] plays beautifully, composes his melodious pieces as if following Quincy Jones’s advice (melody, melody, melody!), and has got his own grown-up and recognizable style and sound.

Michał splendidly builds tensions and successfully develops melodies, whereas, at some other moments, like Nuno Bedtenkourt, he aggressively attacks the strings with a note of virtuosity.

His composition “Song of galley-slaves” reminds of “Children of Sanchez” by Chuck Mangione with its climate of deep guitar introspection: sadness, melancholy and, as it may seem, intimate secrets of soul. What Rembrant can render with his brush, Michał Zygmunt paints with his guitar – life with all its shades. Some of his compositions (“Planet of Words”, “All Sunrises”, “Women”) are played with such an easiness, courage and charm that his ideas might easily be copied by top artists of pop scene. However, they still have this original structure, a note of unrest as well as enough vigor which is crucial for music more ambitious than this of commercial mainstream.

On the other hand, the standard Amazing Grace, from a flageolet theme turns into an expressive improvisation. Improvisations become, actually, another strength of “Worlds”. Their frequent and unnoticed appearance proves that they are ideally and accurately fitted in. The record finishes with a composition recalling Hot Club the France – the climate unexpectedly brings us into the youth of Stephane Grapeelini and Django Rainchardt.

The record “Worlds” is a lonely journey, which is done not by an introvert but by fully conscious of his value music globetrotter. There is a lot of fresh air and, at the same time, a great deal of funky beat of palms on the resonance box as well as fine articulative nuances, which, eventually, produces a unique musical collage with a guitar as a linking element.

Maciej Warda, Top Guitar, November/December 2008

Astonishing record, […] inventive arrangements and interesting stereophonic effects, […] a real treat. As well as playing economically Zygmunt plays incredibly vividly. The melodies become just a pretext to present more subtle rhythmic structures. “Planet of Words” sounds like a world hit in an instrumental version whereas it is only one of the compositions of the author of the record. Really great!

No doubt this music cannot be defined as easy and friendly smooth jazz, but if classified this should be the standard of “smooth” when compared to easy pop strumming in this genre. It has been long time since I heard so skillfully prepared material for acoustic guitars. It is a real surprise on Polish record market.

Grzegorz Walenda, HI-FI Muzyka, December 2008

[…] masterfully played ethnic jazz with its roots going deep down to African culture, a real flamenco […] we can experience one of the most interesting phenomena of this music season

Tomasz Jakubowski, Audio, July 2008