As a jazz pianist and organist at the same time, when playing baroque music, I discovered that Bach is Jazz - there is no need to change much - as his music swings naturally!

Is not basso continuo a baroque "rythm section"? And the author's identity as an artist and composer? Improvisation, interchangeability of instruments, intimacy - these are not only similarities - this is pure unity and harmony!

Altough Bach is present at any given moment on this CD, he would be very surprised to hear how much he influenced and inspired us...

 

Musicians:
Jarek Kostka
Jan Adamczewski
Piotr "Max" Wiśniewski
Waldemar Franczyk


If you are interested in buying the CD, please contact me.




Pieces on the CD:
1. Jesu bleibet meine Freude
2. Preludium et fuge c minor
3. Bouree
4. Arie
5. Wachet auf! ruft uns die Stimme
6. Ich ruf zu dir Herr Jesu Christ
7. Toccata et fuga d minor
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Jazz Contra Bach - Bouree

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Jazz Contra Bach - Jesu Bleibet Meine Freude

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Jazz Contra Bach - Toccata Et Fuga


"Autumn Concert" under the motto: "Important are only those days we do not know yet"
Performers:
Jarosław Kostka - development, arrangement, piano
Leopold Twardowski - guitar, vocals
Pawel Glowacki - double bass
Anastasia Twardowska - violin

 

 

Days, we do not know (music: Jan Kanty Pawluśkiewicz, lyrics: Marek Grechuta)


See also:
 
music: Jan Kanty Pawluśkiewicz, lyrics: Lucyna Wiśniowska, Andrzej Nowicki

Choice of the artistic work of St Hildegard is not random. She lived and worked in the early 12th century. She was an extraordinary person of great power and influence in medieval Europe. She was a multi-talented woman: a visionary, scientist, composer, philosopher and physician. Her intellectual activity and creativity emerges especially in the second half of her life until its end (she lived 81 years).


Hildegard was a forerunner in many areas. As the first woman in the Middle Ages she independently founded a convent, she was also the first who made the comprehensive description of the German flora and fauna. St. Hildegard is also the first known author of morality and first and only known composer who signed the name on her work as well as the first saint who wrote the autobiography and memoirs. She is being regarded as the first German philosopher of the nature and physician. As first from women brought up the subject matter of sexual life and gynecology in her letters.

 

Our project relates mainly but not only to the music of St. Hildegard. In this matter her achievements are impressive. Although it derives from Gregorian chant it does not actually have any analogies in contemporary Europe. It is an independent phenomenon of exceptional expression power.


Hildegard's compositions appear today in Western Europe directly and out of the church context. She is herself a phenomenon inspiring contemporary musicians performing Gregorian chants and also those who form various musical styles on the borderline of chants and current music.Her songs, hymns, chants and sequences still inspire us, in our creative work today.


In Jarek Kostka’sproject, instrumental passages - quasi jazz, totally enrich the whole musical piece, without compromising the original song and its readability. The use of modern instruments: piano, saxophone, percussion and other (instruments were also introduced by Hildegard in her chants), expands the context of sound and becomes a symbol of the transfer of values from the "cultural roots" to the present. Inventive directing of the whole performance introduces necessary non-musical topics (life and health philosophy, active life attitude regardless of age, continuous internal improvement and development, seeking of harmony with environment and back to nature. These topics follow contemporary trends in sensitizing people to environmental problems and presence of nature in their lives as well as the need for unity between city and nature), where the base builds the theological work of St. Hildegard, descriptions of her visions, revelations and mystical experiences also life and health philosophy.

 



Hildegarda z Bingen w Owińskach, Jarosław Kostka - opracowanie, instrumenty klawiszowe; Jacek Skrzypczak – saksofon; Chór „ProVobis” pod dyr. Krystyny Kamińskiej

 
 
See also:
Jarosław Kostka - fortepian,
 Jarosław Wachowiak - saksofon, Kwartet BeFour - śpiew

Hildegarda z Bingen w Owińskach
Jarosław Kostka - opracowanie, instrumenty klawiszowe;
Jacek Skrzypczak – saksofon; Chór „ProVobis” pod dyr. Krystyny Kamińskiej

Hildegarda z Bingen w Owińskach
Jarosław Kostka - opracowanie, instrumenty klawiszowe;
Jacek Skrzypczak – saksofon; Chór „ProVobis” pod dyr. Krystyny Kamińskiej
 

PŁYTA HILDEGARDA IMPRESSIONS

hildegarda impressions



Jarek Kostka - piano
Mariusz Kozłowski - saxophone
Pro Vobis Chamber Choir conducted by Krystyna Kamińska
Solists: Magdalena Nowak, Katarzyna Różańska
Michał Garstecki -  mix, mastering
Editor - Stowarzyszenie "Gloria in Musica"
Artistic concept and production - Jarek Kostka


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Cum processit

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Bridge over 1000 years

We would like to introduce a new and  interesting music project of Polish jazzmen gathered around Jarosław Kostka - pianist, arranger and author of the concept. On the wave of success of the album "Chopin Profanum" published in 2010 in tribute to Chopin, the artist searched for new ideas in the musical legacy of Edvard Grieg. When analyzing his work, he turned his attention towards the Norwegian folk music, from which Edward Grieg drew his inspirations - after all, this is the reason why Grieg is called by Polish musicologists the "Chopin of the North".

Confirming timeliness of the adage known to Chopin and Grieg - "The music draws from another existing music," Jarek Kostka reached into "Per Gynt" suite and songs, orchestral pieces and piano by Edvard Grieg. He made a selection, some musical pieces were deliberately shortened and he pulled out of them this "something special", which is required for the impulse to jazz improvisation. And so it was created some musical material which bacame the base for further transformations and sound exploration.


And so it was created some musical material which bacame the base for further transformations and sound exploration. All this is a tribute to the next, great Romantic from the North.
"Nordic Jazz Project" is another, just more mature and creative stage of the author of "Chopin Profanum."
Moderation and lyricism of Grieg deeply moves musical sensitivity in many musicians and opens for them and for the listeners a wide range of artistic experiences.

The band consists of:
Jarek Kostka - piano
Jan Adamczewski - saxophones
Bartek Kucz - bass
Mirek Kaminski - drums


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Edvard Grieg - Arietta

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Edvard Grieg - Ballad op. 65 nr 5

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Edvard Grieg - In the Hall of the Mountain King

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Edvard Grieg - Pieśń Solveigi



foyer d’art” / Dirk Paßehl / www.foyer-d-art.de
Jarek Kostka - piano, Piotr Max Wiśniewski - bas,
Jan Adamczewski - sax, Waldemar Franczyk - drums

After a few years spent on thinking about the compositions of Fryderyk Chopin, there emerged in us the temptation to come to grips with his works. The 200th anniversary of the composer’s birth was a good occasion and pretext to put the idea into life, although it was not the only reason since Chopin’s music was so inspiring and deeply rooted in us. Chopin is “sacrum” and hence we took it seriously and did our best in using all our knowledge, talent and experience.

The author of  ”CHOPIN PROFANUM” is our pianist and leader Jarosław Kostka who arranged all the pieces on which we based and created some open forms without limiting free jazz narration. Though all rhythmical and melody details of Chopin’s compositions were defined, his music is still a “written improvisation”. This improvisation is rooted in Polish folk and XVIIth and XVIIIth century European music. Chopin frequently referred to both of these traditions. He is also commonly known to have been a very skillful improviser.

Can this freedom in creating musical matter, so natural for jazz, be a bridge connecting classical music and jazz? Isn’t it a good idea to play Chopin in a jazz style? Let our CD “CHOPIN PROFANUM” be the answer to the above question. While working on it we introduced some changes of rhythm, harmony and phrasing. The project is not only our tribute to the great Polish composer, but also our wish for showing the fact that his music is timeless, supranational and thought-provoking.

 

 



Musicians:
Jarek Kostka
Jan Adamczewski
Jakub Olejnik
Przemysław Jarosz

Pieces on the CD:
Mazurek C-dur (Mazurka C major) op.67 nr 3
Mazurek a-moll (Mazurka A minor) op. 17 nr 4
Preludium As-dur (Prelude A-flat major) op.24 nr 17
Preludium e-moll (Prelude E minor) op. 24 nr 4
Mazurek fis-moll (Mazurka F-sharp minor) op. 59 nr 3
Mazurek a-moll (Mazurka A minor) op.68 nr 2
Etiuda E-dur (Etude A major) op. 10 nr 3
Fantaisie Impromptus cis-moll (C-sharp minor) op. 66
Preludium Fis-dur (Prelude F-sharp major) op. 24 nr 13
Mazurek F-dur (Mazurka F major) op. 68 nr 3


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Mazurek a-moll op.17 nr 4

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Preludium As-dur op.24 nr 17

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Mazurek fis-moll op. 59 nr 3



If you are interested in buying the CD, please contact me.



Mazurek C-dur op.67 nr 3, Koncert promocyjny w Wadze Miejskiej w Poznaniu
Jarek Kostka, Jan Adamczewski, Jakub Olejnik, Przemysław Jarosz

 

See also:

Walc h-moll

Jarek Kostka - fortepian, Piotr Max Wiśniewski - kontrabas,
Jan Adamczewski - saksofon, Waldemar Franczyk - perkusja

Largo z Fantazja-Impromptu cis-moll
Jarek Kostka - fortepian, Piotr Max Wiśniewski - kontrabas,
Jan Adamczewski - saksofon, Waldemar Franczyk - perkusja

Etiuda E-dur op. 10 nr 3
Koncert promocyjny w Wadze Miejskiej w Poznaniu
Jarek Kostka, Jan Adamczewski, Jakub Olejnik, Przemysław Jarosz

Mazurek F-dur op. 68 nr 3
Koncert promocyjny w Wadze Miejskiej w Poznaniu
Jarek Kostka, Jan Adamczewski, Jakub Olejnik, Przemysław Jarosz

Mazurek a-moll op.68 nr 2
Koncert promocyjny w Wadze Miejskiej w Poznaniu
Jarek Kostka, Jan Adamczewski, Jakub Olejnik, Przemysław Jarosz

Mazurek a-moll op.68 nr 2
Koncert promocyjny w Wadze Miejskiej w Poznaniu
Jarek Kostka, Jan Adamczewski, Jakub Olejnik, Przemysław Jarosz