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F u F F E N S p r o u d l y p r e s e n t s a r e l e a s e w h i c h
i n t e n t i o n i s t o p l e a s e a n d t o e n l i g h t e n t h
o s e l e s s a w a r e o f t h e t r u e m e a n i n g a n d q u a l
i t y o f m u s i c d u e t o d a m a g e s r e l a t e d t o m t v b
u t w i t h o u t f u r t h e r a d o f u f f e n s o f f e r y o u t
o i n c r e a s e y o u r k n o w l e d e g e a b o u t m u s i c a n
d i n t h a t w a y c r e a t e a b e t t e r w o r l d f o r o u r c
h i l d r e n t h e f o l l o w i n g m a s t e r p i e c e o f a r t
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a r t i s t tomasz stanko
a l b u m twet
l a b e l polskie nagrania - muza
c a t n u m b e r sx 1138, polish jazz vol. 39
g e n r e jazz
r i p d a t e 13-12-2003
s t r e e t d a t e 00-00-0000
o r i g i n a l r e l 1974
s u p p l i e r mickey mouse
s o u r c e lp
b i t r a t e 192 kbps
e n c o d e r lame 3.92
r e l e a s e n o t e s
In the '70-s, the peak years of Tomasz Stanko, his perfect partners
were few, but certainly the Finnish drummer Edward Vesala and Polish
tenor-man Tomasz Szukalski belonged to them. Their cooperation
brought such important records as "Balladyna", "TWET", "Almost
Green", "Live at Remont" or "Satu". These three musicians' mutual
understanding was almost of a metaphysical quality, necessary to be
sure, to play free-jazz. On this disc they are joined by the
sensitive and articulate American bassist, Peter Warren. Cut in 1976,
TWET (supposedly an acronym of musician's initials), is a perfect
example of free-jazz attractiveness potential, so seldom truly
realizes. But here it materializes, to the sensitive listener's
satisfaction. Though Stanko's leadership is unquestioned, he leaves
ample space for Szukalski, Vesala and Warren to stretch their music;
not to mention whistle, cowbells and human voices.
"Dark Awakening" grips our imagination from the very start with the
mysteriously oscillating mood, the sounds of bass clarinet... With
the first sounds of trumpet the heterophony of the four instruments
fighting for our attention unfolds.
In the title piece TWET ostinato basses support the convulsive
flights of trumpet but soon bass itself comes to the fore with the
series of three-notes motifs (c, c-sharp, d) crowned by a surprising
consonance. The most gentle and even tender number, "Mintuu Maria"
starts with tenor-trumpet dialogue that gradually gives way to tenor
improvisation after which the trumpet joins again.
Strong drumming and bass figures introduce "Man from North", giving
way after a while to incoherent heterophony of voices leading to
frenetic saxophone solo over assertive and faster bass walking. Out
of the background to the fore the drums emerge, but the bass figures
take over the high above the trumpet's soaring sounds appear. Another
contrast brings "Night Peace": the chimes of steady basses, tiny
bell-sounds and prolongated sounds of trumpet bring back sleepy
saxophone, and they take rest of calm pulsations of drums and bass.
Composed by Stanko, Vesala, Warren, Szukalski
Recorded in Warsaw, April 1974.
Tomasz stanko - trumpet
Tomasz Szukalski - tenor and soprano saxes, bass clarinet
Edvard Vesala - drums
Peter Warren - bass
...and remember: s t a y f u f f e n s f o r l i f e
t r a c k l i s t
dark awakening 12:38
twet 07:10
mintuu maria 05:15
man from north 10:21
night peace 04:13
39:37
MB 54,5
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s p e c i a l g r e e t s g o e s o u t t o : SChiZO
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i f y o u l i k e t h i s r e l e a s e t h e n g e t y o u r l e e c
h a s s d o w n t o y o u r l o c a l r e c o r d d e a l e r a n d b
u y t h e s t u f f b e c a u s e t h i s i s m a d e b y r e a l a r
t i s t s a p a r t f r o m t h e m a i n s t r e a m p r o d u c t s
t h a t s i n t h e t o p 2 5 l i s t i n t h a t s t o r e y o u w i
l l v i s i t r i g h t a w a y t o s h o w y o u r s u p p o r t t o
t h e t r u e a r t i s t s o f m u s i c - t h e f u f f e n s a r t
i s t s t h a t s i n i t f o r t h e m u s i c n o t t h e m o n e y
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a l w a y s d o r e m e m b e r : s t a y f u f f e n s f o r l i f e
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